19th Century Italian Polychromed Terracotta Relief Plaque of the Pietà

19th century French Gilt Bronze Portrait Plaque of Jesus with Crown of Thorns France, circa 1890s Of circular form a finely cast portrait of Jesus with the crown of thorns...

19th C. Italian Marble Relief of Romeo & Juliet, signed E. Fiaschi, late 19th–early 20th century, with gray marble base. (2 Pieces) This finely executed two-piece marble sculpture ...

One of a kind and all handcrafted sculpture. As many of you will know, the Pietà, depicts the body of Jesus on the lap of mother Mary after the crucifixion. Over the years we have seen this famous biblical scene portrayed in all kinds of materials, but this is the first time we have seen it in glazed and partially colored ceramic. The artist whom created this unique sculpture perfectly captured the sadness and despair of Mary and the disciples by her side. The care with which they are touching and holding the body of Christ also shows their love and affection for Jesus. Anyone who has ever lost a soul mate or a loved that really meant the world to them has an idea of what Mary and the disciples are going through here. If you appreciate this unique religious art sculpture...

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...