Painted Decorative Objects

A fine antique Dutch Delft faience hand molded flower brick or flower frog vase, circa 1900. This charming flower brick is a nice large size with a...

Large Kabylie Ceramic Dish Kabylie Berber People Algeria Late 19th to early 20th century Hand molded ceramic, painted designs Diameter: 17" and 17.75" Depth: 2 3/4" and...

A Greek Black Figure Style Grand Tour Amphora, 19th Century Provenance: Private Australian Collection. Description: Amphora, specifically, were us...

Pair of diminutive red Staffordshire Spaniels, circa 1860, Each one exceptionally painted with expressive faces.

A fine antique Arts & Crafts pottery scenic landscape vellum glaze pottery vase by Fred Rothenbusch for Rookwood pottery, dated & signed 1925. This very beautiful Rookwood scenic...

Rare Vintage Monumental Porcelain Horse Drawn Victorian Carriage centerpiece group Capodimonte Porcelain, after a model by Giorgio Galletti Naples, Italy; second half of the 20th century Porcelain Approximate size: 37 (w) x 15 (h) x 10 (d) in. This beautiful and elaborately detailed porcelain group features an ornately modeled carriage drawn by four horses. The coach features a driver seated on his perch wearing a tricorn hat and a lovely lady is seated in the coach box wearing a light blue dress with intricate gesticulating openwork porcelain lace...

Great grouping of gold gilt frames and 2 small trays from Italy. Can be used in a grouping as part of a gallery wall or certainly stand alone. The trays are perfect for trinkets as w...

Beautiful decorative ceramic vase, perfect for displaying your favorite blooms. With its simple lines and contemporary aesthetics, this handmade pottery vase crosses the line between...

This is a beautiful bowl or soup plate produced by the Spode factory and made of ironstone pottery, which they call Stone China, in the early 19th Century, Circa 1820 The chinoiseri...

A rare and exceptional German Rosenthal handmade porcelain figure of a Dachshund modelled by Professor Theodor Karner (German, 1884-1966) and dating from around 1937. The dachshund f...

19th century Antique French Majolica Barbotine ceramic wall pocket flower vase "Confetti" . Direct from FRANCE, gorgeous hand painted design on ...

Fine Russian lacquer Palekh hand painted box by Zolotorev depicting the Holy Trinity 20th Century Meticulously hand painted, the three angels seated at a table under the Oak of Mamre...

Large rectangular table box with concave corners, with mechanical musical movement with 3 different motifs by the Swiss company Reuge S.A. in 925/1000 sterling silver gold plated wit...

More information coming soon… A stunning pair of French gros-relief barbotine vases from circa 1880, with gilt bronze handles and mounting. The vases have a variegated ground, rang...

An original British School Regency Period watercolor study of a Blackbird’s nest and eggs, mounted in a Georgian Period Maple frame – Dated 1863. These...

A beautiful handmade Rimini blue glazed ceramic set of three pieces. Designed by Aldo Londi and manufactured by Bitossi, Italy, 1960s. The set is comprised by a round ashtray, a bott...

Hand carved wood antique statue of Mother Mary wearing a Gothic crown. This original and all hand carved sculpture of the mother of all mothers is anothe...

An incredible Swedish hand-painted chest, having hand-forged iron straps and fittings. Original key included.

This tall Delft Blue vase is a striking example of mid-century Velsen hand-painted earthenware, executed in a refined baluster silhouette that flares gently at the neck and foot whil...

19th Century Chinese Export Rose Medallion Bowl & Hardwood Stand China, circa 1880s, Later carved hardwood stand 20th Century Of good size, bright and colorful, hand painted and en...

An exceptionally fine quality highly detailed pair of Royal Dux Czech Republic pottery vivid Majolica Parrot Feathered Figures of quite generous size, Mid Twentieth Century Each ...

Unique and amazing 19th century mantel clock garniture. If you are looking for a one of a kind and truly spectacular clock to grace your living space then this work of beauty could ...

This antique porcelain figure of a leopard is small but ferocius. It is modeled grappling with a piece of meat in its jaws while recumbent on a rocky base that is picked out in green...

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...

This amazing original painted double rooster doorstop is in fine as found condition.Minor paint loss consistent with age and use.

Sui or Qi Dynasty Painted Pottery Armored Horse and Warrior Sui Dynasty (581-618) Height: 11 Inches x 10.5 Wide x 4.25 Deep Provenance: Weisbrod Chinese Art, Ltd., New York Conditi...

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 and finely potted Chinese porcelain altar vase, decorated in underglaze cobalt blue on a pale celadon ground. Standing 17 inches high with an 8.5-inch body diameter and a wide...

A vintage Chinese decorative box, crafted in wood and finished in lustrous black lacquer, its surface delicately adorned with a gilt bamboo and green leaf motif. The design, executed...

A Greek Black Figure Style Grand Tour Amphora, 19th Century Provenance: Private Australian Collection. Description: Amphora, specifically, were us...

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 ...

This is a stunning example of 1970s Italian ceramic art, a beautifully sculpted and richly finished porcelain vase from the renowned artisans of Nove San Marco. The piece captures th...

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...

Octagonal notched photo frame in 925/1000 sterling silver gold plated with fine fire-enamelled baroque style engraving. External dimensions cm. 14.2 x 17.8, internal oval cm. 8 x 12....

Hand-painted multicolored Scandinavian Modern decorative ceramic vide-poche bowl manufactured by Laholm in the 1960s. Soft pastel stripes on the exterior and stylized flower petals, ...

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...

A gorgeous antique 19th-Century Japanese Imari scalloped floral vase made during the Meiji period. This fine vase has a lovely baluster form with a ribbed design, ruffled rim, and ha...

Chinese Export Imari Porcelain Bowl.

A fine last quarter 19th century Samson porcelain vase of covered baluster form painted in Japanese Edo Imari style, the original lid with foo dog finial and...

A quite wonderful Mexican Day of the Dead (Dia De Los Muertos festival held throughout Mexico) La Catrina symbolic skeleton figure. La Catrina is the festival’s most recognizable image/figure. She is the model of a high-society woman who has met Death, her maker. She represents something between the fear induced by her skeletal form and the revelry exhibited by the comical way she is typically portrayed, making her a perfect symbol of the Mexican holiday. She often appears in paintings, window displays, and costumes all around Mexico during the Day of the Dead festivities. La Catrina was originally conceived in the early 1900s by newspaper illustrator and printmaker José Guadalupe Posada...

18th century Italian gilded and hand-carved tabernacle adorned with an 18th century Italian gilt chalice and Sabina Faye Braxton gaufrage fabric. This tabernacle once belonged in a h...

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

This exquisite 18th-century Chinese export porcelain bowl was hand-painted during the Qianlong era, circa 1770, using colored enamels in the Famille Rose palette. Pink peonies in ful...

Midcentury decorative ceramic bowl (circa 1960s) by Albert Thiry (1932-2009). A Classic Thiry design and decoration scheme, this bowl's base co...

Small 19th century original painted sarcophagus box circa 1870. Beautiful decorative box with original paint.   Sarcophagus shaped lidded box in original paint with traces of origin...

A scarce vintage ceramic art sculpture by legendary 20th century Mexican artist Sergio Bustamante (b.1949). Fantastical surrealist style hand pa...

Charming American Toleware Tin Box. Box is hand-painted in vivid folk art floral motifs of red, gold, and green against a deep black background. The domed lid features an oval black ...

Found in Germany at an estate sale, this hand carved trinket box or catchall is perfect for the collector. Nice antique collectible to display in yo...

A very important vintage pair of oriental porcelain vases, each of urn form and decorated with floral and architectural designs in hues of blue on a white ground. The neck with oppo...

A stunning Art Deco period faience bowl, made in France by the Emaux de Longwy art pottery workshop and dating circa 1920-30s. This earthenware bowl is hand-decorated with Chinoiseri...

A magnificent early ormolu (finely gilded bronze) and Sèvres style porcelain clock by renown maker Achille Brocot. It is mounted with delicately painted Sèvres style porcelain with a...

A fine cast iron urn, late 19th century production. Our grand décor piece has been hand-painted by our restorer. The vase is ornately decorated : the Louis XVI style laurels garlands...

Sculpture Danish dog In hand painted ceramic.

6238-7239- Pocket cigarette case with spring button in 925/1000 fire-enamelled sterling silver with beautiful vessel miniature hand-painted by th...

Stunning large-scale papier mâché vase of elegant form with beautiful hand painted an lacquered red and black abstract floral decoration. Mid-20t...

A gorgeous character ceramic figural gnome statue - attributed to Griebel in Germany, a well known manufacturer of this kind of figures. This character statue has been made in German...

A fantastic work by famed Los Angeles (Echo Park), California based artist Peter Shire who was a founding member (along with Italian designer Ettore Sottsass and others) of The Memphis Group, an international design movement that came out of Italy during the 1980s (1980-1988), and specialized in postmodern furniture, lighting, fabrics, carpets, ceramics, glass, and metal objects. This work is from 2001 and is dated and signed with Shire's customary "EXP" (Echo Park Pottery...

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 large and very unusual Austrian Royal Vienna Art Nouveau vase raised on three legs hand painted with autumnal fruiting stems made at the Alexandra Porcelain Works in Turn by Ernst ...

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...