Ancient Figurines and Artifacts

Artifacts including ancient figurines from different cultures, showcasing craftsmanship in pottery, with varied representations of human forms.

Mayan ceramic figurine of an old man playing a tambourine. From Jaina, Campeche, Mexico 600-900 AD

Figure representing a chief. Ceramics. Nayarit style (400 BC-700 AD). West Mexico. Museum of the Americas. Madrid, Spain.

Ascetic Holding a Skull, c. 500. China, Northern Wei dynasty (386-534). Gilt bronze; overall: 19.4 cm (7 5/8 in.); figure: 18.1 cm (7 1/8 in.).

Goddess Durga Slaying the Buffalo Demon (Mahishasuramardini) 101 CE-200 CE Mathura. Molded terracotta .

Sculpture representing a nude female figure, circa 3300-2900 B.C., yellow alabaster

Pataikos Figure ca. 712-343 B.C. Late Period. Pataikos Figure 561163

Statuette of Eros. Unknown

Architectural Support with Squatting Dwarf. Nepal, 11th century. Architecture; Architectural Elements. Stone

Figure of a Dancer. Culture: China. Dimensions: H. 4 in. (10.2 cm). Museum: Metropolitan Museum of Art, New York, USA.

Male Torso. Egypt, Ptolemaic Period - Roman Period (332 BCE - 337 CE). Sculpture. Terracotta

Son of Horus: Hapy, 1000-900 BC. Egypt, Third Intermediate Period, late Dynasty 21 (1069-945 BC) or early Dynasty 22 (945-715 BC). Wax with dark amber varnish; overall: 8.2 x 2.2 cm (3 1/4 x 7/8 in.).

Ceramic Seated Female Figure 11th-16th century Carchi. Ceramic Seated Female Figure. Carchi. 11th-16th century. Ceramic. Ecuador. Ceramics-Sculpture

Faience amulet in the form of the dwarf god Pataikos. Culture: Egyptian. Dimensions: H.: 2 5/16 in. (5.8 cm). Date: ca. 1090-900 B.C..Amulet, Ptah-seker. Museum: Metropolitan Museum of Art, New York, USA.

Standing Ceramic Figure. Culture: Moche. Dimensions: H x W: 6 1/4 x 3 5/8in. (15.9 x 9.2cm). Date: 3rd-5th century. Museum: Metropolitan Museum of Art, New York, USA.

Mesoamerica. Anthropomorphic figure. Veracruz. Gulf of Mexico. 300-900 BC. Mexico. Museum of Cutures of the World. Barcelona. Spain.

Anthropomorphic Figure ca. 500 B.C.-A.D. 300 Indonesia (Sumatra). Anthropomorphic Figure. Indonesia (Sumatra). ca. 500 B.C.-A.D. 300. Bronze. Bronze and Iron Age period. Metalwork

MaleFigure

Overseer Shabti of Henettawy (C), Daughter of Isetemkheb ca. 990-970 B.C. Third Intermediate Period. Overseer Shabti of Henettawy (C), Daughter of Isetemkheb 551099

Vajra Warrior, late 12th century, Unknown Japanese, 15 3/4 × 7 1/8 × 4 1/4 in. (40.01 × 18.1 × 10.8 cm), Cypress wood with traces of polychrome, Japan, 12th century

Figure: Male 12th-17th century () Dogon peoples () Although its precise culture and date of origin are unknown, this work is intriguing for both stylistic and chronological reasons. Its abstract, protuberant facial features, spare but elegant dress, and prestigious objects relate it to Dogon sculptures, but its style and iconography share much in common with that of Inland Niger Delta terracottas of the twelfth to seventeenth centuries as well. Indeed, it has been suggested that this sculpture is contemporaneous with these terracottas, a hypothesis that has been reinforced by early radiocarbon dates.This wooden sculpture depicts a distinguished elder whose demeanor, attire, and presentation command respect. His short trousers and cotton cap are characteristic of traditional Dogon dress, and the L-shaped wooden staff slung over his right shoulder is used as a weapon, tool, and ritual object by Dogon men. Accoutrements such as the decorative pendant hanging about his neck and the knife

Standing Male Figure

Harpokrates in an Egyptianizing Crown and holding the club of Herakles. Dimensions: H. 18.5 cm. Date: A.D. 1st century.Harpokrates, or "Horus the child," the son of Isis and Osiris/Serapis, is here represented as a chubby toddler with a plump, crooked forefinger reaching toward his small mouth. He holds the knobby club of the Greek god Herakles and on his head wears a vestigial Egyptian double crown detailed with striations and dots. The crown is obscured in the front by a very large sun disk bearing a uraeus. A rarely noted deep blue corrosion gives the piece a rich tone.Harpokrates, the quintessential divine son, was extremely popular and had already been assimilated to other gods during pharaonic times. During the Hellenistic and Roman eras the syncretisms multiplied. The association of Harpokrates with Herakles in these eras seems to be based on warrior characteristics that Harpokrates had acquired in earlier conflations with other dieties. Once Roman rule came to Egypt the worship

Campania Caserta Capua Museo Campano33. Hutzel, Max 1960-1990 Medieval: Byzantine architectural fragments; parchment fragments with miniatures (12th century) from Montecassino; painted wooden crucifix (13th century); Carolingian crucifixes; Bishop's miter (11th century) of gold and silver damask; fresco (13th century). Post-medieval: Architecture (15th century). Formerly the Palazzo Antignano. Unusual Catalan/Moorish-style portal; Paintings on panel and canvas (15th-18th centuries); marble intarsia (16th century); marble sculpture: busts of Christ and Mary (17th century); sculpture of saints in marble and in wood (15th century); painted and gilded sculpture in wood; marble grave sculpture (16th century); sarcophagus with allegorical carvings; gold reliquary "Rosa d'Oro"; crucifix made of elephant tusk Specific Location: Pianterreno Antiquities: Italic sculpture (seated women holding babies); inscription. Photo campaign #1: 533 photos. Roman relief and sculpture; cinerary urns; Greek an

Terracotta statuette of a seated woman. Culture: Greek, probably Boeotian. Dimensions: H. 6 1/8 in. (15.5 cm). Date: late 6th-early 5th century B.C..Small figurines were made to be presented as votive gifts to a deity. It is not always clear whether they represent a god, a priest or priestess, or a person offering a gift. These rigid figures seated on thrones and wearing elaborate headdresses are probably goddesses. Hundreds of such statues were buried in trenches on the Akropolis after the Persians looted and burned Athens in 480 B.C., and it has been suggested that they represent an early cult statue of Athena. Museum: Metropolitan Museum of Art, New York, USA.

Vasija antropomorfa. Cerámica pintada. Cultura Calima. Período de Integración (800-1500 d. C.). Colombia. Museo de América. Madrid. España.

Dancing Satyr, 500-475 BC. Greece, Boeotia, early 5th Century BC. Painted terracotta; overall: 9.8 x 10.8 x 4.7 cm (3 7/8 x 4 1/4 x 1 7/8 in.).

AGRICULTOR CHINO EN MARFIL. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Male character mingqi. Terracotta, brown glaze, traces of polychromy. Paris, Cernuschi museum. 78843-22 Beyond, belief, figurine, mingqi, funeral object, male character, model character, funeral rite, statuette

Statuette of the God Osiris Seated. Egyptian. Date: 664 BC-332 BC. Dimensions: 28.9 × 7 × 11.43 cm (11 3/8 × 2 3/4 × 4 1/2 in.). Steatite. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA. Author: Ancient Egyptian.

Male Figure, early 1800s. Central Africa, Democratic Republic of the Congo, Kongo or Vili, early 19th century. Wood, iron, and metalized glass; overall: 55.9 cm (22 in.).

Statuette of Nike. Unknown

Statuette of Herakles 400 BCE-200 BCE Etruria. Bronze . Ancient Etruscan

Figurine of a Head and Torso of a Man 306-30 B.C. Ptolemaic Period. Figurine of a Head and Torso of a Man. 306-30 B.C.. Pottery. Ptolemaic Period. From Egypt, Upper Egypt, Thebes, Asasif, MMA excavations

URNA FUNERARIA REPRESENTANDO UN PERSONAJE SENTADO - CULTURA ZAPOTECA - PERIODO CLASICO TEMPRANO Y MEDIO (100-700 DC) - Nº 85/1/127. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN.

Lion China. Lion. China. Gilt bronze. Tang dynasty (618-907). Sculpture

JanusFigure

Kneeling Female Figure

Seated female ca. 14th-13th century B.C. Hittite. Seated female 327406

Limestone statuette of a temple boy 4th century B.C. Cypriot The body of the seated boy is flat and very awkwardly rendered. A pleated tunic covers the body. The right hand holds a large bird against his lower body.. Limestone statuette of a temple boy. Cypriot. 4th century B.C.. Limestone. Classical. Stone Sculpture

Courtly lady. With its slender figure, high headdress, long robes and conspicuously long, wide sleeves, this small sculpture provides a fine impression of feminine ideals of beauty and fashions at the beginning of the Tang Dynasty.

Mirror-Bearer. Culture: Maya. Dimensions: H. 14 1/8 x W. 9 x D. 9 in. (35.9 x 22.9 x 22.9 cm). Date: 6th century.This Mirror-Bearer figure is the best-preserved example of portable Maya wood sculpture and one of the highlights of the Early Classic period (ca. A.D. 250-550) Maya art. The artist created this figure out of a solid piece of hardwood from the genus <i>Cordia</i>, known locally as <i>bocote</i>. Research determined a radiocarbon age for the wood of 1425 years before present (± 120 years), or a range of A.D. 410 to 650. It was said to have come from the border region between Guatemala and Tabasco, Mexico. Most likely, to judge from its extraordinary preservation, the findspot must have been a dry cave or well-sealed funerary chamber. The damage on its left side is the result of some wear or decay in that context, perhaps from resting against a surface or being subjected to varying passage of air. The person, a male, wears an elaborate knee-length woven skirt with ties that co

Presentation of a good with a corner of abundance; Unknown Italian workshop; 1st century BC (-100-00-00-1-00-00);

Charioteer 4th century B.C. Cypriot The handmade solid figurine is from a chariot group. The face is mold-made. The standing figure is preserved to the hem of his Greek charioteer's long chiton.. Charioteer 241178

Mother-and-Child Figure (Bwanga bwa Chibola) 1850-1899 Democratic Republic of the Congo. This delicate rendering of a mother holding her newborn child celebrates human fertility. The figure was related to rituals dedicated to helping women with childbirth and preventing infant mortality. Scarification patterns, hairstyles, jewelry, and anatomical details expressed the Luluwa concept of bwimpe, which unites beauty with goodness. Such figures may have served as both containers for medicine and symbols of status, reflecting societal changes in the latter half of the 19th century.. Wood and pigment . Luluwa

Lima, Peru. Pre-Columbian artifacts and art in the Larco Museum, Lima, Peru.

Onuris. Dimensions: H. 12.2 cm (4 13/16 in.); W. 3.7 cm (1 7/16 in.); D. 5 cm (1 15/16 in.). Date: 664-30 B.C..Onuris is depicted here, recognizable by his short hair and distinctive garment, which comprises a long patterned kilt, in this case combined with a finely detailed feathered or scaled cuirass. His crown comprises four tall feathers, represented flat and side-by-side, and he has a triple-strap suspension loop on the back. Onuris was a fierce god, known for capturing enemies in battle or hunting dangerous animals. His right arm is raised in the act of spearing a defeated enemy or animal, or holding a rope, which presumably he used to snare his prey. In this role, he personified good conquering and controlling forces of chaos and disruption. Museum: Metropolitan Museum of Art, New York, USA.

Vishnu, 700s. India, Kashmir, 8th century. Steatite; overall: 8 cm (3 1/8 in.).

Imhotep. Dimensions: H. 9.9 cm (3 7/8 in.); W. 3.5 cm (1 3/8 in.); D. 6.5 cm (2 9/16 in.)H. (with tang): 11.1 cm (4 3/8 in.). Date: 664-30 B.C..Imhotep was adviser to King Djoser in the third dynasty and he is credited with the design of the Step Pyramid in Saqqara, the earliest pyramid in Egypt. For this and other achievements of wisdom and learning attributed to him, in later periods he became one of the only historical non-royal people to be divinized and to have a dedicated cult, which was particularly strong in the Memphite region. In copper alloy statuettes like this one, he is shown sitting, wearing his close-fitting cap and holding a scroll on his lap. Imhotep's scroll serves to emphasize his wisdom and erudition, his role as a patron of scribes, and hints at the many intellectual forays into medicine, architecture, and engineering that were later ascribed to him. His attire varies, but in this instance he wears a broad collar that is articulated on the front and back of his

Censer representing the god of rain Tlaloc. Postclassical period (1300-1521). Mixtec Culture. Ceramic, stucco, tufa and paint. Teotitlan del Camino (State of Oaxaca, Mexico). Dallas Museum of Art, State of Texas. United States.

Statuette of Mars Ultor. Unknown

Terracotta statuette of a goddess mid-5th century B.C. Greek, Boeotian The polos (headdress) identifies the figure as a goddess. She is impressive for her size, rigidity, and severity. Some traces of color survive on the edge of the overfold. There are traces of burning, either from a funerary pyre or from fire at the precinct where the statuette was dedicated.. Terracotta statuette of a goddess 254794 Greek, Boeotian, Terracotta statuette of a goddess, mid-5th century B.C., Terracotta , H. 10 7/16 in. (26.5 cm). The Metropolitan Museum of Art, New York. Gift of The Honorable Herbert H. Lehman, 1953 (53.206)

Man and Machine. This statue stood at the entrance of the Amsterdam office of a company that exported machines to Dutch businesses in the former Dutch East Indies. The Javanese man, nude and sitting cross-legged, symbolizes the colony. The modern diesel engine in his lap alludes to the companys trading activities, as well as to the progress that the Netherlands hoped to bring to Indonesia.

Limestone head of a bearded man early 6th century B.C. Cypriot The head belonged to a figure of over lifesize proportions. The conical cap, identifying him as an individual of high rank, appears at the end of the eighth century B.C. in the Levant and had reached Cyprus by the mid-seventh century B.C. It is characterized by a protuberance at the top and flaps at the sides that could be let down or fastened up by the ties ending in tassels. While, unfortunately, nothing of the body remains, the head represents a very early and impressive example of this figural type. The articulation of the beard, with its round, generalized curls, is often interpreted as an indication of the influence of terracotta sculpture on stoneworking.. Limestone head of a bearded man 242408

Bronze statuette. The Horned God. Enkomi.

Anubis 664-30 B.C. Late Period-Ptolemaic Period. Anubis. 664-30 B.C.. Bronze or cupreous alloy. Late Period-Ptolemaic Period. From Egypt

Talter guard ". Terracotta. China, Tang dynasty. Paris, Cernuschi museum. 72691-6 Chinese art, standing, tang dynasty, goalkeeper falls, soldier, statuette, terracotta, back view

Costa Rica, San Jose, Pre-Columbian Gold Museum, Pre-columbian art

Haniwa Head of an Aristocratic Male, 6th century, Unknown Japanese, 9 1/4 x 6 1/4 in. (23.5 x 15.88 cm), Earthenware, Japan, 6th century, During the Kofun period, huge burial mounds were constructed for powerful clan leaders. Clay cylinders and figures, known as haniwa, were placed atop the mound to signify the sanctity of the area and to serve as protectors of the interred spirit and his or her belongings. Extant haniwa represent a vast array of people, animals, buildings, and other objects, providing us with a glimpse of this prehistoric culture. The unique hat worn by this figure suggests that he is an aristocratic male.

Pre-Colombian feminine statuette, from Ecuador. Dated 300 AD

Exhibited object at Shanghai Museum, earthen figure of a women, from the Tang Dynasty, EXPO 2010 Shanghai, Shanghai, China, Asia

Canopic jar with head of jackal (Duamutef) ca. 800-650 BC Third Intermediate Period This canopic is part of a set (13.180.1-.4) found in a Ptolemaic cemetery at Thebes. Use of canopics had gone out of fashion at that period, however, so these are certainly reused. Their style suggests they were originally created in the late Third Intermediate Period.. Canopic jar with head of jackal (Duamutef). ca. 800-650 BC. Limestone. Third Intermediate Period. From Egypt, Upper Egypt, Thebes, Asasif, cemetery 300, Ptolemaic vaulted tomb, Pit 1, MMA excavations, 1912-13

Figural Plaque, 2nd-3rd century, 11 1/4 x 4 13/16 in. (28.58 x 12.22 cm), Gilt bronze, China, 2nd-3rd century

Anatolian female idol, third millennium BC, showing highly stylized, simplified form.

Head of Shiva. Culture: Northern Pakistan (Brahmanical post-Gupta). Dimensions: H. 4 3/4 in. (12 cm); W. 3 1/2 in. (8.9 cm); D. 3 3/8 in. (8.6 cm). Date: ca. 6th century.The Head of Shiva is powerful testimony to the sculptural and conceptual sophistication of Brahmanical sculpture in the 6th century, at the close the Gupta period in northern India, a moment when new experimentation was underway. The stern-faced Shiva is moustached and his braids of hair are drawn up on his head, bound and allowed to fall in a double loop, a rendering directly descended from Gandharan bodhisattva imagery. This distinctive hair treatment can be traced via the northwest art of preceding centuries to Hellenistic models, as most exemplified in Apollo imagery. Already at this early date Shiva's dreadlocks are adorned, as here on the upper right, with a crescent moon, Shiva's lunar symbol. His other key identifier, the forehead eye, can be detected directly beneath the parting of the braids framing his fore

Seated Figure 13th century Middle Niger civilization This haunting figure huddles with its leg hugged to its chest and its head dropped on its knee. It simultaneously suggests the knotted tension of anxiety and the sublime absorption of deep prayer. Created over 700 years ago, in the Inland Niger Delta region of present-day Mali, this elegant work's intense emotional immediacy blurs the boundaries of time and place.This terracotta sculpture comes from a site called Jenne-jeno, the oldest known city in sub-Saharan Africa. Jenne-jeno flourished in the ninth century A.D., but declined and was abandoned by 1400. Items of cast brass and forged iron, clay vessels, and figures like this one survive. They testify to what scholars contend was a richly varied and highly sophisticated urban society.A few controlled archaeological digs provide only the vaguest outlines of the original significance of the art of this time and region. Recovered terracotta figures are frequently quite detailed. They

Mayan doorway Censers made for burning incense, with a decorative representation of a jaguar. From Tacotalpa, Tabasco, Yucatan, Mexico 600-900 AD

Curayacu culture, Female statuette

Figure, 4000-3000 BCE, 13 x 7 7/16 x 1 in. (33.02 x 18.89 x 2.54 cm), Tufa, Ecuador, 40th-29th century BCE, One of the earliest sculptural traditions of the ancient Americas was that of the Valdivia culture, which began around 3550 BC and lasted until approximately 1500 BC along the Pacific Coast of present-day Ecuador. Valdivian artists created figures out of both stone and ceramic, portraying men, women and animals in a variety of sizes. Sculptures such as this one are believed to depict a stylized owl, perhaps with supernatural associations relating to the bird's nocturnal habits.

The Lewis Chessmen. Carved in walrus ivory. 1150-1175. Located in Uig. Island of Lewis. Scotland. British Museum. London. England. United Kingdom.

Mesoamerica. Female figure, censer. Veracruz. Gulf of Mexico. 300-900 BC. Mexico. Museum of Cutures of the World. Barcelona. Spain.

Wells ". Terracotta. DynaStie des Han (206 BC-220 AD). Paris, Cernuschi museum. Chinese art, Chinese ceramic, Han dynasty, Han time, Chinese object, well, terracotta

Benin Bronze metal plaque that decorated the royal palace of the Benin Kingdom in modern-day Nigeria. the plaques form the best known examples of Benin art, created by the Edo people from the thirteenth century

Statue of Zeus Keraunios, detail, From ancient Kition (Larnaca), Cyprus, 4th Century B.C.

Wooden statue showing a tribal king. 18th century, Democratic Republic of the Congo. Used to establish the continuous unbroken link between tribal kings from different generations.

Male figurines of wood with traces of polychrome. Placed inside the rich tombs of ancient Egypt. 20th-19th century BC. Middle Kingdom. The State Hermitage Museum. St. Petersburg. Russia.

Terracotta lekythos (oil flask) in the form of a sphinx. Culture: Greek, Attic. Dimensions: H. 5 5/8 in. (14.3 cm.). Date: ca. 380-360 B.C..Many traces of paint remain on this sphinx: pale blue on the wings and the eyes, red on the lips, and gold on the fillet. Museum: Metropolitan Museum of Art, New York, USA.

Fragment of a Relief 12th century Central Asia. Fragment of a Relief 39950

Aztec volcanic rock statue of Xochiquetzal the Goddess of love and beauty. Dated 14th Century

Console of the organ in the Oude Kerk in Delft, Anonymous, 1560 Wooden Console, from the organ in the Oude Kerk in Delft. The console consists of a men's figure with legs raised, which is, as it were, locked up in the console. See: BK-NM-8524-A and BK-BR-502. Northern Netherlands wood (plant material) Wooden Console, from the organ in the Oude Kerk in Delft. The console consists of a men's figure with legs raised, which is, as it were, locked up in the console. See: BK-NM-8524-A and BK-BR-502. Northern Netherlands wood (plant material)

Terracotta relief with head of a woman ca. 500-450 B.C. East Greek Traces of red and black color remain. A hole at the top was for suspension.. Terracotta relief with head of a woman 252587 East Greek, Terracotta relief with head of a woman, ca. 500450 B.C., Terracotta, 4 1/8 in. x 3 in. (10.5 cm x 7.6 cm). The Metropolitan Museum of Art, New York. Gift of The American Society for the Excavation of Sardis, 1926 (26.164.24)

Standing-striding figure of Akhenaten or Tutankhamen New Kingdom, 18th Dynasty around 1340-1330 BC Wood, Gold

Capital with Bust of the Archangel Michael. Culture: Byzantine. Dimensions: Overall: 10 x 6 3/4 x 4 3/16 in. (25.4 x 17.1 x 10.6 cm). Date: 1250-1300.This beautifully carved fragment was once part of the interior architecture of a church, perhaps placed at the top of a tomb niche or altar screen. Archangels were often portrayed, as here, in the ceremonial dress of the Byzantine emperor, the head of Christ's earthly court. Museum: Metropolitan Museum of Art, New York, USA.

Xochipilli. Mexica deity of love, games, beauty, dance, flowers, maize, pleasure, arts and songs. Postclassic period (1325-1521). Aztec art. Sculpture on rock. MEXICO. FEDERAL DISTRICT. Mexico City. National Museum of Anthropology. Proc: MEXICO. FEDERAL DISTRICT. Mexico City. Tenochtitln.

Mingqi servant. Terracotta. China, Western Han Dynasty (206 BC-9 AD). Paris, Cernuschi museum. Chinese art, Chinese Art, Han dynasty, Han Dynasty, Mingqui Servant, Mingqi servant, statue, statuette, terracotta, terracotta

Terracotta lekythos (oil flask) in the form of a sphinx ca. 380-360 B.C. Greek, Attic Many traces of paint remain on this sphinx: pale blue on the wings and the eyes, red on the lips, and gold on the fillet.. Terracotta lekythos (oil flask) in the form of a sphinx 247343

Anthropomorphe Figur Anthropomorphic figure, Veracruz, Atlantic coast of the Gulf of Mexico, between 300 and 900 AD, ceramic, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/Tolox 23171272

Fud My (Achala Vidyaraja), The Immovable Wisdom King 1805 Mokujiki Shnin Statues of the Buddhist protective deity Fud My, the “immovable wisdom king,” are a familiar sight at temples in Japan. In contrast to meticulously carved works by professionals, this type of roughly hewn sculpture is the creation of an amateur monk-sculptor, Mokujiki, who was motivated by religious enthusiasm to make thousands of sculptures of Buddhist deities and popular gods of good fortune. His sculptures were rediscovered in the early twentieth century by art critic Yanagi Setsu (1889-1961), an advocate of the of Mingei, or “people’s art.” Yanagi admired the direct, unaffected power of Mokujiki’s sculpture, which he saw as representing the ideal of an indigenous, popular Japanese art. While Mokujiki’s technique is referred to as natabori (“hatchet-carved”), the artist actually used round-headed chisels.. Fud My (Achala Vidyaraja), The Immovable Wisdom King. Mokujiki Shnin (Japanese, 1718-1810). Ja

Terracotta funeral urn with anthropomorphic breastplate. Artefact from the village of Xoxocotlan, Mexico. Zapotec Civilization, classical period, 200-900.

Wooden protective statue used to protect the owner from evil, from Mambila, Nigeria. Dated 19th Century

CANECILLO DE ALERO EN MADERA. Location: MUSEO ARQUEOLOGICO-COLECCION SIN CLASIFICAR. GRANADA. SPANIEN.

Male Figure. Papua New Guinea, Gulf province, Lower Fly River, no date. Sculpture. Wood

Male Harp Player of the Early Spedos Type. Unknown

Rear view of a wooden horse

Arhat with a tiger 18th century China. Arhat with a tiger. China. 18th century. Bamboo. Qing dynasty (1644-1911). Sculpture

Head of Silenus

Head. Egypt or Northern Africa, 305 BCE - 641 CE. Sculpture. Terracotta

Female comic mask. Roman period. National Roman Museum (Baths of Diocletian). Rome. Italy.

Female AncestorFigure

Romanesque art in the National Art Museum of Catalonia,Barcrelona,Romanesque Christ (1200-1220) from Limoges,reinforced copper, chiseled, pointillate .

Plaque, Brass, Benin, Nigeria, 16th century.

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