Imposing Sculptural Forms

Striking sculptures of human form and classical figures in various poses, showcasing both strong emotions and graceful movement in bronze and marble.

Romeo And Juliet Auguste Rodin (1840-1917 French) Marble State Hermitage Museum, St. Petersburg, Russia

The Walking Man (L'homme qui marche). Artist: Auguste Rodin (French, Paris 1840-1917 Meudon). Culture: French. Dimensions: Overall (wt. confirmed): 33 1/2 in., 63 lb. (85.1 cm, 28.6 kg). Founder: Cast by Alexis Rudier (French). Date: modeled before 1900, cast before 1914.A sculptural hybrid with a somewhat complicated history, The Walking Man was made from a cast of a torso that was probably a study for Rodin's Saint John the Baptist Preaching (1878) joined to a cast of the legs from another study for the Saint John. Rodin exhibited a plaster model of the resulting sculpture in his retrospective exhibition in the Place de l'Alma at the time of the Paris Exposition Universal of 1900. Between 1905 and 1907 he enlarged the sculpture and changed the title from A Study for Saint John the Baptist to The Walking Man. A bronze cast from the enlarged model was placed in the French embassy in Rome, then housed in the Palazzo Farnese.The Walking Man displays not only Rodin's fascination with part

Aphrodite. Girolamo Campagna (Workshop of); Italian, 1549-before 1625. Date: 1565-1575. Dimensions: 28 1/2 x 6 x 7 3/4 in. (72.4 x 15.2 x 19.7 cm). Bronze, dark brown patina. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Follower of Michelangelo (Possibly Niccolò Tribolo), Male Nude Standing in a Fearful Pose, probably 1530s Male Nude Standing in a Fearful Pose

Anonymous French. Current love. Sculpture, marble. Nineteenth century. Cognacq-Jay museum. 78874-19 Wing, love, angel, tree, quiver, running, child, marble, nudite, statue, trunk, 19th 19th 19th 19th 19th 19th century, naked

Draped Figure. Giovanni Gia (Attributed to); Italian, 17th century. Date: 1635-1645. Dimensions: 11 1/2 in. (29.2 cm)15 in. (38.1 cm) (including base). Bronze. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Woman Seated in an Armchair Modeled 1898-1908 France. Bronze . Hilaire Germain Edgar Degas

Romeo And Juliet Auguste Rodin (1840-1917 French) Marble State Hermitage Museum, St. Petersburg, Russia

Faun Holding a Goat; Unknown maker, French; France, Europe; 1800s, before 1865; Marble; Object: H: 84.1 cm (H: 33 1/8 in.)

'Prophet Habbakum and an Angel'. Italy, XVII . Dimensions: height: 42,0 cm. Museum: State Hermitage, St. Petersburg.

Hercules. Artist, follower of: Niccolò Roccatagliata, Italian, ca. 1593-1636

Le Terrassier (The Road Builder). Aimé-Jules Dalou (France, 1838-1902)Sèvres Porcelain Manufactory (France, Sèvres, established 1756). 1921, first modeled circa 1895-1901. Sculpture. Stoneware; leather and suede

La Poésie Légère. Artist: James Pradier (French, 1790-1852). Culture: French. Dimensions: Overall (confirmed): 14 3/16 × 6 1/2 × 5 in. (36 × 16.5 × 12.7 cm). Founder: Cast by Delafontaine Foundry. Date: mid-19th century. Museum: Metropolitan Museum of Art, New York, USA.

The Weeping Burgher (Andrieu d'Andres) modeled 1885, cast ca. 1908-9 Auguste Rodin French This is a reduced version of one of the figures of the monumental group The Burghers of Calais (see 1989.407), modeled between 1884 and 1885 and unveiled at Calais in 1895.Rodin sought to represent varying degrees of heroism and grief in The Burghers of Calais. While some figures embody stoic self-sacrifice, others succumb to fear. This figure, unable to disguise his emotional distress, externalizes the suffering of his brethren by grasping his bowed head with massive, outstretched hands.. The Weeping Burgher (Andrieu d'Andres). Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled 1885, cast ca. 1908-9. Bronze, green patina. Sculpture-Bronze

Lucretia second half 16th century Italian, possibly Florence. Lucretia. Italian, possibly Florence. second half 16th century. Bronze. Sculpture-Bronze

Tancerka. Gross, Magdalena (1891-1948), sculptor

. The gestured, viewing pluto stands forward with the right leg, keeps the left hand up and the judge on one of the heads of the hellful dog next to him. A drapery flutters from his right arm behind him.

Study for Galatea modeled ca. 1889, cast before 1912 Auguste Rodin French Rodin challenged sculptural ideals by leaving his figures in varying states of incompletion. In this study for the marble Pygmalion and Galatea, the figure of Galatea emerges gracefully from a shapeless plinth. The truncated and faceless figure evokes the process of artistic formation through expressive fragments.. Study for Galatea. Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled ca. 1889, cast before 1912. Cast plaster. Sculpture

Aimé-Jules Dalou (1838-1902). "Naked woman sitting, arms crossed on the left knee". Patinated terracotta, between 1889 and 1893. Museum of Fine Arts of the City of Paris, Petit Palais. Assisi, arms crosses, naked woman, left knee, nudite, terracotta patinae

Pluto and Persephone (Allegory of Fire). Dated: original marble 1677/1699, bronze cast c. 1693-1716. Dimensions: height: 54.93 cm (21 5/8 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: FRANCOIS GIRARDON.

Orpheus and Cerberus, c. 1765. Ferdinand Tietz (Austrian, 1708-1777). Sandstone ; with base: 304.8 cm (120 in.); base: 38.1 x 102.9 x 102.9 cm (15 x 40 1/2 x 40 1/2 in.); without base: 182.9 x 106.7 x 61 cm (72 x 42 x 24 in.); pedestal: 89.5 x 88.9 x 88.9 cm (35 1/4 x 35 x 35 in.).

Figure of Venus Marina. Unknown

Cupid. Antico worked in Mantua, where for many years he was in the service of the noble Gonzaga family. He specialized in the manufacture of bronze statuettes, whose subject matter and style were modelled on examples from Classical antiquity. This particular statuette may have been intended for the collection of Isabella dEste, the art-loving wife of Francesco Gonzaga.

Naked women's figure standing for a few aquatic plants.

Dancer Adjusting The Shoulder Strap Of Her Bodice Degas, Edgar(1834-1917 French) Bronze Christie's Images, London, England

Image of a sitting child. Image of a sitting child.

St. Jerome, c. 1635, Adam Lenckhardt, Austrian, 1610-1661, 10 1/4 x 5 in. (26.04 x 12.7 cm), Ivory, Germany, 17th century, Through exercise, intense bouts of prayer, and renunciation of food and worldly comforts, Saint Jerome reduced himself to wiry musclethe perfect subject for an artist keen on demonstrating his mastery of human anatomy. His skin stretches over his ribs and his muscles seem almost transparent, as in a medical model. Lenckhardt carved the saint from elephant ivory, which was admired for its similarity to human flesh (as was not a restricted material then, as it is today), to help bring the figure virtually to life.

The Kneeling Female Faun. Auguste Rodin (France, Paris, 1840-1917). France, first modelled circa 1844-1886, this cast 1966 (Musée Rodin 11/12). Sculpture. Bronze

Cupid with a Koenigliche Porzellanmanufaktur (Meissen; 1807/14-1918); XIX/XX (1890-00-00-1910-00-00);

Pluto Abducting Proserpine; After model by François Girardon (French, 1628 - 1715); Paris, France; probably cast in late 18th century; Bronze; 56.5 x 26.4 x 26 cm (22 1,4 x 10 3,8 x 10 1,4 in.)

Venus Marina late 16th century After a model by Girolamo Campagna. Venus Marina. After a model by Girolamo Campagna (Italian, Verona 1549-1625 Venice). Italian, Venice. late 16th century. Bronze, green patina. Sculpture-Bronze

Aimé Jules Dalou, The Espousal (The Passage of the Rhine), model 1890 1892, cast c 1907 The Espousal (The Passage of the Rhine)

Cupid. Dated: 1744. Dimensions: overall: 74.3 × 35.56 × 31.75 cm (29 1/4 × 14 × 12 1/2 in.) gross weight: 75 lb. (34.02 kg). Medium: marble. Museum: National Gallery of Art, Washington DC. Author: Edme Bouchardon.

Saint Sebastian, 1620s or later. Cast after a model probably by Georg Petel (German, c. 1601-c. 1634). Bronze; overall: 53.3 x 20.3 x 16.5 cm (21 x 8 x 6 1/2 in.).

Winter, from a Series of the Four Seasons, Artus Quellinus (II), c. 1680 - c. 1690 Antwerp marble (rock) Antwerp marble (rock)

Man Carrying a Child on His Shoulder late 16th-early 17th century Barthélemy Prieur French The subject is plausibly explained as Orion, the blind titan of myth, whose gaze is directed by the boy Cedalion to the rising sun, which will restore his sight (as in the painting by Nicolas Poussin in our European Paintings galleries). This group is solid cast; the finest example is in the Huntington Library, San Marino, California.. Man Carrying a Child on His Shoulder. Barthélemy Prieur (French, Berzieux ca. 1536-1611 Paris). French, probably Paris. late 16th-early 17th century. Bronze. Sculpture-Bronze

Hercules and the Bull, c. 1820, 5 9/16 x 7 x 5 1/16 in. (14.13 x 17.78 x 12.86 cm), Silver, England, 19th century, This small sculpture of Hercules' seventh Labour, the capturing of the Cretan Bull, was made by an unknown English silversmith in the early 19th century for Prince Augustus Frederick, Duke of Sussex (1773-1843). The only further known cast of this model is kept by Her Majesty the Queen at Buckingham Palace. Originally the silver sculpture would have served as an ornament for the dining table - a particularly appropriate subject whenever beef was served.

Seated Satyr, with an inkwell and a candlestick. Culture: Northern Italian. Dimensions: Overall (confirmed:) 10 × 6 1/4 × 6 1/2 in. (25.4 × 15.9 × 16.5 cm). Date: ca. 1530-40.Bronzes in the Louvre and in the Wallace Collection, London, are virtually identical to this one, except that the horns are differently fashioned in each, and the Linsky bronze bears a special feature--a small rodent--brusquely chased into the tree trunk alongside a bit of sprouting foliage. The candlestick, in the form of a cornucopia, has been broken and mended.It is difficult to say where bronzes of this model were produced. Knowledge of the satyrs by Andrea Riccio is evident, but there is no equivalent in Riccio's oeuvre for the laxity of tooling, as in the ropy channels chased into this satyr's flanks. The workshop of Severo da Ravenna, the attribution proposed by Bertrand Jestaz1 for bronzes of this group, does not offer strong enough analogies. Our artist was best at fashioning grotesque heads, as demon

Artus Quellinus (I), c. 1656

Galatea 1906 Max Klinger Born in Leipzig to a wealthy prominent family, and trained at the academy in Berlin, Max Klinger was an equally gifted painter, printmaker, and sculptor. He worked in a naturalistic figurative style and from it developed an art that was polemical in intent, uncanny in effect, and often controversial in reception.Klinger created Galatea at the height of his artistic fame when he was celebrated in German speaking countries as one of their greatest sculptors. He was best known for his complex polychrome sculptures that were assembled from assorted colored marbles and bronze. The mythical sea-goddess and child seated on a marble throne is Klingers only independent figurative sculpture in silver. In 1906 Klinger presented Galatea as his principle work at the prestigious exhibition of German contemporary art in Weimar.Shown in triumph, Klingers figure of the sea-goddess Galatea resonates with the primal aura of an idol. The subject was familiar to Klingers contemp

Christ on the cold stone.christ on the cold stone.

'Marsias ( )'. Italy, Early 18th century ( ). Dimensions: height: 80,0 cm. Museum: State Hermitage, St. Petersburg.

'Apollino'. Italy. Florence, 18th century. Dimensions: height: 32,0 cm. Museum: State Hermitage, St. Petersburg.

Woman Bathing Her Foot. Dated: early 17th century. Dimensions: overall: 18.7 x 7.9 x 9.2 cm (7 3/8 x 3 1/8 x 3 5/8 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Barthélemy Prieur.

Auguste Rodin, Iris, 1850-1917, plaster.

Infant Bacchus with Grapes 1824 Joseph Gott. Infant Bacchus with Grapes. Joseph Gott (British, Leeds 1786 - 1860 Rome). British. 1824. Terracotta; marble. Sculpture

Bronze group of putti at play by Nicolo Roccatagliata

Jupiter and Antiope, sculpture, Russia, St. Petersburg, Hermitage Museum

Study for "Silence" , c. 1780-89. Attributed to Louis-Philippe Mouchy (French, 1734-1801). Terracotta; overall: 26.5 x 15.3 x 16.4 cm (10 7/16 x 6 x 6 7/16 in.).

Roussel, Paul (n.1867-10-28-D.1928-01-01), dancer (main title), 1887. Terracotta. Petit Palais, Museum of Fine Arts of the City of Paris.

Statuette of a Sleeping Cupid. Unknown

Brother and Sister (Le frère et la soeur) 1890 Auguste Rodin French Rodins older sister, Maria, died in 1862, causing the stricken young sculptor to enter a religious order and abandon his art for many months. Sentimental tenderness is rare in Rodins sculptures; here, it may reflect memories of the lost, sustaining love between brother and sister.. Brother and Sister (Le frère et la soeur). Auguste Rodin (French, Paris 1840-1917 Meudon). French. 1890. Bronze. Sculpture-Bronze

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia26. 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.

Brühl, Augustusburg Castle

Bacchus and Ampelos. Bacchus, the god of wine, fell in love with the young satyr Ampelos. When the latter died in a tragic accident, Bacchus changed him into a vine and made wine from his blood. The chalice in Ampeloss hand refers to this metamorphosis.

Woman and Child (originally Première Impression d'Amour). Dated: model c. 1885, carved c. 1900-1901. Dimensions: overall: 43.2 x 44.4 x 33.1 cm (17 x 17 1/2 x 13 1/16 in.). Medium: marble. Museum: National Gallery of Art, Washington DC. Author: AUGUSTE RODIN.

Bacchante with Infant Faun. Frederick W. MacMonnies; American, 1863-1937; Cast by Jaboeuf et Rouard; Paris, France. Date: 1894. Dimensions: h. 86.3 cm (34 in.). Bronze. Origin: United States. Museum: The Chicago Art Institute, USA. Author: Frederick William MacMonnies.

The Kiss Le Baiser Auguste Rodin (1840-1917 French)

Rondanini Pietà, 1564, the last marble sculpture by Michelangelo Buonarroti Milano, Italy - 03 January 2024: Rondanini Pietà, 1564, the last unfinished marble sculpture by Michelangelo Buonarroti Copyright: xZoonar.com/PaoloxGallox 22133602

The autumn..

Child (one of six) 1750-55 Doccia Porcelain Manufactory Italian. Child (one of six) 210005

Cupid ("L'Amour Falconet") ca. 1758-66 Sèvres Manufactory French The biscuit figure of Cupid was first produced at Sèvres in 1758, the year after Falconet exhibited his marble version in the Salon. The factory began producing bases for the Cupid in 1761, the same year that Psyche, the mate to Cupid, was introduced. This base is inscribed with a quote from Voltaire that reads (in translation): 'Who'er thou art, thy master see: he is, or was, or ought to be'.. Cupid ("L'Amour Falconet") 199610

RiverGod. Artist: Jean-Jacques Caffiéri, French, 1725-1792

The Risen Christ 1596 Model and cast by Antonio Susini The design of this figure goes back to a large marble by Giovanni Bologna, The Risen Christ, made for the Cathedral of Lucca between 1577 and 1579.. The Risen Christ. Model and cast by Antonio Susini (Italian, 1558-1624 Florence). Italian, Florence. 1596. Bronze. Sculpture-Bronze

Bather With Cloak Baigneuse Au Voile 1913-ORIGINAL Renoir, Pierre Auguste(1841-1919 French) Bronze & Black Patin Christie's Images, New York, USA

La Crainte des Traits de l'Amour. Artist: Jean-Louis Lemoyne (French, 1665-1755). Culture: French, Paris. Dimensions: Overall (confirmed): H. 71 3/4 x W. 26 1/4 x D. 36 7/8 in. (182.2 x 66.7 x 93.7 cm). Date: 1739-40.Like most amorous Rococo imagery, this sculpture is erotic yet somehow ambivalent in its meaning. The woman reacts with a startled, self-protective gesture as Cupid suddenly appears, to cast an arrow into her breast. At the same time, her features reveal a hypnotic attraction and her fingers seem to describe playfully the area he wishes to strike.This vision of young love seems distilled for all time even as it shows the stylistic hallmarks of the age in which it was created. The nymph's delicately off-balance pose--exceedingly fetching when viewed from the corners--is a fine piece of Rococo invention. The carving technique, in which the marble seems touched with flickering light, echoes the painting style of the era. The group was commissioned by the duc d'Antin, surint

Silversmith's Art, Italy 20th century. Eugenio Bellosio (1847-1927), Silver-plated tin, female figure-shaped fork handle.

. The Bearded Hercules stands in spread mode with the same knees and with the upper body slightly left and raises antaeus, which he loves the agent with both arms. This lies in opposite direction and tries to free his opponent by leaving his head with the left hand and pulling away with the judge, behind his back, Hercules' arm, leaving its left bone and with the right foot against it Hercules' hip outlet. On base.

Statue of Hermes from La Villa Dei Papiri, Italy, Naples, National Archeological Museum

Reclining Nude, Study for LaMediterranee. Artist: Aristide Maillol, French, 1861-1944

Esquiline Venus, roman copy of greek work

Figurine of a Man

Edgar Degas, The Masseuse, Group, mid 1890s The Masseuse, Group

Highlander Couple Trembecki, Zygmunt (1847 1922)

Cupid ("L'Amour Menaçant") ca. 1761 Sèvres Manufactory French. Cupid ("L'Amour Menaçant") 205249

Vessel with three putti ca. 1720-40 Francesco Bertos Italian. Vessel with three putti. Francesco Bertos (Italian, 1678-1741). Italian, Venice. ca. 1720-40. Bronze, with remains of black lacquer. Sculpture-Bronze

Salt cellar or inkwell with a youth on a sea monster, Taddeo Landini (attributed to), c. 1590 The young man is, completely naked, astride on the winding sea monster with open mouth; The right arm is levied for a lance bump; The left hand is placed on the upper jaw of the sample. Sculptor: Romesculptor: Milaan bronze (metal) The young man is, completely naked, astride on the winding sea monster with open mouth; The right arm is levied for a lance bump; The left hand is placed on the upper jaw of the sample. Sculptor: Romesculptor: Milaan bronze (metal)

Neptune with Dolphin; After Gian Lorenzo Bernini, Italian, 1598 - 1680; probably 17th century (after 1623); Bronze; Object (approx.): H: 55.9 cm (H: 22 in.)

LA FRUTA - 1906. Author: ANTOINE BOURDELLE (1861/1929). Location: MUSEO BOURDELLE. France.

Titans, Support for a Vase, c. 1877. Auguste Rodin (French, 1840-1917), probably by Albert-Ernest Carrier-Belleuse (French, 1824-1887). Glazed earthenware; overall: 37.5 x 38.1 x 38.1 cm (14 3/4 x 15 x 15 in.).

Standing Nude Male 16th-17th century () possibly Italian. Standing Nude Male 203936

Modern Imitation of a Statuette of a Crouching Aphrodite; Europe (); 20th century; Terracotta with traces of polychromy; 22.2 cm (8 3,4 in.)

Anonymous. Candelabra with three lights (belonging to a pair) representing two nymphs supporting three branches of lilies. Chiseled bronze, golden and patinated, white marble. Between 1774 and 1791. Paris, Cognacq-Jay museum. 101701-19

Edgar Degas, Woman Seated, Wiping Her Left Side, 1890s 1911 Woman Seated, Wiping Her Left Side

Bronze statuette of a youth. Culture: Etruscan. Dimensions: H.: 5 5/8 in. (14.3 cm). Date: 6th century B.C..The nudity, short hair, and pose of this youth demonstrate clearly that he represents an Etruscan response to Greek sculptures of the second half of the sixth century B.C. Originally, the figure held something, perhaps a spear or a bow, in his right hand. One characteristic Etruscan feature is that he wears pointed shoes, which are unknown in the related Greek statues. Museum: Metropolitan Museum of Art, New York, USA.

Amphitrite 18th-19th century cast After a model by Michel Anguier. Amphitrite 192730

Eros winged in terracotta (from the front), ancient Greece, 2nd century BC ". Terracotta. Museum of Fine Arts in the city of Paris, Petit Palais. 26983-16 Wing, ancient antiquity, love God, Roman divin, face, helleistic Greece, mythological character, terracotta, mythology

Rosamond P Gray, Figurehead Cassandra Adams, 1935 1942 Figurehead: Cassandra Adams

Thoth, c. 644 BCE - 30 CE, 8 x 2 1/8 in. (20.32 x 5.4 cm), Bronze, Egypt, 8th century BCE - 1st century CE, Ancient Egyptians had a complex society, prospered in the arts, and advanced scientific practices. They also developed sophisticated systems of measuring and writing. The god Thoth, depicted here with the head of an ibisand shown in a nearby case in the form of a baboonwas revered as the god of knowledge, mathematics, and the sciences. He was also considered the scribe to the gods, recording the outcomes of the weighing of the hearts of the deceased, a ritual performed by the god Anubis in a spiritual realm, that determined whether or not the person was worthy of the afterlife.

Hélène Berteaux. "Psyche". Museum of Fine Arts of the City of Paris, Petit Palais. 39308-1 Woman, nudite, Greek mythological character, naked

Boy standing on a seashell mid-15th century Italian, Florence The figure, with his contrapposto pose, shows the pervasive influence of Donatello (ca. 1386-1466).. Boy standing on a seashell. Italian, Florence. mid-15th century. Bronze, dark brown patina. Sculpture-Bronze

Korbeel with a relief woman in draped robe and with a horn of abundance, anonymous, 1550 - 1600 Korbeel of oak. On the console -shaped front piece, a woman in a draped robe and with a horn of abundance, standing on an Acanthus leaf, is sculpted in relief. Coming from a house in the Mandenmakerssteeg in Amsterdam. Northern Netherlands wood (plant material). oak (wood) Korbeel of oak. On the console -shaped front piece, a woman in a draped robe and with a horn of abundance, standing on an Acanthus leaf, is sculpted in relief. Coming from a house in the Mandenmakerssteeg in Amsterdam. Northern Netherlands wood (plant material). oak (wood)

Giovanni Francesco Susini, The Young Saint John the Baptist, c 1610 1630 The Young Saint John the Baptist

'Caunus and Byblis'. Italy. Rome, Third quarter of the 18th century. Dimensions: height: 35,0 cm. Museum: State Hermitage, St. Petersburg.

Statuette of a woman 1st-2nd century A.D. Roman She is completely enveloped in drapery, wearing a chiton and over it a himation, which covers her head.. Statuette of a woman 246681

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia79. 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.

Rider on a rearing horse.

Marsyas Playing the (missing) Double Flute late 16th century probably German. Marsyas Playing the (missing) Double Flute 194911

'Rape of Proserpine'. Italy, 17 century. Dimensions: height: 49,0 cm. Museum: State Hermitage, St. Petersburg.

Cronus Carrying off Two Infants. Lazar Widmann (Bohemia, 1699-1769). Bohemia, circa 1742. Sculpture. Alabaster

Bacchante Met Amor, 1500 - 1550 Italy bronze (metal) Italy bronze (metal)

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