15th Century and Earlier Furniture

The Campo del Cielo iron meteorites were discovered in 1576 about 500 miles northwest of Buenos Aires, Argentina. Testing proved the "rocks" to be meteorites. It is estimated that t...

Stoneware decorated with Persian-style colors and patterns, and it is highly likely that this Annamese pottery intended for export was produced to meet Middle Eastern demand. Dates : 15th century Le Dynasty Region : North Annam Type : Stoneware Dish 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, and ceramic exports...

A richly weathered marble Roman style head with skilfully carved features and full lips. The piece would have been part of a larger statue or carving. The marble has a lovely warm pa...

This ceramic piece beautifully captures the scene of a sparrow perched on a small branchs, depicted with a minimalist touch. The artist skillfully conveys the sense of intimacy as the sparrow approaches the slender twig. The simplicity of the design is evident in the clean lines and subtle details, allowing the viewer to focus on the essence of the moment. Dates : 15th century Le Dynasty Region : North Annam Type : Stoneware Pot Found/Acquired : Southeast Asia , South China Sea, Hoi An Hoard Reference : 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, and ceramic exports...

Large walnut wood sculpture in the round, depicting Saint John in the position he usually has at the foot of Christ on the Cross. Beautifully expressive face, framed by expertly curl...

This 100% complete trilobite fossil of the species drotops megalomanicus on its natural limestone matrix is estimated to date back 400 million years to the Devonian period. Out of Mo...

Original vintage World War Two home front poster - Keep Clothes On Hangers Creases shorten the life of your clothes hanging them up, brushed and pressed, saves coupons - featuring an...

This product is a rare six-sided vermillion lacquer rinka (ring of flowers) tray. It was made in the late Yuan and early Ming dynasties. It has been ca...

POLYCHROME CARVED WOOD VIRGIN AND CHILD FROM THE 15TH CENTURY   ORIGIN: SOUTH GERMANY, SWABIA, NUREMBERG REGION PERIOD: 15th CENTURY   Height: 94,6cm Width : 28 cm Depth : 18 cm   Lime wood Original Polychromy Good state of conservation     From 1430 onwards, sculpture underwent a profound stylistic renewal which continued until 1530, the so-called late Gothic period. In the Germanic countries, original sculptures flourished in an expressive and sensitive vein.
This renewal was inspired by the art of Nicholas of Leiden, who was active in Strasbourg in the 1460's. His style broke with the refined and delicate art of the international Gothic style in force throughout Europe around 1400. The figures became more authentic and realistic. The bodies became denser. Clothes are animated by deep, broken folds, the fabrics are heavy and have a great decorative value. In addition, the polychromy is intended to be illusionistic. The painting makes it possible to restore the texture of the materials, the richness of the textiles and the natural skin tone of the characters.   The dissemination of images through engraving and the great mobility of the artists led to the success of this style, which conquered the Upper Rhine, Swabian, Tyrolean and Franconian regions, contributing to the formation of a common stylistic identity in these regions. The economic boom in the flourishing German cities was conducive to the development of original production. Attracted by this prosperity, numerous workshops were set up in order to meet the orders of religious communities, the Church and the laity, including a clientele of middle-class rockers.      This precious Virgin and Child is depicted standing on a crescent moon, her head encircled by a crown of tall flowers. Her long wavy hair spreads over her shoulders, framing her beautiful oval face. Under fine eyebrows drawn with a brushstroke, her almond-shaped, slightly drooping eyes look at the Child with infinite softness. She is dressed in a long red dress with a rounded neckline, belted under the chest. The heavy fabric of her dress spreads out in broken folds at her feet. On her shoulders she wears a golden cloak. The drapery has deep folds. She holds out her right hand while she holds the Christ Child with her left.   Christ, with his well-defined hair, is naked. His cheeks are highlighted with red, he holds an apple in his left hand and with the other hand makes a sign of blessing towards the faithful.   Virgins with Child on a crescent moon were very popular in the second half of the 15th century, especially as the central subject of altarpieces in southern Germany and Austria. The crescent moon on which Mary is standing is reminiscent of the Woman of the Apocalypse. Often equated with the Virgin Mary.    This episode is taken from the Book of Revelation (12:1-6)   1 Then a great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. ; 2 She was pregnant, and she cried out because she was in labor, in pain from giving birth. ; 3 Then another sign appeared in heaven: it was a great fiery red dragon, with seven heads and ten horns, and seven royal crowns on his heads. ; 4 His tail swept down a third of heaven's stars and threw them to the earth. The dragon stood in front of the woman who was about to give birth so that when she gave birth, he might devour her child. ; 5 She gave birth to a son, a male child who is to rule all the nations with an iron rod. Her child was snatched up to God and his throne. ; 6 Then the woman fled into the desert, where God has prepared a place for her. There she will be taken care of for one thousand two hundred sixty days.   Some theologians see in this woman a reference to the Virgin Mary and in the child, Jesus.    
This remarkable work is a very fine example of sculpture from Swabian workshops in the last decades of the 15th century. It presents all the characteristic stylistic elements: a highly girdled silhouette, an abundant drapery with angular folds, but also a great physical presence accentuated by the polychromy that restores the anatomical details. This group is made of a wooden log. The deep folds of the drapery highlight the movement of the Virgin holding the child.       Bibliography :   Sophie Guillot de Suduiraut, Dévotion et Séduction, Sculptures souabes des musées de France, vers 1460-1530, Paris musée du Louvre-Éditions somogy, 2015   “Revelation 12 -   Common English Bible...

Weight: 316.67 Gram Dimension: 8.2 x 10.9 x 4.7 Cm Origin: Skardu Valley, Pakistan Feldspar is the name given to a group of minerals distinguished by the presence of alumina and sil...

A pair of antique Chinese pottery standing cow. Age: China, Tang Dynasty, A.D. 618 - 907 Size: Length 15.8 - 16 C.M. / Width 6.5 - 6.7 C.M. / Height 10.5 - 10.8 C.M. Condition: Well...

Finely potted with incurved facetted sides divided by raised ribs and set with two short lugs to the shoulder, the body rising to a short octagonal neck, the domed cover of conforming section, surrounded by an upturned rim and surmounted by a bud finial, applied overall with a celadon glaze of the period. A related vase of this rare and charming form, in the Zhenjiang Museum, Zhenjiang, is illustrated in the Complete Collection of Chinese Ceramics. Song, vol. 8, Shanghai, 1999, pl. 52. Vases of related octagonal shape were produced at the Ding kilns, in Hebei province, and the qingbai kilns in Jiangxi province; see a Ding vase in the Palace Museum, Beijing, illustrated in Selection of Ding Ware. The Palace Museum’s Collection and Archaeological Excavation, Beijing, 2002, pl. 37; and a qingbai example, from the Meiyintang collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 3 (II), London, 2006, pl. 1590; and another carved with a floral scroll, included in the exhibition Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 105. Period : Western Jin Dynasty (266 - 316 AD) Type : Octagonal Vase Medium : Yue celadon...

A Tang Dynasty stoneware box from the Belitung shipwreck, featuring embossed patterns on its lid. Stoneware boxes from the Tang Dynasty, like the one recovered from the Belitung ship...

Changsha Ware has distinct and recognizable designs and motifs. Painted designs often depict flowers, vines, clouds and mountain landscapes. Some painting is simply splotches of colo...

Antique Chinese painted pottery torso of court lady, with original pigments remaining. Age: China, Tang Dynasty, A.D. 618 - 907 Size of torso only: Height 12.5 C.M. / Width 4.7 C.M....

This 100% complete trilobite fossil of the species crotacephalina on its natural limestone matrix is estimated at approximately 400 million years old, dating back to the Devonian per...

The edges have been dipped in four places with brown, probably iron-oxide. The well of the bowl is freely painted in green and coffee coloured brown. Period : Late Tang Dynasty Prod...

François Pompon. Atelier Valsuani, edited by. Sculpture entitled “Petit Grand-Duc”. Bronze with brown patina, lost wax casting. Stamp of the Foundry “cire perdue C. Valsuani” on th...

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...

Prehistoric Chinese stone sculpture. Shape formed from years of underwater motion. Polished finish. One of a kind decorative item. Stand measures 5" x 5"

Decorated with floral and foliate reserves; lappets at base and leaves at neck. Dates : 15th century Le Dynasty Region : North Annam Type : Yuhuchun Vase Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : 1) Art Gallery of Greater Victoria - A vase from the wreck of the Hoi An 2) 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, and ceramic exports...

This is a very old interesting Chinese porcelain small Bowl of the Longquan Celadon type, which we date to the Yuan Dynasty ( 1279 to 1368...

A magnificent pair of large one-of-a-kind medieval Italian armorial shield church architectural elements. Dating to around the late 15th century, hand-crafted in Italy, most impressive size, standing over 6-feet tall, bow front shaped shield form, polychrome painted Memento Mori - The Wars of the...

The pillow is intricately decorated with a vibrant pattern, demonstrating the craftsmanship and artistic sensibilities of the period. The Haitai is a creature from Chinese mythology,...

Fine Costa Rican Jade Axe God, Guanacaste-Nicoya region, circa. A.D. 1-1500. Of a celt form depicting the mythical part human- part avian bird figure, with cir...

Weight: 359.98 Gram Dimension: 13.6 x 7.1 x 7.3 Cm Origin: Skardu Valley, Pakistan Feldspar is the name given to a group of minerals distinguished by the presence of alumina and sil...

Antique Chinese painted pottery torso of court lady, with original pigments remaining. Age: China, Tang Dynasty, A.D. 618 - 907 Size of torso only: Height 12.4 C.M. / Width 4.4 C.M....

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...

SAINT FLORIAN   ORIGIN: SOUTH GERMANY, SWABIA PERIOD: END OF THE 15th CENTURY   Height : 100,5 cm Width : 34 cm Depth : 17 cm 
Polychromed lime wood Good state of conservation   
Sin...

Opening 36” W x 34 ½” H Overall 47” W x 41” H x 15"d Needs some restoration.

This exquisite vase is a fine example of Ming Dynasty cloisonné, an era renowned for revolutionizing the cloisonné technique with intricate design and vibrant enamel work. The cylind...

Among Japanese Sue ware, the long-necked jar is a relatively new vessel that appeared around the 7th century. A typical long-necked jar with a delicately shaped bottom and a small body. Medieval...

Khmer Ceramic Lime Pot. A globular stoneware jarlet in the form of a bird covered in a caramel color glaze stopping short of the elevated and slightly convex string cut foot display...

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...

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...

* Set item(Two statues) The statue on the left seems to be a mythical beast standing in a poised and alert stance, with its mouth open as if roaring or breathing fire. Its body is covered in detailed carvings that resemble scales and feathers, indicative of the high level of craftsmanship during the Jin Dynasty. The creature’s presence is both regal and intimidating, suggesting it might have been believed to possess protective properties. The statue on the right presents a more stoic and solid stance, with a broad chest and a upright head. Its facial expression is stern, with deep-carved eyes and an open mouth that reveals its teeth, adding to its majestic and formidable appearance. The mane and other body features are intricately detailed, suggesting a high level of artistic skill in its creation. Period : Western Jin Dynasty (266 - 316 AD) Type : Haitai Statue Medium : Yue celadon...

The edges have been dipped in four places with brown, probably iron-oxide. The well of the bowl is freely painted in green and coffee coloured brown. Period : Late Tang Dynasty Prod...

Weight: 200 Gram Dimension: 8.1 x 6.6 x 6.8 Cm Origin: Skardu Valley, Pakistan Aquamarine is a pale-blue to light-green variety of beryl. The color of aquamarine can be changed by...

Japanese statue of Datsue-ba also known as Shozuka no Baba, Kamakura- Muromachi period. Antique Japanese statue of Datsue-ba or Shozuka no B...

This is a very old interesting Chinese Export stoneware Longquan Celadon bowl, which we date to the early Ming or later Yuan Dynasty, circa 14...

This is a Song Dynasty ceramic ewer, exhibiting the characteristic simplicity and elegance of the period. The ewer's form is sturdy with a full-bodied base that tapers gently to a na...

Antique Silver Plate Tantalus A superb quality silver plated tantalus with three cut glass decanters in the classic English style. Cir...

SAINT WOMAN IN POLYCHROME CARVED WOOD   ORIGIN : ITALY PERIOD : late 13th century   Height : 103 cm Length : 28  cm Width : 16 cm  Remains of polychromy   ...

The Campo del Cielo iron meteorites were discovered in 1576 about 500 miles northwest of Buenos Aires, Argentina. Testing proved the "rocks" to be meteorites. It is estimated that t...

The modelled animal figures and landscapes of this piece represent the Daoist ideology of the Han dynasty. The mountain-shaped lid refers to the sacred dwellings of the immortals, th...

Weight: 144.31 Gram Dimension: 9.6 x 3.5 x 2.9 Cm Origin: Afghanistan Colour: Black Tourmaline is a crystalline silicate mineral group in which boron is compounded with elements...

This vessel is well-modeled as a recumbent winged lion with detailed decorative elements. It features a grimacing face with large protruberant eyes under heavy brows and a gaping mouth, which forms a large aperture. The piece has a tail that arches to form a loop handle, and the wings are incised on the sides. The whole piece is finished with a thin olive-green glaze. This kind of figural vessel dates back to at least the Western Han dynasty, with the design fully developed in the Yue kilns of Zhejiang province during the 3rd and 4th centuries. Such zoomorphic forms became popular among the literati and were transformed into various functional objects like wine ewers and water pots. There is a pair, and you can check it in the uploaded list. If you would like to purchase two in pairs, please leave a message. Period : Western Jin Dynasty (266 - 316 AD) Type : Figural vessel Medium : Yue celadon(Stoneware) Provenance : The piece was acquired in Hong Kong in late 1990s. Reference : 1) Sotheby's New York 17 March 2015 - Chinese Art Through The Eye Of Sakamoto Gorō – Ceramics Lot 33 (Price Range : 15,000 USD-20,000 USD / Type : Highly related) 2) Sotheby's London 17 May 2023 - A Journey Through China's History. The Dr Wou Kiuan Collection Online. Part I - Lot 30 (Price realised : 13,970 GBP / Type : Closely related) 3) Ethnological Museum, Berlin, Germany - Pouring vessel in animal shape, China, Yue kilns, Zhejiang province, late Western or early Eastern Jin dynasty, 4th century 4) Sotheby's London 16 May 2018 - Important Chinese Art Lot 68 (Price realised : 50,000 GBP / Type : Closely related) * Yue Celadon Yue celadon, also known as Yue ware, is a type of Chinese pottery with a celadon glaze, originating from the eastern Han dynasty in the Zhejiang province. The name 'Yue' comes from the Yue kilns which were among the earliest to develop the celadon technique. Yue ware is known for its jade-like glaze, which can range in color from bluish-green to olive green. Yue celadon was highly regarded during its time and was the first Chinese ware...

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...

This type of Egyptian Vessel was carved from a very hard stone using a simple drill and was most likely used for the storage of ointment or liquids. The small lug handles allowed the...

Weight: 172.35 Gram Dimension: 6.9 x 4.7 x 5.2 Cm Origin: Skardu Valley, Pakistan Feldspar is the name given to a group of minerals distinguished by the presence of alumina and si...

This Roman Empire mosaic table is an iconic example of Classical history, featuring a 3rd-century mosaic of a Roman Charioteer. More than mere entertainment, the four charioteer team...

Antique Thai Architectural Ornament, Sukhothai kilns, 15th century. A glazed hollow ceramic roof tile finial of the Naga/Makara Dragon torso design supported by front talons and his ...

A true piece of history from 1450-1550, made in Thailand. This piece is very rare to come across. Made out of Bronze with Guild, some of the Guild has worn out due to the age. Size,...

This sculpture is a Longquan celadon from the Ming Dynasty, renowned for its rich and jade-like green glaze. The figurine is likely a representation of a Buddhist deity or a revered scholar, showcasing the calm aesthetic expressions and graceful contours prevalent during the era. The spectrum of celadon glaze ranges from a dense grey stoneware to a nearly white porcelain texture, with unglazed parts revealing a terracotta brown upon firing. Such pieces were often part of household altars, reflecting the era's spiritual devotion. This artifact would be a treasured exhibit in any museum's Asian art collection, symbolizing both religious reverence and artistic excellence. Period: Ming Dynasty (1368-1644) Region: Longquan, China Medium: Stoneware - Celadon glazed, with a range from heavy grey to almost white porcelain-like material Type: Sculpture Height : 24.5 cm Provenance : Acquired in 1999, Hongkong * 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...

Antique Chinese Silvery bronze lobed “Beast and Birds” Mirror, Tang Dynasty. The eight-foliated barbed form having a a center cast relief knop in a four legged Beast form surrounded ...

A terracotta pottery funerary urn with lid from Korea Unified Silla Period, circa 9th century. The jar was in a classic globular form with raised shoulder. Although the surface was u...

Very fine Persian Rug Qum 700 Knots per inch, Size 7.10 x 5.2 Iran Qum Mahlosi Silk and Silk foundation. Around 4,000,000 knots tied by hand one by one. It takes 3 years to complete ...

Technique: Tempera and oil on wood Dimensions: 25 x 11 x 8 cm Description: This exceptional work from the 12th century represents the Seated Virgin with Child (Sedes Sapientiae), standing out as an artistic treasure from medieval Spain. The portrayal of the Virgin enthroned with the Child on her lap is emblematic of Romanesque art, and this particular piece is a valuable and authentic example of that era. The current polychromy belongs to the Gothic period and overlays the original Romanesque layer. It is crucial to highlight that the current state of the artwork is the original, without any cleaning interventions, imparting a unique authenticity. The work exhibits architectural characteristics typical of Romanesque art, evident in the sides of the throne. The rigidity and symmetry characteristic of this style are reflected in the firm presentation of the Baby Jesus, noticeable in his gesture while holding his son. The Virgin wears a crown, symbolizing her royal character as the Queen of Heaven and Creation. Both figures retain traces of polychromy on the face and attire, adding layers of history and authenticity. While similar Romanesque Virgin...