Hand-Painted Furniture

Rare smaller sized Dutch Delft blue and white 'Peacock' plate, late 18th century, with ochre rim, the centre decorated in cobalt with an vase containing an arrangement of peacock fea...

Rare duck sculpture crafted from resin and brass, the eyes are made of glass, vintage art object by Elli Malevolti, Italy, second half of the 20th century. It is a male wild duck (M...

A rare antique French provincial Henriot Quimper faience tulip vase or tulipiere, circa 1890. Maker's mark on reverse. Hand painted with a traditional Breton man on one side and flor...

Fine pair of antique Bohemian goblets dating from the late 19th to early 20th century, executed in richly coloured blue opaline glass. Each goblet features a beautifully hand-painte...

Important work by this founding member of the Bokujin group. Signed lower right with the artists seal. Measures: 21" x 14".

Excellent pair of 18th-century Delftware plates from the first half of the 1700s. Decorated with finely painted bouquets of flowers within a floral cartouche, surrounded by diaperwor...

Produced by Forma during the golden era of Brazilian Modernism in the 1960s, this exceptional credenza embodies the movement's commitment to sculptural simplicity, uncompromising cra...

19Thc Original painted sailor coin bank.The condition is very good.

This striking large decorative plate is a classic example of early Ridgway pottery, showcasing the vibrant Imari-style color palette and intricate detailing that made the Staffordshi...

A regal set of four dining chairs from the Netherlands early 19th century, in a Neoclassical taste for elegant proportions and timeless details. Their oak frames are meticulously car...

A set of 4 candlesticks with amazing pink lustre glaze and hand painted gold details. For narrow candles. Scandinavian Grace / Art Deco. Made by Josef Ekberg at Gustavsberg, Sweden, ...

This is a Made to Order item! The main body is made up of four pieces of solid wood, which can be separated from each other; there are copper pieces at the top to delineate the sect...

Vintage ceramic vase features a traditional rounded form, decorated with the characteristic hand-painted Talavera de la Reina motifs of colorful country flowers. The rim is accentuat...

Large Scale Framed Chinoiserie Wallpaper Panel. Rich botanical detail, finely observed wildlife, and a sophisticated color palette ...

Magnificent Pair of Green Murano Glass Bedside Tables Made in Italy Available These exquisite Green Murano Glass Nightstands, produced for the...

Richard Ginori “Pincio Green” Dinner Set This exquisite Pincio Green dinner set by Richard Ginori is distinguished by an imperial green band enriched with gold flowers and leaves, bordered by a green ribbon and a delicate pattern of small gold arches, all set against a pristine white porcelain background. Each piece in the set bears the Richard Ginori green...

A stately late 18th century Belgian, Liege, tall case clock case having a period Black Forest clock workings with wooden enameled dial and hand-painted fruit decoration, the original...

This contemporary Talavera azulejo tile creates a striking geometric mosaic that can be used as a kitchen backsplash, architectural wall surface, or decorative wall installation. Whe...

This antique porcelain basket is an example of Rococo revival style, a decorative movement known for its ornate, lavish, and nature-inspired designs. Specifically, this piece is a Von Schierholz German...

Decorate a study or a den with this antique chicken painting composition. Created in Belgium circa 1890, and set in the original thick carved giltwood frame, this large painting depi...

Vintage Moroccan mirror, hand painted, wooden Moorish window shaped mirror. Beautiful hand crafted mirror in a traditional hand painted Mooris...

Ceramic Coffee Table, designed in 2024. Hand-sculpted ceramic coffee table with an organic shape made in Project 213A's in-house ceramic workshop and finished with a custom glaze. E...

These beautiful bedside tables are handmade in Italy. They have a blue Murano glass top and drawers, hand-blown by skilled craftsmen. The bedside tables are made of a sturdy birch ...

Deer under maples Late Taisho period, circa 1925-1930 Pair of two-panel screens. Ink and pigment on silk. Signature: Goho Seal: Goho A pair of two-fold Japanese silk screens...

Mid-century decorative vase by French ceramicist, Albert Thiry (circa 1960s). A gentle, creamy-white glaze encompasses the exterior of the vase topped at the lip by a grassy green with touches of brown. Covering the piece you will find a stunning, large thistle and its foliage. Both visually appealing and tactile, the piece would make an excellent addition to your home or workspace. In very good overall condition. Please enjoy the many photos accompanying this listing. Upon request a video of the piece will be provided. Signed: 'Thiry' on the base. About the Artist: Albert Thiry (1932-2009) was born in Nice, France. His family moved to Vallauris where he spent most of the school holidays in the potteries; in 1956 he was taken on as an assistant decorator with an opportunity to make his own pieces. Albert and his wife, Pyot, set up their own pottery in 1961. Their standard production, in Vallauris clay with added grog to emphasise rusticity, resulted in delightful pieces both highly elaborate and utilitarian. Thiry's reputation continues to grow which is reflected in current auction...

A rare pair Arts & Crafts planters each mounted with four large ceramic Minton tiles decorated with scenes by John Moyr Smith from the Idylls of the King series. The square shape...

Dimensions: 27.5 inches high x 15.5 inches wide x 29 inches deep Elegant, sophisticated, and unmistakably Parisian in character, this exceptional Maison Jansen style three-tier side...

The Outburst Chandelier is a masterpiece born from the collaboration between Boca do Lobo and Koket, merging contemporary artistry with an opulent design language. This striking susp...

Material: paper, wooden frame One piece: W810×H1510mm×D20mm Unfolded size: W1620mm Folded size: W810×H1510mm×D40mm, 5kg Packaging (sandwiched with 5-10mm plywood): 10cm x 86cm x 160c...

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...

Vase birds porcelain with bronze all in hand painted porcelain and with bronze trim details up and down the vase.

A refined Japanese silk kimono dating to the 20th century, executed in a luminous shade known as Soga-iro—a soft, radiant yellow historically associated with the chrysanthemum, one o...

This antique Kangxi plate is a truly exceptional piece of porcelain craftsmanship. It showcases an exquisite level of detail in its design, featuring a delicate chrysanthemum and pru...

This charming vintage ceramic hen planter, dated 1976, captures the warmth and nostalgic appeal of mid-to-late 20th-century farmhouse décor. Crafted in the style of Arnel’s ceramics,...

Mid-Century Hand Painted Peacocks Folding Room Divider Screen Tortoise Finish Bamboo. Bohemian, Tiki, Eclectic, Asian Style. A vintage screen of 4 articulated folding panels with a...

19th Century Swedish Folk art wodden plate / Tazza from Southern Sweden. Fantastically nice large Wooden plate on foot/ Tazza. In Sweden called "So...

A stylish Doulton Lambeth Aesthetic Movement art pottery vase decorated with flowering stems by acclaimed and sought after artist Eliza Simmance and dated 1884. The stoneware vase is...

The use of color and the unusual architectural paintings on this Piece make it very unique. It has a faux marble top in apricot Coloration. It is very old and is in the original 18...

Antique 19th century export Chinese lacquer gaming box with hand painted scenes gilt export black lacquer with 4 pair of two dragons playing a ball, the...

Gustavian-Style Sideboard, Sweden, Early 19th Century This elegant Gustavian-style sideboard captures the calm refinement and harmonious proportions characteristic of Swedish Neocla...

Painting by Daniel Van der Putten ‘Deer in Reenadinna Woods in Killarney National Park’. This woodland scene in Kerry near Killarney at the world famous national park is very beautif...

Six-Panel Lacquered Screen with Red-Crowned Cranes in Flight. Rendered in a richly layered palette of warm ochre, black, and soft metallic tones, this vintage six-panel screen presen...

If you love the look of De Gournay wallpaper but not the price, this is for you. Measures: 3 ft x 8 ft. The colorways in this sections present our latest colorways, which can be a...

Touring evening Through a COUNTRY and its CUISINE Good Remembrance Touring Evening. For several years, on the first or second Friday of the month of NOVEMBER, member restaurants have...

This 1930s Art Deco ceramic vase by Deruta is a masterful representation of the Italian Futurist movement, characterized by its dynamic forms and experimental decorative techniques. ...

A magnificent Neo-Gothic tabouret stool / ottoman, 19th century, most likely Italian (Southern Italy; Kingdom of Two Sicilies), parcel gilt and polychrome painted frame, padded seat ...

A tall and elegant Austrian Viennese Art Nouveau porcelain vase hand painted with floral designs by Leonard and dating from around 1905. The vase is of tall narrow round shape with a...

This painted altar with a Carrara marble top has a form known as tombeau, where the overall boxed shape is softened by thick convex, or bombé, protrusions. It would have been used in...

Pair of 19th century chest of drawers with faux marble tops circa 1870. Good quality pair of Swedish commodes. Rectangular tops with canted corners and hand painted to look like ma...

Magnificent Kinkozan Satsuma vase, Meiji Period, Circa 1890 The vase is formed in a tall ovoid shape with a broad shoulder rising to a short cylindrical neck and a rounded everted r...

A fine pair of antique Chamberlains Worcester cabinet plates having a pleasing Asian design of figures in a garden and gorgeous Imari colors, circa 1810. In 1783, Robert Chamberlain (c.1736–98), head of the decorating department for Dr John Wall at Warmstry House, left the company to start his own porcelain decorating business in King Street, Worcester. At first he bought blank undecorated porcelain from other factories such as Caughley in Shropshire, but by the late 1780’s he was making his own wares at a new factory site in Severn Street, Diglis. The Chamberlain factory quickly established an enviable reputation for the production of finely painted porcelain. Admiral Lord Nelson and his mistress Lady Hamilton visited Chamberlain’s factory in August 1802 and ordered an extravagant breakfast, dinner and dessert...

Type of Wood: Black Walnut Wood Dimensions: 96" x 42" Leg Model: Natural Walnut Customizable: Available! Production Time: 3 Weeks Shipping Cost: Free! Package Method: Wooden Pallet ...

This mid-18th Century Chest was sourced in Hungary and is a striking example of traditional folk and rural craftsmanship. This piece would have been a central element in a young bri...

Lidded mug model 1/2023 from Royal Copenhagen, made of porcelain with classic blue fluting fluted decoration and baroque lid in silver. An elegant combination of Danish porcelain art...

Japanese Meiji-Taisho Two-Panel Screen with Owl & Bamboo, circa 1915 A beautifully painted Japanese two-panel folding screen (byōbu) depicting a solitary owl perched quietly amo...

Beautiful antique porcelain hand painted powder box by Limoges, circa 1898. The piece is in very good vintage condition with no chips or cracks...

Pairpoint style molded glass table lamp. Presenting a splendid Art Deco Pairpoint style table lamp. The frosted glass dome shade pressed/molded glass, air-brushed polychrome is in...

Italian Florentine hand carved wood torchère as floor lamp, a tall solid cembran pinewood pricket carved on three sides, with a deep acanthus leaf and flowers carving, resting on tri...

This is an ironstone pottery dinner plate produced by the Mason's factory at Lane Delph, Staffordshire, England during their initial period of Ironstone production, circa 1818. Th...

An exquisite example of English ceramic artistry, this Mason’s Ironstone plate is decorated in the richly layered Imari palette of deep cobalt blue, iron red, and hand-applied gildin...