15th Century and Earlier Figurative Sculptures
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Period: 15th Century and Earlier
Elegant Terracotta Standing Court Dignitary, Tang Dynasty, EU Passport
Located in San Pedro Garza Garcia, Nuevo Leon
Elegant Standing Court Dignitary with joined hands in blue robes and a bird headdress. Polychrome Traces.
When China was unified again, first briefly ...
Category
Chinese Tang Antique 15th Century and Earlier Figurative Sculptures
Materials
Terracotta
Rare Large 15th Century Renaissance English Oak Roof Angels Corbel.
Located in Vero Beach, FL
Rare Large 15th Century Renaissance English Oak Roof Angels Corbel.
Truly astonishing rare roof angels, circa 1450. The large Medieval carvi...
Category
English Medieval Antique 15th Century and Earlier Figurative Sculptures
Materials
Oak
11C Shiva Tripurantaka Red Sandstone Relief
Located in Dallas, TX
It features a depiction of Tripurantaka Murti, as a manifestation of Lord Shiva.
This relief was carved from red sandstone, most likely in Central India, circa the 10th or 11th Cent...
Category
Indian Archaistic Antique 15th Century and Earlier Figurative Sculptures
Materials
Sandstone
Gothic crowned Head - Île de France, 14th century
Located in Bruxelles, BE
Head of a crowned Virgin
Île-de-France, first half of 14th century.
H26 x 14 x 14 cm
Provenance :
- Private Collection, Paris France (1960)
- Private Collection Tuscany, Italy (19...
Category
French Gothic Antique 15th Century and Earlier Figurative Sculptures
Materials
Stone
Superb Maya Iguana Deity(Itzamna) Relief w/ Pre-1970 UNESCO-Compliant Provenance
Located in Culver City, CA
A superb relief-carved panel depicting the Maya Deity Itzamna, appearing as an Iguana, stretched out on a platform with long-toed limbs splayed
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Stone
Telamon - Northern Italy, late 12th (Reemployed Roman marble)25000
Located in Bruxelles, BE
Telamon
Northern Italy, late 12th - early 13th century
Reemployed Roman marble
H 32 x L 18 x P 17 cm
« Sono coloro che hanno dimenticato che l’uomo é solo un bruco, destinato a dive...
Category
Italian Medieval Antique 15th Century and Earlier Figurative Sculptures
Materials
Marble
World-Class Maya Cormorant Throne Panel W/ Pre-1970 UNESCO-Compliant Provenance
Located in Culver City, CA
This magnificent panel is an example of the pinnacle of Maya stone carving.
It depicts the head of a cormorant in profile, with a long hooked beak, curved tongue, large central eye,...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Stone
Sculpture of the Infant Jesus as Salvator Mundi - School of Mechelen, 15th-16th
Located in Madrid, ES
Immerse yourself in the timeless beauty of this sculpture of the Infant Jesus as Salvator Mundi, an exceptional piece originating from the renowned School of Mechelen of the 15th-16t...
Category
Antique 15th Century and Earlier Figurative Sculptures
Materials
Bone
Penitent St. Jerome, high relief in lacquered wood
Located in Salò, IT
St. Jerome the Penitent, high relief in lacquered wood, Lombard sculpture from the late 15th century/early 16th century, maximum dimensions 76x60 cm, maximum thickness about 19 cm.
Category
Italian Antique 15th Century and Earlier Figurative Sculptures
Materials
Wood
Magnificent Aztec Eagle Head with pre-1970 UNESCO-compliant provenance
By Plateria Azteca
Located in Culver City, CA
Magnificent Aztec Basalt Eagle head, with powerful hooked beak, piercing
eyes, and a fully-feathered head.
The sculptor Highlighted the power of the head by finely burnishing the b...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Stone
Medieval English Alabaster Statue
Located in Wormelow, Herefordshire
A medieval English alabaster statue, possibly dating as far back as the late 14th / early 15th century, mounted on one of our exclusive large display plinths. Well weathered over the centuries, this 600-year-old statue depicts a medieval cloaked figure, possibly a monk, offering a glimpse into English architecture and sculpture of the Middle Ages.
This sculpture is possibly made from Nottingham alabaster. During the 14th and 15th centuries, Nottingham was the centre of alabaster carving and painting. Alabaster works were mostly made as small alabaster models with religious themes. During the 16th century Reformation, many alabaster carvings were destroyed under King Henry VIII's rule, making any surviving examples even more significant.
Provenance
From the collection of Peter Hone (b. 1941). A master plaster caster, he is an expert and experienced collector, building up an extraordinary, museum-worthy collection of items in his one-bedroom flat in London W11...
Category
English Medieval Antique 15th Century and Earlier Figurative Sculptures
Materials
Alabaster
Ancient Egyptian Monumental Temple Sphinxes
Located in London, GB
A pair of monumental limestone sphinxes of Pharaoh Nectanebo I, from the processional avenue of the Serapeum of Memphis, 30th Dynasty, circa 379 - 360 BC.
The sphinxes of the Serapeum have captivated travellers since Roman times. However, despite their significance, they are conspicuously absent from the collections of most major museums. Indeed, their existence in private hands is so improbable, and their imitations so numerous, that the present sphinxes were assumed to be modern copies throughout their recent ownership history. Finally recognised and conserved after an extraordinary chance discovery at a garden furniture sale...
Category
Egyptian Egyptian Antique 15th Century and Earlier Figurative Sculptures
Materials
Limestone
Exceptional Egyptian Sarcophagus Mask
Located in London, GB
Exceptionally Fine Wooden Sarcophagus Mask
Third Intermediate Period, 21st Dynasty, circa 1069-945 BC.
Acacia wood, rosewood, hippopotamus ivory
Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual.
The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows.
Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared
by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance.
The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted.
When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus.
In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory.
A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask.
The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and
of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives.
Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...
Category
Egyptian Egyptian Antique 15th Century and Earlier Figurative Sculptures
Materials
Fruitwood, Hardwood
Dolenti (The Virgin and St. John the Evangelist). Piedmontese carver. 1470s
Located in Milano, IT
Pair of sculptures depicting the Virgin and St. John the Evangelist, portrayed in a mournful attitude. The former has a pained expression on her face, her hands clasped in front of h...
Category
Italian Other Antique 15th Century and Earlier Figurative Sculptures
Materials
Wood
Rare Japanese antique wooden god statue /12th century/small wabi-sabi figurines
Located in Sammu-shi, Chiba
I was able to obtain a very rare item.
This is a sculpture of the god ``Shinzo''.
"Shin" = God
"zo" = statue
Since ancient times in Japan, it has been believed that gods reside in all things in the universe, and there have been many shrines.
In the 6th century, Buddhism was introduced and gradually spread throughout Japan.
Around the 8th century, the idea that gods follow the teachings of Buddha spread.
Until the Edo period, God and Buddha became one and the idea of ``Shinto and Buddhism syncretism'' was established.
This statue was created during such a history.
Originally, the image of God was invisible and could not be understood as something tangible.
However, with the introduction of Buddhism to Japan, idol worship was also introduced, and the idea that the gods follow the teachings of Buddha was also propagated at the same time in order to spread the teachings of Buddhism.
Around that time, around the 9th century, the first statues of gods...
Category
Japanese Other Antique 15th Century and Earlier Figurative Sculptures
Materials
Cypress
Sancai-Glazed Pottery Figure Of An Official, Tang Dynasty
Located in seoul, KR
The figure stands with arms crossed in front, a pose that is often seen in tomb figurines which were intended to serve the deceased in the afterlife. The long robe and facial feature...
Category
Chinese Tang Antique 15th Century and Earlier Figurative Sculptures
Materials
Earthenware
Tang Dynasty Fat Courtesan Lady
Located in Dallas, TX
Tang Dynasty Painted Pottery Figure of a Fat Lady or Female Courtesan.
Period (618 - 907AD)
Estate / Collection: The Collection of Jay I. Kislak sold to benefit the Kislak Family Fo...
Category
Chinese Tang Antique 15th Century and Earlier Figurative Sculptures
Materials
Pottery
Aztec Water Dog/ Ahuitzotl, W Raised Paw, Pre-1970 UNESCO-Compliant Provenance
By Aztec Services
Located in Culver City, CA
An Aztec Stone Sculpture of a dog-like creature, seated with one raised paw, having large round ears, deep set eyes, mouth with exposed upper fangs, and an unusual curved tail with c...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Stone
Cercle of Jacopo della Pila - Marble relief depicting a winged Cherub
Located in Bruxelles, BE
Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502)
Marble relief depicting a winged Cherub
Naples, second half of15th century
40 x 57 x 12 cm
Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head.
The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations.
The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space.
Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics.
Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality.
This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini.
the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style.
Close comparaison can be made between our cherub and the winged angels reliefs...
Category
Italian Renaissance Antique 15th Century and Earlier Figurative Sculptures
Materials
Marble
Tang Dynasty Fat Courtesan Lady Pottery Figure
Located in Dallas, TX
Tang Dynasty Painted Pottery Figure of a Fat Lady or Female Courtesan.
Period (618 - 907AD)
Estate / Collection: The Collection of Jay I. Kislak sold to benefit the Kislak Family Fo...
Category
Chinese Tang Antique 15th Century and Earlier Figurative Sculptures
Materials
Pottery
Roman Style Marble Head
Located in Southall, GB
A richly weathered marble Roman style head with skilfully carved features and full lips. The piece would have been part of a larger statue or carving. The marble has a lovely warm pa...
Category
European Classical Roman Antique 15th Century and Earlier Figurative Sculptures
Materials
Marble
Saint John of Calvary, 2nd half of the 15th century
Located in PARIS, FR
Large walnut wood sculpture in the round, depicting Saint John in the position he usually has at the foot of Christ on the Cross.
Beautifully expressive face, framed by expertly curl...
Category
French Renaissance Antique 15th Century and Earlier Figurative Sculptures
Materials
Walnut
Polychrome carved wood Virgin and Child from the 15th Century
Located in Saint-Ouen, FR
POLYCHROME CARVED WOOD VIRGIN AND CHILD FROM THE 15TH CENTURY
ORIGIN: SOUTH GERMANY, SWABIA, NUREMBERG REGION
PERIOD: 15th CENTURY
Height: 94,6cm
Width : 28 cm
Depth : 18 cm
Lime wood
Original Polychromy
Good state of conservation
From 1430 onwards, sculpture underwent a profound stylistic renewal which continued until 1530, the so-called late Gothic period. In the Germanic countries, original sculptures flourished in an expressive and sensitive vein.
This renewal was inspired by the art of Nicholas of Leiden, who was active in Strasbourg in the 1460's. His style broke with the refined and delicate art of the international Gothic style in force throughout Europe around 1400. The figures became more authentic and realistic. The bodies became denser. Clothes are animated by deep, broken folds, the fabrics are heavy and have a great decorative value. In addition, the polychromy is intended to be illusionistic. The painting makes it possible to restore the texture of the materials, the richness of the textiles and the natural skin tone of the characters.
The dissemination of images through engraving and the great mobility of the artists led to the success of this style, which conquered the Upper Rhine, Swabian, Tyrolean and Franconian regions, contributing to the formation of a common stylistic identity in these regions. The economic boom in the flourishing German cities was conducive to the development of original production. Attracted by this prosperity, numerous workshops were set up in order to meet the orders of religious communities, the Church and the laity, including a clientele of middle-class rockers.
This precious Virgin and Child is depicted standing on a crescent moon, her head encircled by a crown of tall flowers. Her long wavy hair spreads over her shoulders, framing her beautiful oval face. Under fine eyebrows drawn with a brushstroke, her almond-shaped, slightly drooping eyes look at the Child with infinite softness. She is dressed in a long red dress with a rounded neckline, belted under the chest. The heavy fabric of her dress spreads out in broken folds at her feet. On her shoulders she wears a golden cloak. The drapery has deep folds. She holds out her right hand while she holds the Christ Child with her left.
Christ, with his well-defined hair, is naked. His cheeks are highlighted with red, he holds an apple in his left hand and with the other hand makes a sign of blessing towards the faithful.
Virgins with Child on a crescent moon were very popular in the second half of the 15th century, especially as the central subject of altarpieces in southern Germany and Austria. The crescent moon on which Mary is standing is reminiscent of the Woman of the Apocalypse. Often equated with the Virgin Mary.
This episode is taken from the Book of Revelation (12:1-6)
1 Then a great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. ; 2 She was pregnant, and she cried out because she was in labor, in pain from giving birth. ; 3 Then another sign appeared in heaven: it was a great fiery red dragon, with seven heads and ten horns, and seven royal crowns on his heads. ; 4 His tail swept down a third of heaven's stars and threw them to the earth. The dragon stood in front of the woman who was about to give birth so that when she gave birth, he might devour her child. ; 5 She gave birth to a son, a male child who is to rule all the nations with an iron rod. Her child was snatched up to God and his throne. ; 6 Then the woman fled into the desert, where God has prepared a place for her. There she will be taken care of for one thousand two hundred sixty days.
Some theologians see in this woman a reference to the Virgin Mary and in the child, Jesus.
This remarkable work is a very fine example of sculpture from Swabian workshops in the last decades of the 15th century. It presents all the characteristic stylistic elements: a highly girdled silhouette, an abundant drapery with angular folds, but also a great physical presence accentuated by the polychromy that restores the anatomical details. This group is made of a wooden log. The deep folds of the drapery highlight the movement of the Virgin holding the child.
Bibliography :
Sophie Guillot de Suduiraut, Dévotion et Séduction, Sculptures souabes des musées de France, vers 1460-1530, Paris musée du Louvre-Éditions somogy, 2015
“Revelation 12 - Common English Bible...
Category
German Gothic Antique 15th Century and Earlier Figurative Sculptures
Materials
Wood
Saint Florian
Located in Saint-Ouen, FR
SAINT FLORIAN
ORIGIN: SOUTH GERMANY, SWABIA
PERIOD: END OF THE 15th CENTURY
Height : 100,5 cm
Width : 34 cm
Depth : 17 cm
Polychromed lime wood
Good state of conservation
Sin...
Category
German Gothic Antique 15th Century and Earlier Figurative Sculptures
Materials
Wood
Virgin and Child in Majesty, also known as "Sedes Sapientae"
Located in Saint-Ouen, FR
VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"
ORIGIN : SPAIN, CATALOGNE
PERIOD: EARLY 13th CENTURY
Height : 95 cm
Width : 32 cm
Depth : 28 cm
Softwood
No polychromy
In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom.
At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.
The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.
Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.
She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.
The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.
The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.
As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.
The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.
These few characteristics allow dating this Spanish Virgin...
Category
Spanish Gothic Antique 15th Century and Earlier Figurative Sculptures
Materials
Softwood
Saint Woman in polychrome carved wood
Located in Saint-Ouen, FR
SAINT WOMAN IN POLYCHROME CARVED WOOD
ORIGIN : ITALY
PERIOD : late 13th century
Height : 103 cm
Length : 28 cm
Width : 16 cm
Remains of polychromy
...
Category
Italian Gothic Antique 15th Century and Earlier Figurative Sculptures
Materials
Softwood
Indian Carved Sandstone Frieze of Lakshmi, Central India, 10th-11th Century
Located in Austin, TX
A large and impressive Indian carved sandstone architectural frieze featuring a central image of the Hindu goddess Lakshmi flanked by two atten...
Category
Indian Medieval Antique 15th Century and Earlier Figurative Sculptures
Materials
Sandstone
Roman Column, 1st Century A.D, Spain
Located in Girona, Spain
Roman column.
Made with marble.
1st Century A.D, Spain
Very decorative.
Good Condition.
With certificate of authenticity.
Provenance: Caldes de Mont Bui
N...
Category
Spanish Classical Roman Antique 15th Century and Earlier Figurative Sculptures
Materials
Marble
Seated Virgin with Child (Sedes Sapientiae) from the 12th Century in Spain
Located in Madrid, ES
Technique: Tempera and oil on wood
Dimensions: 25 x 11 x 8 cm
Description:
This exceptional work from the 12th century represents the Seated Virgin with Child (Sedes Sapientiae), standing out as an artistic treasure from medieval Spain. The portrayal of the Virgin enthroned with the Child on her lap is emblematic of Romanesque art, and this particular piece is a valuable and authentic example of that era.
The current polychromy belongs to the Gothic period and overlays the original Romanesque layer. It is crucial to highlight that the current state of the artwork is the original, without any cleaning interventions, imparting a unique authenticity.
The work exhibits architectural characteristics typical of Romanesque art, evident in the sides of the throne. The rigidity and symmetry characteristic of this style are reflected in the firm presentation of the Baby Jesus, noticeable in his gesture while holding his son. The Virgin wears a crown, symbolizing her royal character as the Queen of Heaven and Creation. Both figures retain traces of polychromy on the face and attire, adding layers of history and authenticity.
While similar Romanesque Virgin...
Category
Antique 15th Century and Earlier Figurative Sculptures
Materials
Fruitwood
Pre-Columbian Ceramic Head Fragment
Located in Chicago, IL
This intriguing head fragment was once attached to a pre-Columbian bust or full effigy figurine. Earthenware figurines like this were made in great abundance throughout Mesoamerican history, serving a wide variety of purposes and functions from religious rituals to burial offerings.
Figurines like this commemorated important people and events across Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate headdress, or coiffure, and ear spools...
Category
Central American Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Pair of Etched Dogu-Style Terracotta Figures
Located in Chicago, IL
This intricately styled pair of terracotta figurines is sculpted in the style of Japanese Dogū sculptures of the Jōmon period (10th-4th century B.C.). Reminiscent of Pre-Columbian redware figures, Dogū ceramics are known for their primitive abstract rendering of the human form and decorative geometric etchings. This pair of ceramic figurines...
Category
Unknown Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Romanesque capital with sirens - France 13th century
Located in Bruxelles, BE
Rare romanesque capital with sirens
France, XIII century
Limestone
25 x 28 x 22 cm
This finely carved Romanesque capital, executed in high relief from limestone, features four hyb...
Category
French Medieval Antique 15th Century and Earlier Figurative Sculptures
Materials
Stone
Colima Seated Redware Figure
Located in Chicago, IL
Beautifully aged with a rich patina and pitted wear, this seated ceramic male figure is attributed to the Colima region of Western Mexico. The stylized form of this male figure follows the conventions of Colima pottery...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Christo Carved Stone Sculpture, France, 15th Century: Museum-Quality Masterpiece
Located in Madrid, ES
Immerse yourself in the majesty of 15th-century France with this significant Christo sculpture carved in stone and polychromed, a masterpiece capturing the artistic essence of the er...
Category
Antique 15th Century and Earlier Figurative Sculptures
Materials
Stone
COSTA Rica Jade Avian Axe God Celt Pendant Pre Columbian, 500 Ad-1500 Ad
Located in Dallas, TX
Fine Costa Rican Jade Axe God, Guanacaste-Nicoya region, circa. A.D. 1-1500. Of a celt form depicting the mythical part human- part avian bird figure, with cir...
Category
Costa Rican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Jade
12th Century Indian Carved White Marble Figure of a Jain Tirthankara or Jina
Located in Austin, TX
A well carved Indian white marble Jain temple relief fragment featuring an image of a Jina, circa 12th century, Rajasthan or Gujarat, India.
The Tirthan...
Category
Indian Antique 15th Century and Earlier Figurative Sculptures
Materials
Marble
Teotihuacan Ceramic Head Fragment
Located in Chicago, IL
This intriguing head fragment was once attached to a bust or full effigy figurine crafted in 400 A.D. Mesoamerica. Earthenware figurines were made in great abundance throughout Teotihuacan's history. After 250 A.D. objects made from clay increased dramatically in Teotihuacan, serving a wide variety of purposes and functions from religious rituals to burial offerings.
Figurines like this commemorated important people and events within the city of Teotihuacan and other parts of Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate coiffure or headdress and ear spools...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Set of Four Egyptian Antiquities, Pair of Sarcophagus Faience & Two Figurines
Located in New York, NY
This captivating authentic Egyptian Faience set was realized in ancient Egypt circa 3100 BCE. It offers two sarcophagus figurines- suggestive of miniature versions of King Tut's tomb- hand finished in a beautiful turquoise hue (a glaze created by pulverizing the stone into pigment). Additionally, the set features two figurines (one representative of the Egyptian god Anubis), and the other seemingly a depiction of one of the ruler's as a young child also in a turquoise glaze atop volumetric rhombus plinths with tapered sides in a refined terra cotta hue. Full of historical importance (and stunning as stand alone objects) this collection of Egyptian antiquities...
Category
Egyptian Egyptian Antique 15th Century and Earlier Figurative Sculptures
Materials
Faience
A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’
Located in London, GB
A Very Rare and Important Marble Relief of the ‘Resurrection of Christ’
Attributed to the Master of the Mascoli Altar
Marble
Venice, Italy
Second half of the 15th Century
SIZE: ...
Category
Italian Renaissance Antique 15th Century and Earlier Figurative Sculptures
Materials
Marble
Thai Sukhothai Cast Bronze Buddha Head, 15th/16th Century, Thailand
Located in Austin, TX
An exquisite Thai cast bronze Buddha head, Sukhothai kingdom, circa 15th century, Thailand.
The Buddha's pleasing face, with its narrow, oval ...
Category
Thai Antique 15th Century and Earlier Figurative Sculptures
Materials
Bronze
Nayarit Chinesco-Style Seated Figure
Located in Chicago, IL
This seated ceramic figure is attributed to the ancient Nayarit region of Mexico and was likely used as a ritual or burial offering. The ceramic works of this style, known as Chinesc...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Alabaster high relief, Spain 14th century
Located in PARIS, FR
Alabaster plate in high relief illustrating a forgeron working on a metal object (a helmet?). A young woman is in front of him holding in her left hand an ovoid vase or reliquary tha...
Category
Spanish Medieval Antique 15th Century and Earlier Figurative Sculptures
Materials
Alabaster
Nayarit Chinesco-Style Figure
Located in Chicago, IL
This seated effigy figure was crafted in 300 BC to 300 AD from the ancient Nayarit region of Mexico and was likely used as a ritual or burial offering. The ceramic works of the Chine...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
A modelled pale turquoise glazed Ushabti, Circa 26th Dynasty 664-525BC
Located in ARMADALE, VIC
A finely modelled pale turquoise glazed Ushabti, Circa 26th Dynasty 664-525BC
Provenance: Sotheby’s London Lot 76 14/12/1981 for 725.00 Pounds sterling as part of a group lot.
Category
Egyptian Egyptian Antique 15th Century and Earlier Figurative Sculptures
Materials
Stone
A Polychrome and Parcel-Gilt Marble Group of the Virgin and Child
Located in London, GB
A Polychrome and Parcel-Gilt Marble Group of the Virgin
and Child
Attributed to Giovanni Di Balduccio (1317 - 1349)
Marble
Italy
Circa 1330 - 1340
SIZE: 65cm high, 28cm wide - 25½ i...
Category
Italian Antique 15th Century and Earlier Figurative Sculptures
Materials
Marble
Teotihuacan Ceramic Head Fragment
Located in Chicago, IL
This intriguing head fragment was once attached to a bust or full effigy figurine crafted in 400 A.D. Mesoamerica. Earthenware figurines were made in great abundance throughout Teotihuacan's history. After 250 A.D. objects made from clay increased dramatically in Teotihuacan, serving a wide variety of purposes and functions from religious rituals to burial offerings.
Figurines like this commemorated important people and events within the city of Teotihuacan and other parts of Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate headdress, a thick beaded necklace...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Teotihuacan Redware Figure
Located in Chicago, IL
This intriguing redware figure was crafted in 400 A.D. from the ancient Teotihuacan region of Mexico. Earthenware figurines were made in great abundance throughout Teotihuacan's history. After 250 A.D. objects made from clay increased dramatically, serving a wide variety of purposes and functions from religious rituals to burial offerings.
Figurines like this commemorated important people and events within the city of Teotihuacan and other parts of Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate headdress, a thick beaded necklace...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Petite Chupicuaro Female Figure
Located in Chicago, IL
This standing female figure was crafted in 400-100 BC from the ancient Chupicuaro region of Mexico. The ceramic works of the Chupicuaro people are distinguished by their slanted, cof...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Ecce Homo - Florence, 15th century
Located in Bruxelles, BE
A terracotta bust "Ecce Homo"
Florence, 15th century
53 x 44 x 31 cm
Category
Italian Renaissance Antique 15th Century and Earlier Figurative Sculptures
Materials
Terracotta
La Tolita-Tumaco Standing Female Figure
Located in Chicago, IL
This standing effigy was crafted in 500 A.D. - 1000 A.D. Mesoamerica using the gray clay paste that characterizes La Tolita-Tumaco ceramics of early Colombia-Ecuador. The art of La Tolita-Tumaco civilization is considered one of the most developed of the pre-Columbian period as metalwork and ceramics were the most popular form of cultural expression. The ceramic creations of this culture were often based on the human figure to create portraits of people and realistic daily scenes of life cycles and the human condition.
This figure appears to be wearing a loincloth and is adorned with a beaded necklace and an elaborate coiffure or headdress. There are holes lining each ear indicating the potential use of ear spools...
Category
South American Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Chupicuaro Redware Figure
Located in Chicago, IL
This standing effigy figure was crafted in 300 BC from the ancient Chupicuaro region of Mexico and was likely used as a ritual or burial offering. The ceramic works of the Chupicuaro...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Ceramic
Pair of 15th/16th Century Carved Oak Saints
Located in Maidstone, GB
A Pair of Late 15th or Early 16th Century Oak Saints carved in high relief and raised on polygonal bases. The female depicted standing in contrapose with low...
Category
European Gothic Antique 15th Century and Earlier Figurative Sculptures
Materials
Oak
Teotihuacan Translucent Tecali Figure with Pre-1970 Provenance
Located in Culver City, CA
Extremely Fine and large Teotihuacan sculpture of a standing Lord wearing a layered tunic, and having strong and beautifully sculpted facial features.
Teotihuacan Culture, Teotihuaca...
Category
Mexican Pre-Columbian Antique 15th Century and Earlier Figurative Sculptures
Materials
Stone
Chinese Female Mingqi Spirit Attendant
Located in Chicago, IL
Molded of earthenware, this petite sculpture is a type of centuries-old burial figurine known as míngqì. Such model figures were placed in tombs of individuals with high status to en...
Category
Chinese Antique 15th Century and Earlier Figurative Sculptures
Materials
Earthenware
Carved Polychrome Wood Depicting Saint Florian
Located in Saint-Ouen, FR
CARVED POLYCHROME WOOD DEPICTING SAINT FLORIAN
ORIGIN : SWABIA, SOUTHERN GERMANY
PERIOD : LATE 15th CENTURY
Height : 98 cm
Length : 29 cm
Depth : 24 cm
Polychrome limewood
Very fi...
Category
Antique 15th Century and Earlier Figurative Sculptures
Materials
Wood
Chinese Female Mingqi Spirit Attendant
Located in Chicago, IL
Molded of earthenware, this petite sculpture is a type of centuries-old burial figurine known as míngqì. Such model figures were placed in tombs of individuals with high status to en...
Category
Chinese Antique 15th Century and Earlier Figurative Sculptures
Materials
Earthenware
Roman Marble Trapezophorus circa 1st-2nd Century A.D
Located in Madrid, ES
A Roman marble trapezophorus in the Form of a Barbarian Dacian young figure.
Circa 1st-2nd century A.D.
Measure: height 24 1/4 inches (62 cm).
Property from Mr. Radu Moldovan, Skokie, Illinois
Provenance:
B.C. Holland Gallery...
Category
Italian Classical Roman Antique 15th Century and Earlier Figurative Sculptures
Materials
Marble
Important Wood Sculpture, Gothic Depiction of Saint Wenceslaus
Located in Saint-Ouen, FR
IMPORTANT WOOD SCULPTURE, GOTHIC DEPICTION OF SAINT WENCESLAUS
ORIGIN : CENTRAL EUROPE
PERIOD : MID-15th CENTURY
Height : 83 cm
Length : 30 cm
Depth : 20 cm
Basswood
Good condit...
Category
Antique 15th Century and Earlier Figurative Sculptures
Materials
Wood
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