Hand-Painted Decorative Objects

Embrace a timeless treasure that echoes grandeur: an exquisite oval-shaped photo frame, sculpted from 925/1000 gold-plated sterling silver. Its translucent enamel adorns a sunburst g...

Elegant Royal Copenhagen crackle glazed vase with gilded banding on the base. Designed by THORKILD OLSEN (1890-1973) for ROYAL COPENHAGEN. Made in Denmark, 1950s. Great condition. M...

Mid-century decorative platter (circa 1960s) by Albert Thiry. A large sunflower springs to mind looking at the platter. Both visually stunning and tactile at the same time, the deepl...

Sculpture gilded peacock handmade in precious porcelain one by one, feather by feather. Each feather is unique. Made with shiny porcelain, hand-painted ...

Museum quality Fedoskino soviet era hand painted lacquer box, Golden Autumn, artist signed 20th Century Depicting an idyllic autumn landscape with a romantic bridge over a still stre...

Tall Italian majolica serpentine handles vase with a mythological scene Depicting The Triumph of Bacchus and Ariadne - Annibale Carracci - 1597...

Stunning clock for the collectors of rare and truly stylish Gothic antiques. Gothic wall clocks are a rare find and this more than three feet tall specimen probably is the best an...

Exquisite very large contemporary Japanese porcelain decorative three-piece raised lidded jar, hand painted in underglaze blue and white , depicting a landscape from Japan's countrys...

Antique Qing Chinese Export Famille Rose Canton Porcelain Punch Bowl with multiple painted panels. The exterior of this gorgeous bowl is decorated with multiple panels which include ...

A hand-painted majolica lidded jar / box or tureen in the shape of a pheasant hen sitting on a basket, made by Sarreguemines around 1900. This beau...

A fine & rare antique Georgian Scottish inlaid mahogany eight day tall case grandfather clock, by Patrick Bews, Kirkwall, Orkney Islands, circa 1810. Just professionally serviced and overhauled by a professional clock-smith. This very rare antique clock...

19th century hand carved oak case with carved capitals on full length waist columns and bracket feet, 90 day brass time only movement with deadbeat escapement and maintaining power t...

A beautiful authentic English fine bone chine porcelain box in the 'Old Imari' pattern, by Royal Crown Derby, circa late-20th century, England. Piece is hand-painted in 22kt gold. Box has a 'hexagon' shape which is a nice alternative to round. A great piece for smaller items of jewelry (as demonstrated with cocktail ring and earrings.) Colors include a white fine bone china base, blue, dark orange hues, and 22kt gold. All authentication marks on bottom as shown in last three images. Made in England. A great piece for a vanity, dresser, nightstand table, desk, as a gift, etc. For porcelain butterfly...

Chinoiserie pagoda. Very decorative Italian painted plaster and wood three-tiered pagoda alla Mongiardino emanating from marine inspired grotto base with four masks issuing water in...

Large Meissen Porcelain serving plate/tray with hand painted floral motives and rich gold decor.

Swedish Folk Art Painted Wooden Bowl in the Allmoge Tradition, Mid-20th Century Charming Swedish folk art bowl in hand-painted wood, made in the allmoge tradition, likely dating fro...

Charming vintage Tonala pottery owl bird figurine is decorated with hand-painted decor of brown bird sitting on a colorful flowering branch and framed with abstract bands of mocha br...

Matte lavender blue and shiny golden glazed porcelain candle holders by Danish manufacturer Lyngby Porcelæn in the 1960s. Stamped under base. Beautiful vintage condition. Denmark,...

Hand-painted Royal Delft candlesticks by De Porceleyne Fles decorated in classic blue and white and offered as a pair with original Delft boxes. This rare and elegant pair of Royal ...

Charming beckoning cat with left paw raised is a gilded and hand painted porcelain piece from the Kutani region of Japan. The beckoning cat comes in two varieties. The more common right-handed beckoning cat (with right paw raised) is said to bring money and wealth to its owner, and are to this day frequently seen in shops and restaurants in Japan. The less common left-handed cat is said to be inviting friends and acquaintances to hearth and home. While the origins of the Japanese beckoning cat (known as maneki neko (in Japanese) are unclear, contemporary woodblock...

Inspired by architecture and imagined civilizations, these handmade sculptures evoke strength, stability, and timelessness. Each earthy, one of a kind piece becomes a symbol—a fortre...

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...

Vintage Royal Limoges France 22-Karat Gold Trinket Round Box in Cobalt Blue. Elegant large French vintage round Limoges trinket jewelry porcelain box i...

Exquisite Vintage 1950s Handcrafted Wooden Marionette with Burmese String, Reflecting Asian Opera Artistry. This splendid Burmese-Thai marionette is a testament to masterful hand carving and intricate hand painting. Adorned with ornate fabrics in red and gold colors heavily embellished with beads, sequins, colored glass, embroidery, and gemstones, this marionette is a true work of art. Whether you choose to display it on your wall, use it as a mobile to bring color to a child's room, or incorporate it into your authentic boho and ethnic decor, it will captivate your senses. A fine representation of handcrafted village folk puppets from Asia, this marionette stands out for its unique quality. What sets marionettes apart from regular puppets is their manipulation through strings controlled from above, offering an unparalleled range of movement. Operating these strings demands a high level of skill, making marionettes a cherished form of puppetry. In Asia, marionette troupes were often sponsored and patronized by royalty, and while their performances were undoubtedly captivating and entertaining, they also served a significant cultural role. This marionette is not only a collector's delight but also a stunning piece of art. It portrays Minthar, the prince, in all his vintage glory...

More information coming soon… After the original Alfred Jacquemart hunting dogs from the 1800s, this pair of French cast iron sculptures dates to circa 1900. Both dogs are depicted...

Italian ceramic, perfect condition, produced in 1960s. We have also another big cats for sale, check our products. Only one unique piece available.

A rare Ando Jubei ginbari cloisonne vase. On the body two branches of white and pink cherry blossoms in full bloom and bud form with verdant foliage, worked in meticulous detail, set...

A beautiful large bowl with amazing lustre glaze and hand painted gold details. Scandinavian Grace / Art Deco. Made by Josef Ekberg at Gustavsberg, Sweden, 1920s. Great condition. ...

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...

Amazing 18th century carved wooden Baroque arm of a Saint figure. This piece was once part of a procession Saint figure. The arm is now placed at a wooden base and as visible on the ...

Sphere table cigarette lighter in 925/1000 gold-plated sterling silver and translucent fire enamel on guilloché, in a modern contemporary style. Piezoelectric mechanism. Dimensions d...

Believed to be one of the most powerful goddesses and one of the most venerated by Hindus, Goddess Durga now arrives from the Lladró workshops for the first time in a majestic limite...

A rare antique handpainted Japanese Satsuma earthenware vase, signed Fine quality Good overall condition, no chips, cracks or restorations Height 14 cm

Wilhelm Kåge for Gustavsberg, "Argenta" ceramic bowl on four feet. Green glaze decorated with a mermaid riding a fish in silver. Art Deco style. Model number A 24. 1940s. In perfect...

A very fine Aesthetic Movement Royal Worcester twin handled vase hand painted with floral designs dated 1899. The small, elegant porcelain vase stands raised on a square pedestal bas...

Carlton Ware pattern 3074 in red. Candlestick form 8337 is elegant and super rare. And, to find it decorated with one of the most popular composite patterns including the bird of par...

A Wooden and very beautiful Antique Rice Carrier that it lacquered in red. The piece is a compliment to many settings and spaces. This could be used as...

This magnificent Chinese Rose Medallion Tall floor vases/Huge Ginger Jar also know as "Export Porcelain" vase was hand made and hand painted in about 1950 - 1960s with gilt foo dog ...

More information coming soon… Dating to the 1700s, this pair of vibrant albarelli jars have two distinct portraits inset within ovals. The blue ground Italian jars have also been h...

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 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...

A beautiful German oval porcelain jewelry box, in the Regency design style, circa mid-20th century, Germany. Boxes' lid features outdoor nature scene with couple in a park sounded by...

A stunning and very rare cameo glass vase etched and enameled with a fabulous landscape of silver birch trees blown in the wind and the rain, exhibiting excellent colors of deep pink...

A vintage Chinese blue and white hand-painted vase from the mid-20th century, with architecture, tree and water décor. Created in China during the Midcentu...

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 stunning and unusual French mid-century turquoise and black lava glazed twin stem vase formed in the style of a jug dating from around 1950/60. The red earthenware vase stands on a...

A charming antique 19th Century English Staffordshire hen covered tureen or eggery, circa 1880. No maker's mark. These were typically used to store e...

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

A beautiful lidded porcelain jar with an amazing hand-painted pattern. From the series 'Spezie' (Spices). Designed and produced by Piero Fornasetti in Milano, Italy. Early production...

Japanese Imari Deep Center Bowl with Phoenix and Floral Motifs, Signed, Meiji Period, Attributed to Fukagawa, Circa 1880–1910 A richly enameled and finely detailed Meiji-era Imari p...

Exquisite Meiji period Japanese Kutani sculpture of a sleeping cat in fine porcelain, inspired by the small wooden sculpture at the entrance of...

For your consideration, a hand-painted ceramic vase, Stamped, made in Portugal. Featuring traditional motifs and a white glazed finish with visible crazing. The vase has a rounded,...

Sculpture French Coq made in ceramic, hand painted piece.

(4) Square red footed trays, with gilt pine frond decoration, 9.125" sq foot.

A 19th Century Meiji Japanese Satsuna Enaneled Porcelain Vase. Measures 7" in width x 7" in depth x 12.25" in height.

This is a Dresden Porcelain Dog Sculpture. It depicts a life size Bolognese hairy dog. He has grey and white curly hair with big black eyes. It is hallmarked Dresden.

A one-of-a-kind monumental Monumental Flamboyant Bird of Paradise -Knuppelhuhn- big sculpture created, handmade, and hand-painted by master designer Eva Fritz-Lindner (1933-2017) in about 1992. Handcrafted and hand-painted in beautiful colors by this artist. Designer/maker: Eva Fritz-Lindner (1933-2017) Signed with her stamp i3D. Glaze: The matte colors in lavender and pink and creams are still vivid and the hand painting is superb This is the only example we have seen in private hands. Substantial dimensions: 21.25 inches tall and 31.5 inches length Handmade / handarbeit and hand glazed About the artist: The bold Folk Art sculptress and ceramist Eva Fritz-Lindner (1933-2017) studied at the Werkkunstschule Wiesbaden and Darmstadt and was a master student in the sculptor class by Erich Kuhn. From 1955 she worked as a master designer at the Staatliche Majolika-Manufaktur Karlsruhe where she created and designed several hundred highly regarded ceramic folk art animal sculptures...

This exquisite Bitossi candle holder embodies the vibrant spirit of mid-20th-century Italian ceramics, particularly from the iconic Rimini Blu collection designed by Aldo Londi. Craf...

Sculptural 18th century Italian fragment base mounted with agatized coral on a polished agate base. The 18th century hand carved fragment base is originally from Tuscany. The polish...

Porcelain sculpture of the mudra, the sacred gesture of abundance. Since time immemorial hand gestures have been a language in their own right, and their expressiveness and symbolism...