Medieval Virgin and Child Sculptures

A collection of historical sculptures depicting the Virgin Mary with the Child, showcasing various artistic styles and materials from different time periods.

Virgin and Child on the Crescent Moon, c. 1475 - c. 1500 She has the left foot a little forward and holds the naked, sitting child on the right arm. It turns his head in the direction of the viewer, grabs with one hand to Mary's veil, while the left hand is at the top against her shoulder. Maria wears a robe of sleeves, which depends on the crescent moon, with a rectangular neck cut, where the shirt protrudes above. The wide cloak, tied by tires in front of the breast, is absorbed under the arms and has been struck to the left. One of the head on the shoulders slipped veil with frowned edge folds between her and neck. sculptor: Northern NetherlandsHolland (possibly) oak (wood) She has the left foot a little forward and holds the naked, sitting child on the right arm. It turns his head in the direction of the viewer, grabs with one hand to Mary's veil, while the left hand is at the top against her shoulder. Maria wears a robe of sleeves, which depends on the crescent moon, with a rectan

Virgin and Child ca. 1550-60 Atelier of the Juliots. Virgin and Child 463770

Virgin and Child 14th century French. Virgin and Child 464588 French, Virgin and Child, 14th century, Marble with traces of polychromy, Overall: 36 x 10 1/2 x 7 1/4in. (91.4 x 26.7 x 18.4cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1917 (17.190.717)

The Vision of Joseph. Bernt Notke (Attributed to); German, 1440--1509. Date: 1495-1505. Dimensions: 104.9 x 31.5 x 30.5 cm (41 1/4 x 12 3/8 x 12 in.). Oak with traces of polychromy. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

Virgin and Child on the Crescent Moon, c. 1475 - c. 1500 She has the left foot a little forward and holds the naked, sitting child on the right arm. It turns his head in the direction of the viewer, grabs with one hand to Mary's veil, while the left hand is at the top against her shoulder. Maria wears a robe of sleeves, which depends on the crescent moon, with a rectangular neck cut, where the shirt protrudes above. The wide cloak, tied by tires in front of the breast, is absorbed under the arms and has been struck to the left. One of the head on the shoulders slipped veil with frowned edge folds between her and neck. sculptor: Northern NetherlandsHolland (possibly) oak (wood) She has the left foot a little forward and holds the naked, sitting child on the right arm. It turns his head in the direction of the viewer, grabs with one hand to Mary's veil, while the left hand is at the top against her shoulder. Maria wears a robe of sleeves, which depends on the crescent moon, with a rectan

Engel. .

Allegorical Figure of Prudence, from Palazzo Giugni, Florence. Giovanni Baratta (Italy, Carrara, 1670-1747). circa 1703-1708. Sculpture. White carrara marble

Annunciation Group (Virgin). Germany, Upper Rhine, circa 1520. Sculpture. Polychromed and gilt wood

Maria met kind. .

Sculpture of a woman, c. 1400 - c. 1950 Sculpture of a woman with a dog or cat in the arm. The head is missing earthenware Sculpture of a woman with a dog or cat in the arm. The head is missing earthenware

Saint Barbara.These three statues come from the monastery of Mariënwater in Koudewater (near s Hertogenbosch). They are attributed to a sculptor who probably worked in the seclusion of the monastery. This would account for the rather old-fashioned, static and expressionless appearance of his work.

Title Unknown (Woman Figurine) by unknown artist

Charles Christofle (1805-1863), according to a model by Mathurin Moreau (1822-1912). "The harvester". Metal, silver. 2nd half of the 19th century. Museum of Fine Arts of the City of Paris, Petit Palais. 145056-1

Pietà. Culture: French. Dimensions: Overall: 47 x 26 1/2 in. (119.4 x 67.3 cm). Date: 15th century. Museum: Metropolitan Museum of Art, New York, USA.

Master of the Statues of Koudewater (active c. 1460-1480). Statue of Saint Barbara, c. 1470. Rijksmuseum. Amsterdam. Holland.

Pocahontas. Joseph Mozier; American, 1812-1870. Date: 1868. Dimensions: h. 121.8 cm (48 in.). Marble. Origin: Rome. Museum: The Chicago Art Institute, Chicago, USA.

'Mother of God Mourning'. Italy, Early 18th centuryThe. Dimensions: height: 42,0 cm. Museum: State Hermitage, St. Petersburg.

Saint Barbara 15th-16th century German. Saint Barbara 468045

Jean-Pierre Dantan (1800-1869), said Dantan the young. Caricature of the painter Horace Vernet (1789-1863). Terracotta patinated plaster. 1829. Paris, Carnavalet museum. French painter, patina patina, terracotta, caricature

ISABEL II VELADA (VISTA DE ESPALDAS) - SIGLO XIX - MARMOL DE CARRARA - 65x57x47,5. Author: TORREGGIANI CAMILO. Location: MUSEO DE HISTORIA-ESCULTURAS. MADRID. SPAIN. ISABEL II REINA DE ESPAÑA (1830-1904).

Saint James the Greater ca. 1450-60 North French or South Netherlandish These figures, along with five others in the Robert Lehman Collection at the Metropolitan Museum, originally formed part of an altarpiece that included Christ and the twelve apostles.. Saint James the Greater 466225

L'Amour et L'Amité, c. 1857, Albert-Ernest Carrier-Belleuse, French, 1824-1887, 30 x 12 in. (76.2 x 30.48 cm), Bronze, France, 19th century, Carrier-Belleuse made his Salon debut in 1850, but it was the exhibition of works such as Love and Friendship at the 1857 Salon that gained the sculptor recognition. The allegorical pairing of Love and Friendship first became popular in the 1750s under Madame de Pompadour's patronage, but fell out of fashion by the end of the 18th century. At a time when Rococo themes and styles were once again en vogue, Carrier-Belleuse reintroduced this subject. Love, in the form of Cupid, confides in Friendship, who is accompanied by a dog, a symbol of her fidelity. Further features such as the heart on the dog's collar and doves perched on Love's bow, are symbols traditionally associated with the theme of love.

Image of St. Barbara on pedestal, anonymous, c. 1500 - c. 1550 Image of St. Barbara on pedestal. Standing figure. Cast in plaster. The forms are located in the municipal collection in Utrecht. gypsum Image of St. Barbara on pedestal. Standing figure. Cast in plaster. The forms are located in the municipal collection in Utrecht. gypsum

ALGANORY GROUP: TIME AND ENGLISH Koenigliche Porzellan Manufaktur (KPM; Berlin; 1763-1918), Meyer, Friedrich Elias (1723-1786); 4 XVIII (1775-00-00-1800-00-00);

Priapus spreading oil on his erected penis, by Unknown artist, 1st Century, Bronze. Italy: Campania: Naples: National Archaeological Museum: 27732. Side view Priapus erect penis phallus oil

Saint Mammes. Culture: French. Dimensions: Overall: 13 13/16 x 4 3/8 x 3 1/4 in. (35.1 x 11.1 x 8.3 cm). Date: late 15th century. Museum: Metropolitan Museum of Art, New York, USA.

ISABEL II - 1861 - MARMOL DE CARRARA. Author: JOSE PIQUER DUART (1806-1871). Location: CONGRESO DE LOS DIPUTADOS-ESCULTURA. MADRID. SPAIN. ISABEL II REINA DE ESPAÑA (1830-1904).

Portrait-Charge of Henri de Rochefort Anonymous. "Portrait-Load of Henri de Rochefort". Terracotta.

Jacobus ore. .

Walery Gadomski (1833-1911). Polish sculptor. Statue of Salome, 1883. Marble. 19th Century Polish Art Gallery (Sukiennice Museum). National Museum of Krakow. Poland.

Bust of a Girl Veiled and Crowned with Flowers ca. 1779 Pierre Julien At the Salon of 1779, Julien exhibited a work based on a memory from his years of study in Rome (1768-72): "Head of a Woman...covered by a veil and crowned with flowers, like the young girls dowried by the Pope and the College of Cardinals at the Church of the Minerva in Rome.". Bust of a Girl Veiled and Crowned with Flowers 206710

Beatrice, 1853-1855 Sculptor: John Hancock, Sculpture, Metal, Bronze, Female, Full-length

Saint James the Lesser ca. 1500 Workshop of Gil de Siloe Spanish The apostle Saint James was one of seven original statues that adorned the summit of the wall tomb of Juan de Padilla, a young knight in the service of the Spanish kings. In style and composition, the statuette recalls the sculpture of Gil de Siloe, yet the quality of execution suggests the hand of a workshop assistant. The tomb is now in the Museo de Burgos.. Saint James the Lesser 463751

'Mourner'. France, Mid-15th century. Dimensions: h. 39 cm. Museum: State Hermitage, St. Petersburg.

Hygieia statue, goddess of health and patroness of pharmacy, White Columns, Karlovy Vary, Karlovy Vary, Western Bohemia, Czech Republic, Europe

St. Michael late 15th century Spanish. St. Michael 463753

Madonna and Child. Artist: Niccolò Roccatagliata (Italian, born Genoa, active 1593-1636). Culture: Italian, Venice. Dimensions: Overall (confirmed): 22 1/4 × 9 1/2 × 9 3/4 in. (56.5 × 24.1 × 24.8 cm). Date: early 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Bust of Johan van Welderen, Lord of Ubbergen, Valburg and Oudenhoorn (1660-1724), Jan Baptist Xavery, 1728 The Hague marble (rock) Thus The Hague marble (rock) Thus

Female Figure 1700-1799 France. Glass; lampwork (verre de Nevers), metal armature .

Saint John the Baptist ca. 1420-25 South Netherlandish or German This figure of John the Baptist is a particularly accomplished example of alabaster carving in the first half of the fifteenth century. The original context of the figure is uncertain, but the rather flattened appearance of its proper left side suggests that it was placed against an element in a larger ensemble. The saints attribute—a book or a lamb, or both—once held in his right hand, is now missing. The style of carving relates to that of the Kneeling Angel (acc. no. 65.215.3), suggesting that the work best exemplified by the Master of Rimini was widespread at the time.. Saint John the Baptist. South Netherlandish or German. ca. 1420-25. Alabaster. Sculpture-Stone

Sierotka. Drexlerówna Luna, sculptor

Saint Geneviève second half 15th century French. Saint Geneviève. French. second half 15th century. Boxwood. Made in Paris. Sculpture-Miniature-Wood

The Annunciation, Tilman Riemenschneider, c. 1485 - c. 1487 Maria kneels on a ground to the left and turned something to the viewer, for a desk on which a book lies; She stares for herself. The left hand she rests on the shut book, while with the judge she has put her cloak around the desk and partly over the book, from where he depends in folds. The desk has window -shaped openings in front and side in the plinth and above that an equally open door, of which lock, tension ring and hinges are visible. Maria's hair falls over back and shoulders in wavy tresses. She wears a rug with sleeves and an angular neck cut, above which a second rug appears. The cloak hangs from her right shoulder in a wide bow over the back and is stopped with the left -hand underarm. The Mantelzoom shows the same painted three -pass motif as that of the angel. Würzburg alabaster (mineral) gilding Maria kneels on a ground to the left and turned something to the viewer, for a desk on which a book lies; She stares

Flying Angel. Culture: Austrian. Dimensions: Overall: 18 1/2 x 12 1/4 x 6 3/4 in. (47 x 31.1 x 17.1 cm). Date: late 15th century. Museum: Metropolitan Museum of Art, New York, USA.

Maria met kind..

Winter. Figure Multicolor painted the winter.

Aimé-Jules Dalou (1838-1902). "Boulonnaise breastfeeding her child". Patinated plaster, around 1894. Museum of Fine Arts of the city of Paris, Petit Palais. CHEF: BOULONNAISE WOMAN, TRADITIONAL HABIT, PATRE PATINE, clothing, back view

'St Francis of Paola'. Italy, Early 18th century. Dimensions: height: 30,0 cm. Museum: State Hermitage, St. Petersburg.

St. Vincentius van Paolo, Eugène Lacomblé, c. 1800 - c. 1900 clay clay

Woman with broom and coin ("The Parable of the Lost Piece of Silver") ca. 1780 Ralph Wood the Younger. Woman with broom and coin ("The Parable of the Lost Piece of Silver"). British, Burslem, Staffordshire. ca. 1780. Lead-glazed earthenware. Ceramics-Pottery

. Bust of a young woman of polychromed and plated stucco, placed on a profiled plinth. The face is twarmed to the left; On the wavy hair a headscarf, turned her rug at the neck.

Napoleon Bonaparte (1769-1821), 1825-1875. Alexander Parkes (d. 1890). Wax model for a silver statuette by Elkington & Co .

Bust of a Women 14th century French. Bust of a Women 467794

'St Barbara'. Flanders (), Early 16th century. Dimensions: h. 69 cm. Museum: State Hermitage, St. Petersburg.

Saint Barbara ca. 1500 North French. Saint Barbara. North French. ca. 1500. Limestone, paint, gilt. Sculpture

Portrait of Madame Julia Bartot Jules Franceschi (1825-1893). Portrait of Madame Julia Bartot. Chest. Terracotta.

Madonna and Child, 14th century, 24 in. (60.96 cm), Limestone, polychromed, France, 14th century

Decoratief object.Men's figure of Faience, representing an apostle with a scroll hand in hand. Painted multi-colored.

Angel, 1400s. Flanders, 15th century. Oak; overall: 84.5 x 33.7 cm (33 1/4 x 13 1/4 in.).

Standing female figure with a rooster against her right foot; Coming from the facade of the Villa of the Rijksmuseum, 1900 - 1925 sculpture Woman standing out with a fold of her long robe in her left hand. A standing rooster against her right foot. The image includes an image with invnr. BK-TN-3167. Both images includes a pedestal with invnr. BK-TN-3047 and BK-TN-3048. .

A Burgher of Calais (Jean d'Aire). Auguste Rodin; French, 1840-1917. Date: 1889. Dimensions: 208.3 × 66 cm (82 × 26 in.). Plaster. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

. Isabella of Bourbon, wife of Charles the Bold, Duke of Burgundy died in 1465. Their daughter Mary built a funeral monument for her in the abbey of Saint Michael in Antwerp. The tomb was surrounded by 24 figures of mourning family members and ancestors, known as weepers (pleurants). They symbolized the importance of the Burgundy dynasty. These ten figures are all that remain.

Bust of Louis XV; Mennecy Porcelain Manufactory (French, active 1735 - 1773); Mennecy, France; about 1750 - 1755; Soft-paste porcelain; 43.2 x 24.3 x 14.4 cm (17 x 9 9,16 x 5 11,16 in.)

Virgin, 1510-1515. France, Champagne, early 16th century. Painted oak; overall: 119.4 x 36.9 cm (47 x 14 1/2 in.).

Anonymous / 'Saint Anne, the Virgin and the Christ Child'. XIV century. Wood. Museum: Museo del Prado, Madrid, España.

John Matulis, Circus Wagon Figure Medieval Lady, c 1940 Circus Wagon Figure: Medieval Lady

Terracotta statuette of a seated female figure. Culture: Greek. Dimensions: 6 3/4 in. x 2 3/4 in. (17.1 cm x 6.9 cm). Date: 4th century B.C..The "niche" surrounding the figure suggests that she is probably a deity. Museum: Metropolitan Museum of Art, New York, USA.

Antoine Coysevox, Louis of France, The Grand Dauphin, c 1698 1699 Louis of France, The Grand Dauphin

Manufacture of Niderviller (n. - d.), Bust of Ariane and Piédouche (title of the whole), 1793. Porcelain, cookie. Petit Palais, Museum of Fine Arts of the City of Paris.

Saint Pie V Ghislieri. Pietro Papaleo (Italy, 1642-1718). circa 1712. Sculpture. Earthenware

Catherine of Alexandria, Saint (d.305). Christian martyr of Alexandria. Sculpture dating from 1410-1420. Hungarian National Gallery. Budapest. Hungary.

Bust of Sarah Bernhardt by Jean-Leon Gerome, Circa 1890, (1824-1904), France, Paris, Musee D'Orsay

Chocoladekan van faience, anonymous, c. 1775 - c. 1820 Chocolate can of faience. In the form of a thick farmer's wife, multi -colored painted. With accompanying tap (separate from object). Delft . Chocolate can of faience. In the form of a thick farmer's wife, multi -colored painted. With accompanying tap (separate from object). Delft .

Vishnu's Personified Club. India, Jammu and Kashmir, Kashmir region, circa 900. Sculpture. Chlorite schist

Young Jesus Andrea del Verrocchio (Studio) Sculpture State Hermitage Museum, St. Petersburg, Russia

Pan wearing a himation and holding the pastoral pipe. Found in Sparta. 1st cent. AD copy of a 4th cent. BC original Classical Greek statue.

Wife sitting in an armchair Anonymous. "Woman sitting in an armchair". Wax on wooden base.

Saint Augustine, anonymous, c. 1500 He is used to the left on an armchair, the handrail of which ends in a lion's head with a writrol in the mouth. On the right arm he holds a book with on top of the city of Hippo Regius, in the left still part of the crook, which is partially hidden under the Sudarium. He wears a miter, the fanones of whom depend on the shoulders, a choir cap, which is closed with a pectoral in front of the chest, albe, amict and gloves, over which rings are slid over. Miter and aurifrisiae show (imitation) gems. The walled city, which gives two gates access, consists largely of churches with towers, in which clocks hang. Above the city a cherub from whose mouth shine and shoot an arrow. Burgos alabaster (mineral) gilding Hippo Royal He is used to the left on an armchair, the handrail of which ends in a lion's head with a writrol in the mouth. On the right arm he holds a book with on top of the city of Hippo Regius, in the left still part of the crook, which is parti

'Portarit of Marie Antoinette'. France, 1781. Dimensions: h. 90 cm. Museum: State Hermitage, St. Petersburg.

BUSTO DE FELIPE V - SIGLO XVIII. Author: CAPUZ LEONARDO. Location: MUSEO DE BELLAS ARTES-COLEGIO PIO V. Valencia. SPANIEN. FELIPE V DE BORBON.

Tony-Noël, Paul (Edme-Anthony-Paul Noël, dit) (n.1845-01-27-D.1909-10-03), Carle Vernet (Main title), 1865. Patinated plaster. Petit Palais, Museum of Fine Arts of the City of Paris.

Young Lord and Young Woman, Barthélemy Prieur, c. 1600 - c. 1611 Paris bronze (metal) Paris bronze (metal)

Circle of Alejo de Vahia (15th-16th centuries). Virgin and Donor, ca.1500-1510. Gothic. From Becerril de Campos (Palencia province, Castile and Leon). National Art Museum of Catalonia. Barcelona. Catalonia. Spain.

Seated court lady 8th century China This charming figure brings to life a leisure moment at the Tang imperial court. A plump young woman sits in a relaxed pose, a playful lapdog at her feet. Bright, clear-toned glazes, a recent innovation in ceramic technology at the time, enhance her jacket, sash, and skirts with striking colors. The hourglass-shaped stool, originally made of rattan in South Asia, points to the overseas trade and exchange during this prosperous and cosmopolitan age.. Seated court lady 75765

Figurka Sylwanusa w koźlej skórze, wieńcu z pinii i gałązką pinii w ręku. unknown, author

Marble statue of Queen Anne by Johannes Michel Rysbrack in the library at Blenheim Palace, Oxfordshire, England, is the principal residence of the Dukes of Marlborough. John Michael Rysbrack, (1694 - 1770), was an 18th-century Flemish sculptor.

Bliżej Kultury unknown

Le Rieur aux Pampres (Laughing Boy Crowned withVine). Artist: Jean-Baptiste Carpeaux, French, 1827-1875

The Composer André-Ernest-Modeste Grétry (1741-1813) 1804-8 Jean-Baptiste Stouf Belgian Commissioned in 1804 by the Comte de Livry and placed in the Opéra Comique in 1809, where it remained until 1887. Incised on the column are the names of forty-one of the sixty-odd operas composed by Grétry for the Opéra-Comique and the Académie de Musique. The informality of Grétry's costume and pose links this work to 18th century depictions of men of inspiration and genius, such as Handel's Roubiliac.. The Composer André-Ernest-Modeste Grétry (1741-1813) 205107

Przeszo Przyszoci unknown

Chinese musician 1763-74 Meissen Manufactory German. Chinese musician. German, Meissen. 1763-74. Hard-paste porcelain. Ceramics-Porcelain

Girl. Nevers, France. Date: 1675-1725. Dimensions: H. 10.8 cm (4 1/4 in.). Glass; lampwork (verre de Nevers), metal armature. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

'Portrait Bust of the Comtesse de Sabran'. France, 18th century. Dimensions: height: 61 cm. Museum: State Hermitage, St. Petersburg.

'Allegory of the Truth'. 19th century. Dimensions: height: 35,0 cm. Museum: State Hermitage, St. Petersburg.

Winter. Dimensions: H. 12 1/8 in. (30.8 cm). Date: 1800-1810.Personifications of the four seasons were common subjects for engravers and printmakers in the eighteenth century, but carved wood statuettes such as these are exceedingly rare. In this set of figurines (1971.180.83-.86), the seasons are identified by their attributes: Spring by flowers, Summer by wheat, Autumn by a basket of fruit, and Winter by a muff. Other than for ships' figureheads, there was little demand in the United States for sculptural carving during this time period. The surviving examples of non-maritime wood sculpture originated almost exclusively in Boston or Salem, Massachusetts. Museum: Metropolitan Museum of Art, New York, USA.

Figure of a reclining girl, Höchst, c. 1770 - c. 1780 Image of porcelain, painted on the glaze in email colors and gold. The image represents a girl lying on the grass with her left arm lifted to something or someone. Marked on the bottom with the wheel and no. 179 Ri. Maximum porcelain. glaze. gold (metal) painting / gilding / vitrification Image of porcelain, painted on the glaze in email colors and gold. The image represents a girl lying on the grass with her left arm lifted to something or someone. Marked on the bottom with the wheel and no. 179 Ri. Maximum porcelain. glaze. gold (metal) painting / gilding / vitrification

NOBAS i BALLBE, Rossend (1849-1891). Portrait of Elisa Masriera. 1884. Modernism. Sculpture on marble. SPAIN. CATALONIA. Barcelona. National Art Museum of Catalonia.

Barbara de Braganza 18th century Chinese or Philippine The chain around the man's neck (see pendant bust 1975.433.1) may represent the Order of the Golden Fleece, awarded only to Catholic dignitaries. It is unclear whether the pair, designed for export, was intended as actual portraits (perhaps representing the Spanish viceroy and his wife, who ruled the Philippines from Mexico City), but the carver no doubt based his work on an engraved or painted European model.. Barbara de Braganza. Chinese or Philippine. 18th century. Ivory, on curved ebony base. Sculpture-Miniature

Fragment of the facade, girl, facade sculpture sculpture footage building component sandstone stone, sculptured Facade of standing girl belt over the left shoulder on the head square cushion with tassels.

Saint John the Baptist ca. 1620-30 Juan Martínez Montañés Spanish Juan Martínez Montañés was one of the greatest spanish sculptors of the first half of the seventeenth century. Based in Seville, he carved numerous wooden statues and reliefs that were painted and integrated into large altar screens called retablos (English: retables) for churches in his native region or to be shipped to the New World. His forte as an artist was the single figure, standing or seated, usually robust, naturally posed, and richly robed. Somewhat defensively, he gave his reason for this: "As for the appearance of the statues when they are seen away from their settings by those who do not understand or maliciously criticize them, we say that once they are in their places they will be very effective, and if they did not have so much drapery they would look very insignificant when they were put in compartments at a distance." [1 To modern eyes, his works even when removed from their original contexts have a p

A Young Lady. Dated: 1450/1475, with later alterations. Dimensions: overall: 53 x 48.8 x 19.9 cm (20 7/8 x 19 3/16 x 7 13/16 in.). Medium: marble. Museum: National Gallery of Art, Washington DC. Author: Probably Florentine 15th Century.

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