18th Century and Earlier Sculptures

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 statues. In this specific ...

18th century Italian hand-carved gold leaf tassel ornaments. The tassels originally came from an Italian church in Tuscany and were used du...

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...

Fossilised wood fragment displaying vibrant streaks of browns, reds, blues and yellows. This is a magnificent example of the results of a fossilisation process known as permineralization. In the right environment over great lengths of time, buried wood tissue permeated by minerals transported in water can transform into fossils. This particular example has fossilised over a copper deposit, resulting in bright inclusions of copper minerals that manifest as impressive streaks of blue, yellow, green and red. This distinctive coloration is unique to Colla wood...

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...

This meteorite was acquired from the Bethany Sciences collection and was once a part of the private collection of Meteorite Man Robert A. Haag. It includes an informational Certifica...

Tang Dynasty (618 - 907) Sancai glazed pottery horse TL Tested The cream-glazed horse is naturalistically modelled standing on a rectangular base, with the mane, tail and hooves highlighted in amber glaze. The head is gracefully curved to the left, with a green and amber glazed saddle and blanket and foliate-shaped plaques detailed with moulded toads suspending from the trappings. Measures: Height: 14.24 Inches (36.2 cm) Width: 15.5 Inches (39.35 cm) Depth: 6 Inches (15.2 cm) Provenance: An English private collection, acquired in Hong Kong in the 1980s A Certificate of Authenticity will accompany this item along with a lucite base. Condition; Excellent with one repair to right side saddle blanket. Some remaining frustrations throughout with areas of oxidation and a fine craquelure throughout. A formidable piece that presents beautifully. Notes: The present sancai horse...

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...

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...

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...

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...

Tang Dynasty painted terracotta fat lady tomb figure China. Tang Dynasty Circa 618-907 Modelled in the form of a classically dressed fat lady, this terraco...

This large, translucent piece of amber is from the Dominican Republic and is an estimated 16 to 25 million years old. Amber is fossilized tree resin and is considered a mineraloid. T...

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...

A Thai bronze head of the Buddha. Sukothai period, late 16th-early 17th century. His face with serene expression, arched eyebrows above incised eyes a...

Beautiful handcarved giltwoodornament depicting two birds. Italy circa 1780-1820 . Weathered and small losses Measurements individual and include the wooden base. H:28,5cm W:56cm D...

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...

Black Glazen Column Krater mid-4th century BC, Apulia With broad avoid body on a short echinus foot and thick mouth. The two handles form loops around the...

Very nice carved oak Christ figure with a strong expression. Beautiful weathered , France circa 1600-1700. Weathered, and losses. Measurement with the base

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 ...

This hefty approximately over 4.5 billion year old Soledade iron meteorite slice features a prominent, unique iron nickel etching. This octahedrite was discovered in 1986 as a 68 kg ...

A Gogotte Formation Of natural form, dating from the Oligocene period (30 Million years ago). Beguiling natural mineral formation, they are the result of calcium carbonate binding w...

PAIR OF PORTUGUESE COLUMNS 17th Century in chestnut wood with carvings, decorated with plant motifs, putties. Small flaws, traces of treated woodpeckers. Dim.: 141 x 22 cm. very go...

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...

Renaissance bronze medallion made by Master IOFF in the mid 15th century, showing the mythological scene of Ariadne on Naxos. Made in the mid-15th ...

A half polished geode with a thick agatised border. The inside covered by deep purple amethyst crystals and 2 beautiful calcite formations at the centre, one of them covered with a b...

Bronze statuette of St. Jerome, or St Hieronymous, in the manner of the Venetian sculptor Alessandro Vittorio (1525-1608) by the lost wax technique of bronze casting, which leaves a ...

‘Desert Rose’ selenite crystal Formation desert roses are crystal clusters formed of gypsum barite and sand. It can take nature up to hundreds of th...

A fine antique 18th German porcelain figurine. By the Royal Meissen Porcelain Manufactory. Model Number 12. Depicting a Trumpeter from the 'Gallant Orchestra' series created b...

A very large split geode, the interior graced with the finest quality deep purple Uruguayan amethyst. The amethyst-lined stalactite walls of the ge...

Weight: 200 Gram Dimension: 8.1 x 6.6 x 6.8 Cm Origin: Skardu Valley, Pakistan Aquamarine is a pale-blue to light-green variety of beryl. The color of aquamarine can be changed by...

Resembling an infinity sign, this whole geode is a stunning and rich piece, full of mineralogical information. The outer layer is basalt, the interior amethyst crystals, and at the h...

Roman Marble Head of Sophocles Circa 1st-2nd Century Marble This fine Roman marble head preserves the proper left side of the face of a middle-aged man, with broad nose, soft lips, and bearded chin. The short beard and sideburns have been finely carved with a flat chisel, to render the soft, wavy strands of hair. The cheekbone, undereye, and nasolabial folds have been delicately modelled in the marble by a skilled hand. In a letter from 1975, the former director of Ny Carlsberg Glyptotek, Copenhagen, suggested that the head could depict the Ancient Greek tragedian Sophocles. Few figures in the Classical world stand aside Sophocles (c. 496-406 BC), inarguably the best known of the Athenian tragedians, in terms of the impact his works have had on the history of art and literature. The psychological depth he achieves in the seven of the 123 of his plays that have survived to the present day - most notably the three Theban plays: Antigone, Oedipus the King, and Oedipus at Colonus - not only inspired the Athenians, among whom Sophocles was honoured as a hero long after his death, but in our own time, have provoked landmark works on phychoanalysis and literary criticism, by thinkers like René Girard and, most famously, Sigmund Freud. In its masterful treatment of the marble this fragment sensitively captures the features of one of the most important playwrights of all time. Height on stand: 7.9 inches (20 cm). Provenance: Collection of Danish sculptor Jens Adolf Jerichau...

A large early 18th century carved gilt wood eagle, mounted on a square red velvet covered plinth. Originally used as a lectern adornment, this archite...

A stunning half geode with an incredible amethyst and overlaid calcite formation at the bottom. The interior of the piece is a very deep cavity which presents very high-quality ameth...

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...

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

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 Blanc-de Chine Figure of Guanyin Qing Dinasty standing on a the waves, the arms lifted to the waist, dressed in loose fitting robes opening at the ch...

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...

A fine and unusual statue of standing horse with a Persian rider. Tang Dynasty (618-907 AD) Silk Road trader from Persia, comes with Oxford authenticati...

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...

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...

Beautiful handcarved giltwood bird ornament. Italy circa 1780-1820 . Weathered and small losses and old repairs Measurements include the wooden base. H:23cm W:41cm D:6,5cm

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...

Brenham is a pallasite meteorite found near Haviland, a small town in Kiowa County, Kansas, United States. Pallasites are a type of stony–iron meteorite that when cut and polished sh...

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...

A large and beautifully preserved fossilised leaf from the Green River formation, a site which has brought forth some of the best-preserved fossi...

An antique Venetian hardware door knocker mounted on a wooden stand, in good condition. Wear consistent with age and use. Circa 16th - 17th Century, Venice, Italy.

This spectacular cross section of petrified cedar wood comes from Saddle Mountain, Washington. It is remarkably large with a wonderful and highly aesthetic shape, exhibiting vibrant ...

THE FOSSIL STORE AES Bronze stand series is an excellent example of a double-sided Calycoceras asiaticum ammonite measuring 205mm. Now transformed into ...

A Greek terracotta female head, c. 3rd - 2nd Century BC, her head slightly tilted to her left, features hair styled back in waves. Mounted on black wood base. Ex Royal Athena Galleri...

Ca. 1368-1644 AD. Ming Dynasty. A fabulous set of two mould-made, glazed ceramic zodiac figures. Each wearing long draping gowns of rich green, yellow and orange hues. Each figure ...

A stunning deep purple amethyst piece with calcite formation. From the rough basalt on the outside, to the high quality rich purple amethyst crystals inside and calcite formation, th...

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...

A small and very fine Chinese carved sandalwood figure of a bodhisattva, possibly Avalokiteshvara (Guan Yin), Song Dynasty (960 to 1276), circa 13th ...

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...

A wonderful Chinese red clay pottery tomb figure from the Tang Dynasty (618 to 907). Guarding a dignitary or decorated soldier; these figures stood guard for over a thousand years surviving to decorate your home collection of ancient artistic and cultural artifacts. Original Polychromed red and gray paint pigments still present. Chinese Buddhist guardian statues made of earthenware and pigments, from the Tang Dynasty (618–907 AD), dated to the late 7th to first half of the 9th century. The foreign facial features of this brilliantly sculpted guardian figure is evidence of the strong Western presence in Tang-dynasty China. Originating in the Lokapala deity of the Buddhist religion, which came to China from the West, this type of armored tomb guardian...