Classical Sculptures of Men and Women

A variety of bronze and wax sculptures depicting male and female figures, showcasing classical themes, nudity, and mythological elements.

Simon Miedema, Cast bronze statue of child with wreath on head and flower basket in hand, autumn, from series the seasons, sculpture sculpture bronze metal, cast Series = spring - summer - autumn - winter cupboard furniture furniture crowning Made on behalf of J.P. van der Schilden as crowning box designed by him.

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

The Genius of Cosimo I de Medici ('Medici genius'), Bartolomeo Ammanati, 1556 - 1557 A naked young man - a genius or protective spirit from classical antiquity - sitting on a baluster -shaped pedestal, with under the left arm the symbol of the constellation Capricorn - a Capricorn with a fish tail - and in his vast right hand a sphere of the cosmos. Florence wax. wood (plant material) A naked young man - a genius or protective spirit from classical antiquity - sitting on a baluster -shaped pedestal, with under the left arm the symbol of the constellation Capricorn - a Capricorn with a fish tail - and in his vast right hand a sphere of the cosmos. Florence wax. wood (plant material)

Omphale, Hubert le Sueur (attributed to), c. 1625 - c. 1641 Omphale: female figure, dressed in the lion skin of Hercules. She wears the club that rests on the floor behind her. Her hair sits in the neck in a Wrong, with hanging tresses down to the shoulders. London bronze (metal) casting Omphale: female figure, dressed in the lion skin of Hercules. She wears the club that rests on the floor behind her. Her hair sits in the neck in a Wrong, with hanging tresses down to the shoulders. London bronze (metal) casting

Venus and Cupid. Circle of Jacopo Sansovino (Italian (Venetian), 1486 - 1570)

Simon Miedema, Cast bronze statue of child with wreath on head and flower basket in hand, autumn, from series the seasons, sculpture sculpture bronze metal, cast Series = spring - summer - autumn - winter cupboard furniture furniture crowning Made on behalf of J.P. van der Schilden as crowning box designed by him.

Undine, Albert Ernest Carrier-Belleuse (Anizy-le-Chteau, France, 1824 - 1887) 1875 - 1887

Christ at the Column. Dated: 18th or 19th century. Dimensions: height with base: 21.5 cm (8 7/16 in.) base (diameter, including column): 8.8 cm (3 7/16 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: after François Duquesnoy.

Dancer Looking at the Sole of Her Right Foot (Fourth State) modeled before ca. 1895-1900, 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 controlle

Mars, bronze, Europe, 19th century, sculpture, Decorative Arts, Figure, Figure

Joseph Nollekens, 1737-1823, British, Adonis, 1770s. Terracotta.

Andrea Briosco, called Riccio, Bound Satyr Bound Satyr

Male herm second half 16th century Said to be by Annibale Fontana. Male herm. Said to be by Annibale Fontana (Italian, 1540-1587). Northern Italian. second half 16th century. Bronze. Sculpture-Bronze

Desbois, Jules (n.1851-12-20-D.1935-10-02), Music (main title), 1903. Patinated plaster on a plaster and terracotta base (). Petit Palais, Museum of Fine Arts of the City of Paris.

St Sebastian, anonymous, , c. 1500 - c. 1525 He stands on a versatile ground for a tree trunk with branches. With the left hand he is tied to a branch with the trunk and with the right arm. His head is a little directed to the left. He wears a loincloth, a slop of which depends on. Eastern Netherlands oak (wood) He stands on a versatile ground for a tree trunk with branches. With the left hand he is tied to a branch with the trunk and with the right arm. His head is a little directed to the left. He wears a loincloth, a slop of which depends on. Eastern Netherlands oak (wood)

Shipwrecked. Constantin Emile Meunier; Belgian, 1831-1905. Date: 1885-1895. Dimensions: 35.6 × 43.8 × 31.1 cm (14 × 17 1/4 × 12 1/4 in.). Bronze. Origin: Belgium. Museum: The Chicago Art Institute, USA.

The Death of Hyacinthus. Antoine Etex (France, 1808-1888). France, circa 1829. Sculpture. Bronze

'Venus after Bathing'. Italy. Florence, Early 17th century. Dimensions: height: 33,0 cm. Museum: State Hermitage, St. Petersburg.

Hercules and the Hydra, late 1500s-early 1600s. Northern Europe, late 16th-early 17th century. Bronze; overall: 47.5 x 18 x 18 cm (18 11/16 x 7 1/16 x 7 1/16 in.).

Venus and Cupid, bronze, Europe, 19th century, sculpture, Decorative Arts, Figure, Figure

Removal of Proserpine by Pluto ", 18th century. According to a model of Louis-Simon Boizot for the Manufacture de Sèvres, 1786. Ronde-Bosse. Bronze group. Museum of Fine Arts of the city of Paris, Petit Palais. 28845-4 Divin, kidnapping, removing, bronze group, sevres manufacture, Roman mythological character, round-bump, 18th 18th 18th 18th 18th 18th 18th century, mythology

The Walking Man 1895-1905 France. The Walking Man originated from one of Auguste Rodinís early successes, his life-size Saint John the Baptist Preaching of 1878. Rodin made separate plaster studies of the sculptureís components, and much later he returned to the legs of the Baptist, grafting onto them a torso from another composition. In 1900 he exhibited a half-life-size version of this work in plaster, and it made a deep impression on younger artists, notably Henri Matisse. The bronze cast of The Walking Man deliberately preserves the raw stages of artistic creation while elevating the fragmentary and unfinished to a new aesthetic plane.. Bronze . Auguste Rodin

Venus and Cupid late 16th-early 17th century Giambologna Netherlandish. Venus and Cupid. Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, Florence. late 16th-early 17th century. Bronze, remains of reddish-gold lacquer. Sculpture-Bronze

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

Anonymous / 'The Wrestlers'. XVIII century. Serpentine. Museum: Museo del Prado, Madrid, España.

Hercules and Cacus second half 16th century After a model by Michelangelo Buonarroti Italian. Hercules and Cacus. After a model by Michelangelo Buonarroti (Italian, Caprese 1475-1564 Rome). Italian, Florence. second half 16th century. Bronze. Sculpture-Bronze

Albert Bartholomé (1848-1928). "Young girl veiling her face". Golden bronze. Around 1900. Museum of Fine Arts of the city of Paris, Petit Palais. 99298-5 Bronze, bronze gilded, drape, young girl, female nude, nudite, veil, face, sail, 20th XX 20th 20th 20th 20th century

Clay group of Aphrodite and Eros, by Unknown artist, 4th Century, . Italy: Puglia: Taranto: Taranto: National Archaeological Museum. Whole artwork. Female figure standing naked nude drapery/draping sides sholders amor Eros young winged

Spinario (Boy Pulling a Thorn from His Foot) ca. 1500-1520 Northern Italian The model is freely adapted from the famous ancient bronze in the Palazzo dei Conservatori, Rome, showing a youth extracting a thorn from his foot.. Spinario (Boy Pulling a Thorn from His Foot). Northern Italian. ca. 1500-1520. Bronze. Sculpture-Bronze

Venus and Cupid. Dated: c. 1575/1580. Dimensions: overall (height): 124.5 cm (49 in.) gross weight: 264 lb.. Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Follower of Giovanni Bologna.

Saint Sebastian first half 17th century Manner of Pietro Tacca Italian. Saint Sebastian. Manner of Pietro Tacca (Italian, Carrara 1577-1640 Florence). Italian, Florence. first half 17th century. Gilt and patinated bronze. Sculpture-Bronze

At first sight, these two figures appear to be Classical nudes. However, the male figures mocking smile, short horns, pointed ears and tail betray the fact that he is a satyr. His companion is an elegant wood nymph. The satyrs pipes and the nymphs tambourine are references to music and dance, their favourite pastimes in the mythical, idyllic world of Arcadia.

Bronze statue depicting augur, ancient Roman religious official

Figurine of Hercules

Pierre De Wiessant 1884 1884 Rodin, Auguste(1840-1917 French) Bronze & Black Patin Christie's Images, London, England

Girl ca. 1635, base possibly late 1830s Leonhard Kern The calm solid stance, substantial anatomy representation, and subtle movement of this compact little figure are characteristic of styl of Leonhard Kern (1588-1662), who from 1620 onwards specialized in carving statuettes destined for the Kunst- and Wunderkammern, or cabinets of art and curiosities, at the courts of Europe. Finely carved with marvelously precise detail of hair and facial expression, this statuette must certainly be an autograph piece by the master himself. This little girls shortened limbs and long torso are typical features of disproportionate dwarfism. It is disturbing to realize that during the early modern period, pleasure, both high and low, was taken in so-called “anatomical rarities” like dwarfs, giants, hermaphrodites, and twins. And they could be considered beautiful. Indeed, Kerns choice of pose perceptively brings out the curving elegance of her features, the choice of wood enhancing their natural beaut

Statuette of Aphrodite with apple 1st-2nd century A.D. Roman Holding an apple in her left hand; nude.. Statuette of Aphrodite with apple 246682

Attributed to François Duquesnoy, Christ Bound, 1620s Christ Bound

Chronos. Artist: Agostino Zoppo (Italian, ca. 1520-1572). Culture: Italian, Padua. Dimensions: Overall (confirmed): 18 1/2 × 10 × 5 in. (47 × 25.4 × 12.7 cm). Date: mid-16th century.The Renaissance developed the Greek deity Chronos (Saturn in Latin) into the personification we know as Father Time, here presented as a winged elder leaning on a crutch. The oversize hands and the scumbled effect of areas such as the beard, in emulation of Venetian painting, are characteristic of the Paduan sculptor Agostino Zoppo. The style is precisely that of statuettes he cast in relief for a monument of 1547 in the Palazzo della Ragione, which the Paduans thought they were erecting to their native son the ancient Roman writer Titus Livius, apparently without realizing that the older epitaph to which the sculptures were joined actually honors a fourteenth-century freed slave, Tito Livio Halys. Zoppo's bronzes on that monument represent Eternity and Minerva. Our Chronos no doubt comes from the tomb of a

Jupiter and the Sphinx 1868 Auguste Préault French This group is the sculptor's working model for one of two monumental stone sculptures completed in 1870 and still in the garden of the palace at Fontainbleau. Like Venus, the companion sculpture, Jupiter has no precedent in antique iconography and is apparently the original product of Préault's deeply Romantic imagination.. Jupiter and the Sphinx 209020

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.

Frederic Leighton, 1830-1896, British, The Sluggard, ca. 1895. Bronze.

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

Spinario (Boy Pulling a Thorn from His Foot). Culture: Northern Italian. Dimensions: Height: 7 1/2 in. (19.1 cm). Date: ca. 1500-1520.The model is freely adapted from the famous ancient bronze in the Palazzo dei Conservatori, Rome, showing a youth extracting a thorn from his foot. Museum: Metropolitan Museum of Art, New York, USA.

Figure of an Enslaved African Man late 18th century Possibly after a model by Giuseppe Piamontini This tortured figure of an enslaved African man derives from Pietro Taccas sixteenth-century monument known as the "Four Moors" (I Quattro Mori), in Livorno, which commemorated Medici triumphs over the Ottomans in the late sixteenth century. The sculptors sympathetic portrayal of four galley slaves at the base of the pedestal mesmerized viewers after its completion around 1626, even after the Medici lost power over the port city. Smaller figures were subsequently adapted and transformed into bronze and porcelain versions, including examples by Doccia. This piece, possibly made after a model by Giuseppe Piamontini at the end of the eighteenth century, is clearly inspired by Tacca. Far removed from the triumphalist rhetoric of the original monument in Livorno, this arresting porcelain figure foregrounds the physical horrors of the Transatlantic Slave Trade, as the extraordinary human cost

Seated Hercules German, Nuremberg probably first quarter 16th century In this adaptation of the Belvedere Torso, one of the ancient, fragmentary sculptures unearthed in fifteenth-century Rome, the artist has completed the figure and asserted a particularly German style through his vision of Herculess body proportions. View more. Seated Hercules. German, Nuremberg. probably first quarter 16th century. Bronze. Sculpture-Bronze

Paris. Artist: Antico (Pier Jacopo Alari Bonacolsi) (Italian, Mantua ca. 1460-1528 Gazzuolo). Culture: Italian, Mantua. Dimensions: Overall (confirmed): H. 14 5/8 x W. 7 3/8 x D. 7 3/4 in. (37.1 x 18.7 x 19.7 cm); Alternate dimensions, positioned with legs and chest fully frontal (confirmed): W. 5 3/4 x D. 8 7/8 in. (14.6 x 22.5 cm). Date: ca. 1500-1505.The artist's adopted nickname, Antico, refers to his lifelong work revitalizing and perpetuating the sculpture of antiquity. He is known above all for bronze statuettes of exquisite detail and refinement that reproduce compositions of famous classical statuary. Though a prototype has not been identified, this robust nude-among his largest statuettes-probably represents the Trojan prince Paris deciding which of three goddesses was the most beautiful. He chooses Venus, giving her his golden apple. The smooth flesh, elegantly chased features, and gilt and silvered highlights are good indications of why Antico's best bronzes remain among t

Figural study of a female in draped garments Jacques-Edmé Dumont French late 18th-early 19th century 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). View more. Figural study of a female in draped garments. Jacques-Edmé Dumont (Paris 1761-1844). French. late 18th-early 19th century. Terracotta. Sculpture-Miniature

Hercules in Antaeus, Eugène Lacomblé, 1877 clay clay

Minerva second half 16th century Probably after Benvenuto Cellini Italian. Minerva. Probably after Benvenuto Cellini (Italian, Florence 1500-1571 Florence). Italian. second half 16th century. Bronze. Sculpture-Bronze

Edgar Degas, Woman Taken Unawares, late 1880s early 1890s Woman Taken Unawares

Patera Support: Lasa, 300-175 BC. Italy, Etruscan, 3rd or early 2nd Century BC. Bronze with silver inlays; overall: 21.6 cm (8 1/2 in.).

Hercules and Cacus. Culture: Central Italian. Dimensions: Overall (confirmed): 14 1/8 × 10 × 8 in. (35.9 × 25.4 × 20.3 cm). Date: early 17th century.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. Museum: Metropolitan Museum of Art, New York, USA.

Saint Sebastian. Dated: early 17th century. Dimensions: overall (height): 47 cm (18 1/2 in.). Medium: gilded bronze. Museum: National Gallery of Art, Washington DC. Author: Circle of Hubert Gerhard.

Bronze mirror support in the form of a nude girl. Culture: Greek, Laconian. Dimensions: H. 8 5/8 in. (21.9 cm). Date: ca. 540-530 B.C..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. Museum: Metropolitan Museum of Art, New York, USA.

Charles Cumberworth, The Indian Huntress (La chasseresse indienne), model by 1841, cast 1840s The Indian Huntress (La chasseresse indienne)

Pocałunek. Rodin, Auguste (1840-1917), sculptor

Amphitrite 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

Bronze statuette of a satyr dancing 2nd century B.C. Greek Similar to the statuette in the National Museum of Naples. The spirit of mirth is admirably represented in the laughing face.. Bronze statuette of a satyr dancing 248160

Camel and riders. Culture: Nabataean. Dimensions: 4 1/4 × 3 3/4 × 1 5/8 in. (10.8 × 9.5 × 4.1 cm). Date: ca. 1st century B.C.-1st century A.D.. Museum: Metropolitan Museum of Art, New York, USA.

Figure of Venus. Eastern Mediterranean, Roman, 1st-2nd century A.D.. Sculpture. Bronze

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.

Virgin and Child with Angels late 16th century Italian, Venice. Virgin and Child with Angels. Italian, Venice. late 16th century. Bronze. Sculpture-Bronze

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Auguste Celesinger (1814-1883). "Greek dancer brandishing cymbals". Plaster. Paris, house of Victor Hugo. 101962-21 Platre, statue, 19th 19th XIX 19th 19th 19th century

Boxer, 100-30 BC. Greece, Greco-Roman Period, late Ptolemaic Dynasty. Bronze. solid cast, with copper inlays; overall: 21 x 11 cm (8 1/4 x 4 5/16 in.).

. Figure of a man next to a ton. On cut-away low pedestal.

Woman Seated, Wiping Her Left Hip. Dated: 1890s/1911. Dimensions: overall without base: 43.5 x 53.34 x 30.8 cm (17 1/8 x 21 x 12 1/8 in.) height (of figure): 42.3 cm (16 5/8 in.). Medium: pigmented beeswax, shredded fabric, metal lid, wood, rope, cork, on wooden base. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

Circe, 1893. Bronze sculpture. Sir Edgar Bertram Mackennal (d. 1931). .

The Solitude of the Soul. Lorado Taft (United States, 1860-1936). United States, modeled 1901/cast 1994. Sculpture. Bronze

Saint Sebastian 17th century Circle of Master of the Furies Austrian As protector of potential plague victims and soldiers, Saint Sebastian (died ca. 288) was popular with the faithful. The emphasis is on the saints God-given beauty and the exotic material to realize it. The Pretorian is shown shot through with the arrows of his martyrdom. Tears trickle from his eyes as he appears to breathe a last sigh of exhaustion, provoking compassion. A putto is about to crown the martyr with a winners laurel wreath, thus vanquishing his physical suffering. The distinctive style of the so-called Master of the Furies is supremely present and similarly found in the masters name-piece, a Fury statuette in the Kunsthistorisches Museum in Vienna. Listen to experts illuminate this artwork's story Listen Play or pause #92. Saint Sebastian, Part 1 Play or pause #92. Saint Sebastian, Part 2 Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this ti

Study in the Nude of Little Dancer Aged Fourteen (Nude Little Dancer). Dated: c. 1878-1881. Dimensions: overall without base: 69.5 x 29.3 x 30.3 cm (27 3/8 x 11 9/16 x 11 15/16 in.) overall (wood base): 3.5 x 48 x 31.1 cm (1 3/8 x 18 7/8 x 12 1/4 in.) overall (plaster base): 5 x 34.6 x 26.8 cm (1 15/16 x 13 5/8 x 10 9/16 in.). Medium: red wax and plastiline. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

The Abduction of Helen by Paris; Giovanni Francesco Susini, Italian, 1585 - 1653; Italy, Europe; 1627; Bronze on an eighteenth century gilt bronze base; Object (including base): H: 67.9 x W: 34.3 x D: 33.7 cm (H: 26 3/4 x W: 13 1/2 x D: 13 1/4 in.), Object (excluding base): H: 49.5 x W: 34.3 x D: 33.7 cm (H: 19 1/2 x W: 13 1/2 x D: 13 1/4 in.)

Pietà after 1595 Hubert Gerhard German The jarring loss of Christs arm, as well as the awkwardness of his head and Marys right hand, was caused during the casting of this statuette in bronze. Despite the value of the easily reclaimable raw material, the Pietà was never melted down. The reason for this lies in the prestige of its artist and the beauty of his design, which endures even with the castings failure. Working primarily in terracotta, Gerhard never cast his own bronzes. Probably trained in Florence, he enjoyed an exalted reputation in part thanks to his patrons, who included the phenomenally wealthy Fugger family of merchants and Emperor Rudolf IIs brother, Archduke Maximilian III.[Elizabeth Cleland, 2017. Pietà. Hubert Gerhard (Netherlandish, 1540/50-1621, active Germany). German. after 1595. Bronze. Sculpture-Bronze

Pregnant Woman modeled probably ca. 1896-1910, 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

Giuseppe Piamontini, Venus and Cupid, 1711 1724 Venus and Cupid

Bacchant. In so far as is known, this is the last sculpture Adriaen de Vries made. It radiates the virtuoso and idiosyncratic style for which he is so justly famous. The pose of the figure is very dynamic and the body is loosely modelled, lending the bronze a certain sketchiness and spontaneity. In this De Vries was far ahead of his time; sculptors would only adopt this exceptional manner of modelling a few centuries later.

Henri Matisse (Le Cateau-Cambrésis, 1869-Nice, 1954). Small Crouching Nude with Arms (1908). Bronze. 13.6 x 9 x 10 cm. Museum: Museo Nacional Thyssen-Bornemisza, Madrid.

Queen Jadwiga. Fragment of the march to Wawel; Szymanowski, Wacław (1859-1930); 1908-1911 (1908-00-00-1911-00-00);

ESCULTURA.

SAN JUAN BAUTISTA NIÑO SENTADO - SIGLO XVII - ESCULTURA POLICROMADA DE 35cm. Author: ALONZO CANO. Location: FUNDACION RODRIGUEZ ACOSTA. GRANADA. SPAIN. SAN JUAN BAUTISTA NIÑO / SAN JUANITO.

Cupid. Artist: Frederick William MacMonnies (American, New York 1863-1937 New York). Dimensions: 16 1/8 in. height (41 cm) x 8 3/8 in. width (21.3 cm.) x 8 1/4 in. depth (21 cm.). Date: 1898.Along with a number of French contemporaries, Paris-based MacMonnies participated in a late-nineteenth-century revival of interest in polychromy and mixed materials for sculpture. This unique multi-material object features an intricate play of diverse media: a fanciful carved ivory cupid with enameled silver wings surmounts an elaborate base incorporating colored stones, gold, bronze, and wood. MacMonnies derived the composition from his earlier bronze statuette "Standing Cupid" (1895), drawing on Greco-Roman-inspired subject matter, a central theme in his oeuvre from the late 1880s through the 1890s. "Cupid" was designed with the expert input of several French artists, including sculptor Victor Janvier and enameler Fernand Thesmar. Museum: Metropolitan Museum of Art, New York, USA.

Ceres, anonymous, c. 1745 - c. 1749 France bronze (metal) France bronze (metal)

France Lighting the World 1865 France. In 1863 Jean-Baptiste Carpeaux received a major commission for the pedimental sculpture on the south side of the Pavillon de Flore at the MusÈe du Louvre, Paris. For this monumental work, he designed three allegorical figures of France seated on an imperial eagle (a reference to the Emperor Napoleon III), flanked by semi-recumbent nude males representing science and agriculture. These plasters demonstrate Carpeauxís initial conception as it was presented to the commissioning architect; they also reflect his close study of the sculpture of Michelangelo.. Plaster . Jean Baptiste Carpeaux

Blind Homer Led by the Genius of Poetry. Artist: Edward Sheffield Bartholomew (1822-1858). Dimensions: 29 3/4 x 20 3/8 in. (75.6 x 51.8 cm)Framed: 36 1/2 x 27 1/8 x 3 3/4 in. (92.7 x 68.9 x 9.5 cm). Date: 1851.One of many American neoclassical sculptors who worked on Italy during the mid-nineteenth century, Bartholomew had a brief but successful career. "Blind Homer Led by the Genius of Poetry" attests to his command of the illusionistic and technical challenges of relief sculpture. The figures project convincingly as Poetry leads Homer across a plinth. They are dressed in classical garb that clings to their bodies yet falls in stylizing folds, suggesting the pull between realism and idealism often evident in mid-nineteenth-century American sculpture. This relief--and indeed many by Bartholomew and other Americans--reflects the profound influence of Italian sculptor Antonio Canova, especially in the crisp linearity of form and refined carving. The marble is surrounded by its original

Infant St John The Baptist, 1600-1625. Spanish School

Miguel Blay y Fábrega / 'The Blossoming of Love'. 1905. Carrara marble. Museum: Museo del Prado, Madrid, España.

Child with a Cage Artist Unknown

Orpheus, early 1860s. Albert-Ernest Carrier-Belleuse (French, 1824-1887). Bronze; overall: 30.1 x 36.7 x 15.2 cm (11 7/8 x 14 7/16 x 6 in.).

Imitator of Honoré Daumier, The Dandy (Le dandy), model probably after 1860, cast around June 1951 The Dandy (Le dandy)

'Boy with Grapes'. Italy, Second half of 18th Century. Dimensions: height: 57,0 cm. Museum: State Hermitage, St. Petersburg.

Mercury, Hendrik de Keyser (I), 1611

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia77. 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.

Teucer, Brother of Ajax. William Hamo Thornycroft; English, 1850-1925. Date: 1881. Dimensions: H. 203.2 cm (80 in.); base diam. 68.6 cm (27 in.). Bronze. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Mars (one of a pair) second half 16th century Style of Danese Cattaneo Italian. Mars (one of a pair). Style of Danese Cattaneo (Italian, ca. 1512-1572). Italian, Venice. second half 16th century. Bronze. Sculpture-Bronze

. Alongside all manner of classical and mythological subjects, the French court sculptor Prieur also made a few figurines representing daily life. With this elegant couple he played with the unequal standing of the figures: the dashing, urban lord versus the simple country lass holding a basket and an apple. The electric erotic tension between them can be read from their gestures and attributes - gloves and an apple.

Reliquary Statuette of Saint Christopher ca. 1375-1425 French Venerated from the early centuries of Christianity, Saint Christopherwhose name means "Christ-bearer"was honored as the protector of travelers. According to "The Golden Legend," Christopher ferried a small child across a river. As he did so, the child's weight grew increasingly heavy. When Christopher complained that it seemed as if he had carried the weight of the world, the child replied, "Wonder not, Christopher, for not only has thou borne the whole world upon thy shoulders, but Him who created the world. For I am Christ thy King." In this imposing statuette-reliquary, Christopher strides through the water, twisting as he turns to look at the Christ Child, who holds an orb in reference to his dominion. The small leaves sprouting from the top of Christopher's staff are a harbinger of the miracle promised by Christthat if the saint, upon his return home, planted the staff in the ground, it would bear leaves and fruit in

Saint John 1596 Model and bronze cast by Antonio Susini. Saint John. Model and bronze cast by Antonio Susini (Italian, 1558-1624 Florence). Italian, Florence. 1596. Bronze. Sculpture-Bronze

The Sacrifice of Isaac, anonymous, Pieter Coecke van Aelst (I) (rejected attribution), c. 1540 - c. 1550 On an uneven bottom, Abraham stands to the left, with spread legs and lifted right arm, behind Isaac, who with the back to him, the arms crossed, and with a knee on the floor, and whose blindfolded head he with the left hand he pushes down. To the left of Izaäk is the altar, on which a fire burns and for which there is a lamb with unions of legs. A branch forest spread between Abraham's feet; The fingers of the lost angel on his lifted right -lottery. Abraham carries close -fitting pants under a tunic with a tuned sleeves, the pipes of which reach under the knees; Furthermore, one of the right shoulder -hanging cloak, which has been suspended by a tire around the medicine, and a hat; Izaäk a shirt suspended around the medicine, which has been closed on one side with a knot but slid off the shoulders. sculptor: Brabantsculptor: Brussels oak (wood) gilding On an uneven bottom, Abraham

Statue of Hermes Vatican Museum Roman copy of a 4th century BC Greek original sculpture Rome Italy Europe EU

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