Tin toleware birdhouse shaped as a Childs hat

Fine porcelain table lamp signed Lavergue on backside of base . Marked Goldscheider made in Austria on underside . Small lighter bulb not working . Height of lampbase is 18.5 to top ...

Beautifully scaled cast and plated sculpture of rearing horse on onyx base.

National harder advertising mascot. Made up of chromed nuts and hardware bits. Shown with old hardware box depicting its image. Robot is in excellen...

Carved and molded Stylized or abstract horse sculpture . Nicely sculpted organic form in solid Cherrywood .

Tree in the Jere Artisan house " raindrops " style . Many varying sizes of sheet metal discs welded to steel wire branches . On this tree the steel branches are attached to natural ...

Nicely interpreted abstract form of sitting cat . Cast in aluminum and polished . Signed on underside Hoselton Canada .

French antique birdhouse find it in Paris. We painted the base only the dome is in original condition and it is beautiful. Dimension of the dome heig...

Beautiful wooden sculpture of a shell. The sculpture is made of solid wood and has a beautiful old patina. Very decorative object.

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...

Handmade architectural birdhouse by Jason Sargenti, hand-signed dated, USA 2020. "Inspired by the opulence of the Galleria Mall in Georgia 1987." J Sar...

Handmade architectural birdhouse by Jason Sargenti, hand-signed dated, USA 2020. "Whimsical temple to song birds." J Sargenti Made of a birdhouse and ...

Tommaso Campajola (Active in Naples between the 19th and 20th centuries) Child with hat Bronze, height 23 cm Signed and dated 1932 on the back.