ID:2156

Sculpture in polychromed oak of Mary on a crescent moon holding the Christ child, Brabante region (an area between modern Belgium and Holland), ca. 1550. Original polychrome, small repairs to the moon.

H 24 in (61 cm)

ID:2174

An early 17th century corpus in sculpted wood, the head of the still-living Christ looking up and to the right, the flowing and ample perizonium also knotted on the right, northern France or Flanders.

H 13 ¾ inches (35 cm)

ID:2212

Bust of the Virgin, a plaque in high relief, superbly gilt and finely chased bronze, the Virgin, looking to her right, wearing a scarf knotted at the front, on a background of arabesques. Italy, 17th century.

H 16.5 cm, W 15.5 cm (6 ½ in by 6 in)

ID:2221

Reclining child with a sash (cupid?), finely chased and gilded bronze, Germany (Brunswick?), 16th century, on a later wood base. The masking of the groin area is later.

L 17 cm (6 ¾ inches)

ID:2209

Attributed to Claude Michel, known as Clodion (Nancy 1738 – 1814 Paris), bust of a putto with a leafy sash, likely a study for a group, perhaps a bust of the infant Bacchus, in patinated terra cotta, mounted on a turned green marble base (chipped), late 18th century.

H 16 cm (6 ¼ inches)

ID:2279

A musician angel carved in full round from limewood, including an integral base. Standing in a gracious and dynamical pose on his right leg, the left leg slightly bent and raised, he blows into a now-vanished horn supported by his left hand; his distinctive face is framed by the thick curls of his hair, his brows form half-circles, the deeply-set eyes are finely outlined by the lids, the mouth is small with a small chin. He wears a belted robe that billows at the waist as well as a blouse belted against his breast that leaves his right shoulder exposed. Restorations, notably to the left hand; polychrome or gilding removed. Bohemia (?), 18th century.

H 101 cm.

ID:2294

Statuette in finely chased and patinated bronze symbolizing military strength in the guise of an armed goddess holding a spear and supporting herself against a column, a lion at her feet. The bronze is raised on a rectangular breach marble stand. France or Flanders, 18th century

H 16.5 cm (6 ½ in.), total H 17.8 cm (7 in.)

ID:2310

A panel representing the Visitation (the Virgin and her cousin Elizabeth), carved in high relief from a single piece of oak, polychromed and gilded, Spain (Valladolid) 16th c., mounted in a later frame with a bow to the base segment.

61 by 90 cm (24 by 35 ½ inches) to the outside of the frame

ID:2323

Head of a draped female saint wearing a wimple, in unglazed modeled terra cotta from the workshops of Le Mans, early 17th c., a fragment.

H 25 cm (9 ¾ inches)

From the end of the 16th through the 17th century, the workshops of the Maine region, centering around the city of Le Mans, were a primary source of religious statuary in France. Their production, inspired by the arrival of Italian artists, the end of the religious wars, and the abundance of a high-quality clay suitable for the purpose, was primarily in polychromed or white-glazed terracotta and reached a high level of technical perfection as well as individual artistic accomplishment. Typically work from this source consisted of head-to-toe groups for retables and our object is a fragment which has never been glazed.

Bibliographic reference12: Catalogue of a show in Paris, Le Louvre 2002, Belles et inconnues. Sculptures en terre cuite des ateliers du Maine XVIe-XVIIe siècles, Paris, Éditions de la Réunion des musées nationaux, 2002

ID:2326

Mural statue in sculpted and polychromed lindenwood, The seated Saint Veronica, the back hollowed out for stability, under the base a label with an Austrian eagle emblem surrounded with the words “Bundesdenkmalamt Landeskonservator f Vorarlberg” [Federal office of movable art, State conservator for Vorarlberg, a western region of Austria], Southern Swabia, early 17th c. Retouches to polychromy.

H 69 cm, W 30 cm

The label referenced above would have authorized export from Austria.

In this poetic and inhabitual rendering, St Veronica is seated with tears in her eyes, immediately after Jesus’ passage, clutching the folded cloth, as if to guard the image burned onto it for herself, at least for a short time.

ID:2347

An Italian lost-wax sculpture, finely-chiseled, after the Mercury of Giambologna, possibly 18th c., with a velvety surface in a dark patina, on a later cylindrical base of Siena marble poised on a square base of Portor marble.

H 60 cm (bronze alone), H 9 cm (base)

Base forms a square of 5 ¼ in.

One of the most celebrated and well-known sculptures of the Renaissance

ID:2231

Statuette of the Virgin and child in sculpted boxwood, depicted standing with her head turned slightly to the right and holding the entirely nude baby against herself with her left hand. She wears her hair in a chignon with tresses falling in undulating locks on her shoulders. Southern Germany, 17th c. (The right hand of the Virgin is missing and there are losses to the folds of her robe.)

Height 13 cm.

ID:2264

Candlestick in sculpted boxwood modeled as a curiously garbed odalisque standing on a turned oak base and balancing on her head a vase serving as the nozzle. France late 19th century.

H 10 ¾ inches

ID:2276

Two fine sculpted and gilt wood figures representing the Virgin Mary and Saint Jean the Evangelist, each in a contrapposto position and looking up, on integral bases, once part of a crucifixion. France, 18th century. Restorations.

H 15 ¼ in (39 cm), W 5 ½ in (14 cm)

ID:2276

​The other member of the pair.