Hand-Painted Furniture

A late 20th Century, antique Italian Arte Povera pair of sculptural nightstands made of hand crafted painted Pinewood, in good condition. The detailed large bedside tables are compos...

The Kifu Paris Oval Tray in black oak with polished stainless steel is a striking fusion of natural warmth and modern elegance. The tray’s deep black oak surface, with its smooth fin...

Royal Copenhagen Blue Fluted Half Lace, set of four coffee cups with saucers. Hand-painted porcelain in the Blue Fluted Half Lace pattern, model 1/527-528, first factory quality. Cup...

A beautiful, wonderfully crafted, alluring mask made for Japanese Noh theatre. The mask is handcrafted and hand-carved from natural wood and is signed by the maker. This mask is o...

Faience figure "Dachshund", Royal Belvedere, sculptor: Rudolf Chocholka, Austria, Vienna, 1920s - 1930s Additional Information: Materials: faience, underglaze hand painting Vint...

*Two (2) bowls available, each sold separately, as per listing. A beautiful, art-like, Hungarian leaf-form hand-painted hard-paste porcelain bowl from luxury maker, Herand, 2001, H...

Meissen, Germany. A set of six "Pink Indian" porcelain lunch plates. Hand-painted with purple floral motifs, gold rim. Mid-20th century. Marked. Third and fourth factory quality. Per...

Antique Austrian Art Nouveau Diminutive Hanging Cabinet Jugendstil design C.1910 A diminutive wall-mounted cabinet in the Austrian Art Nouveau taste . With an arched, shield-form cr...

Stunning and vibrant, 27 cm high, vase with sgrafitto and hand-painted colored glossy pattern of stylised women. On the base is painted Italy 7862 I have also a smaller and a large o...

Sculpture white parrot all handcrafted in porcelain. Hand-painted and with details in solid bronze.  

The piece is a unique representation of a woman in a modern way. The woman is gently painted with acrylic color. Our designer creates these pieces completely by hand, without any mo...

Dining chair called "Butterfly" with dark brown walnut stained beech legs and fully upholstered seat and back in beautiful jacquard italian fabric. This chair can be customized to y...

A 19th century Chinese four panel lacquered folding screen. The screen is a vibrant red, and is fully decorated on both sides. The designs are in tones of black, dark green and mus...

Antique American carnival amusement park, carousel motorcycle ride, from the late 1940s. A fabulous late 1940s motorcycle carousel ride, the motorcycle body is made of wood and is ha...

Ceramic antique water jug from Puglia in the South of Italy (circa late 19th C). A delightful example of a Pugliese pitcher decorated and shaped in the trad...

RAIN FOREST MARBLE SIDEBOARD / CABINET The concept of “Mitsurin”, which encourages living in harmony with the beauty of nature in Japanese culture, is a precious part of the great F...

A gorgeous four-panel Japanese Byobu folding screen depicting a scene from the Classic Japanese narrative "Tale of Genji" (the beautifully clad woman in the flowing kimono could very...

A beautiful hand painted square serving tray with handles, by Anna Weatherley Designs. Anna Weatherley has been designing and producing Fine Botanical Hand Painted Porcelain in Hunga...

Exceptional statement piece with a pair of white cockatoo birds in a realism tropical setting by Jesse Arms Botke. Large wood frame has been painted in a black finish with some imper...

This original painted armoire or "Shrunk" has beautiful carving and painted details, including castle, church, and houses upon a hill. The original painted finish is primarily a teal...

A set of four fusuma (sliding door) panels from the 19th century, painted in ink and colors on gold leaf. The panels depict a blossoming cherry tree extending beyond a woven fence an...

Limited edition dragon sculpture in matte porcelain with gold lustre. A symbol of power and prosperity in Eastern culture, this magical creature, the bearer of good luck, is the protagonist in this spectacular High Porcelain limited edition. The hundreds of scales covering its skin are individually hand painted with gold lustre, an extremely laborious technique requiring the expertise of the finest artists. The luminosity distinguishing its spectacular embellishment is attained by combining gloss and satin finishes, united by an iridescent metallic hue on the chest and a vivid turquoise hue on the crest. The complexity of the dragon´s...

The églomisé chest of drawer / Console by Ercole Home has a 4-drawer front with a morning gray finish on oak. Hand painted églomisé glass panels are o...

Vintage Traditional Batuan Gambuh Painting by Sudana of Batuan, Bali. A large sumptuous narrative painting in shaded colors on a framed and stretched canvas rendering a composite of scenes of figures in preparation for a Gambuh Balinese dance drama. The female dance figures have floral headdresses and are preparing with makeup and costuming with sarong clad men as attendants. A box in the foreground contains a Keris and a dance mask for the character Arya, a principle role in the Gambuh performance. The background includes an architectural overhang, a bedroom and temple grounds with other maidens in attendance. Often the Gambuh is performed as part of wedding festivities. The canvas is stretched on a wood frame and further framed by a Western style black lacquered wood frame with a beige silk covered mat. Framing by Valley Arts, Palm Desert, CA. Minor signs of age, wear and use, otherwise fine condition. Circa 1980. Frame measures: 61 in. x 40.25 in. x 1.75 in. (155 x 102.2 x 4.5cm). Painting on stretcher: 50.875 in. x 30.375 in. (129 x 77.2 cm). Overall weight 20 lbs. (9072grams) Provenance: Private Collection, Indian Wells, CA Above All Consignments, Rancho Mirage, CA L’Asie Exotique, Palm Springs, CA Note: Batuan is a village in Southern Bali, Indonesia. It is noted for its artwork and style of painting which originated in the village in the 1930’s and has since emerged into a major Balinese artistic style, known as Batuan painting...

A charming porcelain floral oval trinket box painted in blue and white. This piece would certainly be a fantastic addition to an existing collection of these desirable boxes. Marked ...

Dimensions - H: 18 in W: 22 in D: 16 in A beautifully executed pair of Chinoiserie-style benches by Drexel Heritage, showcasing the brand’s celebrated ability to reinterpret classic...

Dutch Delft Chinoiserie Kraak Style charger depicting a large dragonfly, in a Chinese garden, sitting on a rock. All within a shaped octagonal border. The rim with fan-shaped panels...

A charming 19th‑century French side table, this petite piece combines elegance with the quiet character of age. Crafted in wood and finished in a deep black tone, it features a scall...

Large Floral Still Life Oil Painting in Original Frame, 1940s Large Impressionist style floral still life painting. Bouquet of bright yellow and orange zinnias and pink and white ph...

This antique original oil painting from around the 1920s shows a still life of peaches arranged in a glass dish, surrounded by green leaves. It is presented in its original gilded fr...

Anonymous Bamboo Forest Early Taisho era. Circa 1910-1915. Six-panel Japanese Screen. Mineral pigment, gofun and ink on silk. A six-panel Japanese folding screen, painted on silk in...

A Swedish Gustavian commode with original brass hardware and locks. Featuring canted and fluted corners. Drawer fronts outlined in brass. Sits on fluted and tapered feet with brass c...

Dimensions - H: 33 IN W: 22 3/4 IN D: 22 1/2 IN SH: 19 1/2 IN A striking and highly decorative Regency-style armchair by Maitland Smith, embodying the brand’s signature blend of cl...

In this listing you will find a unique four-panel room divider designed by BeDeM Design Lab, entirely hand-crafted and hand-painted. The screen is constructed from large sheets of co...

Elegant vintage round Limoges 22-karat gold trinket jewelry box. French vintage Limoges trinket box in cobalt royal blue with fine gold decor. Marked...

Decorate a mantel, console, or bookshelf with this elegant pair of antique Delft vases. Crafted in Holland circa 1920, the tall cylindrical vessels feature a gently flared rim and cl...

Palm leaf and faux bamboo chandelier, Italy 1950's A beautiful chandelier featuring hand painted faux bamboo stems and leaf fronds throughout There are 4 bulb holders which take ...

Royal Delft Blue Covered Baluster Vase / Urn Hand-Painted Dutch Delftware Add timeless Dutch elegance to your interior with this exquisite Royal Delft covered baluster vase, also known as decorative urns. Expertly hand-crafted and hand-painted in the renowned Delft Blue tradition, these impressive vases feature enchanting Royal blue camaieu floral decorations enhanced by a graceful peacock motif. Raised on distinctive octagonal feet and topped with matching lids, the vases showcase the exceptional artistry and craftsmanship for which Royal Delft is celebrated worldwide. Inspired by Baroque, Chinoiserie, Chinese, Oriental, and Asian decorative styles, they make striking statement pieces for traditional, classic, and eclectic interiors. Produced in Delft, The Netherlands, during the second half of the 20th century, these elegant decorative urn reflect the rich heritage of Dutch Delftware, a ceramic tradition dating back to the early 17th century. Delft Blue pottery became one of Europe's most sought-after luxury exports and remains highly collectible today. A Treasure perfect for display on a mantelpiece, console table, sideboard, or in a curated collection of fine ceramics, these Royal Delft vases combine historical charm with enduring decorative appeal. Features Authentic Royal Delft Manufactory production Hand-crafted and hand-painted Traditional Delft Blue (blue and white) decoration Floral design with peacock bird motif Covered baluster form with matching lids Marked: under the base and in the cover Octagonal foot bases Origin: Delft, The Netherlands Period: Second half of the 20th century Condition: Good Color: Blue and White Styles: Baroque, Chinoiserie, Chinese, Oriental, Asian Dimensions Width: 9.4 in (23.9 cm) Depth: 9.4 in (23.9 cm) Height: 19.5 in (49.5 cm) Royal Delft vase, Delft Blue urn...

Chinese export smaller scale four-panel lacquered dressing screen room divider with hand-painted decoration on both sides. One side depicts a charming continuous pavilion scene with...

This Kerry Scene painted by Daniel Van der Putten of Ireland and is a wonderful Glena Mountain is a prominent peak situated in the MacGillycuddy’s Reeks range, right on the shores of...

Beautiful chair type 200/128, designed by Juliusz Kedziorek and manufactured by Goscieninska Furniture Factory in Poland. We called them "mushroom" chairs cause of light and nice s...

A naturalistic shaped and fine detailed elephant figurine from the Art Nouve era dating to around 1910. The elephant is marked with a green unidetified manufacturer's mark.

A black-grey, antique Italian single chest, commode in the Arte Povera technique, made of hand crafted painted Pinewood in good condition. The Tuscan cabinet, cupboard is composed wi...

Ceramic Chicken Hen Egg Holder Farmhouse Country Home Decor Japan Brown Glaze VTG Dish. The elegant hen can be a decorative egg holder added to your kitchen decoration. Size Approx:...

Amazing and unique bedroom night table from the 1960s. It was manufactured in Poland. They was made of beechwood, it was refreshed and fully renovated. Very good vintage condition.

Unique and all handcrafted, practical size antique circular chandelier. Some chances you only get once in your life and that is exactly what we thought when we first saw this unique...

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...

This fish is a work of art. It's something different than a normal wall mural. Let yourself be inspired. According to the previous owners, this fish was acquired in the 1960s and 197...

Crafted in France circa 1920, this elegant antique pastry table features a graceful oval Carrara marble top resting on a sculptural painted iron base. Traditionally used by French bakers and cooks as a cool working surface for preparing dough and pastry, the marble remains both practical and visually appealing. The thick stone slab is cut in an elongated oval form with softly rounded ends and displays natural gray veining across a creamy white ground. The refined silhouette is supported by an elegant iron base with three slender legs ending in scrolled feet. Y-shaped supports beneath the top and delicate cross stretchers meeting at the center provide strength while maintaining a light, airy profile. Finished in a soft painted patina, the iron highlights the graceful curves and decorative detailing of the base. Versatile in function, this antique French pastry table...

This exceptional late nineteenth century hand-painted armoire is a beautifully and professionally restored antique wardrobe that perfectly ca...

Vintage I Spyropoulos Handmade in Greece black and 24K Gold Finish Porcelain Jar with Lid. Vintage handmade in Greece Black and 24k Gold Trinket Porcelain Dish with Lid. Greek Mythol...

An antique French pair of Provencal chests of drawers or commodes made of hand crafted Pinewood with bowed fronts and an ecru color aged pat...

A beautifully atmospheric vintage French oil painting capturing a quiet harbor scene, likely inspired by the southern coast of France. Executed with a confident, impressionistic hand...

The Matchbox Series is composed of roughly 4”x 6” boxes that make direct references to iconic NYC institutions. These boxes come with slide out inserts that are filled with oversized...

Abercrombie & Fitch Mallard Drake Duck Decoy. Shows some wear from light use.

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...

Meissen, Germany. Five porcelain plates. Hand-painted with polychrome floral motifs, gold rim. Approximately 1920s/1930s. Marked. First factory quality. Perfect condition. Dimensions...

Pair of vintage Chinese lacquered and painted garden seats. Hand-carved wooden garden seats, or stands. Decorated with painted foliate scrolls and birds over red. Perfect height to s...

A unique Swedish case clock in original blue and salmon color. The year 1837 can faintly be seen above the clock face. Remnants of 18th century color animations are affixed to the in...

A Monumental 19th Century Meissen Schneeballen Covered Vase with Birds, Parrots, Blossoms and Fruiting Branches This monumental 32-inch-high Meissen Schneeballen covered vase repres...