15th Century and Earlier Art

15th century, Italian Circle of Antonio del Pollaiuolo (1429-1498) Portrait of an Italian Noblewoman Oil and tempura on poplar panel With partial inscription: ALZETAPIN Provenance:...

A Chinese Procession Ornament dating from the Liao Dynasty, from 907 to 1125 AD. The Liao Dynasty, also known as the Khitan Empire, was an empire in northern China that ruled over the regions of Manchuria, Mongolia, and parts of northern China proper. It was founded by the Yelu family of the Khitan people in the final years of the Tang Dynasty, even though its first ruler, Yelu Abaoji, did not declare an era name until 916. The Liao Empire was destroyed by the Jurchen of the Jin Dynasty in 1125. However, remnants of its people led by Yelu Dashi established the Xi (or Western) Liao Dynasty 1125 - 1220, also known as Kara - Khitan Khanate, which survived until the arrival of Genghis Khan...

PORTRAIT HEAD OF A GIRL Rome, circa 2nd/3rd century A.D. Marble height 18.4 cm height 7 1/4 in Provenance: Sotheby's, London, May 23rd, 1988, no. 240,...

A Florentine Renaissance embroidered panel for a dalmatic garment, circa 1440-1460 Comprising twelve sections, the top row with three Evangelists, each holding a gospel; the next row...

Sitting Madonna Central Italy/Tuscany or Marche Around 1420 Poplar wood carved Original version Height 31 cm Charming Madonna sculpture from the heyday of the Soft or International...

Father Stefan Fridolin, "Schatzbehalter" (Treasury of the True Riches of Salvation): The 30th Figure - Astrological Diagram with Scene of the Nativity Woodcut, 1491 Unsigned, as iss...

In celebration of the Year of the Rabbit, Hunt Slonem’s iconic muse is revisited in timeless powder-coated aluminum. Each edition is signed, numbered, and comes with a certificate of...

Virgin and Child Franco-Spanish sculptor from the Catalan/Pyrenean area Late Middle Ages, 13th-14th century Carved oak, flat back Height: 67 cm Fascinating and rare wooden sculpt...

“Blue, Nine Times” is the mesmerizing result of one year of collaboration with Peter Halley. It is his first experimentation with an entirely new process and tool - LITO Hi-Rnd© tech...

Collaborating with Douglas Gordon is by itself, an extraordinary experience. The sulfurous Scottish artist entrusted LITO Editions with four new artworks from its most emblematic ser...

This exclusive high-rendered print draws from Erwin Wurm’s recent but already iconic ‘Flat Sculptures’ series, praised by public institutions and private collectors alike. LIGHT orig...

This exclusive high-rendered print draws from Erwin Wurm’s recent but already iconic ‘Flat Sculptures’ series, praised by public institutions and private collectors alike. LIGHT orig...

ITALIAN MEDIEVAL CAPITAL Italy, 12th/13th Century marble 19 x 23 x 23 cm 7 1/2 x 9 x 9 in total height 31 cm (12 1/4 in)

This exclusive high-rendered print draws from Erwin Wurm’s recent but already iconic ‘Flat Sculptures’ series, praised by public institutions and private collectors alike. SHINE orig...

This exclusive high-rendered print draws from Erwin Wurm’s recent but already iconic ‘Flat Sculptures’ series, praised by public institutions and private collectors alike. WOBBLY ori...

Paranthropus Robustus. An early man (hominid), one of the Australopiths from the subepochs of the early to middle Pleistocene period 2.6 - 1.5 million years ago. Some distinctive fea...

St. Francis of Assisi Italian School, circa 1500 oil paint on copper, unframed copper: 6.75 x 10 inches provenance: private collection, Loire Valley, France condition: for a work tha...

“Red, Nine Times” is the mesmerizing result of one year of collaboration with Peter Halley. It is his first experimentation with an entirely new process and tool - LITO Hi-Rnd© techn...

Collaborating with Douglas Gordon is by itself, an extraordinary experience. The sulfurous Scottish artist entrusted LITO Editions with four new artworks from its most emblematic ser...

Collaborating with Douglas Gordon is by itself, an extraordinary experience. The sulfurous Scottish artist entrusted LITO Editions with four new artworks from its most emblematic ser...

Collaborating with Douglas Gordon is by itself, an extraordinary experience. The sulfurous Scottish artist entrusted LITO Editions with four new artworks from its most emblematic ser...

The images of this sculpture are of a larger original than the scaled down version for sale here. This sword was a gift from Zeus to Perseus to defeat the gorgon Medusa. Davies desig...

Folio from a Book of Hours, c.1475 Delft (Holland) red, blue and black Ink on vellum, c. 1475 Unsigned as is usual Most probably created at the Church of St. Agnes, by the women of t...

Davies designed this urn by drawing on extensive research culminating in adopting classical elements from Graeco-Roman antiquity. It's elegant shape is subtly embellished with a Roma...

Virgin of the Annunciation Burgundy, cercle of Claus de Werve (Haarlem? - Dijon, 1439) Early 15th century Walnut carved in the round Hight: 60 cm The Virgin Mary stands, her right ...

They may be damaged and battered, but real historic objects will always give you a sense of awe. Can you sense it, looking at this ancient carved granite which depicts, as it is call...

Perseus was in Greek mythology the son of Zeus and Danae, founder of Mycenae and of the Perseid dynasty. He beheaded the Gorgon Medusa for King Polydectes and saved Andromeda from th...

Xiphactinus (higher classification Ichthyodectidae) lived during the late Cretaceous period 90 - 65 million years ago.It was a predatory fish weighing approximately 1000lbs and measu...

GREEN APPLES original impressionist acrylic painting. SOLÁ paints in a natural way, which reflects the Old Masters, soaking up the colour, air, smell and the pure scent of his envi...

Standing angel with banner Flemish Around 1450/60 Sandstone 60 x 21 x 15 cm This museum figurine shows a standing angel with a banner in his right hand and a small box in his left. The youthful, ageless figure wears a coat held together with a triangular, floral brooch in front of the chest over a long robe. The angel’s gaze is directed forward, his head tilted slightly to the left. The elongated face is sculpted: the large almond-shaped eyes with accentuated upper and lower eyelids are alertly open and sharp eyebrows lead directly into the root of the nose. The straight nose above the pronounced mouth completes the idealized oval face of the angel and his calm, internalized facial expression. What is particularly remarkable, however, is the magnificent curls, which are only partially tamed by a simple headband. As if puffed up by the wind, the hair, which is sometimes streaked in parallel, sometimes wildly twisted and richly curled, stands out dynamically from the ears. The tilted head with these sideways protruding waves of hair thus conveys an immediate impression of movement. The physicality of the sculpture is expressed particularly through this organic, lifelike movement of the loosened hair. The lively overall impression of the figure is further enhanced by the multiple rolled banners that the angel presents to the viewer. The outstretched palm of the right hand appears both intimate and confidential as well as mystically revealing. This banderole winds in gentle curves in front of the figure’s body, throws a fold over the second attribute in the angel’s left hand and falls downwards in a loose manner. The volute-shaped rolled up end of the banner clearly shows the fine texture of the banner and at the same time draws the viewer’s attention to the small cube-shaped box that the angel is holding in its slender, long-limbed fingers. The cube is decorated with a Gothic quatrefoil motif, which is often seen in the architectural tracery of windows, but was also often used to decorate caskets and other small treasures. The sweeping gestures in the presentation of the attributes suggest three-dimensionality, in contrast to the tubular folds at the base of the neck and the intricate draperies in flat and multiple overlapping garment sections. The soft curves of the folds give the impression that the clothing is made of a heavy fabric that falls diagonally down the front and is laid in several bowl folds under the right hand. Overall, the sculptural work testifies to the highest artistic skill, which emphasizes the virtuosity of sculpture in its precious and representative overall impression. The memorable characteristics recognizable here can be seen in comparable pictorial works from Utrecht around the middle of the 15th century, when sculptural art – especially stone sculpture – was characterized by a remarkably high quality. Particularly noteworthy is the accentuated Utrecht head type with an elongated oval face, almond-shaped eyes with heavy lids and dense, vividly protruding tufts of hair framing the head. For example, the figure is comparable to a capital of an angel on the east side of the rood screen of the Joriskerk in Amersfoort (province of Utrecht) from the second quarter of the 15th century. Not only the physiognomy and hair, which in the comparative example stand somewhat more horizontally to one side, but also the garment puff above the girdle are similar. Even more related motifs, such as the cleverly placed bowl folds, can be found on the limestone figure...

Untitled (Standing Female Nude) Graphite on paper, c. 1930 Signed bottom right: Lorski (see photo) Sheet size: 9 5/16 x 5 13/16 inches From a sketchbook created while the artist was working in Paris Condition: Good Thin spots verso from previous mounting Soft vertical fold running across image Barely visible on recto Provenance: Estate of the Artist Dawson's Auctioneers and Appraisers, 2001 Amity Art Foundation Boris Lovet-Lorski Lithuanian/Russian/American 1894-1973 Sculptor, painter, and printmaker, Boris Lovet-Lorski was born in Lithuania in 1894. His mother died when he was age three. His father was affluent and owned real estate. Boris grew up in a privileged environment. He studied architecture and then fine arts at the Imperial Academy of Art in Petrograd, Russia (now Saint Petersburg). Following the revolution in 1917 and its aftermath, Boris immigrated to Boston to live with his brother. In the 1920’s, his stylized, Art Deco inspired sculptures, lithographs, and paintings proved to be popular among the American elite. He exhibited frequently, holding his first solo exhibition in Boston, 1920. In the following years, Boris exhibited in New York at Marie Sterner Gallery, Jacques Seligmann Galleries and Wildenstein and Company. He lived in Paris from 1926 to 1932 where he befriended Joseph Hecht, and was exposed to the works of Pablo Picasso, Ossip Zadkine, Contantin Brancusi and Aristide Maillol. In 1932 he returned to America where he became a citizen later in the decade. Lovet-Lorski exhibited in the United States, South America, Europe and Asia. He was a member of the Society of Independent Artists (New York), the National Academy of Design (New York), and the Lotos Club (New York), as well as several Parisian salons. His work is in the permanent collections of numerous museums including the Musée Luxembourg, Bibliotèque Nationale, and the Petit Palais in France, the British Museum in London, the Metropolitan Museum in New York, the National Gallery in Washington, the Los Angeles County Museum of Art. (A more extensive list of his works in museums follows) He is considered one of the most successful and recognized sculptors of his generation. His creative influence can be seen in many of his contemporary artists. He died in Los Angeles in 1973. Regarding his iconic Art Deco sculptures of Cretan Dancers: “The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.” Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12. Lovet-Lorski created sculptures of the following major figures I.J. Paderewski, Prime Minister of Poland Arturo Toscanini, Italian Conductor Lilian Gish, Actress President Franklin D. Roosevelt Mrs. M. C. Niarchos, wife of Stavros Niarchos President Abraham Lincoln James Forrestal, Secretary of the Navy, First Secretary of Defense Pope Pius XII Dr. Albert Einstein, theoretical physicist President Dwight D. Eisenhower Albert Schweitzer, theologian, organist, writer, humanitarian, philosopher, and physician General Charles De Gaulle, President of the Fourth and Fifth Republic, France John Foster Dulles, Secretary of State, 1953-1959 President John F. Kennedy Works by Lover Lorski are in the following public collections: Albright-Knox Art Gallery, Buffalo Art Institute of Chicago Bibliotheque Nationale, Paris Brandeis University, Waltham, MA British Museum, London Boston University Brooklyn Museum California Palace of the Legion of Honor, Sam Francisco...

Sculpted in walnut wood In Germany the use of walnut was quite rare, in some cities in Northern Germany such as Lüneberg and Hamburg the use of walnut was allowed by gild regulation...

A superb Han Dynasty pair of terra cotta figures, a horse with its attendant, in superb condition. Ex. Hamrick collection, New Orleans. They purchased...

Head of apostle or Christ in carved limestone. Elongated face with a large forehead and long hair with thick wavy locks on the sides. The almond-shaped eyes are underlined by the hem...

Provenance: - via Stefano Bardini purchased in 1896 by Prince Johannes II of Liechtenstein; - Stadtpalais, Vienna, 1906; - Gartenpalais, Rossau, Vienna, 1912; - Stadtpalais, Vienna,...

This art - work is part of the project REFLEXUS. The paint is made in the author's technique of painting by Vasili Zianko based acrylic painting on canvas using a variety of texture...

Readings from the "Communion of Saints": folio from an Italian Missal Pigment on vellum Mid 17th century Provenance: Otto F. Ege (1888-1951) Phillip Duechnes Bookseller, New York, c. 1948 References And Exhibitions: Otto F. Ege Box Folio 27 Ege describes these folios as: Epistolary (Epistolarium), Italy, Middle 15th century Latin Text: Rotunda or Round Gothic Script, square rhetorical neumes Sister folio are in the following rare book libraries: Case Western Reserve University Cincinnati Public Library Cleveland Institute of Art Cleveland Public Library Denison University Kent State University Kenyon College...

ITALIAN RENAISSANCE CAPITAL WITH MYTHOLOGICAL FIGURES, 15th Century marble H 18 x Diam 33.5 cm H 7 x Diam 13 1/4 in

PAIR OF ROMANESQUE MARBLE COLUMNS Italy, 13th/14th Century marble 86 x 16 x 13 cm 33 3/4 x 6 1/4 x 5 in

Relief with saint Georges France, 15th Century limestone 26 x 20 cm (10 1/4 x 7 3/4 in) without base

ITALIAN RENAISSANCE MARBLE RELIEF WITH COAT OF ARMS OF POPE SIXTUS IV DELLA ROVERE Italy, 15th Century marble 49.5 x 47.5 x 7.5 cm 19 1/2 x 18 3/4 x 3 in

Natura gaint amber crystal specimen weight 120 kilograms origin Africa

Original vintage travel poster - Visitez L'URSS en Auto! / Visit the USSR by Car - issued by the Soviet state travel agency Intourist featuring a photomontage design depicting two pe...

Gypsum cast-medieval tile, inspired from Central Europe. Could be also adjusted in a frame, ready to hang or install ( price will be different).

Bowl Reset II Oil Painting on Panel Brown Still Life Figurative In Stock Kees Blom (Apeldoorn, 1968) comes from an artistic family. While his father already had a passion for painti...

Natural amber specimen organic gem stone 1.8 kilos

In celebration of the Year of the Rabbit, Hunt Slonem’s iconic muse is revisited in timeless powder-coated aluminum. Each edition is signed, numbered, and comes with a certificate of...

Natural Ethiopian welo opal 32 carats not treated certificate available on request

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

Dancing In The Moonlight, Edition of 10, printed on 100% cotton canva. Recharging my mind and soul in the stillness of nature has become a necessity for me, not only as an artist, bu...

In celebration of the Year of the Rabbit, Hunt Slonem’s iconic muse is revisited in timeless powder-coated aluminum. Each edition is signed, numbered, and comes with a certificate of...

Description: A Spanish Gothic Statue of Saint Mary Magdalene, Late 15th Century, polychromed wood Statue: Saint Mary Magdalene Object Type: Statuet...

Natural Australia white fire opal 28.5 carats

This exceptional and rare rendering of a horse head, composed of gold over silver, hails from the illustrious Tang dynasty of China. The powerful Tang dynasty reigned for nearly 300 ...

Freedom, Edition of 10, printed on 100% cotton canva. My artistic vision intersects my love of silence and nature with the simple beauty of quotidian femmininity.

The Picnic, Edition of 10, printed on 100% cotton canva. My artistic vision intersects my love of silence and nature with the simple beauty of quotidian femmininity.

Original Illustration based on photograph by Kevin Cummins. Signed by Shepard Fairey and Kevin Cummins. A portion of the proceeds went to CALM (Campaign Against Living Miserably). "...

Date Night, Edition of 10, printed on 100% cotton canva. I enjoy drawing ordinary moments, moments we usually miss while waiting for something big to happen. Far too often we forget...