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Brahma, marble, India, 19th century.
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Brahma, marble, India, 19th (?) century.
A marble sculpture depicting Brahma, the Hindu creator god and personification of cosmic wisdom, belonging to the Trimurti trinity alongside Vishnu and Shiva. The object was hand-carved in gray marble and represents a simplified iconographic form in which Brahma is shown with three faces, instead of the traditional four .
The figure is depicted seated, with a sphere held in his hand, interpreted as a symbol of the earth or the entire cosmos, and refer to the act of creation and the order of the world.
Due to the limited worship of Brahma in India and the small number of temples dedicated to him, sculptural representations of this deity are rare, making the object particularly interesting. The sculpture is in very good condition.
Capital with Figural Decoration, Sandstone, France, 12th-14th Century
Cylindrical stone capitol, decorated with carved representations of male faces with mustaches and nude female figures. The top edge decorated with a band of ornaments. The interior is deeply grooved. The surface of the object bears clear traces of use - deposits and wax residues are visible. The style of the sculpture refers to Romanesque or early Gothic architecture.
Christ Crucified, wood, Spain (Pyrenees?), 12th-13th century.
The sculpture impresses with the pronounced rigidity of the body, typical of early Roman depictions. The calm yet poignant expression of Christ's face is emphasized by huge, forward-facing eyes set in deep eye sockets.
His gaze, however, is slightly lowered, emphasized by a prominent nose and large, spreading ears that frame his face. His hair falls symmetrically on his shoulders; a peculiar hairstyle draws attention - the hair, separated by a parting on top of the head, is arranged in rollers covered with densely diagonal cuts. Very similarly arranged hair, resembling braids, has the famous statue of Christ of Mig Aran, located in the church of Sant Miquèu de Vielha (Val d'Aran valley). The beard and mustache end in artificial, volute curls.
Christ Salvator Mundi, polychrome wood, Poland, 19th century.
Wooden sculpture depicting Christ as Salvator Mundi (Savior of the World), made in Poland in the 19th century. An example of folk Baroque sculpture, combining a religious theme with a simple, legible form. The full-plastic, frontal figure shows a young Jesus in a gesture of blessing, with a globe in his left hand.
The figure is dressed in a white tunic and blue coat with yellow piping. Remnants of the original polychrome and natural traces of use are visible. The simplified modeling, linear folds and expressive face indicate a folk workshop from southern Poland, representing the late Baroque tradition of devotional sculpture.
Head of an Angel (Putta), gilded linden wood, Poland, 1st half of the 18th century.
Baroque carving depicting the head of a winged angel (putto). The object, dated to the first half of the 18th century, is an excellent example of ancient sacred woodcarving. The styling of the "puckered" face, the deeply carved, almost graphic curls and the way the wings are worked out are very similar to the works of prominent Silesian sculptors, such as Johann Georg Urbansky and the workshop of Matthäus Knote. The sculpture is slightly curved, which means that it was designed to be mounted on a rounded structure, such as an altar column, cornice or the curve of an organ prospectus. The number "6" engraved on the back is a typical mounting mark. This confirms that the angel was part of a large, multi-element work, at which craftsmen numbered the parts to know where to mount them. A sculpture of high workshop qualities, dated 1720-1740, it represents the North Central European Baroque trend, showing features characteristic of the borderlands of Silesia and Malopolska. Preserved in original condition. Visible natural patina of time, losses of wood on the wings and paint layer and gilding, which add to the sculpture's character and confirm its age. The wood is sound, with traces of old woodcarving tools visible.
Saint Fiakier, granite, France (Brittany), 2nd half. XIX century.
Folk sculpture depicting St. Fiacre (Saint Fiacre), patron saint of gardeners, herbalists and protector of hemorrhoid sufferers, whose ailment was even referred to as "St. Fiacre's disease" in France for centuries. It is maintained in the traditional simplified Breton style. The figure is shown standing, clad in a habit with a clearly marked hood. The saint's face with a gentle expression is characterized by primitivism of form - wide-set eyes and a delicately outlined smile are typical of folk workshops referring to Romanesque patterns.
The key attribute of the figure is a shovel (spade) held vertically in front of him, the handle of which is embraced by both hands of the saint. This alludes to the legend of the miraculous demarcation of the garden at the Brie monastery.
The sculpture is an excellent example of Breton stone craftsmanship. It combines a devotional and utilitarian function (guardian of the home garden), being an authentic testimony to rural piety and aesthetics in the most Celtic region of late 19th century France.
A racy example of French folk art (Art Populaire). The figurine impresses with its primitive, "archaic" form, which fits well in both garden spaces and modern, minimalist interiors.
Dimensions: ca. 30 cm (height) x 11.5 cm (width) x 11 (depth)
Singa Barong, polychrome wood, Indonesia, 19th century.
A striking polychrome wood sculpture depicting Singa Barong - a mythical winged lion, known from Balinese and Javanese traditions. The creature is shown in a watchful position, sitting on an ornate base with its mouth open and teeth bared. The figure's appearance is completed by its distinctive bulging eyes, curled tail and mane. Its body is covered with linear motifs resembling tattoos, its breast is adorned with a wide necklace and its front paws with bracelets. The sculpture was most likely associated with a protective function, both in temple and domestic spaces.
St. Augustine reliquary with Ex Ossibus relic, polychrome wood, gilded, Italy, 18th century.
An expressive figural sculpture depicting a half-figure of St. Augustine in episcopal vestments, with a heart in his hand. The sculpture is the finial of a console in which was placed a relic of the first class (Ex Ossibus), described "S. Augustini", protected by an intact church seal. The work of polychrome and gilded wood, made in the 18th century, in an Italian workshop, representing a good artistic level.