Poplar Decorative Objects

Large Malachite Jewelry or Vanity Box. Malachite is a green copper carbonate mineral. It is part of the monolithic crystal system and has a silky luster. The malachite for this box w...

Unique Baroque giltwood candleholders for in total 6 candles, Italy, circa 1750-1780. Weathered, repairs and losses. More pictures available on request. Measurement individual.

Art Deco Doll Mannequin with Earthenware Head by Fery-Boudrot , 1900-1930 Fery-Boudrot, Paris, France The red brown velvet touch earthenware head in Art Deco style The head is attac...

Likely made in the Normandy area of France. Domed hinged top with wrought iron hasp and lock. Conforming case. With original painted surface.

An important stoneware sculpture by Tim Orr. Handwritten signature at the base. Circa 1970-1980. One pair is avaible.

A very fine late Yuan to early Ming Chinese terracotta gilt and polychrome painted Buddha figure, he is dressed in thick robes, his hair arranged in ty...

Provenance : - Kunsthaus Heinrich Hahn, Frankfurt am Main, sale 16, June 17, 1930, lot 16. - Sotheby's, Amsterdam, Feb. 26, 2006, lot 201. HISTORIC Located between Moselle valley and Meuse valley, framed by the Vosges Mountains on the south side and the duchy of Luxembourg on the north side, the duchy of Lorraine is the result of several partitions. It starts with the 9th century when the Carolingian empire is divided, with Lothar 1st inheriting Lotharingia. In 959 this territory was in turn divided in two; Lower and Upper Lotharingia, the latter being the forebear of the duchy of Lorraine. This duchy was under the rule of the Holy Roman Germanic Empire until 1736 when it was absorbed by the kingdom of France. All along its history the duchy of Lorraine has found itself in the midst of many conflicts. Alliances and feuds marking European history were always particularly sensible in Lorraine where instability was frequent. Because of its geographic position the duchy of Lorraine was also an artistic crossroad. Hence the duchy of Lorraine becomes from the 13th century onwards an important artistic centre where a particular type of Virgin and Child appears. According to professor J. A. Schmoll the characteristics of Lorraine sculpture burgeon around 1280-1300 in the Aube region. It presents “vigorous volumes, restrained movements, rare but solemn gestures and a strong interiorised and stern expression”. Those Virgins look similar with a wide forehead, a shield- or oval-shaped face, large neck, small lips and a cleft chin. This model is particularly in favour during the 13th century because of the revival for Marial worship and for the theme of the Virgin and Child. It bears witness to a new religious sensibility with a more intimate vision of religious practice. DESCRIPTION The important 14th century Virgin we present to you is one of the most beautiful examples of sculptural art from Eastern France, with her fascinating distant gaze. Her contrapposto posture is induced by the weight of the child she carries high on her left side. The child has a chubby face framed by blond hair with well defined curls and he wears a long red V-collared tunic from which emerge his feet. The fabric is animated by long folds. The position of the right foot turned to the back is a detail we can notice on several Virgins from Lorraine. He holds a bird that seems to be pecking his thumb. “The bird /held by the child in his hands/ has been read as a reference to an episode from Christ’s childhood when he has moulded sparrows with clay before giving them life. It appears in the apocryphal gospel of Pseudo-Matthew (ch. 27) and later in the Quran (III, 43, v. 110). However the iconography seems to be more influenced by the concept of Redemption or of Eucharist, the bird symbolising the soul of the Christian about to be redeemed or revitalised.” Mary wears a long dress with two rock crystal cabochons remaining from the original five. She is covered by a red cloak enriched with old-gold motifs draped as an apron falling in long pleats along her left hip. The relief treatment and the volume of the cloak developing a network of concentric pleats contrast with the the flat pleating of her dress. They nevertheless suggest the curve of her bent right leg. She wears a floret crown securing a short thin veil carved in very low relief. From it emerges her blond curled hair characteristic of the 13th century. The large face with almond-shaped eyes, straight nose, small lips and cleft chin casts its gaze afar in a fashion typical of 13th century Virgins. In her right hand she holds a lily flower. In a very refined manner the artist has carved a band on her right ring-finger. In the back, carefully sculpted, spreads the minutely detailed short veil. COMPARATIVE STUDIES This sculpture of great quality presents obvious similarities with Virgins from Lorraine, designated by William Forsythe...

IMPORTANT GERMAN PIETÀ FROM THE 14th CENTURY ORIGIN: GERMANY, REGION DE COLOGNE PERIOD: BEGINNING IF THE 14th CENTURY, ca. 1330 Height: 98 cm Length: 45 cm Depth: 33 cm Polychromed linden wood Good condition of conservation Provenance : particular Alsatian collection The theme of the Pietà or Vesperbild appears in Germany at the end of the 13th century, reflecting the mysticism of the late Middle Ages. Although the theme does not exist in the Gospels, it was often mentioned in contemporary devotional literature. Indeed, during the first half of the 14th century, mystical thought and devotional practices changed under the impulse of a number of religious, among them Heinrich Suso and St Bridget. In his writings, Suso placed important emphasis on contemplation and meditation in the footsteps of Christ's martyrdom. This will have great impact in the field of art, especially in Germany and later in France. The emphasis will from now on be on grief, death is shown in a straightforward way. The wounds of Christ are gaping and bloody. The suffering of Christ and the seven sorrows of the Virgin Mary are meditated upon. This piece demonstrates the interest of the faithful in these representations where pathos reigns. The virgin is represented seated in a frontal position. The bust is very elongated. She is wearing a red dress with a simple neckline and a blue mantel...

This is an antique calligrapher's quill box. An Austrian, painted pearwood pen case, dating to the Edwardian period, circa 1910. Eye-catching painted appearance accentuates this cha...

Terracotta, 14th-15th century (thermoluminescence test: Interexpert 388317 from March 18, 1988). Koma-Bulsa motifs (Ghana), including a concave hairstyle with braided frontal ornamen...

IMPERIAL EAGLE Italian, 17th Century sculpture in carved and gilded wood, based on a base decorated with plant motifs and masks with two claw and ball-...

Stunning handcarved wooden head fragment with beautiful expression and glass eyes, Italy, circa 1750-1800. Beautiful example of 18th century craftsmanship. Weathered Measurement her...