Classic Female Figures in Sculpture

A collection of classical sculptures depicting women in elegant poses, often holding symbolic objects like snakes or shields. The works feature intricate drapery and expressive details.

Female Saint, anonymous, c. 1350 - c. 1400 She stands on a ground with the right foot aside and slightly higher than that of the left leg, on which she rests and through which the left hip is slanted. The arms are bent, the head with a chopping gaze hangs a bit forward and to the right. Remains of a crown on the curly hair; From both shoulders, the cloak hangs down the back, runs over the right arm, then struck to the right and is stopped with the left -hand arch, releasing the long rug at the chest and under the knees. Southern Netherlands oak (wood). paint (coating). gilding (material) gilding She stands on a ground with the right foot aside and slightly higher than that of the left leg, on which she rests and through which the left hip is slanted. The arms are bent, the head with a chopping gaze hangs a bit forward and to the right. Remains of a crown on the curly hair; From both shoulders, the cloak hangs down the back, runs over the right arm, then struck to the right and is stopp

Wisdom, Treachery Cuba (1), 1650 - 1651 Sketch of a female figure (prudentia) with the head to the right, standing on the right leg and with the left bent. With the left hand she holds the tail of the snake, which wriggles around her arm. Of the wavy hair, some of which are held together by a pearl necklace with a gemstone in the middle of the front, a jersey falls on the left shoulder. She wears, apart from a finely pleated undercarried, a covering with sleeves that slides off the left shoulder and is held together through the belt running across the chest. The sleeves show a continuous split closed by buttons. Back side almost flat and unprocessed. Amsterdam terracotta (clay material) City Hall of Amsterdam (1655-1808) Sketch of a female figure (prudentia) with the head to the right, standing on the right leg and with the left bent. With the left hand she holds the tail of the snake, which wriggles around her arm. Of the wavy hair, some of which are held together by a pearl necklac

Holy Woman. Artist: Master of Rimini. Culture: North French or South Netherlandish. Dimensions: Overall: 14 1/2 x 6 1/4 x 4 in. (36.9 x 15.9 x 10.2 cm). Date: ca. 1430.Elegant and rhythmic, the expressive drapery of this sculpture of a holy woman closely suggests the style of the Rimini Master. Museum: Metropolitan Museum of Art, New York, USA.

Chinard, Joseph (1756-02-12-D.1813), Liberty (dummy title). Terracotta. Carnavalet museum, history of Paris. freedom. Allegory, woman, naked, drapery, ancient, shield, crown, hive, bee.

Dancer, from the Table Centerpiece "The Scarf Dance" Sculpture; Manufactured by Sèvres Porcelain Manufactory (France); Modeled by Agathon Léonard (b. in Belgium, active in France, 1841-1923); France; biscuit porcelain; H.: 43 cm (16 15/16 in.)

Friesentor Madonna. Cologne, c. 1370-1380. Walnut, polychrome. Schnu_tgen Museum. Cologne, Germany.

Female Saint, anonymous, c. 1350 - c. 1400 She stands on a ground with the right foot aside and slightly higher than that of the left leg, on which she rests and through which the left hip is slanted. The arms are bent, the head with a chopping gaze hangs a bit forward and to the right. Remains of a crown on the curly hair; From both shoulders, the cloak hangs down the back, runs over the right arm, then struck to the right and is stopped with the left -hand arch, releasing the long rug at the chest and under the knees. Southern Netherlands oak (wood). paint (coating). gilding (material) gilding She stands on a ground with the right foot aside and slightly higher than that of the left leg, on which she rests and through which the left hip is slanted. The arms are bent, the head with a chopping gaze hangs a bit forward and to the right. Remains of a crown on the curly hair; From both shoulders, the cloak hangs down the back, runs over the right arm, then struck to the right and is stopp

Jean Jacques Pradier, Chloris Caressed by Zephyr, model 1847, cast 1847 1904 Chloris Caressed by Zephyr

Figure of Medea, c. 1870-1890. W. T. Copeland & Sons (British). Parian porcelain; overall: 33.1 x 14.5 x 10.3 cm (13 1/16 x 5 11/16 x 4 1/16 in.).

Virgin and Child, c. 1340 Maria with child of Wit Italian marble with remains of gilding on the flower that holds Maria and on her crown. Paris marble (rock) gilding Maria with child of Wit Italian marble with remains of gilding on the flower that holds Maria and on her crown. Paris marble (rock) gilding

Diana with hound ca. 1780-90 Ralph Wood the Younger. Diana with hound. British, Burslem, Staffordshire. ca. 1780-90. Lead-glazed earthenware. Ceramics-Pottery

Virgin and Child. Culture: French. Dimensions: Overall (with base): 32 x 9 1/2 x 6 5/16 in. (81.3 x 24.1 x 16 cm)without base: 30 3/8 x 9 3/8 x 5 5/16 in. (77.2 x 23.8 x 13.5 cm)Base: 1 5/8 x 9 1/2 x 6 5/16 in. (4.1 x 24.1 x 16 cm). Date: ca. 1340.This statuette is one of the most elegant images of the Virgin and Child produced in fourteenth-century France. The fine details of the carving as well as of the original gilding make this a most precious document of sculptural style associated with contemporary court patronage. This work may have been the gift of Jeanne d'Evreux (d. 1371), queen of France, to the Cistercian convent of Pont-aux-Dames, located near one of the royal chateaux.The original gilt metal crown is now lost, which explains the smooth rounded surface at the top of the virgin's head. The eucharistic pyx, held in the Virgin's right hand and blessed by the Christ Child, prefigures the Passion. Museum: Metropolitan Museum of Art, New York, USA.

19th century statue in central Barcelona, Spain

Female Figure (probably a Virtue). Circle of Barbarigo Master (Italian)

Edelvrouw, Eugène Lacomblé, 1800 - 1900 clay clay

St Christopher, c. 1430 Image of ivory from Christoffel to the right, the two hands a trunk to clamping and on his left shoulder the naked Christ child with aureool. Christoffel is dressed in a long, partly open cloak at the front with three knots on the left shoulder. It stands on an integral hexagonal pedestal made of wood. Sculptor: Vlaanderenbruges (Possible) Image: Ivory. Base: Wood (Plant Material) cutting Image of ivory from Christoffel to the right, the two hands a trunk to clamping and on his left shoulder the naked Christ child with aureool. Christoffel is dressed in a long, partly open cloak at the front with three knots on the left shoulder. It stands on an integral hexagonal pedestal made of wood. Sculptor: Vlaanderenbruges (Possible) Image: Ivory. Base: Wood (Plant Material) cutting

'Allegory of the Hope'. Italy, 1840. Dimensions: height 70 cm. Museum: State Hermitage, St. Petersburg.

Female figure, copy to Coenraad Meyt, from the tomb in the church in Bourg and Bresse., C. 1400 - c. 1950 Female figure from Ivory, copy to Coenraad Meyt, from one of the figures of the tomb in the church in Bourg and Bresse. ivory cutting Female figure from Ivory, copy to Coenraad Meyt, from one of the figures of the tomb in the church in Bourg and Bresse. ivory cutting

TORSO DE ARTHEMIS DIANA - ESCULTURA HELENISTICA. Location: MUSEO ARQUEOLOGICO-COLECCION. Sevilla. Seville. SPAIN.

TERRACOTA FEMINA. ROMANO. (DEPOSITO: MUSEO ARQUEOLOGICO NACIONAL).

Henry IV (1050-1106), Holy Roman Emperor, 1569 It stands on a profiled, rectangular elevation on the left leg, the right slightly aside; He turns the gesture a little to the right. On the left he has the Rijksappel, on the head the Keizerskroon, including a hat with ear valves. He wears a harness with a skirt of ermine (heraldic indicated), leg protection with decorations of spirals and on the knees lion masks. The imperial cloak with a shoulder collar of Hermelijn (also heraldic indicated) is closed at the neck, falls backwards to the ground, has been absorbed under the right arm, struck to the right and hangs over the left arm on the left arm. The double eagle on the chest. On the pedestal at the front in relief Heinrich Cæsar, on the sides Renaissance (Rolwerk) ornament. Utrecht oak (wood) Maria Church It stands on a profiled, rectangular elevation on the left leg, the right slightly aside; He turns the gesture a little to the right. On the left he has the Rijksappel, on the head

Fortitude 1740-50 Circle of Angelo Piò Italian. Fortitude. Circle of Angelo Piò (Italian, 1690-1770). Italian, Bologna. 1740-50. Terracotta. Sculpture

Marble statuette of a woman. Culture: Roman. Dimensions: H. 16 3/8 in. (41.6 cm). Date: ca. A.D. 138-193.The figure is a reduced version of a type that is known in numerous Roman copies. The inscription on the base of our example gives the name Europa. She is best known as the princess carried off to Crete by Zeus in the form of a bull. Their children were Minos, Rhadamanthys, and Sarpedon. Thanks to depictions in vase-paintings, other representations are known of Europa standing and wrapped in a cloak, rather than seated on the back of a bull. The identity of the work, however, remains a subject of scholarly discussion. Museum: Metropolitan Museum of Art, New York, USA.

Statuette of a Dancer. Unknown

Back Mould of a Virgin and Child, anonymous, c. 1425 - c. 1450 Rearmal for a Maria with child Utrecht pipe clay Utrecht Rearmal for a Maria with child Utrecht pipe clay Utrecht

Rebecca at the Well 1854; carved 1866 Chauncey Bradley Ives Ives, a Connecticut native, modeled "Rebecca at the Well" in his Rome studio in 1854. Like other American expatriate sculptors who worked in a neoclassical style, he derived many subjects from the Bible, especially the Old Testament. In Genesis 24:11-23, Rebecca was chosen to be the bride of Isaac, the son of Abraham, after offering him water she had drawn from a well.In Ives’s youthful figure of Rebecca, he was capitalizing on the renown he had achieved with sentimental images of children. The sculpture would prove to be his most successful work with twenty-five marble replicas sold over a period of forty years. Studio records indicate that half were sold to New York-area clientele, who constituted a ready patronage base, both through their Grand Tour travels to Italy and Ives’s savvy exhibiting and marketing of his work in the United States.. Rebecca at the Well. Chauncey Bradley Ives (1810-1894). American. 1854; carved 186

Saint Bartholomew, 15th century, Evora museum, Evora,Alentejo,Portugal, Europe.

Virgin and Child ca. 1310-20 French This sculpture and another example of the same subject preserved in the church at Saint Die are among the finest representatives of the regional style found in Lorraine in the early fourteenth century.. Virgin and Child. French. ca. 1310-20. Paris limestone, polychromed, gilded. Sculpture-Stone

Statue of Athena. A later version of an original statue of Athena from the end of the 5th century BC showing the Goddess in peplos and a slanting aegis. Late 1st century BC-Early 1st century AD. Acropolis Museum. Athens. Greece.

Autumn in the Guise of Priapus (one of a pair) 1616-17 Pietro Bernini Italian The two terms were made in 1616 by Pietro Bernini (1562-1629) with the assistance of his more famous son, the sculptor Gian Lorenzo Bernini (1598-1680), for Cardinal Scipione Borghese. Each consisting of a half-body merging into a tapering pedestal, they originally stood in the gardens of the Villa Borghese in Rome, at the entrance to the cardinal's Vigna di Porta Pinciana. Appropriately laden with fruits and flowers, the Flora (see 1990.53.1) and Priapus, carved in an energetic, rustic fashion, symbolize the abundance of nature in spring and autumn. Listen to experts illuminate this artwork's story Listen Play or pause #2166. Autumn in the Guise of Priapus 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.. Autumn in the Guise of Priapus (one of a pair). Pietro Bernini (Italian, 1562-16

Four continents 1769 Royal Porcelain Manufactory, Berlin. Four continents 202343

Greek art. The parapet of the Athena Nike temple. Lower part of a Nike once adorning a trophy. 5th century BC. Acropolis Museum. Athens. Greece.

Figurine of a woman with a Polish poke; Unknown Beock workshop; 475-450 BC (-475-00-00--450-00-00);Hirschfeld, Gustaw (1847-1895), Kingdom

TORSO DE SOLDADO - SIGLO I AC. Location: MUSEO NACIONAL DE ARTE ROMANO. MERIDA. Badajoz. SPAIN.

Saint Andrew ca. 1450-60 North French or South Netherlandish These figures, along with five others in the Robert Lehman Collection at the Metropolitan Museum, originally formed part of an altarpiece that included Christ and the twelve apostles.. Saint Andrew. North French or South Netherlandish. ca. 1450-60. Alabaster, with traces of polychromy. Made in Meuse Valley, France or Netherlands

Erechtheion. Tribune of the Caryatids. Statue of the caryatid, female figure supporting the architrave in the south porch. 421-406 BC. Pentelic marble. From Athens, Greece. British Museum. London, England.

MITHRAS TAUROKTONOS - ESCULTURA ROMANA - MITOLOGIA ORIENTAL - RELIGION ROMANA - LUCHA ENTRE BIEN Y MAL - SIGLO II - 93x96x35 cm. Location: MUSEO ARQUEOLOGICO-COLECCION, CORDOBA.

Statue of female figure portrayed as Ceres

Standing Virgin and Child ca. 1470 Attributed to Niclaus Gerhaert von Leyden North Netherlandish Niclaus Gerhaert, a seminal artist of the generation preceding Albrecht Dürers, was presumably born in Leiden and was active in Strasbourg and Vienna, as well as in several cities between them. Three of his signed works are known and only four others, including this sculpture, have been seriously ascribed to him. The statuette expresses a combined sense of drama, monumentality, and elegance through the extraordinarily accomplished carving of the fine-grained wood. The rhythm and balance of the complex drapery folds are set off by fine linear detail and textural contrasts. Among the naturalistic details that subtly enhance the forms is the delicate manner in which the Virgins fingertips press into the chubby flesh of the Child. Intended as an object of private devotion, and part of a long tradition in the use of boxwood for this purpose, it may well have been commissioned by a member of th

Terracotta statuette of a draped woman 3rd century B.C. Greek, Attic The lady holds a fan in her left hand.. Terracotta statuette of a draped woman 248167

Lamp, North Anatolia, Anatolia; 2nd century; Terracotta; 19 × 7 × 9.5 cm (7 1,2 × 2 3,4 × 3 3,4 in.)

Anonymous. Virgin on rue Monge (statuette). Pierre, 1300. Paris, Carnavalet museum. 54147-3 Middle Ages, Pierre, rue Monge, statuette, Veme V 5th 5 arrondissement, Virgin, Medieval

Statue outside of the front entrance to St. Salvators Cathedral Bruges 2013. One of a pair.

Coronation of the Virgin ca. 1460 British. Coronation of the Virgin. British. ca. 1460. Alabaster, paint. Made in Nottingham, England. Sculpture-Stone

The Virgin and Child. Dated: 15th century. Dimensions: overall: 12.8 x 6.1 cm (5 1/16 x 2 3/8 in.) gross weight: 132 gr. Medium: bronze//Medium brown patina. Museum: National Gallery of Art, Washington DC. Author: North Italian 15th Century.

Terracotta statuette of a goddess. Culture: Greek. Dimensions: 24 13/16 in. (63 cm). Date: mid to late 2nd century B.C..This large statuette belongs to a class of statuettes produced to imitate or echo monumental sculptures in bronze or marble. The large scale, baroque style, and quality of execution point to a major coroplastic workshop in Asia Minor, possibly Myrina. The figure most likely represents a deity because of her polos headdress. It has been suggested that she is Tyche, the personification of fortune, who enjoyed widespread popularity in Hellenistic and Roman times. In terms of iconography, however, the pose and arrangement of drapery are more akin to representations of Aphrodite, while this type of polos, characteristic of Persephone, is very different from the mural crowns typically worn by Tyche. Museum: Metropolitan Museum of Art, New York, USA.

Virgin and Child with St Anne from Chełmiec unknown sculptor

The Prophet Balaam, 1575 - 1577 Pre -study in terracotta for one of the sitting prophets of the Santa Casa in the Basilica of Loreto. Rome terracotta (clay material) Pre -study in terracotta for one of the sitting prophets of the Santa Casa in the Basilica of Loreto. Rome terracotta (clay material)

Column Statue of a King. Culture: French. Dimensions: Overall: 45 7/8 × 9 1/4 × 9 1/8 in. (116.5 × 23.5 × 23.2 cm)Other (Column without king): 45 7/8 × diam. 5 1/2 in. (116.5 × diam. 14 cm)Other (weight): 155 lb. (70.3 kg). Date: ca. 1150-60.The royal abbey at Saint-Denis housed the shrine of this national saint. It possessed many of the regalia of the kings of France, and the abbey served as their burial site. Under the energetic Abbot Suger (1122-51) the abbey was rebuilt in a new style that was hailed in the Middle Ages as "the French style" and subsequently called Gothic. This column figure of an unidentified king is the only complete statue to survive from the now destroyed cloister. The jeweled crown and halo distinguish the royal and saintly nature of the figure whose identity may once have been inscribed upon the scroll. Integrating a standing figure with a cylindrical column is one of the distinguishing characteristics of the new Gothic style. Museum: Metropolitan Museum of Ar

Anonymous. "Obedience". Marble. Museum of Fine Arts of the City of Paris, Petit Palais. 145009-16

Roman bronze of a Gaulish prisoner. Artist: Unknown

Female Musician. China. Date: 618 AD-906 AD. Dimensions: 20.6 × 13.1 × 13.2 cm (8 1/8 × 5 3/16 × 5 3/16 in.). Earthenware with polychrome pigments. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Statue of Hera Borghese, Museo Palatino, Palatino, Rome, Lazio, Italy, Europe

Terracotta statuette of a draped woman 2nd century B.C. Greek, Asia Minor This large statuette preserves traces of pink on her drapery and gilding on her diadem. She may come from Myrina, an important center of late Hellenistic terracottas.. Terracotta statuette of a draped woman 251510 Greek, Asia Minor, Terracotta statuette of a draped woman, 2nd century B.C., Terracotta, H.: 11 1/2 in. (29.2 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1924 (24.97.84)

Saint Elzéar ca. 1370-73 French Knight, count, and member of the Franciscan order, Saint Elzéar (1285-1323) lived a life of chastity, prayer, and charity. This work was among the eight sculptural reliefs illustrating his saintly life that decorated his large reliquary tomb, erected in 1373 at the Franciscan church at Apt. The tomb was destroyed in the wake of the French Revolution.. Saint Elzéar 466697

Marble statue of the 'Lover of La Porte' (died 1644) by Michel II Bourdin, (1585 - 1645) a French sculptor born in Orleans in the former province of Orleans. Dated 17th century.

MUSA DE CALIOPE-ESCULTURA DE MARMOL BLANCO DE GRANO FINO LAVADO-COPIA S II DC. Location: MUSEO DEL PRADO-ESCULTURA. MADRID. SPAIN.

Console with female head and wings, console construction element sandstone stone, sculpted Console with female head at the front side wings below the wings curl and horizontal band with round holes. Around the neck wreath of narrow leaves at the bottom of narrow fruit list.

Marble statuette of Dionysos early 3rd century B.C. Greek The god wears Thracian boots, a short chiton, a belted panther skin, and a goatskin worn like a cape, with the forelegs of the goat wrapped around his arms. He can perhaps be identified as Dionysos Melanaigis (of the Black Goatskin), whose cult was introduced into Attica from Boeotia. Pausanias (II.35.1), second century A.D. author of a guide to Greece, mentions a temple to Dionysos Melanaigis in Methana on the Saronic Gulf and states that a music competition was held there in the god's honor every year and that prizes were awarded for swimming races and boat races.. Marble statuette of Dionysos 254996 Greek, Marble statuette of Dionysos, early 3rd century B.C., Marble, H. 19 1/4 in. (48.9 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1959 (59.11.2)

Panel ornament (part of a set) late 17th-early 18th century French. Panel ornament (part of a set) 189796 French, Panel ornament (part of a set), late 17thearly 18th century, Gilt bronze, Overall (confirmed): 12 3/4 x 6 5/8 x 1 3/8 in. (32.4 x 16.8 x 3.5 cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1906 (07.225.510.41)

Canosan Standing Female Figurine. Unknown

John Matulis, Circus Wagon Figure Dancing Girl, 1935 1942 Circus Wagon Figure: Dancing Girl

Limestone statuette of a boy holding a dove 2nd half of the 5th century B.C. Cypriot Male figure in crinkled tunic holding bird.. Limestone statuette of a boy holding a dove 242237

A marble statue of a nymph called Aethuse by Claude Poirier (1656-1729). Dated 17th century.

Terracotta statuette of a draped woman mid-3rd century B.C. Greek, Boeotian The play of this lady's drapery is enlivened by her right arm bent under her garment and her left arm held akimbo. Considerable color is preserved on her hair.. Terracotta statuette of a draped woman 247553

King, from a group of Donor Figures including a King, Queen, and Prince ca. 1350 French These royal donors in prayer may have belonged to an altar or a tomb. Based on comparisons with contemporary portraits, the statuettes may portray Philip VI Valois (d. 1350); his second wife, Blanche of Navarre (d. 1398); and one of their sons, John the Good or Philip of France.. King, from a group of Donor Figures including a King, Queen, and Prince 464367 French, King, from a group of Donor Figures including a King, Queen, and Prince, ca. 1350, Marble, traces of paint & gilding, Overall: 15 3/4 x 5 13/16 x 3 1/16 in. (40 x 14.7 x 7.8 cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1917 (17.190.387)

Mourner ca. 1453 Etienne Bobillet Franco-Netherlandish The tomb at Bourges of Jean, duc de Berry (1340-1416), was begun by Jean de Cambrai and completed by Étienne Bobillet and Paul de Mosselman. For the duke's tomb, his life-size portrait-effigy was placed on top of a sarcophagus, with figures of mourners rendered in high relief along its sides. The idea of surrounding the tomb with such figures most likely derived from an early-thirteenth-century custom of attaching tokens of sorrowful remembrance of the deceased to his sarcophagus. Here the figures may represent specific members of the duke's family. The faces of the mourners are hidden by deep hoods, and their bodies are engulfed by the voluminous cloaks so typical of Burgundian sculpture. The duke's tomb was vandalized during the French Revolution, and the mourner figures were destroyed or dispersed. Of the original forty statuettes, only twenty-five survive, including this impressive example.One of two mourner figures in the coll

Bishop ca. 1500 German. Bishop 464590 German, Bishop, ca. 1500, Oak, Overall: 27 9/16 x 9 1/16 x 7 5/16 in. (70 x 23 x 18.6 cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1917 (17.190.719)

Statuette of a Goddess, probably Ceres or Juno. Unknown

Mercury third quarter 16th century Attributed to Alessandro Vittoria (Alessandro Vittoria di Vigilio della Volpa) Italian. Mercury. Attributed to Alessandro Vittoria (Alessandro Vittoria di Vigilio della Volpa) (Italian, 1525-1608). Italian, Venice. third quarter 16th century. Bronze. Sculpture-Bronze

Statue of Aphrodite (Venus Genetrix Type). Unknown

MITHRAS TAUROKTONOS - ESCULTURA ROMANA - MITOLOGIA ORIENTAL - RELIGION ROMANA - LUCHA ENTRE BIEN Y MAL - SIGLO II - 93x96x35 cm. Location: MUSEO ARQUEOLOGICO-COLECCION. CORDOBA. SPAIN.

FRANCE. Pau. Castle. Statue of Henry IV. Sculpture.

Funerary relief depicting a woman with jewels, from the Valley of the Tombs, Syria. Roman Civilization, 2nd-3rd Century.

Roman Sculptor / 'Fortuna'. 150 - 200. White Carrara marble. Museum: Museo del Prado, Madrid, España. Author: TALLER ROMANO.

Statue of Goddess Venus. 2nd half of 2nd century AD. Roman. Marble. National Archaeological Museum. Madrid. Spain.

Image of Willem Bilderdijk, poet and historian with base. Image of Willem Bilderdijk, standing with left leg to the front. With the right hand he keeps his cloak near the chest. He holds a book in the left hand. To the right next to him a taboo on which two books, paper and a well with pen. He has curly hair, wears a jabot and a shirt with how to board around which a wide cravatte is wounded, kisses and shoes with blunt noses bows. Profiled pedestal, in the middle concave, with a two-pitted cartouche with inscription on the front.

St James the Greater, anonymous, c. 1450 - c. 1500 Utrecht pipe clay Utrecht pipe clay

Statue of the dog-headed Romano-Egyptian god Anubis. Artist: Unknown

The first steps, Eugène Lacomblé, c. 1828 - C. 1905 clay clay

Peasant Girl, anonymous, c. 1670 - c. 1750 It stands on a quadrangular plinth with beveled corners, with the right foot ahead. Her attitude points to a movement to the left, she holds her head in the opposite direction. On the right hand she wears a sleeve, the left sticks in a split of the skirt. A kind of cap on the head with a cloth hanging in the neck. Under the bodice with long sleeves, the shirt is visible at the neck. The long skirt releases the shoe points. A NAP hangs on her left side. sculptor: Northern NetherlandsSouthern Netherlands bronze (metal) casting It stands on a quadrangular plinth with beveled corners, with the right foot ahead. Her attitude points to a movement to the left, she holds her head in the opposite direction. On the right hand she wears a sleeve, the left sticks in a split of the skirt. A kind of cap on the head with a cloth hanging in the neck. Under the bodice with long sleeves, the shirt is visible at the neck. The long skirt releases the shoe points.

Plaque with a Pair of Lovers 14th century North Italian. Plaque with a Pair of Lovers 464258

Terracotta statuette of a standing woman. Culture: Greek, probably Boeotian. Dimensions: H. 6 7/16 in. (16.4 cm). Date: late 4th-early 3rd century B.C..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

Buddha, 3rd century, 55-1/2 x 18-1/2 x 9 in. (141.0 x 47.0 cm), Schist, Pakistan, 3rd century, The Buddha can be recognized by several marks, most prominently the ushnisha, a protrusion on the head that in this sculpture appears as a bun hairstyle, and the urna, a tuft of hair between his eyes from which he emits a ray of light that reveals the whole universe. On the pedestal a meditating Buddha is flanked by Brahma and Indra, two Hindu gods who were incorporated into the Buddhist pantheon as guardian deities.

Statuette of Aphrodite. Unknown

Left wing belonging to the rear panel of the pulpit in the Remonstrant church, relief carvings sculpture sculpture fragment oak wood timber 134,5, cut Carved in the shape of an angel holding up drapery with the right hand Remonstrant church pulpit church remonstrant Rotterdam City Triangle Vissersdijk Remonstrant church on the Vissersdijk Demolished in 1907.

Crucified Christ. Culture: Northern European. Dimensions: Overall: 7 9/16 x 2 1/16 x 1 3/8 in. (19.2 x 5.3 x 3.5 cm). Date: ca. 1300.This is one of the finest surviving medieval images in ivory of the crucified Christ. It is extraordinary in its monumental character and the sensitive rendering of the human body. Stylistically, it accords well with works produced in Paris around 1300, during the reign of King Philip the Fair (r. 1285-1314), but the use of walrus ivory suggests that the sculpture was carved by a Parisian artist (or one who had trained in the French capital) active in England, Scandinavia, or Cologne, where walrus ivory was more readily available than costly elephant tusks. Museum: Metropolitan Museum of Art, New York, USA.

Figure of a woman with corals unknown

'Allegory of the Hope'. Italy, Circa 1686. Dimensions: height: 46 cm. Museum: State Hermitage, St. Petersburg.

3-D recreation of the Olympian gods of the Parthenon frieze. By sculptors from the Tsukuba University, and Tokyo University of the Arts.

Abruzzo, L'Aquila, L'Aquila, Museo Nazionale d'Abruzzo, Italy, 20th century, photo, photography, Europe

Christ as Salvator Mundi, Master Arnt of Kalkar, c. 1480 On a profiled couch, Christ is sitting in choir hood and Albe, including the toes of the right foot. He blesses with the right hand, while the left rest on the globe that lies on the left knee. The head with separate hair and split beard leans slightly to the right. Gets up bronze (metal) On a profiled couch, Christ is sitting in choir hood and Albe, including the toes of the right foot. He blesses with the right hand, while the left rest on the globe that lies on the left knee. The head with separate hair and split beard leans slightly to the right. Gets up bronze (metal)

Kore, perhaps from Chios, Acropolis Museum, Athens , Sculpture, Antiquities. Nicholas Catsimpoolas Collection

Kiss of Victory, 1878-1881, Sir Alfred Gilbert, British, 1854-1934, 89 1/2 in. (227.33 cm), Marble, wooden base, England, 19th century, Alfred Gilbert's commemorative sculpture Kiss of Victory shows a Roman legionary fallen in battle and embraced at the moment of death by the genius or spirit of victory. It is possible that Gilbert began Kiss of Victory as a private memorial to his brother Gordon who had died only months before Gilbert started working on the sculpture. It was designed in Paris, where Gilbert studied at the Ecole des Beaux-Arts. On the encouragement of his professor, Pierre-Jules Cavelier, Gilbert traveled to Rome, where he executed the sculpture in marble.

Statuette 19th century China. Statuette. China. 19th century. Ivory. Qing dynasty (1644-1911). Ivories

Tiberius (42BC - 37 AD) bronze statue wearing the toga, with covered head as a priest. From Herculaneum theatre (37 AD). Naples, Italy.

Bronze statuette of one of Lares deities, From Volubis (Morocco)

Limestone statuette of Pan 310-30 B.C. Cypriot The nebris, knotted on the chest, covers the shoulders. There are goat ears and small horns on the top of the head. A wide mass of hair spreads out above the shoulders.. Limestone statuette of Pan 242285

ESCULTURA DE ANGEL EN MADERA POLICROMADA - SIGLO XVII/XVIII. Location: BANCO URQUIJO (PAL PEÑALBA. Valencia. SPAIN.

Female deity (kore of Eleusus type), restored as a Muse. Late 2nd century copy of a Greek original of the second half of the 5th century BC.

of 3