Paint Furniture

A lively oil on canvas painting from France, of vintage age that has been reframed in a complementary champagne-gold molding. The rather abstract floral arrangement at center, in a m...

This bowl is a stunning example of Longwy ceramic craftsmanship, renowned for its vibrant enamel cloisonné-style decoration. Longwy, a French ceramic manufacturer founded in 1798, is...

It is the aged and scraped patina of the original brown painted finish that draws one to this pine secretary with graceful Swedish country charm. Desktop rests on two extended arms. ...

Lovely little 19th century ring jar or pill box made of a thick wine colored ruby glass. It has a miniature of a Basilica on top, gilt metal mounts with beautiful filigree on the si...

Late 19th Century French painted Neo-Classical style king size bed dating from the turn of the Century. Complete with made to measure slats to support your matress. Newly upholstered...

19th century Swedish bookcase or display cabinet crafted in pine. The lower section features nine drawers with a larger central drawers flanked by smaller drawers. The upper cabinet ...

An Arts and Crafts period wicker library / Lamp table C. 1910 from a Rhode Island estate, These tables are a close woven reed done in a turquoise finish with black, yellow and reddish trim colors with the table top done in a very handsome quarter sawn oak surface. The table is beautifully designed with a quarter sawn oak table top surrounded by black braiding above a turquoise finished table skirt with a reddish bottom border trim. This table top sits upon beautifully skirted double legs on each corner which are joined together by a major decorative x criss crossed shaped woven and paint decorated support system which includes an additional pair of mid table top supports. This table is not only absolutely beautiful in its styling but also in its engineering. This table was part of a suite of furnishings done for this estate which were all decorated to match in this manner. This table has had a cleaning and touch up and the quarter sawn table...

This surrealist work by listed French artist Jean Pierre Clement depicts a female portrait of a woman with a geometric blue headdress and one expos...

magnificently handcrafted chinoiserie cabinet of the highest quality. This was made in England & dates from the 1930’s. This is one of the finest examples we have ever come across, ...

Antique hand painted, folding, double sided game board. One side painted for chess / checkers in a simple design of yellow and black. The other painted for Parcheesi in white, green,...

ABOUT An antique French carnival clown ball toss game with wooden ball catch numbered 37. Hand crafted, hand painted paper-mache on board. CREATO...

These are four hand-painted porcelain bottles with vibrant blue accents and floral decorations, likely from the 19th century. The set includes two larger bottles and two smaller ones...

Gustavian, Bleached Wood, Barley Twist Table, Europe, 18th/19th c. Antique Swedish or Gustavian Style Writing Table, Desk or Center Table. This Bleached Wood table is multi function...

Original oil on canvas painting "Untitled" by internationally reknowned artist Isaac Maimon, circa 1995. The painting depicts a group of stylish Parisian woman at possibly a wedding or resturant. The piece measures 44" x 38" x 2.5" (the canvas is 30" x 24"); it is presented in its original gold gilt wood frame with cloth lining. It is signed, "Maimon" in the lower right corner and is numbered MAI1003 The painting was purchased for $3,400 from Contemporary Fine Arts Gallery in La Jolla, CA in 1995. #2525 Maimon has a distinct and recognizable style of painting which captures the energy of Parisian street scenes, with masterful lines and inspired strokes of color. Isaac Maimon was born in Israel in 1951 and has devoted the majority of his life pursuing a career in the arts. He attended the Avni Institute of Fine Art in Tel Aviv, Israel's most prestigious academy for the arts, where his initial interest in the Paris School of Art...

A stunning large antique Italian Raffaellesco majolica wall charger / centerpiece, showcasing exceptionally executed handmade and painted design, dating to the 19th century or earlie...

A spectacular Louis XVI style 19th century trumeau in a refreshing mint-green painted finish over carved and giltwood boiserie paneling. This trumeau is of impressive scale, becoming...

A very unusual Swedish Gustavian period painted demilune commode/chest of drawers from the late 18th century in charming proportions that could easily take the place of a small buffe...

Standout pair of vintage Chinese horses crafted in brass in classic form and hand decorated in a cloisonne enamel technique with colorful floral and symbolic designs on an alluring b...

Set of Eight American black lacquered and gilt fancy chairs with painted bird, floral, and shell motif. Two arms and six sides. Chairs have cane seats with...

Abstract figurative painting, oil on fiberboard, signed Zeitner, dated 1963.

Extremely decorative and characterful painting from around 1930, painted in the typical style of the Liège School. This oil on canvas shows an atmospheric Ardennes landscape of the H...

The paint is all original on this delightful flat top trunk from Austria. The flowers in vases are depicted in the front panels, which was a popular folk art design throughout the 18...

A nice sized Early 20th century American cast iron piggy, penny bank or money box. This decorative bank features a boy fishing and obtains its original anti...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

This rare Baker round gold pedestal end table features Napoleon style bronze hardware throughout. This accent table would be great next to a chair in any...

Late Qing Dynasty Chinese Jar mounted as a lamp. Iron red foo dog decoration on jar. Mounted as a lamp in the 1960s-70s with wooden shaped base. Jar: 11" h, 8.5" dia. Some paint wear...

The Stag Deer porcelain has been manufactured by the Hutschenreuther - Selb - Kunstabteilung (art studio). The underside bears the authentic marks of the Hutschenreuther-Selb company...

Fantastic ceramic urn with amazing glaze and patina. We see this piece filled with either fresh flowers or faux magnolia on a console, coffee or center hall table. Also a wonderful s...

A charming Italian majolica terracotta cat, beautifully hand-painted and glazed, seated regally upon a decorative pillow. Rich color and expressive detailing bring personality and wa...

For your consideration, a modern iron framed leather rocker or rocking Cchair Attributed to Belgian design style of Muller Van Severen. No label present. Iron frame painted white wit...

French, 19th century Empire style ceiling fixture of black tôle using six candelabra lights to illuminate the stunning gold-tone accents. The round, painted metal bowl...

This charming pair of Italien wall lights is a true gem, a small masterpiece of European craftsmanship from the 1940s and 50s. These two wall lights were crafted with artistic expert...

Six panel screen made by Gracie. The wallpaper and screen date to the 1990's. The wallpaper is handpainted, with a detailed design of flowering trees, birds and butterlies, with a ...

Lovely pair of French 19th century wall mirrors with delicate Neoclassical motifs embossed in the recessed part frame, softened under an allover “French grey” paint and craquelure te...

HENRY SCOTT, R.S.A. British, 1911–2005 "Frisco Bound: The Great American Clippers 'Dreadnought' and 'New World'" Oil on canvas Signed lower left "Henry Scott" 20" H x 30" W [canva...

Old Master John Linnell Landscape Collector Painting Oil on Canvas Museum Art. “The Barley Field” By John Linnell 1874 / Oil on Canvas / 1792-1882 / English . SIGNED and DATED at the...

19th century Swedish desk or side table, crafted in pine. The table is raised on tapered legs topped by simple carved floral medallions, giving the piece a refined and classic Swedis...

Fireplace, freestanding, burns wood or gas. By Preway Manufacturing, circa 1970s. This unit is the Preway Capris. A smaller size than the original Preway fireplaces at: 30"w x 24"d. ...

19th-Century Lover's Eye Fragment in a Giltwood Frame A captivating Lover's Eye fragment created from a carefully cut section of an original 19th-century portrait painting, depictin...

Attributed to William Griggs, circa 1880, this pair of lithographs in hand-painted black frames depict a set of Neoclassical Wedgwood amphora vases. Both prints are on cream paper, a...

This striking Meissen porcelain centerpiece urn, crafted in Germany in the mid-19th century, exemplifies the exquisite artistry and refinement that made Meissen one of Europe’s most ...

Carved Painted Wood Frame, 1950's Fantastic carved wood frame with liner, in a distressed finish and incredible patina. Great piece for your favorite oil painting as well as could a...

An impressionistic oil on canvas circa 1930s by the Boston School painter Robert Emmett Owen. He was a successful artist best known for his Impressionist views of the rural landscape...

A delightful American folk art domed chest dating to circa 1820, crafted of pine and retaining its beautifully weathered original powder blue painted surface. The arched lid and fron...

An antique late Qing Dynasty Chinese red lacquer cabinet distinguished by its rich color and wonderfully expressive hand-painted decoration. The cabinet is arranged with three panele...

This large antique rococo chest of four drawers features panels on each drawer, carved skirt, brass hardware pulls and rests on cabriolet feet. It has been given an exceptional new p...

An exceptional example of Spanish Colonial style, born in Mexico in the 19th century, this large hand carved and painted santo religious folk art altar f...

Maison Lecan presents this abstract diptych from the 1970s. A singular architectural work composed of two juxtaposed panels, playing with cubist perspectives and interlocking volumes...

Fireplace, freestanding, mid-century, named Aztec. Designed to burn wood or gas, inside your home or out. Original Gloss White porcelain enamel paint with black flecks. Includes blac...

A Pair of Black Painted Cast Iron Urn Form Jardinieres. Indoor or outdoor Measures 7" in width, 7" in depth x 9" Height.

a serene impressionistic sunlit scene of a couple in the foreground seated in a gondola facing the viewer with a typically-dressed gondolier standing at the stern; with the towering ...

Beautiful Post Modern Memphis Style chest of drawers. Handmade in Italy, this striking piece features silver and gold leaf detail throughout with ...

Antique French Louis XVI Painted Armchair represents a style transition into the Directoire look, where a more tailored design created a cleaner appearance. The squared off, contoure...

A French Empire period floral pastel and gouache painting from the early 19th century, in giltwood frame. This French painting features an exquisite depiction of a bouquet of flowers set inside a metal vase, adorned in its upper section with what could be waterleaves. It is the exuberant bouquet that attracts all of our attention, with its variety of flowers and abundance of colors. The pastel technique...

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

American Federal mahogany pillar and scroll mantel clock with a broken arch pediment, three urn wood finials, flanking ringed columns, hinged glass d...

The soft earth tone colors are all original on this hand-painted antique chest of three drawers from Hungary. The lovely top and panels with hand painted floral accents and birds wer...

A substantial Italian chest of drawers from the early 20th century with a flamboyant, scalloped façade of original layered blue paint finish and gold trim. The trompe l'oeil marble t...

Inspired by the ship building heritage of North-East England, the Rib Coffee Table plays on the skeleton of ribs, gussets and intersections used to create the strength and rigidity n...

This antique French wall mirror was crafted circa 1870 in the Louis XVI style and features a refined combination of giltwood and painted surfaces. The molded frame is finished with a...