347 results for "spectandum"

Title: Portrait of Abraham Ortelius Engraved by Philippe Galle, first published in 1579, featured in the *Theatrum Orbis Terrarum*. Description: This is a meticulously detailed portrait of Abraham Ortelius (1527–1598), the renowned Flemish cartographer, geographer, and creator of the first modern atlas, Theatrum Orbis Terrarum. This copperplate engraving, crafted by the master engraver Philippe Galle (1537–1612), was first published in the 1579 edition of Ortelius’s groundbreaking work. The image presents a bust-length profile of Ortelius facing to the left, emphasizing his austere yet intellectual presence. He is depicted wearing formal attire typical of the late Renaissance period, including a richly textured doublet with a fur-lined collar and a finely detailed ruff around his neck. His aged, yet determined face, with a pointed beard and furrowed brow, symbolizes his deep dedication to the study of geography and cartography. Surrounding the portrait is an elaborate architectural and floral frame, characteristic of late 16th-century Mannerist designs, which conveys a sense of both intellectual grandeur and artistic sophistication. At the top of the frame is a "Chi Rho" symbol, representing Christ, and emphasizing the religious underpinnings of Ortelius's worldview. The Latin inscription below the portrait reads: "Spectandum dedit Ortelius mortalib. orbem, Orbi spectandum Galleus Ortelium" ("Ortelius gave the world to be seen by mortals, Galleus gave Ortelius to be seen by the world.") This suggests the lasting legacy of Ortelius’s work in mapping the known world and how Galle, through his engraving, immortalized Ortelius himself. About the Engraver: Philippe Galle (1537–1612) was a prominent Flemish engraver and publisher, known for his precision and technical skill in copperplate engraving. Galle often worked with leading figures of his time, producing prints that highlighted important cultural, intellectual, and political figures. His engraving technique involved etching intricate lines and textures onto a copperplate, which would then be inked and pressed onto paper to produce highly detailed prints. His collaboration with Ortelius on this project further solidified his reputation as a master engraver. Why Ortelius was Important: Abraham Ortelius is celebrated as one of the founders of modern cartography. His atlas, *Theatrum Orbis Terrarum* (Theatre of the World), published in 1570, was the first to gather a comprehensive collection of maps into a single, standardized volume. This work marked a turning point in the history of geography by establishing a modern understanding of world mapping. Ortelius also significantly contributed to geographic knowledge by incorporating information from various cartographers, which helped to unify mapmaking practices across Europe. Ortelius's work not only aided navigators and explorers but also influenced scholars and rulers in their understanding of the world. His reputation extended well beyond his home in Antwerp, making him one of the most respected intellectuals of his time. Keywords: Abraham Ortelius portrait, Philippe Galle engraving, 1579 Theatrum Orbis Terrarum, Renaissance cartography, Ortelius atlas, historical cartographer portrait, copperplate engraving, Mannerist engravings...

The Color Experience: Stained-glass windows “Color is a power which directly influences the soul” (Wassili Kandinsky, Moskou 1866 – Neuilly-sur-Seine, 1944) “Color! What a deep and mysterious language, the language of dreams!” (« La couleur ! Quelle langue profonde et mystérieuse, le langage des rêves », Paul Gauguin, Paris, 1848-Fatu-Hiva, 1903) ‘Color and feeling’, ‘color and meaning’, these are concepts that have gone together since time immemorial. Artists and craftsmen have a special bond with color. After all, it is a means of expression that can have a real reinforcing effect. Especially linking color with light offers unlimited possibilities. Glaziers and glass painters have tried to master both these ‘instruments’ for centuries. The set of beautifully restored neo-Gothic windows in our collection are enough reason for us to let these works of art figure in a broader story. As a bonus, we would like to introduce you to the contemporary stained-glass artist and stained-glass restorer, Daniël Theys. whose workshop is in Sint-Pieters-Rode (Belgium). He talked to us about the materials and techniques he used for the restoration of our set of neo-Gothic stained-glass windows. A fascinating look at the tricks of the trade from a specialist! A bird’s eye view of the history of the European stained-glass window. Although the Romans already used translucent glass plates to cover wall openings, the stained-glass window reached its peak in Europe between 1150 and 1500. A period also known as the era of the cathedrals. At that time, stained-glass windows became more than just a way to let in the light, and to keep the space closed off. From now on, their functionality was also found in their didactic value. The biblical and saints’ stories that adorned the stained-glass windows became a kind of poor man’s bible. They brought, as it were, the knowledge of the holy scriptures in an understandable, pictorial way. At the same time, the colored light provided additional symbolism. The invading light was interpreted as a manifestation of God. It is also no coincidence that the main altar was bathed in light. It was the place where the most important sacrament was celebrated, that of the Eucharist. How were these magical colors obtained? Well, during the 12th and 13th centuries, metal oxides gave color to the glass. Copper, for example, produced different colors in the various stages of oxidation. The metal could color the glass light blue, green and even red. It should be noted that from the 13th century onwards, clear glass, which was cheaper and at the same time allowed more light into the buildings, was used more often. A century later, in the years 1400 to 1500, glass painters frequently painted onto the glass with a ‘stain’ of silver chloride or sulfide. The painted piece of glass was heat-treated in a furnace. The heating process ensured that the silver ions migrated into the glass and became suspended within the glass network. The stain gave colors ranging from a pale yellow to a rather deep red. This new technique allowed glaziers to get more than one color on a single glass fragment. The shades produced by painting in silver chloride were well suited for depicting golden crowns, scepters and other gilded objects and ornaments. But the most important advantage of the technique was the fact that the glass painter could now make transitions from yellow tones to white without having to apply separations with lead strips! This also improved the legibility of the pictured scene. You can imagine that the labor-intensive process of the production of stained-glass windows was a very costly affair and therefore it was often patrons who donated them to a church or a chapel. The benefactors were usually eager to propagate their social status and were moved by concern for their salvation. In the 16th century, stained-glass windows also began to appear in secular buildings such as town halls, the homes of the wealthy and commercial premises such as inns. It is striking that during this period the use of lead strips that border many parts of the image was further reduced in favor of real painting on stained glass. This was due to an increasing love of detail. For example, one wanted realistically painted portrait heads. Working with enamel paints was cumbersome. Each newly applied color had to be burned into the glass before another color or overpainting could be applied. It was not only the coloring of the glass that was complicated, the process of obtaining flat glass plates required many steps as well. The glazier blew a glass bulb with a blowpipe and then cut it open. Finally, each half of the sphere was turned around so fast that it became a disc. In later periods, the glazier blew out his glass bulb into a cylinder. Once the cylinder had cooled, its closed ends were removed, and the long sides were cut open. The pieces of glass obtained were then heated and flattened. During the 16th century, there was a division of labor between the stained-glass designer, the glazier, and the glass painter. It happened as well that the stained-glass artist used prints as models for his stained-glass windows. Whoever drew the design, the glazier always needed a model on the right scale, the so-called cartoon. On the cartoon, the lead strips were clearly marked, and the use of colors was indicated. Contracts at the time show that the price of stained-glass windows was calculated per square foot. The price per square foot included the labor and material costs. The price of the cartoon was not included. In the 17th century, the work of glass painters remained important. At the same time, there was a growing popularity of stained-glass windows with heraldic themes. In the Low Countries there were several high-quality glass painters active. During the 18th century, glass painting went downhill in our regions. The French occupation of the Southern Netherlands resulted in the destruction and sale of religious stained-glass windows. It was only around the middle of the 19th century that the young Belgian state experienced a revival of stained glass. The renewed interest in the Middle Ages, the so-called ‘gothic revival’, caused a wave of restoration of old stained-glass windows of churches and orders for neo-gothic stained-glass windows. The Sint-Lucas art schools in Belgium played an important role in this. Industrial developments in the glass and steel industries naturally had an important hand in the popularity of stained-glass windows. Stained-glass had a wide range of uses; think of stained glasses in winter gardens, domes, windows, and doors of large mansions. Significant glazier’ studios arose in several larger Belgian cities. In Brussels, for example, you had the workshops of Capronnier and Colpaert, in Bruges the studios of Coucke and Dobbelaere, in Ghent the companies of Ganton-Defoin or Ladon. During the 19th century, glaziers followed the style developments in the visual arts. For example, the number of windows in Art Nouveau and Art Deco style is large. The restored stained-glass windows with male and female saints that we offer for sale, come from a building in Laeken, near Brussels. They probably decorated the space of a church, chapel, convent, or Catholic school. In the results of the interview with glass restorer Daniël Theys, you will learn more about the particularities of these splendid windows. Chatting and browsing in the workshop of Daniël Theys The Belgian Glass restorer and glass blower, Daniël Theys (), made a career switch at a later age and has been active in the profession since 1987. He is an important player in the field of stained-glass window art in Belgium. Moreover, he is the only one in the country who still masters the technique of glass etching. Daniël Theys receives many commissions from small parish churches to restore old stained-glass windows to their former glory. He made a name for himself in that niche and that is how Spectandum brought the set of 19th century stained glass windows to his workshop for reconstruction. They were delivered in old numbered wooden crates and Daniel had to start puzzling. Numbered wooden crates with sections of the stained-glass windows Normally a glazier starts working from a drawing with a scale of 1:1 (full size drawing), but in this case each piece had to be cataloged and photographed. The smaller pieces were grouped on the light box and photographed in their entirety. Then Daniël made a drawing of the remaining pieces that he had puzzled together with great care. Smaller pieces identified and grouped on the light box The restauration guidelines of the Agency for Monuments and Landscapes are not always the same as those of a restorer. For this reconstruction, Daniël primarily considered the purpose of the stained-glass windows. It had to be an aesthetic and salable set of stained-glass windows, so the choice of filling the gaps with neutral glass or epoxy was not really an option. Theys left well-executed previous restorations untouched. The windows may have been repaired three or four times in the past. Piece of a cloak with glass shards from different periods (restorations) Another problem Daniel faced during the restoration was the fact that some small parts of the old grisaille had been eaten away by microorganisms. The defect – caused by moisture – can be seen from the discoloration of the grisaille. The black-brown color is turned red. This fragment shows well how the brown grisaille has turned red due to the attack of micro-organisms The stained-glass windows of the 19th century are made of ‘in the mass-colored’ glass. This means that the colors were added to the liquid glass during its production process. This type of glass differs from glass colored with enamel paint, which became popular from the interwar period. The latter process involves applying enamel paint (this is a glass powder with a metal oxide to which a medium has been added) to the colorless glass. When firing the glass with the enamel paint, the powder fuses with the glass. The colors of email painted glass are less intense and less brilliant than those of ‘in the mass-colored glass’. Jars with colored powder for the enamel paints For the restoration Daniël only worked with mouth-blown glass, both with ‘in the mass-colored glass’ and with ‘verre plaqué’. This is blown glass composed of several layers of different shades. Over the years, Theys built up a large stock of old blown glass. Colored blown glass always has sliding shades. For example, a red piece of glass can have a color transition from bright red to light orange. These differences in shades are the result of the different thicknesses of the piece of glass. It allows the glazier to use a wide variety of shades. The purple-red foliage with light blue accents was obtained by etching away parts of a piece ‘verre plaqué’. A small part of the lower glass layer is exposed. The windows were completely re-leaded by the restorer because there was virtually no ‘lead net’ preserved. In general, lead strips only have a limited lifespan because of oxidation processes. Daniël removed the old lead remnants and placed new lead profiles. Then he applied putty between the glass fragments and the lead strips to seal the lead. A window must be made watertight. The current condition of the windows is excellent. Decorative glass part with original lead remnants New lead strip The set of stained-glass windows we present today, originally consisted of windows of 5 to 6 m high. After all, they originally adorned a neo-gothic church. Since the original dimensions are not suitable for private buildings, it was decided to only restore the figurative representation. The original spire of one of the windows Thanks to a suspension eye, the window can be hung. There is also the possibility to place the window in an upright position. Thanks to the craftsmanship of the Theys-Studio, we can once again enjoy the brilliance of color! Looking for the missing link The set of 19th-century stained-glass windows came into the possession of Spectandum without a clear provenance. The renowned Leuven antiques dealer, Cornelius Engelen, recalls that the windows came from a church in Laeken. There is no solid starting point for a search for the provenance. Based on the style of the stained-glass windows – most probably the late 19th century -, their religious iconography, and their original shape (pointed arch windows) and dimensions (5 to 6 cm high), we can assume that they were once displayed in a (neo-)gothic cult building. On the one hand, the stained-glass windows may have been removed after storm damage or other calamities, on the other they may have been taken away during a renovation or a demolition of a church. The Church of Our Lady in Laeken is the most famous church building in that municipality that could qualify. In the early 1920s, the central windows of the transept were badly damaged by a hurricane. Today, glass fragments of these windows (dating from 1893-1894) with the names of the sixteen missing saints and an arch infill of the western window are officially known. It would be interesting to find out if our set of eight saints once were part of the transept of Our Lady in Laeken. Research in the records of the church administrators could provide clarification. Knowing that most neo-gothic stained-glass windows from the Church of Our Lady come from the Jules Dobbelaere’s glass studio in Bruges, it is useful to consult that company’s archive as well. It is kept in the KADOC (Documentation and research center for religion, culture and; in Leuven. Of course, the sizes and shape of the stone window openings of the transept can also provide an indication. If we stylistically compare the grisailles of the set of stained-glass windows with the work of Jules Dobbelaere, we do see some relationship. Especially with a stained-glass window in the chapel of Our Lady of the Saint Anthony Church in Aalst. Another line of research that we could follow, is that of the iconography of the series. One of the saints depicted is Saint Roch. There once was a Saint-Roch church in Laeken with 19th-century stained-glass windows from the Brussels studio of Jean-Baptiste Capronnier. The company archive of the glaziers François and Jean-Baptiste Capronnier is owned by the Flemish government and can be consulted in the above-mentioned KADOC. We already searched the sales catalog of 1892, in which Capronnier’s drawings and cartoons are described one by one. The saints that are represented in our set of windows, does not correspond with the names of the saints mentioned for the church of St. Roch in Laeken. Building on this argument, it can be concluded that the eight saints were not destined for this house of worship. In the absence of lavishly illustrated monographs on the various glazier-companies in Belgium, the execution of a comparative study of the stained-glass windows is time-consuming and complex. Although a limited number of old photos of stained-glass windows can still be found in the database ‘Balat’ of the KIK-IRPA (), this remains far too limited to get a good picture of the output of the various companies. 19th C, Saint, Neo-Gothic Stained-Glass Window with Saint Martin, Belgium, 163 x 73 cm Most people know Saint Martin (Szombathely, ca. 316 – Candes, 397) as the Roman Tribune who cut his cloak in two with his sword and gave one half to a beggar. The artist of the stained-glass window has opted for a different, less common iconographic representation here. Saint Martin is presented as a bishop with a miter and staff. According to a legend, Martin was lured to the city of Tours with a trick to consecrate him as a bishop. He refused the ecclesiastical office and hid in a barn with some geese. The birds betrayed him with their twittering. In the end Martin received his episcopal consecration. The goose at the feet of the saint clearly refers to this event. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Angela, Belgium, 163 x 73 cm Angela de Merici was an Italian woman who taught young women religion, health care, and household skills. She founded the monastic community of the Ursulines. They played an important social role as founders of schools and orphanages. Saint Angela died in Brescia in 1540. It should therefore come as no surprise that the saint on the stained-glass-window is depicted with a girl by her side. 19th C, Saint, Neo-Gothic Stained-Glass Window with Charles Borromeo, Belgium, 163 x 73 cm Charles Borromeo (Milan, 1538-1584) grew up in a noble family. He was already made Cardinal and Archbishop of Milan at the age of 24. With his writings he contributed to the implementation of the Church reforms determined at the Council of Trent. Among other things, he released a new catechism. With his book on the design of church buildings, “Instructiones Fabriacae et Supellectilis Ecclesiasticae”, he left a mark on Baroque church construction. At the outbreak of the plague in his diocese in 1576, he devoted himself to the care of those affected. Hence, people sometimes pray to him when they have been hit by a serious illness. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Roch, Belgium, 163 x 73 cm Saint Roch (Montpellier, 1295? /1350? -1327? /1380?) was born with a port-wine stain in the shape of a cross on his left hip. It was interpreted as a sign from God. After the dead of his parents, he gave his money to the poor and went on to live the life of pilgrim. He cared for plague sufferers and healed some of them by making a sign of the cross. He is especially invoked as protector against the plague. 19th C, Neo-Gothic Stained-Glass Window with St. Bernard of Clairvaux, Belgium, 163 x 73 cm Bernard of Clairvaux (Fontaines, 1090-Clairvaux, 1153) decided to become a monk at the age of 21. In 1112 he entered in the monastery of Cîtaux. He was soon commissioned by the abbot to find a new monastery in Clairvaux. Because of his intellectual capacities and eloquence, he was consulted by various ecclesiastical and secular leaders. He ensured the expansion of the Cistercian order throughout Europe. As a Doctor of the Church, he wrote many tracts and sermons and established a new rule for the Templars. Above all, he was concerned with the discipline of the clergy. Therefore, he wrote a spiritual manual for the priests and bishops. Saint Bernard can be seen as a true mystic. He envisioned the union of the human soul with God as the most important goal in life. According to a legend, Bernard once had a vision in which the Blessed Virgin appeared to him and strengthened him with her mother’s milk. In the arts, the saint is mainly depicted with an abbot’s staff and a book with the Cistercian rule. His vision was also often portrayed. 19th C, Neo-Gothic Stained-Glass Window with St. John Berchmans, Belgium, 163 x 73 cm The Belgian Jan Berchmans (Diest, 1599-Rome, 1621) was the eldest of five children. When his mother became seriously ill, he initially took care of her, but at the age of nine he was housed with the town’s priest. After a few years he moved to Mechelen to become the servant of a canon. It also gave him the opportunity to begin his studies in the seminary for priests. He eventually joined the Jesuits of Mechelen. He got their permission to study philosophy in Rome. In the Eternal City, he visited working-class neighbourhoods to teach the children about God. He died of an illness at the age of 22. Saint Jan Berchmans is the patron saint of school children and students. 19th C, Neo-Gothic Stained-Glass Window with Saint Clare...

In the past, amateur entomologists and scientists often collected butterflies. For example, in the Victorian age, it was a wide spread educational leisure activity. This restored and pest-free old collection has about 4.500 butterflies that have been dried and pinned. Thirty percent of the species are European. The origin of the remaining specimens lies, inter alia, in Africa, Madagascar, Formosa, India...

This 19th-century French automaton from the late 1800s showcases a delightful ensemble of features: three vibrant animated birds, a cascading waterfall, a tree surrounded by rocky ou...

This prestige weapon was commissioned by Emperor Menelik II of Ethiopia as a diplomatic gift for the renowned French Armenian merchant and honorary French envoy Matig Kevorkoff, a pr...

Interesting pre-Columbian terracotta frog that appears to have undergone a curious transformation into a piggy bank at some point in its history. Elega...

Landscape painting by Gustave Fontaine (1877-1952) ,Belgium, oil on canvas. Gustave FONTAINE ( Etterbeek 1877-1952 Brussels). Sculptor–painter. Took courses in Saint-Josse-ten-Noode,...

Beetle model (Melotontha vulgaris), strongly enlarged. One side shows the outer shape, the other the inner constitution and the viscera, legs and wings ca...

Traditionally, Kifwebe masks were created and worn by members of the secret masking society, Bwadi Bwa Kifwebe, of the Luba and the Songye People living in the central part of the Co...

Totem poles are intricately carved and painted sculptures with designs holding spiritual significance for particular families, clans, or tribes. Some were created to offer protection...

This is a nice selection of 20th century. Wooden candlesticks. They vary in shape and size and are Baroque inspired in style and detail. Nice patina and leftovers of polychrome give ...

Godefroid Devreese (19 August 1861 – 31 August 1941) was a Belgian sculptor. He first studied with his father, then continued his studies at the academies in Kortrijk and Bruxelles f...

An intriguing example of a fully articulated circus puppet marionette, in the form of a clown. This figure is fully articulated with iron strings support...

Old large pectoral necklace in the shape of a breastplate, originating from Tibet. Magnificent color work with a mixture of turquoise stones, red beads, silver and copper. The suppor...

From the 16th to 19th C the production of decorative arts continued to flourish with the introduction of both rococo and baroque elements signaling an increasingly open attitude to a...

Pair of Oak carved Souls in Purgatory, male and female, 17th C, Southern Europe These finely carved polychrome wooden figures represent a rare matched pair of male and female souls ...

The cigar store Indian originated as a tradition, not in the United States but in Europe, where carved “Virginie men,” as Europeans called native Americans, were used for advertising...

Very vivid Still Life.Jean Jacques Foulon was a Belgian painter. He was born in 1923 in Kraainem and died in Brussels in 1980. J.J. Foulon was educated at the Academy of Fine Arts in...

The Diorama was in a private collection for more than 20 years and is said to have been exposed at the China Exposition 1902 in Copenhagen.This group of Chinese polychromed-decorate...

Indonesian Wood and Bone Kris Dagger, Indonesia

A modern approach to taxidermy with this plastered skull covered with shells of green beetles. The helmet-like covering is made from the Blue Morpho butterfly, and they are known to ...

Rare Chinese opium smoker's kit, including a lacquered boiled cardboard pillow-box and a pipe showing signs of intensive use. The pipe fits perfectly inside the box. The curved shape...

This evocative three-quarter length portrait, executed in the Venetian School during the 17th century, depicts an imagined figure of an elite Ottoman woman, rendered in rich oils on ...

Antique Chinese Opium Box in Cloisonné Enamel, decorated with Floral Motifs and Interior Scenes French Private Collection

Unusual Balinese monkey mask-most probably a representation of Hanuman Here is some more info from Ubud. Mask-making is one of the oldest art-forms in the world. In Bali, masks (t...

Set of 4 wonderful wooden chairs with lovely use patina

A new material made from the elytra (shells) of insect jewels from Thailand - Sternoceras Aequisignata - The satin-finish brass stand brings out the incr...

Antique early-20th century British made crocodile overnight travel case, with original cotton lining and small document holder on the inside. The case is oozing style and elegance, t...

Hunting played an essential role in the lives of princes and nobles for centuries. It was no different in the 17th century. Paintings depicting hunting scenes were hung, for example, in the hunting lodges of elites. It should be noted that the upper bourgeoisie also began to show interest in painted hunting scenes during the 17th century. In the Southern Netherlands there were a number of skilled animal painters who produced hunting scenes, including Frans Snijders, Paul De Vos, Jan Roos, Pieter Boel and Jan Fyt. Snijders knew how to render the anatomy of the animals masterfully. Also, he managed to make his animals look intelligent. He let them express a variety of feelings. His colleague, Paul De Vos, seems to have been less familiar with animal anatomy. His animals lack a kind of individuality and psychological expression. The panel shows a boar hunt with dogs. It was a prevalent theme, portrayed by Rubens, Snijders, De Vos and others. Buyers were especially interested in the showdown between animal species. The mental and physical strength appealed to their imagination. The painter of this little work has no solid knowledge of dog breeds. Due to a lack of insight into dogs' bone and muscle structure, he makes them look rather stiff. Mainly the heads have something naïve about them. It cannot be ruled out that the artist of this painting is Jan van Kessel...

Sculptured model of a smoked Papua Mummie, papier mâché, 20th C Burial practices vary in New Guinea, just as they do everywhere else in the world. Some cultures believe the soul is d...

Antique Hexagonal Chinese Opium Boxes in Cloisonné Enamal , decorated with a Dragon and a Phoenix. The Rectangular Box is decorated with Vases and Fl...

17th C representation of the Roof of Folly: An Allegory of the Fall, German School This enigmatic 17th-century painting, laden with symbolic content, echoes the allegorical traditio...

« The Roof of Folly: An Allegory of the Fall » This enigmatic 17th-century painting, laden with symbolic content, echoes the allegorical tradition of Hieronymus Bosch, fusing grotes...

This piece of a pottery vessel, embellished with high relief figures, was made by women of the ethnic group of the Bariba (or Baatonu) in the northern provinces of Benin. The Bariba potters passed their trade from mother to daughter. They didn’t make their vessels on a pottery wheel...

Sir Joshua Reynolds (16 July 1723 - 23 February 1792) was a leading 18th-century English portrait painter and President of the Royal Academy from 1769 to 1792. He was born on 16 July...

Eric Wansart (Ukkel, 1899 - Elsene, 1976), Drawing of a Panther, Charcoal, Signed and Dated.

Anatomical cut of one eye, composition in natural painted papier-maché, with numbered labels on the different elements / the opening eyeball to cover the removable pute. Pen annotati...

Depicted standing and shown frontally, the skeletal figure is largely concealed by a long, cinctured monastic habit. The hooded skull is inclined slightly to one side, and the figure...

Old Bamboo Opium Pipe, with visible Knot of the Bamboo. The Mouthpiece and Furnace are in Bronze. The Piece comes from South China. French Private Collec...

The impressive life-size statue of St. Anthony (Lisbon, 1195 – Padua, 1231) used to be probably in a church or monastery of the mendicant order of the Franciscans. You can immediately recognize a Franciscan monk by his brown habit, brown hooded cloak...

A cased taxidermy display of the Toad and Frog orchestra both playing stringed instruments, the Frog seated on a Terrapin turtle

Nepalese ritual Large Lingzhi Fungus Terai Mushroom Mask. Important and rare mask carved in wood fungus, of the tinder fungus type (fomes fomentarius), of rounded triangular form, wi...

Old Chinese Opium Box in Cloisonné Enamel, decorated with Vases and Flowers. French Private Collection

Preparation for Carnival: a three day festival of insatiable eating, drinking and carousing that preceded the forty days of Lent, a period of penitence when the pious drank only wate...

This painting combines a lavish still life with human figures. On the left, large jugs and bowls of fruit are presented by a servant depicted as a “Moor”; on the right, a young boy p...

Eight Antique Chinese Tobacco Pipe Holders with Antrophomorphic Subject, made of the Wood of Fruit Trees. French Private Collection.

Although the 18th century, the period of the Enlightenment in France, spawned thinkers who criticised the privileges of the clergy and the truthfulness of certain dogmas, the Roman Catholic faith was very much present in everyday life. Since king Louis XIV had issued the Edict of Fontainebleau in 1685, Protestantism was banned. This Madonna with child illustrates the daily practice of faith. Like many 18th-century Madonna statues...

Anatomical models have been used for centuries as an adjunct to teaching anatomy, and play an important role in the history of anatomical education. Models became popular over time f...

Allegorical Scene of the Lewis and Clark Expedition (1804–1806) Attributed to Léon Cogniet (1794–1880) This ambitious and romanticized composition captures a defining moment in Amer...

A large handmade wooden sculpture, study of a Marlin, in skeletal form.

Standing Fang Mabea Maternity of Museum quality, holding a pestle with both her hands. The mother's head is slightly turned to the left, while the child, which she carries on her bac...

Set of beautiful moulded tiles made of earthenware. Featuring flowerheads and foliage, this set of antiques creates a universe on its own.

There is a glass window on just one side so these would not have a counter between the customer and shop assistant, perhaps they were used to weigh tea, or coffee or chocolate.

The horse skull has been opened up on one side showing the inplant of the teeth below the gum line and the inside of the cranium.

Old Chinese carved bowl with Lid, made of Coconut Shell and decorated with Auspicious Symbols. French Private Collection.

Antique Chinese Opium Box in Cloisonné Enamel, decorated with Floral Motifs and Interior Scenes: item with fond in lapis lazuli French Private Colle...

The 39-year-old gentleman had himself portrayed as an aristocrat in an idyllic landscape. At the time, parks and forests were environments associated with the lands and pastimes of t...

Opium smokers used opium lamps to make the vaping and inhaling of the opium easier. These lamps, which contained spirits in their base, were specifically de...

Antique Victorian Mens Sterling Silver Skull Shirt Collar Stud Button with Fitted Box - Hallmarked Birmingham 1890 ?

The Diorama was in a private collection for more than 20 years and is said to have been exposed at the China Exposition 1902 in Copenhagen.This group of Chinese polychromed-decorate...