18th Century and Earlier Decorative Objects

12th century extremely rare romanesque wood sculpture of the Virgin Mary. Magnificent wood hand carved sculpture of the Virgin Mary holding a book to her chest. It is an extremely rare survivor of the 12th century. The style is European, possibly French or English. This statue is a testimony to beautiful religious art from about 1150. A truly rare Romanesque sculpture...

This museum-quality Amethyst “harp” from Artigas, Uruguay, is a natural sculpture of exceptional beauty and rarity. The piece features a harmonious arrangement of high-quality Amethy...

This elegant pair of Dutch Delft vases is from the late 18th century, circa 1780. They are beautifully hand-painted and feature cobalt blue decoration in the mid-18th-century "Thousa...

Beautiful weathered marble baroque angel. Italy 17/18th century. Weathered, losses and old repairs. More pictures are available on request.

Wonderful hand carved standing Baroque angel figure. Unique period piece with its original paint . Spain, circa 1650-1750 Weathered. small losses . Measurement here below includes ...

Spinosaurus (meaning "spined reptile") is one of the largest carnivorous dinosaurs to ever exist. This behemoth lived in present-day Morocco during the upper Albian to upper Turonian...

This is an old Japanese earthenware jar. The shape is typical of an earthenware jar, but its greatest attraction is the color of the surface. ...

Beautiful handmade oak silver chest. It was made to hold valuables such as silver coins, jewels or maps. This was the precursor to the modern day safe. It is...

More information coming soon… Hand-carved in Italy in the 1700s, this giltwood niche has been mounted to a painted black stand. The small altar piece is quite unique, with the teal...

18th-century Dutch Walnut and Iron Polychrome Domed Table Box  Netherlands, 18th century or older A 18th-century Dutch walnut and iron polychrome domed table box, likely retaining i...

A pair of reclaimed 18th Century sandstone plinths found in a palazzo in Noto, Sicily. Each plinth bears 15 stone balls. Alas, I am not aware of the s...

An Extremely Rare Hand Decorated Irish Delftware wall hanging Charger or Cabinet Dublin Plate by Henry Delamain, decorated with flowers and foliage in colours of blue. Possibly third...

Blue baroque long case clock from the mid to late 18th century, between 1770 and 1790. The clock is Swedish and made from Swedish pine with the original blue paint as well as the aut...

Ptychopariida is a large, heterogeneous order of trilobite containing some of the most primitive species known. The earliest species occurred in the second half of the Lower Cambrian...

Mid 18th century hand painted traditional Swedish chest/box circa 1750. Stunning traditional Swedish box hand painted in the original paintwork.   Decorated on all sides with swags ...

We would like to introduce you to some fascinating pots excavated in Japan. This is a pot fired in an ancient Japanese kiln called Tokoname ware. Tokoname is a kiln located in Aichi...

This mid-18th-century Bow Porcelain plate features a hand-painted chinoiserie scene with a pair of black storks. One stork wades in the water while the other flies above it. Near the...

Magnificent Louis XIV period messenger box, late 17th early 18th century. This pretty box is made of leather-covered wood decorated with copper nails on the front and top of the box....

Chinese Export Porcelain Large Famille Rose Punch Bowl, Circa 1765-75 A large Chinese export porcelain punch bowl, distinguished by its vibrant famille rose enamel decoration. The e...

An incredible and rare 15th century French carved limestone fragment depicting the back of a man's head with a wavy hair texture, and mounted on a c...

It is a very old pot in Japan. This is a pottery called Tokoname ware. Tokoname is a kiln in Aichi prefecture, Japan. (The part marked with a red circle on the map is the Tokoname ki...

This fabulous handmade terracotta pot originated in the Provençal town of Biot and was used to store olive oil. In perfect condition, the photos show the pot in sunlight. These pots ...

This pierced brass decorative element from France was originally the cover of a bassinoire from the 1600s. A bassinoire is a device where hot coals are inserted into a vented recept...

A Thai bronze head of Buddha, Ayutthaya period, late 16th-early 17th century. His face with serene expression, arched eyebrows above incised eyes and ...

Salvator Rosa last 17th century giltwood frame. Internal measurements cm 24 x 32.5 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is the famo...

Huge Brazilian Golden Rutile Smoky quartz Weighs 29 lbs. Double Terminated Point Offered for sale is a very large scale Brazilian Golden Rutile Smoky quartz specimen with double ter...

Large Bolivian Amethyst Cluster Specimen Weighing 14.5 lbs. Offered for sale is a large Bolivian Amethyst Cluster example with gorgeous vibrant color and huge points. Bolivian amet...

A large and rare second half of 15th century religious marble sculpture group, hand carved, mounted on bronze base for display. This sculpture group depicts the death of Saint Joseph...

Great small wooden candleholder with its original gilding. Very nice type candleholder and rare to find. Italy, circa 1780-1800. Weathered, small losses and repair. H:29cm W:16,5cm ...

Beautiful and unique handcarved white marble winged angel head ornament that once adorned a facade. Italy, circa 1650-1750. Weathered and small losses and old repairs/ restorations (...

George III sterling silver urn. Made by Hester Bateman in London in 1785. Girdled bowl with flared rim and capped s-scroll side handles; domed foot. Gilt interior. Visible handwork. ...

This is a Japanese Echizen ware pot. It is "Echizenware". Echizen is a historic kiln located in Ishikawa Prefecture, Japan. (The Echizen kiln is marked with a red circle on the ma...

Beautiful weathered oak winged angel head, France, circa 1650-1750 Weathered, small losses and old repair. Measurements include the wooden base. H:37,5cm W:37,5cm D:8,5cm

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...

Painted with Spa Scenes From our Sewing Box collection, we are delighted to offer this Original Spa Sewing Box. The Sewing Box of rectangular form made from Sycamore is extensively decorated with Spa scenes to each side which include; la Sauvenière, la Géronstère, le Tonnelet, les Cascades de Coo and vue du aviny du château dimbles. When opened the box reveals a light pink lined sewing box with multiple compartments for storage and tools. The interior lid is finished with a framed panel of rauch velvet and an outer border of simulated ropework. The Sewing Box also contains four original spa spinners with painted scenes and a central lidded compartment painted with a further spa scene of la place du spa at lo fontaine du pouhon. Beneath the lid is a secret compartment which can be accessed by removing the rear panel which reveals a small handled drawer. The Spa Box...

Given its breath-taking stature, one can see that this amethyst cluster was freed from an especially large geode and with amethyst of exceptional quality within. The color and size...

2 Italian 18th century solid silver candlesticks altar Church candlesticks Style: Rococo, Italian, Antique, Louis XV, One of it can be converted to a candelabra Each on a shaped cir...

A rare large polished quartz geode with cream and golden hues and naturally forming crystal druzy formations. This specimen is from the Appalachian region of Kentucky. This was dug by hand and includes golden druzy crystal formations. This is a particularly large geode specimen...

Pair antique Chinese export porcelain rectangular form urns with covers, in Nanking pattern, circa 1790's. Good color and crisp detail. Fanciful dragon form handles. These make an im...

Taino Pre-Columbian Carved Jade Kneeling Figure Zemi Pendant. 2.25" H x 1" W x 1" D. Provenance: From the Upper East Side Apartment of a Former Ambassador.

Behold the dazzling beauty of this multi-colored fluorite specimen from the USA, featuring a rich palette of violet hues interspersed with transparent areas and edges adorned with a ...

This pottery was made around the 12th century, likely in the region around Iran. In Japan, this type of pottery is commonly known as "Persian pottery." In addition to polychrome-pain...

Circa 1790-1810 period Georgian tea caddy made from Mahogany. The tea caddy has been used well and loved over many centuries. The top has a brass ring with which to lift the lid. ...

Belonging to the period 1603-1867, most likely between the end of 17th and the beginning of 18th Century, this beautiful armour is a 32-plate suji kabuto made of brown-lacquered iron...

Exceptional quality French 18th century silverplate and brass candlesticks, Louis XVI period. Subtle, Neoclassical influences are evident in fluted textures and beaded edges on the s...

A fine petrified wood specimen. Perfect for use on the bar or table as a trivet. An old collector's record indicates that it is a species of cherry from Mcdermitt, Oregon. ...

An antique 18th century Walnut Figural Statue of Saint Peter on a plinth Anonymous Northern Europe, probably Belgium; first-half of the 18th century Walnut Approximate size: 17 (h) x 4.25 (w) x 4.25 (d) in. The present sculpture, perfectly suited for a curiosity cabinet or English-European country styled home, was likely realized for a church side chapel or choir stall niche. The serious look of the saint’s face...

A Gilt Bronze Tibetan Representation Of A rare Green Tara Buddha Statue. Sounds like there is an item sealed inside. Gilt Bronze and Copper. Early 1...

17th century lock & key. Probably form a large cabinet or a door.  

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

Antique Islamic Kashan Persian 13th century turquoise glazed pottery bowl. This bowl with vertical foot has interior paint in brilliant tur...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Maker's mark unidentified, Nürnber...

Hand-carved in the 1600s, this wooden coat of arms cartouche depicts an ornate crest atop a shaped console with several charges. The cartouche is Dutch, considerably predating the fo...

Made circa 1785, this plate features a deep cobalt blue border that is beautifully gilded with a dramatic geometric pattern. The burnished gilt is a hallmark of Dagoty porcelains. I...

This is black glazed pottery made in Korea from around the 15th to 16th century. This era in Korea is called the Joseon Dynasty. This black glazed pottery was only produced for a sho...

A natural piece of Petrified Wood set on a stand. Completely organic natural raw fossil, cleaned for display. Appearing as a towering mountain with jutting peaks. To the back sid...

Pair Louis XIV brass candlesticks. Pair Italian Louis XIV period bulbous form candlesticks with weighted base on paw feet. Italy, circa 1700. Dimensions: 4.5" diameter x 5.5" H.

This is an extraordinarily complete geode, split in two and mounted atop a custom metal Stand. This piece celebrates the visual phenomenon of the geode in its entirety, with some par...

The central element of this geode has been preserved with two windows on each side, revealing gorgeous calcite formations sat on a blanket of differentially tinted amethystine quar...

This is a fabulous pair of figures of Liberty and Matrimony made by the Bow Porcelain factory between 1760 and 1764. These figures were a popular pair portraying marriage. The bow...