15th Century and Earlier Art

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 environment. He d...

Woodcut on laid paper, 8 3/8 x 9 1/8 inches (212 x 233 mm), the full sheet. In excellent condition with text and portraits of Empedocles, Sapho, Zeuxis and others on the verso, as is...

Wonderful old Italian master painting Madonna Oil on panel Alessandro Filipepi, also known as Sandro Botticelli, is the first artist that comes to mind at the sight of this charming...

Unknown French Art and Workshop, Middle 15th century Roundel depicting St. Catherine (?) Gouache, ink gold wash and gold burnishing on vellum Book of Hours folio attributed to the C...

Carved wooden tribal mask 7 x 20 x 10 cm height with base: 38 cm

Virgin and Child with Goldfinch Workshops of Metz, Lorraine, circa 1330 Limestone carved in the round with remains of polychromy Height: 61 cm The sculpture of the Virgin and Child ...

Altorilievo in marmo della Montagnola Senese raffigurante un profilo femminile a mezzo busto, Siena, XIV secolo. L'altorilievo, nella tradizione senese del XIV secolo, si caratter...

Beautiful linden wood carving depicting a Pieta. France, Burgundian-Flemish current, late 15th to early 16th century. This theme is not found in the Bible but is derived from apocr...

Master in the circle of Michael Pacher (Mühlen ca. 1435 - 1498 Salzburg) Salzburg Around 1480 Carved limewood Old polychrome version Height 118 cm This Madonna is an outstanding ex...

Angel of the Annunciation Prague workshop from the circle of Master Theoderich (mentioned from 1359 to 1368) Around 1380/90 Carved & polychrome painted limewood Height 88 cm An ang...

Albrecht Dürer, German (1471 -1528) - Diptych from First Edition of The Ship of Fools, Year: 1494, Medium: Woodcut and Engraving, Image Size: 7 x 12.25 inches, Frame Size: 10.75 ...

Original leaflet from Johann Prüss' 1479 printing of "Das Heldenbuch." The Heldenbücher is the title given to a group of late medieval/early renaissance Germanic manuscripts primari...

Moses Parts the Red Sea & Receives the Ten Commandments - Leaflet from the 1497 'Pirate' Nuremberg Chronicles The Nuremberg Chronicles were first published in 1493 by Anton Koberg...

Very rare wooden helmet-bearing head, datable between the 13th and 14th centuries, extraordinary evidence of medieval material culture. This object, carved with essential and primiti...

Fascinating limestone gargouille (or gargoyle) from the region of Avignon, France, dating from the 14th century. A rare and striking hand-carved piece that perfectly embodies the med...

Extraordinary collection of 12 gilded copper plaques with glass paste eyes, originating in Limoges, France, and dating from the early 13th century. These fine plaques, each about six...

Fascinating limestone gargouille (or gargoyle) from the region of Avignon, France, dating from the 14th century. A rare and striking hand-carved piece that perfectly embodies the med...

Albrecht Dürer 1471-1528 German The Penance of St. Chrysostom Monogrammed in the plate lower center "AD" Copper engraving on laid paper “Whatever was mortal in Albrecht Dürer li...

Grande vierge en majesté de l'époque romane en bois polychrome. Cette Vierge à l'enfant inédite s'inscrit dans le corpus des Vierges romanes de Bourgogne. Marie est assise sur un trô...

Rare Vierge romane en majesté en pierre calcaire sculptée en très haut-relief. La Vierge tient l’Enfant entre ses deux genoux dans une parfaite frontalité, une caractéristique des pr...

Elegant 15th-century wooden sculpture of a finely executed infant missing his arms. The work, of central Italian provenance, recalls the Donatello manner in the delicacy of the featu...

Florentine, mid-16th century Circle of Tomaso D’Antonio Manzuoli, known as Maso da San Friano (1536-1571) The Virgin and Child with the Infant Baptist After Andrea del Sarto (1486-1...

Splendid polychrome wooden sculpture depicting the Blessing Child Jesus, made by a Central Italian master in the 14th century. The work, 66 cm high, is distinguished by its harmoniou...

Christ Crucified (Christus Patiens) with God the Father, the Virgin and St. John In the manner of 14th century Tuscan painting Tempera on panel Height: 150 cm Width: 99 cm Perform...

15th C. Tibetan Tsakali "High Lama Presenting a Ceremonial Scarf" MIneral pigne 6 1/4 x 4 (16 x 13 3/4 frame) inches

This rare and fascinating series of 10 ceiling tablets, painted in tempera on poplar wood, represents a remarkable example of 15th-century Lombard decorative art. Originating from a ...

Mother Goddess Figurine Early Indus Valley Civilization (circa 3500 - 2800 BC) Handmade pottery, 140 mm x 45 mm, 60 g Provenance: Prince Collection, 1990s-2014; Pierre Bergé Colle...

Anonymous 15th Century Italian, Probably Milan area The Nativity of Christ Pigments, ink and gold leaf on vellum Unsigned as is always the case with illuminated manuscripts The Virgi...

The Marriage, 15th/16th Century school of BALDASSARE ESTENSE (1443-1504) Large 15th Century Ferrara School portrait of a husband and wife worshipping outside a small hillside town,...

Artist: Erhard Ratdolt (German, 1442-1528) Title: "Vol. 6, page 10-11", "Vol. 6, page 6-7", and "Vol. 6, 28-29" Portfolio: Breviarium Pataviense Year: 1490 (First edition) Medium: Set of Three Original Incunabula Leaves on watermarked laid paper Limited edition: Unknown Printer: Erhard Ratdolt, Ausburg, Germany Publisher: Friedrich von Öttingen and Christoph von Schachner, Passau, Germany Reference: Hain No. 3875; Bod-Inc No. B-542; GW No. 5426; Weale/Bohatta No. 335; Schreiber No. 3615 Sheet size (each): approx. 12.5" x 8.88" Condition: "Vol. 6, page 10-11", "Vol. 6, page 6-7", and "Vol. 6, 28-29" all have scattered wormholes, staining, foxing, and soiling about their sheets. The latter two have remnants of tape at their edges. "Vol. 6, 28-29" has heavier staining to its sheet and edge wear about. Have been professionally stored away for decades. They are all otherwise strong impressions in overall fair condition with strong colors Extremely rare Notes: Comes from Ratdolt's six volume "Breviarium Pataviense", (1490) (First edition), which consists of 378 pages of Gothic texts in Latin with red rubricated initials, psalms, readings, hymns, and woodcut engraved illustrations. Printed in Augsburg by Erhard Ratdolt on May 12, 1490. There was a subsequent printing on November 27, 1490. Both "Vol. 6, page 10-11" and "Vol. 6, 28-29" have a bow and arrow watermark in the center of their sheets. Some information and old prices inscribed in pencil to their sheets. Breviary is a liturgical book in the Roman Catholic Church that contains the daily service for the divine office, the official prayer of the church consisting of psalms, readings, and hymns that are recited at stated hours of the day. Biography: Erhard Ratdolt (1442–1528) was an early German printer from Augsburg. He was active as a printer in Venice from 1476 to 1486, and afterwards in Augsburg. From 1475 to 1478 he was in partnership with two other German printers. The first book the partnership produced was the Calendarium (1476), written and previously published by Regiomontanus, which offered one of the earliest examples of a modern title page. Other noteworthy publications are the "Historia Romana of Appianus" (1477), and the first edition of "Euclid's Elements" (1482), where he solved the problem of printing geometric diagrams, the "Poeticon astronomicon", also from 1482, "Haly Abenragel" (1485), and "Alchabitius" (1503). Ratdolt is also famous for having produced the first known printer's type specimen...

Artist: Erhard Ratdolt (German, 1442-1528) Title: "Preface Page" and "Page CVI - 106" Portfolio: Missale Frisingense Year: 1492 (First edition) Medium: Set of Two Original Incunabula Leaves on watermarked laid paper Limited edition: Unknown Printer: Erhard Ratdolt, Ausburg, Germany Publisher: Sixtus of Tannberg, Freising, Germany Reference: Hain No. 11303; Weale/Bohatta No. 396; Schreiber No. 4699; Pell No. 7944 Sheet size (each): approx. 11.94" x 8.13" Condition: "Preface Page" has the occasional wormhole. Remnants of tape, a tape and a paper clip stain along its edge. Minor foxing and soiling mainly in margins. "Page CVI - 106" has remnants of tape and a small stain along its left edge. Light foxing and soiling about its sheet with some general edge wear. Have been professionally stored away for decades. They are both otherwise strong impressions in good condition with strong colors Very rare Notes: Comes from Ratdolt's one volume "Missale Frisingense", (1492) (First edition), which consists of 576 pages of Gothic texts in Latin with red rubricated initials, music, and woodcut engraved illustrations. Printed in Augsburg by Erhard Ratdolt on March 17, 1492. "Preface Page" has a bull's head and cross watermark in the upper center of its sheet. Some information and old prices inscribed in pencil to their sheets. A missal is a book that contains the prayers, chants, biblical readings, and rubrics for celebrating Mass. The first missals were found in monasteries in the 12th and 13th centuries. The term missale is Latin for "Mass book". Biography: Erhard Ratdolt (1442–1528) was an early German printer from Augsburg. He was active as a printer in Venice from 1476 to 1486, and afterwards in Augsburg. From 1475 to 1478 he was in partnership with two other German printers. The first book the partnership produced was the Calendarium (1476), written and previously published by Regiomontanus, which offered one of the earliest examples of a modern title page. Other noteworthy publications are the "Historia Romana of Appianus" (1477), and the first edition of "Euclid's Elements" (1482), where he solved the problem of printing geometric diagrams, the "Poeticon astronomicon", also from 1482, "Haly Abenragel" (1485), and "Alchabitius" (1503). Ratdolt is also famous for having produced the first known printer's type specimen...

Gypsum cast - medieval tile, from Central Europe. Adjusted in a frame, ready to hang or install.

GROTESQUE MASK Italy, 15h Century stone 30 x 31 x 20 cm 11 3/4 x 12 1/4 x 7 3/4 in

LARGE CIRCULAR FRAGMENT OF A FLUTED COLUMN Central Italy, 13th century stone

Madonna and Child, polychrome stucco relief, workshop of Luca della Robbia. Second half of the 15th century. Modeled as half-length, the Child holds his mother's veil in one hand, th...

This 15th century bishop - sculpted ca AD1460 - has a smile on his lips and a benevolent presence. He is also something of an Adonis - one tends to forget that in the medieval churc...

This young saint or angel has suffered over the centuries, but his spirit has not been broken - and miraculously, his beautiful face has remained intact. With a gentle face and an al...

ANCIENT ROMAN MARBLE RELIEF FRAGMENT Rome, 1st Century b.C. marble 23 x 15 x 5 cm without base 9 x 6 x 2 in

ROMAN RED JASPER APPLIQUE OF TRAGIC ACTOR Rome, 1st Century A.D. 5.5 x 4.2 cm the mask 2 1/4 x 1 3/4 in Provenance Penicuik House, Midlothian, acquired by either Sir John Clerk, 2nd...

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:...

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 issued Published by Anton Koberger Diagram has Zodiac signs on outer ring, planets in the lower registers, and Nativity in the center. Condition: Very good for a 15h century woodcut, with the usual slight age stains Sheet size: 11 1/2 x 8 1/4 inches Wogelmut was the teacher of Albrecht Durer and employed young Durer in many project of the last decade of the 15th century. Michel Wolgemut Biography Wolgemut trained with his father Valentin Wolgemut (who died in 1469 or 1470) and is thought to have been an assistant to Hans Pleydenwurff in Nuremberg. He worked with Gabriel Malesskircher in Munich early in 1471, leaving the city after unsuccessfully suing Malesskircher's daughter for breach of contract, claiming she had broken off their engagement. He then returned to his late father's workshop in Nuremberg, which his mother had maintained since Valentin's death. In 1472 he married Pleydenwurff's widow and took over his workshop;[3] her son Wilhelm Pleydenwurff worked as an assistant, and from 1491 a partner, to Wolgemut. Some consider Wilhelm a finer artist than Wolgemut, however he died in January 1494, when he was probably still in his thirties. Wilhelm's oeuvre remains unclear, though works in various media have been attributed to him. Woodcuts Michael Wolgemut, Danse Macabre, 1493 Two large and copiously illustrated books have woodcuts supplied by Wolgemut and his stepson Wilhelm Pleydenwurff; both were printed and published by Germany's largest publisher, the Nuremberger Anton Koberger, who was also Dürer's godfather. The first is the Schatzbehalter der wahren Reichthumer des Heils (1491); the other is the Historia mundi, by Schedel (1493), usually known as the Nuremberg Chronicle...

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...

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...

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...

15th Century Maestro della Pala Sforzesca Title: Ecce Homo Medium: Tempera on Panel Dimensions: without frame 64.9 x 53.2 – with frame 82 x 70 x 5 cm Beautiful "cassetta" frame in e...

Late 15th Century Florentine School Madonna with Child Bas-relief Pietra serena (a blue-gray sandstone) 85.5 x 60.5 cm Provenance: - via Stefano Bardini purchased in 1896 by Prince ...

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...

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...

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

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...

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...

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...

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 ...

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). "...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

Rare, Late Roman Empire (3rd to 5th centuries, C.E.), solid marble bust of a young man. Beautiful patina. Mounted on a later, Carrara marble base.

Sensitively carved, solid marble bust of a young boy mounted on a custom, Lucite base. Carved fully in the round, though originally the figure was pa...

An evocative, 14th century, carved wood statue of a seated Mary with the Christ child in her lap. The piece with a beautiful patina featuring polychrome paint traces. Now mounted on ...