Paint Decorative Objects

1960s hand-painted gold and black lacquer owl nesting boxes. Larger box is signed on the underside "handmade in Burma".

This exceptional and imposing pair of hand-carved and hand-painted wooden horses embodies the rich artistic heritage of traditional Indian craftsmanship. Standing over 80 cm (31.5 in...

This exceptional 15th-century Venetian painted casket is a rare example of early decorative art from the late Medieval to early Renaissance period in the Republic of Venice, Italy. H...

A very Regal and Majestic Vintage Hand Carved Carousel Lion. All hand crafted and hand painted with great detailing to the wood work and painted saddle ...

A truly extraordinary and evocative object: an 18th century hand-carved wooden skull, richly hand-painted and inscribed with the date 1769. This rare Memento Mori was created as a me...

Pair of black tôle candlesticks with gilt decoration, raised on square bases and decorated with chinoiserie-style landscape and foliate motifs. Sold as a pair.

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...

Boston terrier iron door stop collection in original paint circa 1930s. Priced individually.

A charming and exquisitely crafted late-19th century porcelain mantel clock by the Ansonia Clock Company, titled “La Nord” and produced in collaboration with the prestigious Royal Bo...

Gorgeous pair of Bacchus candlesticks in an antique bronze color, I believe they are made of resin. Beautiful details Bacchus was the Roman god of agriculture, wine and fertility, e...

A gorgeous arrangement of enamel flowers, "Fleurs Des Siecles" By Jane Hutcheson for Gotham Circa 1970s Enamel flowers, in a white porcelain container, with stylized dolphin feet...

Royal Crown Derby bone china plate in purple with colorful peacock at center. This piece was created in the 1950s and features pale purple...

Vintage and rare - Vintage Rosenthal Wiinblad Sheherazade Concertina Oriental Night Music Arund Vase - Rosenthal Studio Line, small vase or home decor. Designed by Bjorn Wiinlad in G...

A religious pair of monumental wooden sculptures depicting Jesus and Mary from the Berks County Pennsylvania Jesuit Center. This dynamic ha...

Exquisite Polychrome Spanish santo wood sculpture of St. Dominic Anonymous ca. 1700; Spain or the Spanish Americas Polychrome wood Approximate ...

A pair of cast metal Sculptures, male and female. The finish is newly painted in black. The pair are heavy and substantial, but we do not believe them to be Bronze. They do make ...

Originally part of a larger architectural from a French building in the 1600s, this hand-carved limestone fragment of a winged angel has been mounted more recently to a painted black...

A tall Swedish case clock from Smaland with traditional wood carvings and unique plaster decor. Scraped to original green, gold, salmon and white paint. Clock is sold as a decorative...

During the 17th through 19th centuries, highly skilled artisans in Savona, Italy, produced beautiful tin-glazed earthenware known as maiolica (majolica). These blue and white lidded vases with serpentine handles, from circa 1800, are such an example. Early Savona offerings were painted cobalt blue on a white background, as seen on these vases. Because the scenes depicted on the main bodies are distinct, they are considered a near pair, although their dimensions do not vary. Both illustrations contain country houses surrounded by tall trees and fronted by vegetation emerging from rocky terrain. In each scene, people can be seen in front of the houses, with one having two citizens and the other having four. One of the renderings is bordered by roundels at the top and by a leafy vine at the bottom; the other vase does not have any surrounding motifs. The sides opposite the pastoral images are distinct as well: the one with the borders has curled vines surrounding the Savona Lighthouse (a production mark of studios from this region), while the other vase has the lighthouse above a pair of small foliate margents. Both vases have domed, removable lids with a conical finial emerging from a painted sunburst. Curled leaves have been painted along the circumference above a solid blue ring. The two curvaceous handles are each comprised of a pair of snakes bound with a ribbon. Our blue and white lidded Savona vases...

Vibrant vintage Chinese hand-painted, ovoid form porcelain lidded ginger jar, circa 1960-70s. The jar displays prominent, bright coral phoenix birds against a turquoise background su...

A charming European ornate picture frame that is suitable for most style artwork including prints, watercolors as well as oil on board paintings. This frame certainly captures that v...

1920s Art Déco glazed ceramic sculpture with base 'La Femme voilée de Marrakech' by Céline Lepage, France By: Céline Lepage Material: ceramic, paint, enamel, clay Technique: cast, p...

Pair of 19th C. Italian Baroque style candlesticks that feature eleborate scrollwork, floral motifs, and a multi-tiered structure. Each candlestick has a wide, decorative base with ...

Pair of Guangxu period, early 20th century (1900-1910), Chinese Porcelain Vases Decorative Object CA LA. Very beautiful and detailed pair of Chinese Porcelain vases circa early 19th ...

Vintage or antique cast iron door stop features a pair of long hairs with polychrome painted decor. The realistically sculpted cats are depicted sitting with their heads slightly li...

A charming antique 1904 Swedish large dome top trunk shaped chocolate tin would add a beautiful Scandinavian accent to most anywhere in your house. The exterior is a stunning turquoi...

PRESENTING A STUNNING Early 19C French Gold Box with Enamel and Miniature Portrait. Box made with brass but has been plated with 18ct Gold with beau...

A very large and absolutely charming vintage Indian papier mâché portrait bust of a male Maharajah (Raja or Indian noble prince). Born in India...

Vintage 1980s Fiorucci "New Wave" Italian porcelain heart-shaped trinket dish, ashtray or vide poche. This rare authentic post-modern piece is glazed porcelain with the traditional 1...

Introducing a stunning early 20th-century Bavarian porcelain vase by H & Co. of Selb, Bavaria. This large, double-handled vase boasts exquisit...

A fabulous vintage Maitland Smith Chinese porcelain vase. Very nice quality, exquisitely hand painted polychrome decoration in Asian floral and fa...

Modern paper mâché hand painted parrot sculpture by Raul Aguavo, perched on a metal swing. The piece is signed on the side and is in great condition...

Matthew Williamson one of the most well known fashion designer has created a tabletop and textile collection for Les-Ottomans. Colors is a must in all Williamsons’ designs as well as...

This Victorian cast iron revolving arm plant stand is a striking example of antique craftsmanship and enduring design, seamlessly blending functionality with ornate visual appeal. Fe...

Dachshund cast metal boot scraper or door stop from the 1950's powder-coated in a fantastic shade of of what we refer to as leafy green. Add a classic British touch with this one-of-...

Breathtaking vintage Asian Style Chinoiserie large decorative statues 1 male and 1 female comprised of bright red plastic-coated plaste...

Beautiful polychrome porcelain crucifix from the Meissen factory, one of the oldest and most prestigious European porcelain manufacturers. The brand...

An extraordinarily rare and visually striking 16th-century Venetian iron treasure coffer, showcasing the height of Renaissance artistry and engineering. Crafted in the early to mid-1...

A magnificent 19th-century blue overlay crystal vase, finely hand-cut and richly decorated with enamel and gold. The deep cobalt blue crystal has been expertly overlaid and cut to re...

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...

A studio-made modernist mobile; mustard yellow, blue, opium red. This innovative art form, rooted in the principles of modernism, emphasizes minimalism, abstraction, and the intrinsi...

French Sèvres turquoise-ground porcelain two-handled footed covered decorative urn / potpourri , dating to the mid 19th century. Executed in a refined classical form, the piece featu...

This exceptional French Art Deco stoneware vase, attributed to Louis Auguste Dage and dating to circa 1920, exemplifies the elegance and modernist design sensibilities of the period....

French hand painted and gold gilt tole box. Late 20th century. Artist signed.

A superb mid 18th-century London longcase clock, finished in green japanned lacquer with gilt scenes of figures, pagodas, and landscapes. The clock features a silvered brass dial wit...

A handmade Vintage wooden Musical jewellery box with a key and lock, with Swiss Musical Movement by Romance with original key and Reuge mechanismt. It is perfectly designed and created in a suitable size for keeping valuables inside. The top of this box has leaf patterns and bronzed motives carved and made by hand. It can also be a decorative object for any bedroom or dressing room in your home decor. Old Decorative Box...

Art Déco belgian glazed pottery/ceramic Charles Catteau-like vase by Boch Freres Keramis By: Boch Freres Keramis, Charles Catteau (in the style of) Material: ceramic, pottery, paint...

Pair of French porcelain Old Paris figural and foliage scrolled gilt vases, Early 19th Century

Pair of 18th century Italian gold leaf candlestick tops with polished fossil agate coral and a natural forming baroque pearl. The 18th century fragments come from Tuscany and have th...

American cast iron and painted horse head hitching post with a central fluted ringed column resting on a squared base, Mid 19th Century.

Carved wooden representing Christ on the cross.

Antique Blue White Chinese Large Lidded Temple Jar Vase Antiques Los Angeles. Important 1st quarter 19th century Circa 1800-1825 Blue White Chinoiserie China Lidded Templ...

This French 19th Century banjo shaped case clock is an eye-catching piece in any space. Topped by a smartly carved cornice above the dial face door. Supported by an intricate brass r...

Matthew Williamson one of the most well known fashion designer has created a tabletop and textile collection for Les-Ottomans. Colors is a must in all Williamsons’ designs as well as the peacock’s references that are here revealed in several new and original patterns. This listing shows his magnificent multi-color peacock porcelain...

Great grouping of four mid-century polychrome glazed ceramic foo dogs, circa 1960s. Great detail and a beautiful color combination of green, brown, cream and blue The largest measu...

Introducing a stunning Mid 20th Century French Limoges porcelain jardiniere and base set. This exquisite ensemble showcases matte porcelain decorated with hand-painted flowers in shades of purple, white, and yellow, complemented by lush green leaves. Delicate gold accents and a gold rim add an elegant touch to the piece. The jardiniere features two ornate gold lion head handles on either side, enhancing its sophisticated and luxurious appearance. Both the jardiniere and base set are in great condition, free of chips, cracks, or repairs, with only minor age-related wear. The jardiniere measures 14.5 inches in length, 10.75 inches in width, and 8 inches in height, while the ornate base stands at 9.25 inches long, 9.25 inches wide, and 3.5 inches high. The set bears the maker's mark and stamp underneath, signifying its authenticity and fine craftsmanship. This elegant Limoges jardiniere...

Mid 18th century hand painted traditional Swedish chest/box circa 1750. Stunning traditional Swedish box hand painted in the original paintwork.   Decorated on all sides with swags ...

Sizable hand carved polychrome Chinese horse sculpture with detailed decoration.

Vintage Trompe l'oeil faux 'pile of books' chest / decorative box by Andres de Morgades for his and Don Russell's eponymous company, Don Andres (ca. 1970s/80s, USA). Composed of a la...

Paint on “The Excedrin Tablet” paperweight box by New York City picking and art legend, Robert Loughlin. “RL ‘Head Ach’” painted the on back. Featured in Patrick Parrish Gallery's “R...