Medieval Sculptures

An Early 16th Century Stone Carving with polychrome : 'The Death of a Prelate'. The enthroned figure of a Bishop surrounded by attendants and surmounted by celestial angels.

19th century Italian carved alabaster head of a saint wearing a bishop's mitre in the Gothic style. Though a fragment, the intense gaze of this small carving gives it a lot of presence. Rendered by a master carver, this piece has a lot of personality. Likely an architectural fragment, the weathered surface and distressed condition only add to the appeal of this unique sculpture. Mounted on an ebonized walnut base. 10 inches high 3.5 square 5 7/8 inches high by 4 wide by 3.75 deep (head only)

Rare Large 15th Century Renaissance English Oak Roof Angels Corbel. Truly astonishing rare roof angels, circa 1450. The large Medieval carvi...

This antique sterling silver knight figurine from the 19th century is a captivating masterpiece. Dressed in full medieval armor with a staff and fl...

France / 1550 / statue Saint Eligius / Antique / reliques Religious statue of Saint Eligius from the 16th century in full wood found in France. This very rare find has a beautiful ...

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...

Very rare, 19th century statuette of Victor Hugo's famous novel character. If you are a collector of rare novel and/or famous movie characters then this 19th century sculpture of Quasimodo, better known as the Hunchback of Notre Dame...

Cast bronze life size gothic skeleton / bone praying hands sculpture, titled on base Eternal Hope and signed Park '92. In the style of Blackman Cruz Workshop.

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...

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...

Early 17th century carved limewood figure of st michael circa 1640. Beautiful floor standing figure of the st michael the dragon slayer, also known as archangel michael.  Michael ha...

Elephant bird egg from Madagascar. The largest egg ever from a living creature; it is from the extinct elephant bird. Assembled from the shards of se...

SMALL Antique French Cast Iron Cemetery Cross Crucifix Child Angel Garden Chapel. Direct from France, a beautiful antique French cast-iron cemetery cross, in a SMALL SIZE with fabul...

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...

Unique and adorable late 19th or very early 20th-century smaller-size chandelier - Lüsterweibchen. Finely hand-carved from linden wood, a unique piece, made by a master wood carver ...

Spanish sculpture "Pieta" 16th century sculpture in stone Nossa Senhora, is represented seated securing Jesus Christ. Measure: Height: 52 cm. Very good condition.

A refined granite sculpture portraying the head of a young woman, believed to likely represent Saint Joan of Arc, crafted in France during the 1950s. It features a magnificent patina...

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...

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...

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...

SAINT WOMAN IN POLYCHROME CARVED WOOD   ORIGIN : ITALY PERIOD : late 13th century   Height : 103 cm Length : 28  cm Width : 16 cm  Remains of polychromy   ...

A large and impressive Indian carved sandstone architectural frieze featuring a central image of the Hindu goddess Lakshmi flanked by two atten...

We mounted this Gothic architectural fragment on a custom iron stand. In this new context it becomes a sculpture with a almost abstract f...

A Sicilian Marionette head depicting a Saracene, it's a part of " Opera dei Pupi " inspired by The French poem " La Chanson de Roland ". This one it's in original condition with consistent signs of use and age, original fabric and natural hair. A Late 19th Century Hand-Carved Wood Sicilian Head...

Chiseled bronze sculpture with gold and black patina. Crusades soldier in armor. The time of the Crusades is between the 1095-1291 centuries. the sculpture dates from the end of the ...

Sizeable crucifix with a finer quality carved corpus of Christ. Looking at Christ like this and thinking about the gruesome way in which He lost His earthly life, the crucifix (in our view) is a symbol of what 'telling people the truth' can lead to. 'The truth does not have many friends' is something I once read. Looking at what is going on in the world today, in most countries that still is the case. However, we feel that we (humans), nevertheless, are still becoming more loving, civilized, empathetic and self-conscious. Mind you, this good size wall crucifix dates from the early 1900s and the cruelties that people did to one another for acting or being different than 'normal' in those days, in most cases were far worse than what we see in this day and age. Looking at Christ on the cross with this in mind, we have come along way and we are slowly, but surely evolving in the right direction. Maybe it is just some of our 'leaders' who are lacking behind. Christ on the cross should therefor also be a reminder of someone who has lived and foreseen all this and who should therefor always be a beacon of hope and light when things are not going our way, yet. What attracted us most in this work of religious art are the quality details of His anatomy and the warm patina of this finely carved corpus. The facial features of this superb corpus of Christ reveal...

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...

19th Century bronze statue of a medieval page holding a book, it is raised on a stepped rectangular marble plinth.

SICILIAN MASTER OF THE 17TH CENTURY "Christ on the Cross" Wooden sculpture Christ Sculpture in carved and carved cypress wood 71 x 18 cm Height 97 good condition for the time

These utterly captivating, hand-carved stone lions hail from Italy and date to circa 1600, possibly even earlier. Their regal couchant (lying down) posture adds an air of majestic charm to any setting. One lion gracefully rests its forepaws on a stone ball, while the other clutches a coat of arms shield. They are carved in the same stylistic manner as many of the medieval lions...

A lovely terracotta bust of a child made by the famous french pottery producer, Saint-Clément. Undated but most likely from the 1920/30s, the bust was part of the "Terre Cuite d'Art"...

Articulated medieval style steel gauntlet. Well made, mid-20th century.

Beautifully and expertly hand made in Austria, finest quality Swarovski Crystal Jet Hematite faceted crystal skull with ruthenium finish metal accents on the face and base. Skull fea...

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...

An English hand carved limestone lion statue possibly dating from as early as the 16th century. Made at the hand of a talented artisan, the limestone is detailed with tooling and chisel marks made by the maker throughout, depicting a small lion in a 'sejant' seated position. Though weathered throughout the ages, this 400-500 year old carving has stood the test of time, with details of the lion’s mane, paws and face recognisable to this very day. An antique artefact...

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...

An English medieval style carved red sandstone roundel possibly dating from as early as the 16th century. Likely once used as decoration for an exterior capital, this 400 – 500 year ...

This beautiful antique bronze figure, was created in France, circa 1880. The realistic sculpture, titled on the front: "Escholier, 14eme Siecle", (meaning middle French, 14th century...

17th Century German hand-carved oak religious sculpture. Possibly a saint or a bishop. The bearded man is cloaked in draped fabric with only left ...

A small antique bust of Jesus Christ. Made of gilded spelter (zinc alloy). On a black marble plinth. No signature. Minor wear to the gilt patina. Dimensions: 14 (h) x 6 x 6 cm Free...

Antique crucifix with stunning hand carved details and an amazing patina. This remarkable and good size crucifix with a sculpture of a suffering Christ on the cross is another one...

An antique neo-medieval old English encaustic tile depicting a King, possibly Henry III, attributed to Minton & Co. This tile was commissioned in 1840-42 by L. N. Cottingham for Temple Church, London and possibly removed following WWII bomb damage. It was not until 1850 that Minton and Co. began stamping the reverse of their tiles. Though unstamped, there is a similar tile to this one in the British Museum attributed to some of Minton’s earliest works: “Minton & Co.’s first major commission was for the restoration of the Temple Church in 1840-42… The earliest Minton tiles are two-colour inlaid tiles characterised by random stabmarks (a device which aids drying found on the reverse) together with the yellow glaze covering the inlaid white of buff areas.” As is the nature of encaustic tiles, both the red background and yellow figure form the body of the tile, unlike other tiles where the design is painted onto clay. This may be why it has such excellent definition after more than 180 years, the figure of the King clear and vibrant against the red with minimal surface wear. A brilliant collector’s piece! Provenance: This antique encaustic tile...

Large heavy 18th century or earlier carved oak corbel. The corbel depicts a large male open-eyed smiling face with broad features. Finly carved details with wonderful old patina.

Sculpted stone head on a modern base, of a mustachioed man According to the 1983 sales certificate, it would be a 17th century sculpture, even before, of United Kingdom or Ireland o...

A 16th Century Giltwood and Polychromed Carved Group depicting God and Mary seated on a plinth.

Elegant table / desk lamp in wrought iron, figuring a winged dragon holding a torch / torchiere. Beautiful metal work: subject well done, beautiful verdigris patina. Neo-Gothi...

A Pair of 16th Century Oak Saints: One being a male depicted wearing a long hooded cloak held together with a brooch over a flowing tunic tied at the ...

Gothic canopy France, 15th century Alabaster, some traces of polychromy 33 x 23 x 20 cm Provenance: - Private collection Genève, Switzerland ...

Rare fragment is from the 17th century and would have stood atop a column. It's backside was affixed to the building and it most likely supported molding or an arch which were seen throughout the medieval period buildings and into the early 1600s. Rare and beautiful medieval treasure.

15th Century Oak Wood Sculpture of the Virgin of the Annunciation beside a lectern supporting an opened book, the Virgin with both hands upraised ( one repaired) turning slightly to the left, her demeanour redolent of strength, compassion and benignity. Franco Flemish origin, circa 1480, 56 inches in height x 26 inches wide. Provenance : Lot 347, The Notable Art Collection, New York, April 1949, Joseph Brummer Collection Part 1

A Late 15th/Early 16th Century Oak Sculpture depicting ‘The Grief of Mary’, carved almost in the round with Mary wearing a head scarf, neckerchief and...

A polychrome sculpture depicting the Virgin and the Child Mosan region, second half of 13th century Polychrome wood 73 x 29 X 12 cm Provenance : Former Belgian private collection from the beginning of the 20th century This remarkable early artwork portrays the Enthroned Virgin and Child, also known as Sedes Sapientiae, which translates to the 'Seat of Wisdom...

ITALIAN PROCESSIONAL CROSS 17th Century in cut brass and bronze. Mounted on a wooden back base. Usage signs. Dec. Height: (total) 50 cm; (Ch...

Engaged Romanesque capital representing Daniel in the Lion’s den France, 12th century Limestone 38 x 29 x 18 cm Provenance : Private coll...

Double romanesque capital decorated with two fantastic animals France, 13th century Measures: 26,5 x 38,5 x 14,5 cm. This rare double cap...

Gothic architectural fragment representing vine leaves France, 15th century Sandstone H 21 x 21 x 17 cm mounted on a modern metal pe...

This weathered English Romanesque limestone capital is centuries old, dating from the Norman era of the 11th and 12th centuries. Originating from Oxf...

Fine hand carved oak figure of Saint Anthony of Padua Late 18th- Early 19th Century Saint Anthony is depicted with his head raised, mouth ajar, as if in the process of speaking. He stands upright wearing his traditional Franciscan robes and holding open a book. Beautifully carved with high level of detail, unusual for oak pieces. Oak is a dense hardwood which is difficult to carve and it's rare to see this level of detail in an early oak sculpture. Saint Anthony is the Patron Saint of lost things. While living at the monastery, he had a treasured book which contained psalms and personal observations. His book was stolen by a man who decided to leave the monastery and Anthony ferverently prayed for its return as the cost of a new book would have been beyond his means. The thief repented and returned the book which is believed to be preserved at the Franciscan Library in Bologna. He is one of the most popular Catholic saints...