18th Century and Earlier Sculptures

Gallo-Roman Quernstone Fécamp, Seine-Maritime, France Circa 2nd century BC - mid-4th century AD Carved puddingstone Diameter: 43 cm The lower grinding stone from a late Iron Age, ea...

A very fine Spanish Colonial statue of a male saint in carved and polychromed wood. The saint's face has a beatific expression and the eyes are made of gl...

Carcharodontosaurus (Dinosaur) tooth in a glass display box From Tegana Formation, North Africa. Cretaceous Age 65 million years Carcharodontosaurus is one of the longest and heavi...

Petrified Conifer Slab Araucaria (Monkey Puzzle Tree) Triassic Period Chinle Formation Arizona, USA A stunning over 200 million year old petrified conifer slab, featuring a m...

This standing effigy was crafted in 500 A.D. - 1000 A.D. Mesoamerica using the gray clay paste that characterizes La Tolita-Tumaco ceramics of early Colombia-Ecuador. The art of La Tolita-Tumaco civilization is considered one of the most developed of the pre-Columbian period as metalwork and ceramics were the most popular form of cultural expression. The ceramic creations of this culture were often based on the human figure to create portraits of people and realistic daily scenes of life cycles and the human condition. This figure appears to be wearing a loincloth and is adorned with a beaded necklace and an elaborate coiffure or headdress. There are holes lining each ear indicating the potential use of ear spools...

A beautiful section of the lunar meteorite Gadamis 003, discovered in the oasis Berber town of Ghadames, Libya, and revealing a magnificent greyish-white spotted interior, evoking th...

NWA 12759 Stone, Chondrite - L5 18.3 KG “This specimen of the NWA 12759 L5 chondrite has a smooth posterior fusion crust where meteoritic melt pooled as the rock descended through the atmosphere and was heated by friction with molecules of air. The meteorite is from the L-chondrite asteroid that was destroyed by an energetic collision 470 million years ago.” Dr Alan E. Rubin, PhD Department of Earth, Planetary, and Space Sciences, UCLA Detached from its parent body by a mighty impact, this large, oriented meteorite travelled over a hundred million miles through space before falling to Earth in the North African desert. Beautiful regmaglypts radiate from the apex of its cone shaped nose. These elongated dimples formed when streaks of superheated molten rock streamed off the meteor’s surface as it blazed through the atmosphere. The entire piece is coated in a glossy, umber-coloured fusion crust and close examination reveals remnants of encrusted, orange dirt. Whilst most meteors tumble as they travel through the Earth’s atmosphere, oriented meteorites...

Fine and rare pair of 18th Century English dummy boards depicting a Cavalier and his Lady, he with a Van Dyke mustache, sword and leather boots, she with ...

An antique 18th century Walnut Figural Statue of Saint Peter on a plinth Anonymous Northern Europe, probably Belgium; first-half of the 18th century Walnut Approximate size: 17 (h) x 4.25 (w) x 4.25 (d) in. The present sculpture, perfectly suited for a curiosity cabinet or English-European country styled home, was likely realized for a church side chapel or choir stall niche. The serious look of the saint’s face...

Gogotte formation circa 30 Million y/o Measures : 42 x 21 x 63 cm. A magnificent example of a gogotte formation, composed of thick swirls and fo...

Oriented Chondrite Meteorite Circa 4.56 Billion y/o Chondrite 24 x 20 cm, 28 cm tall on base 7.1 kg A sculptural and beautifully weathered chondrite meteorite; upon entering the atmosphere, this extraterrestrial stone would have heated the surrounding air to a temperature of over 1700 C, higher than that of the hottest lava on the planet, and enough to melt away its outer layers, leaving its surface rippled with regmaglypts, thumb-shaped impressions formed as superheated rock streaked off of the main body as it careened toward the earth. The last layer of the rock to melt would have re-solidified as the meteorite made impact, forming a charcoal coloured fusion crust, which has taken on a deep ochre-tinted patina. Chondrite meteorites such as this example were formed at the very beginning of our solar system, by the accretion of various types of dust and small grains, adrift in the vacuum of space and, as such, provide important clues about the birth of our own planet. This piece is an especially rare specimen, known as an oriented meteorite...

A rare large polished quartz geode with cream and golden hues and naturally forming crystal druzy formations. This specimen is from the Appalachian region of Kentucky. This was dug by hand and includes golden druzy crystal formations. This is a particularly large geode specimen...

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

Spinosaurus (meaning "spine lizard") is a genus of theropod dinosaur that lived in what now is North Africa, during the upper Albian to upper Turonian stages of the Cretaceous period...

Ptychopariida is a large, heterogeneous order of trilobite containing some of the most primitive species known. The earliest species occurred in the second half of the Lower Cambrian...

Monumental Peruvian Pyrite Cluster Weighing 92 lbs. Offered for sale is a huge specimen of Peruvian Pyrite that weighs an astounding 92 pounds. Pyrite is a shiny stone known as foo...

Very attractive painting of Maria with the baby Jesus. Painted on metal. France circa 1800-1850 Weathered and small losses.

Museum-quality, fossilized and calcified ammonite shell with an iridescent, opalized shimmer displaying hints of vibrant red. The fossilized shells of ...

18th century Italian cross mounted on a polished pink hematite quartz heart and adorned with aurora (sunset) quartz and a natural-forming cross shaped baroque pearl. The 18th centu...

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...

Rare wall sculpture in polychrome enameled ceramic representing four horses signed " SAN POLO VENEZIA "

16th century Chinese Ming Dynasty set of three hand painted plates on stands. Plate sizes. 7 x. 14.5 7. x. 14. 7. x. 13.5 Stands measure. 5. x. 3. and. 4. x. 3

Large And Important Tang Dynasty (618-907AD) Pottery Horse TL Tested. China. Ca. 618-907 AD A beautiful pottery figure of a horse. The animal is shown in a...

This standing effigy figure was crafted in 300 BC from the ancient Chupicuaro region of Mexico and was likely used as a ritual or burial offering. The ceramic works of the Chupicuaro...

Possibly a Noblewoman Elegant stone sculpture from 14th-century Gothic France, possibly representing a noble lady. The bust features finely carved details in the attire, with attent...

Tang Dynasty Full Set Of Painted Pottery Zodiac Figures (TL tested) The Thermoluminescence Report (Item #185404) will accompany this sale. A Rare Set of Chinese Pottery Zodiac Figures from the Tang Dynasty painted with black and orange pigments. The conventional order of the twelve Chinese zodiac...

Tang Dynasty polychromed fat lady with child in arm. TL Tested Terracotta, pottery with traces of orange and green paint Sui to Tang Dynasty (581-618) Measures: Height: 20.2 inches (51cm) Width: 9.45 inches (24cm) Guaranteed Authentic with corresponding TL Thermoluminescence Test conducted by Artemis Testing Lab Included in the sale of this item. Condition: Excellent with loss to pinky and wear commensurate of age. This rare and outstanding ceramic court attendant was made during what many consider to be China’s Golden Age, the T’ang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The T’ang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best-known painters and artists. The T’ang Dynasty took control in 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early T’ang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The T’ang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well-established that they continued to operate regardless. The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry...

These utterly captivating, hand-carved stone lions hail from Italy and date to circa 1600, possibly even earlier. Their regal couchant (lying down) posture adds an air of majestic charm to any setting. One lion gracefully rests its forepaws on a stone ball, while the other clutches a coat of arms shield. They are carved in the same stylistic manner as many of the medieval lions...

Chinese Han Dynasty Pottery Horse Head. Crisply modelled with sharp features, including a gaping mouth, nostrils, eyes, ears and an alert exp...

A magnificent and extremely sculptural specimen of the Seymchan meteorite, recovered in the Russian Far East. This rare and large end cut preserves the patinated and partially melted...

A fine 17th-century bronze head of Emperor Trajan, crafted in a historicist style. The head features bronze construction with ivory inlaid eyes. During the 17th century, it was commo...

A lovely and rare Spanish colonial statue of a madonna or female saint in carved and polychromed wood with movable arms and hands. Philippines, circa 1700s. In her time and within th...

Found in 2002 at Franconia in Mojave, Arizona, this H5 chondrite meteorite can be found strewn amongst many other varieties of metorite in what has been coined a Dense Collection Are...

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

A magnificent example of a gogotte formation composed of thick swirls and folds of sparkling sandstone. Discovered in the Oligocene sand dunes of Fontainebleau, France, formed circa 30 million years before present or later. The incredible, almost otherworldly appearance of gogottes may easily be mistaken for the work of a most talented artist. In fact, these sandstone sculptures are entirely natural in origin. They have been found in multiple locations but those from Fontainebleau, such as the present example, are the most remarkable. Thirty-five million years ago, a sea covered what is now the forest of Fontainebleau, and dunes of exceptionally fine and homogenous sand formed. As silica-rich water filtered through this sand, it turned into stone. The flow of water finely modelled the sandstone into the aesthetic concretions we now know as gogottes. These are rare and are only found sporadically several metres deep into the ground. They owe their sparkling white appearance to the extreme and unmatched purity of the Fontainebleau sand, sometimes reaching a composition of 99.9% silica. Each of them is unique – a masterpiece slowly fashioned by the hands of Nature. The intriguing name of “gogotte” was coined by French geologist Claude Guillemin (1923- 1994), who was inspired by the children’s book series Babar the Elephant. In one of the books, a group of monsters called Gogottes are shown hiding behind rocks. These rocks reminded Guillemin of the sandstone concretions...

This engaging sculpture of Memento Mori dated Late 17th Century, is part of a production of small terracotta figures for private use, which Giuseppe Maria Mazza, created throughout h...

A spectacular mid-17th century Venetian Sculpture - "Enfant Au Coussin" - Enfant With Pillow. Expertly carved from Verona Marble. An architectural element originally serving as a b...

An elegant Chinese Ming dynasty pottery figurine depicting a horse in a standing pose with polychrome finish (aubergine, light brown and g...

Tourmaline on Lepidolite Aricanga mine, São José da Safira, Minas Gerais, Brazil 11.5 cm tall x 12 cm wide Large "rocket-like" crystals burst forth from a lavender lepidolite matrix...

Unclassified Meteorite Stone Height: 36.83 cm 42.5 kg A dramatic extraterrestrial sculpture, of monolithic form, covered in a thick grey-brown fusion crust and with areas of sandy deposits from untold years spent on the desert floor. Formed in the asteroid belt between Mars and Jupiter during the formation of our solar system, some 4.55 billion years ago, this large stone would have been separated from its parent body by an enormous impact before journeying through interplanetary space and eventually reaching Earth. Upon atmospheric entry it would have reached cosmic velocity, heating the surrounding air to 1700°C and producing a large ball of fire. The heat was sufficient to melt the outer surface of the stone, exposing a new surface which in turn also melted away, losing as much as 95% of its initial mass before reaching the ground. The last molten layer to form as it collided with the Earth covered the stone in a layer of fusion crust, evidence of the incredible impact force delivered by this extraordinary specimen. “This unclassified stone meteorite was found in Northwest Africa. It has a relatively smooth, dark brown, slightly weathered fusion crust; some small melt veins are visible on the surface. Due to the near-absence of terrestrial rocks in this region of the Sahara, meteorite hunting in this area has yielded many notable discoveries.” Dr Alan E. Rubin, PhD Department of Earth, Planetary, and Space Sciences...

Pair of large branches of Mediterranean red coral (Corallium Rubrum). Gilt bronze bases with phytomorphic calyx stem. Connection with an oval element in Lapis Lazuli and two spirals ...

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

Antique statue life sized Roman Greek natural stone old sculpture. The antique statue displayed in this Ad is one of 12 reclaimed life sized limestone s...

A wonderful 16th century draped female torso in classical style. Made in France under Italian Renaissance influence this female torso is finely sculpted with great detail to the stol...

A set of three coordinating 17th century Italian 'Florence Fragments' all topped with varying collections of selenite rock crystal and naturally free-forming copper. These fragment...

A collection of 40 polished specimen hardstone and marble eggs displaying a variety of minerals. Displayed in an oak stand with round brass feet, these beautiful eggs include lepido...

Museum quality, rare undulating formation of a gemmy transparent amethyst cluster with a cluster of spherical purple fluorite. These amethyst crystals ...

Tang Dynasty Terracotta sculpture of a fat lady This stunning lady wears her hair in an elaborately styled coiffure. A remarkable amount of the original pigm...

18th century Jesus Child Terracotta Sculpture an Italian Holy and devotional art polychromed figure  depicting Baby Jesus standing on an a carved and go...

This pair of silvered wooden reliquaries are from France, circa 1750. The backs are still preserved by wax seals, indicating that the relics were never removed. Each reliquary has...

Amazing gilded paper mache dove/ Holy spirit. Beautiful detailed. The Dove is a symbol for the Holy Spirit inspired by Jesus’s baptism. The dove has been used among many Christian de...

A wonderful period Tang Dynasty Pottery Figure of a Fat Lady. Tomb Pottery China Height: 15 Inches No TL Test A COA by Avantiques will accompany the sale of this item. Condition: Ve...

This is a charming Derby figure of a shepherdess with a garlanded lamb, made in or shortly after 1760. The figure is one half of a set called the "Garland...

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...

Beautiful weathered oak panel depicting a baroque angel on an acanthus curl. Weathered and small losses, most likely it was once part of a larger panel. France circa 1750. treated ag...

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...

Spectacular and very decorative piece. Large carved wooden reliquary bust of a Madonna. Beautiful traces of color. Small losses and without the relics. Silver/silvered central piece ...

A fantastic and powerful pair of Chinese Tang Dynasty three-color (sancai) glazed zhenmushou, tomb guardian figures, late 7th or early 8th century. TL t...

Unearthed in the continental intercalaire, a significant 105mm Spinosaurus tooth highlights 19 million years of evolutionary prowess. Known for its sail-like dorsal fin, potent jaws,...

Beautiful hand carved wooden ornament depicting two angel holding a laurel wreath. Unique period piece . Spain, circa 1700-1750 Weathered. Small losses and old repairs. Measurement ...