Historical Sculptural Works

A selection of sculptures from various periods, including terracotta and wood, depicting religious and mythological figures with detailed craftsmanship.

Alexandre Falguière (1831-1900). Woman sitting. Terracotta. 1851-1900. Museum of Fine Arts of the City of Paris, Petit Palais. FEMME

Pisa school. "Sainte Catherine d'Alexandrie". Rock. 14th century. Museum of Fine Arts of the City of Paris, Petit Palais. 71433-25 School of Pisa, Martyr, Peter, Holy, Virgin

Alexandre Falguière (1831-1900). Woman sitting. Terracotta. 1851-1900. Museum of Fine Arts of the City of Paris, Petit Palais. FEMME

. It stands on a high, rectangular profiled pedestal and looks intended for yourself. In her right hand she holds a book upright, in her left hair attribute, a handcide basket (with roses). On the wavy hair that depends on the shoulders, a wreath of flowers. The released robe, which released the points of the footwear, has a wide belt to which a prayer cord hangs; To the neck a pearl necklace in three rows (with reminiscents of the toothed edge), a diamond-shaped pendant. Between parts of the underlet a frontje, bordered by a pearl edge. The sheath hanging from the shoulders is stopped by the left arm.

One of the Set of the Four Evangelists: John. Alessandro Vittoria; Italian, 1525-1608. Date: 1575-1585. Dimensions: H. 58.7 cm (23 1/8 in.). Terracotta. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Mortuary Figure of the Zodiac Sign: Boar (Pisces), 500s. China, Northern Wei dynasty (386-534). Gray earthenware with traces of slip; overall: 22.6 cm (8 7/8 in.).

Virgin and Child early 16th century South Netherlandish. Virgin and Child. South Netherlandish. early 16th century. Wood, paint. Sculpture-Wood

Hannah Moore 1815-1825 England. Biscuit porcelain . Herbert Minton and Company

Lady ca. 1745 Thomas Whieldon factory, Stoke-on-Trent, Fenton Vivian, Staffordshire. Lady. British, Staffordshire. ca. 1745. Salt-glazed stoneware. Thomas Whieldon factory, Stoke-on-Trent, Fenton Vivian, Staffordshire. Ceramics-Pottery

Virgin and Child early 16th century South Netherlandish. Virgin and Child. South Netherlandish. early 16th century. Oak, painted and gilded. Made in Brussels. Sculpture-Wood

Spring in the guise of Flora (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 and Priapus (see 1990.53.2), carved in an energetic, rustic fashion, symbolize the abundance of nature in spring and autumn.. Spring in the guise of Flora (one of a pair). Pietro Bernini (Italian, 1562-1629). Italian, Rome. 1616-17. Marble. Sculpture

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

Funeral Figure of a Pregnant Lady. Graffigure of pottery, with remains of painting in red, white and black. The figure is in the form of a sitting, pregnant woman.

Leonet cappello (1875-1942). "Réjane state (sur School Gray)". Paris, carnavalet Musée. 34718-16 French actress, Comedian, woman, statuette

Isis-Aphrodite with Egyptian vulture cap ca. A.D. 161-180 Roman Period Images of Aphrodite wearing the Egyptian vulture cap are attested from Egypt and Syria. This statuette of the goddess may have been made in the image of the Roman Empress Faustina Minor, wife of Marcus Aurelius.. Isis-Aphrodite with Egyptian vulture cap 571990

Netsuke of Ono no Komachi (834-900) late 19th century Japan. Netsuke of Ono no Komachi (834-900). Japan. late 19th century. Wood. Meiji period (1868-1912). Netsuke

Mahasiddha Manibhadra Under a Mango Tree with an Evicerated Dog 1201-1400 Nepal. Terracotta .

. Image of a man with curly hair, a long jacket and heavy shoes with heels. In his hands he wears a small elephant position. Traces of black and red polychromy.

Bronze statuette of Tyche (Good Fortune). Culture: Roman. Dimensions: H. 4 in. (10.2 cm). Date: 1st century A.D..Reduced version of a Hellenistic statue of the early 3rd century B.C. by the sculptor Eutychides. Museum: Metropolitan Museum of Art, New York, USA.

Female Musician 618 CE-906 CE China. Earthenware with polychrome pigments .

Mourner. Culture: Franco-Netherlandish. Dimensions: Overall: 15 1/4 in. (38.7 cm). Date: early 20th century (original dated 1450-53). Museum: Metropolitan Museum of Art, New York, USA.

Virgin and Child (from the church of Saint Martin ofAngers), ca.1185-95, Polychrome limestone, 139.7 × 43.1 × 42.5 cm, 759.78 kg (55 × 16 15/16 × 16 3/4 in., 1675lb.), Onview, French,Angers, 12thcentury, Sculpture

Terracotta statuette of an emaciated woman 1st century B.C. Greek, Asia Minor, Smyrna This statuette of an emaciated woman with elongated proportions is a striking portrayal of the human condition. At first glance, she looks like an old woman, with her bony frame and sagging, ill-shapen breasts that hang above her slightly bulging belly. But her statuesque contrapposto pose, diaphanous dress that slips off her right shoulder, and the style of her hair, which is worn long and down, suggest that she is a young woman who is suffering from a debilitating disease.. Terracotta statuette of an emaciated woman 245538

Meissen Porcelain Manufactory, Possibly Clio or Calliope, c. 1745-55, hard-paste porcelain.

Matka Boska z Dzieciątkiem. Bourdelle, Émile-Antoine (1861-1929), sculptor

Female Saint. She is slightly ahead with the right knee and with the arms next to the body. The robe with V-shaped neck cutting and long sleeves is stopped under the left arm, so that two skirts are still visible at the left shoe point, one of which is deposited with a bonter edge. With the same arm, she also stops the cloak that falls down from the shoulders and over the arms. On the robe, which exhibits three slitts at the neck, a threefold pearl necklace with toothed edge, to which a diamond-shaped pendant; Above the V-shaped neck cutting a damaged front, bounded by a pearl edge. The groove around the skull indicates a now missing crown.

'Madonna and Child'. Italy, Early17th century. Dimensions: height: 49,0 cm. Museum: State Hermitage, St. Petersburg.

Virgin and Child, anonymous, c. 1425 - c. 1500 On a ground, turning into a hexagonally profiled pedestal with arcades and niches, says Maria with bent left knee. On the right arm she wears the, half -lying Christ child, of whom she has a foot in the left hand. The child puts his left hand on Maria's bosom and holds a fruit in the other. Maria's hair appears under the veil, which has been dropped off with a pleated strip. Her robe, pleated around the medium, shows an embroidered round neck deposition. The cloak that has been struck to the left is included under the right arm. The child's shirt with turned sleeves also has embroidered. The front of the pedestal has four rosettes. Moder Maker: Utrecht 'Statue-Squeezer': Deventer (Possible) pipe clay Diepenveen On a ground, turning into a hexagonally profiled pedestal with arcades and niches, says Maria with bent left knee. On the right arm she wears the, half -lying Christ child, of whom she has a foot in the left hand. The child puts h

. She sits with crossed legs on an elevation and holds a lamb against the left hip that she leaves from a bowl in her right hand. Her hair, held by a band, shows a knot on the back of the head; Loose troubles fall on the shoulders. The rebelled rug, which leaves her upper body uncovered, hangs into pleats over the knees.

Layman Bearing Offerings, c. AD 300s. Afghanistan or Pakistan, Gandhara, probably Hadda, late Kushan Period (1st century-320). Stucco; overall: 27.3 cm (10 3/4 in.).

Faith, from the Facade of the Penninckshuis in Deventer, anonymous, c. 1588 Woman bent with her right leg bent. She holds the curved right arm, the left, under which she clamps part of her rug, diagonally down. A cloth hangs in an arc of the back to the waist and then hangs in front of the right thigh. Part of the cloth has been demolished and is stored at the image. Westphalia (possibly) sandstone Penninckhuis Woman bent with her right leg bent. She holds the curved right arm, the left, under which she clamps part of her rug, diagonally down. A cloth hangs in an arc of the back to the waist and then hangs in front of the right thigh. Part of the cloth has been demolished and is stored at the image. Westphalia (possibly) sandstone Penninckhuis

Figurka Izydy z Harpokratesem. unknown, author

Portrait of Josephine de Beauharnais (1762-1814), Empress Vital-Gabriel Dubray (1813-1893). "Portrait of Jos�phine de Beauharnais (1762-1814), Empress". Bronze.

Victory Writing on a Shield 1789 Jean Guillaume Moitte French These are preparatory models for reliefs on the façade of the Palais de Salm-Kyrbourg, today the Palais de la Légion d'Honneur, Paris, one of the great gems of Neoclassical architecture.. Victory Writing on a Shield. French, Paris. 1789. Terracotta. Sculpture

St. John the Baptist; Master of the Harburger Altar (German, active about 1500 - 1515); Germany; about 1515; Partially polychromed limewood; 152.1 x 49 x 30 cm (59 7,8 x 19 5,16 x 11 13,16 in.)

Saint Giles with Wounded Doe. Culture: German. Dimensions: Overall: 13 3/16 x 4 15/16 x 3 5/8in. (33.5 x 12.6 x 9.2cm). Date: 15th century. Museum: Metropolitan Museum of Art, New York, USA.

Jean Carriès (1855-1894). "The infant or girl with puppet". Beige enamelled sandstone ceramics, 1883-1888. Museum of Fine Arts of the City of Paris, Petit Palais. 24844-5 Bebe, beige, ceramic, from 1 to 3 years old, standing, comforter, childhood, child, girl, gres emaille, illpub3, infant, play, toy, puppet, little girl, alone, statuette

Terracotta statuette fragment of a deer sacrificed at an altar to Artemis 2nd century B.C. Greek, Asia Minor This fragment shows a cult statue of Artemis on an altar holding a phiale and a bow. The head and neck of a sacrificial deer, as well as a hand holding a knife, appear at the left. Numerous complete examples of this well documented statuette type allow us to match the hand with the winged figure of Eros. He would have been depicted facing the viewer with his left knee in the small of the deer's back.. Terracotta statuette fragment of a deer sacrificed at an altar to Artemis 245518

Terracotta statuette of a woman. Culture: Cypriot. Dimensions: H. 5 3/4 in. (14.6 cm). Date: ca. 600-480 B.C..The figure represents a votary, or worshipper. Of particular interest is her jewelry, including ear caps and two necklaces. Museum: Metropolitan Museum of Art, New York, USA.

Mingqi: Kinging King ". Terracotta, traces of polychromy. Tang dynasty (618-907). Paris, Cernuschi museum. Chinese art, Chinese ceramic, standing, Tang dynasty, minqqi, guardian king, statuette, funeral substitute, terracotta

Blind Masseur. Japan, 18th century. Costumes; Accessories. Ivory with staining, sumi

Marches Macerata San Ginesio S. Sebastiano. Hutzel, Max 1960-1990 Owner: Museo-Pinacoteca 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.

. Sculpture of animal or man with arm board, sitting on a column. The image belongs to eleven images (BK-NM-144-1 to BK-NM-144-12).

$Terracotta statuette of a woman. Culture: Cypriot. Dimensions: H. 4 7/16 in. (11.3 cm). Date: 3rd century B.C..The solid mold-made figurine is probably a vase attachment. The back is handmade and roughly finished; at the bottom, the fracture slants upward, as if the figure had broken from a corresponding surface, such as the slanting shoulder of a vessel. Museum: Metropolitan Museum of Art, New York, USA.$

Well margelle. Terracotta. China, Tang dynasty. Paris, Cernuschi museum. 72776-18 Asian art, beyond, ancient ceramic, belief, tang dynasty, empire unifies tang, figurine, 9th ixe ixe 9th 9th 9th century, well-well, mingqi, Chinese object, funeral object, model character, Chinese pottery, funeral rite, Statuette, terracotta, 7th VIIE 7th 7th 7th century, VIIIEM VIIIE VIII 8th 8th 8th century, XEME X 10th 10th 10th CENTER

Terracotta statuette of a woman 2nd century B.C. Greek, perhaps from Asia Minor This statuette holds a cloak across its body and crosses its arms in a pose, the so-called "Pudicitia" type, often used for full-scale statues of women in the late Hellenistic period. The pose puts the figurine into the 2nd century B.C. By this time, the mainland Greek workshops no longer produce figurines of this quality, so it is most likely from an Asia Minor workshop.. Terracotta statuette of a woman. Greek, perhaps from Asia Minor. 2nd century B.C.. Terracotta. Hellenistic. Terracottas

Standing Bodhisattva, 1500s. Korea, Joseon dynasty (1392-1910). Wood with lacquer and gold, and metal earrings; overall: 48.6 x 15.6 x 18.2 cm (19 1/8 x 6 1/8 x 7 3/16 in.).

Seated Madonna and Child. Spanish. Date: 1300-1400. Dimensions: 52.7 x 17.8 cm (20 3/4 x 7 in.). Painted wood. Origin: Spanish. Museum: The Chicago Art Institute, Chicago, USA.

Seated boy 3rd-2nd century B.C. Cypriot The figurine is mold-made and hollow. The back is handmade and flattened. The boy sits on drapery spread over the base.. Seated boy 241158

Image of Willem Bilderdijk, poet and historian. 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.

Saint George and the Dragon ca. 1330 Austrian, Vienna Originally made for the interior of Saint Stephen's Cathedral in Vienna, this sculpture was removed during renovations in the early nineteenth century. The saint's body armor, an important transitional type known only from period illustrations and works of art, is protrayed very accurately.. Saint George and the Dragon 34032

Relief of the Holy Family ca. 1160-80 British or North French This exquisite carving, probably originally from a portable altar, is one of the most intimate and sensitive carvings of the Romanesque style in Europe. Here Joseph tenderly embraces Mary and the infant Jesus who are enthroned upon an ass. Rich in symbolism, this ivory has been linked artistically to both England and northern France.. Relief of the Holy Family 467690

Virgin and Child. Culture: French. Dimensions: Overall: 14 3/16 x 4 13/16 x 4 5/8 in. (36 x 12.3 x 11.7 cm). Date: ca. 1200.The enameled book and the engraving of the Virgin's crown and slippers and of the Child's hair are characteristic of Limoges work. Enamels of the type for which Limoges was famous are often preserved in Spain, and, indeed, this work belonged to a Spanish collector in the late nineteenth century. In Spain, neither political revolution nor religious reformation provoked the mass destruction of church property that France experienced. Museum: Metropolitan Museum of Art, New York, USA.

. Sculpture of animal or man with arm board, sitting on a column. The image belongs to eleven images (BK-NM-144-1 to BK-NM-144-12).

Bust of Jacob Willemsen. Joannes de Mol had this portrait of his teacher Willemsen made in the German city of Schretzheim, after an engraving by Reinier Vinkeles. He did this with a specific goal in mind, namely to test the skills of the porcelain worker who was seeking employment at the Loosdrecht factory.

Mirror Handle: Standing Woman ca. 1st century B.C. Pakistan (ancient region of Gandhara). Mirror Handle: Standing Woman 38187

Sculpture of the Saint Catharina..Sculpture of Pipe Earth, representing Saint Catharina with the Sword, The Wheel and the Book.

Nydia, the Blind Flower Girl of Pompeii. Artist: Randolph Rogers (American, Waterloo, New York 1825-1892 Rome). Dimensions: 54 x 25 1/4 x 37 in. (137.2 x 64.1 x 94 cm). Date: 1853-54; carved 1859."Nydia, the Blind Flower Girl of Pompeii" was the most popular American sculpture of the nineteenth century. According to Rogers, it was replicated 167 times in two sizes. The subject was drawn from "The Last Days of Pompeii" (1834), a widely read novel by Lord Edward Bulwer-Lytton, which ends with the eruption of Mount Vesuvius in a.d. 79. Rogers's evocative portrayal of Nydia highlights her heroic attempt to lead two companions out of the burning, ash-covered city. Her closed eyes and staff allude to her blindness, while the hand raised to her ear refers to her acute sense of hearing. The destruction of Pompeii is symbolized by the broken Corinthian capital beside her right foot. Museum: Metropolitan Museum of Art, New York, USA.

Aimé-Jules Dalou (1838-1902). "Hoche". Patinated plaster, around 1900. Museum of Fine Arts of the city of Paris, Petit Palais. EPEE, General Francais, Military, Patre patina, cane

Standing Male Figure with Skirt. India or Pakistan, 1st-2nd century. Sculpture. Terracotta

Minerva and Cupid, Girolamo Campagna, Niccolò Roccatagliata, c. 1600

Portrait-load of Henri Rochefort in augury Gueyton. "Charge portrait of Henri Rochefort in augur". Terracotta, polychrome.

Magus from an Adoration Group, c. 1460-1475. France, possibly Champagne, 15th century. Polychromed limestone; overall: 97.2 cm (38 1/4 in.).

Bronze bust of an Amazon 1st century A.D. Roman In high relief: Amazon or goddess wearing an oriental cap and carrying a sheathed sword.. Bronze bust of an Amazon 255010 Roman, Bronze bust of an Amazon, 1st century A.D., Bronze, H. 14.5 cm. The Metropolitan Museum of Art, New York. Harris Brisbane Dick Fund, 1959 (59.11.16)

Limestone statue of Herakles. Culture: Cypriot. Dimensions: Overall: 21 3/8 x 8 x 2 3/4 in. (54.3 x 20.3 x 7 cm). Date: 2nd half of the 4th century B.C..In the late sixth century B.C. a local Cypriot god was assimilated with the powerful animal-slaying Greek hero, Herakles. On Cyprus he is shown bearded or beardless, wearing a lion's skin and a short tunic and holding a miniature lion in his hand. Herakles was the male divinity most often represented in Cypriot sanctuaries. In the Classical period, King Evagoras of Salamis placed images of Herakles as a Panhellenic hero on his coinage. At the same time the Phoenician kings at Kition identified him with the Phoenician god, Melqart, who was worshiped at Kition. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta statuette of a woman ca. 300 B.C. Cypriot Standing, in Ionic chiton and himation.. Terracotta statuette of a woman 241274

Standing Female Deity. Culture: North India. Dimensions: H. 6 1/4 in. (15.9 cm); W. 4 3/4 in. (12.1 cm); D. 1 7/8 in. (14.8 cm). Date: 3rd-2nd century B.C..Such small goddesses were produced in vast quantities and likely were used for personal devotion. This figure's outstretched arms and wide hips recall the goddesses in the ring stone exhibited nearby. Her face and the rosettes in her hair were produced with molds, while handmade coils were used to craft the earrings, necklace, and girdle. Museum: Metropolitan Museum of Art, New York, USA.

Saint Catherine of Alexandria ca. 1475-1525 Workshop of Jan Crocq South Netherlandish Saint Catherine stands over the crouching figure of Emperor Maxentius who ordered fifty pagan philosophers to refute her Christian faith. First tortured on a spiked wheel that was miraculously destroyed by a thunderbolt, Catherine was finally martyred by decapitation.The sculpture is stylistically related to South Netherlandish artist Jan Crocq, who was active in Lorraine at Bar-le-Duc and at Nancy.. Saint Catherine of Alexandria. Workshop of Jan Crocq (South Netherlandish, before 1465-after 1510). French. ca. 1475-1525. Limestone with traces of paint. Made in Lorraine, France. Sculpture-Stone

Standing Court Lady. Culture: China. Dimensions: H. 15 1/8 in. (38.4 cm). Date: mid-7th century.This figure holds a round implement with strings or ribbons that functioned somewhat like castanets. Museum: Metropolitan Museum of Art, New York, USA.

Enthroned Virgin. Culture: Austrian. Dimensions: 31 5/8 x 23 1/4 x 9 1/4 in., 31lb. (80.3 x 59.1 x 23.5 cm, 14061.5g). Date: ca. 1490-1500.Created in northern Austria along the Danube River, this sculpture is notable for the deep, lyrical carving of the drapery. The current appearance of much of the surface is due to a past restoration that removed layers of over-paint, exposing some areas of gesso and bole, the reddish soft clay used as a base for gold leaf. The delicately applied paint on the Virgin's face is original, and the blue lining of her mantle, painted in intense azurite, retains much of its original appearance. The Virgin's hands, which would have held the infant Jesus, were carved separately and have been lost. The sculpture displays the mastery of the wood carver's art associated with the great altarpieces of the late Middle Ages, and it can be seen in the context of the monumental Kefermarkt altarpiece in Upper Austria, which is dated about 1490-1497. The Virgin was pro

Panel ornament (part of a set) late 17th-early 18th century French. Panel ornament (part of a set) 189798 French, Panel ornament (part of a set), late 17thearly 18th century, Gilt bronze, Overall (confirmed): 12 1/2 x 6 1/8 x 1 1/2 in. (31.8 x 15.6 x 3.8 cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1906 (07.225.510.43)

Statuette of a slepping child (cucullus) with a lamp. Marble. Rome, Tiber. National Roman Museum. Baths of Diocletian. Rome. Italy.

Catharina van Alexandrie. The sacred stands on a versatile plinth with the curved right leg forwards about Maxentius. She stares straight, keeps a book on the left hand and the lost attribute, the sword in the judge. A wound pearl band rests on her, which falls down in long wavy troubles, each ending in a curl. Over a thin suckled with front and long wide, flared sleeves a short-sleeved robe, which frills, and a round, embroidered neck; It is absorbed under the left arm so that the right shoe point is released. The jacket, a slip of which hangs over the left arm, is held together by a double chain with ornamental buttons. To the neck a torso cord with hanger. The Maxentius lying forward holds the left hand under his head and the judge. He wears a long-sleeved robe and a fur lined with knot. On the book a hole.

Girl with cheese ca. 1755 Capodimonte Porcelain Manufactory. Girl with cheese 207322

Alabastre in the form of Korè. Molded terracotta, tower. Rhodes, 560-550 BC Museum of Fine Arts of the City of Paris, Petit Palais. 59234-3 Alabastre, antiquity, Greek-Roman antiquity, ancient art, ceramic, conservation, large Greece, oil, humor, young girl, kore, molding, bird, perfume, ancient period, character, pottery, terracotta, tower, vase, life life VI 6th 6th 6 century AV.J-C., Animal

Buddhist Ascetic, or Lohan. Culture: French, Villeroy. Dimensions: Height: 7 in. (17.8 cm). Factory: Villeroy. Date: ca. 1740. Museum: Metropolitan Museum of Art, New York, USA.

Sketch of floating putto. .

Joann-Joachim Kaendler (1706-1775). Shepherd holding a basket of fruit. Porcelain, 1750. Paris, Cognacq-Jay museum. 79169-25 Shepherd, basket, standing, man, porcelain, statuette, hold, 18th 18th 18th 18th 18th 18th 18th century, animal, dog, fruit

Charlotte Besnard (1854-1931) and Albert-Louis Dammouse (1848-1926). "Salamander". Sandstone. 1903. Museum of Fine Arts of the City of Paris, Petit Palais. Nouveau, hair, woman, naked woman, gres, nudite, salamander, statuette, 20th XXth XX 20th 20th 20 20 20

Terracotta mask of woman to hips probably late 4th-3rd century B.C. East Greek The veiled woman is dressed in a chiton. She holds a flower in her left hand and a dove in her right.. Terracotta mask of woman to hips 252571 East Greek, Terracotta mask of woman to hips, probably late 4th3rd century B.C., Terracotta, 5 3/16 in. x 3 9/16 in. (13.2 cm x 9 cm). The Metropolitan Museum of Art, New York. Gift of The American Society for the Excavation of Sardis, 1926 (26.164.6)

Dancing Woman ca. 1748 Meissen Manufactory German. Dancing Woman 207175

Figure of Astarte; perhaps Northern Syria, Syria; mid-2nd millennium B.C; Glass; 7.2 cm (2 13,16 in.)

. Statuette of faience presenting a boy pulling a thorn out of his foot.

Female ceramic statuette unknotting her boot, National Archaeological Museum, Taranto, Apulia, Taranto, Apulia, Italy, Europe

Putto 1740-1760 Southern Germany. Boxwood .

Kuan Yin. Culture: German, Meissen. Dimensions: Overall (confirmed): 14 3/4 × 4 × 4 1/8 in. (37.5 × 10.2 × 10.5 cm). Factory: Meissen Manufactory (German, 1710-present). Factory director: Böttger Period (1713-1720). Date: ca. 1711.Copied, and possibly cast, from a model in Chinese blanc de chine porcelain, ca. 1700. Museum: Metropolitan Museum of Art, New York, USA.

Figure (England); Attributed to Derby Porcelain Factory (England, GB, United Kingdom); porcelain with polychrome overglaze decoration, gilding

Cupid and infant Bacchus in a group. Culture: British, Chelsea. Dimensions: 3 1/8 × 1 3/8 in. (7.9 × 3.5 cm). Factory: Chelsea Porcelain Manufactory (British, 1745-1784, Gold Anchor Period, 1759-69). Date: ca. 1760. Museum: Metropolitan Museum of Art, New York, USA.

Male character mingqi. Terracotta ; Traces of green glaze and dark brown glaze. Paris, Cernuschi museum. 78843-26 Beyond, belief, figurine, mingqi, funeral object, male character, model character, funeral rite, statuette

Virgin and Child. Artist: Circle of Pierre Biardeau (French, Le Mans 1608-1671 Angers). Culture: Northwestern French. Dimensions: Overall (confirmed): 63 1/2 × 26 5/8 × 22 1/8 in. (161.3 × 67.6 × 56.2 cm). Date: ca. 1640-50. Museum: Metropolitan Museum of Art, New York, USA.

Jain Siddha Bahubali, Entwined with Forest Vines late 6th-7th century India (Karnataka) The oldest Jain image in the Metropolitan Museum's collection also happens to be the earliest known representation of the subject in Jain art, that of Bahubali, a prince who attained the stature of a perfected being (siddha). Although never admitted to the pantheon of twenty-four tirthankaras, he nonetheless attained jina-like status. The legend of Bahubali tells of a prince who renounces violence after coming close to slaying his brother Bharata in a battle of succession and then renounces pride and its expressionviolence to other living creatures. Embracing ahimsa (nonviolence), he meditates in the "body-abandonment" posture in a forest, where he is entwined by vines and hosts birds that nest in his hair until he attains moksha.This diminutive icon is part of a tradition that inspired the largest rock-cut icon in the Indian subcontinent, the Bahubali at Shravana Belgola, in Karnataka, a sixty-foo

Saint Simon 1450-70 Southern Netherlands Southern Netherlands. Saint Simon 460902

Dancing Girl. Culture: Austrian, Vienna. Dimensions: Height: 7 7/16 in. (18.9 cm). Factory: Vienna. Factory director: Du Paquier period (1718-1744). Date: ca. 1740-44. Museum: Metropolitan Museum of Art, New York, USA.

Female Bust, c. 1470-1500. Austria, 15th century. Painted and gilded lindenwood; without base: 47 cm (18 1/2 in.).

Statuette of Arsinoe II for her Posthumous Cult. Dimensions: H. 38.7 cm (15 1/4 in); W. 9.6 cm (3 3/4 in); D. 13.2 cm (5 3/16 in). Date: ca. 150-100 B.C..The inscription on the back of this figure refers to Queen Arsinoe II as a goddess, indicating it was made after 270 B.C. when her cult was established at the time of her death in by her brother and husband, Ptolemy II. Gilding indicating divinity once covered her face, and traces still remain at the edges of her neckline. While the overall frontal pose and disposition of the limbs in this small statue follows Egyptian traditions, the cornucopia the queen holds is a Greek divine attribute, and her corkscrew are strongly associated with Hellenistic traditions in Egypt. Features of the depiction - the small Cupid's bow mouth and the large rounded eyes - are also elements from Greek style. Stylistic comparisons indicate this statue was created in the second half of the second century B.C.Arsinoe's deification is part of the phenomenon of

Saint Barbara. Artist: School of Troyes. Culture: French. Dimensions: Overall: 20 x 7 x 5 1/2in. (50.8 x 17.8 x 14cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Netsuke of Man Riding a Buffalo. Culture: Japan. Dimensions: H. 2 7/8 in. (7.3 cm); W. 1 in. (2.5 cm); D. 1 in. (2.5 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

. The angel floats, one knee raised, the other leg bent back. His hairs blow curly backwards and the cloak (like a deacon) waving as if it has just settled. He has used the head to the right. The right hand disappears behind the coat of arms. The left hand has been lifted and holds a piece of fabric, possibly a partly degraded drapery. The wings follow the shape of the base.

The Crucifixion, c. 1290-1320. France, Paris, Gothic period, late 13th-early 14th century. Ivory; overall: 8.5 x 6.4 x 1.2 cm (3 3/8 x 2 1/2 x 1/2 in.).

Model of a figurehead, anonymous, c. 1796 - c. 1850 scale model Polychromed model of a standing woman on a Scheg on a round pedestal. The Scheg is decorated with cutting work. The woman wears Roman clothing and holds a golden apple in the right hand and two apples in the folds of her scarf in the left hand. Netherlands wood (plant material). paint (coating) (story of) Atalante

Aimé-Jules Dalou (1838-1902). "La Parisienne breastfeeding". Patinated plaster, around 1872. Museum of Fine Arts of the city of Paris, Petit Palais. Breastfeeding, sitting, baby arms, bun, child, mother, nourishing, nudite, Parisian, patterned patina, carry, breast, bare breast, teter, three-quarter view

of 3