Hand-Painted Furniture

19th century painted tapered Chinese cabinet. Having elaborate panels with gilt painting and raised moldings. Warm red lacquer adorned with black lacquer and gilt painting. Framing the panels recessed into the molding are remnants of crushed seashell used...

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...

Italian Rococo Revival Writing Desk, Late 19th Century This charming Italian Rococo Style painted writing desk, likely dating back to the late-19th century, showcases a delicate flor...

An old glazed stoneware pair of Chinese 'egg post' or planters from Southern China. The pots have a traditional continuous coiling dragon wrapped around the body chasing the eternal ...

This large "green-glazed" küp was likely used for wine, water, goat's milk, or cheese by generations of families in the Levant. The phosphorescent green glaze, a traditional techniqu...

18th Century Italian Venetian Carved and Polychrome Headboard 18th century hand carved baroque frame with ochre polychrome, flower spreads and partly gilded decoration. The wall mou...

Mr John Gould's tropical framed Bird prints 1955 taken from his limited edition of 1000. The most celebrated British ornithologist of the nineteenth-century John Gould (1804-1881) ...

Tenjin (天神) Noh Mask attributed to Takada Fuki (高田 冨季, 1935–2008) Mask: Tenjin SKU: TBA17 Size: W: 15 cm, H: 21 cm Tenjin is a prominent deity in both Shinto and Noh theater, repre...

The monumental hand carved totem pole depicting a winged bird atop a figure and surmounted on a fox or bear holding a fish prey. Hand painted predomi...

Beautiful Delft Blue platter, Made by Royal Delft in Delft, the Netherlands.

A small warrior spirit mask Northwest Coast Carved and polychrome decorated mask with horse hair, Hand carved by Charlie Mickey (1910-1988), Hesquiah...

This breathtaking 19th-century opaline glass vase is a masterpiece of fine craftsmanship, likely attributed to renowned French glassmakers Baccarat or Saint-Louis. The piece features...

Embrace the timeless allure of our antique demilune-shaped vitrine and china cabinet, Beautifully finished in a warm, inviting red stain. T...

George Hedley (British), 1855 Still Life with Fruit signed 'G. HEDLEY / 1855' (lower right) oil on canvas 55 x 55 cm (21 5/8 x 21 5/8 in). framed 74.5 x 74.5 x 4.5 cm. (29 1/3 x 29 1...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. The heart collection is inspired by the ...

This very unique, large hand-made and hand-painted in Hungary, Herend Chinese Bouquet Green Porcelain Vase was derived from the intricate ...

A lovely large 10" antique 18th-Century Dutch Delft faience hand painted floral plate in vibrant cobalt blue and white with a yellow gold rim. Maker's mark on reverse. It would look ...

PRESENTING A GORGEOUS 19C Gustav Becker Vienna Wall Clock. Made by the famous clockmaker, Gustav Becker circa 1880 in Germany. Th...

A striking six-panel Chinese Coromandel screen from the mid-20th century, adorned with intricately incised and gilded cranes in flight. Set against a warm, golden background with a t...

Make a bold statement with our vibrant iron tray, handpainted with a striking bumblebee design. The rich, lively colours bring a playful yet elegant touch to your decor, perfect for ...

Goebel produced this dramatic porcelain figurine depicting a Cat, circa 1960. The piece is in excellent condition and a real beauty. Measures: height: 10.63 in (27 cm)? diameter...

Beautiful armchair GFM-142, designed by Edmund Homa, a polish architect, designer of Industrial Design and interior architecture, professor at the Academy of Fine Arts in Gdansk, Pol...

Set of midcentury multi color fish Plates and Platters as Wall Decoration A funny collection of twelve european glazed ceramic, porcelain and...

Found in Germany at an estate sale, this hand carved and hand painted duck decoy is perfect for the collector. Well used by a previous hunter the paint ha...

Our modern marble-effect glass sideboard is an eye-catching piece of mid-century modern furniture made with meticulous attention to detail in Italy. This elegant sideboard features...

A Midcentury Chinese six-panel gold and black screen with bird, floral and tree motifs. This vintage Midcentury six-panel screen is a stunning blend of artistry and functionality. Th...

Extraordinary and complete collection of 17 artist ceramic masks of traditional Black Forest Carnival costumes by Alfred Schladerer, Germany. Ranging from the first 1954/55 unglazed/...

Richard Ginori Italy Porcelain Dishes for Alitalia. Set of 2 ALITALIA Airlines Richard Ginori Hot Air Balloon Porcelain Trinket Dishes. Italian Colle...

A beautiful Austrian 20th century, carved wood bird, mounted on a stand for hanging. The tradition of these in Austria called "Viechtauer" birds goes back to the early 19th century w...

This Royal Crown Derby Old Imari Solid Gold Band Dolphin Centerpiece is an exquisite and highly collectible porcelain piece, showcasing the elega...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Valuable and particular served in fine French porcelain in Napoleon III style; it is composed of 12 cups with a plate, a milk jug, a sugar bowl without a lid in the shape of a small cup so that it can contain sugar cubes or cookies, and two round trays with handles...

Early 18th century Italian Venetian inland painting, a large size oil on canvas Baroque mountain landscape with stream, bridge, waterfall, wayfarers and a village in the background. The woodland is animated by figures, a caravan with horsemen fishermen. This monumental Italian Baroque landscape painting has a strong impact and an excellent composition balance, as it depicts in the center the luminous perspective of a fortified village, whose side wings consist of two mountain rocks with dark wooded vegetation crowded by characters, horsemen, paths, streams.On the left side, with respect to the observer, there is a path that runs alongside a stream that flows into a waterfall in the center of the composition. from a caravan of travelers on foot and on horseback traveling along it in both directions: going up the slope on the mountainous coast you can see a church and a village near the top. The right part of the painting depicts a more sparse and dry vegetation, painted in the chromatic tones of ocher, inside of which there are dead plant, dry branches and a smaller number of figures on the rugged mountain. The iconographic inspiration of this wooded representation seems to be in the large trunk of the withered conifer in a central position, which represents a dead tree, as a? reminder of the transience of everything in life, whose phases are summarized in the two mountainous coasts. In the background a village painted in light and soft blue colors, in stark contrast to the previous scene, seems  to reassure and project us into a future season. With a suggestive theatrical effect, more than 250 cm wide, this Baroque Italian painting comes from a private collection of Milan, the canvas has been lined and shows minor painting retouches at a horizontal seam of the canvas. It is unframed, it has just a wooden profile covering the canvas edge. It is an antique Italian landscape, the perfect opportunity to make a statement. Get the perfect size painting for a great living room, to create that eye-catching focal point. You can make an impact with a single large work by hanging this early 18th century Italian Baroque painting...

For your consideration is a pair of finely hand painted Chinese globular porcelain vases, from early 20th century. The heavy porcelain body is in elegant globular form and covered with thick creamy white glaze. The top opening rim is painted with gold as well as the double rings around the shoulder. The neck and body are fully decorated with same pattern. A group of different colored bats represent the wish of prosperity in Chinese culture. Surrounding the bats are branches bearing full ripe peaches, extending from a Chinese longevity symbol...

Oil on canvas. Signed lower right, Hermann Emil Pohle. The painting is a genre piece. A Renaissance style hunting scene. The hunting horn is blown before...

Strasbourg faience floral plate. Antique faience plate with large floral bouquets and lobed rims with further floral sprays and insects; with blue u...

A very cool vintage Gloster Meteor F4 Airplane Model with desk model with black and white postcard, circa 1960s. The model is in very good condition and measures 9.5" wingspan x 8.5...

LA SEYNIE - Fine antique Limoges ceramic cabinet tray - hand painted in the Art Nouveau style - featuring a display of raspberries with flowers and lea...

A midcentury French sunburst mirror, circa 1920. Original gilt and mirror plate.

This vintage six-panel screen, crafted from hand-painted leather, showcases an intricate scene of birds, roosters, and blossoming branches, framed by brass nailhead trim. Hand-painte...

19th century Royal Crown Derby demitasse service, Imari pattern #198, in classical Japanese chinoiserie taste having a beautiful painted Imari palett...

* Kindly note that we arrange the shipping ourselves to ensure a smooth, secure, and reliable delivery. This allows us to provide the best possible service and care for your purchase...

Demitasse Tea or Espresso Coffee Set, service for 6, Porcelain An elegant and colorful porcelain gold rimmed demitasse coffee service for six. Spain, 1950s Eye-catching multicolor gl...

925/1000 Sterling silver cigarette case with hand-painted fired enamelled floral miniatures inserted in frames with hand-engraved borders, above and below. Jugendstil. Spring-loaded ...

This exceptional 4-piece sterling silver tea and coffee service by the renowned Ewart & Perkins, Sheffield Company, London, showcases the fine artistry and craftsmanship of mid 20th-...

Magnificent almond-shaped portrait of a young poet, painted in oil on canvas and framed in a fine carved and gilded wooden frame. At the cente...

An exquisite set of early 20th-century French dining chairs in the Louis XVI style, sourced from Provence, France. This set includes six side chairs and two armchairs, all meticulous...

Stunning and rare Lladro retired serious clown with guitar by Salvador Furio. This is titled "Serious Clown with Guitar' and was sculpted by Salvador F...

Candleholder blue parrot set of 2 in hand painted blue porcelain, glazed porcelain. Handcrafted details in solid bronze. Each piece: L15xD15xH49cm.     

Wonderful pair of Derby Porcelain "Mansion House" dwarfs. Both figures are modeled wearing large hat advertisements, most likely as they stood outside Mansion House in London. Both f...

1970s Sherle Wagner Hollywood Regency hand painted porcelain Chinoiserie Ming Blossom Blue powder room / bathroom wash basin sink, nickel plated br...

A wonderful antique 19th century Paris porcelain plate. With a hand painted scene of a rabbit hunt in a bucolic landscape. Three greyhounds or whippets ...

A fine antique French matched hand painted porcelain cabinet cup and saucer painted with various scenes by Sevres and dating from the latter 19th century. ...

HACKBERRY CREAM RESIN DINING TABLE This epoxy table emerges as a unique work of art, inspired by nature's beauty. The epoxy table stands out not only for its design but also its d...

These early 19th Century English Blue willow platters are all in very good condition and stamped England with manufacture stamps. All in pristine c...

Beautiful baroque gilded metal procession cross with a great patina. France circa 1750. weathered and small losses. Measurements include the wooden pedestal.

Limited edition High Porcelain sculpture of a dragon, the symbol of power and good fortune in Asian cultures, in a special version to commemorate Lladró’s 70th anniversary. A represe...

A combination of Japanese and Korean style and technique make this vintage mid century umbrella stand a rare find. The hand painted design is produced on ...

Danish 18th century painted Baroque 3-drawer chest with later chinoiserie decorations, brass hardware and locks.

Shioka Sorin (1781-1850) Flowers & Birds of the Four Seasons Pair of six-panel Japanese Screens. Ink, gofun and pigments on silk. Dimensions (each screen): H. 91.5cm x W. 285cm (3...

Set of fourteen Spode floral plates. Fourteen softly scalloped and gilt banded plates each with uniquely painted intertwined floral botanical wreathing; from the factory under Josiah...