Saint John the Evangelist, wooden sculpture, ca. 1500
1.600,00 €
Full-plastic sculpture depicting St. John the Evangelist , made of wood, dated around 1500. The figure is shown in a contrapposto, with a slightly bowed head and entwined hands holding
The work may have been part of a winged altarpiece (retabulum), most likely in the Crucifixion group.
Additional information
| Weight | 5,3 kg |
|---|---|
| Dimensions | 20 × 11 × 73 cm |
| Type |
Sacred sculpture |
| Form |
full-plastic statue of St. John the Evangelist |
| Materiał |
Polychrome wood |
| Kolorystyka |
Brown ,Dark green ,Red |
| Czas powstania |
ca. 1500 |
| Era |
Baroque |
| Kraj pochodzenia |
Central Europe |
| State of preservation |
Very good, no losses; natural cracks in the wood and traces of the original polychrome visible |
Related products
Baroque Sculpture: Immaculate Madonna with Child, 18th/19th Century
Polychrome and gilded wooden sculpture depicting the Immaculate Madonna with the Child Jesus. The figure stands on a globe entwined by a serpent – a classic motif symbolizing Mary's victory over original sin. The Madonna, in a richly draped and gilded cloak, holds the Child on her left side. The sculpture is colorful, full of expression and dynamism.
Capital with Figural Decoration, Sandstone, France, 12th-14th Century
Architectural capital in cylindrical form, made of light yellow sandstone, decorated with carved human figures around it, styled after Romanesque sacred details. The upper edge is decorated with a stylized floral ornament in the acanthus style. The interior is deeply grooved, with visible traces and wax deposits and stains.
Gaulo-Roman head sculpture, marble, Ancient Rome, 1st-3rd century after Chr.
Full-plastic head sculpture made of white marble, facial features treated quite schematically except for the characteristic almond-shaped eyes and "Gioconda's smile." Neck-length hair forming curls around the line of the face, back hairstyle treated schematically. The formation of the neck from underneath allows us to conclude that the head was originally part of a larger composition - such as a sarcophagus. The sculpture is placed on a custom-made, two-stage pedestal of black marble.
Icon of Our Lady of the Dawn Gate in gilded frame with enamel, 19th century
Decorative icon depicting Our Lady of the Dawn Gate, set in an elaborate brass frame with gilding. The representation is made of embossed sheet metal; the face and hands are covered with painted enamel. Background covered with maroon velvet. On the back of the frame a foot for standing and a pendant.
Nude Ballerina, Samuel Lipszyc, Sculpture, C. 1920
An Art Deco sculpture depicting a nude ballerina in a dynamic pose, balancing on one foot. The sculpture is made of green patinated bronze, mounted on a marble plinth with decorative, contrasting veins. The work is signed “Lipchytz” on the left foot. Samuel Lipszyc (Lipchytz), born in Pabianice in 1880, was murdered by the Germans in Auschwitz concentration camp in 1943.
The dancer's dynamic silhouette and flowing lines are characteristic of the modernist aesthetic of the 1920s. The figure exudes lightness, grace, and modern elegance, capturing the spirit of the Art Deco era. Due to its high aesthetic value, it will serve as an excellent interior decoration. The author's identity further enhances the sculpture's collectible value.
Relic of St. Augustine, 18th century, with relic EX OSSIBUS
Monumental 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 first-class relic (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.
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 spreading 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 object probably served a protective function - as a temple guard or ceremonial architectural element.
Zhang Heng seismograph model, stained bone, China, circa late 19th/early 20th century.
Seismograph model made of natural animal bone (imitating ivory), engraved and stained. The surfaces are covered with rich ornamentation, consisting of floral and animal motifs (dragons, horses, fish) and a thread of flames. The egg-shaped body features eight figures of intricately carved dragons, to which eight toads correspond, sitting with open mouths on an octagonal base. The seismograph is topped by a figure of Tao reading the Tao Te Ching. The work is signed on the underside.
The prototype of the model is the world's first seismometer, constructed in 132 by Chinese scientist Zhang Heng. The device indicated the direction from which an earthquake came, even if the phenomenon took place hundreds of kilometers from Luoyang - the capital of China at the time. The device was about 2.5 meters high and made of bronze. In the mouth of each of the eight dragons was a small iron ball, balancing between the teeth. Inside the body of the device was a metal pendulum, set in motion by the vibrations of the earth. A lever system activated by the pendulum opened the dragon's mouth, and the falling ball fell into the frog's mouth. The position of the frog, into which the ball fell, indicated the direction of the earthquake.