15th Century and Earlier Furniture

Translucent green and brown jade Bi from the Zhou Dynasty (1046 B.C. to 256 B.C.). The organic shapes created by the blending of these two main colors evoke a flame-like beauty, whil...

Rare ammonites from Madagascar are highly sought after by collectors and paleontologists due to their exceptional preservation and unique features. These...

Prehistoric majestic seated drummer figurine from Nayarit, West Mexico. Sporting a nose ring, complex ear ornaments, armlets and an open mouth that would seem to indicate a 'singing'...

This spectacular polished slice of the Lunar meteorite Gadamis 004, reveals a mosaic-like interior, evoking the surface of the Moon as seen by the eye on a clear night. Weighing 149 ...

This exquisite red soapstone Bi disc is a remarkable artifact from Neolithic China, dating back to the 3rd millennium BC. Set on a modern iron base, the disc reflects the timeless be...

This Paradoxides trilobite specimen presented as-unearthed in matrix dates back over 499 million years to the Middle Cambrian Epoch. Paradoxides is one of the earliest known genus of...

A rare handsome Chinese Heavenly jade Bi disk carved in a rarely found combination of mutton fat yellow and green jade with patches of brown accents in the stone that depict a green ...

From Native America's Northwest Columbia River area comes this substantial and unique ancient hand carved basalt stone ceremonial bowl or mortar possessing nine (9) human like heads within a circular double band, Columbia River. It comes from a private Colorado collection. The stone hand carved from a large basalt...

Intaglio is a technique which dates back to antiquity and is still in use today. Images are carved or engraved in gemstones leaving a hollow impression in the untouched background. T...

This rare and evocative Medieval Gothic box contains a powerful combination of Salomon’s Kabbalistic seals, a sacred ex libris dedicated to God, and a Star of David inscribed with He...

This is a rare and historically significant Roman Provincial silver tetradrachm, minted in Jerusalem during AD 134–135, under the rule of Emperor Hadrian. Struck at the height of the...

This is a beautiful trilobite (Zlichovaspis rugosa) from Atchana, Morocco. It is laid out nice and prone with excellent detail including visible eye facets in both eyes. Trilobites ...

A striking example of Pre-Columbian artistry, this footed bowl hails from the Nariño culture of southern Colombia, dating from 850–1500 AD. Crafted with a rich red-orange slip and ad...

Extremely rare and one of a kind ancient Roman bronze geometrical compass/divider. It is in an excellent condition for its age. The Compass is displayed on a dark marble block with a...

An extraordinary and museum-worthy 15th century Gothic Corpus Christi, masterfully hand-carved in wood with exceptional anatomical detail and partially polychromed in white and royal...

This antique Indian sandstone Apsara statue is an extraordinary and rare piece of sacred art, dating back to the 13th–14th century and originating from t...

Here is one of the more unusual species of trilobites, a Morocconites malladoides from the Devonian of Morocco. It's a member of the Phacopida trilobites and has a very defining feat...

This alien-looking trilobite, known as Ceratarges ziregensis, has a strikingly otherworldly appearance. It's difficult to believe that this creature once roamed the ancient seas. Fou...

This silver shekel, weighing 14.32 grams, was struck in Judaea during the First Jewish–Roman War, a significant period of resistance against Roman occupation that lasted from AD 66 t...

A Rare Second Temple Period Limestone Table Fragment – Featuring Lions of Judah – Jerusalem, Circa 1st Century BCE – 1st Century CE A remarkably evocative artifact from the very hea...

Pair of Fossilized Ammonite Slices on Custom Metal Bases. This stunning pair of fossilized ammonite slices showcases the intricate and mesmerizing patterns of these ancient marine mo...

Rock crystal vessels were highly demanded and valuable in Medieval times. Inventories from European royal houses and the highest aristocratic families detail the important and sophisticated collections of ewers and bowls. Rock crystal has also been used extensively in religious art. Fine European reliquaries were also made of Rock Crystal including gems, enamel and other precious materials. The work of rock crystal is very ancient. The materials has been worked and valued for its solidity and its purity: it has been believed to be water ice permanently frozen. Our superb example is a gold-mounted rock crystal bowl with enamel. The items origin is not clear and various features and characteristics may lead us to think of different origins and periods of creation. A single piece of stone mounted with gold could be a Milanese work. Although the cut could be French as similar pieces belonged to the French royalty (especially the art lover Duc de Berry, (1340-1416)). French and Italian crystal cutters have been active at the same time and it is often difficult to differentiate their works. Islamic art also influenced European artists. The famous Fatimid treasury provided examples of their sophistication and quality. The seven ewers carved for the Fatimid Imans (known as "The Magnificent Seven") display impressive quality of both rock crystal and enamelled mounts. Even though not identical to works by French silversmith Jean-Valentin Morel who was appointed goldsmith to Queen Victoria in 1852 or Reinhold Vasters (1927-1909) another renown German goldsmith who embellished older rock crystal items, there are similarities between these works. Both reduce their use of colour to black and white on pure gold mounts. Moreover the black enamel design is quite similar. Also, no gems are included and no human figure is represented. Sotherby's described our bowl as a "German Rock crystal bowl with later gold mounts, 15th century." Other items from the period from Germany or Austria are usually silver mounted and the decorations are more colourful and include gems or human figures but they have in common enamel motifs. In our case, the gold foot, handles and rim could date from the 1900s. An expert has established the foot, handles and rim are pure gold. The goldsmith responsible for the improvement of the bowl is possibly the most famous Reinhold Vasters whose work has been displayed in the greatest museums such as the V&A in London and the Metropolitan Museum of Art in New York. The Rock Crystal bowl we have is gold mounted. The gold shows in enamelled details that are black and white. The gold handles are also enamelled with black acanthus-like leaves. The enamelling method could be "champleve" or "painting metal". The metal that is usually preferred is copper but these techniques are also applied to gold. The bowl itself could be from the 14th century. It's cut reminds of an estimated 14th century rock crystal ball bearing the Buoncompagni family arms...

This exceptional fossilized crab (Harpactocarcinus) originates from the Eocene period and was discovered in Monte Baldo, Italy. Measuring 4 inches in height, this well-preserved spec...

An important Egyptian sarcophagus mask from the Ptolemaic Period (711–332 B.C.), crafted with remarkable artistry and historical significance. Material: Made from stuccoed linen tex...

This silver AR Zuz, weighing 3.13 grams, was minted during the Bar Kokhba Revolt, a defining moment in Jewish resistance against Roman rule between 132 and 135 AD. Struck in the thir...

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...

Jalisco Red Ware Quadruped Dog Vessel. 5” x 4” x 4”. 100 BCE - 250 CE. Ex. Hank Johnson Collection. Hank Johnson was a geologist, and passionate collector of historical and ancient a...

Pre-Columbian central Mexico pottey man. Probably Tlatilco. Seated man figure vessel. 4” x 3” x 4 ¼”. 100 BCE - 250 CE. Ex. Hank Johnson Collection. Hank Johnson was a geologist, and...

Manabi (Ecuador) Pottery dog figure with incising. 4 ½” x 2 ½” x 3 ½”. 100 BCE - 250 CE Ex. Hank Johnson Collection. Hank Johnson was a geologist, and pas...

This vessel is an exceptionally rare example believed to represent a Cong-shaped ceramic attributable to the Jin Dynasty, and it may be the only known ceramic work of this form from the period. While certain formal similarities have led some scholars to tentatively associate it with the Song Dynasty or later, the present work is more convincingly attributed to the Western Jin Dynasty (3rd–4th century CE). The vessel is constructed with a cylindrical inner structure and a square outer profile, conforming to the characteristic geometry of the ancient Cong (琮) form. Its surface is decorated with restrained geometric incised patterns. This structural concept is directly derived from ancient jade Cong (玉琮), which represent the earliest and most authoritative prototypes of the form. Jade Congs...

Obverse: head left in bashlyk Reverse: archer seated right on omphalos, three line legend, H Not known to Sellwood, unpublished coin of Hekatompylos mint Weight: 3.95 g Grade: Abou...

Obverse: head right, with mustache and earring, wearing diadem and kyrbasia Reverse: fire temple of Ahura-Mazda, above, half-figure of Ahura-Mazda, to inner left, Baydād (Bagadat) st...

Obverse: IVLIA PAVLA AVG, draped bust right, showing later coiffure with small bun Reverse: CONCORDIA, Concordia seated left, holding patera, star in left field Beautifully detaile...

Large Pottery Dog Head from West Mexico. Lobed base with dog head emerging from upper shoulder of vessel. Chip on dog muzzle and jar rim. Dates between 200 BC and 200 AD. 7 ¼”D x 7 ¼...

Cast in bronze, this sculpture depicts a mythical beast with a sinuously curved body and an animated, rising posture. The overall form evokes a dragon or guardian creature, embodying...

Mask of a bearded deity, short beard and hair braided in the characteristic high hairstyle, with layered ringlets on either side. 4 cm (h) Green patina ...

The loop attached to an oval fitting with radiant decoration. The cameo made of agate, showing the profile of a female bust with hair pinned up. The portrait in the style of Faustina...

A finely detailed appliqué with the face of a youth, wavy hair framing the circular face, with well defined eyes, pierced for inlays. 5.5 cm (h) Provenance: Ex Jean-Phillipe Mariaud de Serres...

With square fitting, hollow at the top for attachment to furniture, one large paw on round base sprouting into lion’s head with visible teeth. 9,5 cm (h) Ex German private property...

A fascinating collection of 3 natural mineral specimens. Each presented on an exclusive small painted display plinth, this group contains a range of impressive cabinet specimens. T...

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...

Moche Red Ware pottery vessel with copulating motif. Horizon of Peru, Circa 450 - 550 CE. 9” x 5” x 7 ½”. 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 rare Chinese Guan Yin figure, early Ming dynasty (1368-1644). Beautifully painted carved wood retaining a significant amount of its apparently or...

This piece is an elephant statue made of green-glazed pottery. During the Han Dynasty, artworks depicting elephants were quite rare. However, such representations did occasionally appear. For example, the bronze vessel from the Han Dynasty housed in the Shanghai Museum is one of the notable examples of this type of craftsmanship. The existence of elephants in ancient China is attested both by archaeological evidence and by depictions in Chinese artwork. Long thought to belong to an extinct subspecies of the Asian elephant named Elephas maximus...

This genuine Carcharodontosaurus tooth is a prehistoric treasure from one of the most fearsome predators of the Cretaceous period. With its razor-sharp serrations and blade-like shap...

A superior grade of Malachite crystal series prepared in-house and presented on a brass stand series, created for luxe settings within your home. Green-banded Malachite crystallises ...

This silver zuz coin, weighing 3.30 grams, was minted during the Bar Kokhba Revolt, a Jewish uprising against Roman rule in Judaea from AD 132 to 135. Undated but attributed to the y...

A remarkably rare and unusual pair of sancai-glazed slippers dating from the Tang Dynasty (618–907 CE). These were likely created as funerary mingqi—tomb objects made to accompany th...

Presenting an impressive large ammonite fossil, elegantly mounted on a marble base, making it a stunning piece for both collectors and interior decorators. The fossil is securely hel...

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 stat...

Two Black Basalt carved and polished Neolithic axe heads mounted on steel bases. These wonderful ancient objects are a testament to the artisans who crea...

Bactrian marble column idol, circa 3000-2000 BC. It has an elegant tapering form with a undeep groove running on the top. The colomn has incrustation on the side where it laid on the...

This is Shigaraki ware pottery made in Shiga Prefecture, Japan. Shigaraki ware is said to have been born in the Shigaraki region of Shiga Prefecture around the 8th century and is one...

Cast with a globular top with a central aperture on both sides, pierced with radiating petals to one side, supported on a tall spreading foot of rectangular section cast with raised ...

Rare pastiglia marriage chest North of Italy, Liguria or Piemonte First half of 15th century wood, gesso, partly gilded, form molded and painted 67 x 156 x 63 cm Provenance : Pri...

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...

Belly-shaped with cylindrical neck and with folded down collar rim, the unguentarium with twisted glass decoration with white intertwining the main yellow colour 4.5 cm (h) Intact Ex. German private collection H.G., collected between 1970s-1990s Roman glass was used primarily for the production of vessels. It developed from Hellenistic technical traditions, initially concentrating on the production of intensely coloured cast glass vessels...

Glass balsamarium with a twisted tubular body, tapering towards the applied disc base, with two trailed handles 12.0 cm (h) Provenance: Ex anonymous Sale; Pierre Bergé Auctioneers, Paris, 17 January 2009, lot 38 Roman glass was used primarily for the production of vessels. It developed from Hellenistic technical traditions, initially concentrating on the production of intensely coloured cast glass...

This is a Shigaraki ware ceramic piece, crafted in Shiga Prefecture, Japan. Shigaraki ware originates from the Shigaraki region and dates back as far as the 8th century. It is one of...

This Late Period to Ptolemaic Period Egyptian carved wood ear, once part of a mummy mask, stands as a poignant testament to ancient Egyptian customs and beliefs. Dating back over 250...