15th Century and Earlier Sculptures

Virgin and child in majesty Origine: castille Epoque: early 14th century Measures: Height: 72cm Length: 30cm Depth: 25cm Polychrome and gi...

A magnificent and large early Tang dynasty (618-906 AD) model of a prancing or dancing horse, circa 7th century. The majestic animal is caught mid-motion, one leg raised, head grace...

Gem grade Amethyst Geode sculpture The amethyst geodes from Uruguay are mined from the same rock formation as their relatives just to the north across...

These exquisite Neolithic bracelets from Mali are a captivating testament to ancient craftsmanship and ingenuity. Carved from limestone with natural crystalline veins coursing throug...

Aquamarine with Schorl on Orthoclase Shigar Valley, Shigar District, Gilgit-Baltistan, Pakistan 12.7 cm wide x 11.5 cm tall Ex-collection William Ferris There are two significant...

Large 8 Inch Ammonite Specimen Cut Polished and Mounted Fossil - Jurassic - Cretaceous Period, 200 - 145 million years old An excellent quality split ammonite fossil. We hand pick...

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...

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...

The latest edition to arrive at THE FOSSIL STORE™ is our famous and exquisite series of Mantelliceras ammonites presented on our designed swivel mount. The newly prepared Mantellicer...

Large Scale Banalinga (Shiva Lingam) stone for display Outstanding large scale specimen from India Dimensions 9" long x 5.5" diameter Banalinga is discovered in nature and not carved or crafted by human hands. This Shiva Lingam comes exclusively from the Narmada River, one of India’s seven sacred holy sites. The stones resemble markings found on the forehead of Lord Shiva...

This large fossil plate is incredibly unique, featuring a long Diplomystus dentatus along with two Cockerellites (Priscacara) liops, fossilized in its natural matrix. The entire piec...

Egyptian Fragment of a Seated Man Limestone - polychromy Ancient Egypt, 26th Dynasty (664-525 BC) Most likely from the tomb of Montw-m-H3t Provenanc...

1200 Plus Gram Gorgeous Calcite Specimen From Balochistan, Pakistan Weight: 1200+ gram Dimension: 8.8 x 15.1 x 11.7 Cm Origin: Balochistan, Pakistan Calcite crystal's properties ...

Chinese, Tang Dynasty (618 AD to 906 AD) TL tested A pair of semi-human earth spirit figures seated on their haunches with cloven hooves planted firmly on...

Fossil agate coral adorned with iridescent fossil ammonites. The grey piece of fossil agate coral is cut and polished and adorned with the iridescent...

A large and impressive Indian carved sandstone architectural frieze featuring a central image of the Hindu goddess Lakshmi flanked by two atten...

This seated effigy figure was crafted in 300 BC to 300 AD from the ancient Nayarit region of Mexico and was likely used as a ritual or burial offering. The ceramic works of the Chine...

South Arabian Calcite female figure 3rd Century BC to 1st century A.D. Calcite Alabaster height: 30.5 cm A magnificent alabaster female figure, a f...

Grand scale 15th century solid hand-carved stone male statue. Source of origin Bhutan.

A really nice petrified wood sculpture, circa pre-history. Brightly colored tan, brown and cream tones with naturally formed patterns caused by fossiliz...

AES Brass stand series brings you Cambropallas tellesto fossil now transformed with our elegant, innovated-designed stand series, an extraordinary Cambropallas tellesto fossil trilo...

390 Gram Magnificent Aquamarine Specimen Bunch From Skardu, Pakistan Weight: 390 Gram Dimension: 10 x 5.9 x 3.5 Cm Origin: Skardu District, Gilgit Baltistan Province, Pakistan Aq...

An impressive 108mm (longest curvature) Carcharodontosaurus saharicus dinosaur tooth, known as the North African Tyrannosaurus rex for its formidable size. A noteworthy discovery fro...

An impressive skull of an Edmontosaurus, a large herbivorous dinosaur that lived during the Late Cretaceous period, 68-66 million years ago. The three rows of sixty or more teeth on either side of the jaw, known as the ‘dental battery’, mark the Edmontosaurus as part of the Hadrosauridae, or duckbill family of dinosaurs. It belongs to the flat-skulled, or solid-crested, Hadrosaurinae, which replaced the older hollow-crested hadrosaurs. Edmontosaurus was one of the last non-avian dinosaurs to ever exist, living shortly before the Cretaceous-Paleogene extinction event. The Edmontosaurus was named in 1917 by Lawrence Lambe, after a partial specimen from Edmonton in Alberta, Canada. The existence of large Edmontosaur bone beds...

Morganite with Smoky Quartz Mawi pegmatite, Nilaw-Kolum pegmatite field, Nuristan, Afghanistan 9.7cm tall x 11.5cm wide Ex-collection Stephen Smale All the members of the Beryl f...

An impressive 76mm (longest curvature) Carcharodontosaurus saharicus dinosaur tooth, known as the North African Tyrannosaurus rex for its formidable siz...

Mankind has loved hematite for its sleek beauty and red undertones since its first discovery. It has been utilized as a reddening pigment by the ancient Egyptians, mined by the Etrus...

Very large quartz rock crystal cluster specimen with clear and semi-clear spire formations. Overall beautiful naturally aged antique condition. Look at all pictures and read conditio...

Important virgin and child in majesty Origin : Germany Or Eastern France Époque : Second Half Of The 13th Century Height: 104.5 cm Length: 3...

A fine and rare Indian carved sandstone stele of a Jain family group, Sarnath style, early Indian Medieval period, 6th-7th century, Uttar Pradesh, India. Carved from a single block of buff sandstone, the stele features a Jain family group comprised of a father, mother, and two children. The family group is portrayed upon a lotus pedestal under a tall palm tree. The mother and father both seated in a relaxed pose known as lalitasana, or royal ease pose, a jovial expression on their faces. The mother holds the daughter in her lap. The younger son scampers mischievously up the trunk of the palm tree, his head turned to look back at his parents. Above the family, nestled in a niche amongst the palm fronds, an image of a Jain Tirthankara...

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...

Libyan Desert Glass Circa 29 Million y/o Height: 9.5 cm A beautiful, tactile piece of yellow glass, found between the high crested dunes of the Libyan De...

An extremely rare Chinese painted pottery model of an armored horse, Six Dynasties period (220-581 AD), TL tested by Oxford Authentication. The stocky ...

A varied and fascinating collection of 5 natural mineral specimens, ex. private British collection. Each presented on an exclusive small painted display plinth, this group contains ...

Historic genuine Medium Size ammonite on Handcrafted Iron Stand, thousands of years old. Dimensions: 18.5"W X 4.5"D X 19.5"H

A remarkable and rare fragment of ancient Roman glass, dating from the 1st to 4th century AD. The glass is preserved in excellent condition and displays a stunning natural iridescent...

Of all the incredible malachite specimens recovered from the Katanga Copper Crescent of the DRC, there is only one known incidence of a stalactite composed of chrysocolla with stunning malachite "eyes" and azurite rings...

This exquisite red soapstone Bi disc is a remarkable artifact from Neolithic China, dating back to the 3rd millennium BC. Set on a modern iron base, the disc reflects the timeless be...

A Fossil Spinosaurus Dinosaur Tibia 2.3ft leg section in surmounted bronze AES stand. Unearthed in the continental intercalaire, this 2.3-foot Spinosaurus tibia section highlights a ...

Genuine Canyon Diablo iron Meteorite in display box. This nickel-iron meteorite was found in the world famous Baringer crater (meteor crater) AZ, USA. Th...

Pair of 1870s English carved wood lions.

Rare and Large Imperial Black Porphyry architectural fragment partially polished, 23,5 x 15 x 12 cm Porfido Nero is a rare Black Variety of Imperial Porphyry from Gebel Dokhan (th...

An impressive Ancient Egyptian Faience Ushabti figure, belonging to the c. 700-30 B.C. It consists of a molded pottery having a green glazed surface. The figure is wearing a royal wi...

This large fossil plate is incredibly unique, featuring a long Diplomystus dentatus along with two Cockerellites (Priscacara) liops, fossilized in its natural matrix. The entire piec...

Blue heart shaped celestite geode adorned with a coordinating naturally forming baroque pearl. The name for this specific geode is derived from the Latin word Caelestis, meaning "ce...

A striking collection of 7 mineral specimens in natural form sourced from an ex British private collection. Each presented on exclusive custom display plinths, this collection showc...

The latest edition to arrive at THE FOSSIL STORE™ is our famous and exquisite series of Mantelliceras ammonites presented on our designed swivel mount. The newly prepared Mantellicer...

Artigas is known for amethysts of the darkest and richest hues of purple. Lustrous and richly-toned, they are instantly recognizable and not uncommon in the mineral market. What sets...

This mysterious Ancient Cypriot Ceramic Sculpture of a Horse on Wood Plinth Base originates from Cyprus, 4th Century BCE. Features a beautifully sculpted form with carefully graduate...

Large white crystal quartz geode split into two halves each with a large naturally forming baroque pearl. Geodes are formed as gas bubbles within volcanic lava. Over time, the lava ...

A large fossil of a prehistoric Cladocyclus fish sourced from an ex private British collection. Discovered in Brazil, this impressive piece of natural history has been preserved by ...

A large-scale fossilised natural ammonite specimen from an ex UK private collection. Sourced from South Ferriby Quarry, Lincolnshire, this striking fossil is of prominent structure, ...

Pair of terracotta Han guardsmen in polychrome paint China TL tested Pair of rare standing male terracotta sculptures/warriors of the Chinese Han dynasty from the 2nd century BC. W...

This striking tourmaline crystal has a mesmerizing blue color, a robust size, and sharp form. Upon first glance, the piece appears to have a dark, almost black cap, but when lit, its...

A beautiful Ammonite Fossil, this extinct invertebrates marine animal lived 160 million years ago, beautiful patina and shine of the stone, beautiful array of colors, very decorative...

The amethyst geodes from Uruguay are mined from the same rock formation as their relatives just to the north across the border into southern Brazil and are igneous (volcanic) in orig...

An exceedingly rare Javanese cast silver figure a Transcendent Buddha, probably the Dhayani Buddha Akshobhya, early classical Javanese period, 9th - 12th century, Java, Indonesia. ...

Two Neolithic basalt celts mounted on black steel bases. In archaeology, a celt is a long, thin, prehistoric, stone or bronze tool used as an adze, hoe, h...

This peculiar archeological piece is described as a 'cup stone'. These cup marked stones have been found worldwide and been dated from 300.000 bc up to 1000 bc. The exact purpose of ...