Ancient Egyptian Sculptures

Sculptures representing deities and burial figures from ancient Egypt, showcasing intricate craftsmanship and symbolic details from various dynastic eras.

Isis with Horus;

Female Figure of a Court Entertainer Dancing (Body), 100s CE. China, Sichuan province, Eastern Han dynasty (AD 25-220). Pottery with traces of color pigment; 60 cm (23 5/8 in.).

Two Figures early 12th century Central Asia. Two Figures 40042

Terracotta statuette of a seated woman 5th century B.C. East Greek The seated position and the garment suggest that the figure may be a goddess.. Terracotta statuette of a seated woman. East Greek. 5th century B.C.. Terracotta. Classical. Terracottas

Guardian King of the Four Directions. Culture: Japan. Dimensions: Overall (figure): H. 33 in. (83.8 cm); W. 10 7/8 in. (27.6 cm); D. 8 1/16 in. (20.5 cm). Date: 12th century.This statue, along with 1975.268.165, is from a set of the Guardian Kings of the Four Directions, Hindu demigods who were absorbed into the Buddhist pantheon as protectors of the teaching. The stocky figures retain the massive strength of an early Heian style and were carved from a single block of wood. Only the arms, now missing, were carved separately. Museum: Metropolitan Museum of Art, New York, USA.

Plaque, mid 20th century, 75 3/4 x 13 1/2 x 6 1/2 in. (192.41 x 34.29 x 16.51 cm), Wood, pigment, Papua New Guinea, 20th century, During ceremonies, the Abelam people would decorate the inside of the great korumbo, or House of the Spirits, with large painted panels and woodcarvings. The panel on display depicts an ancestral couple engaged in sexual intercourse, and represented in characteristically bright colors and rounded forms. Themes of procreation and ancestral origins are typical in spirit houses. The two hornbills at the top of the panel are connected with the spirit world and are commonly associated with ancestor figures.

Musician ". Terracotta. China, Tang dynasty. Paris, Cernuschi museum. 72691-27 Chinese art, seat, tang dynasty, woman, musician, statuette, terracotta, back view

Puppet (Wayang Klitik) possibly ofCantrik

Limestone temple boy late 5th century B.C. Cypriot He sits on a roughly elliptical plinth. His left hand holds a fruit or ball. His right arm stretches down to hold a bird by its wings near his left foot. He wears two strings of seals with oblong pendants in the middle. He also wears earrings. He has an ovoid face, short hair and a flat head at the top.. Limestone temple boy 242315

Worker Shabti of Nauny ca. 1050 B.C. Third Intermediate Period See 30.3.26.1a, b. Worker Shabti of Nauny. ca. 1050 B.C.. Faience. Third Intermediate Period. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb of Meritamun (TT 358, MMA 65), first corridor, burial of Nauny, MMA excavations, 1928-29. Dynasty 21

Jean-Pierre Dantan (1800-1869), said Dantan the young. Caricature of the industrialist Antoine Pauwels (1796-1852). Terracotta patinated plaster. 1837. Paris, Carnavalet museum. French industrialist, patina patina, terracotta, caricature

Worker Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period See 25.3.19.. Worker Shabti of Henettawy (C), Daughter of Isetemkheb 591794

Worker Shabti of Nauny ca. 1050 B.C. Third Intermediate Period See 30.3.27.1a, b. Worker Shabti of Nauny. ca. 1050 B.C.. Faience. Third Intermediate Period. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb of Meritamun (TT 358, MMA 65), first corridor, burial of Nauny, MMA excavations, 1928-29. Dynasty 21

Lady of Ibiza. 3rd c. BC. Lady of Ibiza. Punic art. Sculpture. From: Puid dels Molins necropolis. Carthaginian art. Terra-cotta. SPAIN. MADRID (AUTONOMOUS COMMUNITY). Madrid. National Museum of Archaeology. Proc: SPAIN. BALEARES. IBIZA. Puig des Molins.

Canopic Jar Lid. Dimensions: H. 11.5 cm (4 1/2 in.); W. of wig 14.8 cm (5 13/16 in.); Diam. of rim 5.5 cm (2 3/8 in.). Dynasty: Dynasty 18. Reign: Joint reign of Hatshepsut and Thutmose III. Date: ca. 1479-1458 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Figure 3rd century B.C.-A.D. 4th century Chupicuaro. Figure 313174

anthropomorphic idol, 2600-2300 BC, ivory, Perdigoes, Reguengos de Monsaraz, Évora, Portugal, Huelva Museum, Huelva, Andalusia, Spain.

A Dwarf Attendant. Nepal, 10th century. Sculpture. Wood with traces of paint

"Bear-Woman" Vessel, c. 1200-1000 BC. Marlik, northwest Iran, c. 1200-1000 BC. Ceramic, earthenware, burnished; overall: 24.1 x 14.7 x 16.5 cm (9 1/2 x 5 13/16 x 6 1/2 in.).

Uszebti Cha-em-uase. unknown, author

Figure: Head 12th-15th century Yoruba peoples This stone head of a woman is part of a group of over a thousand known sculptures identified with a site in the Yoruba town of Esie in north central Nigeria. There, an assemblage of soapstone figures of women, men, and animals were found lying in a forest grove, most showing signs of deliberate damage from an apparent act of organized defacement. It is not known when the objects were created or vandalized, although it is estimated that they were carved between the twelfth and fifteenth century. The disarray of the site has limited attempts to provide dates and establish the cultural origins of these works, however, and even the best estimations remain informed speculation.This sculpted head possesses many traits common to Esie figures, including sharply defined almond eyes, ears set far back on the head, and three protruding scarification marks beside its left eye. While some statues from Esie have been described as solemn in expression, he

Figure with horned headdress, 300-200 BC, Archaeological Museum of Ibiza and Formentera, Ibiza, Spain.

Mask, late 19th-early 20th century, 9 5/8 x 7 13/16 x 3 7/8 in. (24.45 x 19.84 x 9.84 cm), Wood, plant fibers, pigment, Democratic Republic of the Congo, 19th-20th century, Most masks of the Pende people have specific names that reveal their gender, meaning and function. However, it is rarely possible to identify a Pende mask without seeing the accompanying dress and dance. At first glance, the facial characteristics of this mask look female, expressing ideals of placidity and self-control. Yet men also share these qualities, and with its bulging, lumpy forehead, this mask most likely embodies a male. Traditionally, it is not uncommon for Pende masks to combine male and female traits.

ESCULTURA PRECOLOMBINA. Location: MUSEO DE ARTE COLONIAL. BOGOTA. COLOMBIA.

Clay figure, from Mohenjo-daro, Pakistan. Indus Valley Civilisation, mid 3rd millennium BC.

Dancing Figure Wearing Animal Headdress and Ornate Costume Made 600 CE-900 CE South Central Veracruz. Ceramic and pigment . Veracruz, Classic

Female Figure

Boat; 664-332 BC ; Half period (-664-00-00--332-00-00);

Bes with child on finial ca. 945-525 B.C. Third Intermediate Period-Late Period This figure is part of a repertoire of figures created in a distinctive spotted faience from dynasty 22 into dynasty 26. The center of production was the eastern Delta, in particular Bubastis and Tanis; this was an area where Near Eastern peoples had long been interwoven in the population; at this time it was also a center for the settlement of Libyan tribal peoples. Possibly these conditions influenced this particular production. Through their appearance, the figures all allude to the goddess Bastet. In particular, many details evoke the myth termed "The Return of the Faraway Goddess." The feline / leonine Bastet was angry with the god Re and left Egypt for Nubia. Re wanted her back again, so he sent the god Thoth, who, taking the form of a monkey, lured her back with fables. Bes, musicians and dancers accompanied the train of the returning goddess, whose arrival brought the return of good fortune to Egypt

Votive axe Olmec, mexico 10th - 15th century, stone

Osiris 664-30 B.C. Late Period-Ptolemaic Period Osiris, foremost of the Egyptian funerary gods and ruler of the underworld, stands upright in a close-fitting mummiform garment. The garment has a prominent stiff upper edge along the back of the neck, a feature that occurs with some regularity on this garment, but one with an unclear meaning. Two streamers drape down the back of the garment. His hands emerge from long vertical slits in the cloak, which are visible on the chest. The god holds the royal crook and flail with his hands poised asymmetrically. The base is inscribed.In general, Osiris statuettes were some of the most abundant temple offerings in Egypt by the first millennium B.C., reflecting both the gods importance and changing cult practices that spurred the wide-scale dedication of deity statuettes. Many statues of Osiris were offered in temples and shrines belonging to him, but they have also been found in other contexts, for example near temples and shrines honoring other

Luohan China. Luohan. China. Polychrome sun-baked mud. Tang dynasty (618-907). Tomb Pottery

AncestorHead

Girdle pendant China. Girdle pendant. China. Jade. Han dynasty (206 B.C.-A.D. 220). Jade

Memorial Head (Ntiri) 17th century () Akan peoples The Asante, Baule, and Anyi peoples belong to the Akan culture and language group. Since the second half of the sixteenth century, two traditions of terracotta sculpture produced by Akan women have played a role in funerary rites and memorialized the dead. While relief-decorated vessels are associated with the shrines of ordinary people, freestanding figures and heads were predominantly the prerogative of royalty. Enormous stylistic diversity is reflected in forms that range from seven to ten centimeters wide to lifesize and from hollow and sculpturally rounded to solid, flat, and circular.. Memorial Head (Ntiri). Akan peoples. 17th century (). Terracotta. Ghana, Adanse traditional area, Fomena (). Ceramics-Sculpture

Netsuke Tenaga and Ashinaga, 19th century, Unknown Japanese, 3 5/16 x 1 7/16 x 11/16in. (8.4 x 3.7 x 1.7cm), Ivory, Japan, 19th century

Uszebti. unknown, author

Limestone statuette of a boy late 4th century-3rd century B.C. Cypriot Male figure standing, holding offering.. Limestone statuette of a boy 242247

Osiris 664-30 B.C. Late Period-Ptolemaic Period Osiris, foremost of the Egyptian funerary gods and ruler of the underworld, stands upright in a close-fitting mummiform garment. The garment hugs the contours of his arms and shoulders. A suspension loop is positioned at the base of the neck. He holds the royal crook and flail with his arms crossed on his chest. Copper alloy statuettes of Osiris generally exhibit one of three arm positions: asymmetrical with the right fist over the left, symmetrical with the fists touching, and arms crossed. The latter position, seen here, is the least common of the three but still frequently utilized. Why these arm positions are so consistently represented and how they relate to workshop practices, chronological changes, or conceptions of cult is unknown.Osiris statuettes such as this one were some of the most abundant temple offerings in Egypt by the first millennium B.C., reflecting both the gods importance and changing cult practices that spurred the

Mexico, Maya civilization, Maya Classic Period. Sculptured stucco head from crypt in Temple of Inscriptions in Palenque

"Horned" Male (Dwarf), 100 BC-AD 300. West Mexico, Colima, Comala style (200 BC-AD 300). Earthenware with colored slips, black burial deposits; overall: 41.5 x 24.9 x 24.7 cm (16 5/16 x 9 13/16 x 9 3/4 in.).

Mayan head of an unknown person. Stone, Classic period, 600-900 AD. Pomona, Tabasco, Mexico

Gold-decorated antique figure with striking facial features in a museum, Archaeological Museum, Archea Korinthos, Corinth, Peloponnese, Greece, Europe

'Statuette of Goddess'. Ancient Egypt, 3rd - 1st century BC. Dimensions: 12x5 cm. Museum: State Hermitage, St. Petersburg.

Kneeling statue of Amenemopetemhat 664-610 B.C. Late Period, Saite Amenemope-em-hat was director of the Singers of the North and Overseer of the Singers of Amenemope. The second title was inherited from his father, whose equally fine statue has recently been discovered at Tanis, where there was a cult of Amenemope, a form of the god Amun. The first title implies wider authority.Amenemope-em-hat holds before him the cult object of the cow-eared goddess Hathor. The proportions of this figure, its muscularity, and such details as the slanted ridges of the collarbone and the shallow depression down the center of the torso represent a conscious attempt in the Late Period to emulate the classic works of the Old and Middle Kingdoms.. Kneeling statue of Amenemopetemhat. 664-610 B.C.. Meta-Greywacke. Late Period, Saite. From Egypt; Said to be from Memphite Region, Memphis (Mit Rahina), Ptah Temple. Dynasty 26

Female Dancer: Tomb Figurine, 2nd half 7th Century. China, Tang dynasty (618-907). Earthenware with polychromy; overall: 33.2 cm (13 1/16 in.).

Worker Shabti of Nauny ca. 1050 B.C. Third Intermediate Period Seven shabti boxes were interred with Nauny; five came to New York in the division of finds (30.3.26-.30), two of them are now in the Egyptian Museum in Cairo. All are made of sycamore wood and have high ends and flat lids. A white stucco wash was applied after the lids were closed. The shabtis, made of faience, were packed tightly in each box, in an upright position. They are of two types: foremen and workmen, with a ratio of one forman to ten workers (see 30.3.28a-h).. Worker Shabti of Nauny. ca. 1050 B.C.. Faience. Third Intermediate Period. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb of Meritamun (TT 358, MMA 65), first corridor, burial of Nauny, MMA excavations, 1928-29. Dynasty 21

Figure of Mongol 14th century China. Figure of Mongol. China. 14th century. Earthenware with burnishing. Yuan dynasty (1271-1368). Sculpture

Amulet, Isis, Horus. Dimensions: h. 4.2 cm (1 5/8 in). Dynasty: Dynasty 26-30. Date: 522-343 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Egyptianising faience amulet depicting a squatting man playing the double pipes. Made in Greece. Dated 6th Century BC

Painted limestone head of Queen of Hatshepsut

Idol with peasant him in women; around 550 BC (-555-00-00--545-00-00);Beocy

Neolithic mother-goddess from Crete. Artist: Unknown

Egypt, Thebes, Writing man, circa 520-480 B.C., terracotta

Anthropomorphic figure. They depicted characters in different attitudes. Accompanied the deceased as grave goods in the deep tombs. Ceramics. Colima (200 BC.-500 AD). Western Mexico. Museum of the Americas. Madrid, Spain.

Maponus' Head, Celtic deity. Artist: Unknown

Worker Shabti of Nany. Dimensions: H. 9 × W. 3.5 × D. 2 cm (3 9/16 × 1 3/8 × 13/16 in.). Dynasty: Dynasty 21. Reign: reign of Psusennes I. Date: ca. 1050 B.C..See 30.3.27.1a, b. Museum: Metropolitan Museum of Art, New York, USA.

Head of Addorsed Maheshvara. Culture: Northern Pakistan (Brahmanical post-Gupta). Dimensions: H. 5 1/8 in. (13 cm); W. 5 1/4 in. (13.3 cm); D. 3 1/4 in. (8.3 cm). Date: ca. 6th century.This sculpture depicting Shiva is altogether a more complex and esoteric religious icon. The Head of Addorsed Maheshvara represents Shiva, with braids of hair drawn up into a fanned topknot, again displaying a crescent moon on the chignon and the third eye on the forehead. However, in a rarely represented form, Shiva bears on his shoulders a squatting dwarf-like personage, a gana, grinning wide-mouthed, eyes focused skyward, as if ecstatic in his devotion, perhaps engaged in singing in praise of his Lord. Shiva displays classic 5th-6th century late Gupta features: a rounded fleshy face, cascading locks of hair and large circular earplugs. Though not entirely clear, he appears to hold in each hand a disc and a crescent, presumably intended to represent solar symbols. On the reverse is a grotesque face--a

Ancient egyptian figures of the god (Osiris)

A Tantric Goddess. India, Rajasthan, Tanesar-Mahadeva, circa 500-550. Sculpture. Foliated dark green schist

Male Figure 3rd Millennium B.C. Valdivia. Male Figure 315996

Monk's head, black marble sculpture from the province of Northern China. Chinese Civilisation, Liao Dynasty or Jin Dynasty, 10th-12th century.

Figure A.D. 1-1500 Guerrero. Figure. Guerrero. A.D. 1-1500. Terracotta. Mexico, Mesoamerica, Guerrero, Balsas River. Stone-Sculpture

BODHISATTUA SENTADO (DINASTIA SOUEI) BRONCE. Location: MUSEO REAL ARTE CHINO. STOCKHOLM. BODHISATTVA.

Bronze statue of Tara, dancer, Apsara, nymphet, Cham Museum, Da Nang, Vietnam, Southeast Asia

Onyx Relief from Yemen. Unknown

A seated ceramic figure of an older female, depicted in a Mayan statuette from Jaina, Campeche, Mexico 600-900AD

Female Bust. Unknown

Lady of Galera. Sculpture of Phoenician production of the beginning of the 8th century BC. Alabaster. It depicts an enthroned goddess (Astarte) flanked by two effigies with the double Egyptian crown. Hold a bowl with both hands. It was conceived as a ritual vessel for the oil to anoint the deceased. Found in an Iberian tomb from the 5th century BC. From the Tutugi Necropolis, Zone I, Grave 20 (Galera, Granada province, Andalusia, Spain). National Archaeological Museum. Madrid. Spain.

Female Fertility Figure. Dimensions: LengtH. 3 1/16 in. (7.8 cm) W. 1 in. (2.5 cm)Thickness: 9/16 in. (1.4 cm). Date: 5000 B.C.- 9th century A.D..The female figure has a carved head, ears and nose, with incised lines to indicate her mouth and eyes, and other lines at her neck, belly, and pelvis. Breasts, buttocks, legs, and feet are carved in three dimensions, and there are small holes where arms might have been attached. Like similar figures found in many ancient cultures, this example is interpreted as a fertility figure. It is not clear from the archaeological context whether it is a pre-Islamic object or if it represents the continuation into the Islamic period of creating such figures for auspicious purposes. Museum: Metropolitan Museum of Art, New York, USA.

Jean-Pierre Dantan (1800-1869), known as Dantan young. Portrait-sir of (Marie, in 1841) Turgot. Terracotta patinated plaster. 1839. Paris, Carnavalet museum. 51839-8 Young woman, pattero patina, portrait-metering, terracotta

Hungary, Szombathely, Savaria, Statuette representing Bacchus (Dionysus), ivory

Magical stela or cippus of Horus. Dimensions: H. 20.5 cm (8 1/16 in.); W. 12 cm (4 3/4 in.); D. 4.5 cm (1 3/4 in.). Date: 332-280 B.C..This small stela is representative of the genre of Egyptian art known as the cippus (plural, cippi) or magical stela. An image of the infant Horus on the front beneath a Bes-image is shown subduing dangerous animals. The Metternich Stela (acc. 50.85) is the largest and most elaborate example of the genre.Texts on such stelae often include a reference to transforming water poured over the stela into a curative libation. Museum: Metropolitan Museum of Art, New York, USA.

Head of a bearded man wearing a pointed cap, perhaps a so-called Persian rider 525-332 BC Late Period The face is related to those of terracotta figures known as "Persian riders." These figures of elite horsemen in their riding costume and on horseback were widespread in the Persian Period.. Head of a bearded man wearing a pointed cap, perhaps a so-called Persian rider. 525-332 BC. Faience. Late Period. From Egypt

Female Figure (tunjo). Culture: Muisca. Dimensions: Height 1-1/2 in.. Date: 10th-16th century. Museum: Metropolitan Museum of Art, New York, USA.

PANTOCRATOR - PRIMERA MITAD DEÑ SIGLO XIV - PROCEDE DE BURGOS. Location: MUSEO MARES-COLECCION. Barcelona. SPANIEN.

Shiva, 1200s-1300s. South India, Chola period (900-1200s). Bronze; overall: 30.3 cm (11 15/16 in.).

Plaque, Anne of Brittany 15th century French. Plaque, Anne of Brittany 467963

ESCULTURA. Author: LEANDRO MBOMIO (1938-). Location: PRIVATE COLLECTION. MADRID. SPAIN.

Standing female figure, 250 BCE - 300 CE, 4 7/8 x 2 3/4 x 1 1/4 in. (12.4 x 7 x 3.2 cm), Earthenware, Mexico, 3rd century BCE - 4th century CE

Gigaku mask of Shishiko or Goko, lacquered wood, Japan. Japanese Civilisation, Nara period, Tempyo culture, 8th century.

Yoke 10th-4th century BC Olmec Central Mexican artists in the first millennium B.C. created stone objects in the form of yuguitos (small yokes, in Spanish) that likely served as parts of ceremonial belt assemblages. One of the finest known examples, this yuguito contains a human portrait in relief on one side. The face would have looked out at the viewers as the u-shaped stone was mounted over a thick cloth or leather waist belt, leaving the plain side towards the body of the wearer. The delicately contoured face has deeply carved eyes which, like the roughly-pecked coiffure in shallow relief, may have once held inlays of other material. The figures lips slightly part as if to speak. Ears frame the face and large drillholes may have once been used to affix ear ornaments to the visage. An undulating line demarcating the chin echoes the wavy hairline above. Lightly incised lines descend from the temples and converge on the figures upper lip, perhaps representing tattooing or scarificat

Antefix

Head of a princess from a group statue. Dimensions: H. 14 cm (5 1/2 in.); W. 12.4 cm (4 7/8 in.); D. 16.2 cm (6 3/8 in.). Dynasty: Dynasty 18. Reign: reign of Akhenaten. Date: ca. 1352-1336 B.C..In Amarna art the daughters of Akhenaten and Nefertiti express the tenets of the new religion. Gathered playfully near their parents, they suggest creative force, emphasize the sacred grouping that is the royal family, and enact the intimacy that was a subject for the newly expressive art.This princess had the traditional child's sidelock on the right, but behind her small face her skull is an exaggerated extension that is perhaps the most recognizable characteristic of the Amarna family. The words "king's daughter" on the back pillar are superfluous. The architecture of the cranium and face are expressed in a minutely detailed way that is almost unsettlingly vulnerable. A slight turn of the head and the rise of the stone just at the break on the left side of her face are indicators of an ori

Woman ". Terracotta. China, Tang dynasty. Paris, Cernuschi museum. 72691-15 Chinese art, raised hair, hairstyle, standing, tang dynasty, woman, terracotta

Shukongojin. Japan. Date: 1199-1399. Dimensions: H; 91 cm. Wood with traces of polychromy. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Head of a Male Deity second half of the 9th century Indonesia (Java). Head of a Male Deity. Indonesia (Java). second half of the 9th century. Andesite. Central Javanese period. Sculpture

Egyptian bronze, Goddess Mut, Theban Mother-goddess, 18th Dynasty, c1550BC-1298BC. Artist: Unknown.

Puppet (Wayang Klitik) possibly of Trestajumena orDestajumena

Terracotta figurines of women with stubby arms. Sam'al/Zincirli in Turkey (reconstruction) Erected and rebuilt during the 10th - 8th century BC.

Surya, stone sculpture dating from the 2nd century, from Mathura, Government Museum, Mathura, Uttar Pradesh, India, Asia

Celtic civilization, Italy, 5th-4th century b.C. Votive bronze figure of a warrior.

HªUNIV EXPLORAC-EL REY DORADO-CULTURA CHIBCHA. Location: MUSEO DEL ORO. BOGOTA. COLOMBIA.

Female attendant 7th-9th century China. Female attendant. China. 7th-9th century. Glazed earthenware. Tang dynasty (618-907). Tomb Pottery

Male character mingqi. Terracotta, brown glaze, traces of polychromy. Paris, Cernuschi museum. 78843-8 Beyond, belief, figurine, mingqi, funeral object, male character, model character, funeral rite, statuette

Tekoteko (gable figure) Mori Mid-18th century This carved gable figure is remarkable for its virtuosity and technical accomplishment. An outstanding example of Mori figural sculpture, the carving references the early ancestral union of male and female expressed as a first generation of bird-like ancestor beings, standing defiant in their role as protective guardian spirits (kaitiaki) for the community. Placed high at the front apex of a ceremonial house or store (ptaka), these figures represent the foundation of the community, a highly visible embodiment of powerful genealogical principles that ensure the ongoing vitality of the tribal group (iwi, hapu) and the future lives of its descendants, a signal of its spiritual wealth and political authority. The ‘extra’-ordinary aspect of this pair of ancestral figures is emphasized by their expressive and supple bodies, the slender, tapering of their fingers, and bird-like webbed feet, which affirm their direct descent from the earliest bi

Figure China. Figure 62944

Console -shaped étagère with scalloped cover plate, worn by a sculpted dancer, anonymous, c. 1700 - c. 1800 Console -shaped étagère from polychromed Lindehout. The cover plate sculpted on the front is supported by a sculpted black dancer, with the head forward and the elbows directed backwards; Supporting the hands against the wall and the man is on a draped cloth. The left leg is highly lifted. The silvered garter and the black cardigan with the gilded belt are decorated with tenders. The vest closes at the front with three knots; gilded pointed mules. See: BK-19957-6-B. Venice wood (plant material). linden. pine (wood). gilding (material) marbled paper / gilding Console -shaped étagère from polychromed Lindehout. The cover plate sculpted on the front is supported by a sculpted black dancer, with the head forward and the elbows directed backwards; Supporting the hands against the wall and the man is on a draped cloth. The left leg is highly lifted. The silvered garter and the black ca

Mayan ceramic figurine of a noblewoman with a small child, from Jaina, Campeche, Mexico. 600-900AD

Rython in the form of a female head, 550-530 BC, attributed to Charinos, red-figure pottery. Greek Civilization, 6th Century BC.

Goddess of the Serpents (replica), from the Palace of Knossos, 1500 BC (faience), Archaeological Museum with most important finds of the Minoan culture, Heraklion, Crete, Heraklion, Crete, Greece, Europe

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