Medieval Decorative Objects

Carved wood hand painted donation / offering ALM BOX, Spain, 18th century. Polychromed carved wood church collection offering donation money box as wall decoration. This alms box is made of pine wood painted in terracotta hues. A nun carved ornamentation decorates the top. Wall hanging collection / donation money box. Originally used to collect donations at Christian churches/chapels. Interesting to be used as key box or key cabinet or as wall decoration Rare find. Provenance: Private collection. No key avaliable. Overall Measures: 45 cm H x 26 cm W x 21 cm D Poor box...

A beautiful decorative box, made of brass. The box is richly decorated with elegant motifs and representations of the classic story Tristan and Isolde. The box was probably made in B...

Hand carved wood antique statue of Mother Mary wearing a Gothic crown. This original and all hand carved sculpture of the mother of all mothers is anothe...

Striking wall mirror with handcarved geometrical 'flowers' and trefoil symbols. Via one of our foreign contacts we recently purchased this perfectly fine and deeply handcarved, sc...

Gorgeous handwrought torchère candle holder, Spain, 1940s This medieval style floor candleholder stands up on three legs tripod base. It has a terrific aged patina. It has a clean de...

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...

A Seljuk Bronze Oil Lamp, 12th/13th Century Provenance: Private Australian Collection. Description: A 12/13th-century Seljuk bronze oil lamp is an antique from the Seljuk Empire, k...

Wooden coffret, call minnekästchen, engraved with a dog, a hare and foliage with polychromy remains. During the Middle Age, the hare is a symbol of fertility, joy and represents the Christ...

Monumental pair of hand-forged wrought iron dragon wall sconces .. masterpiece craftsmanship. Why We Love It: Because drama meets craftsmanship in...

A 19th century Victorian terracotta model of a gothic font. An English architectural model of a font in the ecclesiastical style dated to circa 1850. The octagonal design has a repeating trefoil design on all sides. A pleasing object modelled after an unknown church font...

A beautiful set of 2 antique candelabras in Gothic style. The candelabras each have room for three candles. Estimated origin and age: France, circa 1900. The candelabras are made of ...

An antique Cotswold limestone corbel of a medieval English King, salvaged from the base of an archway in a period building in Oxfordshire. This fragment of stone is an impressive ha...

The iron coffer, fully original in every part of it, was forged and handcrafted in German in the 1610. Complete with key. Full working iron mechanisms. It ...

An antique neo-medieval old English encaustic tile depicting a knight on horseback, attributed to Minton & Co. This tile was commissioned in 1840-42 by L. N. Cottingham for Temple Ch...

An 18th Century Gothic Reliquary Casket. Possibly of European origin, this ancient treasure chest has parts dating back as far as the 17th century. Painted and gilded to all sides ...

Keep your jewelry and important documents locked up in this elegant, antique safe from the Champagne-Ardenne region of France. Crafted circa 1880, and built in cast iron, this heavy ...

Honor and loyalty are the supreme values of medieval knights, the heroes of a fascinating, romantic era that inspired this spectacular high porcelain limited edition. The ornamental ...

12th century extremely rare romanesque wood sculpture of the Virgin Mary. Magnificent wood hand carved sculpture of the Virgin Mary holding a book to her chest. It is an extremely rare survivor of the 12th century. The style is European, possibly French or English. This statue is a testimony to beautiful religious art from about 1150. A truly rare Romanesque sculpture...

Elegant 19th-century French cigar cabinet in the Gothic style. This beautifully crafted piece features a tambour roll-top door that opens to reveal compartments for cigars and two sm...

A Rare Sculpture of Saint Denis Carved in high relief, the decapitated bishop holding his head to his chest, raised upon a canted pedestal Dark colour with a rich patina Oak Franc...

We present this beautiful and rare small trunk made in the early 20th century. Made entirely of iron with brass decorations, this trunk has a Gothic-inspired design. A unique decora...

An 15th Century Gothic socket candlestick in in bronze with a pronounced bell foot, integral drip tray, and a slender, knopped stem rising to a tall socket with an early clean-out ap...

A beautiful pair of antique brass candlesticks. Gothic style. The candlesticks are in good condition. Beautiful color and shine. Sturdy and solid. Estimated age and origin: France, ...

Rare and impressive work of Gothic art pottery. This most skillfully created and highly decorative work of Gothic art is very rare and of a great size. The impressive floral decor o...

This beautiful antique bronze figure, was created in France, circa 1880. The realistic sculpture, titled on the front: "Escholier, 14eme Siecle", (meaning middle French, 14th century...

A towering pair of 19th century French brass altar candlesticks from a cathedral or church. The center of each bobeche is fitted with a spike, surrounded by a pierced brass crown of ...

The item on sale is an original Gothic candelabra that dates back to the 1500s. It was expertly handcrafted from brass and consists of two parts that...

Gothic Style, very detailed crafted antique bronze box. Marked underneath, made in Belgium. In original good condition. A-444-335

Beautiful and rare Gothic Revival treasure box with bronze handle. If you are a collector of antique boxes and/or if you are looking for an extraordinary jewelry box to grace your credenza or side table then this unique and top quality made specimen in the Gothic style could be perfect. Gothic Revival boxes are very hard to find and we have never seen one with such prodigious carvings on all sides. The unique and cat-like dragon gargoyles (with fangs) that look like they are carrying this casket, are just some of the stunningly carved and detailed sculptures that make this antique rarity even more artistic and impressive. Another great feature are the peacock sculptures. In Christianity the peacock is the symbol of purity. Christians believe that once someone has passed their soul rises and goes to heaven. This is why in earlier times Christians would spread the feathers of a peacock over the deceased since it symbolized a pure soul that was immune to corruption. The peacock also represents immortality, resurrection, and the spiritual teachings of Jesus Christ and the Christian church. Have you also noticed the top quality details on both ends of the bronze handle on top? The quality of that ornamental work is of the absolute highest standard also. There are many more incredibly beautiful, hand carved details and together they show that no expense was spared to create one of the most amazing Gothic caskets...

A Seljuk Bronze Oil Lamp with Base, 12th/13th Century Provenance: Private Australian Collection. Description: A 12/13th-century Seljuk bronze oil lamp is an antique from the Seljuk...

Fabulous vintage Gothic style solid cast brass tiered floor standing candelabra with tripod bases, a pair. Beautiful condition, keeping in mind that these are vintage and not new so ...

Pair of eight-light antique vintage Italian candelabrum in wrought gilded iron Anonymous Probably early 20th century; Italy Iron A distinctive pa...

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 pair of forged iron candlesticks candle holders with a handle in the form of a sea creature and a movable clamp to keep your candle in place ...

Incredilbe apothecary Mortar in Nembro Marble, made from a single block of marble and dated back to the early 600 from Tuscany. It was used in the in apothecaries to grind herbs and spices into powder for food or medicine. Very unique and rare piece in great conditions considering the the period to which it dates. This highly sculptural and unique piece would be suitable today as a magnificent decoration on a table or mantle, or to grace the counter of an open kitchen...

Very fine English early 19th century mahogany architectural model of a church, the multiple steeples flanking a faux carved slate shingled room, wh...

Rare small nickel-plated bronze casket, dating from the 19th century, decorated with a fascinating iconographic program: the Twelve Apostles paired with the Zodiac signs. This association, recurrent in the Middle Ages, reflects a symbolic re-interpretation that bridges the human and the divine, time and eternity. It recalls medieval reliquaries, such as 9th-century ivory caskets...

Pair of 19th-century French Gothic-style 5-light Candelabra - Private Collection Domenico Rugiano

A rare and historically significant Dutch brass candlestick of the Heemskerk type, dating to around 1525. This early 16th-century example features a pronounced mid-drip pan with slig...

19th Century Gothic Brass Jardiniere with Shields This is a very old piece it is decorated with Lions and Shields and it has a Latin Motto inscribed on both sides which means ‘Virt...

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...

Very large Christ on the Cross ( height 1,30 m), Painted and carved in the round in poplar wood. Some old traces of polychromy. Restorations to the fingers. but not recently. South...

A very cool and well detailed solid cast brass medieval armored knight on horse sculpture, circa 1970s. The piece is in very good vintage condition and...

Articulated medieval style steel gauntlet. Well made, mid-20th century.

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...

Brass and enamel multi-light standing candelabra in the Gothic style. The foot is bulbous scroll pattern with enamelled cartouches sitting on three mythical beasts. The candle holder...

We mounted this Gothic architectural fragment on a custom iron stand. In this new context it becomes a sculpture with a almost abstract f...

This bowl or jardiniere, crafted by Michael Andersen & Son, is a remarkable reproduction of a baptismal font discovered in a church in Åkirkeby on Bornholm. The original font, adorne...

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

This stunning brass/bronze candlestick features a rustic patina and showcases the craftsmanship of the European Gothic Revival and Baroque styles from the 1800s. Its timeless desig...

PAIR of English Gothic Revival-style (19th Century) gilt bronze 9 arm candelabras (PRICED AS PAIR) Triangular base 8.5\" each side

Elegant and stylish, Gothic style gilt bronze vanity mirror. France, 19th century Beautiful antique gold patina, fine details, unusual trefoil foliate and berry design. Well propo...

Ornate pair of wrought-iron candle holders. Lovely scrolling and patterned iron work.

Antique large size sculpture and an impressive, religious work of art. Looking at Christ suffering like this, the crucifix (in our view) is a symbol of what 'telling people the trut...

A fine Antique 19th century cast gilt bronze statue of the medieval French King Louis VII of France, circa 1880. King Louis VII (1120–1180) was the King of France from 1137 until his death and was famous for his role in the crusades. The statue is very finely cast and depicts Kind Louis VII wearing his crown and medieval armor decorated with Fleur de Lis and his coat of arms with a coronet, his swork hanging by his side. The figure is resting on a ruin of a gothic arch niche with a Knight templar standing with his sword, to the right on the ground is the kings shield featuring a cross and resting on his battleaxe. The statue is raised on a black marble plinth, condition is excellent, the quality of the casting & gilding is of the finest quality and done by the lost wax method (or Cire Perdue in French) This very fine antique gilt bronze is ready to grace your space. Louis VII is best known for his involvement in the Second Crusade (1147–1149), an ill-fated military campaign to the Holy Land aimed at recapturing territory from Muslim forces. Louis VII was also married to Eleanor of Aquitaine...

Medieval style iron wall torchiere. The perfect romantic touch for your home. Fill with candles above a bath tub or use on a porch or outside barn wall....

Crafted in France circa 1780 and forged of solid iron, the candle holder stands on four scrolled legs over a turned central shaft decorated with a few ornamental discs. The tall wrou...

Heavy Bronze Gothic Pestle and Mortar An unusual pair and very heavy probably made for the preparation of herbal treatments rather than for culinary use The mortar is clean inside ...

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 small antique bust of Jesus Christ. Made of gilded spelter (zinc alloy). On a black marble plinth. No signature. Minor wear to the gilt patina. Dimensions: 14 (h) x 6 x 6 cm Free...