Relief Sculptures and Allegorical Scenes

Detailed relief sculptures depicting allegorical scenes and historical narratives, showcasing intricate designs of human figures and motifs.

Maria Ten Hemeleconing ,, 1750 - 1775 Southern Netherlands (Possible) linden Southern Netherlands (Possible) linden

German 16th Century, An Allegorical Scene, 16th century An Allegorical Scene

Maria Ten Hemeleconing ,, 1750 - 1775 Southern Netherlands (Possible) linden Southern Netherlands (Possible) linden

Fireback couple with two children, text Europe, fire place, Rectangular with arch at the top. On top of pomegranate flanked by two dolphins Wide border between frame and pearl necklace in which leaf decoration In the middle image of man and woman in 17th century clothing by column and tree The woman has fan in the left hand. Two servants: one holds the man's cloak and the other holds the parasol over the woman's head. On the side horse with float At the bottom: EUROPA living environment interior heating Occident culture difference Europe

The Risen Christ 16th century Cast by Pietro Paolo Nardi Incised with the Scala coat of arms.. The Risen Christ. Italian, Florence. 16th century. Gilt bronze. Sculpture-Bronze

Frisian of the left side of a mantelpiece of oak, c. 1650 A Frisian from the left side of a chimney mantle. A procession of rising putti starts a start on the sides, which are closed by hanging festons. The Frisian continues into the main frame and shows a continuous representation of Putti in low relief, that from either side with sacrifices and garlands and while playing musical instruments to an altar in the middle, on which the sacrifice is inflamed (see BK-BR- 308-1). The architraaf and cornice are missing. Northern Netherlands wood (plant material) cutting A Frisian from the left side of a chimney mantle. A procession of rising putti starts a start on the sides, which are closed by hanging festons. The Frisian continues into the main frame and shows a continuous representation of Putti in low relief, that from either side with sacrifices and garlands and while playing musical instruments to an altar in the middle, on which the sacrifice is inflamed (see BK-BR- 308-1). The architr

The Entombment. Dated: late 15th - early 16th century. Dimensions: overall (silhouetted upper edge): 7 x 7.1 cm (2 3/4 x 2 13/16 in.) gross weight: 72 gr. Medium: bronze//Medium brown patina. Museum: National Gallery of Art, Washington DC. Author: MODERNO.

th, Karlskirche, relief on a triumphal column, Gerlach , Wiedling Buch- und Kunstverlag, publishing house

Panel, wood, carved, possibly Germany or France, early-mid-17th century, Decorative Arts, Panel

The Flood 1648-49 Michel Anguier Soon after the election of Pope Innocent X ( 1644-55), it was decided that the Roman basilica of San Giovanni in Laterano was in urgent need of restoration. The architect chosen in 1646 for its extensive remodeling was Francesco Borromini, who was to complete the project under the supervision of the pope's closest adviser, Msgr. Virgilio Spada, by the Jubilee Year of 1650. Among the main features of Borromini's restructuring of the church was the design of a series of niches along the main nave, and above these a series of marble reliefs or mosaics with scenes from the Old and New Testament. These scenes were to recall the subjects of the frescoes that had been originally painted along the main nave of the Constantinian basilica. To carry this out, Virgilio Spada commissioned a series of twelve large-scale stucco reliefs. The nine artists chosen by Spada were among the younger sculptors who had been practicing their art in Rome under the aegis of the tw

Adoration of the Magi, by attributed Amadeo Giovanni Antonio, 1495 - 1500, 15th Century, marble. Italy: Emilia Romagna: Parma: National Gallery of Art. Whole artwork. Adoration kings Magi Madonna Virgin Mary Jesus Child Joseph angels gifts gold incense myrrh

Caritas (love), Anonymous, c. 1600 Elongated, leading, lead plaque with symbolic female figure with attribute -representing caritas (love). In front of a landscape is a woman with an enclosed robe, with a nude child on the left arm. The woman turns to a second child, who clings to her right leg, and protects it with her cloak. Netherlands lead (metal) casting Elongated, leading, lead plaque with symbolic female figure with attribute -representing caritas (love). In front of a landscape is a woman with an enclosed robe, with a nude child on the left arm. The woman turns to a second child, who clings to her right leg, and protects it with her cloak. Netherlands lead (metal) casting

Abruzzo Pescara Citta Sant'Angelo Collegiata di S. Michele2. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture (14-15th century) Post-medieval: Architecture, architectural sculpture, sculpture, painting 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.

German or Netherlandish 17th Century, Lot and His Daughters, c 1600 Lot and His Daughters

Abraham Welcoming the Three Angels. Dated: c. 1525/1535. Dimensions: overall: 5.7 x 10.9 cm (2 1/4 x 4 5/16 in.). Medium: lead. Museum: National Gallery of Art, Washington DC. Author: Peter Flötner.

The Incredulity of Saint Thomas. Dated: 16th century. Dimensions: overall (silhouetted left and top): 6.8 x 5.7 cm (2 11/16 x 2 1/4 in.) gross weight: 82 gr. Medium: bronze//Dark brown patina. Museum: National Gallery of Art, Washington DC. Author: Florentine 16th Century.

Saint Sebastian. Dated: late 15th - early 16th century. Dimensions: overall: 7.7 x 5.6 cm (3 1/16 x 2 3/16 in.) gross weight: 70 gr. Medium: bronze//Dark brown patina. Museum: National Gallery of Art, Washington DC. Author: MODERNO.

Fireplace plate with Esther Kneeling for Ahasveros, Anonymous, 1650 - 1700 Fireplace of cast iron with a representation of Esther, who bends for King Ahasveros, who rises something from his throne and stands out to her scepter. There are some service women and soldiers behind Esther. Mordecai is right next to the throne. Haman can be seen in a glimpse back, hung on the gallows. The whole is closed on the top with a three -pass shape and crowned with shell motifs and two dolphins. Germany iron (metal) casting Fireplace of cast iron with a representation of Esther, who bends for King Ahasveros, who rises something from his throne and stands out to her scepter. There are some service women and soldiers behind Esther. Mordecai is right next to the throne. Haman can be seen in a glimpse back, hung on the gallows. The whole is closed on the top with a three -pass shape and crowned with shell motifs and two dolphins. Germany iron (metal) casting

Italian 16th Century, Hercules and Antaeus, 16th century Hercules and Antaeus

Przeszo Przyszoci unknown

Worship of the kings, anonymous, c. 1625 - c. 1650 Round, silver plaque. Maria on the left with the child, Joseph and the oldest king, who is kneeling in front of her. More to the right the second and behind the group on the second plan the Morenkoning. In the foreground on the left and, a little further to the depth on the right, kneeling figures from the back. Netherlands silver (metal) Round, silver plaque. Maria on the left with the child, Joseph and the oldest king, who is kneeling in front of her. More to the right the second and behind the group on the second plan the Morenkoning. In the foreground on the left and, a little further to the depth on the right, kneeling figures from the back. Netherlands silver (metal)

Gralen (Right) of Epitaaf, 1548 Part of Epitaaf of the Ros family from the Grote Kerk in Wageningen. Gets up sandstone Wageningen Part of Epitaaf of the Ros family from the Grote Kerk in Wageningen. Gets up sandstone Wageningen

Blind Homer Led by the Genius of Poetry 1851 Edward Sheffield Bartholomew American One of many American neoclassical sculptors who worked on Italy during the mid-nineteenth century, Bartholomew had a brief but successful career. "Blind Homer Led by the Genius of Poetry" attests to his command of the illusionistic and technical challenges of relief sculpture. The figures project convincingly as Poetry leads Homer across a plinth. They are dressed in classical garb that clings to their bodies yet falls in stylizing folds, suggesting the pull between realism and idealism often evident in mid-nineteenth-century American sculpture. This reliefand indeed many by Bartholomew and other Americansreflects the profound influence of Italian sculptor Antonio Canova, especially in the crisp linearity of form and refined carving. The marble is surrounded by its original gilt frame.. Blind Homer Led by the Genius of Poetry 15480

Photography of the ascore: Janina Broniewska (1886-1947), dance, 1914, gypsum; Chiemoff, Pierre (1872-1936); around 1914 (1914-00-00-1914-00-00);

Painted ivory diptych depicting circus games, Panel A

Marches Macerata Aliforni Parish church. Hutzel, Max 1960-1990 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.

Toujon, Jean ( - 1567), allegory of August (the Virgin) (dummy title). Overmark, plaster. Carnavalet museum, history of Paris. Allegory. August. The Virgin.

Francesco di Giorgio Martini, The Judgment of Paris, c 1475 1485 The Judgment of Paris

Mercury

The First Piast. Norblin de la Gourdaine, Jean Pierre (1745-1830), graphic artist

The Supper, Arent van Bolten (attributed to), c. 1600 - c. 1625 Rectangular, gilded bronze plaque with the Supper. Northern Netherlands bronze (metal) gilding Rectangular, gilded bronze plaque with the Supper. Northern Netherlands bronze (metal) gilding

Moderno, Orpheus Redeeming Eurydice, late 15th early 16th century Orpheus Redeeming Eurydice

Susanna and the Elders; Francis van Bossuit, Flemish, 1635 - 1692; Amsterdam, Netherlands, Europe; about 1690; Ivory, with carved and gilded wood frame; Object: H: 26 x W: 15.9 cm (10 1/4 x 6 1/4 in.)

Plaque, Brass, Polygon with straight lower edge, with repoussé decoration showing classical scene with a recumbent nude on a couch., Italy, early 19th century, metalwork, Decorative Arts, Plaque

Landscape with two riders and four standing figures, fragment of a calvary.

Medal: Lafayette (reverse), 1911. Jules Edouard Roiné (French, 1857-1916). Bronze; overall: 7.8 x 7.4 cm (3 1/16 x 2 15/16 in.).

Design for a wall stress with two putti ..

Box with Episodes from the Life of the Spinola Family, Mattheus Melijn, 1636 A bass relief of driven silver that is elongated and square with rounded corners, with the presentation of the Vederheer Ambrogio Spinola during the siege of Gulik in 1622. Signed and dated: Matevs. Melin. F 1636. Southern Netherlands silver (metal) Gulik A bass relief of driven silver that is elongated and square with rounded corners, with the presentation of the Vederheer Ambrogio Spinola during the siege of Gulik in 1622. Signed and dated: Matevs. Melin. F 1636. Southern Netherlands silver (metal) Gulik

After François Duquesnoy, Infant Bacchanalians Infant Bacchanalians

Arch de L'Etoile - East 3. North. Attributed to André H. Orange (French, active Paris, France 1850s)

Risen Christ early 16th century The Risen Christ stands under a classical arch, appearing to the apostles in this fine cast. A related gilt-bronze pax in the Metropolitan Museum is attributed to Guglielmo della Porta: 32.100.168. Risen Christ 461109

Bliżej Kultury

Fireback Neptune on coup, text, cast Rectangular with arch at the top. On top of shell flanked by two dolphins Wide border between frame and pearl necklace in which fruit-eaters In the middle Neptune seated on shell pulled by four horses On the left and right side of the sea-god boys with fish tails with shells and laurel wreaths In cartouche below: HS living environment interior warming mythology Neptunus Rotterdam Houttuin Originating from the building ad Houttuin 73 Rotterdam.

Europe, anonymous, c. 1600 - c. 1620 Lady Europe is sitting on a seat on the victory car drawn to the left by two horses. She wears a crown and keeps the right arm ahead and has a scepter in the left. In the front and back of the car an eagle. In the background a landscape with river and structures. The bottom of NHET relief has been chamened into an elongated panel. Mechelen alabaster (mineral). wood (plant material). stucco. gilding (material) gilding Lady Europe is sitting on a seat on the victory car drawn to the left by two horses. She wears a crown and keeps the right arm ahead and has a scepter in the left. In the front and back of the car an eagle. In the background a landscape with river and structures. The bottom of NHET relief has been chamened into an elongated panel. Mechelen alabaster (mineral). wood (plant material). stucco. gilding (material) gilding

Martyrdom of St. Sebastian 16th century Spanish. Martyrdom of St. Sebastian 202456

Venus and Cupid. Dated: early 17th century. Dimensions: overall (oval, without loop): 9.5 x 7.6 cm (3 3/4 x 3 in.) gross weight: 83 gr. Medium: bronze//Medium brown patina (rubbed locally). Museum: National Gallery of Art, Washington DC. Author: Paul Hübner.

Drinking scale with the competition of Apollo and Marsyas, Hans Chrystiaens, 1632 Scale, round, completely driven. Within an edge of Rolwerk, the performance of the competition of Apollo and Marsyas in the presence of King Midas (see below). Leeuwarden silver (metal) Scale, round, completely driven. Within an edge of Rolwerk, the performance of the competition of Apollo and Marsyas in the presence of King Midas (see below). Leeuwarden silver (metal)

EL GRAN CAMAFEO DE FRANCIA - (66-14 AC) - ARTE ROMANO - 31x26,5. Location: NATIONAL LIBRARY. France. TIBERIO. EMPERADOR AUGUSTO. Livia.

'Relief: Madonna and Child with Two Putti'. Italy, Florence, second quarter of the 16th century. Dimensions: 70,0x50,0 cm (oval). Museum: State Hermitage, St. Petersburg.

Jacobs Dream, anonymous, c. 1600 - c. 1620 In a landscape, Jacob lies to the left with his head on his right arm on a stone for two trees and a natural stone wall. At his feet, a ladder is slanted to the cloudy sky; Two angels are at the bottom, a climb up and the fourth seems to descend. At the top of the ladder, Christ emerges from the clouds; On the far right a city. The bottom of the relief runs in a sloping cartouche. Mechelen alabaster (mineral). gilding (material) In a landscape, Jacob lies to the left with his head on his right arm on a stone for two trees and a natural stone wall. At his feet, a ladder is slanted to the cloudy sky; Two angels are at the bottom, a climb up and the fourth seems to descend. At the top of the ladder, Christ emerges from the clouds; On the far right a city. The bottom of the relief runs in a sloping cartouche. Mechelen alabaster (mineral). gilding (material)

Drawing, Francis Augustus Lathrop, American, 1849 - 1909, USA, before 1914, Drawing

Ivory panel showing the baptism of Christ, 6th century. Artist: Unknown

The Fall of Phaeton. (Simone Mosca Moschino; about 1523-1578 Pisa; Marmor )

Christ Attended in the Tomb by Four Angels. Dated: c. 1500. Dimensions: overall: 9 x 11.6 cm (3 9/16 x 4 9/16 in.) gross weight: 269 gr. Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: North Italian (Veneto) 16th Century.

Allegory of the city of Paris Hippolyte-Jules Lefebvre (1863-1935). Allegory of the city of Paris. Bronze. Around 1920.

London, The deposition, Bronze sculpture, representing the Descent from the Cross, recto - printed, photomechanical print, page, photographs, photographically illustrated books, Ascribed to Donatello. About 1420., No. 855..., Plate X., height 114 mm, width 158 mm, maker, manufacturer, 1869 - 1876, paper, papier, Woodburytypie

Marine Scene; Gerard van Opstal (Flemish, 1605 - 1668); Flanders, Belgium; about 1640; Alabaster; 61.9 x 101.8 x 7.3 cm (24 3,8 x 40 1,16 x 2 7,8 in.)

Allegory of Triumph and Sacrifice ca. 1520 Attributed to Andrea Briosco, called Riccio Italian The plaquette depicts an allegory of Triumph and Sacrifice, with a nude youth standing on a podium in the center, flanked by a winged Victory and two female attendants; to his right are two men slaying an ox. Two men in the background play flutes, a third carries a laurel branch. The reverse has a rarely observed surface of radiating lines in a herringbone pattern. It is a feature that this plaquette has in common with at least four others by or attributed to Riccio. Two of these also represent the allegory of Triumph and Sacrifice (National Gallery of Art, Washington, D.C.), and the mutual subject strongly points to an origin of all three from the same workshop. No satisfactory explanation has been given for the presence and purpose of the pattern; although it seems unlikely that it formed part of the casting system of vents and runners, there is a vague resemblance with the spruing pattern

Virtue and Abundance. Artist: Giovanni Battista Tiepolo (Italian, Venice 1696-1770 Madrid) and Workshop. Dimensions: Diameter 114 in. (289.6 cm). Date: 1760.Like the other frescoes in this room, this large roundel is from the Palazzo Valle-Marchesini-Sala in Vicenza. It simulates a sculptural relief and decorated the ceiling of a long gallery, whose lateral walls were embellished with the allegorical figures of the liberal arts. It depicts the two allegorical figures of Virtue, on the left, and Abundance, with the cornucopia, on the right. Museum: Metropolitan Museum of Art, New York, USA. Author: Giovanni Battista Tiepolo (Italian, Venice 1696-1770 Madrid) and Workshop.

Master IOFF, Allegorical Scene Sacrifice to Diana, second half 15th century Allegorical Scene-Sacrifice to Diana

Relief of the Marcomnen War in the Capitoline Museums in Rome, Italy, Fratelli Alinari, After Anonymous, 1852 - 1890 photograph Rome cardboard. paper albumen print art (+ relief ~ sculpture) Capitoline Museums

Game of Love- Game of Chess. 14th cent. ivory. Courtly Love. FRANCE.

Allegorical Figure of a Woman with a Club (Fortitude). Allegorische vrouwenfiguur met een knots (wellicht Kracht). Dating: c. 1740 - 1750. Measurements: h 81 cm × w 65 cm. Museum: Rijksmuseum, Amsterdam. Author: Giovanni Battista Tiepolo.

Right wing of a diptych, with the Nativity and other scenes.

Fireplace with couple in pastoral landscape with putti and animals, hob plate cast iron, cast Rectangular bow with dolphins at the top. Around wide rim with fruit hangers between the frame and the pearl necklace. In the middle landscape with trees in which man and woman with shepherd's rod Left below two putti at the bottom two dogs home environment interior heating

Metal pen and brush drawing on brown paper showing an allegorical female figure crowned by two geniuses, with others paying homage on horseback and with oxen.

Silenus. Dated: 16th century. Dimensions: overall (diameter): 3.6 cm (1 7/16 in.) gross weight: 6 gr. Medium: copper () repousse. Museum: National Gallery of Art, Washington DC. Author: Italian 16th Century.

Study for Center Circle of Huntington Ceiling: Apollo andAttendants. Artist: Elihu Vedder, American, 1836-1923

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Frédéric-Charles Victor de Vernon (1858-1912). Medal plate. The Benedictine of Fécamp. Metal, bronze. S.D. Museum of Fine Arts in the city of Paris, Petit Palais. 57549-11 Wing, alcohol, obverse, benedictine, bottle, bronze, fecamp, metal, numismatics, medal plate

Bible illustrations, c. 1550 - c. 1699 wood (plant material)

Apollo and Artemis slaying the family of Niobe on Mount Sipylos , Antiquities, Bas-reliefs, Gods, Goddesses, Apollo Deity, Artemis Greek deity, Niobe Greek mythological character. Nicholas Catsimpoolas Collection

Probably Italian 16th Century, The Rape of Lucretia (), 16th century The Rape of Lucretia ()

The Prophets David and Daniel ca. 1601-2 Peter Paul Rubens Flemish As a young artist in Italy between 1600 and 1608, Rubens ardently copied the works of art he encountered for both study and later reference. When he made this record of Raphael's fresco above the entrance to the Chigi Chapel in the Church of Santa Maria della Pace, Rome, Rubens introduced subtle changes that transformed Raphael's static, planar composition into a more dynamic and forceful scene. He imbued the foreground figures with a greater sense of mass and intensified their expressions to contrast the prophet's formidable wisdom with the scribe's youthful concentration. Rubens never adapted this composition for his own use, but he was strongly influenced by Raphael's imposing treatment of drapery for figures in the religious scenes he painted upon his return to Antwerp.. The Prophets David and Daniel 348090

Death of Meleager. Dated: early 16th century. Dimensions: overall: 7.21 × 5.35 cm (2 13/16 × 2 1/8 in.) gross weight: 64.93 gr (0.143 lb.). Medium: bronze//Very dark patina. Museum: National Gallery of Art, Washington DC. Author: Ulocrino.

The Genius of Music late 15th-early 16th century Italian. The Genius of Music 198306

Ink drawing by Frans Crabbe depicting Maria with the child on gray-primed paper, emphasizing figures, posture, and facial expression.

Tragic and comic theatrical masks. Relief of 2nd cent. AD. GREECE.

Relief, Brass, Horizontal rectangle, with figures after the Panathenaic Procession in the frieze of the Parthenon., Denmark, Italy, early 19th century, metalwork, Decorative Arts, Relief

Scale with presentation of the battle between centaurs and lapithen to Joseph Tautenhayn, shown during the World Exhibition of 1878 in Paris, France, Josef Löwy, after Joseph Tautenhayn, 1878 photograph Vienna cardboard. paper albumen print dish, plate, saucer Paris

Lazio Viterbo Viterbo Sanctuary of S. Maria della Quercia47. Hutzel, Max 1960-1990 Extensive coverage of Renaissance sanctuary's exterior, with emphasis on the church portals. Several views of bell tower. Interior views of nave and altar, aisles, ceiling and cupola, tabernacle containing the miraculous tile, paintings, sacristy, choir, holy water font. Views of main cloister and cistern. General Notes: Two sets of prints fused into single numerical sequence. 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.

Milo of Crotona 1819 Antoine-Louis Barye French. Milo of Crotona. Antoine-Louis Barye (French, Paris 1795-1875 Paris). French, Paris. 1819. Bronze, brown patina, cast. Medals and Plaquettes

Gypsum cast of a relief in the Musée des Monuments Français, representing a reading woman with an eagle, c. 1875 - c. 1900 photograph Trocadéro Palace cardboard. photographic support albumen print sculpture (+ relief ~ sculpture). permanent exhibition, museum. reading Trocadéro Palace

Perfume Burner, desire from Florence (attributed to), c. 1540 The perfume burner consists of three separate parts placed. The three -sided, rejuvenating, Arav -shaped lower part has a squatted satyr on every truncated corner whose hands are tied on the back and the hooves rest on a satyr mask with below and above a volute, thus one of the three legs of the ARA forms. The masks also have a shell on the forehead and horns, between which garlands depend on leaves and fruits to the ground; A shell above every garland and against the profiled plinth of the Ara. On the three concave side surfaces panels in profiled frames with the following performances to Plakettes from Moderno: Hercules, the cattle of Geryones robbing; Hercules struggling with Geryones; Cacus, the cattle of Hercules set. The second part is the second part on the overcinging, profiled cover plate: a heavy, profiled column, enclosed by three S-shaped trenches between three spheres placed sphinxes, each with a shell between t

Venus and Cupid. Dated: mid 16th century. Dimensions: overall: 12.9 x 6.9 cm (5 1/16 x 2 11/16 in.) gross weight: 194 gr. Medium: bronze//Yellowish patina. Museum: National Gallery of Art, Washington DC. Author: German 16th Century.

Basin with scenes from the story of Diana and Actaeon. While bathing with her nymphs, Diana is spied on by the hunter Actaeon. As no mortal may see the chaste goddess naked, Diana turns him into a stag. Here he is still shown in human form with antlers sprouting from his head. On the back of this basin is a depiction of Actaeon in the guise of a stag being torn to pieces by his own hounds.

Frisian with boiling, eating and music -making puti, Johan Braakensiek, 1868 - 1940 drawing paper. deck paint. pencil brush muscles

The Virgin and Child Triumphing over Evil ca. 1731-40 Probably by Francesco Giardoni Throughout the eighteenth century aristocratic patrons and foreign princes commissioned sumptuous liturgical silver from the artists of the papal court in Rome. This rare devotional relief reflects the Late Baroque style with classicistic overtones epitomized by the Corsini Chapel in San Giovanni Laterano, Rome.The inscription IPSA CONTERET CAPUT TUUM (she will crush thy head see Genesis 3:15), engraved in the cartouche at the top of the frame, refers to the relief's subject, an allegory of Redemption and the Church's Triumph over Heresy.The exquisite handling of the silver medallion, its matte surfaces contrasted with brilliantly burnished highlights, is set off to advantage by the vibrant design of the frame, The convex entablature with a large vertical cartouche harks back to architectural precedents set by Francesco Borromini (1599-1667), just as the mask at the bottom is reminiscent of Gian Lore

'Bas-Relief: Three Children with Bunch of Grapes'. Italy, Early 18th century. Dimensions: 37,0x48,0 cm (oval). Museum: State Hermitage, St. Petersburg.

The Triumph of Bacchus.

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Bliżej Kultury Ślizień, Rafał (1804 1881)

Sketch for the ceiling fresco in the Capella d'Eleonora di Toledo, Palazzo Vecchio, Florence. Date/Period: 1540/1541. Width: 262 mm. Height: 343 mm (Complete). Author: Bronzino.

Orpheus Playing to the Animals early 16th century Orpheus Master. Orpheus Playing to the Animals 207622

Panel ca. 1776 Philippe Laurent Roland Roland was in charge of the decoration of the Chteau de Bagatelle, built for the comte d'Artois (the future king Charles X) in 1777 (see 07.225.17a, b for overdoors from the billiards room of Bagatelle). Roland provided Lhuillier with a terracotta model for 07.225.18, which Lhuillier completed in wood. The eagles may refer to Artois's military honors: he was Colonel General of the Swiss Guards and Grand Master of the Artillery.. Panel. French. ca. 1776. Oak, coated with dark greenish paint to resemble bronze. Woodwork

Noah, the ark involving (fragment). Irregular oval, lead plaque (fragment). A women's figure, the breasts bare and border to the left, with her left hand hold a vase on the head and in the judge, supporting the hip, a basket with fruits. In addition to her a man with a turban on the head, behind her a family, a vase bearing. Behind this several figures and animals.

Bliżej Kultury Kłos, Juliusz

Venus and Adonis. Massimiliano Soldani-Benzi (Italian, 1656 - 1740)

Leone Leoni, Andrea Doria Guided by Neptune, c 1541 Andrea Doria Guided by Neptune

Fire-plate crowned woman with basket or bucket at door, De Hoop, hob plate cast iron, cast Rectangular with bow at the top on which dolphins. Wide edge between frame and pearl necklace: at the top volutes and fruit-eaters on the sides scaly pilasters with capitals and basements In the middle crowned woman at door in the right hand basket or bucket living environment interior heating Hope

North Italian 16th Century, The Last Supper, early 16th century The Last Supper

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