Bronze Figurative Sculptures

A collection of intricate bronze sculptures depicting human forms with mythological themes. Each figure conveys emotion and movement through detailed craftsmanship.

Venus and Cupid; Circle of Jacopo Sansovino, Italian (Venetian), 1486 - 1570; France, Europe; about 1550; Bronze; Object: H: 88.9 x W: 35.6 x D: 30.5 cm (H: 35 x W: 14 x D: 12 in.)

Comedy and Tragedy: 'Sic Vita'. Dated: model 1891-1892, cast probably 1902/1905. Dimensions: overall (with marble base): 34.6 x 15.6 x 13.7 cm (13 5/8 x 6 1/8 x 5 3/8 in.) overall (marble base): 5.1 x 15.3 cm (2 x 6 in.) overall (without attached marble base): 34.5 x 15.6 x 13.7 cm (13 9/16 x 6 1/8 x 5 3/8 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Sir Alfred Gilbert.

Men's figure with club, 1550 - 1600 Venice bronze (metal) Venice bronze (metal)

Auguste Rodin, Man with Serpent, 1885, plaster.

Venus and Cupid; Circle of Jacopo Sansovino, Italian (Venetian), 1486 - 1570; France, Europe; about 1550; Bronze; Object: H: 88.9 x W: 35.6 x D: 30.5 cm (H: 35 x W: 14 x D: 12 in.)

Leogryph ca. late 9th century India (Bihar). Leogryph. India (Bihar). ca. late 9th century. Bronze. Pala period. Metalwork

The Weeping Burgher (Andrieu d'Andres). Artist: Auguste Rodin (French, Paris 1840-1917 Meudon). Culture: French. Dimensions: Height (wt. confirmed): 17 in., 20.9 lb. (43.2 cm, 9.5 kg). Date: modeled 1885, cast ca. 1908-9.This is a reduced version of one of the figures of the monumental group The Burghers of Calais (see 1989.407), modeled between 1884 and 1885 and unveiled at Calais in 1895.Rodin sought to represent varying degrees of heroism and grief in The Burghers of Calais. While some figures embody stoic self-sacrifice, others succumb to fear. This figure, unable to disguise his emotional distress, externalizes the suffering of his brethren by grasping his bowed head with massive, outstretched hands. Museum: Metropolitan Museum of Art, New York, USA.

Antonin thank you. "David and Goliath". Bronze. 1869. Paris, house of Victor Hugo. 102061-11 Bronze, statue, 19th XIX XIX 19th 19th 19th century

'Standing Nude'. France, 1906. Dimensions: h. 26,5 cm. Museum: State Hermitage, St. Petersburg.

The Implorer (L'Implorante). Artist: Camille Claudel (French, Fère-en-Tardenois, Aisne 1856-1943 Villeneuve-lès-Avignon, Gard). Culture: French. Dimensions: wt. confirmed: 11 × 14 1/2 × 8 3/8 in., 11.7 lb. (27.9 × 36.8 × 21.3 cm, 5.3 kg). Founder: Cast by Eugène Blot , Paris. Date: modeled 1898, cast ca. 1905.Camille Claudel, Rodin's most brilliant student, was consumed by her twelve-year affair with the sculptor. In this unforgettable bronze, which she modeled the year their contact ended, Claudel transforms into art the unendurable tensions between sex, love, and creative passion that characterized her relationship with Rodin. Museum: Metropolitan Museum of Art, New York, USA.

Jupiter with Eagle, 16th century, Alessandro Vittoria, Italian (Venice), Italian (Venice), 1525 - 1608, 13 3/4in. (34.9cm), Bronze, Italy, 16th century

Aimé-Jules Dalou (1838-1902). "Wisdom supporting freedom". Patinated plaster, 1889. Museum of Fine Arts of the city of Paris, Petit Palais. Allegorie, helmet, woman, warrior, freedom, patter patter, carry, wisdom, support

Sir Alfred Gilbert, Comedy and Tragedy 'Sic Vita', model 1891 1892, cast probably 1902 1905 Comedy and Tragedy: 'Sic Vita'

'Mercury'. France, 1744. Dimensions: 54x41 cm. Museum: State Hermitage, St. Petersburg. Author: JEAN-BAPTISTE PIGALLE.

Bacchus Consoling Ariadne. Aimé-Jules Dalou; French, 1838-1902. Date: 1887-1897. Dimensions: H. 17.8 cm (7 in.). Bronze. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

'Gaius Mucius Scaevola'. France, 19th century. Dimensions: 33x65 cm; 15x13,5 cm (pedestal). Museum: State Hermitage, St. Petersburg. Author: Louis-Pierre Deseine.

Hilaire-Germain-Edgar Degas, Grand Arabesque, First Time, Modeled c. 1880s, cast 1919-21, bronze.

Dancer; Gross, Magdalena (1891-1948); 1925 (1925-00-00-1925-00-00);

Statuette of Herakles with the NemeanLion

Archangel Michael Overcoming the Devil 1545-1555 French. Wood .

After the Antique, Hercules Slaying Lichas, 19th 20th century Hercules Slaying Lichas

APOLO O BACO HELENISTICO EN BRONCE PROCEDENTE DE PINEDO. Location: MUSEO DE PREHISTORIA Y ARQUEOLOGIA. Valencia. SPAIN.

Female figure, early 20th century, statue by Eugenio Pellini (1869-1934), bronze, Bar Soci (Members Bar), ground floor, Palazzo Spinola, Milan, Lombardy, Italy.

Morning. Dated: 1906. Dimensions: overall: 60.4 x 28.7 x 33.3 cm (23 3/4 x 11 5/16 x 13 1/8 in.). Medium: marble. Museum: National Gallery of Art, Washington DC. Author: AUGUSTE RODIN.

Florentine 16th Century, Farnese Hercules, c 1550 1599 Farnese Hercules

Satire class; Briosco, Andrea (1470 - 1532); 1. W. 16th century (1785-00-00-1790-00-00);

Sir George Reid PRSA, James Pittendrigh Macgillivray (Inverurie, Scotland, 1856 - 1938) 1894

. He sits with lighter pad and reared right stroke on a turtle shield. He holds the right hand on the shell-looking shell, the left is based on the head of a dolphin. A grin is on his face, picking her stands upright behind the horns.

Aimé-Jules Dalou (1838-1902). Hoche monument. Preparatory model at the Quiberon Hoche monument. Ocré plaster. Paris, Carnavalet museum. Hoche monument COMMEMORATIVE MONUMENT, FRENCH GENERAL, GENERAL FRANCAIS, MAQUETTE PREPARATOIRE, MONUMENT COMMEMORATIF, OCHRED PLASTER, PLATRE OCRE, PRELIMINARY MODEL, PREPARATORY

The Falling Gladiator 1861; cast 1907 William Rimmer American, born England The Boston-based Rimmer was a practicing physician with a superb command of anatomy. He turned to sculpture in the late 1850s, eventually abandoning his medical practice to head a successful art school. In this work, Rimmer conveys the wounded warriors physical stress by accentuating his rippling skin and the taut, straining muscles beneath. The tension between the raised arm and the dramatic, collapsing posture enhances the works emotional intensity and reflects Rimmers fascination with figures that rise and fall simultaneously. Although classical in theme, The Falling Gladiator differs from most contemporaneous American sculptures because it lacks a specific literary reference. Listen to experts illuminate this artwork's story Listen Play or pause #95. The Falling Gladiator, Part 1 Play or pause #95. The Falling Gladiator, Part 2 Supported by Bloomberg Philanthropies We're sorry, the transcript for this au

Munsterhjelm, Hjalmar, Aihe Ramsausta, ca. 1870, oil on cardboard, painting, LANDSCAPE; range; building; Alps; Ramsau; Southern Bavaria; Germany, 39.5 cm x 52 cm, Magnus Hjalmar Munsterhjelm 1840 - 1905 was a Finnish landscape painter, who worked in Finland.

David. Pablo Gargallo (1881-1934). Bronze with black patina. Conceived in 1934 and cast at a later date in a numbered edition of 7. 52.7cm. high

'Vulcan with Bellows on a Rock'. France, 17th century. Dimensions: 27,0x25,0 cm; height of the pedestal: 8,0 cm. Museum: State Hermitage, St. Petersburg.

Venus, c. 1560. Danese Cattaneo (Italian, 1509-1573). Bronze; overall: 52.9 x 20 x 12 cm (20 13/16 x 7 7/8 x 4 3/4 in.).

Joseph Gott, 1786-1860, British, active in Italy, Sylvia and the Wounded Stag, 1824. Terracotta.

The Indian Hunter 1860, cast before 1910 John Quincy Adams Ward American With his statuette of a Native American youth and his dog, Ward answered the call for sculpture modeled by home-based, rather than expatriate, artists in a realist style. He imagined an Arcadian hunting scene, a stark contrast to the reservation system by then established to confine Indigenous peoples to U.S. government-specified tracts of land. He later enlarged his model, making refinements based on drawings and wax studies from an 1864 trip to the Dakota Territory. An overlifesize bronze was dedicated in New Yorks Central Park in 1869, becoming the first sculpture by an American artist to be erected there. Listen to experts illuminate this artwork's story Listen Play or pause #4398. The Indian Hunter Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. The Indian Hunter 13137

Apostle (Saint Matthew) 1730s Italian This vigorously modeled statuette portrays an Apostle, possibly Saint Matthew. He holds an open book, one of his symbols, in his right hand, and his left is pressed against his chest, almost evocative of his call from Jesus. The terracotta bozzetto exemplifies a different way of fashioning clay, being in between a clay sketch and a smooth model. The handling of the clay is masterful. Particularly engaging is the spiky head, quickly modeled with few secure strokes and framed by sparse hair. The Evangelist’s powerful stride and arrangement of the heavy mantle, with its deep edgy folds, animate the figure and impart a sense of monumentality and command of space typical of Roman sculpture at the time.. Apostle (Saint Matthew). Italian. 1730s. Terracotta. Sculpture

Pierre Nicolas Beauvallet (1750-1818). "Pomone". Sculpture. Plaster, around 1812. Museum of Fine Arts of the city of Paris, Petit Palais. POMONE Beaute, Bowl, Back, Beauty, Carry, Corbeille, Divinity, Divinity Fruit, Dos, Femme, Nymph, Nymphe, Plastre, Platre, Pomona, Pomona, Sein, Statue, Standing, Three Quarter, Fruit, Mythology, Woman

Charmed Circle of Youth, late 19th century, Esther Moore, English, active 1890 - 1911, 22 1/4 x 21 1/4 x 13 1/2 in. (56.52 x 53.98 x 34.29 cm), Bronze, England, 19th century

Kneeling woman; Bohdanowicz, Jadwiga (1887-1943); around 1930 (1924-00-00-1934-00-00);

Woman Washing Her Left Leg (First State) modeled perhaps ca. 1883, 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

Adam Modeled 1876-1886 France. Auguste Rodinís powerfully expressive figure of Adam was originally intended to be paired with a sculpture of Eve, flanking a sculptured bronze portal commissioned by the French government for the MusÈe de Arts DÈcoratifs, Paris. For this monumental undertaking, which he entitled The Gates of Hell, Rodin turned to past Italian masters. Michelangeloís Creation of Adam fresco on the ceiling of the Sistine Chapel in Rome (1508ñ12) inspired the pose of Rodinís subject. Rodin rotated Michelangeloís reclining Adam and transferred the frescoed figureís gesture of receiving life from God to the sculptureís right arm. The exaggerated turn of Adamís left arm comes from Michelangeloís sculpture of the dead Christ in his Piet (1548ñ55; Museo del Duomo, Florence). Rodin chose the portalís theme from Danteís fourteenth-century epic poem Inferno; here Adamís agonized body strikingly conveys the sufferings caused by original sin. Although the museum building was never c

Small Crouching Nude without an Arm. Henri Matisse; French, 1869-1954. Date: 1903-1913. Dimensions: h. 9 1/4 in. Bronze. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Charity or Maternity 19th century, after a model of ca. 1877 Aimé-Jules Dalou Dalou, an ardent Communard, fled Paris in 1871 after the collapse of the Commune there and found ready employment in Britain. This group was cast after a preliminary model for a fountain at the Exchange Office, London.. Charity or Maternity 204834

Woman with Crab. Aristide Joseph-Bonaventure Maillol; French, 1861-1944. Date: 1903. Dimensions: 18.7 × 15.2 × 12.7 cm (7 3/7 × 6 × 5 in.). Bronze. Origin: France. Museum: The Chicago Art Institute, USA.

Antoine-Louis Bare (1795-1875). "Two young lions" (Face A). Museum of Fine Arts of the City of Paris, Petit Palais. Sculptic group, young, lion, roar, roar, confront, animal, confrontation

. From their attributes - two children and two Bibles - these two semi-upright women can be identified as personifications of the religious virtues of Charity (Caritas) and Faith (Fides). Together with the now missing third virtue, Hope (Spes), they originally formed the crowningelement of a piece of furniture or an altarpiece.

Boreas and Orithyia (Allegory of Air). Dated: original marble 1677/1681 (Marsy) and 1684/1687 (Flamen); bronze c. 1693-1716. Dimensions: overall: 53.3 x 29 x 27 cm (21 x 11 7/16 x 10 5/8 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Gaspard Marsy II and Anselme Flamen.

Bronze mirror support in the form of a nude girl ca. 540-530 B.C. Greek, Laconian The girl stands on a frog, and the traces of feline feet at her shoulders must have belonged to animals that helped in the support of the mirror disk. She wears a band decorated with a ring and amulets and holds cymbals in her hands. Like the nude female supporting a mirror in an adjacent case (38.11.3), this figure was probably made by a Laconian artist.. Bronze mirror support in the form of a nude girl 244558

EL SACRIFICIO DE ISAAC. Author: ALONSO BERRUGUETE (1488-1561). Location: MUSEO NACIONAL DE ESCULTURA-COLECCION. Valladolid. SPAIN.

A young boy mid-18th century Possibly by Sir Henry Cheere The subject may be Frederick Louis, Prince of Wales, father of George III. Perhaps inspired by Michael Rysbrack's statue of Van Dyck in York, Castle Museum, which resembles 68.138.1 in stance and attributes.. A young boy. Possibly by Sir Henry Cheere (British, London 1703-1781 London). British. mid-18th century. Lead, marble. Sculpture

Man with Arm Raised late 16th century possibly Italian, Venice. Man with Arm Raised. possibly Italian, Venice. late 16th century. Gilt bronze, on marble base. Sculpture-Bronze

Mercury 18th century After a model by Giambologna Netherlandish. Mercury. After a model by Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian. 18th century. Bronze. Sculpture-Bronze

The Clenched Left Hand (Study for Hand of Pierre de Wiessant) modeled ca. 1885, cast 1974 Auguste Rodin French To Rodin, hands communicated as forcefully as the human face. His independent sculptures of hands are portraits of emotions. This emphatically modeled, dramatically gesturing handthat both seeks and draws away, that clenches but cannot graspis one of Rodin’s most compelling depictions of powerless despair.. The Clenched Left Hand (Study for Hand of Pierre de Wiessant). Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled ca. 1885, cast 1974. Bronze. Sculpture-Bronze

Kneeling woman supported with a rock or ariane abandoned Millet, loved. "Kneeling woman leaning for an abandoned rock or ariane". Ocher plaster.

Diana 1887, cast 1897-98 Olin Levi Warner American While bathing in a woodland pool, Diana--who allowed no man to see her nude--senses the young prince Acteon spying on her. As punishment, Diana transforms him into a stag and he is torn to pieces by his own hounds. Warner captured the moment Diana sees the prince and reaches for her arrow. Although her face registers a gravity approaching alarm, her body, still seated from the bath, has yet to fully react.. Diana. Olin Levi Warner (American, West Suffield, Connecticut 1844-1896 New York). American. 1887, cast 1897-98. Bronze

Hercules Skinning the Nemean Lion. Artist: Attributed to François Lespingola (French, 1644-1705). Culture: French, probably Paris. Dimensions: Overall: curve of tail to Hercules extended toe, wt. confirmed: 18 × 17 × 8 7/8 in., 26.7 lb. (45.7 × 43.2 × 22.5 cm, 12.1 kg)Base: 11 1/2 × 7 1/2 in. (29.2 × 19.1 cm). Date: ca. 1675-1700.Hercules subdued the Nemean lion by order of his nemesis King Eurystheus, who ordered all twelve of his famous Labors. He is often shown wrestling with it but seldom if ever skinning it after slaying it. The figure reacting in fright at the side is a water nymph personifying a stream in the neighborhood of Mount Cithaeron, where Hercules performed this fi rst of his Labors. As in all his groups, Lespingola cut the wax model into sections then reassembled them after casting. Here, there are three sections: lion with tree and ground, Hercules, and nymph. He availed himself of the lion's tail, making it serve as a sprue for the casting. Museum: Metropolitan Museu

The Suicide of Ajax. Artist: Giovanni Battista Foggini (Italian, Florence 1652-1725 Florence). Culture: Italian, Florence. Dimensions: Height: 18 3/4 in. (47.6 cm). Date: ca. 1690. Museum: Metropolitan Museum of Art, New York, USA.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia12. 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.

Tarquin and Lucretia After a model attributed to Hubert Gerhard Netherlandish 1605-10 In the late sixteenth century the innovative style and phenomenal success of the sculptor Giambologna (see entry no.　30) attracted many artists to Florence to join his large workshop. Two sculptors born, as was that master, in the Low Countries— Hubert Gerhard, from s’ Hertogenbosch, and Adriaen de Vries, from The Hague— absorbed his manner but transformed it into distinctive idioms that they carried back to northern Europe. De Vries (see entry no.　32) was peripatetic, occupied by commissions in Milan, Turin, Augsburg, and Prague; Gerhard worked mainly in the South German cities of Augsburg, Innsbruck, and Munich. Both mastered the medium of bronze, working often at a large or lifesize scale but also producing statuettes. This Tarquinius and Lucretia, of which a number of versions exist, intersects with aspects of each sculptor’s style, and over the years its attribution has shifted back and forth

Bronze statue depicting the deity Laran. Etruscan Civilization, 475-450 BC.

Statuette of a Sphinx from a Barque Standard. Egyptian. Date: 984 BC-715 BC. Dimensions: 22.2 × 16.5 × 3.6 cm (8 1/2 × 6 1/2 × 1 1/4 in.). Copper alloy. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA. Author: Ancient Egyptian.

'Horus-Harpokrates'. Egypt, 2nd century. Dimensions: h. 22 cm. Museum: State Hermitage, St. Petersburg.

Peasant Boy, anonymous, c. 1670 - c. 1750 It stands on a quadrangular plinth with beveled corners and is depicted in a walking position, the left leg forward, the head back a little to the left. He put the left hand in the pocket and the right on the chest in the shirt. He wears clogs, a wide -ranged hat and over the short battered pants a shirt with sleeves reaching to the elbows, which is closed from the front with a knot and turned to the neck; To the means a band. sculptor: Northern NetherlandsSouthern Netherlands bronze (metal) casting It stands on a quadrangular plinth with beveled corners and is depicted in a walking position, the left leg forward, the head back a little to the left. He put the left hand in the pocket and the right on the chest in the shirt. He wears clogs, a wide -ranged hat and over the short battered pants a shirt with sleeves reaching to the elbows, which is closed from the front with a knot and turned to the neck; To the means a band. sculptor: Northern Net

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia80. 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.

Saint Michael 1740-45 Probably by Gaetano Fumo Fumo is said to have ceased working silver in 1745 in favor of employment as an engraver at Capodimonte. In 1759, he followed Charles III to Spain, where he continued working at Buen Retiro. Here, the absence of a dragon beneath Saint Michael's feet is unusual. It has been proposed that the base itself may have belonged originally to a candlestick and that its soldered-on flat top, being made of rolled metal, must date to the late eighteenth century. This suggests that the base was adapted during that period as a pedestal for the figure, which had once stood on a dragon.. Saint Michael 206378

Desbois, Jules (n.1851-12-20-D.1935-10-02), dancer on a ball (main title), 1910. Bronze. Petit Palais, Museum of Fine Arts of the City of Paris.

The Fount, 1948 by Frank Dobson 1888-1963

Grupello, Gabriel (n.1644-05-23-D.1730-06-20), Maleagre presents the Hure du Boqutre de Calydon ,. Bronze with lost wax, brown patina. Carnavalet museum, history of Paris.

Wave. Szymanowski, Wacław (1859-1930), sculptor

Kicking Horse. Caspar Gras (German, 1585 - 1674)

The Ancient Jama-Coaque Culture. Northern coast of Ecuador. 500 BC-500 AD. Ceramic figure. Seated man. Mold. Style chone. 37 x 20 cm. Private collection.

Five-light candelabrum (one of a pair). Culture: French. Dimensions: H. 45 3/8 x W. 13 1/2 x D. 17 1/2in. (115.3 x 34.3 x 44.5cm). Modeler: Derived from a model by Clodion (Claude Michel) (French, Nancy 1738-1814 Paris). Date: ca. 1785. Museum: Metropolitan Museum of Art, New York, USA.

Bronze statuette of a hunter early 5th century B.C. Greek The identification of the figure depends on the conical capthe felt pilos often worn by huntersas well as on the pose. The study of movement engaged the artists making small bronzes as much as those who were decorating vases. The hunter's forcefulness derives from the sensitive rendering of the musculature as well as from the projection of his right heel beyond the plinth. His action seems to burst the confines of his allotted space.. Bronze statuette of a hunter 255384

Venus, Joseph Nollekens, 1737-1823, British, 1770s, Terracotta, Overall: 8 1/8 x 2 3/4 inches (20.6 x 7 cm), cloak, goddess, Greek, headdress, nude, religious and mythological subject, woman

Statuette of the Child Amenemhab. Dimensions: h. 13 cm (5 1/8 in); w. 4.9 cm (1 15/16 in); d. 9 cm (3 9/16 in). Dynasty: Dynasty 18, early. Reign: reign of Ahmose I-Thutmose II. Date: ca. 1550-1479 B.C..Amenemhab is identified by his nudity as a very young boy. His closely cropped head is also an attribute of childhood, while the closed lotus bud he holds against his chest may allude to a hope of resurrection. The figure is remarkable for the sensitive rendering of the youthful body and childish face.The statuette was found inside the coffin of a woman named Ahhotep Tanodjmu (Ahhotep the sweet) together with a wooden statuette of a youth named Huwebenef (26.7.1414a, b). Both statuettes were dedicated by the boys' father, Djehuty. It is logical to assume that Ahhotep was the mother of the two youngsters.A fine scarab (26.7.575) was also found in the coffin. Museum: Metropolitan Museum of Art, New York, USA.

Mars Balearicus, siglo IV-III antes de Jesucristo. Son Favar III.Museu regional d'Artà, sala de arqueología.Artà.Mallorca.Islas Baleares. España.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia42. 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.

Miner at the Vein. Constantin-Émile Meunier (Belgium, 1831-1905). Belgium, circa 1892. Sculpture. Bronze (Verbeyst cast)

I Lottatori. Ufficii. Firenze , Antiquities, Sculpture, Wrestlers. Nicholas Catsimpoolas Collection

'Venus Urania (copya)'. Italy. Florence, First half of the 17th century. Dimensions: height: 37,0 cm. Museum: State Hermitage, St. Petersburg.

Aimé-Jules Dalou (1838-1902). "Carpenter". Terracotta, S.D. Museum of Fine Arts of the City of Paris, Petit Palais. Craftsman, carpenter, metal, terracotta, wood

Auras sleeping on Hercules' weapons. 1st c. Roman art. Early Empire. Sculpture on marble. SPAIN. MADRID (AUTONOMOUS COMMUNITY). Madrid. National Museum of Archaeology.

MANUEL MARTINEZ HUGUE. MANOLO. ESCULTOR ESPAÑOL . BARCELONA 1872 - 1945. " BACANTE " , BRONCE AÑO 1934. COLECCION VIUDA DE HUGUE. ATENCION: AUTOR CONTEMPORANEO SUJETO A COPYRIGHT ©. EL CLIENTE FINAL ES RESPONSABLE DE LA GESTION DE LOS DERECHOS DE AUTOR CON LAS SOCIEDADES EXISTENTES DE GESTION DE DERECHOS O DIRECTAMENTE CON LOS ORGANISMOS TITULARES DE LOS MISMOS.

The Vagrant (Le rodeur ou le ramasseur de bouts cigares). Honoré-Victorin Daumier; French, 1808-1879. Date: 1827-1840. Dimensions: H. 9.8 cm (3 7/8 in.). Bronze. Origin: France. Museum: The Chicago Art Institute, USA.

Mother with two children.

Saint Sebastian, anonymous, c. 1525 Saint Sebastiaan stands on a pedestal, bound by a truncated tree. The right hip swings strongly to the left, his left leg is bent; His upper body leans to the right and his head is tilted in the opposite direction. The two arms are bound to tree branches at the wrists, the right above his head, the left at his left hip. The legs are bound by the ankles with a cord on the trunk. Seven arrows injured his body. He only wears a loincloth, which is leaving left. A shield hangs on the tree. The image is on a console that is profiled at the top and bottom. In the middle part an angel floating to the right, holding a shield. Mechelen walnut (hardwood) Mechelen Saint Sebastiaan stands on a pedestal, bound by a truncated tree. The right hip swings strongly to the left, his left leg is bent; His upper body leans to the right and his head is tilted in the opposite direction. The two arms are bound to tree branches at the wrists, the right above his head, the l

Sculpture1893P87. Virgin and Child, 1600-1700. Carved boxwood sculpture. Maker unknown, Flemish School

Statues, sculpture, busts and other classical art on display at the Art Gallery of Ontario, Toronto, Ontario, Canada

Cupid. Culture: Italian, possibly Venice. Dimensions: Overall with base (confirmed): 12 15/16 × 6 1/2 × 4 in. (32.9 × 16.5 × 10.2 cm); overall without base (confirmed): 8 3/16 × 5 1/8 × 4 in. (20.8 × 13 × 10.2 cm). Date: possibly 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Tumblers. Chaim Gross; American, born Austria, 1904-1991. Date: 1942. Dimensions: H. 105.7 cm (41 5/8 in.). Ebony. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Wist and Po Wist; Cella Ski, S Awomir (1852-1918); around 1910 (1905-00-00-1915-00-00);Young Poland (artist), Poist (Mitol.), Purchase (provenance), Świst (Mitol.)

Silversmith's art, Italy, 18th century. Paolo de Matteis (1662-1728) and Gaetano Starace, Bust of Saint Sebastian in embossed silver and gilded copper, 1727. Height 130 cm.

Figurine of Eros and Psyche

'Wrestlers'. Copy after an antique original. Italy, 18th century. Dimensions: height: 31,0 cm; lenght: 38,0 cm. Museum: State Hermitage, St. Petersburg.

Bronze ex-voto depicting Imhotep, architect of pyramids of Giza

Nude at the Bathtub ca. 1890-1900 Alexandre-Louis-Marie Charpentier Charpentier was a friend and admirer of Edgar Degas, whose pastels of bathing women influenced this plaque.. Nude at the Bathtub 208212

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia69. 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.

Portrait of Janina Wierusz-Kowalska; Szymanowski, Wacław (1859-1930); around 1910 (1905-00-00-1915-00-00);

EROS. Sculpture of bronze, representing a personification of a genius or of Hymen, the wedding god, based on the Apollo Belvedere.

North Italian 15th Century, Saint George and the Dragon, 15th century Saint George and the Dragon

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