18th Century and Earlier Sculptures

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...

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...

Bronze cast with delicate serene features, very refined detailing throughout. Featuring bow-shaped mouth and downcast eyes, flanked by pendulous pierced ...

Venetian school Painting Biblical scene oil on copper anonymous C 16th century Unsigned Fine old master quality Venetian school painting of a biblical scene painted on copper Oil cop...

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...

A big hand carved painted stag sculpture in wood, early 18th century. Pre-owned by a collector. This sculpture are one of a kind. The stag deer are a symbol of spiritual authority, a deer stag is here depicted in all its magnificent elegance. Wooden sculpture of a life-size deer stag laying upon a rectangular platform base. The symbol of the stag: The deer’s antlers are one of the characteristics that have made it the figure of a spiritual superiority, according to some. Like a crown, the antlers grow beyond its body, bringing it closer to the sky and making it sacred. In many cultures, the deer is a symbol of spiritual authority. During a deer’s life the antlers fall off and grow again and the animal is also a symbol of reGeneration. In the Christian imagination, the deer is a symbol of piety, devotion and of God taking care of his children: men. The legend of Saint Eustace...

Antique 32" Spanish Latin Polychromed Carved Wood Figure Depicting Madonna and Child. Item features is a tall impressive form, hand carved details with weathered gilt polychromed fin...

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

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...

A charming pair of Gandharan molded stucco heads of donors, ancient region of Gandhara (modern day Pakistan / Afghanistan), probably Taxila, circa 3rd-5th century. The two heads most likely represent donors. Donors to temples would often have their images enshrined in the artworks of temple walls in thanks for their support. One head portrays a youthful figure with a plump, smiling face, and full head of hair arranged in fat curls and secured by a headband. The androgynous figure...

An impressive and well carved Gandharan figure of the Bodhisattva Maitreya, the Buddha of the Future, carved black schist, ancient Kingdom of Gand...

Beautiful handcarved giltwood bird ornament. Made out of wood with later chalk restorations. Italy circa 1780 . Weathered, losses and old repairs. Measurements individual and includ...

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 Memento Mori in wood with Chrismon, monogram of Christ. Valuable sculpture in fruit wood in almost true-to-life measurements, sculpted with art and finished with a wealth of details. The wood was covered with a thin layer of pellet and finished in color. Immediately above the forehead, in correspondence with the anterior neonatal fontanel, the CHRISMON is painted in purple red. The monogram of Christ or Chi Rho (or CHRISMON) is a combination of letters from the Greek alphabet, which form an abbreviation of the name of Christ. Solar in nature, often inscribed in a circle with multiple rays reminiscent of the cosmic wheel deriving from the ancient solar emblems of Egypt. The symbol consists of two large overlapping letters, the 'X' and the 'P'. They correspond, respectively, to the Greek letter '?' ('chi', which reads kh, aspirated) and '?' ('rho', which reads r). These two letters are the initials of the word '???st??' (Khristòs ), the name of Jesus, which in Greek means "anointed" and translates the Hebrew "messiah". On the sides of these two letters, there are very often two others: one 'a' and one '?', alpha and omega...

A very interesting Baroque period carved oak figure of a saint or prophet said to come from a demolished Russian Orthodox church. This compelling figure is ...

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...

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

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...

In 2016, large masses of the Sericho pallasite meteorite were acquired from villagers in Isiolo County, Kenya, marking its formal discovery. The olivine crystals range in colour from...

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...

DESCRIPTION: Etruscan sculpture head made with terracotta, the art represents a young man from the 4th century. It's a very decorative piece and the stat...

A superb terracotta lion, French 18th century Height: 70 cm Width: 38 cm Depth: 82 cm. Provenance: Private Australian Collection acquired in 1990s.

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...

A early 17th century French Gargoyle. Gargoyels were originally intented as waterspouts for churches and castles but soon were used as ornamentation. A...

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

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 fantastic pair of large Chinese tileworks sancai glazed Buddhistic lions and attendants, late Ming Dynasty, first half of the 17th century, Shanxi, China. Presented on custom 20th century wood and lacquer table-form stands. This pair of lions and attendants portray Buddhist lions...

A wonderful example of a Cretaceous mosasaur. The original Halisaurus arambourgi mosasaur mandibles and vertebrae, measuring 2.9ft, include a well-preserved, near-complete skull, low...

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...

A very fine late Yuan to early Ming Chinese terracotta gilt and polychrome painted Buddha figure, he is dressed in thick robes, his hair arranged in ty...

A masterpiece of nature that will transform your space into a sanctuary of palaeontological expression. This remarkable piece of natural history that began its journey millions of ye...

Wonderful period piece. Beautiful weathered Neoclassical hand carved oak caryatid angel figure. Weathered. france circa 1780 H:34,5cm W:10cm D:5,5cm

A lovely northern Thai cast bronze seated meditating Buddha statue with shell inlaid eyes, style of Wat Chedi Luang, Lan Na Kingdom, region of Chiang Mai, 15th-16th century.  The statue of the historical Buddha, Shakyamuni, is portrayed in dhyanasana, seated upon a double lotus pedestal atop a raised platform. His legs in virasana, the half lotus position, hands in dhyana mudra, the gesture of meditation. The Buddha's face is youthful and pleasant, reminiscent of faces of contemporaneous Sukhothai Buddha...

Stunning handcarved wooden head fragment with beautiful expression and glass eyes, Italy, circa 1750-1800. Beautiful example of 18th century craftsmanship. Weathered Measurement ...

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...

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

Very rare and early Spanish Porto Santos “Door of the Saints” Altarpiece with 12 carved columns and original gilt and polychrome paint. This is typical piece to be seen in the Cathol...

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 amazing and rare Chinese silver Nine Phoenix Coronet or Crown, Ming Dynasty (1368 to 1644), late 16th to early 17th century, China. A delicate and...

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...

On the morning of 12 February 1947, an enormous iron meteor passed through the Earth’s atmosphere. Exploding over the Sikhote-Alin mountains in South-eastern Russia, it created a fir...

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...

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...

Beautiful carved giltwood baroque ornament. Italy, 17/18th century. Weathered and small losses. Measurement includes the wooden base.

An exquisite pair of 17th century decorative sculptures expertly carved from painted oak from the South of France. Beautiful "S" shaped each adorned with wonderful flowers - roses, s...

18th century Italian eucharist emblem fragment mounted on mica with garnets with a baroque pearl and topaz. The ecclesiastical fragment was original used to depict a symbol of the eu...

Wonderful and unique small hand carved oak lion fragment. Beautiful weathered. France circa 1650-1750 Weathered. measurements include the wooden pedestal. H:11cm W:6cm D:5,5cm

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...

18th century French hand carved and painted wood statue still shows vestiges of its original painted finish. Depicting a nun reading a bible, the n...

Ancient Roman marble sculpture. Includes custom iron stand. This is the real thing!

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...

Crucifix Lombardy, mid-17th century Bronze, iron, and wood Sculpture: 33 cm height x 35 cm width x 10 cm depth at the knees; Cross: 42.12 in height x 19.68 in width (107 cm x 50); Ba...

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

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...

This tall French statue of St. Bartholomew was hand-carved from oak in the 1700’s. This depiction of St. Bartholomew is not often seen in art, except for one of the most well known r...

The bust intricately carved from Italian Carrara marble with lifelike features including textured hair and shaped chest. The bust carved as Gaius Julius Caesar Augustus Octavius (lat...

A Chinese Ming Dynasty period (1368 - 1644) hand-carved stone Foo Dog guardian lion sculpture depicting a male placing his paw atop a ball. Created in Ch...

A large decorative sandstone plinth or shelf from the 18th century reclaimed from a palazzo in Noto.  It could be used to support a shelf, as the leg ...

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...

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...