Bronze Navel Orange by Luis Montoya and Leslie Ortiz Known as Popliteo

An Art Deco patinated bronze sculpture of a baboon by acclaimed Italian early 20th century Florentine sculptor Sirio Tofanari, (1886-1969). The bronze i...

The subject is a young voluptuous partially draped nude Amazon woman who stands on a rocky outcrop, her left foot on top of an open Helmet, a quiver with arrows beside her; her torso...

A very fine cast and chased bronze showing a beautiful standing nude nymph, parting and emerging from between tall bull rushes at the edge of a stream. At her feet is a water jug. Th...

A rare bronze statue of na Nymph and a clinging putto by famous French 19 Century sculptor Mathurin Moreau which was custom transformed into an oil lamp. The nymph is is holding al...

Carrara marble sculpture by François Fernandez, known as SAVY, signed and dated 2001. Sculpture in Carrara marble and yellow lacquer by the sculptor François Fernandez, known as SAV...

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...

Sculpture by François Fernandez, known as SAVY, in light green marble, signed and dated 2001. Sculpture in light green marble representing a leaf by the sculptor François Fernandez,...

A Fine Bronze Sculpture by Luis Domenech y Vicente, c.1904 After the Model He Exhibited at the Salon Des Beaux Arts in Paris That Year Luis Domenech y Vicente, Le Messager de Paix, bronze sculpture, signed lower base, foundry mark/stamp ‘European Bronze Finery...