Sculptures

Sculptural 18th century Italian mecca fragment candlestick with a fossil shell and wulfenite on a polished calcite base. The fragment was originally p...

This is a beautiful porcelain figure of a musician with a flageolet and tabor (fluit and drum), made by Derby around 1765, which was the Rococo era. The figure is one half of a pair ...

This sculpture is from Africa, it has been made circa 1950. There is an old patina on the wood. The condition is good with wear consistent with age. It is an abstract sculpture , i...

Crafted in France circa 1760 and resting in a carved oak niche, the figure depicts the prophet Moses, the most important prophet in Judaism and Christianity. Moses is best known from the story in the biblical Book of Exodus and Quran as the lawgiver who met God face-to-face on Mount Sinai to receive the Ten Commandments after leading his people, the Hebrews, out of bondage in Egypt and to the "promised land" of Canaan. He is represented with horns on top of his head. The horns came about because of an ambiguity of the Latin version of Exodus 34, 30. After being addressed by God on top of Mount Sinai and given the Tablets of the Law containing the Ten Commandments, Moses descended to his people in the desert. His face was seen to shine with a divine light. (The first Moses with horns was commissioned in 1505 by Pope Julius II for his tomb; it was based on a description in chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time). The religious and biblical item...

18th century Italian fragment with a calcite crystal cluster in matrix mounted on a Italian glass bobeche base. The fragment is from a church in Florence. It was found and saved f...

Large base of molded hexagonal pilaster in burgundy stone carved with vines, grapes and rosettes in high relief. Burgundy, 15th century 28 x 63 x 30 cm Provenance : collection De...

A very fine and large French 19th century white marble bust of a young beauty, purported to be a young "Marie Antoinette" (Queen of France 1755-1793), by René Rozet...

French etagere ( shelf ) 18th century Original condition Measures: 19cm x 40cm.

This candle holder by renowned porcelain manufacturer Jacob Petit is extravagantly designed in the form of a majestic peacock. Petit owned one of the most important and well-known po...

Italian Romanesque 12th century marble recumbent lion 12th century Italian roman marble lion  with a stylized mane and tail wrapped around its body a...

Mid 17th century Northern European carved figure of a saint. This striking statue depicts a saint who is dressed in robes, whilst holding his hand over his heart. This figure is freestanding and is stood within a leaning position which makes him stand out. It has been beautifully carved from oak and has remnants of its original paintwork. Likely to have stood within a church for many years and would have been removed due to renovation reasons. This historical figure...

Taken from a model of 1772 by M.C. Avier and J.C. Schönheit, this charming porcelain group by the Meissen manufactory depicts a group of five figures around a central rock mound, inv...

This piece is a superb example of the work of the Meissen porcelain manufactory. Modelled by E. A. Leuteritz in the 19th century based upon earlier models, it is a group piece, showi...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

17th century Italian fragment with a chalcedony rosette. It has antique hand-written Italian inscriptions on the base. The chalcedony mineral mimics the color and texture of the distressed wood fragment. This fragment is from a church in Florence. It was found and saved from the historic Florence Flood of 1966. This was one of the worst floods recorded since the Renaissance and drew thousands of volunteers from all over the world to help save the city known for its precious history, artwork, artifacts, and rare books. The volunteers were called "the mud angels" because of the mud and silt left everything from the damage of the flood. There is still the original paint and silt left on the piece to uphold the integrity, craftmanship, and history of sculptural fragment. The story and history of this piece and Interi's collection of Florence fragments...

A large Italian school carrara marble sculpture depicting a sleeping nymph. The finely carved sculpture is reminiscent of a depiction of Sleeping Ariadne, popularised by the Roman copy of the Hellenistic original, the former being housed at the Vatican. Reclining on rocks, the sleeping nymph is shown draped only below the waist, and her finely modelled form is exemplified by the delicacy of her fingers. Italian, early 19th century. Before restoration.

Pair of polychrome Capodimonte porcelain figurines, a man with basket of grapes and a girl with a basket of flowers, both with round gil...

Elaborately crafted porcelain group from the 19th century: A couple of gardeners and two boys harvesting apples, dressed in rural Rococo robes with fine decorations, a boy standing at the top end of the ladder leaning against the tree and picking apples, below them the gardener couple, the female catching them in her apron held high while the beau reaches an apple to her mouth, a boy sitting behind the tree and taking an apple from the full hat standing next to him on a tree stump. On a round meadow base with three-dimensional foliage and gold-heightened rocaille decoration. Designer: JOHANN JOACHIM KÄNDLER (1706 - 1775) was chief sculptor at the Meissen manufactory from 1742 to 1775. He is the most famous modeller Meissen manufactory ever had and created famous series such as Shepherd Figurines, Comedian's Children, Gardener Children (with Acier), Paris Town Criers (with Reinicke and Meyer) , Gallant Figurines, etc. Kaendler designed model 1755...

17th century wooden columns Beautiful 17th century columns carved in wood with a geometric drawing of 65 cm tall.

17th century Italian church vase with fossilized coral, a double crystal point on an agate base. This fragment is from a church in Florence. It was found and saved from the historic...

Pair of Italian Venetian style (20th Cent) porcelain busts of clowns wearing a black mask resting on a low pedestal.   

This is a wonderful pair of figures of Arlecchino and Columbina, made by the Bow Porcelain factory in about 1758. These figures formed part of a series of the Commedia dell'Arte, a very popular series of theatrical figures that served as decoration at the dinner table in the 18th Century. The Bow Porcelain Factory was one of the first potteries in Britain to make soft paste porcelain, and most probably the very first to use bone ash, which later got perfected by Josiah Spode to what is now the universally used "bone china". Bow was the main competitor of the Chelsea Porcelain Factory, but where Chelsea made very fine slipcast porcelain, Bow made a different soft paste porcelain that tended to be softer and could be pressed into moulds. Bow served a larger public generally at lower prices. The factory was only in operation between 1743 and 1774, after which the tradition got incorporated into some of the later famous potteries such as Worcester and Derby. These figures were used to adorn the dinner table when dessert was served; groups of figures served to express something about the host, the guests, or to direct the conversation. The Italian Commedia Dell'Arte, a comical form of masked theatre, was very popular in those days and Bow copied many figures of the German Meissen series that were brought out in the decades before. This pair dates from about 1758, which was at the height of Bow's ability to make beautiful figurines often copied from Chelsea or Meissen. The pair is modelled after a Meissen pair by Kaendler. The porcelain is translucent with a beautiful milky glaze - Bow was probably the first pottery using bone in its porcelain recipe. Arlecchino (Harlequin) is playing the bagpipes, dressed in an odd costume of mismatched chintz and playing cards and wearing a funny black trumpet...

Elaborate porcelain group of the 19th century: Young mother in elaborate Rococo clothing, seated on a magnificent Louis XVI-style armchair, resting her left foot on a low pedestal, ...

Pair of 18th century Italian gold candlesticks with agate coral and baroque pearls. The altar sticks originally came from a church in Tuscany.. They are mounted with the coordinat...

17th Century Italian church vase decorated with fossil agate coral, red phantom quartz crystals, and chalcedony rosettes on polished agate base. This fragment is from a church in Florence. It was found and saved from the historic flooding of the Arno River in 1966. Fossil agate coral is mounted on top of the artifact. Fossil agate coral is Florida's state stone and is known for its unique formation that can take place over 20 million years. It's a natural gemstone that is created when prehistoric coral is gradually replaced with agate. It is adorned with coordinating red phantom crystals and chalcedony rosettes that resemble the color and texture of the piece. The piece has been naturally distressed from the flood. It has been preserved and transformed by Jean O'Reilly Barlow, the creative director of Interi. The date of manufacture reflects when she created the piece and the period shows that the Italian fragment is originally 17th century. The story and history of this piece and Interi's collection of Florence fragments...

Fine German Meissen porcelain beveled wall mirror with a pair of figural cherubs. Finely modelled as an elegant 18th century piece of art, hand painted white porcelain china with cob...

This wood Christ bears signs of time without diminishing its grace nor its interest. This Christ presents some characteristic of the previous century. While the feet are missing the position of his legs, parallel one to the other, let us think his feet where placed side by side as in the 12th century’s crucifix. The remains of his perizonium let us guess the cloth was very short, displaying the knees and a part of the thighs. The figure is straight, the arms horizontal, the hands open -with tha palm then pierced by nails- and the thumbs parallel to the other fingers as in most of the 12th century’s Christ on...

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...

Pair of Rococo style bisque porcelain female figures French, late 19th century One figure: Height 19cm, width 14cm, depth 10cm Other figure: Height...

17th century Italian vase with a calcite crystal cluster in matrix on a petrified wood base. This fragment is from a church in Florence. It was found and saved from the historic flo...

This fine amber sculpture depicting Jesus Christ is a very rare object. Exemples of this sort can only be found in Germanic countries. Already used during Prehistoric times, amber have always fascinated people. Because of the virtues associated with this material amber was carved as amulets and prophylactic ornaments. As an expression of luxury and means amber was also used for adornments and small figures collected by the upper classes. This fossilized resin was picked on the Baltic Sea shores and soon entered a intense trade system. From the 14th century onwards knights of the Teutonic Order...

17th century Italian vase with a calcite crystal cluster in matrix with sphalerite. This fragment is from a church in Florence. It was found and saved from the historic flooding of the Arno River in 1966. The calcite crystal cluster with sphalerite is from Elmwood Mine in Tennessee. It is an example of the world’s finest crystallized calcite. With the unusual formation of sphalerite, it is unequaled by those from any other part of the world (featured in American Mineral Treasures, pg. 337). These minerals are formed from the chemical precipitation of calcium carbonate and zinc. The minerals are essentially deposited on the walls, floors, and ceiling of the geological caverns of the zinc mine. It is known for producing some of the most superb various examples of calcite, fluorite, and sphalerite with exceptionally large and sharp calcite clusters. The piece has been naturally distressed from the flood. It has been preserved and transformed by Jean O'Reilly Barlow, the creative director of Interi. The date of manufacture reflects when she created the piece and the period shows that the Italian fragment is originally 17th century. The story and history of this piece and Interi's collection of Florence fragments...

San Antonio Abad, Castilian school of the 15th century (1440-1501) Carving in polychrome wood, measures: 45 x 15 cm good vintage conditions.

The Saint depicted here is Saint James the Great. James is the brother of St. John the Evangelist. Nothing is known of his activities after the Ascension...

Exquisite figurine representing a woodcutter. Beautiful details of ax and towel. Modern. Since 1826, Herend's factory has been one of the most famous centres for the production ...

17th century Italian fragment with wulfenite on a fishtail selenite base This fragment is from a church in Florence. It was found and saved from t...

18th century Italian gold leaf angel wing mounted on tourmaline in crystal quartz. The large, gold leaf and painted angel wing originally came from a church in Tuscany. It was onc...

Derby was able to produce exceptional work, and these vases are a brilliant example of what they were capable of, when making for the top of the market. The body, the modeling, and t...

Bring this vibrant antique porcelain piece into your living room, office, or bedroom for a unique flair. This colorful, extremely detailed majolica figurine composition was created i...

17th century Italian fragment base mounted with a large stromatolite and adorned fossil rose coral. This fragment is from a church in Florence. It was fo...

17th or 18th century Italian fragment vase with agate coral, zig zag oyster fossil arms, fossil shells, and a baroque pearl on a polished petrified wood base. This fragment is fro...

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...

This Virgin and Child is wearing clothes with a limited number of folds and showing a thickness characteristic of the Burgundy region. As a result of the presence in the region of th...

17th century Italian vase with black tourmaline and crystals on a petrified wood base This fragment is from a church in Florence. It was found and saved from the historic flooding of the Arno River in 1966. The piece has been naturally distressed from the flood. It has been preserved and transformed by Jean O'Reilly Barlow, the creative director of Interi. The tourmaline and crystals have been applied to the fragment vase and mimic the texture and color of the painted distressed fragment. The story and history of this piece and Interi's collection of Florence fragments...

Seating on a bench-like throne the Virgin carries her child on her left knee. She bears an important crown high on her head .The Virgin has an ovoid face with bulging eyes, straight long nose and thin lips. The hair parts in the middle and are carved as thick horizontals parallel hair strands...

17th century Italian vase with a chesapecten shell & gold-plated crystal points. This fragment is from a church in Florence. It was found and saved from the historic flooding of t...

18th Century Italian cross adorned with native copper with crystals from White Pine Mine, Michigan and copper-plated kyanite on a crystal druzy in copper...

A stunning fine quality Napoleon III Second Empire Period (1852-1870) doré bronze (gilt bronze ormolu) shelf clock with signed Japy Freres eight-day time and strike movement. Born in Paris, France in the third quarter of the 19th century, exceptionally executed in luxurious 18th century Louis XV Rocaille taste, the curvacious sculptural case...

A fine antique limestone carving. Modeled as a Madonna. With her head slightly tilted, holding an orb in one hand, and with her other hand resting on her breast. By repute ...

Exhibition Museum Cantini, 1952, The art of the Middle Ages in the Marseille collections, n°101 Provenance Former collection Louis Bresset (before 1952) Former collection Profe...

This is a Volksted Porcelain depicting a gentleman dressed with two different colorful flower fabrics in his blouse & pants. His shoes are adorned with flowers. He is holding a rose in his right hand & a gentleman cane...

This wood scultpure showing fine traces of polychromy depicts John the Baptist, one the Old Testament’s last prophets and the first martyr of the New Testament. He is easily recognizable with the lamb he is carrying in his left hand. The way the artist has carved the face exudes a spiritual strenght inherited from previous centuries. Description Saint John the Baptist is depicted bare feet, seated in a hieratic manner. His elongated face is marked by a beard and a moustache. The straight nose and wide eyes indicate a Spanish origin. This asumption is reaffirmed by the Saint’s resigned expression. His parted hair frames his face while uncovering his ears. He wears a round collar red-orange tunic, draped onto the body and belted at the waist. A flap of his green coat covers his knees and falls down in stylized pleats. Following iconographic rules Saint John the Baptist is pointing with his right hand the lamb seated...

A pair of 18th century Italian candlestick fragments decorated with tourmaline in matrix. The pair of 18th century Italian gold leaf candlestic...

This face with prominent eyes, open mouth and beautiful hairs with symetrical undulations may be the face of the Archangel Gabriel.  

This carved oak woodwork was probably placed on the facade of the house, close to the roofing framework of a Norman house. The sculptor had depicted the salamender frontview in a sty...

A stunning English, early 19th century, carved wood fragment in oak, detailing a lions mask with a garniture of oak leaves and acorns and the outer frame work with scrolling acanthus...

Large French Rococo style bronze figural group of cherubs and a goat by Henri Picard (1840-90). Small stamp on bottom of base 0000 HPICARD. Base is modeled after a similar sculpture ...

17th or 18th century Italian fragment vase with chesapecten shells, zig zag oyster fossil arms, fossil shells, and a faden crystals on a polished petrified wood base. This fragment is from a church in Florence. It was found and saved from the historic flooding of the Arno River in 1966. The piece has been naturally distressed from the flood. It has been preserved and transformed by Jean O'Reilly Barlow, the creative director of Interi. The fragment artifact is mounted with chesapecten shells and adorned with fossil shells and faden crystals. The zig zag oyster fossils act as arms on the fragment vase. The story and history of this piece and Interi's collection of Florence fragments...