15th Century and Earlier Decorative Objects

A Roman Marble Sculpture of Hercules, Circa 1st / 2nd Century AD The sculpture is nude except for the draped Nemean lion skin. Provenance: Sotheby's London, December 14, 1981, lot ...

A collection of 40 polished specimen hardstone and marble eggs displaying a variety of minerals. Displayed in an oak stand with round brass feet, these beautiful eggs include lepido...

DESCRIPTION: Etruscan sculpture head made with terracotta, the art represents a young man from the 4th century. It's a very decorative piece and the stat...

Virgin and child in majesty Origine: castille Epoque: early 14th century Measures: Height: 72cm Length: 30cm Depth: 25cm Polychrome and gi...

Large wooden Pre-Columbian Inca Kero cup. From Central Peru, circa 1300 to 1500 AD. A hollowed wooden vessel, of conical form, decorated with carved incis...

Roman Marble Head of Sophocles Circa 1st-2nd Century Marble This fine Roman marble head preserves the proper left side of the face of a middle-aged man, with broad nose, soft lips, and bearded chin. The short beard and sideburns have been finely carved with a flat chisel, to render the soft, wavy strands of hair. The cheekbone, undereye, and nasolabial folds have been delicately modelled in the marble by a skilled hand. In a letter from 1975, the former director of Ny Carlsberg Glyptotek, Copenhagen, suggested that the head could depict the Ancient Greek tragedian Sophocles. Few figures in the Classical world stand aside Sophocles (c. 496-406 BC), inarguably the best known of the Athenian tragedians, in terms of the impact his works have had on the history of art and literature. The psychological depth he achieves in the seven of the 123 of his plays that have survived to the present day - most notably the three Theban plays: Antigone, Oedipus the King, and Oedipus at Colonus - not only inspired the Athenians, among whom Sophocles was honoured as a hero long after his death, but in our own time, have provoked landmark works on phychoanalysis and literary criticism, by thinkers like René Girard and, most famously, Sigmund Freud. In its masterful treatment of the marble this fragment sensitively captures the features of one of the most important playwrights of all time. Height on stand: 7.9 inches (20 cm). Provenance: Collection of Danish sculptor Jens Adolf Jerichau...

Kolihapeltis chlupaci hollardi is a rare, spiny trilobite fossil, a member of the Order Corynexochida and Family Scutellidae, found in the Lhandar Formation near Atchana, Morocco, du...

Head of a Satyr Roman, circa 2nd - 3rd century AD Carved and highly polished marble An extremely fine marble head of a satyr, depicted with ivy wreath, curly hair and pointed goat’s ear, the full lips slightly parted to reveal the creature’s clenched teeth. The head was once part of a relief with visible fragmentation on the left side. Almost completely worked in the round and carefully polished, the skill of the sculptor is particularly remarkable given the confined working space available for a relief carving, such as this. The Roman Imperial Period marked the expansion of the political and cultural influence of the Roman Empire. The period began with the reign of Augustus in 27 BC, immediately following Caesar’s assassination which ultimately ended Rome’s time as a republic. Soon after, Augustus’ defeat of Anthony and...

A masterpiece of nature that will transform your space into a sanctuary of palaeontological expression. This remarkable piece of natural history that began its journey millions of ye...

Spinosaurus (meaning "spine lizard") is a genus of theropod dinosaur that lived in what now is North Africa, during the upper Albian to upper Turonian stages of the Cretaceous period...

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...

A sublime Korean celadon glazed cup mouth bottle vase, Goryeo Dynasty, 12th century, Korea. The elegant bottle vase, originally used to serve wine, features a gorgeous Goryeo celadon...

Cypriot Plank Idol Early Bronze Age III - Middle Bronze Age I, c. 2100 - 1850 BC. Low fired burnished earthenware pottery with lime-filled incisions A Cypriot plank idol, an iconic form of human representation from Bronze Age Cyprus...

A small and very fine Chinese carved sandalwood figure of a bodhisattva, possibly Avalokiteshvara (Guan Yin), Song Dynasty (960 to 1276), circa 13th ...

Corbel with an Angel Holding a Shield
Franco-Flemish, Burgundian Netherlands 15th century
Limestone On a modern metal stand H 21 x L 16,5 x P 18,5 cm This finely carved stone corbel,...

Weight: 200 Gram Dimension: 8.1 x 6.6 x 6.8 Cm Origin: Skardu Valley, Pakistan Aquamarine is a pale-blue to light-green variety of beryl. The color of aquamarine can be changed by...

Canopus Jar "Asmet", With certificate of authenticity. 1069 - 664 B.C, Egypt. Good condition. Egyptian culture are "Canopus jars". These were vessels ...

Petrified Conifer Slab Araucaria (Monkey Puzzle Tree) Triassic Period Chinle Formation Arizona, USA A stunning over 200 million year old petrified conifer slab, featuring a m...

South Arabian Calcite female figure 3rd Century BC to 1st century A.D. Calcite Alabaster height: 30.5 cm A magnificent alabaster female figure, a f...

A wonderful Chinese red clay pottery tomb figure from the Tang Dynasty (618 to 907). Guarding a dignitary or decorated soldier; these figures stood guard for over a thousand years surviving to decorate your home collection of ancient artistic and cultural artifacts. Original Polychromed red and gray paint pigments still present. Chinese Buddhist guardian statues made of earthenware and pigments, from the Tang Dynasty (618–907 AD), dated to the late 7th to first half of the 9th century. The foreign facial features of this brilliantly sculpted guardian figure is evidence of the strong Western presence in Tang-dynasty China. Originating in the Lokapala deity of the Buddhist religion, which came to China from the West, this type of armored tomb guardian...

A delightful carved sandstone sculpture of an unidentified male deity, Khmer, Angkor Period, style of the Baphuon, 11th century. The smil...

Ancient Roman marble sculpture. Includes custom iron stand. This is the real thing!

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...

Madagascar Jurassic - Cretaceous Period, 200 - 145 million years old Dimensions: 9.25 × 8 × 2 in. / 23.5 × 20.5 × 5 cm Weight: 5.55 lbs / 2.424 kg In this example, the complex pa...

The latest edition to arrive at THE FOSSIL STORE™ is our famous and exquisite series of Mantelliceras ammonites presented on our designed swivel mount. The newly prepared Mantellicer...

On offer is a Korean celadon bowl with elaborate slip inlays circa 13-14th century from the late Goryeo Dynasties (918 to 1392AD). Despite inspired...

Monumental Peruvian Pyrite Cluster Weighing 92 lbs. Offered for sale is a huge specimen of Peruvian Pyrite that weighs an astounding 92 pounds. Pyrite is a shiny stone known as foo...

Morganite with Smoky Quartz Mawi pegmatite, Nilaw-Kolum pegmatite field, Nuristan, Afghanistan 9.7cm tall x 11.5cm wide Ex-collection Stephen Smale All the members of the Beryl f...

Egyptian Fragment of a Seated Man Limestone - polychromy Ancient Egypt, 26th Dynasty (664-525 BC) Most likely from the tomb of Montw-m-H3t Provenanc...

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...

Candle Quartz from Madagascar is a captivating variety of quartz known for its unique, elongated, and columnar crystal formations that resemble candles. These crystals typically deve...

Important virgin and child in majesty Origin : Germany Or Eastern France Époque : Second Half Of The 13th Century Height: 104.5 cm Length: 3...

Large Martaban Ming dynasty stoneware storage vase with dragons, 14th century. Beautiful Ochoa and yellow-brown glaze with decorated dragons and Ming clouds. Applied snail or dragon ...

Roman marble Fragment of a Right Foot with Sandal Circa 1st - 2nd Century A.D. An evocative Roman marble fragment, preserving the front portion of an over-lifesized sandalled foot. The toes, nails, and bridge of the foot have been sensitively carved. The outer sole of the sandal remains, with delicate, pointed straps joining between the first two toes in a diamond shape. This fragment once belonged to Danish sculptor Jens Adolf Jerichau...

A magnificent and large early Tang dynasty (618-906 AD) model of a prancing or dancing horse, circa 7th century. The majestic animal is caught mid-motion, one leg raised, head grace...

A finely crafted Ancient Apulian Magna Graecia Bell Krater, dating to c. 350 BC, used as a wine mixing bowl in classical antiquity. This red-figure pottery vessel features twin handl...

1200 Plus Gram Gorgeous Calcite Specimen From Balochistan, Pakistan Weight: 1200+ gram Dimension: 8.8 x 15.1 x 11.7 Cm Origin: Balochistan, Pakistan Calcite crystal's properties ...

Chinese, Tang Dynasty (618 AD to 906 AD) TL tested A pair of semi-human earth spirit figures seated on their haunches with cloven hooves planted firmly on...

Aquamarine with Schorl on Orthoclase Shigar Valley, Shigar District, Gilgit-Baltistan, Pakistan 12.7 cm wide x 11.5 cm tall Ex-collection William Ferris There are two significant...

Grand scale 15th century solid hand-carved stone male statue. Source of origin Bhutan.

Libyan Desert Glass Circa 29 Million y/o Height: 9.5 cm A beautiful, tactile piece of yellow glass, found between the high crested dunes of the Libyan De...

While the birth of Christ is briefly told in the Gospel of Luke (2, 7) it is in the apocryphal texts that we find most of the elements and details that have then inspired artists. As of the 14th century and even more of the 15th century the subject of the Adoration of the Child replaces in Western art the scene of the Birth, much favoured in Byzantine art. Instead of being depicted lying with the new-born swathed in the manger, the Virgin is now kneeling, her hands joined in prayer in front of the naked child. This change was probably hastened by the popularity of the visions of Saint Bridget of Sweden to whom the Virgin allegedly appeared to show how she had given birth to Jesus (Visions, VII, chap. 21). Sheltered by a thatch-roofed structure the Virgin is kneeling in front of the Child Jesus. She wears a magnificent red dress under a large gold cloak. Her curled blond hair is partially veiled. The newborn is lying on a straw mat. Joseph is depicted with a parted beard and stands opposite from the Virgin. He wears a tunic and a coat with a purse hanging from the belt. His costume reminds us of the long journey him and Mary have accomplished to reach Bethlehem. Two other women are present. One is looking through the stable’s window to observe the Holy Family while another one kneels in prayer in front of the divine child. The rich costume of the lady might indicate she is a donator. However they could also both represent the women who took part in the birth of Christ, Zelemi and Salome. Salome, incredulous did not believe in the virginal conception of Mary and she is represented far from the scene. The artist has depicted her with an expression of doubt on her face. Zelemi, on the contrary, is a believer. She is rewarded by a place of honour at the heart of the scene, close to Mary. To the left the donkey and ox that have accompanied Mary and Joseph to Bethlehem observe quietly the scene. On the foreground two angels hold a scroll reading an excerpt from the Gloria : “/Gloria/ in excelsis /Deo/.” One of the angels wears a blue cape while the other’s is red Those two colours are very significant as during Middle-Ages blue symbolises hope and red charity. Together they express the hope in redemption thanks to the advent of Christ and his sacrifice to come. Above the main scene, up a cliff, a small shepherd lets his herd of sheep graze amidst the trees. He is framed by two walled cities. This wood carving is the work of a very skilled and inventive artist. The piece bears witness to his exceptional talent. The realism of the scene is emphasised by the amount of details depicted. The refinement of the carving itself is highlighted by the well preserved polychromy. This key moment of the New Testament is set in a contemporary context thanks to the clothes of the characters and the scenes of rural life. The universal dimension of the scene is intensified while allowing contemporary viewers to grasp its meaning more easily. This care for details, the picturesque realism as well as the extraordinary rendition of the cloths suggest it was made by a Flemish artist during the late 15th century. This relief can be compared with the panel of the Nativity from the Saint-Vaast altarpiece made by Jacques Daret between 1433 and 1435, today in Madrid’s Thyssen-Bronemisza Museum. Literature Louis Réau, Iconographie de l’Art chrétien...

THE FOSSIL STORE AES Bronze stand series is an excellent example of a double-sided Calycoceras asiaticum ammonite measuring 205mm. Now transformed into ...

A varied and fascinating collection of 5 natural mineral specimens, ex. private British collection. Each presented on an exclusive small painted display plinth, this group contains ...

This genuine Burmese amber specimen dates back approximately 99 million years. Pieces like these are sometimes called a menagerie and this one contains s...

390 Gram Magnificent Aquamarine Specimen Bunch From Skardu, Pakistan Weight: 390 Gram Dimension: 10 x 5.9 x 3.5 Cm Origin: Skardu District, Gilgit Baltistan Province, Pakistan Aq...

AES Brass stand series brings you Cambropallas tellesto fossil now transformed with our elegant, innovated-designed stand series, an extraordinary Cambropallas tellesto fossil trilo...

Mankind has loved hematite for its sleek beauty and red undertones since its first discovery. It has been utilized as a reddening pigment by the ancient Egyptians, mined by the Etrus...

A Fossil Spinosaurus Dinosaur Tibia 2.3ft leg section in surmounted bronze AES stand. Unearthed in the continental intercalaire, this 2.3-foot Spinosaurus tibia section highlights a ...

Two Neolithic basalt celts mounted on black steel bases. In archaeology, a celt is a long, thin, prehistoric, stone or bronze tool used as an adze, hoe, h...

An impressive skull of an Edmontosaurus, a large herbivorous dinosaur that lived during the Late Cretaceous period, 68-66 million years ago. The three rows of sixty or more teeth on either side of the jaw, known as the ‘dental battery’, mark the Edmontosaurus as part of the Hadrosauridae, or duckbill family of dinosaurs. It belongs to the flat-skulled, or solid-crested, Hadrosaurinae, which replaced the older hollow-crested hadrosaurs. Edmontosaurus was one of the last non-avian dinosaurs to ever exist, living shortly before the Cretaceous-Paleogene extinction event. The Edmontosaurus was named in 1917 by Lawrence Lambe, after a partial specimen from Edmonton in Alberta, Canada. The existence of large Edmontosaur bone beds...

Large white crystal quartz geode with a large naturally forming baroque pearl. 28lbs. Geodes are formed as gas bubbles within volcanic lava. Over time, the lava flow weathers away to leave the quartz geode buried deep in the Moroccan desert. This was dug by hand and includes druzy white crystal formations. This is a large geode specimen...

Chinese Neolithic Pottery Jar from the Majiayao Culture, specifically the Machang phase, in northwest China, and dating back roughly 4000 yea...

These exquisite Neolithic bracelets from Mali are a captivating testament to ancient craftsmanship and ingenuity. Carved from limestone with natural crystalline veins coursing throug...

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...

An impressive Ancient Egyptian Faience Ushabti figure, belonging to the c. 700-30 B.C. It consists of a molded pottery having a green glazed surface. The figure is wearing a royal wi...

Of all the incredible malachite specimens recovered from the Katanga Copper Crescent of the DRC, there is only one known incidence of a stalactite composed of chrysocolla with stunning malachite "eyes" and azurite rings...

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

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...

A wonderfully sensual Khmer statue of a female divinity delicately carved from gray sandstone. Her face radiates a cool serenity. Almond shaped eyes ga...