15th Century and Earlier Furniture

Bucket burns perfume in bronze resting on three feet. The body is sculpted with a band frieze with an archaic motif. Two inverted U-shaped handles punctuate the edge. This type of bronze bucket was cast with lost wax from molds in several parts and assembled when the piece was poured, these are the traces that can be seen on the back of the bucket. . The bronze has a beautiful green and dark gray excavation patina. This perfume burner was originally to have longer feet, no doubt arched, cut very long ago since the place of the cut has the same patina as the rest of the piece. China Zhou Dynasty...

DESCRIPTION: Etruscan sculpture head made with terracotta, the art represents a young man from the 4th century. It's a very decorative piece and the state of conservation is good. I...

A superb naturally occurring tropaeum ammonite fossil mounted on one of our exclusive large display plinths originating from Whale Chine, Chale Bay, Isle of Wight. Dating from the early cretaceous period (145 – 100 million years ago), this large ammonite fossil catches the eye with its deep protruding ridges and distinct, partly uncoiled, coil; traits characteristic of the tropaeum variety. Ex. British collection, it is a brilliantly preserved example of the prehistoric ammonite, becoming the focal point of a collector’s cabinet or interior display. Provenance From the fascinating collection of Gordon Walkden (1944-2022), emeritus Professor of Geology at Aberdeen University. Affectionally known as Aberdeen’s answer to Indiana Jones, Walkden contributed enormously to research through his papers and talks on British marbles, minerals and fossils...

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...

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

Lively birds flit across the body of this pear-shaped vase. The cobalt blue of the underpainting remains dark, even though the clear glaze of the surface has worn away after centuries under the sea. There was remarkable variation in the condition of the ceramic...

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

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

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...

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

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

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

Potted with the fluted sides rising from a recessed base, carved to the interior with Chrysanthemum, covered overall with a grayish-green glaze, save for a ring to the underside left...

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

Exceptionally Fine Wooden Sarcophagus Mask Third Intermediate Period, 21st Dynasty, circa 1069-945 BC. Acacia wood, rosewood, hippopotamus ivory Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual. The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows. Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance. The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted. When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus. In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory. A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask. The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives. Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...

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...

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

Tyrannosaurus Rex Tooth in Fossil Matrix. Late Cretaceous, circa 65 Million years before present. Lance Formation, Marchant Ranch Quarry, Niobrara County, Wy...

This 100% complete trilobite fossil of the species crotacephalina on its natural limestone matrix is estimated to date back as far as 400 million years. Out of Morocco, this specimen...

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

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

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...

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

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

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

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

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

Corinthian helmet with Bull Horns and Lotus Flower Decoration. Archaic Period, c.550-500 BC. Cast, hammered and incised bronze. An exceptionally well preserved example of one of the most iconic ancient Greek...

Ancient Egyptian wooden Ushabti with funerary coffin, carved polychromed wood, New Kingdom, Ramesside Period, 1292-1185 BC. Shabti measuring 18cm For a similar example see: the shabti coffin of Sennedjem in the Pushkin State Museum for Art, accession no. I.1.a 1662 Wear and flaking to paint throughout. Some small chips. Some natural wood splits. Please refer to images. An Egyptian ushabti...

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

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

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

The jar is of globular shape and is decorated to the body with a geometric design band of lozenge-shaped motifs in blue, green, ochre and cream below a plain ochre everted mouth rim,...

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

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...

Ancient Luristan bronze sword with nice patina. Luristan bronze comes from the province of Lorestan, a region of nowadays Western Iran in the ...

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

Prehistoric Brazilian thick agate geode on stand. White center with brown border. Metal stand measures 5" x 3.5". One of several from a large collecti...

The octagonal lobed ovoid body rising from a short spreading foot to a tall trumpet neck, set at the shoulder with a tall curved spout and to the other side with a tall strap handle, the dished cover surmounted with a ruyi-shaped finial, covered overall in a creamy-white glaze. Compared to other similar types of Northern Song Dynasty ceramics, this piece is extremely elegant in shape. It most closely resembles the Qingbai porcelain in the collection of The Museum of Oriental Ceramics in Osaka. Period : Northern Song dynasty(960~1127) Type : Creamy-white glaze Ewer Provenance : Acquired in 1999, Hongkong Reference : THE MET Accession Number: 18.57.1 Sotheby's London 2018 - St George Street Sale Asian Art - Lot 208 * Song Dynasty Ding-Yao Ware Song Dynasty Ding Yao porcelain holds a significant place in Chinese ceramic art, specifically as a type of white porcelain produced during the Song Dynasty. Produced predominantly during the mid to late Song Dynasty, Ding Yao ceramics are renowned for their delicate and intricate features. Ding Yao ceramics were primarily crafted from clay rich in white minerals and fired at high temperatures to achieve a durable and lustrous surface. One distinctive characteristic of this serene white ceramic is the presence of silver or gold-colored splashes of glaze, often created using a mineral called galena. Galena, with its lustrous appearance, was suitable for creating fine patterns and intricate decorations. These ceramics frequently feature delicate carvings, floral motifs, or subtle decorations. While commonly used for utilitarian purposes such as tableware, Ding Yao porcelain also served as a medium for artistic expression, producing many artworks. The production of Ding Yao ceramics was relatively limited, and surviving pieces are considered rare and valuable art pieces...

The globular body is supported on three claw feet and is covered in a splashed-glaze of amber, green and cream color, which stops short of the unglazed base. Date : Tang Dynasty(61...

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...

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

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 100% complete trilobite fossil of the species zlichovaspis rugosa displayed on its natural limestone matrix is estimated at approximately 400 million years old, dating back to t...

Versatile set of pink and white geode bookends, circa 1980s. The set is in very good vintage condition with no chips or cracks.

Cypriot Plank Idol Early Bronze Age III - Middle Bronze Age I, c. 2100 - 1850 BC. Low fired burnished earthenware pottery with lime-filled incisions A Cypriot plank idol, an iconic form of human representation from Bronze Age Cyprus...

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...

Crafted from fine clay, the pillow's surface boasts a sophisticated carved design featuring a floral motif that is both symmetrical and organic. The interplay of the earthy tones and...

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...

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...

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...

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

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...

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....

Magnificent Green Tourmaline Specimen From Afghanistan WEIGHT: 149.99 grams DIMENSIONS: 6.4 x 6.7 x 4.5 Cm ORIGIN: Afghanistan TREATMENT...

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...

Lower lias. Approx. 200 million years old.

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...