Tri-State Area

Solid 22K Yellow Gold Bangle Bracelet by ROMAE Jewelry - Inspired by an Ancient Roman Design. Quintessentially timeless in its design, our "Fortuna" bracelet is notable for its gentl...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

James Edward Butteerworth Owning a painting by James Edward Buttersworth depicting the heroic rescue of passengers from the ship 'Winchester' by the inscribed steamship 'Washington...

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

22 Karat Gold Sun Pendant by ROMAE Jewelry - Inspired by an Ancient Roman Design. Our unique Hemera pendant is a representation of the sun, and is bas...

Finely woven of wool and linen, this large, ancient, museum level Coptic textile depicts figures derived from classical antiquity, some playing musical ...

A natural piece of Petrified Wood set on a stand. Completely organic natural raw fossil, cleaned for display. The natural process for petrified wood to be created takes hundreds to...

Two Black Basalt carved and polished Neolithic axe heads mounted on steel bases. These wonderful ancient objects are a testament to the artisans who crea...

Bochic “Roman” Antic Roman Pure Gold Old Garant Pendant Necklace In 18K Gold Elegant and Classic Italian style The coins were found in Afghanistan when the Roman pass through to f...

Bochic “Roman” Antic Roman Pure Gold Old Agate Pendant Necklace In 18K Gold Elegant and Classic Italian style This item was found in Afghanistan when the Roman pass through to fight in India. The agate was then cleaned, ring preserved as a gold commodity until recently made into a contemporary pendant. From the time of Alexander the Great. The Bochic "Roman״ Multi Pure 18K Gold Coin Necklace...

Bochic Curated Antique Roman Seal Ring From Afghanistan 18k Solid Gold & Old Agate This is the kind of ring you see in a Museum Roman Solid Gold Ring ...

ITEM DESCRIPTION ID #: 54283 Stone Shape: ROUND ROSE CUT Diamond Weight: 0.25 CT Clarity: None Color: Very Light Pink Cut: Excellent Measurements: 4.58 - 4.66 x 1.19 mm Symmetry: ...

Unveil the elegance of antiquity with this Ancient Mesopotamian Stone Owl Amulet Pendant in 14 Karat Gold. The owl dates to circa 2000 BC. The imagery of this ancient Mesopotamian ...

John Henry Hill 1839-1922 Signed lower right Dated: 1857 Sight size: 3 3/4 x 7 1/2 inches Overall size: 7 3/4 x 11 1/2 inches oil on panel Good condition Kennedy Gallery Label Verso ...

Handmade in wool circa 1850-1860, this 5x9 antique French needlepoint rug is a particularly rare addition to our European rug collection. Its design features intricate medallions and...

Of all the incredible malachite specimens recovered from the Katanga Copper Crescent of the DRC, there is only one known incidence of a stalactite composed of chrysocolla with stunning malachite "eyes" and azurite rings...

Bochic “Vintage” Solid 18K Gold Bangle With Old Turquoise, Original open and close hinge and safety locks 50 Grams 18K Gold Turquoise fitting...

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...

Fine engraved double-sided Byzantine bronze reliquary cross, 9th-12th Century AD Excellent original patina Composed of two parts hinged at the top an...

Two ancient terra cotta pottery vessels, Urns or Vases from the Khmer region of South East Asia. Sober forms that provides a complement to a Mid-Century or modern environment.

A beautiful natural grey quartz geode specimen. Great as a standalone object on shelf, table, atop books, on a desk, as a paperweight, etc. Very good condi...

This is a rare and historically significant Roman Provincial silver tetradrachm, minted in Jerusalem during AD 134–135, under the rule of Emperor Hadrian. Struck at the height of the...

ITEM DESCRIPTION ID #: NYC56705 Stone Shape: ROUND BRILLIANT Diamond Weight: 1.02ct Clarity: VS2 Color: G Cut: Good Measurements: 6.25 - 6.30 x 4.01 mm Depth %: 63.9% Table %: 68% Sy...

Bochic Curated “Alexander Mocdon” Antique Cameo, Afghanistan 18k Gold & Agate Bochic Curated Antique Cameo From Afghanistan 18k Solid Gold & Antique Agate This is the kind of Ca...

Presenting a beautiful mid-19th century bronze sculpture by the renowned artist Auguste Moreau, depicting a young girl holding a bird in one hand and a shovel in the other. This char...

Signed “A.H. Devaulx”, and marked “Susse Fes Ed.20” Dimensions: Height 6-7/8”, width 7-7/8”, depth 4-1/4” This wonderfully unusual desktop sculpture of gilded bronze, depicting a beautiful female-centaur breastfeeding her cub is made in a classic romantic style of the Belle Epoque era by a remarkable French sculptor, Alexandre Henri Devaulx. Alexandre Henri Devaulx (French, 1856-1940) was the son of the noted sculptor of the Romanticism period, François Théodore Devaulx (1808–1870). Born in Paris, he studied under E. Devaulx, making his début as a sculptor at the 1876 Paris Salon with Portrait, a plaster medallion. Alexandre Henri Devaulx became a member of the Artistes Français in 1888, winning an award with merit in the same year.... Susse Frères Bronze Foundry, Paris - The French firm Susse Frères manufactured a daguerreotype camera, which was one of the first two photographic cameras...

Pair of 1870s English carved wood lions.

Genuine, museum-quality, Ophiuroidea Brittle Star Fossil. Ophiura ophiura or the serpent star is a species of brittle star in the order Ophiurida. This type of species is known for i...

ITEM DESCRIPTION ID #: NYC56890 Stone Shape: MARQUISE BRILLIANT Diamond Weight: 0.75ct Clarity: SI2 Color: U to V Range Cut: Excellent Measurements: 8.26 x 4.73 x 3.25 mm Depth %: 68...

Unveil the elegance of antiquity with these 2000 year old Ancient Roman Bronze Lion Head Earrings in 14 Karat Gold. The imagery of these ancient Roman Bronze lions is extremely rare...

Unveil the elegance of antiquity with this Ancient Luristan Bronze and Enamel Double Horse Amulet pendant necklace in 14 Karat Gold. The magnificent ancient Luristan horse amulet da...

Unveil the elegance of antiquity with this Ancient Mesopotamian Lion Amulet Pendant Necklace, dating from the 1st to 4th century BC (100-400 BC). The finely crafted ancient artifac...

19th Century Sterling Silver tableware serving footed bowl with Exterior floral design details resting on a proportions round footed base. The serving bowl is in great antique condit...

PINK FLUORITE ON SMOKY QUARTZ Tiefengletscher, Furka, Uri, Switzerland 28.5 cm tall x 12.7 cm wide In the mineral kingdom there are hierarchies, not all of them actually correct. Bu...

Billions years old dark natural rock crystal sculpture mounted as a lamp. Two sockets installed. To the top of the rock crystal 11.5”.  

A very refined, unusual and important lively modeled pottery statue of guardian, dramatic and powerful pose, early Tang dynasty, 618-907AD, comes with Oxford authentication TL test...

Liddicoatite, Tourmaline Anjanbonoina, Antananarivo Prov., Madagascar 16.5 cm tall x 11.4 cm diameter Liddicoatite is an uncommon form of tourmaline. It was first discovered in Mada...

Elaborate silver and mother-of-pearl, silver plate flatware set. Original box with shield crest and fittings and was originally commissioned...

TOURMALINE Aricanga Mine, Sao Jose da Safira, Minas Gerais, Brazil 9 cm tall x 2.1 cm diameter Crystals of this type are sometimes referred to as "Parrot" crystals due to the multi-...

This highly detailed study of a Normandy mare is an excerpted model from Mêne's popular Jument normande et son poulain, exhibited in wax at the 1868 Salon (no. 3749), and in bronze t...

A large rare pair of 19th century Meissen Chinoiserie style Nodding Pagoda Figures with Movable Head, Hand and Tongue, known as a "Nodder'. This Unusual...

This incredible fossilized brow horn belonged to the Medusaceratops Iokii: an herbivorous dinosaur that lived during the Late Cretaceous period circa 78-77 million years ago. This sp...

Unveil the elegance of antiquity with this Ancient Roman Bronze Head of a youth pendant necklace in 14 Karat Gold. The magnificent ancient Roman head...

Up for sale here is a really impressive mid 19th century painting. Very fine quality and great color! Unsigned. Framed. Image size, 13 by 17.

A beautiful, fossilized and calcified ammonite shell with an iridescent, opalized shimmer, displaying hints of vibrant red and yellow tones. This specimen displays multiple complete ammonites in a clustered form, each having a dendritic crystal pattern. This piece has been hand polished. *You will receive the exact object as in these photos. The fossilized shells...

Author:: Balbus, Johannes. Title: Catholicon. (An original leaf). Publisher: Mainz: [Peter Schoeffer], 1469. Description: An Original Catholicon Leaf Printed By Peter Schoeffer. 36.5 cm x 28.5 cm, printed in double columns with 66 lines to the page, rubricated 15 on recto and 38 on verso, printed on Galliziani paper, the half of the sheet without the watermark, but with the characteristic shadows at wire-line intervals of ca. 5 mm.. Condition: Mild toning to edges of leaf, otherwise invery good condition Additional Information.: The first nonreligious book ever printed by the first printer. Below is an interesting translation mentioning Africa from Verso: column 2: 11th item: line 34 - "Heliotrope: A green colored stone having blood red veins. If placed in a silver dish filled with water and exposed to the rays of the sun, the water will turn blood red, and the sun will go dark. It is most brilliant when at the rising and setting of the sun it changes color. It is found in Africa." Aside from a leaf from the Gutenberg bible this is one of the earliest possible obtainable pieces of printing associated with Johann Gutenberg. Provenance: 1) Sir Hans Sloane...

Tourmaline, Ofiki, Oyo State, Nigeria 6.3 cm tall x 1.9 cm diameter Ofiki is well known for producing deep colored tourmalines. Most of the tourmalines they find are dull, rounded, ...

Trilobites, an early arthropod relative of spiders, horseshoe crabs, and scorpions, preserved in this level of detail only occurred as a result of very sudden underwater landslides c...

Trilobites, an early arthropod relative of spiders, horseshoe crabs, and scorpions, preserved in this level of detail only occurred as a result of very sudden underwater landslides c...

A Magnificent and Quite Large Pair of Hand-Carved 19th Century Chinese Rootwood Throne Chair/Arm Chairs. According to an article posted by the MET Museum, rustic rootwood chairs such as these were meant to suggest Buddhist and Daoist figure’s lack of attachment to earthly luxuries. Instead of depicting deities and important religious icons on sumptuous thrones, rootwood chairs signified the relationship between humans and nature. Each chair is hand-carved from the finest rootwood and further lacquered creating a rich dark color on the exterior of the wood. The seating areas are finished with comfortable white cushions and they are ready to be used in any decor. A similarly designed rootwood table...

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

Beautiful Antique Victorian 18K Yellow Gold Seed Pearl Mourning Ring. This incredible ring is in good condition but is missing the hair that lines the inside of the ring. Some remnan...

LIDDICOATITE TOURMALINE WITH QUARTZ Anjanbonoina, Antananarivo Prov., Madagascar 7.1 cm tall x 6.8 cm wide Liddicoatite is an uncommon form of tourmaline. It was first discovered in ...

Tourmaline is celebrated not only for its vitreous beauty, but also for its unparalleled spectrum of colors and color combinations, earning its place among the most vibrant gemstones...

22 Karat Gold Baule Earrings by ROMAE Jewelry - Inspired by an Ancient Etruscan Design. The Italian word "baule" means "bag," in the sense of a trunk or suitcase. Our beautiful Gaia ...

This silver AR Zuz, weighing 3.13 grams, was minted during the Bar Kokhba Revolt, a defining moment in Jewish resistance against Roman rule between 132 and 135 AD. Struck in the thir...

VANADINITE ON BARITE Mibladen, Aït Oufella Caïdat, Midelt Cercle, Midelt Province, Drâa-Tafilalet Region, Morocco 12.7 cm tall x 14 cm wide The Drâa-Tafilalet Region of Morocco, best...

This large geode is an intriguing sculpture with immense depth and contrasting textures. Size: 31 x 25 x 5 inches Size with base: 41 x 25 x 5 inches

Vesuvianite, Jeffrey Mine, Val-des-Sources, Les Sources RCM, Estrie, Québec, Canada 7.5 cm tall x 6 cm wide "The Jeffrey mine, once the largest producer of chrysotile asbestos in th...

Rare natural pearl and garnet earrings c. 1840-1850 are light on the ear and in original perfect condition. This too is rare. Two chains on each earrings suspend one oval circle from another, each set with natural seed pearls and garnets...