Antique Stone Baptismal Font from the 14th Century Depicting the 12 Apostles

This is a vase believed to have been fired at the Cizhou kilns in northern China. Known for their distinctive white-slip base and bold black glaze decoration, the Cizhou kilns flouri...

Byzantine style carved marble Baptismal font on later cast stone stand. Four lion leads Circumnavigate the font. Foliate and Byzantine Carving Th...

An elegant Khmer pear shaped bronze bottle vase, Angkor Period, 12th-14th century. Crafted of bronze in two parts. When separated, the lower portion of the vase becomes an offerin...

There is a long crack that has been repaired. Detailed images 14th and 15th. There is no water leakage, but please refrain from leaving water in it for more than two days. Also, be s...

A gorgeous ancient vessel carved from one piece of marble with subtle pink veins running throughout. Perfect for use as a vessel sink in a powder room,...

RARE NURSING VIRGIN FROM THE 14TH CENTURY ORIGIN : ITALY PERIOD : 14TH CENTURY Height : 60 cm Width : 20,5 cm Depth : 11 cm Wood Seated and in a very maternal position, Mary is wearing a red dress with a long, flowing cloak covering her narrow shoulders and falling down her body, with one side hugging her bust. Her hair, half hidden under a veil, frames an oval face featuring a high forehead, a long and thin nose, a small mouth with thin lips and half-closed eyes. Mary is carrying her son, the infant Jesus, who is wrapped in a cloak, in her lap. Jesus is being nursed by his mother, held by her left hand. This remarkable depiction, imbued with such gentleness, is directly inspired by the iconographic theme of the Virgin and Child in Majesty. It breaks with the hieratic, impassive style of the models from the 12th and 13th centuries, adding a touch of realism. From Virgin Queen, Mary became Virgin Mother. Linked to the development of the Marian cult, this type of representation, sometimes known as Virgo lactans, Virgin of Milk or Nurturing Virgin, remains extremely rare. This image of the Virgin Mary and the Infant Jesus is an extremely delicate representation of the intimate bond formed...

IMPORTANT GERMAN PIETÀ FROM THE 14th CENTURY ORIGIN: GERMANY, REGION DE COLOGNE PERIOD: BEGINNING IF THE 14th CENTURY, ca. 1330 Height: 98 cm Length: 45 cm Depth: 33 cm Polychromed linden wood Good condition of conservation Provenance : particular Alsatian collection The theme of the Pietà or Vesperbild appears in Germany at the end of the 13th century, reflecting the mysticism of the late Middle Ages. Although the theme does not exist in the Gospels, it was often mentioned in contemporary devotional literature. Indeed, during the first half of the 14th century, mystical thought and devotional practices changed under the impulse of a number of religious, among them Heinrich Suso and St Bridget. In his writings, Suso placed important emphasis on contemplation and meditation in the footsteps of Christ's martyrdom. This will have great impact in the field of art, especially in Germany and later in France. The emphasis will from now on be on grief, death is shown in a straightforward way. The wounds of Christ are gaping and bloody. The suffering of Christ and the seven sorrows of the Virgin Mary are meditated upon. This piece demonstrates the interest of the faithful in these representations where pathos reigns. The virgin is represented seated in a frontal position. The bust is very elongated. She is wearing a red dress with a simple neckline and a blue mantel...

Possibly a Noblewoman Elegant stone sculpture from 14th-century Gothic France, possibly representing a noble lady. The bust features finely carved details in the attire, with attent...

An understated and very heavily potted celadon glazed Korean ritual ewer or water sprinkler, kundinka, Goryeo Dynasty, 13th-14th century. The unusu...

An unusually large Vietnamese celadon glazed stoneware bowl with carved lotus petal design, Ly or Tran Dynasty, 13th - 14th century, Vietnam. The large bowl or offering vessel of generous proportions, rising on a short, unglazed foot ring, revealing the reddish buff stoneware body. The globular body elegantly tapered. The lower section deeply carved with a traditional stylized lotus petal design, a band of incised lines above. The upper section of the vessel ribbed, and carved with long, elegant lotus petals that taper upwards, terminating in rounded ends. Another band of incised lines circumscribe the mouth. The vessel glazed in a wonderful olive celadon glaze. The glaze stopping neatly at the mouth rim. The transparent celadon glaze thinning slightly along the raised sections, and pooling in the recesses, adding additional depth and texture. The celadon with wonderful yellow undertones, giving an overall olive hue. Reference: For four similar, but smaller examples, all dated 13th-14th century, see Stevenson & Guy, "Vietnamese Ceramics...