Gothic Figurative Sculptures

Pair of Antique Giltwood Angels Hand carved and gilded with silvered clouds to base. Made in France at the end of the 19th century, Very decorative architectural wall elements. ...

An extremely rare pair of original 11th century French Romanesque limestone hand carved sculptures of Saint Peter and Saint Paul. Each figure is represented on a marble block, withou...

Large heavy 18th century or earlier carved oak corbel. The corbel depicts a large male open-eyed smiling face with broad features. Finly carved details with wonderful old patina.

Hand carved wood antique statue of Mother Mary wearing a Gothic crown. This original and all hand carved sculpture of the mother of all mothers is anothe...

Pair of Antique Giltwood Angels Hand carved and gilded with silvered clouds to base. Made in France at the end of the 19th century, Very decorative architectural wall elements. ...

Rare late 15th century or early 16th century Gothic Corpus Christi wood sculpture. Probably North German or South Sweden. This large Christ sculpture...

SAINT FLORIAN   ORIGIN: SOUTH GERMANY, SWABIA PERIOD: END OF THE 15th CENTURY   Height : 100,5 cm Width : 34 cm Depth : 17 cm 
Polychromed lime wood Good state of conservation   
Sin...

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...

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...

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...

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...

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 ...

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 extraordinary museum piece Enthroned Virgin Mary/Madonna with child on her lap comes from the Rhone region in France. The saint symbol and protec...

An extremely rare pair of original 11th century French Romanesque limestone hand carved sculptures of Saint Peter and Saint Paul. Each figure is represented on a marble block, withou...

This extraordinary museum piece Enthroned Virgin Mary/Madonna with child on her lap comes from the Rhone region in France. The saint symbol and protec...

A Pair of 16th Century Oak Saints: One being a male depicted wearing a long hooded cloak held together with a brooch over a flowing tunic tied at the ...

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...

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

Beautiful and sizeable Church altar candelabra in the form of a winged Angel. This hand-carved Church altar piece is carved out of wood and the gilt finishing gives this piece it's ...

Very large Christ on the Cross ( height 1,30 m), Painted and carved in the round in poplar wood. Some old traces of polychromy. Restorations to the fingers. but not recently. South...

Gothic canopy France, 15th century Alabaster, some traces of polychromy 33 x 23 x 20 cm Provenance: - Private collection Genève, Switzerland ...

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...

Head of a crowned Virgin Île-de-France, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) - Private Collection Tuscany, Italy (19...

Head of a crowned Virgin Lorraine, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) Private Collection Tuscany, Italy (1980) Ex...

19th Century Religious Dummy Board Oil Painting of Angel & Crown of Thorns. Rare life size 19th Century religious oil painting on carved pinew...

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

Large heavy 18th century or earlier carved oak corbel. The corbel depicts a large male open-eyed smiling face with broad features. Finly carved details with wonderful old patina.

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...

19th Century Brass Wall hanging Shield A Decorative Gothic wall hanging Shield hand made in brass, the shield is decorated with mythical Warriors and beasts, there are 2 images of t...

Wooden Carving of a Gothic Lady with Elegant Headwear and Necklace, Dutch, 17th Century This exquisite wooden carving, depicting a Gothic lady adorned with an elegant headpiece and ...

Saint Ambrosius Italian sculpture 17th century in painted and gilded wood. The figure is represented standing up blessing with the hand. Faults and defects. Dimensions. Heigh...

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...

Cast bronze life size gothic skeleton / bone praying hands sculpture, titled on base Eternal Hope and signed Park '92. In the style of Blackman Cruz Workshop.

Antique large size sculpture and an impressive, religious work of art. Looking at Christ suffering like this, the crucifix (in our view) is a symbol of what 'telling people the trut...

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...

17th Century German hand-carved oak religious sculpture. Possibly a saint or a bishop. The bearded man is cloaked in draped fabric with only left ...

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...

BEAUTIFUL GERMAN PIETA KNOWN AS “VESPERBILD” ORIGIN : GERMANY PERIOD : 15th CENTURUY Height : 74 cm Width : 43 cm Depth : 22,5 cm Good condition Oak wood This beautiful 15th-c...

Flemish Polychrome Sculpture of the Meeting of St. Joachim and St. Anna. Sandstone cast over limestone depicting St. Joachim and St. Anna's embrace at the Golden Gate after the news ...

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...

RARE NURSING VIRGIN FROM THE 14TH CENTURY ORIGIN : ITALY PERIOD : 14TH CENTURY Height : 60 cm Width : 20,5 cm Depth : 11 cm Wood Seated and in a very maternal position, Mary is wearing a red dress with a long, flowing cloak covering her narrow shoulders and falling down her body, with one side hugging her bust. Her hair, half hidden under a veil, frames an oval face featuring a high forehead, a long and thin nose, a small mouth with thin lips and half-closed eyes. Mary is carrying her son, the infant Jesus, who is wrapped in a cloak, in her lap. Jesus is being nursed by his mother, held by her left hand. This remarkable depiction, imbued with such gentleness, is directly inspired by the iconographic theme of the Virgin and Child in Majesty. It breaks with the hieratic, impassive style of the models from the 12th and 13th centuries, adding a touch of realism. From Virgin Queen, Mary became Virgin Mother. Linked to the development of the Marian cult, this type of representation, sometimes known as Virgo lactans, Virgin of Milk or Nurturing Virgin, remains extremely rare. This image of the Virgin Mary and the Infant Jesus is an extremely delicate representation of the intimate bond formed...

19th century crucifix or corpus Christi made from wood. Wooden cross with a nice patina and an exquisite shape. This item depicts the Christ in his last agony on the cross, after be...

France / 1550 / statue Saint Eligius / Antique / reliques Religious statue of Saint Eligius from the 16th century in full wood found in France. This very rare find has a beautiful patina due to its old age. The hand and staff are missing. A true treasure and historical piece. The intricate carvings on the robe showcase the artisan's talent, with every fold. The natural wood grain adds a touch of warmth and authenticity to this unique piece of relic art...

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...

Circle of Pierpaolo and Jacobello Dalle Masegne (Venice, late 14th century) San Bartolomeo high relief 'en applique' white marble 52 x 30 x 14 cm Provenance : Collection South of...

SAINT WOMAN IN POLYCHROME CARVED WOOD   ORIGIN : ITALY PERIOD : late 13th century   Height : 103 cm Length : 28  cm Width : 16 cm  Remains of polychromy   ...

A fragment of a sandstone corbel with flat upper face, moulded transverse ledge and two protruding lobes with reserved trefoil detailing. The lower edge has fine dentiled carving and...

16th century French oak polychrome statue of Saint Maudez. A Breton saint from the 5th-6th century who founded a monastery off the coast of Brittany. Saint Maudez was said to have ba...

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...

A Pair of 16th Century Oak Saints: One being a male depicted wearing a long hooded cloak held together with a brooch over a flowing tunic tied at the ...

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 16th Century Giltwood and Polychromed Carved Group depicting God and Mary seated on a plinth.