Hand-Painted Furniture

A Very Rare KPM Porcelain Plaque of Modona with child, with Saint Elizabeth and Saint John the Baptist, after Bartolome Esteban Murillo (Spain, 1617-1682), Beautifully hand painted ...

A gorgeous glass trinket box with ormolu mounts. No restoration has been carried out on this charming little trinket box, which remains in very stabile and functioning condition, wea...

Framed Oil on Canvas, "A Day at the Beach" by Elisabeth R Fulda, NY, 1879-1968. Elisabeth (Elizabeth) Rungius Fulda was a painter, sculptor and etcher. This impressionistic painting ...

If you love the look of De Gournay wallpaper but not the price, this is for you. Measures: 36" wide x 91" height The colorways in this sections present our latest colorways, which c...

Stool from the turn of the 1960s and 1970s. Beautiful white faux fur white upholstery. The stool consists of an upholstered part, a seat and wooden legs narrowing downwards, char...

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

A stunning Arts & Crafts three handled hourglass shaped vase attributed to Linthorpe and in the manner of Christopher Dresser (British, 1834 – 1904) dating from around 1880. The vase...

Vintage very Large Handcrafted Heavy Wrought Iron and Glass Paneled Four Interior Lights Classic French Navarre Light Pendant by Dennis & Leen, Beeswax Candle Sleeves accommodate med...

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

A petite French Louis XVI style demilune-console from the 1800s. This impressive little console has its original hand-cut red marble top, shaped to the contours of the wood frame tha...

An alzatina or crespina, dish on stand. Depicting 'Prudentia'; holding a snake and a mirror in her hands. Italy, 18th century. Dimensions: diam. 23 cm. Good condition: chipping ...

Set of (6) Antique French Os de Mouton Dining Chairs in Hand-Washed Irish Linen. The name “os de mouton” (French meaning sheep-bone) refers to the shape of the lower frame of the ch...

This exquisite Biedermeier porcelain bathing doll, dating back to around 1820, is a fascinating piece of early toy history. During the 19th century, these dolls were used as floating...

This elegant porcelain pitcher is a beautiful example of English decorative pottery, crafted by the renowned James Kent Ltd., also known as JKL or Old Foley...

This is a Walt Disney, Minnie Mouse Cookie Jar. It depicts a hand painted glazed ceramic cookie jar shaped as a flirty seated Minnie Mouse. Bel...

As found in at a French market, this classic red and white matchstick striker or "Pyrogène" dates from the early twentieth Century. The ribbed center is used for striking matches tha...

A Chinese Qing Dynasty period cabinet from the 19th century, with original red lacquer and hand-painted gilt décor. Created in China during the Qing Dynasty period in the 19th centur...

Classic early 1910s Vienna bronze figurine. This polychromed cold painted bronze is probably something you need if you’re a Vienna bronze collector. Found at an estate sale in Vienna...

A 19th Century, antique French Provencal style library bookcase made of hand crafted painted Pinewood, in good condition. The medium sized two part buffet cabinet, cupboard is compos...

French eclectic jugend - art nouveau period trinket executed in green glass with gold-paint/enamel. What makes it eclectic is that it rocks an unusual pewter lid with an Egyptian Pha...

This charming French antique dinnerware set from Sarreguemines, model Palmyre, features a delicate green floral transferware pattern on creamy white ceramic. Made in the late 19th ce...

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...

Vintage French ceramic country kitchen pitcher by Le Mûrier (circa 1960s). A charming, classically formed pitcher with a rectangular-shaped handle in the unmistakable Le Mûrier Prove...

A beautifully executed mid-19th century mantel clock by the esteemed Ansonia Clock Company, featuring the “La Layon” model in collaboration with Royal Bonn, one of Germany’s most cel...

Copy of a painting of a faux tiled mural of monument showing a medieval knight on horse against a red background

19Thc Original painted blanket chest from Epharta ,Pennsylvania circa 1840-1850.This blanket chest has interior drawers and dovetailed cas...

Hand thrown and altered ceramic vase by Norwegian artist Johanne Birkeland. Birkeland, who works under the artist name Jossolini, is known for her special techniques in altering her...

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...

A charming late 19th-century to early 20th-century, Chinese export reverse glass painting, depicting a noblewoman within a courtyard setting with a kid who is holding a lotus, walkin...

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...

Rozenburg earthenware large wall plate, The Hague, The Netherlands, 1898 Rozenburg earthenware large wall plate, with Art Nouveau style floral dec...

An extraordinary 19th-century Tibetan monastery door panel, dating to circa 1890, originally used as a chamber door for monks. This unique piece is a vibrant expression of Himalayan ...

This stunning Art Nouveau cachepot exemplifies the elegance and creativity of early 20th-century decorative arts. Its vibrant green glaze is adorned with a delicate hand-painted vine...

A great looking hand carved original wooden Folk Art wall decoration. A great piece for a suitable ambiance in a trophy room or the office of a Hunter or Woodsman. More than likely o...

Each Paisley Lamp is meticulously handcrafted—thrown in parts on the potter’s wheel and carefully assembled. The surface is hand-painted with a swirling b...

Handspun and handwoven white, orange and brown pillow - Front: 100% Siroua wool, an endangered sheep living in a volcanic massif with very long wool fibers, located less than 100 km from the weavers' village - Back: 100% cotton woven in Morocco - Decorative motifs painted by hand with henna...

Rosenthal Studio-Line Andy Warhol christmas golden Angels espresso cup with saucer. Andy Warhol, quite possibly the greatest pop art artist of our time, loved Christmas and was known...

An antique Swedish Gustavian Klaffbord (drop-leaf) table made of hand crafted Pinewood, in good condition. The Scandinavian foldable dining, kitchen table has a grey-blue finish, sup...

A rare and evocative example of Spanish Colonial art from the Cusco School, this 17th-century oil on wood panel captures the iconic biblical scene of Sain...

Vintage collectible large blue and white porcelain bowl. This beautiful Japanese bowl is hand painted in blue and white with a beautiful scene of a peacock on a tree. "Blue Peacock Collection". It features blue and white floral design with a peacock in the center, and brown-trimmed scalloped edge. If you are a lover of blue and white porcelain, this bowl is the perfect addition to your collection. Perfect for display or using as a centerpiece. Signed in the back. Measures: 2.5 inches tall, and is 10 inches in diameter. Condition, one small chip, see pictures. Toyo. Andrea by Sadek...

This magnificent Chinese porcelain vases was hand made and hand paint from famous Chinese Porcelain. It has hand painted Chinese traditional folks arts of "Fu Shou Yan nian, Fu Gui R...

A Swedish Rococo cabinet. The bonnet top consists of an impressive overhanging arched pediment cornice. Upper section has three shelves and three small drawers (with teardrop brass ...

French Ceramic “Bouillabaisse” Fish or Shellfish Tureen by Paulette Bailet, Saint-Jean-du-Désert, Marseille, Late 1940s A rare and beautifully crafted French ceramic tureen titled “...

One of the most beloved and recognized patterns since London’s first world’s expo, the Great Exhibition of 1851. This signature Herend pattern received Queen Victoria’s admiration. S...

"Articulated Cyclist Toy – Belgian Folk Art, Early 20th Century" Early 20th Century Belgian Folk Art Articulated Cyclist Toy Handcrafted Solid Wood — Rare Colonial-Era Subject — Mechanically Designed Pedaling Motion (Belt Missing) Description A rare and remarkable early 20th-century Belgian folk art toy, hand-carved entirely from solid wood, depicting a stylized Black cyclist mounted on a painted green bicycle. The figure is fully articulated and was originally designed with a mechanical belt-drive system (now absent) connecting the foot pedals to the rear wheel. When pushed forward, the toy was engineered to simulate a realistic cycling motion, animating the rider's legs in tandem with the rotation of the wheels. Materials & Construction Primary material: Solid wood (no plywood or laminates) Figure & Bicycle: Fully carved, hand-painted in polychrome (green, red, black, ochre) Mechanical features: Jointed limbs designed to move with crankshaft motion Metal-spoked wheels on rotating axles Pulley attachment points for original belt-drive (belt now missing) Dimensions: Length: 53 cm Height: 42 cm Condition: Structurally intact; expected surface wear and patina consistent with age; belt mechanism missing but all original pulley points and joints remain. Iconography & Cultural Context The cyclist is depicted as a Black male figure in a red cap and outlined uniform, rendered in a simplified, expressive style typical of early folk toys. The toy likely reflects Belgium's colonial presence in the Congo during the early 20th century (Congo Free State until 1908, Belgian Congo from 1908–1960). Such depictions were common in Belgian visual culture of the time, often appearing in children's media, toys, and public exhibitions. This toy offers not only mechanical charm but also serves as a historical document, reflecting period attitudes and visual language. It holds curatorial interest for ethnographic, toy history, and colonial-era cultural studies. Dating & Attribution Date: Circa 1900–1930 Origin: Likely Belgium Style: Folk art, with vernacular mechanics and colonial subject matter Comparison: Closely parallels German kinetic push toys...

Copy of Orientalist painting of a sleeping harem girl with vase of poppies & a white feather fan.

A late 16th century oil on copper painting by Nicolò Cercignani, an Italian Old Masters artist of the late-Renaissance or Mannerist period, depicting the Raphaelesque transfiguration...

Magnificent Japanese museum quality exhibition piece contemporary decorative porcelain box/centerpiece, extremely intricately hand-painted in vivid blue, orange and green on a stunni...

Meticulously hand-crafted by Amitābha Studio from a vintage Punter Teruel vase in the celebrated Spanish Revival style, this one-of-a-kind lamp bridges medieval heritage and mid-century design. The albarello-shaped base, rooted in Aragón’s ceramic traditions, is finished in a white tin glaze and painted freehand in deep green and manganese black—the iconic palette of Teruel pottery since the 14th century. Panels of decoration unfold across the lamp’s surface: a stylized long-necked bird, swelling seed pods, and a heraldic face within a medallion. These bold motifs, painted with confident brushstrokes, reflect the Mudéjar Revival movement, which reimagined medieval patterns with modern artistry. At the foot, the reddish terracotta clay is revealed, proudly inscribed “PUNTER,” a rare and direct signature from this historic workshop. To complement the ceramic base, Amitābha Studio has paired the piece with a bespoke lampshade in a green, black, and white tweed weave. Its textured pattern echoes the glaze’s tones, while a double-cord passementerie trim by Houlès lends refinement. When illuminated, the lamp casts a warm, inviting glow that enhances both classic and contemporary interiors. This Spanish Revival lamp...

Rare vintage equipale chair from Mexico, dating to the 1930s. Entirely handcrafted using traditional techniques, it features a pigskin leather seat and backrest stretched over a ceda...

Custom Elaeagnus Wood Epoxy Table This epoxy wood dining table is made of Elaeagnus wood. The unique beauty of the natural curves of olive wood combined with blue epoxy is seen in t...

Set of 13 Rambouillet pattern by Faiencerie de Gien hunt luncheon plates with various dogs and game scenes on a brown leafy background. The plates include: (3) Pheasant (2) Labrador...

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,...

Large 17th Century Delft dish Chinoiserie blue and white Delftware Charger Material: Delft, earthenware, pottery. Design: Ming Dynasty, Wanli style, Chinoiserie Style: Ming, William ...

Beautiful dog portrait by the Dutch painter Jan Essen. The painting shows a Schipperke, which is a breed of dog that used to be more common than it is now. It is a small-sized shepherd, of Belgian origin. The painter has succeeded in portraying the dog in its natural position. Beautiful details are the black fur of the dog and the eyes. The way the dog looks is just very dog like, a dog lover will recognize this faithful, loyal look. Jan Essen is a well-known Dutch animal painter from the second half of the 19th century. Initially he painted landscapes and cityscapes, but under the influence of the English animal painter J. Swan he also started painting animals from 1885 onwards. He has never lacked appreciation, because his work has been awarded at exhibitions in Amsterdam, Germany, France and Australia. He learned the trade from Conrad Greive (1837-1891). Signed and dated top left, Jan van Essen...

This exquisite 23-piece dinner set by Mason’s Ironstone belongs to the iconic Regency pattern—a celebrated example of 19th-century English transferware. What sets this set apart is i...

American Federal mahogany pillar and scroll mantel clock with a broken arch pediment, three urn wood finials, flanking ringed columns, hinged glass d...

William Birch for Liberty & Co. A good quality Arts & Crafts oak chess table with hand painted glass to the underside of the chess playing board, with different marble effects and decorative floral boarders, a storage drawer below with the original brass swan neck handles, on ring turned legs and wonderful quarter sawn tiger figuring...

French ceramic decorative bowl by the Frères Cloutier (circa 1970s). A charming decorative bowl created in one of the trademark colours of the Cloutier...

Pair of large scale modernist Italian pottery lamps with a stylized tortoise shell, burnt orange glaze. Lamps sit on aged bronze bases and feature double ...