Bronze Figurative Sculptures

A series of bronze sculptures depicting human figures in various poses, showcasing classical beauty and dynamic forms, with a focus on texture and anatomical details.

Venus Kallipygos ,, 1550 - 1600 Italy bronze (metal) Italy bronze (metal)

Bathing girl, George Minne, 1899 bronze (metal) bronze (metal)

Venus Kallipygos ,, 1550 - 1600 Italy bronze (metal) Italy bronze (metal)

'Christ by a Pillar'. Italy. Florence, 1620s. Dimensions: height 63,0 cm. Museum: State Hermitage, St. Petersburg.

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Auguste Rodin, The Age of Bronze (L'Age d'Airain), cast 1903 1904 Auguste Rodin (French, 1840 - 1917), The Age of Bronze (L'Age d'Airain), model 1875-1876, cast 1903-1904, bronze, Gift of Mrs. John W. Simpson 1942.5.10

Ceres 1700, after a 1652 model Michel Anguier The celebrated French sculptor Michel Anguier studied in Rome under Gianlorenzo Bernini and Alessandro Algardi before returning to Paris to become one of Frances most preeminent artists of the late seventeenth century. Profoundly learned and well-versed in contemporary art theory, he fused deeply studied classicism with the artifice of sixteenth-century mannerism and the theatricality of Berninis baroque. In France, Anguier obtained important commissions from prestigious patrons like Anne of Austria and worked on large-scale statues, including the limestone Leda and the Swan of 1654, also in The Mets collection (1970.140) In addition to those projects, Anguier also became renowned for his models for small bronze statuettes. In 1652, he conceived a series of six gods and goddesses, each paired and representing a specific temperament, to which this pair belongs. Here, Amphitrite, the goddess of the sea, represents tranquility with her slen

St Michael, Julien Dillens (Antwerp, Belgium, 1849 - 1904) 1875-1924

Ceres early 17th century Niccolò Roccatagliata Italian. Ceres. Niccolò Roccatagliata (Italian, born Genoa, active 1593-1636). Italian, Venice. early 17th century. Bronze. Sculpture-Bronze

. Giambologna, or Jean de Boulogne, was born in Douai (Dowaai), Flanders (now France). In 1550 he travelled to Italy, where he became the most influential sculptor of his time. He made the original model of this bronze statuette for Francesco I de Medici, Grand Duke of Tuscany, to be cast in silver. It was succeeded by countless versions in bronze, including this 17th-century variant by an unknown follower.

Severo da Ravenna, Kneeling Satyr Supporting the Figure of an Emperor, c 1500 Kneeling Satyr Supporting the Figure of an Emperor

Statuette of Herakles; Roman Empire; 40 - 70; Bronze with silver-inlaid eyes; 15.2 cm (6 in.)

Hercules and the Erymanthian Boar mid-17th century After a model by Giambologna Netherlandish The original composition dates from about 1587 to 1589. In the latter year, Jacopo Bylivelt cast a silver statuette of the subject, one of six Labors of Hercules after Giovanni Bolognas models, which has been ordered by Francesco I de Medici for the Tribuna of the Uffizi. The beautifully ponderated model proved highly successful, and several bronzes of it exist. The one now in Vienna was the earliest to be documents; it appears in the inventory of the collections of Emperor Rudolph II compiled between 1607 and 1611.[1 The present statuette is extremely light in weight, with a dark but warm brown patina and richly variegated tool marks, such as the punch marks that articulate the club. These characteristics are typical of bronzes case by Ferdinando Tacca (1619-1686) well into the seventeenth century.[2 Tacca was a sculptor of some independence, and this bronze probably should not be attribu

Louis-Ernest Barrias (1841-1905). Reading light. Bronze. 1876. Museum of Fine Arts of the City of Paris, Petit Palais. READING LIGHT

Aimé-Jules Dalou (1838-1902). "Defense of the fatherland". Patinated plaster, around 1901-1902. Museum of Fine Arts of the City of Paris, Petit Palais. Allegory, child, woman, homeland, patriotism, pattero patina

Venus Marina. Artist: After a model by Girolamo Campagna (Italian, Verona 1549-1625 Venice). Culture: Italian, Venice. Dimensions: Overall (confirmed): 16 3/8 × 5 1/2 × 4 1/2 in. (41.6 × 14 × 11.4 cm)Base (confirmed): 7 3/4 × 7 1/16 × 6 1/16 in. (19.7 × 17.9 × 15.4 cm). Date: late 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Italian 16th Century, Mercury, 16th century Mercury

Female figure with inverted torch: the peace, anonymous, c. 1800 - c. 1899 Venice bronze (metal) Venice bronze (metal)

According to myth, the overconfident satyr (half-goat, half-man) Marsyas challenged Apollo, god of the arts, to a musical duel. The defeated Marsyas was tied to a tree and skinned alive in punishment for his pride. Fogginis bronze captures the moment after Apollos victory as the bound Marsyas cries out in agony while the god makes the first incision. The satyrs anguish is echoed by the gnarled branches; Apollos wrath is manifested in his billowing drapery. Apollo Flaying Marsyas, c. 1691-1700. Giovanni Battista Foggini (Italian, 1652-1725). Bronze; height: 59.8 cm (23 9/16 in.).

Bathing Venus late 16th-early 17th century After a model by Giambologna Netherlandish Venuss sinuous pose and sleek surface invited Renaissance viewers to turn the statuette around in their hands and delight the senses of sight and touch. Giambologna invented the groundbreaking composition, called a figura serpentinata, in which bodies “twist like flames” and can be appreciated equally from every vantage point. This bronzes immaculate casting and fine tooling reveal the goldsmith training of Susini, who was Giambolognas principal assistant. Bathing Venus. After a model by Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, Florence. late 16th-early 17th century. Bronze. Sculpture-Bronze

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Close-up of a statue, Laveno-Mombello, Lombardy, Italy

Eve 19th-20th century After a model by Antonio Rizzo Italian Modeled after a figure made for the Palazzo Ducale, Venice.. Eve. After a model by Antonio Rizzo (Italian, Verona before 1440-1499 or later). Italian, Venice. 19th-20th century. Bronze. Sculpture-Bronze

Autumn, 1800s. France, 19th century. Bronze; overall: 36.8 x 15.2 x 15.2 cm (14 1/2 x 6 x 6 in.).

The Suicide of Ajax ca. 1690 Giovanni Battista Foggini Italian. The Suicide of Ajax. Giovanni Battista Foggini (Italian, Florence 1652-1725 Florence). Italian, Florence. ca. 1690. Bronze. Sculpture-Bronze

Triton Blowing a Conch Shell, Adriaen de Vries, c. 1615 - c. 1617 Triton, sitting, with the right leg over the left leg and blowing on a kink horn. Prague bronze (metal) casting Frederiksborg Triton, sitting, with the right leg over the left leg and blowing on a kink horn. Prague bronze (metal) casting Frederiksborg

The Captured Turk 17th century Pietro Tacca Italian This is a study for one of the bound slaves on the monument of Ferdinand I dei Medici, Leghorn, commissioned 1615, completed 1626-27. A similar, larger bronze and two terracottas exists as well.. The Captured Turk 188925 Artist: Pietro Tacca, Italian, Carrara 15771640 Florence, The Captured Turk, 17th century, Pearwood, H. 9-3/4 in. (24.8 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1905 (05.8)

Aimé-Jules Dalou (1838-1902). "Nude study for the figure of Alphand". Patinated plaster, around 1895. Museum of Fine Arts of the city of Paris, Petit Palais. Study, man, French engineer, monument, nudite, patina patina, naked

Woman Stretching modeled probably ca. 1884-89, cast 1920 Edgar Degas French Upon Degas's death in 1917, more than 150 figurative sculptures were found in his studio. Most were made of fragile wax, clay, and plastiline (a wax- and oil-based modeling material). Many had deteriorated. Only a few were preserved in copies that had been cast from them in plaster. Except for the wax Little Fourteen-Year-Old Dancer (Washington: NGA) none of these sculptures had been publicly exhibited during the artists lifetime.Although Degas had not favored reproducing his sculptures in more permanent materials, his heirs authorized that copies be cast in bronze in order to preserve the compositions and to sell them as finished works. Paul-Albert Bartholomé, a sculptor and Degas's longtime friend, prepared 72 of the figures for casting, a process executed by the distinguished Paris foundry A.-A. Hébrard et Cie. The quality of the Degas bronzes was tightly controlled and their edition was limited. Only twent

Esteve Monegal i Prat / Mujer que se peina, 1914. Colección Myrurgia.

Bacchus Consoling Ariadne Modeled 1887-1897 France. Bronze . Aimé-Jules Dalou

Saint Sebastian late 16th century Flemish. Saint Sebastian. Flemish. late 16th century. Brass. Sculpture

Dawn, c. 1883. Gustave-Joseph Chéret (French, 1838-1894). Bronze; overall: 211.4 cm (83 1/4 in.). This sculpture is of the same design as one exhibited by Chéret at the Paris Salon of 1883.

'The Rape of Helen'. France, 18th century. Dimensions: height: 67 cm; 33x30 cm (pedestal). Museum: State Hermitage, St. Petersburg. Author: PHILIPPE BERTRAND.

Figural study of a female in draped garments late 18th-early 19th century Jacques-Edmé Dumont Jacques-Edmé Dumont was a highly accomplished Neoclassical miniaturist. His family, a dynasty of sculptors, preserved a great many of these captivating little terracottas (see 2015.378-.382a, b). This figural study shows how Dumont expertly wielded a flat-sided stick to carve the clay along rectangular planes.. Figural study of a female in draped garments. Jacques-Edmé Dumont (Paris 1761-1844). French. late 18th-early 19th century. Terracotta. Sculpture-Miniature

Gama, the Immortal with Toad. Miwa I (Japan, active 1780s). Japan, 18th century. Costumes; Accessories. Wood

Industry and Virtue. Francesco Bertos (Italian, 1678 - 1741)

'Venus Kneeling'. France, 1918/1919. Dimensions: h. 25,5 cm. Museum: State Hermitage, St. Petersburg.

Bacchus and Ampelos, 1782 The Wine god Bacchus fell in love with the young sater Ampelos. When he died in a tragic accident, the sad God turned him into a grape and made wine from his blood. The wine challenge in Ampelos' hand refers to this. Rome lead (metal) casting The Wine god Bacchus fell in love with the young sater Ampelos. When he died in a tragic accident, the sad God turned him into a grape and made wine from his blood. The wine challenge in Ampelos' hand refers to this. Rome lead (metal) casting

Andiron with Figure of Venus. Dated: probably 1549/1625. Dimensions: overall: 103.4 x 56.3 x 40.2 cm (40 11/16 x 22 3/16 x 15 13/16 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Circle of Girolamo Campagna.

Roman statue, The Spinario, 1st century. Artist: Unknown

Resting Hercules 16th century Italian, Florence. Resting Hercules. Italian, Florence. 16th century. Bronze. Sculpture-Bronze

Etruscan bronze figurine of Ethiopian man with wineskin, from Marzabotto, Bologna Province, Italy

Pandora, Maison Vever, c. 1889 Pandora is depicted as a young, half -naked woman sitting backwards on a small column. It is executed in ivory, with loose arms. In her hair she wears a rose branch. She turns around with her upper body and face. A silver drapery around her body that turns down the column. In her left hand an enameled silver box on which palmets and dolphins on enamelled stock in blue and red. A gilded silver snake against the column shaft. On the stepped square base of the column at the front, a text plate surrounded by lauwert branches on which: Pandore. Two silver appliques resp. With a lizard between ivy and a snail between vines. The column shaft is made from Lapis Lazuli, the column base is from Jaspis and the whole rests on a serpentine stone base with dog heads incorporated on the corners. Pulvery crown with gold -plated silver capital whose two visible sides are decorated with a winged lion's head and a ramskop. Paris ivory. lapis lazuli (rock). serpentine (miner

Griffioen, Anonymous, c. 1500 - c. 1549 On a rectangular plinth is the Griffioen, formed from an elongated dog body with outstanding wings on the shoulders and an eagle head with a comb on the neck; The front of the neck is covered with picking hair. An iron rod was applied in the lower jaw, which may have to hang an object (lamp). sculptor: Toscanesculptor: Italy wood (plant material) On a rectangular plinth is the Griffioen, formed from an elongated dog body with outstanding wings on the shoulders and an eagle head with a comb on the neck; The front of the neck is covered with picking hair. An iron rod was applied in the lower jaw, which may have to hang an object (lamp). sculptor: Toscanesculptor: Italy wood (plant material)

Angel. Artist: Ludovico del Duca (Italian, Rome, active 1551 ()-died after 1603). Dimensions: H. 13.5 cm (excluding green marble base).. Date: ca. 1590-1600.Standing in an assertive contrapposto pose, this diminutive trumpeting angel rests its right foot on a pyramid of stylized mountains referring to the arms of Pope Sixtus V (r. 1585-1590), who commissioned a tabernacle in the church of Santa Maria Maggiore in Rome on which identical trumpeting angels can be found. Ludovico del Duca was one of the craftsmen responsible for producing the bronze ornaments for this tabernacle. As an independent statuette, this trumpeting angel may well have served as a personal gift. In this context, it may have conveyed a secular meaning such as the triumph of love. Museum: Metropolitan Museum of Art, New York, USA.

David, Pietro Magni, 1851 He is ready with the pendulum in the right hand to throw the stone. Malib marble (rock) He is ready with the pendulum in the right hand to throw the stone. Malib marble (rock)

DyingCentaur. Artist: William Rimmer, American, 1816-1879

Allegory of Peace. Artist: After a model by Girolamo Campagna (Italian, Verona 1549-1625 Venice). Culture: Italian, Venice. Dimensions: Height: 33 in. (83.8 cm). Date: late 16th-early 17th century, after models from ca. 1585-86.This figure and its pair (14.40.693) are derived from Girolamo Campagna's marbles of Peace and War above the Porta al Senato, Sala delle Quattro Porte, Palazzo Ducale, Venice. Museum: Metropolitan Museum of Art, New York, USA.

Italian 18th 19th Century, Samson Slaying the Philistine, 18th early 19th century Samson Slaying the Philistine

Immaculate Conception (1718-1728). Antoine Duparc (1689-1755). Carved polychrome wood. Museu Marés, Barcelona, Catalonia, Spain.

Archer Herakles, by Emile Antoine Bourdelle, (1861-1929), England, London, Christie's Images

Gaspard Marsy II and Anselme Flamen, Boreas and Orithyia (Allegory of Air), original marble 1677 1681 (Marsy) and 1684 1687 (Flamen); bronze c 1693 1716 Boreas and Orithyia (Allegory of Air)

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia30. 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.

Imitator of Honoré Daumier, The Representative (Le représentant noue sa cravate), model probably after 1860, cast around November 1954 The Representative (Le représentant noue sa cravate)

Hercules and the Cretan Bull early 17th century Manner of Giambologna Netherlandish Giovanni Bologna modelled, ca. 1576, twelve Labors of Hercules for Francesco I Medici, mentioned by Simone Fortuna in a letter of 27 October 1581 to the Duke of Urbino, six of which were cast by Michele Mazzafiri in silver between 1576-89, and placed in the Tribuna of the Uffizi. All twelve Labors are known in bronze versions, which relate to the style of Giovanni Bologna, although both models and the silver statuettes are lost.. Hercules and the Cretan Bull. Manner of Giambologna (Netherlandish, Douai 1529-1608 Florence). French or Netherlandish. early 17th century. Bronze. Sculpture-Bronze

Christ at the Column late 17th century After a model by François Duquesnoy. Christ at the Column 198659

Roman 1st or 2nd Century, Striding Cupid, 1st or 2nd century Striding Cupid

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia16. 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.

Neptune 16th century possibly Italian. Neptune. possibly Italian. 16th century. Bronze. Sculpture-Bronze

Bireno and Olimpia. Ferdinando Tacca; Italian, 1619--1686. Date: 1640-1650. Dimensions: 37.9 × 39.9 cm (14 7/8 × 15 11/16 in.). Bronze, traces of red-gold lacquer. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Abduction of a Sabine Woman probably early 17th century Follower of Giambologna Netherlandish. Abduction of a Sabine Woman. Follower of Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, possibly Florence. probably early 17th century. Bronze, black wood base. Sculpture-Bronze

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia14. 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.

'Sea Venus'. Italy. Florence, Early 17th century. Dimensions: height: 48,0 cm. Museum: State Hermitage, St. Petersburg.

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Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia66. 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.

Spinario (Boy Pulling a Thorn from His Foot) ca. 1500-1520 Northern Italian. Spinario (Boy Pulling a Thorn from His Foot). Northern Italian. ca. 1500-1520. Bronze. Sculpture-Bronze

Elizabeth Moutal, Wooden Mercury Figure, c 1936 Wooden Mercury Figure

Beatrice by Francesco Messina, bronze statue, 1900-1995, Russia, St. Petersburg, Hermitage Museum

Figure of Nymphe Falconet on Pedestal. Sèvres Manufactory, manufacturer (French, founded 1756) Figure designed by Étienne-Maurice Falconet, designer (French, 1716 - 1791) Pedestal gilded by Pierre-Nicolas Pierre, gilder (French, active 1759 - 1776) figure about 1761-1766, pedestal 1763 The models for this Nymph and the figure of Cupid (see 2022.32.1) were designed by Étienne -Maurice Falconet (1716-1791), director of sculpture at the Sèvres Manufactory from 1757 to 1766. The bases of the pair have two corresponding inscriptions by Voltaire. On Cupid, the phrase translates as: Whoever you are, here is your master. He is, was, or ought to be. The Nymphs inscription responds with, No, you are not my master, nor have been, nor should be. Unglazed figures such as these, known as biscuit porcelain, were very popular due in part their likeness to marble. Figure incised "F" for Falconet. Pedestal inscribed in black: "NON, PAS PLUS QUE TU N'ES MON MAITRE TU NE LE FUS, NI NE DOIT L'ETRE."

The famous bronze image of walking Buddha, of Sukhothai period, now in the courtyard of the Marble Temple, Bangkok, Thailand

Mercury. Artist: After a composition by Jean-Baptiste Pigalle (French, 1714-1785). Culture: French. Dimensions: Height: 22 in. (55.9 cm). Date: probably 19th century, after a model of ca. 1741.The piece is a cast copy after Pigalle's original model for his celebrated marble Mercury, completed in 1744, in the Musée du Louvre, Paris. Museum: Metropolitan Museum of Art, New York, USA.

La Crainte des Traits de l'Amour 1739-40 Jean-Louis Lemoyne Like most amorous Rococo imagery, this sculpture is erotic yet somehow ambivalent in its meaning. The woman reacts with a startled, self-protective gesture as Cupid suddenly appears, to cast an arrow into her breast. At the same time, her features reveal a hypnotic attraction and her fingers seem to describe playfully the area he wishes to strike.This vision of young love seems distilled for all time even as it shows the stylistic hallmarks of the age in which it was created. The nymph's delicately off-balance poseexceedingly fetching when viewed from the cornersis a fine piece of Rococo invention. The carving technique, in which the marble seems touched with flickering light, echoes the painting style of the era. The group was commissioned by the duc d'Antin, surintendant des btiments du roi, for Louis XV in 1734 or 1735 and was stored temporarily in the Louvre upon its completion. In 1762 the king gave it to the marquis d

Post mythical; 2. PO. 19th century () (1868-00-00-1900-00-00);

Python Killing a Gnu. Antoine-Louis Barye (French, 1796 - 1875)

Water, The (The Small Washer) L'eau (La Petite Laveuse) 1916 ORIGINAL Renoir, Pierre Auguste(1841-1919 French) Bronze Brown Patina Christie's Images, New York, USA

Twilight. Olin Levi Warner; American, 1844-1896; Probably cast by John Williams Foundry; New York, New York. Date: 1878. Dimensions: 85.7 × (diam. of base) 24.4 cm (33 3/4 × 9 5/8 in.). Bronze, dark brown patina. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Inkwell and lamp ca. 1500 Workshop of Andrea Briosco, called Riccio Italian. Inkwell and lamp. Workshop of Andrea Briosco, called Riccio (Italian, Trent 1470-1532 Padua). Italian, Padua. ca. 1500. Bronze. Sculpture-Bronze

Amphitrite ", XVIIth century, (made in France). According to a model by Michel Anguier (1612-1686). Ronde-bosse. Bronze gilded. Museum of Fine Arts of the city of Paris, small palace. 28845-3 Bronze gilded, Greek divinity, nudite, realizes France, round-bosse, mythology, naked

Mars and Venus. Attributed to Hans Mont (Flemish, born about 1545 - after 1585)

Abruzzo, L'Aquila, S. Giuliano (L'Aquila environs), Museo, Italy, 20th century, photo, photography, Europe

Ceres ca. 1748-50 Chelsea Porcelain Manufactory. Ceres. British, Chelsea. ca. 1748-50. Soft-paste porcelain. Chelsea Porcelain Manufactory (British, 1744-1784). Ceramics-Porcelain

Eros, c. 1690 - c. 1700 Sculpture of Bronze, representing a personification of a genius or Hymen, the wedding god, based on the Apollo Belvedere. bronze (metal) casting Sculpture of Bronze, representing a personification of a genius or Hymen, the wedding god, based on the Apollo Belvedere. bronze (metal) casting

Rape of Proserpina ca. 1750 Doccia Porcelain Manufactory Italian Carlo Ginoris (Italian, 1702-1757) ambitions for his newly formed porcelain factory in the small town of Doccia, Italy, are best reflected by an extraordinary sculptural program that he initiated in the early 1740s.[1 He began actively acquiring sculptural molds and models in order to reproduce ancient, Renaissance, and Baroque sculptures in porcelain, which was an unprecedented undertaking for any eighteenth-century European manufactory. Approximately ten years earlier, the Meissen factory in Germany inaugurated the production of its porcelain menagerie (1988.294.1, .2), which was an equally ambitious project, but its aims were different in that they involved creating new models for which there were no points of comparison. In contrast, Ginori was intent on reproducing many of the most famous sculptural works housed in Italian collections and by which the new medium of porcelain would be judged against bronzes and marb

Europe, Greece. Ancient Greece. Mycenaean.

Statuette of Mercury. Unknown

Hercules Bartolomeo Ammanati (1511-1592 Italian) Bronze The Huntington Library, Art Collections and Botanical Gardens, San Marino, CA

Statuette of Herakles holding apples ca. 1st-2nd century Roman Period The hero holds the golden apples of the Hesperides in his left hand.. Statuette of Herakles holding apples. ca. 1st-2nd century. Bronze. Roman Period. From Egypt

Hercules Pomarius with 3 accompanying pedestals, Willem Danielsz. van Tetrode, c. 1975 - c. 1999 Italycaster: Delft bronze (metal). cherry (wood) casting / cutting / lacquering / drilling Italycaster: Delft bronze (metal). cherry (wood) casting / cutting / lacquering / drilling

Georg Kolbe, Dancer, 1912 , Berlin, Federal Republic of Germany.

Figure of Admiral George Rodney. Culture: British (American market). Dimensions: H. 12 in. (30.5 cm). Maker: Pierre Stephan (French, active ca. 1770-95). Date: ca. 1785. Museum: Metropolitan Museum of Art, New York, USA.

Bacchus Consoling Ariadne. Aimé-Jules Dalou; French, 1838-1902. Date: 1887-1897. Dimensions: 81.3 × 54.6 × 54 cm (32 × 21 1/2 × 21 1/4 in.). Plaster. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Kobieta. Wittig, Edward (1879-1941), sculptor

Young Neapolitan Fisherboy Playing with a Tortoise, 1833, Francois Rude, (1784-1855/French), Marble, Musee du Louvre, Paris

'Apollo and Daphne'. 17th century. Dimensions: height: 88,0 cm. Museum: State Hermitage, St. Petersburg.

Two Women Wrestling. Artist: Attributed to Ferdinando Tacca (Italian, Florence 1619-1686 Florence). Culture: Italian, Florence. Dimensions: Overall (confirmed): 13 9/16 × 7 1/2 × 8 3/8 in. (34.4 × 19.1 × 21.3 cm). Date: last quarter 17th century. Museum: Metropolitan Museum of Art, New York, USA.

ESCULTURA-MUJER EN TABURETE. Author: CRISTINO MALLO-CRISTINO GOMEZ GONZALEZ. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Tony-Noël, Paul (Edme-Anthony-Paul Noël, dit) (n.1845-01-27-D.1909-10-03), La Source (or Baigneuse surprise or Baigneuse) (main title), 1865. cooked. Petit Palais, Museum of Fine Arts of the City of Paris.

Sileno - Museo di Napoli , Antiquities, Sculpture, Supernatural beings, Satyrs Greek mythology, Silenus Mythological character. Nicholas Catsimpoolas Collection

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