Ancient Greek Terracotta Figurines

Terracotta statuettes from ancient Greece, depicting female and male figures, including possible goddesses, in various poses and detailed clothing.

Philosopher. ITALY. Taranto. Taranto Archaelogical National Museum. Clay figure. Greek art. Sculpture.

Terracotta head of a woman from a statue ca. 525-500 B.C. Etruscan Head in the round, wearing a pointed cap, broken off from a small statue.. Terracotta head of a woman from a statue 248595

Roman version of a Greek original statue of Protesilaos, a hero in the Iliad who was venerated at cult sites in Thessaly and Thrace. Dated 460 BC

head of Heracles head of Heracles, V-III BC, island of Saltés, anthropomorphic terracotta figure, post colonial era, Huelva Museum, Huelva, Andalusia, Spain Copyright: xZoonar.com/Tolox 21720746

Stela-naos z postacią kobiecą. unknown, author

Etruscan painted antefix with shaped head of woman with earrings. 520-500 BC. From Cerveteri. British Museum. London. England. United Kingdom.

Carved stone head with coloured glass inlay from Ma'rib, capital of the Sabaean Kingdom. Dated 1st Century BC

Jean-Pierre Dantan (1800-1869), said Dantan the young. Unknown mask. Terracotta and plaster. Paris, Carnavalet museum. Mask, plaster, terracotta

Relieve romano, Museu Arqueològic Comarcal de Banyoles (MACB),.

Chen Wu, lord of the Ursa Major, stone statue with gilding, China. Chinese Civilisation, late Yuan Dynasty or early Ming Dynasty, 13th-14th century.

Fragment of Female Figure 100 A.D. Schist.

Funerary Lekythos. Unknown

Thymiaterion Lid. Unknown

Mari (modern Tell Hariri, Syria) was an ancient Sumerian and Amorite city, located 11 km north-west of the modern town of Abu Kamal on the western bank of the Euphrates river, some 120 km southeast of Deir ez-Zor, Syria. It is thought to have been inhabited since the 5th millennium BCE, although it flourished with a series of superimposed palaces that span a thousand years, from 2900 BCE to 1759 BCE, when it was sacked by Hammurabi. The citizens of Mari were well known for elaborate hair styles and dress, and are considered to be part of Mesopotamian culture, despite being 240 km (150 mi) upriver from Babylon. It is theorized by some that Mari functioned as a trading post for southern Mesopotamia. The inhabitants of Mari worshipped a vast array of gods and goddesses. Dagan, the deity of storms, had an entire temple dedicated to him, as did Ishtar, the goddess of fertility, and Shamash, the Sun god. Shamash was believed to be all-knowing and all-seeing, and in many seals he is seen stan

Torso of a Kouros. Unknown

Statue of the Aphrodite of Knidos. Roman. Date: 101 AD-200 AD. Dimensions: 168 × 57.2 × 42 cm (66 1/8 × 22 1/2 × 16 1/2 in.). Marble. Origin: Piraeus. Museum: The Chicago Art Institute, FLORENCIA, USA. Author: PRAXITELES.

Statue of Kneeling Captive ca. 2246-2152 B.C. Old Kingdom Beginning at least in the mid-Fifth Dynasty, large sculptures of bound foreign captives appeared in the pharaoh's pyramid complex. Pepi I and Pepi II had great numbers of them. This piece and the associated piece 64.260 can be dated to the reign of Pepi II for stylistic reasons. Statues of prisoners were presumably placed in areas where battle and triumph scenes occurred. The consistency of the breaks on these figures at the neck or shoulder and midtorso argue strongly that the statues were ritually executed, presumably to mark some event in the history of the pyramid complex.Although stereotypes of foreign physiognomies clearly existed during the Old Kingdom, they do not correspond well with those known and identified by ethnicity from the New Kingdom. This man may represent an enemy from adjacent lands in the north or a Near Easterner. The muscles of his upper body have been stretched out of shape by lashing his elbows behind

Jean-Pierre Dantan (1800-1869), said Dantan the young. Unknown mask. Terracotta and plaster. Paris, Carnavalet museum. Mask, plaster, terracotta

Lazio Frosinone Veroli S. Andrea Apostolo, Cathedral35. Hutzel, Max 1960-1990 Views of metalwork objects housed in Treasury of S. Andrea Apostolo, including busts, reliquaries, crosses, polittico, boxes. Antiquities: relief sculpture; busts General Notes: Museum, which contains Treasury, is located in the last chapel of the right nave. Thirteen views of (non-metalwork) sculpture from Museum have been assigned numbers at end of Treasury sequence, but there are no negatives corresponding to these prints, nor is there authoritative evidence that these objects are housed in the Cathedral Museum. 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

Terracotta nude female statuette, perhaps Aphrodite 3rd century B.C. Greek, South Italian, Tarentine Nude, wearing fillet, hair dressed high at back, right hand raised.. Terracotta nude female statuette, perhaps Aphrodite. Greek, South Italian, Tarentine. 3rd century B.C.. Terracotta. Hellenistic. Terracottas

GREEK ART. Greece. IV century B.C. Statue of Heracles covered with a lion's skin. He was holding the mallet in his right hand. Penteli marble. Dated 350-325 B.C. Located near the Church of Agia Eirini, Athens. National Archaeological Museum. Athens.

Chess Piece: Queen, early 1900s. Japan, Meiji period (1868-1912). Ivory; overall: 9.9 x 3.5 cm (3 7/8 x 1 3/8 in.).

Roman civilization. Bone-handled knife with figure of togaed figure. From graveyard at Forcella, Bagnolo San Vito, Mantua

Palmyran Sculpture Fragment. Unknown

Terracotta mask. Culture: Cypriot. Dimensions: H. 5 1/2 in. (14 cm). Date: end of the 7th century B.C..The mask is mold-made. The right ear is missing. It has a small ovoid face. The beard is exaggeratedly long and is neatly separated from the face. It is divided by vertical grooves into bands filled with parallel chevrons that terminate in large curls. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta relief plaque with head of Medusa. Culture: Greek. Dimensions: H. 1 1/2 in. (3.8 cm.). Date: 2nd century B.C..A little blue pigment remains near her left wing and around the hair. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta statuette of a standing woman late 4th-early 3rd century B.C. Greek, probably Boeotian Although the Greeks had been making terracotta statuettes since the eighth century B.C., it was not until the late fourth century that they began to produce the clay figurines that are still prized for their naturalness, variety, and charm. These statuettes were first made in Athens and were soon being fabricated throughout the Mediterranean world, but they take their name from Tanagra, an ancient city in Boeotia, the region north of Attica, where great numbers were illicitly removed from tombs in the early 1870s. Whereas almost all earlier terracotta figurines represented deities, the majority of Tanagras are fashionable women or girls elegantly wrapped in thin "himatia" (cloaks), often wearing large sun hats and holding wreaths or fans. While most stand gracefully, some are seated or playing games. A number of boys are represented and Aphrodite and Eros appear as well. Many of these figu

Seated limestone kourotrophos with another child standing 4th century B.C. Cypriot Seated, with child in lap, another standing at knee.. Seated limestone kourotrophos with another child standing 242263

Gallic civilization. Limestone statue of deity. From Mont-Saint-Jean.

Stone sculpture of Greek warriors in a chariot, c500 BC. Artist: Anon

Prajnaparamita, late 12th-early 13th century, 51 1/2 x 15 x 8 1/4 in. (130.81 x 38.1 x 20.96 cm), Grey sandstone, Cambodia, 12th-13th century, The supple carving of bodily volumes lends this polished stone sculpture a levity and grace for which Khmer sculpture is renowned. It was likely created during the rule of King Jayavarman VII (reign c. 1181-1218), who identified himself with the Buddha and, in turn, equated his mother with Prajnaparamita, the mother of all Buddhas. He commissioned freestanding sculptures of the deitythe Goddess of Transcendent Wisdomin the queen’s likeness, with a diminutive Buddha in her crown. This dual portrait demonstrates how the Khmer Empire (802-1437 CE) adopted the Indian concept of Deva-Raja (God-King) and established its rule with divine order.

King's Head with Egyptian Headdress but Greek Hair and Features. Dimensions: H. 6.6 cm (2 5/8 in.); W. 7 cm (2 3/4 in.); D. 5.3 cm (2 1/6 in.). Date: 2nd century B.C. or early 1st century B.C..This head depicts a Ptolemaic ruler in a style which combines a traditional kind of Egyptian royal image with certain markers of the Ptolemaic Greek origins - in particular Greek hair. The particular arrangement of this king's hair suggests Ptolemy VIII (170-163 and 145-116 BC) or Ptolemy X (107-88 BC) may be represented.The dark stone of the statue suggests it may relate to the series of lifesize or under-lifesize statues functioning as ritual statues in the native royal cults supported by the Ptolemies. Museum: Metropolitan Museum of Art, New York, USA.

Head of a Man. Thailand, Sawankhalok, 14th-15th century. Sculpture. Glazed stoneware

Bronze head of a youth 3rd quarter of the 5th century B.C. Greek This head entered the collections of The Metropolitan Museum of Art attached to the statuette of a man, 29.48a. Although the surface of the two pieces is comparable, the head is larger in scale and quite different in style. It shows a young man with a full head of hair pulled up and held in place with a band. The square hole on the back of the neck was probably for the attachment of the pony tail that was worn up. While the figure has been identified as Dionysos, it may well be another divinity, such as Apollo, or an athletic mortal.. Bronze head of a youth 252981 Greek, Bronze head of a youth, 3rd quarter of the 5th century B.C., Bronze, 3 1/8 in. (7.9 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1929 (29.48)

Portrait head of King Akhenaten; 18th dynasty; 1340 BC. Amarna, Egypt.

Head of a Woman ca. 1500 French. Head of a Woman 466154

Arsinoe II, Ancient Greek: 316 BC-unknown date from July 270BC until 260BC) was a Ptolemaic Greek Princess of Ancient Egypt and through marriage was Queen of Thrace, Asia Minor and Macedonia as wife of king Lysimachus (Greek) and later co-ruler of Egypt with her brother-husband Ptolemy II Philadelphus which means Ptolemy the sibling-loving.

'Basrelief. Head of a Woman'. Central Asia. Khorezm, Toprak-kala. Dimensions: 30x17 cm. Museum: State Hermitage, St. Petersburg.

Roman Art. Marsyas. Statue. Violet-veined marble. Copy of the Early Roman Imperial Agre from a Greek original of the 4th century B.C. Found near the Auditorium. Rome. Capitoline Museums. Rome. Italy.

FIGURA DE ARCILLA-NEOLITICO. Location: MUSEO. Volos. GREECE.

Pagesa, Tomàs Vila, Plaça Verge de la Salut, Palma, Mallorca, balearic islands, Spain.

Sculpted Vessel with a Family Scene; Greece (Attica); about 360 B.C; Marble; 56.5 × 25.4 cm (22 1,4 × 10 in.)

Round facing brick with female head, INT.VROUWEN.HOOFT, facing stone sculpture sculpture building component sandstone stone, sculpted Round stone with sculpted head and text INT WOMEN HOOFT Sorgh Rotterdam City Triangle Steiger Grotemarkt Originating from house on the Steiger Rotterdam.

Roman bust from the 2nd century AD, Museum of Roman Theatre, Cartagena, Region of Murcia, Spain, Europe

Celestial Beauty (Apsara) 1101-1200 Madhya Pradesh. Sandstone .

Marble torso of a Nike wearing a sleeveless chiton and a girdled around the waist. Dated 400 BC

Aimé-Jules Dalou (1838-1902). "Second project for the workers' monument". Patinated plaster, around 1895-1898. Museum of Fine Arts of the City of Paris, Petit Palais. Commemorative, detail, worker monument, project

Statue of Memi and Sabu, 26th-25th century BC. Artist: Unknown

Upper part of a limestone statuette of a female aulos player 1st quarter of the 6th century B.C. Cypriot The lower half of the body is missing and the surface is damaged. The woman holds in each hand a reed of the aulos that she plays.. Upper part of a limestone statuette of a female aulos player 242083

Capital with intertwining animals early 12th century French. Capital with intertwining animals. French. early 12th century. Yellow limestone, with traces of red paint. Made in Charente, France. Sculpture-Architectural

Marble torso of Eros 1st or 2nd century A.D. Roman Copy of a Greek statue of the 4th century B.C. attributed to Lysippos.The young Eros was shown in a momentary gesture, stringing his bow.. Marble torso of Eros 257633

Gudea, prince of Kingdom of Lagash. Seated statue dedicated to the god Ningishzida. C. 2120 BC. Diorite. Louvre Museum. Paris. France.

Terracotta female figurine with bird like face and pierced ears. Made in Cyprus 1450-1200 BC. Found in Tomb 93, Enkomi Cyprus. She holds her infant in her arms, it's head next to her left breast

One-Faced Linga (Ekamukhalinga), 600s-700s. Eastern India, Bihar, Medieval period, Pala dynasty. Chloritic schist; overall: 83.8 cm (33 in.).

Roman civilization, relief portraying female dancer, from Pest, Hungary

Statuette of Aphrodite in Sandalbinder Pose. Unknown

Torso of a statue of Aphrodite. Parian marble, found in Athens.

Head from a statuette ca. 1353-1336 B.C. New Kingdom, Amarna Period The statue from which this small head is broken was probably a private icon. Such icons represent probably a revered, perhaps deceased, relative, overlord or other person, and were displayed in the home or other suitable places and received attentions and address from the living. This head was found in an unimpressive private house in a crowded area of the North Suburb: if it originated there, such a fine statue may have been commissioned by the person represented and given to those who were his dependents. See also 11.150.21.In fact, it has long been discussed whether this head represents a non-royal male or a royal female. The subject wears a type of wig popular among royal women, but not exclusively so - it is also found on officials. The red skin color would point to a male, but skin color may not be a reliable indicator of sex in the Amarna Period. If a female were represented, it should be a princess forming part

Progressive woman. Elongated relief with progressive woman in long robe, in both hands a basket with fruits wearing.

Plaster Portrait Mask of a Youth A.D. 140-190 probably Roman Period This youth's black hair is combed into a slightly wild style reminiscent of portraits fashionable in the Greek-speaking eastern provinces of the Roman Empire in the mid- and later second century a.d. Over his white tunic with rose clavi (stripes) he wears a white mantle, with a woven H-motif visible below his left hand. The youth's head is raised on a rather high support decorated with Egyptian motifs. Flanking his neck are banks of three golden uraei, and at the back of his head is the falcon god Re-Harakhty, flanked by two of the Sons of Horus, Qebesenuef and Duamutef.. Plaster Portrait Mask of a Youth 547698

Roman antefix. Vertical block which terminates the covering tiles of the roof. Moulded ceramic. Head of classic. Apparenty feminine with tufts and braids. 1st century BC-1st century BC. Spain. Terracotta. National Archaeological Museum. Tarragona. Catalonia, Spain.

The Youthful Saint John the Baptist probably 16th century Italian. The Youthful Saint John the Baptist. Italian. probably 16th century. Painted terracotta. Sculpture

Mask of Vaikuntha Vishnu late 5th century India (Jammu and Kashmir, ancient kingdom of Kashmir) This early representation of Vishnu expresses the deitys supreme manifestation, in which his two premier avatars, the boar Varaha and the man-lion Narasimha, are given expression in one form, the three-headed Para Vasudeva or Vaikuntha. Here, only the boar survives intact, framing the moustached and crowned Vishnu, who embodies an Indian vision of kingship. This remarkable bronze mask would have been secured to a wood frame, richly clothed, and garlanded to evoke the presence of Vishnu during temple festival parades, as is still seen today in the remoter regions of Himachal Pradesh in northern India.. Mask of Vaikuntha Vishnu. India (Jammu and Kashmir, ancient kingdom of Kashmir). late 5th century. Bronze. Sculpture

Head of a princess from a group statue ca. 1352-1336 B.C. New Kingdom, Amarna Period 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 original group sculpture. Most probably the group included another princess who may have walked slightly in advance

Cypriot Sculpture. 500-480 BC. Sanctuary of Apollo-Reshef at Phrangissa, Cyprus. British Museum. London. UK.

Virgen de Ger, siglo XII. Museu Nacional d'Art de Catalunya.

Terracotta statuette of a nude woman ca. 1450-1200 B.C. Cypriot The statuette is handmade and solid.. Terracotta statuette of a nude woman 241102

Carthaginian Vase Fragment. Unknown

Terracotta figurine of femalebust, 3rd century A.D., Terracotta, 22.4 × 11.8 × 5.4 cm (8 13/16 × 4 5/8 × 2 1/8in.), Exchange with the Oriental Institute, University of Chicago, Kurcogluexcavation, Syrian,Kurcoglu, Roman (3rd century A.D.), Sculpture

One of Two Painted Clay Statues of an Unknown Woman 2000 B.C. Babylonian

Fragment of a limestone funerary stele with a recumbent lion late 5th or 4th century B.C. Cypriot The lion is recumbent to the right, the front paws crossed.. Fragment of a limestone funerary stele with a recumbent lion 242200

Corbel with Busts of Angels 1430-40 Italian. Corbel with Busts of Angels. Italian. 1430-40. Marble (Candoglia marble and Parian marble). Made in possibly Lombardy, Italy. Sculpture-Architectural

Statue of Eros. Marble. Roman copy after Praxiteles's original. Mid 2nd century AD. From Nikyup village (Nicopolis ad Istrum), Veliko Tarnovo region, Bulgaria. National Archaeological Museum. Sofia. Bulgaria.

Roman head, Museo Archeologico Nazionale, Cagliari, Sardinia, Italy, Europe

Bronze Roman household god. Artist: Unknown

Running hoplite stele, 500 BC. GREECE.

APOLO - ARTE GRIEGO. Location: MUSEO STAATLICHE. Kassel. DEUTSCHLAND.

Capital with Addorsed Quadrupeds, late 1100s-early 1200s. Southwest France, Languedoc, Toulouse (), late 12th to early13th Centuries. Limestone; overall: 32.7 x 39.4 x 27.7 cm (12 7/8 x 15 1/2 x 10 7/8 in.). Monstrous images were prevalent in the decoration of religious buildings during the Middle Ages. Such images must have impressed, perhaps even terrified, the monks and visitors who spent much of their time within the cloister or church, a place of prayer, contemplation, and reflection. Scholars have speculated how such images would have been received by the people given the ubiquity of monsters in medieval society. The carved monsters, often symbolizing vice and retribution for sin, were possibly designed to provoke a range of emotional responses including laughter, wonder, surprise, fear, and shock. This striking imagery must have had a strong impact, which in turn led Saint Bernard of Clairvaux (1090-1153), the spiritual head of the Cistercian order, to admonish their use as di

fine arts, ancient world, Greece, sculpture, torso of a priest-king, limestone, Paphos, circa 550 - 500 BC, Cyprus Museum, Nicosia,

Terracotta statuette of Eros on a lion late 4th or 3rd century B.C. Greek, South Italian Although this figure has no wings, an almost identical winged statuette from the same provenance helps to identify it as Eros.. Terracotta statuette of Eros on a lion 248715

Crater with erect handles (sphageion). Applique decor and statuettes. Canosa (Italy). Museum of Fine Arts of the City of Paris, Petit Palais. 58802-20 Allegorie, Anse Dressed, Antiquity, Ancient Art, Boisson, Ceramic, Cratere, Decor Applied, God, Greek-Roman Divin, Woman, River, Great Greek, Young Man, Nike, Ancient Periode, Wing character, Content, Sphageion, Statuette, Ancient vase, victory

Figure of Xochipilli-SevenFlower. Maker: Unknown

A female figure in the Crown unknown

CANTARO DE CERAMICA PINTADA EN VERDE Y NEGRO-SIN VIDRIAR-S X. Location: MEDINA AZAHARA MADINAT AL-ZAHRA MUSEO CERAMICA. PROVINCIA. CORDOBA. SPAIN.

Head of a Bishop. French, Périgord. Date: 1495-1505. Dimensions: H: 33 cm (13 in.). Limestone, traces of polychromy. Origin: French. Museum: The Chicago Art Institute, Chicago, USA.

Marble head of a boy 1st century A.D. Roman. Marble head of a boy 248469

Cameo gem. Unknown

Relief Fragment of Two Men; Unknown; Rome, Italy, Lazio, Europe; 50 - 75; Bronze; Object: H: 26 x W: 13.8 cm (10 1/4 x 5 7/16 in.)

Jean-Pierre Dantan (1800-1869), said Dantan the young. Mask of the violinist, Eugène-Joseph Lecointe (born in 1817). Terracotta and plaster. Paris, Carnavalet museum. Mask, plaster, terracotta, violinist

museo arqueologico y de historia de Elche Alejandro Ramos Folqués, Elche, Alicante, comunidad Valenciana, Spain, Europe.

Greek terracotta scent bottle in the shape of a female bust. Artist: Unknown

Roman tragic mask. Stone. 1st-2nd century AD. Found in the walls of Barcelona. Archaeological Museum of Catalonia. Barcelona. Spain.

Head from a statue of a bearded man with laurel wreath. Limestone. Sculpted in Cyprus early 5th century BC. From the Sanctuary of Apollo at Pyla. British Museum. London. England. United Kingdom.

Funerary Sculpture of a Female Equestrian Drummer. China, Six Dynasties period, late Northern Wei dynasty, about 500-534. Sculpture. Molded earthenware with molded, modeled and applied decoration, white slip, and traces of paint

Europe, England, Bath. Roman Bath Museum, stone head of Minerva (Roman godess of wisdom). THIS IMAGE RESTRICTED - Not available to U.S. land tour travel operators.

Image of the king on his funerary bed. 1370 -1352 BC. Tomb of Tutankhamun. Egyptian art. New Kingdom. Sculpture on wood. EGYPT. CAIRO. Cairo. Egyptian Museum. Proc: EGYPT. QUENA. Dayr al-Bahri. Valley of the Kings. Tomb of Tutankhamun.

Female Torso. Unknown

France, Compiegne, Sculpture representing Mercury with a stone hatchet

Bronze votive statuette of a youth. Dated 5th Century BC

Marble statue of kouros from Milos Island, Greece, circa 550 B.C.

Honoré de Balzac 1891 Auguste Rodin French In 1891 the Société des Gens de Lettres commissioned Rodin to create a monument to Balzac, who had died in 1850, for the Palais-Royal in Paris. Rodin made numerous preparatory studies. As the head evolved from a lifelike portrait to the huge, craggy, masklike face of the final version, Rodin made several trips to Tours, where Balzac had lived. There, he hoped to find men with facial characteristics similar to those of Balzac to serve as models for the author's portrait. This original terracotta represents one of the models, a man named Estager, whom Rodin identified as the "Conductor of Tours." The final version of the monument, finished in 1898, depicts Balzac wrapped in the monk's robe he liked to wear when he was writing. More of a symbol than a portrait, the statue shocked the Société and they rejected it. The first cast in bronze was erected in Paris in 1939, eighteen years after Rodin's death, at the crossing of the boulevards Montparnas

of 3