15th Century and Earlier Furniture

O/6416 - Large fossil stone shell - Ammonites were predatory Prehistorie cephalopod mollusks which existed between 400 and 66 million years ago before dying out during the exinction ...

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...

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...

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

Round body with plain nozzle, the discus decorated with three theatre masks, air hole in centre, the base with work shop mark in the form of a foot print Loeschcke Typ VIII, Schulte...

Weight: 26.70 Carats Dimension: 2.6 x 1.7 x 0.7 Cm Origin: Africa Color: Red Pink and Green Shape: Carving Quality: AAA Tourmaline helps to create a shield around a person or room to...

A pair of monumental limestone sphinxes of Pharaoh Nectanebo I, from the processional avenue of the Serapeum of Memphis, 30th Dynasty, circa 379 - 360 BC. The sphinxes of the Serapeum have captivated travellers since Roman times. However, despite their significance, they are conspicuously absent from the collections of most major museums. Indeed, their existence in private hands is so improbable, and their imitations so numerous, that the present sphinxes were assumed to be modern copies throughout their recent ownership history. Finally recognised and conserved after an extraordinary chance discovery at a garden furniture sale...

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...

Pair of sculptures depicting the Virgin and St. John the Evangelist, portrayed in a mournful attitude. The former has a pained expression on her face, her hands clasped in front of h...

This censer is characterized by its tripod form, which means it stands on three feet. Incense burners from the Ming dynasty are often highly regarded for their craftsmanship and the quality of the glaze texture and coloration. This piece features finely carved patterns that likely draw inspiration from traditional Chinese motifs. Such items were commonly used for burning incense and sometimes served as significant decorative pieces in ceremonial spaces or the homes of the elite. Period: Ming Dynasty (1368~1644) Region: Longquan, China Medium: Stoneware - Celadon glazed Type: Tripod censer Size : 24.2 cm(Diameter) , 10.8cm(Height) Provenance : Acquired in 1999, Hongkong Reference : Sotheby's Newyork 26 September 2023 - CHINA / 5000 YEARS - Lot1135 * Ming Dynasty Longquan Celadon Longquan celadon from the Ming Dynasty typically exhibits a more robust and heavier stoneware body compared to its Song Dynasty predecessors. The Ming era saw an evolution in celadon glaze, achieving a wider spectrum of green hues, from olive to bluish-greens. Ming celadons...

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 unglazed to reveal the gray stoneware...

Since ancient times, people have created necessary tools from familiar materials, passed them on, and nurtured a lifestyle culture in order to survive in the severe struggle against nature. Over a long period of time, the tools accumulate a certain flavor and reflect the way of life. The harsher the natural environment and the weaker the human being, the stronger the power of the tool. In today's world, where cheap and disposable products are encouraged, the act of repeatedly modifying and re-creating the things around us opens up a new world. With this philosophy in mind, we collect beautiful, powerful, unique, and carefully selected Japanese antiques. This is a very old ceramic vase...

This Han Dynasty green-glazed dish exhibits significant signs of wear, indicative of its age and the long passage of time it has witnessed. The glaze, once vibrant, now shows substan...

A Pair of Copper Currencies: “Katanga Crosses” Central African Copper Belt (DR Congo, Zambia or Zimbabwe) Cast copper, archaeological patina Size each:...

Magnificent fossil, ammonite, France, Prehistoric, approximately 335 million years of existence. Height 55 cm, width 58 cm.

A striking polished labradorite freeform sourced from Madagascar, naturally formed over thousands of years. Characterised by its iridescent colours, principally blue, this high grade...

Ancient Egyptian Turquoise Glazed Faience Ushabti of the 26th Dynasty Good condition, displayed on stand An Egyptian ushabti, also known as shabti or...

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...

I was able to obtain a very rare item. This is a sculpture of the god ``Shinzo''. "Shin" = God "zo" = statue Since ancient times in Japan, it has been believed that gods reside in all things in the universe, and there have been many shrines. In the 6th century, Buddhism was introduced and gradually spread throughout Japan. Around the 8th century, the idea that gods follow the teachings of Buddha spread. Until the Edo period, God and Buddha became one and the idea of ``Shinto and Buddhism syncretism'' was established. This statue was created during such a history. Originally, the image of God was invisible and could not be understood as something tangible. However, with the introduction of Buddhism to Japan, idol worship was also introduced, and the idea that the gods follow the teachings of Buddha was also propagated at the same time in order to spread the teachings of Buddhism. Around that time, around the 9th century, the first statues of gods...

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

This is a white porcelain bowl made in Korea around the 15-16th century. This period is known as the Joseon Dynasty (15th-19th centuries). The 15-16th century corresponds to the firs...

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...

The artwork, with its foliage and floral motifs, suggests a connection to the natural world—a common theme in Vietnamese art. Such items were highly traded, and their recovery from shipwrecks helps us understand the extent of maritime commerce in Southeast Asia during the 15th and 16th centuries. This piece embodies the craftsmanship and aesthetic values of the period, providing insights into the cultural and economic contexts of its time. Dates : 15th century Le Dynasty Region : North Annam Type : Bowl Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : Double checked with reference to the original catalogue 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...

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Prehistoric Brazilian agate geode on stand. White, taupe with a thin rust line. Metal stand measures 6" x 4". One of several from a large collection o...

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,...

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 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...

Weight: 207.32 Gram Dimension: 8.2 x 6.7 x 3.2 Cm Origin: Afghanistan Aquamarine is a pale-blue to light-green variety of beryl. The color of aquamarine can be changed by heat. Aqu...

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...

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...

This rare fossil of a prehistoric fish is an impressive specimen originating from Brazil, preserved by time over millions of years. Mounted on a metal bracket with complementary ston...

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...

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...

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...

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...

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

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...

This is a Celadon three-legged incense burner with peony arabesque design. Since the 14th century, Dwarf sedge was planted in this pot to decorate the tea room, so in Japan it is ...

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...

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...

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...

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

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...

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...

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...

An exquisite silver gilt finger ring featuring a beautiful floral-shaped bezel with raised bosses and remnants of blue and green enamel. The ring is further embellished with several ...

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...

A blue-and-white porcelain dish with a central floral motif, likely a lotus, which is a recurrent symbol in Asian art representing purity and beauty. The lotus is surrounded by concentric patterns of foliage and vines, typical of the blue-and-white ceramics that were prevalent during the Ming Dynasty. The cobalt blue used for the intricate designs stands out against the white background, giving the piece a timeless elegance. The design's fluidity and organic shapes suggest it was painted by a skilled artisan, making it a fine example of the artistry from the period when it was created. Dates : 15th century Le Dynasty Region : North Annam Type : Dish Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : Double checked with reference to the original catalogue 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...

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

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...

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 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...

If you want something special, we recommend purchasing the items we have selected. We sell items from various countries, with a focus on carefully selected old Japanese items. We've ...

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...

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 ...

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

20.68 Gram Pretty Demantoid Garnet Specimen Weight: 20.68 Gram Dimension: 2.2 x 2.9 x 2.7 Cm Origin: Belqeys Mountains ( Koh-e-Belgheys), Iran Color: Green Demantoid is the green gemstone variety of the mineral andradite, a member of the garnet group of Minerals. Andradite is a calcium- and iron-rich garnet. The chemical formula is Ca₃Fe₂(SiO₄)₃ with chromium substitution as the cause of the demantoid green color. Ferric iron is the cause of the yellow in the stone Demantoid was a popular gemstone during the Belle Époque period (1890-1915), especially in Art Nouveau jewelry. The Russian Czars...