Bronze Sculptures of Mythical Figures

Elegant 17th-century bronze sculptures capturing dynamic poses of mythological figures, showcasing fine details and craftsmanship.

Figure of Mars, 16th-17th century, Girolamo Campagna, Italian, 1549-1625, 26 1/4 x 9 3/4 x 8 1/4 in. (66.68 x 24.77 x 20.96 cm), Bronze, Italy, 16th-17th century

Dido (or Lucretia), Ferdinando notch, c. 1660 A running naked woman in bronze. She keeps a dagger in front of her chest with her right hand. Her left hand is aimed sideways; The head is averted (to the right) of the walking direction, as if she does not want to witness her upcoming suicidal act. The woman wears a small crown in the hair. The bronze is mounted on a red/gray-white-winded, marble base (19th-century). Florence Image: Bronze (Metal). Dolk: Iron (Metal). Base: Marble (Rock) A running naked woman in bronze. She keeps a dagger in front of her chest with her right hand. Her left hand is aimed sideways; The head is averted (to the right) of the walking direction, as if she does not want to witness her upcoming suicidal act. The woman wears a small crown in the hair. The bronze is mounted on a red/gray-white-winded, marble base (19th-century). Florence Image: Bronze (Metal). Dolk: Iron (Metal). Base: Marble (Rock)

Neptune with a Dolphin 17th century After a model by Gian Lorenzo Bernini Italian Bernini's marble original, of which this bronze is a variant and not a copy, is in the collection of the Earl of Yarborough, England. Only one bronze variant aside from the Metropolitan's piece has been published.. Neptune with a Dolphin. After a model by Gian Lorenzo Bernini (Italian, Naples 1598-1680 Rome). Italian. 17th century. Bronze with black patina. Sculpture-Bronze

Neptune Seated on a Marine Monster and Blowing a Conch Shell 17th century or later Severo Calzetta da Ravenna Italian. Neptune Seated on a Marine Monster and Blowing a Conch Shell. Italian. 17th century or later. Bronze, on later stone base. Sculpture-Bronze

Pan unknown

'Apollo'. Italy. Venice, Early 17th century ( ). Dimensions: height: 27,5 cm. Museum: State Hermitage, St. Petersburg.

Jupiter late 16th-early 17th century Probably by Girolamo Campagna. Jupiter. Probably by Girolamo Campagna (Italian, Verona 1549-1625 Venice). Italian, Venice. late 16th-early 17th century. Bronze. Sculpture-Bronze

Venus out of the bath ", 16th century (made in northern Italy). Venus statuette out of the bath, the left foot placed on a vase, made in Italy in the 16th century. Triangular base decorated with three dancing figures and ornamental patterns, Made in Italy, around 1500. Metal, bronze. Museum of Fine Arts of the city of Paris, Petit Palais. 28845-12 Triangular basis, bronze, decorated, Roman divinity, dancing figure, ornamental motif, metal, left foot, pose on vase, realizes Italy north, outing bath, outing, statuette, three, mythology

Nymph surprised by Cupid mid-18th century German. Nymph surprised by Cupid 207526

Dancer Fastening the String of Her Tights. Dated: c. 1885/1890. Dimensions: overall without base: 43.2 x 20.6 x 20.1 cm (17 x 8 1/8 x 7 15/16 in.) height (of figure): 42.5 cm (16 3/4 in.). Medium: yellow-brown plastiline. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

Figure of Mars, 16th-17th century, Girolamo Campagna, Italian, 1549-1625, 26 1/4 x 9 3/4 x 8 1/4 in. (66.68 x 24.77 x 20.96 cm), Bronze, Italy, 16th-17th century

Adam and Eve, anonymous, c. 1530 Eva stands with crossed legs with the left hip against a truncated tree trunk; She rests on the right leg and has the heel of the left foot of the bottom. With the right hand she holds a fig sheet in front of the shame, with the left arm she leans on a truncated branch, opening her hand. Her head a little directed down; The lush wavy hair hangs over the back and in front of the shoulders. Under the ground a rectangular dived for confirmation. sculptor: Austriasculptor: Mühlau bronze (metal) Eva stands with crossed legs with the left hip against a truncated tree trunk; She rests on the right leg and has the heel of the left foot of the bottom. With the right hand she holds a fig sheet in front of the shame, with the left arm she leans on a truncated branch, opening her hand. Her head a little directed down; The lush wavy hair hangs over the back and in front of the shoulders. Under the ground a rectangular dived for confirmation. sculptor: Austriasculpto

Pluto and Cerberus early 17th century After Giovanni Battista di Jacopo Italian The god of the underworld is posed at the mouth of hell with his fierce three-headed companion, Cerberus, who exhibits the features of a spaniel, a lion, and a wolf. Pluto has lost the spear on which he leaned. Rosso Fiorentino, a painter and a printmaker, was prominent among the Italian artists lured to France by François I. His drawing for Pluto was engraved several times. This cast is probably the one that belonged to the great seventeenth-century sculptor and collector François Girardon.. Pluto and Cerberus 206757

Girl with Arm over Her Eyes. Aristide Joseph-Bonaventure Maillol; French, 1861-1944. Date: 1900. Dimensions: 21.3 × 17.5 × 6.5 cm (8 3/8 × 6 7/8 × 2 5/8 in.). Bronze. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Danse Espagnol Degas, Edgar(1834-1917 French) Bronze Christie's Images, London, England

Roman 16th or 17th Century, Virtue Overcoming Vice, late 16th or early 17th century Virtue Overcoming Vice

Archangel Michael Overcoming the Devil. French. Date: 1545-1555. Dimensions: H: 27.9 cm (11 in.). Wood. Origin: French. Museum: The Chicago Art Institute, Chicago, USA.

Venus and Cupid; Circle of Jacopo Sansovino (Italian (Venetian), 1486 - 1570); France; about 1550; Bronze; 88.9 × 35.6 × 30.5 cm (35 × 14 × 12 in.)

Young Faun with Heron, 1890. Frederick William MacMonnies (American, 1863-1937). Bronze; overall: 68.6 cm (27 in.). MacMonnies originally created this composition as a large garden sculpture, but later marketed small-scale versions, such as this example, to adorn interior spaces. The subject presents a boyish mythological figure mischievously grasping a bird whose ample wings curve around him. A striking visual contrast is achieved through the variegated textures of the herons feathers and the fauns smooth flesh.

Statuette of a Discus Thrower; Etruria; 480 B.C; Bronze; 8.5 × 5.5 × 2.5 cm (3 3,8 × 2 3,16 × 1 in.)

'Apollino'. Italy, Late 18th century. Dimensions: height: 33,0 cm. Museum: State Hermitage, St. Petersburg.

Venus met amor, c. 1500 - c. 1550 Venus and Amor van Brons Padua bronze (metal) Venus and Amor van Brons Padua bronze (metal)

Torso modeled ca. 1877-78, cast 1979 Auguste Rodin French This bronze cast preserves the aggressiveness with which Rodin could attack his clay figures. He tore and gouged the torso with his hands and sliced at its arms and thigh with wire. Contemporary critics often decried these acts as "mutilations" of the human body and considered them direct assaults on artistic ideals. But in such fragments Rodin sought to achieve an aesthetic beauty that was heroic and complete, saying of another work, "Dont you see I left it in that state intentionally?" Rodin displayed a large-scale plaster cast of this composition at his 1889 joint exhibition with Monet at Galerie Georges Petit in Paris. He later reused a version of Torso to create The Walking Man.. Torso. Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled ca. 1877-78, cast 1979. Bronze, marble base. Sculpture-Bronze

Boy standing on a seashell. Culture: Italian, Florence. Dimensions: Height: 12 1/4 in. (31.1 cm). Date: mid-15th century.The figure, with his contrapposto pose, shows the pervasive influence of Donatello (ca. 1386-1466). Museum: Metropolitan Museum of Art, New York, USA.

Venus figurine with Amor; Campagna, Girolamo (1549-1625); End of the 16th century (1501-00-00-1600-00-00);Amor (mitol.), Działyńska, Izabela Elżbieta née Czartoryski (1830-1899) - collection, Venus (mitol.), Message (provenance)

Striding figure with ibex horns, a raptor skin draped around the shoulders, and upturned boots ca. 3000 B.C. Proto-Elamite This solid-cast sculpture is one of a pair of nearly identical images of a hero or a demon wearing the upturned boots associated with highland regions, his power enhanced by the mighty horns of the ibex on his head and the body and wings of a bird of prey draped around his shoulders. It was created at the time the first cities emerged in ancient Sumer. A new world view conceived of human figures in realistic terms, through accurate proportions and highly modeled forms with distinctive features - here, the triple belt and beard that define divine beings and royalty. The blending of human and animal forms to visualize the supernatural world and perhaps to express shamanistic beliefs, however, is more characteristic of the contemporary arts of Proto-Elamite Iran, where a remarkable tradition of metalworking developed during this period.. Striding figure with ibex horn

Satyress and her Infant ca. 1520 or later Workshop of Severo Calzetta da Ravenna Italian This bronze is a variation on one of the more popular models from the workshop of Severo da Ravenna. In this version, the satyress holds a cornucopia in her right hand and is seated on a tree trunk. The holes in the tree trunk were possibly for holding quill pens.. Satyress and her Infant 460991

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia10. 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.

Standing Boy. Artist: Circle of Andrea Mantegna (Italian, Isola di Carturo 1430/31-1506 Mantua). Culture: Italian, Mantua. Dimensions: Overall without base (confirmed): 8 1/8 × 3 7/8 × 2 in. (20.6 × 9.8 × 5.1 cm)Overall with base (confirmed): 11 1/2 × 4 1/8 × 3 1/4 in. (29.2 × 10.5 × 8.3 cm). Date: third quarter 15th century.The outstanding version of this child is in the Museum of Fine Arts, Houston. The figure recurs with variations, sometimes as the Christ child, in paintings and engravings Mantegna. It is not out of the question that he modeled or supervised the models of the composition. Museum: Metropolitan Museum of Art, New York, USA.

Venus Chastening Cupid ca. 1638 Giovanni Francesco Susini. Venus Chastening Cupid. Giovanni Francesco Susini (Italian, Florence 1585-1653 Florence). Italian, Florence. ca. 1638. Bronze. Sculpture-Bronze

ECCE HOMO, François DU QUESNOY (Awarded to), c. 1640 Romecaster: France bronze (metal) casting Romecaster: France bronze (metal) casting

Nude Warrior late 16th century () possibly Italian. Nude Warrior. possibly Italian. late 16th century (). Bronze on marble base. Sculpture-Bronze

Saint John the Baptist Preaching. Auguste Rodin (France, Paris, 1840-1917). France, first modelled 1878, this cast 1966 (Musée Rodin 6/12). Sculpture. Bronze

Male Nude; Tiziano Aspetti, Italian, about 1559 - 1606; Italy, Europe; about 1600; Bronze; Object: H: 74.9 cm (H: 29 1/2 in.)

Minerva with Shield. Artist: After a model by Benvenuto Cellini (Italian, Florence 1500-1571 Florence). Culture: Italian, Florence. Dimensions: Overall (confirmed): 13 1/16 × 3 × 4 1/4 in. (33.2 × 7.6 × 10.8 cm). Date: second half 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Johannes de Doper, Donatello (manner of), in or before 1908 John the Baptist stands on a square pedestal with the right leg slightly forward. He wears a camel hair rug, about which a cloak. West-Europa bronze (metal) casting John the Baptist stands on a square pedestal with the right leg slightly forward. He wears a camel hair rug, about which a cloak. West-Europa bronze (metal) casting

Bacchante and Infant Faun, 1894. Frederick William MacMonnies (American, 1863-1937). Bronze; overall: 86.4 x 25.4 cm (34 x 10 in.). This sculpture is a smaller version of a three-quarter life-size bronze given by the artist to Charles McKim, the architect for the Boston Public Library who placed the statue in the fountain of the library's courtyard. Although the vast majority of Bostonians supported the statue, a small but powerful group denounced it as "debauched," "vice-ridden," and "treason to purity and sobriety and virtue, and Almighty God." The opponents included the Boston Brahminsa group of Anglo-Saxon, Protestant eliteand various religious, temperance, and antivice organizations. Feeling threatened by the swell of immigrants and by the changing roles of women, these groups hoped that the library would offer an alternative to the saloons frequented by Boston's lower classes. But a statue of a nude woman reveling under the effects of wine from the Roman god Bacchus only deval

Statuette of Bacchus. Unknown

MOVIMIENTO DE DANZA 1911 BRONCE. Author: Auguste Rodin (1840-1917). Location: MUSEE RODIN. France.

Statuette of a Satyr. Unknown

Hercules and Antaeus. Culture: Italian, probably Florence. Dimensions: Height: 11 1/4 in. (28.6 cm). Date: early 16th century.This is a free copy of an ancient marble group that was much admired during the Renaissance. The marble, now in the Palazzo Pitti, Florence, was brought in fragmentary form to the Vatican Belvedere by Julius II and apparently reached the Medici collections as a gift of Pius IV in 1560.1 Before then, the head and right arm of Antaeus and the lower legs of both figures were still missing. Until the restorations were carried out, artists accordingly had license to complete the group following their own fancy. Our sculptor chose to show Antaeus's head thrown back, as did Antico in his two statuettes of the composition (in Vienna and in the Victoria and Albert Museum).2 A further innovation in this bronze is the curious placement of the hands of Antaeus.The heavy, solid cast of reddish metal is worked all over by hammer strokes. Sharp creases delineate the fold

Seated Goddess Holding Flowers (Flora) 1550-75 Northern Italian. Seated Goddess Holding Flowers (Flora). Northern Italian. 1550-75. Bronze. Sculpture-Bronze

'Hercules and Lichas'. Italy. Dimensions: height: 42,0 cm. Museum: State Hermitage, St. Petersburg.

England,London,Victoria and Albert Museum,The Frog Princess Statue by Gilbert Bayes

Aimé-Jules Dalou (1838-1902). "The hunter". Patinated plaster, around 1898. Museum of Fine Arts of the city of Paris, Petit Palais. Baton, hunter, back, game, mythological, nudite, patter patina, dog, mythology, naked

Satyr Riding a Goat 19th-20th century Manner of Andrea Briosco, called Riccio Italian. Satyr Riding a Goat. Manner of Andrea Briosco, called Riccio (Italian, Trent 1470-1532 Padua). Italian, Padua. 19th-20th century. Bronze; dark brown patina; yellow and green marble base. Sculpture-Bronze

Choosing of the Arrow 1849 Henry Kirke Brown American In 1848, Brown earned a commission for a statuette representing an Indigenous subject from the American-Art Union, a New York organization that distributed art to subscribers by annual lottery. To prepare for Choosing of the Arrow, he traveled to Michigans Mackinac Island in Lake Huron. His visit coincided with a gathering of Chippewa and Ottawa peoples, and he spent much of his time sketching them. The resulting sculpture, an idealized male nude reaching to draw an arrow from the quiver strapped to his back, reveals Browns exacting attention to detail in the subtle handling of the ribcage and the ornamental topknot.. Choosing of the Arrow 19003

Dancer inArabesque. Artist: Edgar Degas, French, 1834-1917

Hercules and Cacus early 17th century Central Italian The group illustrates a passage of Greek mythology narrated in Book VIII of Virgil's Aeneid: Hercules, after having killed Giryon, takes the latter's oxen to the Tiber. Cacus then attempts to steal the oxen, but is slain by Hercules' club.. Hercules and Cacus. Central Italian. early 17th century. Bronze, dark brown patina. Sculpture-Bronze

Young Saint John and the Lamb, c. 1680-1700. Probably by Giuseppe Piamontini (Italian, 1664-1742). Bronze; overall: 43.2 x 33 x 25.4 cm (17 x 13 x 10 in.).

Mercury. Copper alloy. Gallo-Roman. Paris, Carnavalet museum. 51467-6 Copper alloy, scholarship, trade, God, Roman divinity, Gallo-Roman, Gallo-Roman, messenger, statuette

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Bronze statuette of Herakles. Culture: Etruscan, Cività Castellana. Dimensions: Diam.: 3 1/16 in. (7.8 cm). Date: ca. 500-475 B.C..The exquisitely modeled lion-skin knotted about this figure's waist identifies Hercle (Herakles). He probably once held a club in his raised right hand; vestiges of another object are preserved on his left knee. The figure probably decorated a bronze tripod of the type made at Vulci. Herakles may have been represented with Apollo, his opponent in their struggle for the sacred Delphic Tripod, a favorite subject in Greek and Etruscan art in the late sixth and early fifth centuries B.C. and one especially appropriate for a tripod. Museum: Metropolitan Museum of Art, New York, USA.

Satyr Father and Son 18th-19th century After a composition by Joseph-Charles Marin. Satyr Father and Son 207572

St. Christopher ca. 1500 Attributed to Severo Calzetta da Ravenna Italian The saint once supported a Christ child on his left hand.. St. Christopher. Attributed to Severo Calzetta da Ravenna (Italian, active by 1496, died before 1543). Italian, Ravenna or Padua. ca. 1500. Bronze. Sculpture-Bronze

Centaur 17th century Italian. Centaur. Italian. 17th century. Bronze, green marble base. Sculpture-Bronze

Statuette of Apollo. Unknown

The Amazon Modeled 1897 Germany. Bronze . Franz von Stuck

Sol (the Sun), Johan Gregor van der Schardt, c. 1570 - c. 1581 With his left hand, Sol holds a hollow pipe resting on his head. With his right hand, who rests on his hip, he holds a staff. It stands on a wide pedestal, raised at the back. The lion is on this raised part. Water once sprayed out of the lion's mouth, which was led to the mouth from the pedestal through the left front. Probably a channel also runs through the right leg from Sol to the tube on his head. This seems to be closed in the pedestal. Neurenbergcaster: Neurenbergsculptor: Italy bronze (metal) casting With his left hand, Sol holds a hollow pipe resting on his head. With his right hand, who rests on his hip, he holds a staff. It stands on a wide pedestal, raised at the back. The lion is on this raised part. Water once sprayed out of the lion's mouth, which was led to the mouth from the pedestal through the left front. Probably a channel also runs through the right leg from Sol to the tube on his head. This seems to b

Wooden "Mercury" Figure. Dated: c. 1936. Dimensions: overall: 54 x 36.5 cm (21 1/4 x 14 3/8 in.). Medium: watercolor, graphite, and colored pencil on paper. Museum: National Gallery of Art, Washington DC. Author: Elizabeth Moutal.

Model for an Angel, c. 1583-1584. Annibale Fontana (Italian, 1540-1587). Wax on a metal armature, mounted on wood; overall: 54 x 16 x 26 cm (21 1/4 x 6 5/16 x 10 1/4 in.).

Striding Garuda (The Royal Solar Bird). Culture: Cambodia. Dimensions: H. 5 1/4 in. (13.3 cm); W. 3 1/2 in. (8.9 cm); D. 5 in. (12.7 cm). Date: third quarter of the 10th century. Museum: Metropolitan Museum of Art, New York, USA.

ESCULTURA-TENISTA. Author: CRISTINO MALLO-CRISTINO GOMEZ GONZALEZ. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Cyma, bronze figurine of athlete cutting a lock of his hair, from Spina, Emilia Romagna region, Italy

Model pomnika Lotnika. Wittig, Edward (1879-1941), sculptor

Image of Mercury resting on a stone, Anonymous, 1890 - 1940 photograph Naples baryta paper. paint (coating) gelatin silver print (story of) Mercury (Hermes). piece of sculpture, reproduction of a piece of sculpture National Museum

Statuette of Amenopet naming the provider/beneficiary Amenirdis son of Horiaa ca. 800-595 B.C. Third Intermediate Period-Late Period This small figure of Amenopet was elaborately embellished with precious metal inlays. Elaborate inlay around the base depicts symbols of royaly supporting the god. At the front of the base the god's name was placed in a cartouche flanked by winged cobras wearing crowns of upper and lower Egypt and labeled Wadjet and Nekhbet. On either side the goddess Meret and the falcon-headed Souls of Pe and the jackal-headed Souls of Nekhen join in acclamation. On the rear fecundity figures bind the sema-tawy or unificiation emblem.With the assistance of x-rays that penetrate the corrosion, it is possible to fully read the inscription on the top of the base: Amenopet give life to Amenirdis son of Horiaa.. Statuette of Amenopet naming the provider/beneficiary Amenirdis son of Horiaa. ca. 800-595 B.C.. cuperous metal, precious metal inlay. Third Intermediate Period-Late

Bireno and Olimpia 1640-1650 Italy. Bronze, traces of red-gold lacquer . Ferdinando Tacca

Maitreya from Pra Ken Chai 8th Century Cambodian Art Bronze Private Collection

Figure of a warrior, bronze statue, Campania, Italy. Faliscan Civilization, 3rd Century BC.

Bronze statuette of Minerva 2nd century A.D. Roman With dark patina.. Bronze statuette of Minerva. Roman. 2nd century A.D.. Bronze. Mid-Imperial. Bronzes

St. Jerome, 16th century, Meister der Hagerenalteren, 9 7/8 x 4 3/4 x 4 in. (25.1 x 12.1 x 10.2 cm), Plaster, polychromed, Italy, 16th century

'The return of the winner', Eugène Marioton, c. 1850 - C. 1950 bronze (metal) bronze (metal)

France, Languedoc Roussillon, Pyrenees Orientales (66), Ille sur Tet, sacred art museum, saint Jerome

Portia. Italy or Flanders, circa 1660. Sculpture. Bronze on marble base

Saint Sebastian. The tortured Sebastian - persecuted in 3rd-century Rome for his Christian faith - has an elegantly twisted pose, with an almost feminine face. There is no question of the kind of explicit realism that stresses pain and suffering. The Renaissance manifests itself clearly here. The statue originally hung in the hospital of Onze-Lieve- Vrouw in Mechelen, where it was venerated by plague sufferers hoping to be cured.

Neptune 17th-18th century French. Neptune 195732

Statuette of Herakles Holding a Kantharos. Unknown

Ugolino and his Children 1863-1865 France. Bronze . Jean Baptiste Carpeaux

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia09. 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.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia57. 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.

Pierre de Wissant, Auguste Rodin, (1884-1886), group of sculptures, between circa 1884 and circa 1886, Belgian Art

Diana, modeled 1899. Augustus Saint-Gaudens (American, 1848-1907). Bronze; overall: 99.7 x 42.2 cm (39 1/4 x 16 5/8 in.); base: 33 x 33 cm (13 x 13 in.).

Julio González / 'Campesina'. Museum: COLECCION PRIVADA.

Ceres Searching for Persephone. Dated: model 1652, cast probably 1652/1670s. Dimensions: overall: 53.9 x 27.9 x 25.1 cm (21 1/4 x 11 x 9 7/8 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Michel Anguier.

After Andrea Briosco, called Riccio, Bound Satyr Bound Satyr

Statuette of Herakles 5th century B.C. or later Etruscan, Umbrian. Statuette of Herakles 255605

Bodhisattwa; 10th century (901-00-00-907-00-00);

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia38. 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.

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. The doorn puller, sitting on a tree stump. He pulls the thorn from the left foot sole with the right hand that rests on its top leg. The head with the hair hanging into the neck is slightly downstairs and used to the left. The whole on a black lacquered walnut profiled pedestal.

A figure of a sitting old man; Troger, Simone (Fl. 1693-1769); 1693 -1769 (1693-00-00-1769-00-00);

Italy, Apulia, Ugento, Doric capital with a bronze statuette representing Zeus or Poseidon

Inkwell with the Tiber, Romulus and Remus with the She-wolf, and the arms of the Della Rovere, Tiziano Minio (attributed to), c. 1547 - c. 1548 On a rectangular, rejuvenating, plinth -shaped elevation with concave sides, the god is half erected with the legs to the right and with the face whole and the upper body three -quarters are used to the viewer. He thereby supports his right arm on a horn of abundance, while holding a rowing belt with the left hand. Between his slightly built left leg and the left arm that extended above it, the woolvin jumps slanted from the left to one of the boys, who crawls at the front against the right leg of the god and turns it on. The second boy is sitting behind the left knee, keeps the woolvin away with the right hand and has finished the smiling face of the viewer. The god is sitting on a cloak that, slid from the shoulders, the raised thigh and the right lower arms; He has a braided band in the curly hair. The horn of abundance shows a large opening

Inside Cultural History, Kulturhistorische, Museum, Barockhaus, Goerlitz, Goerlitz, Germany, Europe

Emperor Charles V. Dated: 1550/1568. Dimensions: overall: 109 x 56 x 42.1 cm (42 15/16 x 22 1/16 x 16 9/16 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Probably Flemish 16th Century, after a model by Leone Leoni.

Study Models of Parts of the Body, Johan Gregor van der Schardt, after , c. 1560 - c. 1570 Florence terracotta (clay material) Florence terracotta (clay material)

Invocation. Auguste Rodin (France, Paris, 1840-1917). France, first modeled c. 1900, this cast 1986. Sculpture. Bronze

Nuragic civilization. Bronze Era. Statue of musician playing a Launeddas, ancient musical instrument. 8th-7th century. National Arqueological Museum of Cagliarii Sardinia, Italy.

Fountain Figure of Abundance, c. 1530-1540. Germany, Augsburg, 16th century. Bronze; overall: 28.3 x 11.5 x 7 cm (11 1/8 x 4 1/2 x 2 3/4 in.).

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