15th Century and Earlier Furniture

Antique Chinese pottery Hu jar decorated with bands of raised lines and a pair of monster masks on the shoulder. Age: China, Han Dynasty, 206 B....

Standing female wearing a tight fitting white dress and black tripartite wig, serene facial features with large painted eyes. Separately made arms attached with dowel to the shoulder...

The cup hand-carved from white alabaster with caramel and white veining throughout the composition. The cup stands upon a tapering base, and widens to form the ribbed, cylindrical cup. Alabaster was a material prized by ancient sculptors...

O/6416 - Large fossil stone shell - Ammonites were predatory Prehistorie cephalopod mollusks which existed between 400 and 66 million years ago before dying out during the exinction ...

This is an old Japanese stone object. This stone object has a beautiful black and beige gradation. An art object that gives you a sense of wabi-sabi. 6kg

Han Dynasty green-glazed tripods are comparatively rare, especially ones that have retained their structural integrity and glaze over millennia. Pieces in good condition are scarce b...

A stone object called "TAMARI-ISHI" in Japan that collects water in a hole. This has a beautiful matte black look. A beautiful sculpture created by nature. An art object that gives y...

This rare fossil of a prehistoric fish is an impressive specimen originating from Brazil, preserved by time over millions of years. Mounted on a metal bracket with complementary ston...

Since ancient times, people have created necessary tools from familiar materials, passed them on, and nurtured a lifestyle culture in order to survive in the severe struggle against nature. Over a long period of time, the tools accumulate a certain flavor and reflect the way of life. The harsher the natural environment and the weaker the human being, the stronger the power of the tool. In today's world, where cheap and disposable products are encouraged, the act of repeatedly modifying and re-creating the things around us opens up a new world. With this philosophy in mind, we collect beautiful, powerful, unique, and carefully selected Japanese antiques. This is a very old ceramic vase...

Prehistoric Brazilian thick agate geode on stand. Center hole reveals beautiful natural silver crystals. Stand measures 6" x 4". One of several from a large...

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

Weight: 26.40Carats Dimension: 2.8 x 1.9 x 0.5 Cm Origin: Africa Colour: Red Pink and Green Shape: Carving Quality: AAA Tourmaline helps to create a shield around a person or room t...

Round body with plain nozzle, the discus decorated with three theatre masks, air hole in centre, the base with work shop mark in the form of a foot print Loeschcke Typ VIII, Schulte...

Ancient Luristan bronze sword with nice patina. Luristan bronze comes from the province of Lorestan, a region of nowadays Western Iran in the Zagros Mountains. With its rich and lon...

Weight: 26.70 Carats Dimension: 2.6 x 1.7 x 0.7 Cm Origin: Africa Color: Red Pink and Green Shape: Carving Quality: AAA Tourmaline helps to create a shield around a person or room to...

The loop attached to an oval fitting with radiant decoration. The cameo made of agate, showing the profile of a female bust with hair pinned up. The portrait in the style of Faustina...

Mary Magdalene on her way to Marseille. oil on board. Castilian school, towards the last third of the century XV. Oil on panel showing a landscape in the background with a walled city, some mountains and the shore of a watercourse (from the theme it is seen that it is the shore from sea). In the foreground and in full body, a boat with a sail appears with a circus richly dressed characters and with their respective nimbus (these decorated with geometric elements and engraved vegetables), two women and three men. Note the anecdotal detail of the fish crossing the waters under the ship. In the Golden...

With square fitting, hollow at the top for attachment to furniture, one large paw on round base sprouting into lion’s head with visible teeth. 9,5 cm (h) Ex German private property...

Pair of sculptures depicting the Virgin and St. John the Evangelist, portrayed in a mournful attitude. The former has a pained expression on her face, her hands clasped in front of h...

The vase is raised on a slightly splayed foot and flanked on the tall cylindrical neck by a pair of mask handles. The body is molded with lotus scroll pattern between a floral scroll...

Thickly potted with an ovoid body of five horizontal lobes tapering toward the top, carries both aesthetic and practical values. The jar is intricately carved with rows of upright lo...

This censer is characterized by its tripod form, which means it stands on three feet. Incense burners from the Ming dynasty are often highly regarded for their craftsmanship and the quality of the glaze texture and coloration. This piece features finely carved patterns that likely draw inspiration from traditional Chinese motifs. Such items were commonly used for burning incense and sometimes served as significant decorative pieces in ceremonial spaces or the homes of the elite. Period: Ming Dynasty (1368~1644) Region: Longquan, China Medium: Stoneware - Celadon glazed Type: Tripod censer Size : 24.2 cm(Diameter) , 10.8cm(Height) Provenance : Acquired in 1999, Hongkong Reference : Sotheby's Newyork 26 September 2023 - CHINA / 5000 YEARS - Lot1135 * Ming Dynasty Longquan Celadon Longquan celadon from the Ming Dynasty typically exhibits a more robust and heavier stoneware body compared to its Song Dynasty predecessors. The Ming era saw an evolution in celadon glaze, achieving a wider spectrum of green hues, from olive to bluish-greens. Ming celadons...

This is a very old carved wooden Buddha hand made in Japan. It is a wood carving from the Muromachi period (1336s-1573s). The material is cedar wood. It has a very beautiful withere...

This small ewer is an exquisite example of Qingbai ware, known for its pale blue-tinged glaze. The vessel showcases the advanced ceramic techniques and artistic sophistication of the...

A Pair of Copper Currencies: “Katanga Crosses” Central African Copper Belt (DR Congo, Zambia or Zimbabwe) Cast copper, archaeological patina Size each:...

I was able to obtain a very rare item. This is a sculpture of the god ``Shinzo''. "Shin" = God "zo" = statue Since ancient times in Japan, it has been believed that gods reside in all things in the universe, and there have been many shrines. In the 6th century, Buddhism was introduced and gradually spread throughout Japan. Around the 8th century, the idea that gods follow the teachings of Buddha spread. Until the Edo period, God and Buddha became one and the idea of ``Shinto and Buddhism syncretism'' was established. This statue was created during such a history. Originally, the image of God was invisible and could not be understood as something tangible. However, with the introduction of Buddhism to Japan, idol worship was also introduced, and the idea that the gods follow the teachings of Buddha was also propagated at the same time in order to spread the teachings of Buddhism. Around that time, around the 9th century, the first statues of gods...

Embriachi workshop marquetry casket Northern Italy, 15th century Alla certosina inlays (bone, stained bone, pewter and wood) H 28.2 x W 18 x D 14 cm This beautiful casket of rectangular form is richly decorated with the characteristic geometric patterns of the Embriachi style. The intricate geometric patterns are fashioned by juxtaposing lighter and darker pieces of wood, (colored) bone, horn and pewter. The lid and base are framed by a broad band of horn. When ivory became scarce in Europe due to disrupted trade routes, bone was substituted. The attention to Symmetry and balance created an harmonious visual effect Enhancing the overall aesthetic appeal of the casket. The application of geometrical motifs is in Italy known as marquetry ‘alla Certosina’, named after the Certosina Church in Pavia with its famous altarpiece decorated in this way. This is ‘intarsia technique’, a term derived from the Arabic 'tarsi', which means ‘incrustation' recalling ancient mosaics made from various materials. These geometric elements not only enhance the aesthetic appeal of the caskets but also demonstrate the versatility and skill of the artisans in creating multifaceted works of art. ‘Alla Certosina’ became famous through the Northern Italian Embriachi family who achieved a particularly high standard in working in this technique. Venice in particular was known for the production of these luxurious boxes. The caskets, hexagonal or rectangular, surmounted by a lid decorated in several registers constitute the secular, albeit equally renowned component of the workshop’s production, in addition to mirror frames and various everyday objects. The method of fabrication of those objects was based on two concepts that underlay pre-industrial production: standardization and modularity, thanks to a distribution of skills according to the different phases of fabrication. even the realization of the marquetry motifs (in the form of ingots from which portions of the desired size were cut) were therefore entrusted to various specialized craftsmen, as were the assembly phase. Today better known thanks to the extensive research work recently carried out by Michele Tomasi, this workshop owes its name to its founder and owner, the Florentine Baldassare Ubriachi (or degli Embriachi), a merchant and banker established in the Tuscan capital before he settled in Venice in 1395. Together with sculptor Giovanni di Jacopo, who directed the workshop, from the last years of the fourteenth century, Baldassare oversaw a production that was truly original, and still easily recognizable today, comprising monumental altarpieces and various objects, primarily triptychs and caskets. The precise location of the workshop is unknown, except that it originated in Florence and in ca. 1431 there was apparently a workshop in Venice, in the area of S Luca. They employed local workers specializing in 'certosina' (inlay of stained woods, bone and horn), and the workshop produced items carved in bone (usually horse or ox) with wood and bone marquetry. The geometric decoration of Embriachi caskets reflects the artistic complexity and attention to detail that characterized their work. this inlaid casket is a testament to the skill and artistry of the Embriachi family and serves as a stunning example of the decorative arts of the late Middle Ages. Related Literature : E. Berger, Prunk-Kassetten: Europäischen Meisterwerke aus acht Jahrhunderten / Ornamental Caskets...

Antique Khmer bronze bowl with nice patina. Age: Cambodia, Angkor Vat period, 12th Century Size: Diameter 11.4 C.M. / Height 6.3 C.M. Condition: Nice condition overall (some expecte...

Prehistoric Brazilian agate geode on stand. White, taupe with a thin rust line. Metal stand measures 6" x 4". One of several from a large collection o...

Ancient Luristan bronze spear with excellent green patina. Luristan bronze comes from the province of Lorestan, a region of nowadays Western Iran in the Zagros Mountains. With its r...

This is a pottery made in the early Joseon Dynasty of Korea. This tea bowl was made around the 15th to 16th century. A characteristic of this era was that pure white pottery was only allowed to be used by the privileged class. Therefore, common people used pottery...

Large Pre Columbian  INCA / Early Colonial period  Wood Kero    A superb Large Inca Kero cup profusely carved in the mosaic style with a image of the Inca or...

Magnificent fossil, ammonite, France, Prehistoric, approximately 335 million years of existence. Height 55 cm, width 58 cm.

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The figure stands with arms crossed in front, a pose that is often seen in tomb figurines which were intended to serve the deceased in the afterlife. The long robe and facial feature...

Tang Dynasty Painted Pottery Figure of a Fat Lady or Female Courtesan. Period (618 - 907AD) Estate / Collection: The Collection of Jay I. Kislak sold to benefit the Kislak Family Fo...

An Aztec Stone Sculpture of a dog-like creature, seated with one raised paw, having large round ears, deep set eyes, mouth with exposed upper fangs, and an unusual curved tail with c...

An important Pre-Columbian Inca/Chimu silver portrait vessel cup, Peru, 1400 CE. The indigenous people of Peru created these vessels for more than domestic purposes. Rather, they were used during life & after life at funerary ceremonies that incorporated intricate religious libations and imbibing rites. To create this piece, the ancient metalsmith hammered a piece of silver into a very thin sheet, approximately the size of the finished work. Then, the artisan used fine-grained stone anvils and hammer stones...

The artwork, with its foliage and floral motifs, suggests a connection to the natural world—a common theme in Vietnamese art. Such items were highly traded, and their recovery from shipwrecks helps us understand the extent of maritime commerce in Southeast Asia during the 15th and 16th centuries. This piece embodies the craftsmanship and aesthetic values of the period, providing insights into the cultural and economic contexts of its time. Dates : 15th century Le Dynasty Region : North Annam Type : Bowl Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : Double checked with reference to the original catalogue Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics...

A large Chinese painted pottery figure of a horse torso, Han Dynasty (206 BC to 220 AD). An unusually large Chinese Han Dynasty horse torso, also sometimes referred to as a recumben...

A pierced Flamboyant canopy North of France, 15th century Limestone 30 x 32 x 35 cm This richly decorated canopy of circular plan, consist of three carved faces, each dominated by ...

A beautiful, Etruscan style black Bucchero pitcher. Bucchero is a class of ceramics that were produced in central Italy in the regions of the pre-Roman Etruscan population and is der...

This piece displays the beauty of the Muonionalusta meteorite in the form of a cube. It is extreamly rare to find a cube of any meteorite above an inch and this piece is 2 inches cub...

A wonderful and large Round cocktail table with a foil / Black tooled leather top. The table is a compliment to any room that is in need o...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

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 state of conservation is good. I...

This 12th century Pagan Votive Tablet Material: Terracotta 20,8 cm high 15 cm wide and 9 cm deep Bagan style 12th century - original from the Pagan peri...

Original vintage winter sport travel poster advertising the Sun Valley ski resort in Idaho Owned and operated by Union Pacific Railroad (1936-1964). Colourful artwork by the American...

We have an aesthetic sense peculiar to Japanese people. And we introduce the unique items that only we can do, the route of purchasing in Japan, the experience value so far, and the ...

Tang Dynasty Painted Pottery Figure of a Fat Lady or Female Courtesan. Period (618 - 907AD) Estate / Collection: The Collection of Jay I. Kislak sold to benefit the Kislak Family Fo...

Fossilised Colla Wood Cross-Section Miocene, circa 23-5 Million years before present Recovered near the town of Zile, Turkey Fossilised wood fragment displ...

Prehistoric Brazilian thick agate geode on stand. Center hole reveals beautiful natural silver crystals. Metal stand measures 6" x 4". One of several ...

The electric intensity of this piece's coloration makes it both stunning and unique. The sparkling color and natural wave-like form makes for a hypnotic sculpture evoking a sense of ...

A similar jar with a cover, part of the Avery Brundage collection at the Asian Art Museum in San Francisco, is featured in Mary Tregear's "Song Ceramics" (London, 1982, plate 286). T...

Banded Iron Fossil Formation Circa 2.9 Billion y/o This spectacular banded iron formation from Port Hedland, Western Australia, provides evid...

“Winter2”, Abstract Painting Dimensions: 40cm x 40cm x 1,5 cm Technique: Acrylic on canvas Author: Miha Zorz Year: 2020

Weight : 143.28 Gram Dimension: 5.7 x 5.4 x 4.2 Cm Origin : Paprook Mine, Afghanistan Tourmaline is a crystalline silicate mineral group in which boron is compounded with element...

The figure stands with arms crossed in front, a pose that is often seen in tomb figurines which were intended to serve the deceased in the afterlife. The long robe and facial feature...