Selected works spanning the Gothic, Renaissance, and Early Modern periods. We offer a curated selection of sculptures, statuary, medieval goldsmithery and reliefs, including Virgins and Child, representations of Christ, and various architectural elements such as Gothic columns, capitals, and corbels. Characterized by increased naturalism and fluidity of form compared to earlier Romanesque styles, Gothic sculpture reflects a transition toward a more humanized representation of sacred figures.
Collection of Gothic Art
Selected works spanning the Gothic, Renaissance, and Early Modern periods. We offer a curated selection of sculptures, statuary, medieval goldsmithery and reliefs, including Virgins and Child, representations of Christ, and various architectural elements such as Gothic columns, capitals, and corbels. Characterized by increased naturalism and fluidity of form compared to earlier Romanesque styles, Gothic sculpture reflects a transition toward a more humanized representation of sacred figures.
This carved oak Virgin and Child is an important Late Gothic sculpture associated with the Master of Elsloo Group. Measuring 106 cm in height, it originates from Limburg or Upper Guelders, in the former Low Countries, and may be dated to circa 1500. Mary is represented standing, in slight contrapposto, carrying the Child on her left arm. Carved in the round, the figure displays a calm and introspective expression, still recalling the International Gothic style, while the treatment of the body and drapery already announces the fuller forms of the early 16th century. The most significant parallel is the Marianum in the Museum Catharijneconvent in Utrecht, dated circa 1495-1504, together with the Marianums of Venlo and Neer. These comparisons place this Virgin and Child within the Limburg corpus of the Master of Elsloo Group, around 1500, at the transition between the Late Gothic period and the beginning of the 16th century...
This carved, polychromed and gilded limewood Virgin and Child belongs to the late Gothic sculptural tradition of Southern Germany. Standing 110 cm high, it can be situated in Southern Swabia, within the area of the Westallgäu, Wangen and Lake Constance, and dated to circa 1470–1480. The Virgin is shown standing, holding the Child high on her left arm. The elongated proportions of the figure, the restrained softness of the face, the angular treatment of the mantle and the lively pose of the Child characterize a work still marked by the Soft Style (Weicher Stil), while already reflecting the new sculptural developments of the last quarter of the 15th century. Comparisons with sculptures from Rankweil, Nonnenhorn, Markdorf and Wangen, and above all with the corpus associated with Hans Rueland, allow this Virgin and Child to be placed within the close circle or workshop of the master, probably circa 1470–1480...
Head of a bearded man carved fully in the round in marble by Gano di Fazio (Siena, documented from 1302 to 1316 or 1317), one of the major figures of Sienese sculpture at the turn of the thirteenth and fourteenth centuries. This previously unpublished work is dated from 1312 to 1317 by Professor Gabriele Fattorini.
The face is distinguished by an elegant Gothic naturalism: the large oval eyes are emphasized by finely delineated eyelids, while the hair and beard are rendered in supple, undulating and deeply incised locks. The volumes of the head, the calligraphic fluidity of the hair and beard and the movement of the locks extending across the sides and back of the head find their closest parallels in the late works of Gano di Fazio.
The most significant comparison is provided by the series of eleven Saints and Prophets from the cathedral of Massa Marittima, now preserved in the Museo d'Arte Sacra...
Museum-quality and important Virgin and Child in carved and polychromed wood, preserving significant remains of medieval polychromy. This sculpture belongs to a large family of seated Virgins and Child, known as the “Basque-Navarrese-Riojan” type and disseminated in Aragon around 1300. Mary is represented seated frontally on a richly decorated throne, in a solemn and hieratic attitude. The Virgin wears a tall fleur-de-lis crown, whose silhouette contributes to the monumentality of the figure. A red veil frames her face and falls over her shoulders. The blue tunic, decorated with gilt motifs, appears beneath a broad mantle whose folds fall over the knees. The Child is seated on the Virgin’s left knee, slightly offset from the central axis. He blesses with his right hand and holds a book in the other, probably the Scriptures. This iconographic scheme, widespread among Gothic Virgins of northern Spain, partially breaks with strict Romanesque symmetry. ..
This polychromed and gilt limewood sculpture depicts Saint James the Greater as a mature man, identifiable by his broad pilgrim hat and the fragment of a pilgrim staff preserved in his right hand. Standing 55 cm high, it belongs to the sculptural tradition of the Upper Rhine and can be located more precisely in Basel, circa 1515 to 1520, in the workshop of Martin Hoffmann. The saint is shown standing, enveloped in a broad gilded mantle raised by both hands. His head is thrown back, his gaze directed upwards and his mouth slightly open, giving the figure a powerful expressive intensity. The deeply set eyes, thick eyelids, firmly defined bridge of the nose and beard arranged in vigorously carved locks are the principal physiognomic characteristics of the work. The facial expression, the distinctive shape of the eyes, the compact construction of the hands and the sculptural organisation of the mantle closely relate this sculpture to the Basel corpus associated with Martin Hoffmann. The convergence of these elements supports an attribution to his workshop and a date circa 1515 to 1520...
Crowned Crucified Christ carved in polychromed and gilded walnut, sculpted in northeastern France, on the borders of northern Burgundy and southern Champagne, circa 1260 to 1270. This rare French Gothic sculpture represents the dead Christ, his head inclined towards his right shoulder and his body markedly elongated. The royal crown carved from the same block, combined with an already fully Gothic anatomy and a deeply animated perizonium, constitutes one of its most remarkable features. The sculpture retains significant remains of its early polychromy on the body, together with traces of gilding on the crown and perizonium. It bears witness to an essential transitional moment in the evolution of the image of the Crucified Christ during the 13th century, between the tradition of the Christus Rex and the development of the suffering Christ characteristic of the Rayonnant Gothic period...
This Florentine marble plaque, carved in bas-relief around 1450, depicts the Lamb of God, emblem of the Arte della Lana, the powerful wool guild of Florence. At once a religious image, a corporate coat of arms and an urban marker, it belonged to the corpus of stone insignia used to signal the presence and properties of this institution within the city, as at the prestigious Palazzo dell’Arte della Lana...
This important Burgundian Gothic sculpture in the round, attributed to the close circle of Antoine Le Moiturier and dated around 1470-1480, represents an apostle, probably Saint Matthew. Carved from pale, fine-grained limestone, the frontal figure is animated by a subtle shift in weight: the left leg supports the body, while the right, slightly advanced, introduces an elegant movement beneath the drapery. The saint wears a long tunic, buttoned at the collar and belted at the waist, beneath a voluminous cloak arranged in broad masses and deep folds. His now incomplete left hand holds a closed book identifying him as an apostle or evangelist. His mature face, framed by a full beard and powerful, deeply hollowed curls, retains a grave expression. Traces of polychromy survive in the garment’s recesses...
Carved in the round from walnut, this work relates to the output of workshops in eastern France in the mid-14th century. Standing with a slight contrapposto, the Virgin carries the Child seated on her left arm. She wears a gown and a mantle whose edge is brought forward across the front, and a tall fleuroned crown set over a short veil that reveals softly wavy hair. Her fairly frontal stance is balanced by the Child, who grasps the edge of his mother’s veil with his right hand. Her elegant silhouette fully belongs to the Rayonnant “courtly style”, while moving beyond the sometimes abstract preciosity of Île-de-France models to assert a plastic density and vigor characteristic of Lorraine sculpture...
Saint John the Evangelist in polychrome and gilt limewood. The saint is clad in a gilt mantle with blue lining, with broken folds characteristic of late Gothic German sculpture, particularly the workshops of Thuringia and Franconia. The tunic, visible at the rounded neckline and at the bottom of the sculpture, falls in relatively simple vertical, tubular folds, creating a visual supporting column that contrasts with the mantle, treated with great volumetric complexity, typical of the “broken folds” (Knitterfalten) or “angular folds” used in the Saalfeld school. An old collector’s label mentions an attribution to Valentin Lendenstreich, the Master of the Neusitz Altarpiece. The relative stiffness of certain sections, combined with the depth of the carving, suggests more strongly the hand of Hans Gottwald von Lohr and his synthesis between Thuringian fluidity and the structural rigour inherited from the Würzburg school than the style of Valentin Lendenstreich...
Rare marble sculpture by the Italian Master Tino di Camaino (Siena 1280 – Naples 1337) representing one of the three Theological Virtues, Faith. Pupil and successor of Giovanni Pisano, the Master developed an original, expansive, sometimes rugged style, which is very evident in this sculpture. Carved in the round, the Virtue is depicted standing in a slight contrapposto, wearing a crown and holding lilies in her right hand. The drapery and its deep folds, masterfully carved, accentuate the verticality of the figure, giving it an impression of solemnity. This work can be compared to the bust of Faith preserved at the Opera del Duomo Museum in Florence and executed around 1320. Our sculpture displays a similar style, with an emphasis on the plastic quality of the volume. This major work was therefore likely carved by the artist towards the end of his life...
Important, museum-quality statues in polychrome walnut, originating from a group of the Lamentation (rather than a pure Entombment). The original polychromy is largely preserved. The holy women can be identified as the Virgin (hands joined, pointing downward) and Mary Salome (hands joined, pointing upward). The iconography is coherent: head-covering mantles, inward mourning attitudes, joined hands, and absence of individual attributes. The frontal presentation, the footing on trapezoidal bases, and the restrained gestures point to a processional scenography, intended to be read laterally around a recumbent Christ in a Lamentation. These two sculptures reprise the posture, codes, and expressions observed in the exceptional ensemble preserved at the Saint-Jacques Chapel in Monestiès (c. 1490–1491, Albi region)...
Important elm-wood sculpture carved in very high relief and hollowed at the back. Anne is seated in majesty, veil and wimple framing a composed face, holding at her left the blessing Child and at her right the crowned adolescent Virgin. This is an early iconography of the theme, with a hierarchy of scale typical of Upper Rhenish prototypes of the late 13th century. The use of elm accords with practices of workshops from the Upper Rhine / Lake Constance region. The drapery is treated in broken planes and shallow fluting, with V-shaped breaks over the knees. The line remains more graphic than naturalistic, a sign of the Romanesque–Gothic transition before the softening of the 14th century...
Important twisted column in white marble. A helical band chiseled by two lateral bands alternates with a spiral of fleurons. This column most likely comes from a cloister or a portal and finds its parallels in central Italy. This magnificence is indeed present in Tuscany, Lazio and Umbria in the 13th and 14th centuries. Our column is distinguished, however, from the works of the 14th century by a more rectilinear profile and an increased sobriety in its floral motifs, thus contrasting with the opulence of the columns of the portal of the cathedral of Orvieto (14th century). These characteristics allow us to date this work to the last third of the 13th century...
Marble sculpture depicting Mary Magdalene, carved in northern Italy at the end of the 14th century. Standing, the saint is draped in a long mantle, one panel of which falls down the front like a finely pleated apron. The natural undulations of the folds—sometimes stiff in a cornet pleat, sometimes soft as they descend—impart a graceful sense of movement. Her face, round and serene, is marked by full cheeks, a slightly aquiline nose, and a mouth with full lips, modeled with an almost sensual softness. The exposed forehead looks forward to the following century. In her left hand she holds the perfume vessel, a jar of nard, which she used to anoint the feet of Jesus at Simon the Pharisee’s house and again after his resurrection. In her right hand she holds the Book, another characteristic attribute of the Saint...
Devotional statue depicting the Virgin standing, wearing a veil falling over the shoulders and a crown with fleurons. She holds the Christ Child on her left arm. Christ, bare-chested, holds a pomegranate in his hands and wears a red drapery covering the lower body. In her right hand the Virgin holds a fleur-de-lys. With her oval face, almond-shaped eyes and small mouth, the Virgin seems to engage in a dialogue with the Child. The blue mantle, cast forward like an apron, forms broken folds and thick hems, arranged in chevrons and vertical falls; the underdress appears at the neckline and at the hem...
Rare wooden polychrome Virgin and Child from the Fenouillèdes region representing Virgo Lactans. Before this discovery, only 3 medieval nursing madonnas were known in the Pyrénées Orientales. Our Virgin is distinguished by the quality of its execution, the preservation of its polychromy and a known origin. Mary is seated on the throne with a gentle and mysterious air. The Child on his knees holds the Book on and raises the index and middle fingers of his right hand...
Large head of an apostle from Parisian workshops, end of the 13th century. The saint is portrayed as mature, with well-defined facial features, including marked cheekbones and deeply incised lines that convey a sense of age and wisdom. The beard and mustache fall into fine, well-delineated strands, while the hair is sculpted in thicker, undulating locks.
The austere expression and the treatment of the features suggest a focus on emphasizing the gravity and spiritual authority of the figure. Its stylistic characteristics and the use of Lutetian limestone allow it to be confidently placed within the corpus of Parisian Gothic sculpture from the end of the 13th century.
This sculpture demonstrates the enduring influence of Jean de Chelles and his contemporaries in the final decades of the 13th century.
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Beautiful Virgin with the goldfinch in limestone, sculpted in the round with traces of polychromy. Mary holds in her hand the bird fed by the Child. Our sculpture shows traces of ocher and blue polychromy and gilding on the hair and the fleur-de-lis crown. The Virgin is draped in a mantle with significant lateral fall under the left arm, with beautiful folds heralding the end of the 14th century. The faces of the Virgin and the Child suggest a production from Ile-de-France...
Important Virgin and Child in majesty. Mary holds Christ on her left knee. Hieratic face of the Virgin, still very much borrowed from Romanesque canons, framed by a short headdress. Our sculpture is distinguished by its important museum dimension and the confrontation of the two characters, the hieratic Virgin and the child, already belonging to the first Gothic of Ile de France. The very beautiful face of the child, the short headdress of the Virgin, her mantle with remains of red polychrome, pulled under the arm are all characteristics of this period of transition between Romanesque art and early Gothic art...
A collection of two large limestone sculptures in the round representing Saint Peter and Saint Paul. The two apostles are depicted standing, each holding a book in their left hand. Beautiful clasps on both books. Elegant pleating of the coats. Slight swaying of the hips and straight knees forward. These two statues undoubtedly have the same origin and the same sculptor. The draperies and the treatment of the faces allow us to place these two sculptures in the 15th century...
Handsome bearded face framed by curly hair emerging from the prophet's cap. This head is very expressive and shows a thoughtful man in age. This Gothic sculpture in the round can be compared to 14th century sculptures from the North of France, some coming from the disappeared cathedrals of Arras, Boulogne-sur-mer and Cambrai. A probable origin for this Gothic sculpture coming from a collection in the Saint-Omer region is the Saint-Bertin Abbey...
Arkose gargoyle depicting a fantastical creature, likely a dragon. With a relatively stocky form showing only the bust of the animal, it can be dated to the mid-13th century. The stone used and its style link it to the earliest Gothic gargoyles from the Riom area in Auvergne, with similar examples found in Aigueperse and Ennezat. The creature’s head is sculpted in high relief, with an open mouth and well-defined ears. The back is hollowed out to form the water drainage channel...
Small marble head representing a bearded man in profile, an apostle or a prophet. This sculpture comes from the Joseph Altounian collection dispersed during the Artcurial sale of September 18, 2019. It bears on the reverse the typical label of the Joseph Altounian collections Ref: Annexe 622. Our sculpture has been cited as coming from the close circle of Giovanni Pisano. Without being able to affirm this attribution with certainty, our marble nevertheless belongs to the Tuscan school of the beginning of the 14th century, under the influence of sculptors such as Pisano or Giovanni di Balduccio. The comparison with the latter is interesting, Giovanni di Balducio produced capitals and funerary reliefs with representations very close to our marble. ..
Large Saint Sebastian finely carved in alabaster. The saint is attached to a column surmounted by a capital, beautiful soft features and superb hair with long openwork and wavy locks. This statue was the object of a devotion as evidenced by the wear of the face and the accident on the nose...
Large Virgin of the Annunciation in polychrome wood. Our Virgin is represented in the phase of the Conturbatio, Mary expresses her amazement and is represented as a young girl with soft and resigned features. The long dress with a notched collar typical of the end of the 13th century has preserved magnificent blue and red decorations, applied directly to wood or to starched canvas, which is still well preserved...
Large Virgin and Child in oak from the end of the 13th century or beginning of the 14th century. The plasticity of the faces and of Christ evoke the 13th century (the face of the Virgin evokes the face of the Romanesque Sedes Sapientiae of Seron) while the drapes of the Virgin's dress herald the following century. Marie, with her beautiful oval face, is seated on a throne bench. Mosan Virgins are rarer in collections than the southern European ones.
Remains of polychromy and gilding. Hollowed back with hook closure...
Important head of an apostle statue. Long and antiquating features. Erosion due to long exposure to the elements observable on the hair. Limestone deposits. Exceptional sculpture, probably Paris, 13th century. ..
Head of apostle or Christ in sculpted limestone. Elongated face with a large forehead and long hair with thick wavy locks on the sides
The almond-shaped eyes are underlined by the hemmed eyelids. Small modern plinth in reconstituted stone...
Important and rare fragment of a Gothic tympanum. In a mandorla, angel under the arm of god, hand raised in the attitude of judgment. ..
Bust of a crowned madonna. Typical production of workshops in Lorraine or eastern France. Traces of polychromy. ..
Pilgrim figure in sculpted and polychromed limestone. He holds a calabash in his left hand. He probably held the pilgrim's staff in his missing right hand. Very beautiful face framed by a long and bifid beard. ..
Sculpted limestone bust of an angel with characteristic 14th century hairstyle and drapery...
Laureate and bearded head probably representing an emperor, Charlemagne or a Roman emperor. ..
This Gothic sculpture depicts Saint John the Evangelist. It is distinguished by the finesse of its details, particularly in the treatment of the ample and fluid drapery, as well as in the wavy and curly hair of the saint, characteristic of the late Gothic style. Saint John is depicted holding a book, symbolizing his Gospel. His face, with delicate and meditative features, slightly idealized, reflects profound spirituality. This work, attributed to the Master of the Acker Altar (Meister des Acker-Altars), was exhibited at the Ulm Museum and bears an inventory number on its back corresponding to its loan. The sculpture displays the distinctive characteristics of this Master's chisel, including finely hollowed-out hair and a serene face, contrasting with the austerity of works by his contemporaries, Veit Stoss and Tilman Riemenschneider...
Gothic sculpture sees a profusion and diversification of media. Still austere for the first Gothic art, statuary knows an explosion of Marian worship with series of virgins and children. Architectural works remain with capitals, corbels and columns. The Ekinium gallery offers a series of religious and secular works from the gothique period.
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