Benelux

Marble Roman relief representing a Christogram Roman relief - 4th century 25 x 22 x 8 cm Provenance : Collection of the Château de B. À Nevers by Georges C.S., scholar born in 1833 and deceased in 1909 The entire castle and its collections were acquired in 1938 by the current owners of the estate A christogram is a monogram or combination of letters that forms an abreviation for the name of Jesus Christ. This rare fragment combines chi (X) and rho (P), the first two letters of Christ's name in Greek and it is one of the oldest and most popular early christian symbol. The monogram of Christ, or chrismon, is also a powerful symbol of imperial victory: it appeared to Emperor Constantine the Great before his battle against Maxentius in ad 312, promising victory in the name of Christ. In Plato's Timaeus, it is explained that the two bands which form the "world soul" (anima mundi...

Large base of molded hexagonal pilaster in burgundy stone carved with vines, grapes and rosettes in high relief. Burgundy, 15th century 28 x 63 x 30 cm Provenance : collection De...

Roman corinthian capital Marble Flavian period, 1st century AD H 40 x L 42 x P 40 Provenance : Private collection United Kingdom.

Attributed to Antonio Rossellino (settignano, 1427 - Firenze, 1479) Bust of a young boy 1470-1475 Polychrome stucco 35 x 31 x 15,5 cm - Published on the exhibition catalogue : A. D...

Gothic Limestone frieze decorated with curly foliage North of France, 14th-15th century 59,8 x 15,6x 22 cm This French Gothic limestone frieze, adorned with curling foliage, stands ...

Renaissance Marble Relief Emilia Romagna, Faenza ? 1470-80 H 30,2 x L 33 x P 3,5 cm The carved marble relief depicts the Virgin accompanied by a winged cherub standing behind her. ...

Early Arabe / Mudejar style tile with geometric decoration, made late 15th century.

An exceptional pair of South-East-Asian Bracelets made of Shell, from the Thailand Region , Bang Chiang Period, prehistoric period,5000-7000 years old, the hand-carved bracelets have...

Rare pastiglia marriage chest North of Italy, Liguria or Piemonte First half of 15th century wood, gesso, partly gilded, form molded and painted 67 x 156 x 63 cm Provenance : Pri...

Head of a crowned Virgin Île-de-France, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) - Private Collection Tuscany, Italy (19...

Elephant bird egg from Madagascar. The largest egg ever from a living creature; it is from the extinct elephant bird. Assembled from the shards of se...

Attributed to Domenico di Paris, also called Domenico del Cavallo ( Monselice, documented in Ferrara between 1442 and 1501) Madonna and The Child Polychromed and gilded Stucco 47,5 ...

Beautiful antique Sandstone Shiva Lingam from South-East-Asia, Khmer Period, 12-13 th Century, Thailand-Cambodia Region, this Hindu magical stone was used as a fertility and well-bei...

Telamon Northern Italy, late 12th - early 13th century Reemployed Roman marble H 32 x L 18 x P 17 cm « Sono coloro che hanno dimenticato che l’uomo é solo un bruco, destinato a dive...

a rare find, they came out of a Spanish house, built in the 15th century by Jewish owners dimensions are 1 x 210 cm high x 73 cm wide and 4 cm deep, and 1 x 210 cm high x 55 cm wide...

Obverse: head left in bashlyk Reverse: archer seated right on omphalos, three line legend, H Not known to Sellwood, unpublished coin of Hekatompylos mint Weight: 3.95 g Grade: Abou...

Exceptional and rare Set of 3 Fossilized Claws from an animal, the pieces were found in Indonesia , Asia, the objects have a very nice color and patina due to age, mounted on a moder...

Obverse: IMP CAESAR VESPAS AVG COS V TR P P P, laureate head right Reverse: AVGVSTAE – PACI, Victory standing right, holding shouldered palm frond with her left hand and a wreath in ...

Obverse: IMP GORDIANVS PIVS FEL AVG, laureate, draped, and cuirassed bust right Reverse: SALVS AVGVSTI, Salus feeding snake on her arm from patera Gewicht: 3.41 g Kwaliteit: Prachti...

Obverse: head right, with mustache and earring, wearing diadem and kyrbasia Reverse: fire temple of Ahura-Mazda, above, half-figure of Ahura-Mazda, to inner left, Baydād (Bagadat) st...

Obverse: helmeted head of Roma right; X (mark of value) below chin Reverse: incuse Weight: 3.84 g Grade: Very Fine Mint: Rome Reference: Crawford 273/1; Sydenham 532

Obverse: P CLODIVS / M F., laureate head of Apollo right; lyre to left Reverse: Diana Lucifera standing right, bow and quiver over her shoulder, holding torches BEAUTIFUL TONING W...

Obverse: IVLIA PAVLA AVG, draped bust right, showing later coiffure with small bun Reverse: CONCORDIA, Concordia seated left, holding patera, star in left field Beautifully detaile...

Obverse: head of Athena right, wearing earring, necklace, and crested Attic helmet decorated with olive leaves over visor and spiral palmette Reverse: owl standing right with head fa...

Obverse: helmeted head of Athena right Reverse: Pegasos flying left, triskeles below VERY RARE Beautiful toning Weight: 6.80 g Grade: Good Extremely Fine Reference: Pegasi 19 va...

Obverse: head of Demeter left, wearing barley wreath Reverse: ΜΕΤA, ear of barley, pitchfork above leaf in left field Weight: 7.84 g Grade: About extremely fine Reference: SNG ANS 4...

Obverse: [HPAKLHIWN], head of Athena right, wearing crested Athenian helmet ornamented with Skylla; behind, K Reverse: HPAKLHIWN, Herakles, naked, standing facing, holding club and b...

Obverse: head of Athena right, wearing earring, necklace, and crested Attic helmet decorated with olive leaves over visor and spiral palmette Reverse: owl standing right with head fa...

Obverse: head of Athena right, wearing earring, necklace, and crested Attic helmet decorated with three olive leaves over visor and spiral palmette Reverse: owl standing right with h...

Obverse: Silenus with nymph Reverse: square incuse with four fields AMAZING TONING AND HIGH RELIEF Gewicht: 8.46 g Kwaliteit: Prachtig Referentie: HGC 331; Le Rider, Thasienne, Tf...

Obverse: ΜΕΤ, corn ear with eight grains Reverse: corn ear with eight grains, all incuse Weight: 7.77 g Grade: Good very fine Mint: Metapontum Reference: HN Italy 1459; HGC 1, 1027

A gold pendant in the shape of a siren with a human head, hair parted and falling onto back, human upper body, wings on back, standing on drum-shaped pedestal, decorated with granule...

A finely detailed appliqué with the face of a youth, wavy hair framing the circular face, with well defined eyes, pierced for inlays. 5.5 cm (h) Provenance: Ex Jean-Phillipe Mari...

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...

Mask of a bearded deity, short beard and hair braided in the characteristic high hairstyle, with layered ringlets on either side. 4 cm (h) Green patina ...

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...

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...

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...

Chrome Hearts Louvin Cup Glasses Frame Beautiful Chrome Hearts Louvin Cup glasses frame. In new condition without flaws. Frame made in Japan.

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...

Elegant and refined Khmer bronze hairpin dating between the 12th and 15th century.

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 ...

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...

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...

These stone sculpture fragments can be dated between the 12th and 13th century. They were finely sculpted by the Khmer people. The Khmer culture flourished between the 8th and 15th c...

A beautiful set of 3 antique KHMER vases from South East Asia, from the Thailand-Cambodia area, good patina and shine of the glazed Brown terracotta, fine decorations and design of t...

Set of 3 Khmer Vases from the Cambodia-Thailand region in South East Asia, 11-13 th Century, the vases have a great patina and shine and are very decorative, fine decorations and sim...

Material : marble 101 cm high The black wooden base is 60 cm wide and 40 cm deep The marble statue itself is 67 cm high Dhyana mudra 15th century (or earlier) Pictured is Parshvanath...

Antique marble statue from Jain temple from India, 14th century Material : marble 32,5 cm high 14,2 cm wide and 9,5 cm deep 14th century Origina...

This bronze sculpture, originating from Burma in the 15th century, is a rare and remarkable piece of art. Crafted in the distinctive Toungoo style, it stands at a height of 34.2 cm a...

Material: bronze 32,6 cm high 16 cm wide and 9 cm deep Weight: 2.757 kgs With traces of 24 krt. gilding Ava style Bhumisparsha mudra Originating from Burma 15th century, early Ava p...

Large Medieval German Inscription stone Germany, 14th century 46 x 83 x 13 cm

Material : bronze 22,8 cm high 15,5 cm wide and 10 cm deep Arakan style Bhumisparsha mudra 14-15th century Weight: 1,66 kgs Originating from Burma Nr: 3814-11

A very nicely decorated Charger from the 15th/16th century. Additional information: Material: Porcelain & Pottery Type: Chargers (Large Plates) Color: Blue & White Region of Origin:...

A very nicely decorated plate from the 15th/16th century. The dish is beautifully designed with flowers. Additional information: Material: Porcelain & Pottery Region of Origin: Chin...

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

The early antique bronze Thai Buddha statue is a captivating and historically significant artifact originating from Tibet. Crafted from bronze, this statue stands at 13.1 cm in height and measures 9.9 cm in width and 6.5 cm in depth. Dating back to the 14th century, this Buddha statue holds deep historical and cultural importance, representing the artistic and spiritual heritage of Tibet. The depiction of the Buddha in the Bhumisparsha mudra, symbolizing the moment of enlightenment, adds to its profound symbolism. With a weight of 493 grams, this statue is a cherished and valued piece. Originating from Tibet, it carries the essence of Tibet craftsmanship and Buddhist devotion. It provides a glimpse into the artistic styles of that era. This Buddha statue serves as a powerful representation of wisdom and serenity, making it a cherished centerpiece for collectors, practitioners, or anyone seeking a connection to the rich spiritual heritage of Tibet. Its historical context, intricate details, and distinct influences contribute to its exceptional value and significance, capturing the essence of a bygone era and the enduring presence of Buddha's teachings. Material : bronze 13,1 cm high 9,9 cm wide and 6,5 cm deep With Turquoise inlaid Bhumisparsha mudra 14th century Probably the most special Tibetan statue...

Sculpted in walnut wood In Germany the use of walnut was quite rare, in some cities in Northern Germany such as Lüneberg and Hamburg the use of walnut was allowed by gild regulation...

Rare romanesque capital with sirens France, XIII century Limestone 25 x 28 x 22 cm This finely carved Romanesque capital, executed in high relief from limestone, features four hyb...