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

Christ at the Column. Artist: Johann Baptist Hagenauer (Austrian, Ainring near Freilassing 1732-1810 Vienna). Culture: Austrian, Vienna. Dimensions: Overall (confirmed): 7 7/8 × 5 1/8 × 3 3/8 in. (20 × 13 × 8.6 cm). Date: ca. 1754-56.This captivating statuette was carved by eighteenth-century Austrian sculptor Johann Baptist Hagenauer. The haunting composition captures Christ in a position of imminent collapse, breathing a last sigh of exhaustion after the flagellation. Theatrically animated small alabaster figures like this one were intended for private devotion. Meant to provoke compassion, they were widely appreciated for the stone's luminosity and skin-like appearance. Museum: Metropolitan Museum of Art, New York, USA.

Wilhelm Lehmbruck, Standing Woman, 1910 Standing Woman

Mercury probably 19th century, after a model of ca. 1741 After a composition by Jean-Baptiste Pigalle French The piece is a cast copy after Pigalle's original model for his celebrated marble Mercury, completed in 1744, in the Musée du Louvre, Paris.. Mercury 192722

Lion felling a bull, from a marble pediment. Culture: Greek, Attic. Dimensions: Overall: 25 3/16 x 7 in. (64 x 17.8 cm)Other: 28 3/8in. (72cm). Date: ca. 525-500 B.C..The original composition, which probably decorated the pediment (triangular gable) of a small building, consisted of two lions felling their prey. The adjoining piece, which the forepart of the right-hand lion and the middle of the bull, was found near the Olympieion in Athens in 1862 and is now in the National Archaeological Museum, Athens. The subject is one of the most popular in Archaic art of all media. It allowed artists to infuse a symmetrical composition with violent movement. It may also have represented the conflict between civilized life and nature, a theme symbolized later by the struggles between Greeks and centaurs. Museum: Metropolitan Museum of Art, New York, USA.

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

Hercules and Achelous statuette, 17th century. Waddesdon Bequest Gallery at the British Museum, London, United Kingdom. Architect: Stanton Williams, 2015.

Flora as Allegory of Spring, Permoser, Balthasar (1651-1732)

Mars Balearicus, 4th-3rd century BC. Son Favar I. Small bronze warrior, Museu regional d'Artà, archaeology room. Artà. Mallorca. Balearic Islands. Spain.

Neptune with a Hippocamp, Jacob Cressant, c. 1746 On a plinth with truncated corners, Neptunus is on the right the hippocamp on the right leg and with the foot of the sideways bent left on its tail. His gesture head is used to the left; The left hand has been put up (for a missing trident), in the right he holds a slip of the cloak in front of him. This falls from the left shoulder and upper arm down to the bottom, mostly covering the back. The Hippocamp, whose mouth is open, lies next to him on the bottom with curved front legs. Amsterdam terracotta (clay material) On a plinth with truncated corners, Neptunus is on the right the hippocamp on the right leg and with the foot of the sideways bent left on its tail. His gesture head is used to the left; The left hand has been put up (for a missing trident), in the right he holds a slip of the cloak in front of him. This falls from the left shoulder and upper arm down to the bottom, mostly covering the back. The Hippocamp, whose mouth is op

'Boy with a Bird'. Roman copy from a Greek original. Ancient Rome, 1st century. Dimensions: h. 46 cm. Museum: State Hermitage, St. Petersburg.

Image of Caritas (La Carità Educatrice) for a dark panel with text, seen from the right; Exhibition acquisitions: international sculpture.

Bronze statuette of Hermes seated on a rock 1st-2nd century A.D. Roman Adaptation of a Greek work of the 4th or 3rd century B.C.Hermes was known to the Romans as Mercury. While his principal character is that of the divine herald, for which he is often represented with the kerykeion (herald's staff), here he holds a purse in his hand, indicating his role as the god of commerce.. Bronze statuette of Hermes seated on a rock 250955 Roman, Bronze statuette of Hermes seated on a rock, 1st2nd century A.D., Bronze, Height: 5 13/16 in. (14.8 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1920 (20.202)

Allegory of Science. Jean Baptiste Carpeaux; French, 1827-1875. Date: 1865. Dimensions: 24 × 36 cm (9 7/16 × 14 1/8 in.). Plaster. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

DESNUDO DE MUJER. Author: HONORIO GARCIA CONDOY (1900-1953). Location: PRIVATE COLLECTION. MADRID. SPAIN.

The Metamorphoses of Ovid Before 1886 Auguste Rodin (1840-1917/French) Bronze, brown patina

Virgins Awaking Cupid. Artist: After a print by William Wynne Ryland (British, baptized London 1732-1783 London); After a painting by Angelica Kauffmann (Swiss, Chur 1741-1807 Rome). Culture: British, Derby. Dimensions: Height: 12 3/8 in. (31.4 cm). Factory: Derby Porcelain Manufactory (British, 1751-1785). Date: ca. 1780.The composition derives from an engraving by William Wynne Ryland (1733-1783), published in 1776, after a painting by Angelica Kauffmann (1740-1807). Museum: Metropolitan Museum of Art, New York, USA.

Limestone temple boy late 5th century B.C. Cypriot Creeping figure holding tortoise.. Limestone temple boy 242335

Crouching female nude early 17th century probably German. Crouching female nude 193627

FAUNO DANZANTE EN BRONCE PROCEDENTE DE LA CASA DE FAUNO DE POMPEYA. Location: NATIONAL MUSEUM OF ARCHAEOLOGY. NEAPEL. ITALIA.

Edgar Degas, Fourth Position Front, on the Left Leg, c 1885 1890 Fourth Position Front, on the Left Leg

Bronze statuette of a votary. Culture: Minoan. Dimensions: H. 7 13/16 in. (19.8 cm). Date: ca. 1600 B.C. or later.Close examination of the patina of this figure indicates that it may be a modern forgery. Museum: Metropolitan Museum of Art, New York, USA.

Bacchus with a Panther possibly 16th-17th century Italian. Bacchus with a Panther. Italian. possibly 16th-17th century. Bronze. Sculpture-Bronze

Figure Group: The Grape Eaters (Les Mangeurs de Raisins) (one of a pair).

Wall Bracket, Minton Ceramics Manufactory, English, established 1796, porcelain, vitreous enamel, A putto, wings outstretched and hands raised, supporting a semicircular shelf with moldings in pte-sur-pte., England, ca. 1890, ceramics, Decorative Arts, wall bracket, wall bracket

Bronze statuette of Aphrodite with silver eyes 3rd-1st century B.C. Greek Aphrodite holds up in contemplation the apple given to her by the Trojan prince Paris as a prize for being the fairest of the Greek goddesses. This poignant image reinforces that distinction but also recalls the cause of the Trojan war. In exchange for the apple, Aphrodite offered Paris the most beautiful woman in the world, Helen, the wife of the Greek king Menelaos. In Classical Greek art, scenes of the myth do not illustrate the apple, which appeared first in the Hellenistic period.. Bronze statuette of Aphrodite with silver eyes. Greek. 3rd-1st century B.C.. Bronze. Hellenistic. Bronzes

Ivory figurines showing sexual foreplay. From China, 19th century.

Funerary Relief with a Hunter; Taras, South Italy; 290 - 250 B.C; Limestone with polychromy; 37.5 × 34 × 7 cm (14 3,4 × 13 3,8 × 2 3,4 in.)

Bacchus and Ariadne; Giuseppe Piamontini (Italian, 1663 - 1744); Florence, Tuscany, Italy; first half of 18th century; Bronze; 40 x 29.5 x 21.6 cm (15 3,4 x 11 5,8 x 8 1,2 in.)

Small The thinker statue Glossy ceramic statue of the thinker Copyright: xZoonar.com/YannxPoirierx 12344304

SALERO DE FRANCISCO I - NEPTUNO Y LA TIERRA - ORO - 1539/1543 - ROBADO EN 2003. Author: BENVENUTO CELLINI. Location: KUNSTHISTORISCHES MUSEUM / MUSEO DE BELLAS ARTES. WIEN. AUSTRIA.

Brother and Sister (Le frère et la soeur). Artist: Auguste Rodin (French, Paris 1840-1917 Meudon). Culture: French. Dimensions: Overall (wt. confirmed): 15 × 8 1/2 × 8 in., 18.7 lb. (38.1 × 21.6 × 20.3 cm, 8.5 kg). Date: 1890.Rodin's 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 Rodin's sculptures; here, it may reflect memories of the lost, sustaining love between brother and sister. Museum: Metropolitan Museum of Art, New York, USA.

Mercury 1575-1625 Italian. Bronze .

Woman Taken Unawares. Dated: late 1880s/early 1890s. Dimensions: overall without base: 41.3 x 24.1 x 16.1 cm (16 1/4 x 9 1/2 x 6 5/16 in.) height (of figure): 41 cm (16 1/8 in.). Medium: yellow brown wax and plastiline. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

David by Donatello. 15th cent. Renaissance period sculpture ITALY.

Large Clenched Hand with Figure. Auguste Rodin (France, Paris, 1840-1917). France, first modelled c. 1907, this cast 1972. Sculpture. Bronze

Follower of Michelangelo, after the Antique, Apollo and Marsyas, c 1495 1535 Apollo and Marsyas

Innocence Protected by Fidelity. Artist: Giovanni Maria Benzoni (Italian, Songavazzo, near Clusone (Lombardy) 1809-1873 Rome). Culture: Italian, Rome. Dimensions: Height: 32 1/4 in. (81.9 cm). Date: 1852.A pendant group, Riconoscenza, depicts a girl repaying her faithful dog by extracting a thorn from its paw. Museum: Metropolitan Museum of Art, New York, USA.

Primitive Man. Artist: Edgar Walter (American, San Francisco, California 1877-1938 San Francisco, California). Dimensions: 13 1/2 x 15 x 15 in. (34.3 x 38.1 x 38.1 cm). Date: ca. 1902-3, cast ca. 1905.In this richly textured depiction of a muscular youth lifting a protesting bear cub by the scruff of its neck, Walter refers to man's evolutionary superiority over beast. In this case, man dominates, even in his baser state, as indicated by the rudimentary loincloth and headdress. This theme was popular with turn-of-the-twentieth-century French and American sculptors responding to contemporary interest in natural selection and evolutionary principles following the publication of Charles Darwin's The Origin of Species in 1859. Museum: Metropolitan Museum of Art, New York, USA.

Genius of the torch of the torch life; Jakimow, Wasilij (1755-1837), Martos, Ivan Pietrowicz (1754-1835); after 1806 (1806-00-00-1831-00-00);

Dancing Boy, c. 1500. Northern Italy, early 16th century. Bronze; overall: 10.4 x 5 x 6 cm (4 1/8 x 1 15/16 x 2 3/8 in.).

Bronze statuette portraying Hercules, from necropolis of Alfedena (Abruzzo region, Italy)

Bacchante 19th century (), after a model of 1774 Imitator of Augustin Pajou French. Bacchante 199055

Lucretia possibly 17th century German This sculpture is one of a number of stylistically related statuettes linked to Conrad Meit. The early seventeenth century witnessed a revival of interest in the style of Albrecht Dürer and his contemporaries. This carving, less refined than a smaller version of the subject in the Museum's collection (17.190.582), is thought by some to date from the so-called Dürer Renaissance.. Lucretia 207031

. .

Two Hands. Modeled 1904; cast 1925. Bronze. 18 x 20 7/8 x 12 3/4 inches (45.7 x 53 x 32.4 cm). Sculpture. Museum: MUSEE RODIN, BUDAPEST, France.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia09. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Seated amor, 'L'amour menaçant', Etienne-Maurice Falconet, 1757

Dancer Holding Her Right Foot in Her Right Hand. Dated: possibly 1900/1911. Dimensions: overall without base: 53.1 x 14.5 x 38.5 cm (20 7/8 x 5 11/16 x 15 3/16 in.) height (of figure): 45.1 cm (17 3/4 in.). Medium: pigmented beeswax, plastiline, metal armature, on wooden base. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

RELOJ DE SOBREMESA-EST IMPERIO-FRANCIA-S XIX-MARCA PEDRO KRAMER-. Location: BANCO HIPOTECARIO. MADRID. SPAIN.

Right corner of a sarcophagus with the myth of the musical contest between the satyr Marsyas and the god Apollo. Culture: Roman. Dimensions: Overall: 24 x 21 x 15in. (61 x 53.3 x 38.1cm). Date: ca. A.D. 210-230.Torso of a man with hands bound and parts of another figure.Marsyas challenged Apollo to a musical contest, and he was flayed alive as punishment after losing. here, he is shown hanging from a pine tree, while a bearded Phrygian slave kneeling at his feet sharpens his knife. Behind Marsyas, another slave tightens the ropes that bind him to the tree. The group showing the flaying is copied from a sculptural group created in the Hellenistic period. Museum: Metropolitan Museum of Art, New York, USA.

COPA DE PLATA CON DECORACION REPUJADA SOBRE FIGURAS DE MARFIL TALLADO REPRESENTANDO UNA BACANAL - SIGLO XVII - BARROCO FLAMENCO. Author: GERARD VAN OPSTAL (1594-1668). Location: MUSEE D'ARTS DECORATIFS. MADRID. SPAIN.

Jean-Pierre Dantan (1800-1869) said Dantan the young. Caricature of the Italian composer and violinist Nicolo Paganini (1782-1840). Patinated plaster, terracotta. 1832. Paris, Carnavalet museum. Italian composer, play violin, musician, pattero patina, terracotta, violinist

Philippe Laurent Roland, Bacchante with a Goat, 1796, cast 1798 Bacchante with a Goat

Theseus Fighting the Centaur Bianor modeled 1849, cast ca. 1867 Antoine-Louis Barye French Barye's thorough grounding in classical prototypes is evident in this highly charged representation of an incident from the battle between the Lapiths and the Centaurs described in Book XII of Ovid's Metamorphoses. Bayre surely knew the series of metopes from the Parthenon depicting the Greek legend, but the death blow delivered by the Greek hero is recognizable as a borrowing from the marble Hercules and a Centaur by the Mannerist sculptor Giambologna in Florence.. Theseus Fighting the Centaur Bianor. Antoine-Louis Barye (French, Paris 1795-1875 Paris). French, Paris. modeled 1849, cast ca. 1867. Bronze. Sculpture-Bronze

'Crying Girl'. France, Middle of the 1890s. Dimensions: h. 26 cm. Museum: State Hermitage, St. Petersburg.

Seated male. Culture: Central Italian. Dimensions: Overall (figure) (confirmed): 15 3/4 × 12 3/4 × 19 1/4 in. (40 × 32.4 × 48.9 cm)Base (confirmed): 10 1/8 in. × 12 1/2 in. × 10 in. (25.7 × 31.8 × 25.4 cm). Date: mid-16th century.A close variant in the museum at Braunschweig is generally attributed to Adrian de Vries, but our example has most often been attributed to Bartolommeo Ammanati, a Florentine sculptor who received part of his training in northern Italy. A distinctly Florentine factor is the pose, derived from Michelangelo's Battle of Cascina. Museum: Metropolitan Museum of Art, New York, USA.

Ismael Smith, bailarines de Vals, 1906. Museo de Cerdanyola.

Statuette "Hope". Dated: c. 1937. Dimensions: overall: 52.5 x 35.6 cm (20 11/16 x 14 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Jane Iverson.

Cupid and Doves. Wedgwood Manufactory; England, founded 1759. Date: 1785-1795. Dimensions: H. 17.8 cm (7 in.); diam. 7.6 cm (3 in.). Stoneware (jasperware). Origin: Burslem. Museum: The Chicago Art Institute, Chicago, USA.

Girl Seated. Henry Moore (1831-1895). Bronze with brown patina. Cast 1957-58. 84.5cm high.

Hercules slaying the Hydra 17th century Italian. Hercules slaying the Hydra. Italian. 17th century. Wood. Sculpture

Dessus-de-Porte of Gypsum with three dancing and music-making women's figures in relief. Frame of oak, anonymous, 1800 Dessus-de-Porte or upper door piece of plaster in a modern oak frame. Three dancing and musician female figures are shown in relief. See also: BK-1957-33-A/C. Northern NetherlandsNetherlands wood (plant material). oak (wood). gypsum Dessus-de-Porte or upper door piece of plaster in a modern oak frame. Three dancing and musician female figures are shown in relief. See also: BK-1957-33-A/C. Northern NetherlandsNetherlands wood (plant material). oak (wood). gypsum

Why Born Enslaved! modeled 1868, carved 1873 Jean-Baptiste Carpeaux Carpeaux portrays the agony of oppression in this bust of an enslaved woman straining against the twisting ropes that bind her. The figure's defiant, uplifted gaze and furrowed brow impart her bitter struggle and longing for self-expression. The sculpture's inscription, translated "Why Born Enslaved!," poses a question that neither absolves nor directly confronts the viewer as it calls attention to the moral debt of slavery. Carpeaux conceived of the bust while designing the bronze fountain of four continents (Fontaine de l'Observatoire, 1868-72), in which a formerly enslaved woman, bearing a broken shackle around her ankle, appears as an allegory of Africa. Carpeaux's apparent horror at witnessing the effects of slavery even twenty years after the 1848 abolition throughout the French empire may have encouraged him to develop the theme as an independent work. The identity of the woman who posed for Carpeaux is unknown,

Jupiter and Juno. Hurdter was a pupil of the celebrated ivory carver David Heschler. He copied this composition, with the mythological divine couple Jupiter (identifiable from the eagle with the lightning bolt in its claw) and Juno, from a ceremonial ivory tankard by his master. He translated Heschlers flat relief into a freestanding group.

Asia ca. 1755-60 Mennecy. Asia 202337

Sarah Jackson, ca. 1765, John Singleton Copley (1738-1815 American), The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California

ESCRIBA SENTADO V DINASTIA. Location: MUSEO DEL LOUVRE-ESCULTURAS. France.

Dancer Moving Forward, Arms Raised, Right Leg Forward (Second State) modeled probably before 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

The Wrestlers, Naples, Italy. Sommer & Behles (Italian, founded 1867, dissolved 1874)

The Farnese Bull Artist Unknown Sculpture State Hermitage Museum, St. Petersburg, Russia

Statue of a Centaur. Unknown

Statuette of Hercules. Unknown

Boy with a Vase. Nevers, France. Date: 1775-1799. Dimensions: H. 8.3 cm (3 1/4 in.). Glass; lampwork (verre de Nevers), metal armature. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Corpus from a Crucifix ca. 1755 Nymphenburg Porcelain Manufactory While Franz Anton Bustelli (Swiss, d. 1763) is best known for the commedia dellarte figures he produced at the Nymphenburg factory (see 1974.356.802), he modeled a very small number of religious figures that are considered his finest and most sophisticated sculptural works. These figures of the crucified Christ, the Mourning Virgin, Saint John, and the Mater Dolorosa are all the more remarkable for being among the earliest works that he made at Nymphenburg. The skill and expressiveness with which they are modeled suggest Bustelli was an experienced sculptor when he arrived at the factory in 1754, although nothing is known of his career prior to that point. It has been suggested by Peter Volk that Bustelli may have trained with the Munich sculptor Johann Baptist Straub (German, 1704-1784),[1 but no evidence has come to light that confirms this plausible hypothesis.This figure of the crucified Christ, often referred to a

Hercules with the Cretan Bull 17th century European. Hercules with the Cretan Bull 203971

Virgin and Child Seated on Clouds with St John the Baptist and an Angel, Jean Mone (follower of), , c. 1540 Mechelen alabaster (mineral) Mechelen alabaster (mineral)

Figure, Capodimonte Porcelain Manufactory, Italian, 1743 - 1759, porcelain, Figural group showing the crowning of Mars., Italy, late 18th century, ceramics, Decorative Arts, sculpture, sculpture

The Singing Man; Der Singende Mann. Ernst Barlach (1870-1938). Bronze with dark brown patina. Conceived in 1928 and cast in 1930. 50cm high. Edition 1/10.

USA, MICHIGAN, NEAR DETROIT, NORTHVILLE, STREET SCENE, SHERRUS ART GALLERY, STATUE

Elderly Peasant with a Basket (Spice-Gatherer), Barthélemy Prieur (follower of), c. 1650 France bronze (metal) France bronze (metal)

Probably Austrian 18th Century, Jubilant Putto (possibly The Infant Christ), c 1750 Jubilant Putto (possibly The Infant Christ)

Anefo photo collection. Vigelunds Kultur Park in Oslo. February 14, 1967. Oslo

Marble statue of Aphrodite loosening her sandal 1st century A.D. Roman Variant of a Greek work of the 3rd or 2nd century B.C.Aphrodite was represented bending down to remove the sandal from her raised left foot. Her outstretched left arm probably held a small figure of Eros, who reached over to her breast. Many versions of this small-scale statue type exist. It was probably a popular votive offering in the Hellenistic period, and it was widely used as decoration in Roman villas.. Marble statue of Aphrodite loosening her sandal. Roman. 1st century A.D.. Marble, Parian . Early Imperial. Stone Sculpture

'Allegorical Figurine of Glory Riding Pegasus'. France, 18th century. Dimensions: 70x52 cm. Museum: State Hermitage, St. Petersburg. Author: ANTOINE COYSEVOX.

Siedząca dziewczyna. Wiciński, Henryk (1908-1943), sculptor

Greek art. Venus. Copy from the original by Praxiteles (400 BC - 326 BC). Marble. Roma, Capitoline museum. Author: PRAXITELES. Location: MUSEO CAPITOLINO. Rome. ITALIA. VENUS CAPITOLINA.

Statues, sculpture, busts and other classical art on display at the Art Gallery of Ontario, Toronto, Ontario, Canada

estatua etrusca, casa de Robert Graves, Ca NAlluny, Fundació Robert Graves, Deià, Mallorca, balearic islands, spain, europe.

Angle of a room with two bronze sculptures and a passage back; Masters of the Bronze of Italian Renaissance. Juno van Giovanni Bandini can be seen in the middle.

Football. Artist: John Rogers, American, 1829-1904

Henri Laurens, Flower Woman, 1942-1967, lost-wax bronze, collection of the Musée National d'Art Moderne - Centre d'Art Georges Pompidou, France.

Cupid playing flute 19th century European or American. Cupid playing flute 185938

Pieta. unknown, sculptor

Diana. Artist: Augustus Saint-Gaudens (American, Dublin 1848-1907 Cornish, New Hampshire). Dimensions: 101 3/4 x 53 1/2 x 14 1/8 in. (258.4 x 135.9 x 35.9 cm). Date: 1892-93, cast 1928.Aware of Saint-Gaudens's desire to model a female nude, the architect Stanford White (1853-1906) gave him the commission for a weathervane for the tower of Madison Square Garden (demolished 1925). The first, eighteen-foot-tall sculpture proved too large and was replaced in 1894 by a streamlined version, five feet shorter. It became one of New York's most popular landmarks, and the sculptor capitalized on its success by issuing numerous reductions. This cast is a half-size model of the second version, produced from a cement cast once owned by White. Saint-Gaudens eschewed the traditional full-bodied interpretation of Diana, the Roman goddess of the moon and the hunt, focusing instead on simple, elegant lines and a strong silhouette. Museum: Metropolitan Museum of Art, New York, USA.

Triumph of Galathea ca. 1755-56 Chelsea Porcelain Manufactory. Triumph of Galathea. British, Chelsea. ca. 1755-56. Soft-paste porcelain. Chelsea Porcelain Manufactory (British, 1745-1784, Red Anchor Period, ca. 1753-58). Ceramics-Porcelain

Diana, the Roman goddess of hunting, by Houdon, 1790. Neoclassical statue.

Cherub with dramatic side lighting on a black background

Antislavery medallion ca. 1787 Josiah Wedgwood British Listen to experts illuminate this artwork's story Listen Play or pause #406. Trade and Empire 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.. Antislavery medallion. British, Etruria, Staffordshire. ca. 1787. Jasperware. Ceramics-Pottery

of 3