15th Century and Earlier Furniture

A rare and fine Devonian Ichnofossil trilobite plate raised on a custom-fitted brass removal mount. The Saharan rock plate has been entirely and attractively weather-worn, with the n...

A brilliant example of a large naturally-occurring blacknite quartz crystal specimen sourced from Ambositra, Madagascar, presented on one of our exclusive painted display bases. Bla...

Magnificent prancing horse in orange terracotta with traces of polychrome paint. Springing its right leg with a lively position and an expressive look. With a finely decorated saddle...

Super pair mahogany consoles, Georgian, centre pedestals with original brass castors, super colour and condition. 29.5" high 43" wide 23" depth You are welcome to view this item at...

An antique Georgian style carved pine fire surround. Dating to circa 1850, this English fireplace has a stripped pine finish, heavily carved with swags and foliage topped with a stri...

Mosasaurus was a carnivore. It lived in the Cretaceous period and existed from Upper Cretaceous Epoch to 61.7 million years ago. It lived in a terrestrial habitat like grasslands, fo...

Black ware pottery from the Majiayao culture. This vessel was crafted using a refined black-burnished pottery technique, with the entire surface carefully polished to a smooth, lustr...

A rare and beautiful Thai cast and gilt bronze seated Buddha with shell inlaid eyes, style of Wat Chedi Luang, Lan Na Kingdom, Northern Thailand, region of Chiang Mai, late 15th cent...

A stunning glass juglet, boasting translucent hues of light green and yellow with copious amounts of pearl iridescence and an elegant, piriform silhouette. The vessel has a spherical...

This is a great piece of amethyst rock. A very decorative piece, this would make a lovely wedding or birthday gift. Amethyst is the birth stone for February. Purple amethyst has b...

An exceptional rock crystal quartz cluster than has been expertly mounted onto brushed steel base. Crystals of this calibre discovered in Arkansas are considered to be the highest of...

A Roman marble trapezophorus in the Form of a Barbarian Dacian young figure. Circa 1st-2nd century A.D. Measure: height 24 1/4 inches (62 cm). Property from Mr. Radu Moldovan, Skokie, Illinois Provenance: B.C. Holland Gallery...

A fascinating collection of five large natural, prehistoric English ammonite fossil specimens of varying shape and size – the largest measuring 13 cm (5.12 in) across. Ex. private co...

The vase features a broad, rounded body with a slightly flared neck and a pedestal base. The decoration consists of intricate brushwork in iron-brown pigment, depicting figures and s...

Stoneware painted with underglaze cobalt blue and remnants of overglaze enamel. Valuable piece housed in a few major museum collections in the United States. Year/Period : 15th century Region : North Vietnam, Vietnam Type : Ewer Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : 1) Phoenix Art Museum - OBJECT NUMBER 2000.108.1 2) Asian Art Museum of San Francisco - Annamese Collection 3) 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...

145.93 Gram Magnificent Black Tourmaline On Aquamarine Specimen From Pakistan Weight: 145.93 Gram Dimension: 11 x 15 x 5 Cm Origin: Skardu, Pakistan This unique combination of aq...

Beautifully aged with a rich patina and pitted wear, this seated ceramic male figure is attributed to the Colima region of Western Mexico. The stylized form of this male figure follows the conventions of Colima pottery...

Antique Chinese pottery Hu jar decorated with bands of raised lines and a pair of monster masks on the shoulder. Age: China, Han Dynasty, 206 B.C. - A.D.220 Size: Height 46.6 C.M. /...

At the center of the vase, a bird is depicted with clean yet detailed lines, capturing the moment mid-flight with a sense of dynamic energy. The artist skillfully conveys the bird’s vitality with minimal strokes, creating the impression that it could soar into the sky at any moment. Though there are no explicit branches or leaves, the flowing curves of the background subtly connect the bird with the natural world. The simplicity of the lines creates a harmonious relationship between the bird and its environment, reflecting the artist’s ability to evoke nature without relying on intricate details. The neck of the vase is adorned with elegant plant motifs, where stems and leaves stretch upward, complementing the overall shape of the vase. These motifs, while simple, add sophistication and enhance the vase’s graceful form. At the base, repeating geometric patterns contribute to the sense of balance and stability. These patterns not only ground the piece but also serve as decorative elements, completing the vase’s aesthetic unity. Dates : 15th century Le Dynasty Region : North Annam, Vietnam Type : Yuhuchun Vase Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : 1) Seattle Art Museum - Gift of Mary and Cheney Cowles, 2000.125. 2) Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 3) Asian art museum, San Francisco * Vietnamese trade ceramic...

Although calcite is plentiful and diverse, calcite from Tennessee is instantly recognizable and highly sought-after for its twinned, scalenohedral crystal habit. Often, the scalenohe...

Moche Red Ware Pottery Vessel with man figure. Moche Horizon of Peru, Circa 450 - 550 CE. In overall good condition, some chipping around the mouth of the narrow spout, and there’s a small spiderweb push on the back of the jar that appears to have resulted from a probe that penetrated the left side just below the figure (two small holes, one on the front upper left corner of the throne, and the other just around to the side, have been repaired). 6” x 4” x 6”. Ex. Hank Johnson Collection. Hank Johnson was a geologist, and passionate collector of historical and ancient artifacts. Starting with relics and bottles from ghost towns, he later focused on Anasazi pottery...

A sublime Chinese neolithic burnished red pottery jug, Qijia Culture (2200 BC - 1600 BC), modern day Gansu Province, China. The simple jug of alluring form, with a voluptuous body, short, narrow neck with slightly everted mouth, and a single ear handle. The red pottery of gorgeous shades of terracotta, and slightly burnished. Overall surprisingly contemporary for a piece over three thousand years old. The Qijia Culture was a late Neolithic...

In the shape of a tower(Chess) with blue decoration on the body, chocolate ring on the base. Dates : 15th century Le Dynasty Region : North Annam(Viet...

Molded of earthenware, this petite sculpture is a type of centuries-old burial figurine known as míngqì. Such model figures were placed in tombs of individuals with high status to ensure a safe journey to the afterlife. Meant to depict the pleasures of daily life, common burial figures...

This incredible Roman micro-mosaic portrait of a woman shows off a woman warrior in all her glory. Not only interesting because of its age, but the subject...

This Chinese Brown Glazed Earthenware Jar from the Song dynasty is a remarkable piece despite its age and slight damage. The jar features a rich brown glaze that is typical of Song dynasty ceramics, known for their simplicity and elegance. Although the jar has a small chip on the lip, this imperfection does not diminish its beauty or historical significance. In fact, it adds to the jar's character, serving as a reminder of its long history and the passage of time. The jar's shape is typical of Song dynasty earthenware, with a rounded body and a slightly flared lip. The glaze has a beautiful luster, and the overall design exudes a sense of understated beauty and sophistication. Despite its age and minor damage, this Song dynasty jar...

The poupées de Malines —Mechelen dolls— are small sculptures, generally of medium bulk (with minimally worked backs), produced in the small Belgian city, situated north of Flanders b...

A varied collection of 5 natural quartz points, each presented on an exclusive small display base. This group contains five excellent clear quartz specimens of different sizes, hand...

A Stone grotesque carving c1400 Size 40cms long 22 cms high and 21 cms wide

Pair of 15th Century (or earlier) Encrusted ceramic vessels from Fujian encrusted by the Sea air. SOLD SEPARATELY Period of Southern Song to Yuan Dynas...

Natural Ammonite Fossil Specimen Mortoniceras Drakeoceras 110 Million Years Old apx. We love the elegance of this ammonite specimen and are excited to be able to present it here. Th...

The figure stands on a rectangular base. The horse is depicted in a poised stance, with strong, muscular legs and a slightly bowed head. The mane is carefully sculpted with deep, flowing grooves, adding a dynamic texture to the piece. The head features expressive details, including a well-defined muzzle, flared nostrils. The bridle and harness are delicately painted in faded green, contrasting against the creamy beige body. The saddle is adorned with intricate details, including decorative tassels and a textured pattern, indicative of the elaborate tack used in the Ming period. Traces of original polychrome pigments in green, black, and ochre remain on the surface, hinting at the sculpture’s once-vibrant appearance. The weathered patina and areas of flaking paint add to its historical authenticity, reflecting centuries of age. The overall craftsmanship and detailing exemplify the Ming Dynasty’s refined ceramic artistry, making this piece a remarkable representation of of asian culture during this period. Period: Ming Dynasty Medium: Green, black, and ochre glazed Pottery Type: Figure Condition : Good(chips on the upper saddle.) Provenance : Acquired in late 1990s from Hongkong Reference : Asian Civilisations Museum - Accession No. C-1384 / 1994-00441 - Ming Dynasty Figure of Horse (Type : Closely Related) * Ming Dynasty Glazed Pottery Figures Ming Dynasty glazed pottery figures are renowned for their bold color palette, intricate detailing, and lifelike forms, distinguishing them from earlier traditions. These figures, which depict officials, warriors, animals, and mythical creatures, are characterized by high-gloss lead-based glazes in green, amber, ochre, and sancai (three-color) combinations. The thickly applied glaze pools in recesses, creating depth and enhancing sculptural details. With dynamic postures, expressive facial features, and meticulously rendered drapery, these figures reflect the period’s advancement in ceramic craftsmanship, offering a greater sense of movement and realism compared to the rigid and stylized forms of earlier dynasties. A defining characteristic of Ming glazed pottery is its elaborate surface detailing, often achieved through raised relief elements and contrasting glazes. Equestrian figures, for example, feature carefully sculpted saddles, harnesses, and decorative embellishments, while human figures are adorned with intricate robes and headdresses. The large scale of these tomb figures, often more imposing than those from previous periods, underscores the increasing importance of funerary art during the Ming era. Unlike later Qing Dynasty figures...

Molded of earthenware, this petite sculpture is a type of centuries-old burial figurine known as míngqì. Such model figures were placed in tombs of individuals with high status to ensure a safe journey to the afterlife. Meant to depict the pleasures of daily life, common burial figures...

The latest edition to arrive at THE FOSSIL STORE™ is our famous and exquisite series of designed mounts. The ammonites are exquisite specimens excavated from the high Anti-Atlas Moun...

This Roman bust came out of a prominent Pasadena estate.

Carved Limestone balustrade. In a modern metal frame. North of France, Ile de France or Normandy. End of the 14th century - first half of the 15th century. Measures: 90 x 62 x 8...

Circle of Pietro Cavallini (Rome, 1250–1330)
 St. Bartholomew
 Fresco transferred onto canvas Umbria, 14th century
66.5 x 40 cm Provenance: Collection of Raymond Van Marle (The Hagu...

16.00 Carat Glamorous Bi Color Tourmaline With Albite From Kunar, Afghanistan Weight: 16.00 Carat Dimension: 2.9 x 1.7 x 1.2 Cm Origin: Kunar, Afghanistan Tourmaline is a crysta...

A pleasing crescentic section of quartz with agate areas, surrounding a beautiful vibrant streak of deep purple amethyst. This crescentic medium sized section has a wonderful thick white quartz...

A collection of museum minerals in a display case. Presented in a sleek glazed case, the set includes 48 European minerals, including a gold vial, a rock with traces of gold, lapis l...

A stunning intense brown amethyst druze formation with stalactites. The mineral sculpture is embellished by multiple stalactite formations, and gives the sensation of movement due ...

A striking large natural bedrock specimen with a coating of chrysocolla and malachite displayed on a custom neoclassical style stand. This specimen is of an unusual irregular shape ...

The vase features a slender neck adorned with gracefully drawn, elongated leaves that blend seamlessly with its natural curves, adding a refined elegance. At the center, a meticulously rendered geometric pattern of repeating wave-like motifs creates a sense of depth and movement, framed by curved lines for balance. Simple plant motifs are scattered throughout, complementing the design with minimal strokes. The base is grounded by repeated geometric symbols, ensuring stability and cohesion. Overall, the vase masterfully combines simplicity and sophistication, resulting in a harmonious and elegant work of art. Dates : 15th century Le Dynasty Region : North Annam, Vietnam 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...

12.69 Gram Stunning Aquamarine Specimen With Schorl From Skardu, Pakistan Weight: 12.69 Gram Dimension : 3 x 2.5 x 1.4 Cm Origin: Shigar Valley, Skardu District, Gilgit Baltistan, ...

A rare Chinese Guan Yin figure, early Ming dynasty (1368-1644). Beautifully painted carved wood retaining a significant amount of its apparently or...

Veneto- Saracenic candlestick Engraved bronze 15th century 13 x 8,5 cm This rare candlestick exemplify exquisite craftsmanship, featuring a bell-shaped base with a flared foot adorn...

A large specimen mounted on metal display.

pigmented pottery horse; provenance: E&J Frankel (New York)

A rare and large Christ of pity, or Christ in bonds. Jesus is sitting on a rock, stripped of his clothes, awaiting his execution. Monoxyle Ash wood carved in the round. Traces of po...

An extraordinary pyrite cluster from Peru, composed of intergrown golden cubes of different sizes, all perfectly arranged to form a striking and sculptural piece. Some areas display ...

46.55 Carat Stunning Bi Color Drilled Tourmaline Carving From Madagascar Africa Bicolor Tourmaline Carved Weight: 46.55 Carats Dimension: 3.3 x ...

A spectacularly large naturally formed quartz specimen sourced from the Himalayas. This extraordinary specimen comes presented on one of our exclusive painted plaster bases, ready fo...

An attractive Neolithic Chinese burnished red pottery vessel, Qijia Culture (2200 BC - 1600 BC), modern day Gansu Province, China. The vessel of compressed globular form set on a short, pieced pedestal foot, and featuring two ear handles, a short, wide neck, and slightly everted mouth. A simple incised band decorates the otherwise plain body. The red pottery with a beautiful rich terracotta hue. The slight burnishing makes the vessel glow. The Qijia Culture was a late Neolithic...

This tripod jar, dating from 2000 to 1500 BCE, is attributed to the Lower Xiajiadian Culture, which flourished in Northeast China. It exemplifies the early ceramic craftsmanship of N...

Antique Chinese pottery Hu Vase or Jar , Han dynasty The Hu form body and shoulder is encircled by various bow-string bands that enclose a pair of taotie masks and fixed-ring han...

C. AD 618-907. Tang Dynasty. Two beautiful terracotta pottery jars covered with a ox blood to chestnut-coloured glaze. The bulbous bodies taper into a slender neck with flared rim....

A sublime molded stucco head of a young male donor from the ancient region of Gandhara, 4th-5th century. The youthful nobleman sculpted in an idealized...

An interesting and stunning geode section with a striking colour mix. In this aesthetic piece the original basalt has been polished to reveal the exquisite green celadonite hidden within on the front, whilst maintaining its rough condition at the back. Such a thick and vibrant celadonite layer is uncommon. The interior of the mineral sculpture is endowed with a gorgeous very deep purple amethyst...

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...

Vietnamese covered boxes with representative scenary designs. Both are made of cream-colored base and blue designs, typical of Annamese pottery. These shared characteristics highligh...