Allegorical and Mythological Sculptures

Diverse terracotta and bronze sculptures representing allegories, mythology, and classical themes, showcasing elegant forms and expressive figures.

Psyche Abandoned, c. 1800, Augustin Pajou; Caster: Possibly Pierre-Philippe Thomire, French, 1730-1809, 26 x 12 1/2 x 11 1/2 in. (66.04 x 31.75 x 29.21 cm), Bronze, France, 18th-19th century, In 1783, sculptor Augustin Pajou was commissioned to execute a sculpture for the entrance of the Salle des Antiques in Paris that would serve as a pendant piece to Cupid Carving a Bow from Hercules Club by Edme Bouchardon (1698-1762). Pajou's plaster model of the nymph Psyche, depicted as having just been abandoned by Cupid, created a scandal at the Salon of 1785, where its nudity was considered to be licentious. The work was withdrawn from the exhibition, but Pajou's life-size version in marble earned great critical acclaim when completed in 1790. Pajou subsequently modeled two terra-cotta statuettes based upon the popular sculpture, as well as bronze reductions.

Louis-Ernest Barrias (1841-1905). The death of poetry. Terracotta. 1900. Museum of Fine Arts of the City of Paris, Petit Palais. Poems

Chinard, Joseph (n.1756-02-12-D.1813), the French people or freedom crowns the genius of France (dummy title), 1793. Terracotta. Carnavalet museum, history of Paris. Allegory, genius, figure, man, naked; Freedom, woman, drapery, ancient, crown, foliage; Socle Frieze, revolutionary procession, bust, Joseph Chalier (1747-1793), beef, donkey, miter, chalice; Carquois, Phrygian Bonnet; Broken monarchical symbols, scepter, crown; medal; terrestrial globe; Anticlericalism, French Revolution, Republic, Convention, Terror.

Paduan 16th Century, Europa, c 1500 1525 Europa

Figure autumn, with attribute grapesros, Weesper Poreleinfabriek, c. 1764 - c. 1768 Figure in the form of a woman who holds up a grape voucher. Allegorical representation of autumn Weesp porcelain Figure in the form of a woman who holds up a grape voucher. Allegorical representation of autumn Weesp porcelain

Hercules en Antaeus, anonymous, c. 1500 Hercules lifts with curved knees and thereby standing on the toes of Antaeus off the ground. He has put his arms around his waist, therefore keeps his head slightly sideways and mouth open. Antaeus, whose remedy is pressed against Hercules' chest, pulls up the left leg cramped, while the right hovers just above the ground. His tongue emerges from the open mouth of the head falling backwards. He holds his left hand at Hercules' head, while the hand of the half -raised right arm falls back. Padua bronze (metal) Hercules lifts with curved knees and thereby standing on the toes of Antaeus off the ground. He has put his arms around his waist, therefore keeps his head slightly sideways and mouth open. Antaeus, whose remedy is pressed against Hercules' chest, pulls up the left leg cramped, while the right hovers just above the ground. His tongue emerges from the open mouth of the head falling backwards. He holds his left hand at Hercules' head, while th

Abraham and Isaac, by Donato di Niccolo di Betto Bardi known as Donatello, 1421, 15th Century, marble. Italy: Tuscany: Florence: Opera di Santa Maria del Fiore Museum. Detail. Child Isaac sacrifice knife statue

Psyche Abandoned, c. 1800, Augustin Pajou; Caster: Possibly Pierre-Philippe Thomire, French, 1730-1809, 26 x 12 1/2 x 11 1/2 in. (66.04 x 31.75 x 29.21 cm), Bronze, France, 18th-19th century, In 1783, sculptor Augustin Pajou was commissioned to execute a sculpture for the entrance of the Salle des Antiques in Paris that would serve as a pendant piece to Cupid Carving a Bow from Hercules Club by Edme Bouchardon (1698-1762). Pajou's plaster model of the nymph Psyche, depicted as having just been abandoned by Cupid, created a scandal at the Salon of 1785, where its nudity was considered to be licentious. The work was withdrawn from the exhibition, but Pajou's life-size version in marble earned great critical acclaim when completed in 1790. Pajou subsequently modeled two terra-cotta statuettes based upon the popular sculpture, as well as bronze reductions.

Pandora. .

Roussel, Paul (n.1867-10-28-D.1928-01-01), Baigneuse (main title), 1887. Terracotta. Petit Palais, Museum of Fine Arts of the City of Paris.

Beggar ca. 1760 Nymphenburg Porcelain Manufactory. Beggar 207116

A Saint, c. 1730. Follower of Diego Francesco Carlone (Italian, 1674-1750). Wood; overall: 156.2 x 56 x 23 cm (61 1/2 x 22 1/16 x 9 1/16 in.).

Europe and America. Culture: French, Vincennes. Dimensions: Overall: 12 1/2 × 10 5/8 × 6 7/8 in. (31.8 × 27 × 17.5 cm). Factory: Vincennes Manufactory (French, ca. 1740-1756). Modeler: Le Boiteux (active 1747-52). Date: ca. 1752.A very limited number of figures and figure groups were made at the Vincennes porcelain factory; it was only after the move to a larger building at Sèvres in 1756 that the factory produced figures on a significant scale. This group with the personifications of Europe and America was made with a pendant, which represents the continents of Asia and Africa. In the present composition, Europe is depicted wearing a crown and reclining against her horse, with flags and a cornucopia at her feet. America, in a feathered headdress and skirt, holds a bow with a quiver of arrows and has a crocodile at her back. In the eighteenth century, these various attributes would have made the two continents to which they allude immediately identifiable. The vast majority of the fig

Antoine Louis Barye, Two Bears Fighting, model 1833, cast by 1873 Two Bears Fighting

After Giovanni Bologna, called Giambologna, Venus Bathing, 1549-1900, bronze.

Model of a figurehead. Carved figures on the prows of ships usually illustrated their names. This model represents Atalanta, a mythological Greek heroine. She can be recognizable by her classical clothing and three golden apples. The female figure stands on the ships stem, which is decorated with garlands. The large version of this Atalanta adorned a brig of the same name from 1796.

Simon Miedema, Cast bronze statue of child with flowers in hand, spring, from series the seasons, sculpture sculpture bronze metal, cast Series = spring - summer - autumn - winter cupboard furniture furniture crowning Made on behalf of J.P. van der Schilden as crowning box designed by him.

Edgar Degas, The Masseuse, Group, French, 1834-1917, mid 1890s, plastiline

Thetis Transporting Arms for Achilles ca. 1804-12 William Theed the Elder British Led by a triton, the sea nymph Thetis carried weaponry and armor across the seas to her son Achilles, knowing that he would be among the last to die in the Trojan wars. Neo-classical sculptor William Theed shows her mourning, head bowed in grief, already knowing that her sacrifice is necessary. The subject had particular resonance in Britain in 1805 when Theed first exhibited the model for this bronze at the Royal Academy. This was the year of the Battle of Trafalgar when Horatio Nelson gave his life in Britains battle against Napoleon Bonaparte and the French.. Thetis Transporting Arms for Achilles 239234

Candleholder in the form of a satyr holding acornucopia. Maker: Doccia Porcelain Factory, Italian, founded 1735

Cleopatra. Circle of Pierre Julien (France, 1731-1804). France, circa 1795. Sculpture. Bronze on gilded bronze and granite base

Nude woman 1899 Aimé-Jules Dalou Versions exist in bronze and terracotta as well.. Nude woman. Aimé-Jules Dalou (French, Paris 1838-1902 Paris). French. 1899. White marble; base: green marble. Sculpture

Ceres. .

. He stands in dance pass on a square plinth with the right leg forward; Upper and head are three-quarters to the left. He holds castanets in the advanced right and the back-shatter facing left hand. On the head with the slightly opened mouth and upwardly dirty slug a high hat with beaten edge. It is dressed in a tight-fitting tube, partially closed with large pear-shaped knots, and with a flat-shaped collar, turned-shaped cuffs and with the sleeve starter and to the lower run of lobes, below, moreover from depending flame-shaped buildings. Stabbing the paths in a tight-fitting leg cover and have a tire under the knee, which is stretched from behind; On the feet low boots with bow.

Louis-Ernest Barrias (1841-1905). Dryad. Terracotta. Museum of Fine Arts of the City of Paris, Petit Palais. She gave birth, Nymphe

Orpheus 16th century Italian, Venice. Orpheus. Italian, Venice. 16th century. Bronze, dark brown patina. Sculpture-Bronze

Democritus, the Laughing Philosopher. Johann Christoph Ludwig Lücke (Germany, active Vienna, 1703-1780). Germany, circa 1750-1757. Sculpture. Earthenware on gray marble base

Venus. unknown, author

Meleager Seated on a Boar 17th-18th century possibly British. Meleager Seated on a Boar. possibly British. 17th-18th century. Bronze, dark brown patina. Sculpture-Bronze

Paul Choppin (1856-1937), author of the model and Paul Milet (1870-), Ceramist. "Washer". Biscuit (porcelain) of the Manufacture de Sèvres. 1903. Museum of Fine Arts of the City of Paris, Petit Palais. 123478-19 Ceramic, porcelain

Girl Braiding her Hair 1600-1610 Barthélemy Prieur French This statuette of a seated woman calmly braiding her hair is known in numerous examples, which differ in degree of refinement and facture. It is stylistically similar to a number of bronzes representing antique and modern genre subjects that include a praying boy, a woman cutting her nails, and a crouching woman with a peeing child. The female figure's pose, seated on a draped pedestal with crossed legs, is closely related to a bronze statuette of a crouching nymph pulling a thorn from her foot in the Victoria and Albert Museum. The fluid lines of the figure's composition, including its elongated torso and attenuated legs, observe the canon of proportion popularized in northern France by the engravings of the School of Fontainebleau. The statue's oval face, with its rounded forehead and long nose, suggests it is the work of Barthélemy Prieur, active bronzier and court sculptor to Henri IV of France. Prieur is believed to have mo

Hercules and Iole, 1710-1725. Giovanni Battista Foggini. The subject tells a story of the ancient Greek hero Hercules (or Heracles). Hercules was sold to Omphale, Queen of Lydia. He became her lover and whilst in her service started to display feminine traits, wearing women's dress and spinning. The sculpture depicts Omphale with her arm around Hercules, she wears his lion skin. The arms of Hercules, and one of Omphale's arms are now missing so we can no longer be sure what they held in their hands. In the traditional depiction she is shown holding his club, whilst he holds a spindle. This subject appealed to Renaissance and Baroque artists as it could be used to explore the theme of woman's domination over man.

Anonymous, Silène carrying Bacchus Child , Bronze with lost wax, brown patina. Carnavalet museum, history of Paris.

'Venus with a Dophin'. Italy. Venice, 17th century ( ). Dimensions: height: 36,5 cm. Museum: State Hermitage, St. Petersburg.

Adam figurine; XVII/18th century (1650-00-00-1750-00-00);

Candlestick with Saint Sebastiaan, Anonymous, c. 1475 - c. 1500 The candlestick is composed of the following parts: the foot with the three legs, the decoration on these legs, the holy Sebastiaan, the tree, the fat catcher and the candle holder. The decorations, which are sounding on the legs, consist of dogs with stretched front legs that keep an arrow clamped in the mouth and put the ears in the neck. The feet standing on three legs, which is provided at the top of coarse rings, has a border consisting of nine tilting with the inscription: +San Ta Seb Bas Tia Nus Ora Pro Nobis. Saint Sebastiaan is wearing a loincloth. His right arm is behind him and his left arm is bound to the tree above his head. He stands on his right foot, which he has placed in front of his left, and keeps his head to his right side. This figure is attached to the tree at the height of the neck. This is somewhat erratic in shape and has branches, on which the fat catcher and the eight -flat candle holder is atta

Brühl, Augustusburg Castle

A Seated Woman, Anne Seymour Damer, 1748-1828, British, ca. 1780, Terracotta, Overall: 9 3/8 x 6 1/2 x 8 1/2 inches (23.8 x 16.5 x 21.6 cm), figure study, seated, woman

'Boy Playing Flute'. Italy, Venice, Late 16th - 17th century. Dimensions: height 26,5 cm. Museum: State Hermitage, St. Petersburg.

Dancing Satyr on Triangular Socle Cast 1520-1560 Italian. Bronze, dark brown patina . Style of Andrea Riccio

Postaći mityczna. unknown, sculptor

Anonymous. "Two loves arguing a heart". terracotta. Paris, Carnavalet museum. 101429-23

Clock with Father Time 1863 Albert-Ernest Carrier-Belleuse French Carrier-Belleuse was probably the most versatile sculptor of his time. Not only was he, himself, capable of executing commissions for public monuments and creating full-scale Salon pieces, but also his studio was the prolific source of small, decorative sculpture for collectors and limited editions of high-quality decorative objects. In addition, he supplied designs for many other leading producers of the decorative arts, among them porcelains for Sèvres and Minton and luxury objects in metal for the founder Ferdinand Barbedienne and the jeweler Lucien Falize. Carrier's design for this clock which is also in the Museum;s collection (see 1991.266), was used by the Paris firm of Guéret frères, specialists in furniture with carved wooden ornament.. Clock with Father Time 208018

Bishop Saint, c. 1740-1750. Attributed to Ferdinand Tietz (Austrian, 1708-1777). Painted and gilded wood; overall: 32.1 x 13.4 x 7.6 cm (12 5/8 x 5 1/4 x 3 in.).

Allegory of the Arts. Culture: Austrian, Vienna. Decorator: Christoph Dreischarf (active 1770-83). Dimensions: Height: 8 1/4 in. (21 cm). Factory: Imperial Porcelain Manufactory (Vienna, 1744-1864). Date: ca. 1770. Museum: Metropolitan Museum of Art, New York, USA.

Venus and Adonis; Massimiliano Soldani-Benzi (Italian, 1656 - 1740); Florence, Tuscany, Italy; about 1715 - 1716; Bronze; 46.4 x 48.9 x 34.3 cm (18 1,4 x 19 1,4 x 13 1,2 in.)

Rider on a rearing horse, Gianfrancesco Rustici (attributed to), c. 1530 - c. 1550 A naked, gestured rider sits on an unadfathered, prancing horse, standing on his hind legs with the head to the right. The rider has turned the upper body a little to the right and the head slanted to the left. With the left hand, he holds on to the mane of the horse, while the right fist supports the grip of a dagger on the creep. sculptor: Lombardijesculptor: France bronze (metal) A naked, gestured rider sits on an unadfathered, prancing horse, standing on his hind legs with the head to the right. The rider has turned the upper body a little to the right and the head slanted to the left. With the left hand, he holds on to the mane of the horse, while the right fist supports the grip of a dagger on the creep. sculptor: Lombardijesculptor: France bronze (metal)

Figure or candlestick representing Winter, Doccia, c. 1760 - c. 1770 Image of porcelain, painted on the glaze in email colors and gold. The image, representing the winter, shows a naked man, only wrapped in a dressed dress, with a candle holder in the shape of a horn under his arm. His beard blows in his face. Next to him a fire that flares up high. The pedestal is decorated with rocailles. Shower porcelain. glaze. gold (metal) painting / gilding / vitrification Image of porcelain, painted on the glaze in email colors and gold. The image, representing the winter, shows a naked man, only wrapped in a dressed dress, with a candle holder in the shape of a horn under his arm. His beard blows in his face. Next to him a fire that flares up high. The pedestal is decorated with rocailles. Shower porcelain. glaze. gold (metal) painting / gilding / vitrification

Bronze centaur late 5th century B.C. Greek During the fifth century B.C., centaurs appeared in many monumental representations, especially in Athens. The decoration of the Theseion included large wall paintings depicting not only Greeks fighting Amazons but also centaurs fighting Lapiths. The sculptures of the Parthenon featured centaurs as well. The boulder included in this work suggests that the source of inspiration was the myth of Kaineus, a Lapith invulnerable to man-made weapons, who could only be overcome by being beaten into the ground with trees and stones.. Bronze centaur 255393

Perfume Burner Surmounted by a Satyr ca. 1540-50 Workshop of Desiderio da Firenze Italian This perfume burner and 1975.1.1396 are of exceptional size, complexity, and quality. Holes throughout the body of the piece as well as in the mouth and ears of the satyr would have allowed the scented smoke to escape from the interior. However, this particular object shows no signs of use, either suggesting that it served a purely decorative function or that the present bottom plate is a later replacement.The fact that perfume burners of this model were inspired by Roman incense burners sometimes obscured their Renaissance origins. In 1719, the French antiquarian Bernard de Montfaucon illustrated this bronze in his influential book L'Antiquité expliquée et représentée en figures (Antiquity Explained and Represented in Figures). In the accompanying text, he identified it as a work from Roman antiquity and speculated that it might have been a cinerary urn.. Perfume Burner Surmounted by a Satyr. Wor

Siren late 16th-early 17th century Niccolò Roccatagliata Italian. Siren. Niccolò Roccatagliata (Italian, born Genoa, active 1593-1636). Italian, Venice. late 16th-early 17th century. Bronze; alabaster base. Sculpture-Bronze

Bacchus and a Panther. Culture: Italian, probably Florence. Dimensions: Overall (confirmed): 8 13/16 × 2 5/8 × 2 1/8 in. (22.4 × 6.7 × 5.4 cm). Date: 16th-17th century.A large number of statuettes of this model exist, varying so much in their surface treatment that it is improbably that they were made at the same time and place. Some examples, such as another in the Metropolitan Museum (32.100.190), are less articulate than the Linsky Bacchus and have relatively matte surfaces, which might indicate Venetian workmanship. Attributions have ranged from the early-sixteenth-century Paduan goldsmith Francesco da Sant'Agata, to a Florentine under the influence of Benvenuto Cellini.1 There is undoubtedly a Mannerist element in the svelte figure, but this is due largely to the ancient type that the artists were imitating. The classical precedent may have been a bronze statuette, since lost,2 or a variation on a marble, such as one in Munich.3James D. Draper, 1984Footnotes:1 See H.

Satyr.

Bacchanal: A Faun Teased by Children ca. 1616-17 Gian Lorenzo Bernini Italian Gian Lorenzo Bernini was the heroic central figure in Italian Baroque sculpture. The influence of his father, the Florentine-born Pietro, can be seen here in the buoyant forms and cottony texture of the Bacchanal. The liveliness and strongly accented diagonals, however, are the distinctive contribution of the young Gian Lorenzo. Although about eighteen when he made this work, he already displayed what would become a lifelong interest in the rendering of emotional and spiritual exaltation. The Bacchanal reveals the young Bernini's intensive study of bacchic subject matter. Listen to experts illuminate this artwork's story Listen Play or pause #80. Body Language: Curator: Bacchanal: A Faun Teased by Children Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Bacchanal: A Faun Teased by Ch

Mascarade 1857 Belgium. Bronze, thin brown patina . Jan Jozeph Jaquet

Antoine Louis Barye, Bear Overthrown by Hounds, model c 1834 1838, cast by 1873 Bear Overthrown by Hounds

Nessus gives Deaneira. On base.

Emmanuel Frémiet (1824-1910). "Fame of the arts". Wax, plastiline on metal frame. 1900. Museum of Fine Arts of the City of Paris, Petit Palais. 144868-22

Woman Washing Her Left Leg. Dated: c. 1890s. Dimensions: overall without base: 14.7 x 11.4 x 13.5 cm (5 13/16 x 4 1/2 x 5 5/16 in.). Medium: pigmented beeswax, metal armature, on wooden base. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

At first sight, these two figures appear to be Classical nudes. However, the male figures mocking smile, short horns, pointed ears and tail betray the fact that he is a satyr. His companion is an elegant wood nymph. The satyrs pipes and the nymphs tambourine are references to music and dance, their favourite pastimes in the mythical, idyllic world of Arcadia.

Friedrich-Elias Meyer (1723-1785). Jupiter brandishing lightning or fire. Porcelain, 1755-1760. Paris, Cognacq-Jay museum. 79170-4 Brandir, Standing, Roman Divinity, Drape, Lightning, Naked Man, Masculine Naked, Nudite, Porcelain, Statuette, Hold, 18th 18th 18th 18th 18th 18th century, Fire

The Amazon. Franz von Stuck; German, 1863-1928. Date: 1897. Dimensions: 64.4 x 34 cm (22 3/8 x 13 3/8 in.). Bronze. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

Clémence-Sophie de Sermézy. Group in terracotta: "This is all that Daymer or Dame advising a page where Jehan de Saintré and the lady of the beautiful cousins" or "La Conversation", 1824. Museum of Fine Arts of the city of Paris, small palace. Seat, converse, group, young woman, speak, terracotta

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia31. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Edgar Degas, The Masseuse, Group, French, 1834 - 1917, mid 1890s, plastiline

Harlequina ca. 1763 Franz Anton Bustelli Swiss Bustelli modeled sixteen characters from the Italian commedia dell'arte, the lively improvisatory theater that came to life in the sixteenth century. Harlequin was the commedia's principal character, always dressed in a brightly colored suit of triangular patches. Sometimes he was accompanied by Columbine, who played different roles in the plays. Here Harlequina wears the same patchwork costume as her partner. Although some of Bustelli's figures were inspired by engravings, they all have a sense of graceful movement that suggests the artist's firsthand impression of a theatrical performance.. Harlequina. German, Nymphenburg. ca. 1763. Hard-paste porcelain. Ceramics-Porcelain

Diana, c. 1934-1940 (probably). Meissen Porcelain Factory (German), Paul Scheurich (German, 1883-1945). Porcelain; overall: 30.5 x 25.4 x 19.6 cm (12 x 10 x 7 11/16 in.).

Allegorica Figure of "America" Figure; Made by Alcora porcelain factory; Spain; soft paste porcelain, vitreous enamel

Victory of the flag, Eugène Lacomblé, 1888 clay clay

Innocence Protected by Fidelity 1852 Giovanni Maria Benzoni A pendant group, Riconoscenza, depicts a girl repaying her faithful dog by extracting a thorn from its paw.. Innocence Protected by Fidelity. Giovanni Maria Benzoni (Italian, Songavazzo, near Clusone (Lombardy) 1809-1873 Rome). Italian, Rome. 1852. Marble. Sculpture

Putto with a Dolphin.After studying in Rome for ten years, Bouchardon settled in Paris and became one of the citys leading sculptors. He specialized, among other things, in sculpture for fountains. This elegant model for one such fountain sculpture is attributed to him on the basis of the subject and its Roman-inspired style.

Dionís Renart / Jarrón con figura femenina, 1900, yeso policromado, 78 x 40,5 x 41,5 cm., 071413-000. Museu Nacional d'Art de Catalunya.

Dhritarashtra. unknown, craftsman

Silenus op een Een Een, MEISSENER Porzellan Manufvaktur, c. 1750 - c. 1760 Group of painted porcelain. On an oval pedestal is a donkey on which a man (Silenus) is supported by a standing man next to him. In front of the donkey, a young woman lies her left arm over a basket full of grapes and a bunch of grapes in her right -handed arm. The image is marked. Float porcelain Group of painted porcelain. On an oval pedestal is a donkey on which a man (Silenus) is supported by a standing man next to him. In front of the donkey, a young woman lies her left arm over a basket full of grapes and a bunch of grapes in her right -handed arm. The image is marked. Float porcelain

Mermaid first half 16th century Italian, Padua. Mermaid. Italian, Padua. first half 16th century. Bronze, black lacquer patina. Sculpture-Bronze

Friedrich-Elias Meyer (1723-1785). Polymnia. Porcelain, 1755. Paris, Cognacq-Jay museum. 79169-23 Standing, woman, guitar, music instrument, playing, mandolin, polymnie, porcelain, statuette, 18th 18th 18th 18th 18th 18th century

Little Girl, Seated, c 1900- 1925. Abastenia Eberle (American, 1878-1942). Cast bronze; overall: 13.3 cm (5 1/4 in.).

'Satyr Carrying a Basket'. Italy. Padua, First half of the 16th century. Dimensions: height: 23,0 cm. Museum: State Hermitage, St. Petersburg.

Diana. Artist: possibly Haly workshop (French, 18th century). Culture: probably French (Nevers). Dimensions: H 15.8 cm. Date: last half 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta statuette of a woman leaning on a pillar. Culture: Greek, South Italian, Tarentine. Dimensions: H. 11 7/16 in. (29.1 cm). Date: 2nd century B.C..Standing, legs crossed, upper part of figure undraped, leaning right hand on pedestal. Museum: Metropolitan Museum of Art, New York, USA.

Fireplace wolf - a figure of a woman; 1. PO. 18th century () (1720-00-00-1750-00-00);

Prudentia (caution), Meissener Porzellan Manufaktur, c. 1779 - c. 1800 Figure of painted porcelain. On a square gold -rande pedestal is a woman (prudentia) with a black mirror in her right hand and a black snake in her left hand. The figure is marked. Float porcelain Figure of painted porcelain. On a square gold -rande pedestal is a woman (prudentia) with a black mirror in her right hand and a black snake in her left hand. The figure is marked. Float porcelain

Anonymous (n. - d.), Saint Jean -Baptiste (main title), 1680. Buis. Petit Palais, Museum of Fine Arts of the City of Paris.

The Chastisement of Cupid 1770-80 Doccia Porcelain Manufactory Italian. The Chastisement of Cupid. Italian, Florence. 1770-80. Tin-glazed hard-paste porcelain. Ceramics-Porcelain

. The front and rear elevation of the Town Hall are each dominated by a sculpted marble tympanum approximately twenty metres wide and surmounted by bronze statues. The side facing the Dam, where ships could moor, depicts the seas paying homage to Amsterdam. Parts of the tympanum design have been preserved, including this Maid of Amsterdam and all kinds of mythological sea creatures, such as nereids and tritons on dolphins and seahorses.

Sèvres Porcelain Manufactory, Group, 1907, hard-paste bisque.

Allégorie de la Libération de lEsclavage ca. 1848 Anonymous, French School, 19th Century The impulse to memorialize pivotal moments in history is one of the defining facets of nineteenth-century art. In this terracotta, the artist undertook the challenge of commemorating the liberation of an entire people from slavery, distilling the culminating event - the abolition of 1848 - in an allegorical two-figure group. Together Liberty and the Black man perform the narrative of French munificence that was popular in the second half of the nineteenth century. Today, the view of emancipation seeks to acknowledge the active role played by enslaved people in achieving their own freedom, in sharp contrast to the allegorical trope of the white nation states largesse seen here.. Allégorie de la Libération de lEsclavage. Anonymous, French School, 19th Century (French, 1800-1899). French. ca. 1848. Terracotta. Sculpture

MADERA POLICROMADA S XVIII. Location: CONVENTO DE SAN CLEMENTE-MUSEO. Toledo. SPAIN.

Prisoner late 16th-early 17th century Italian, probably Rome The elegant contrapposto, elongation, and refinement of details are strongly suggestive of an artist in the stylistic wake of Guglielmo della Porta (d. 1577), dean of Roman Mannerist sculptors, whose influence was felt by modelers and goldsmiths long after the close of the sixteenth century. The statuette has been regilded.James D. Draper, 1984. Prisoner. Italian, probably Rome. late 16th-early 17th century. Gilt bronze. Sculpture-Bronze

The Eternal Spring Auguste Rodin (1840-1917 French) Marble State Hermitage Museum, St. Petersburg, Russia

Cupid at the grindstone ca. 1750-55 Saint James's Factory. Cupid at the grindstone. British, London. ca. 1750-55. Soft-paste porcelain. Ceramics-Porcelain

Desbois, Jules (n.1851-12-20-D.1935-10-02), Léda (main title), 1915. Patinated plaster. Petit Palais, Museum of Fine Arts of the City of Paris.

ESCULTURA DE MITRA. (DEPOSITO: MUSEO ARQUEOLOGICO PROVINCIAL DE CORDOBA).

Bellows with Relief early 16th century North French (). Bellows with Relief. North French (). early 16th century. Oak, polychromy, gilt. Sculpture-Miniature-Wood

Aimé-Jules Dalou (1838-1902). "Nymph and fauna, says the kiss". Patinated plaster, between 1890 and 1894. Museum of Fine Arts of the City of Paris, Petit Palais. Kiss, wrap, bent, fauna, nymph, pattero patina, couple

Anonymous. Chenet (belonging to a pair) in the shape of a character in Chinese costume. Chiseled and gilded bronze. Between 1715 and 1774. Paris, Cognacq-Jay museum. 101701-23

Bronze statuette of a satyr with a torch and wineskin 3rd-2nd century B.C. Greek Thiasoi were jubilant celebrations in honor of Dionysos that were attended by satyrs and maenads. From ancient literature, we learn that thiasoi occurred outdoors, and often at night. This fine bronze satyr can be identified as a participant in one such revel. An unusual aspect of his iconography is the inverted torch, a motif with great narrative potential, for the satyr may be extinguishing it or perhaps lighting it from a hearth. The full wineskin implies the latter and evokes the promise of a long, boisterous evening of drunken merriment.. Bronze statuette of a satyr with a torch and wineskin 253624 Greek, Bronze statuette of a satyr with a torch and wineskin, 3rd2nd century B.C., Bronze, H. 9 15/16 in. (25.3 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.11.6)

Spinario (Boy Pulling a Thorn from His Foot) ca. 1755 British, Staffordshire. Spinario (Boy Pulling a Thorn from His Foot) 197503

Figure of a couple beneath a tree, Porseleinfabriek Ludwigsburg, c. 1765 - c. 1767 Image of porcelain, painted on the glaze in email colors and gold. The image represents a few sitting under a tree stump. They both put an arm around the other. The boy has a net in which two fish are and the girl has a fish in her hand. Between them in a trap and a carrying basket. Ludwigsburg porcelain. glaze. gold (metal) painting / gilding / vitrification Image of porcelain, painted on the glaze in email colors and gold. The image represents a few sitting under a tree stump. They both put an arm around the other. The boy has a net in which two fish are and the girl has a fish in her hand. Between them in a trap and a carrying basket. Ludwigsburg porcelain. glaze. gold (metal) painting / gilding / vitrification

'Allegory of the Painting'. Italy, Middle of the 18th century (). Dimensions: height: 76,0 cm. Museum: State Hermitage, St. Petersburg.

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