Religious and Historical Reliefs

Sculptural reliefs depicting religious figures and scenes, characterized by intricate detailing and historical significance from different centuries.

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

Moderno, Battle Scene, in a Rectangular Frame, 1505 1510 Battle Scene, in a Rectangular Frame

Relieves de San Lucas y San Marcos, atribuidos a Jordi Safont, siglo XV. Museu Diocesà de Lleida.

Stone tablet with old Croatian writing, fishing village Valun, Cres Island, Adriatic Sea, Kvarner Bay, Croatia, Europe

German 16th Century, Fortuna, mid 16th century Fortuna

Cassone second half 16th century Italian, possibly Venice Carved with scene of contest between Apollo and Marsyas.. Cassone 199666

Grahal-Manzara. Carnavalet 2013-2016 collection sites. Numismatics.

House sign, angel figure, Egidienplatz 9, Nuremberg, Middle Franconia, Bavaria, Germany, Europe

Fireback, angel with kneeling man, Tobias, text Tobie am Vicap, hob plate cast iron, cast Rectangular two notches on each side. By beaded edge divided into two planes: high surface at the top and small surface at the bottom. In the upper area an image of kneeling man Tobias in an animal and standing angel Rafaël with hat and staff. In the lower area cartouche with text in cartouche: TOBIE AM VICAP (Tobias caput VI the sixth chapter from the apocryphal book of the Bible Tobias tells how the archangel Raphael accompanies the young Tobias on trip to Ecbatana, on the way they catch fish; the fish will serve to make Tobias' father see the heart and the liver again to redeem the wide of Tobias from demon.) living environment interior heat bible religion Christianity Tobias

A shepherd and a shepherd in a ruin, Weesper Porcelain factory, c. 1764 - c. 1765 Group of porcelain unpainted a whistling shepherd and a lute shepherd with sheep for a piece of architecture consisting of half a bow, a column and a piece of wall. On the left on the column is an Amor figure and on the right on a wall is a vase. There is a dolphin under the vase. Marked: Ingrift K/1. Weesp porcelain Group of porcelain unpainted a whistling shepherd and a lute shepherd with sheep for a piece of architecture consisting of half a bow, a column and a piece of wall. On the left on the column is an Amor figure and on the right on a wall is a vase. There is a dolphin under the vase. Marked: Ingrift K/1. Weesp porcelain

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

The ivory diptych of Stilicho (right) with his wife Serena and son Eucherius, ca. 395 A.D. Paleo-christian art. Sculpture on ivory. ITALY. LOMBARDY. Monza. Cathedral Treasure.

Pere Bernés, Cruz de los esmaltes, 1360, Museu-Tresor de la Catedral de Girona / Museo Tesoro de la Catedral de Gerona.

Victoria and Albert museum, London, U.K. Cast of capital and pilaster of the cathedral of Oviedo (Spain)

Luna or Diana first quarter 17th century Attributed to Joseph Limosin. Luna or Diana 198769

Cruz Procesional procedente de Tiana, 1414, Nº Inv. 1678. MNADM.

Armario-relicario del tesoro de Halberstadt: La Anunciación (pintura). Anónimo alemán (S. XII). Museum: CATEDRAL, HALBERSTAD, ALEMANIA.

Pair of paneling fourth quarter 16th century probably Southwestern French. Pair of paneling 205139

Emailles dish by Pierre Raymond with a representation of Abraham that rejects the king of Sodom's gifts; Flat oval and grisaille Émail de Limoges de Pierre Reymond. .

Tabernacle, 1661. Polychrome wood. Bzie Zameckie, Poland. Silesian Museum. Katowice. Poland.

Venus and Cupid first quarter 17th century Attributed to Joseph Limosin. Venus and Cupid 198768

Sketch for Fountain of Silence and Meditation Helen Farnsworth Mears (American, 1871-1916). Sketch for Fountain of Silence and Meditation, 1915. Plaster, 16 7/8 x 16 7/8 x 8 3/4 in. (42.9 x 42.9 x 22.2 cm). American Art 1915

Italian 15th Century, Bust of Young Woman Turned Left; Seated Woman Turned Left, Holding a Flowering Branch Bust of Young Woman Turned Left; Seated Woman Turned Left, Holding a Flowering Branch

The Entombment 15th century School of Nottingham. The Entombment. School of Nottingham (British). British. 15th century. Alabaster. Made in Nottingham

A woman in a short fur; Norblin de la Gourdaine, Jean Pierre (1745-1830); 1779 (1779-00-00-1779-00-00);

Abruzzo, L'Aquila, L'Aquila, Museo Nazionale d'Abruzzo, Italy, 20th century, photo, photography, Europe

Pair of paneling. Culture: probably Southwestern French. Dimensions: Each 105-3/4 x 54-3/8 x 32-1/4 in. (268.6 x 138.1 x 81.9 cm);Gr. D. 32-1/4 in. (81.9 cm). Date: fourth quarter 16th century. Museum: Metropolitan Museum of Art, New York, USA.

The Nativity, in Coffer. Workshop of the Master of the Very Small Hours of Anne of Brittany (French, active Paris, 1480-1510); coffer by an unknown maker (French, 15th century). Date: 1485-1495. Dimensions: 231 × 164 mm (woodcut, image); 220 × 330 × 150 mm (bo×). Woodcut in black, hand colored with brush, stencil and watercolor on ivory laid paper mounted on the inside cover of a coffer, constructed of wood, iron, leather, horsehair and linen. Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: Master of the Unicorn Hunt.

'The rucifixion'. Germany, 16th century. Dimensions: 72x46 cm. Museum: State Hermitage, St. Petersburg. Author: German sculptor, late 16th century.

Man with Wench. Dating: 1660 - 1686. Measurements: h 9.5 cm × w 6.5 cm; h 13.5 cm × w 11.6 cm × d 1.9 cm. Museum: Rijksmuseum, Amsterdam. Author: Gerrit Lundens.

Panel with Saint Anthony Abbot. Italy, Tuscany, circa 1500-1550. Sculpture. Tin-glazed earthenware (maiolica)

Léon Alessandri (1803-1883). Showcase. The work (detail). Wood and ivory. Museum of Fine Arts of the City of Paris, Petit Palais. Vitrine - Work Wood and ivory, detail, work, showcase

Landscape with Figures. Culture: China. Dimensions: H. 7 1/4 in. (18.4 cm); L. 19 5/8 in. (49.8 cm). Date: 18th century.This sculpture exploits the otherworldly luminescence of jade to depict a landscape beyond the reach of mere mortals. In the foreground, by a rushing river, an aging scholar communes with a crane, the frequent companion of Daoists and hermits. Museum: Metropolitan Museum of Art, New York, USA.

Funerary Urn. 1st-2nd c. Roman art. Early Empire. Relief on marble. SPAIN. MADRID (AUTONOMOUS COMMUNITY). Madrid. National Museum of Archaeology. Proc: ITALY. LAZIO. ROME. Rome.

monument to the mass grave, sepulchral stele, Ramón Acin Aquilué, painted plaster relief, Huesca museum, Aragon community, Spain.

Detail of an antique elephant howdah in the Grand Durbar Hall, Devi Garh Fort Palace Hotel, Devigarh, near Udaipur, Rajasthan state, Indi, Asia

Saint Jerome, 1500s. Cast after a model by Ulocrino (Italian). Bronze; overall: 8 x 5.1 cm (3 1/8 x 2 in.).

Ink Cake, 1644-1911. China, Qing dynasty (1644-1911). Ink cake; overall: 8.2 cm (3 1/4 in.).

Model for a pendant with a figure of Justice ca. 1580-1600 Flemish or German. Model for a pendant with a figure of Justice. Flemish or German. ca. 1580-1600. Brass, partly gilded and silvered, and pewter. Metalwork-Brass

Screen with Sacrifice of Isaac. unknown c. 1550-1600 Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: unknown Ownership History: French & Co. Center panel: pergola with suspended lamp (above), sacrifice of Isaac (below); L & R panels: female allegorical figure standing on platform & holding cornucopia in each hand & flanked by urns holding flowers (above), strapwork ornament incorporating herms with putto & horse playing (below) Fragment of 1 or more hangings made into 3 screen panels. French & Co. stock sheet missing from archive, 9918

. Sliced pipe stretch behind which a double eagle, a crowned weapon.

. Tile tableau with the three graties: under a gate that is covered with a three-mail motif we see on either side of the naked truth with her classic hairdies and the sun of justice as a Nimbus behind her head, the young woman clean with a floral wreath on her head and the Wat mature woman well with cornlems braided in her hair. While where her arm is getting good, it is involved in clean via the banderole with the inscription in me is all the grace of life and truth. In me is all the hope of life and virtue. Signed: R.O. Rozenburg The Hague K (jrl. = 1893); L.O. Georg: Sturm Inv: 1892 / D Harkink Pinx. On the back of every tile in relief Rozenburg / The Hague. Painting under glaze in beige and brown.

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

Votive tile depicting Our Lady of Mount Carmel, 1823, maiolica, Ariano Irpino manufacture, Campania. Italy, 19th century.

Devotional Diptych with the Nativity and the Adoration ca. 1500 French The scenes on this diptych find an echo in the pages of a printed Book of Hours (acc. no. 20.53.3). It is perhaps not surprising that the same workshop should produce the designs used for both the book and the diptych: each is a small object, in black and white, meant to be held in the hands during private prayer. But the same workshop also produced cartoons for large-scale, colorful works of art, including stained glass, and The Cloisters Unicorn Tapestries.. Devotional Diptych with the Nativity and the Adoration. French. ca. 1500. Silver, niello, gilt copper alloy. Made in Paris, France. Metalwork-Silver

Louis XIV in Allegorical Armor. Artist: Michel Molart (French, Dieppe 1641-1713 Dieppe). Culture: French. Dimensions: 4 x 2 5/8 in. (10.2 x 6.7 cm.). Date: 17th century.Designed in 1672, this bronze relief shows Louis XIV wearing a fanciful helmet crowned with the chariot of Apollo, the sun god to whom the king likened himself. The chariot drags a chained prisoner, symbolic of the German towns captured by Louis XIV's armies during the first of his victorious campaigns against the Dutch. The helmet and the armor are embossed with a wealth of allegorical details. Museum: Metropolitan Museum of Art, New York, USA.

Moses receives the legislative tables paradiest door Florence paradiest door from Lorenzo Ghiberti 1425 at the baptistery next to the cathedral in Florence

Fortitude. Dated: 1540 or before. Dimensions: overall: 7.9 x 5.5 cm (3 1/8 x 2 3/16 in.) gross weight: 40 gr. Medium: bronze//Dark brown patina. Museum: National Gallery of Art, Washington DC. Author: Peter Flötner.

. .

Plaque: Seated Prophet from a Reliquary Shrine, c. 1170-1180. Germany, Lower Saxony, Hildesheim, Romanesque period, 12th century. Gilded copper, champlevé enamel; average: 9 x 5.7 x 0.3 cm (3 9/16 x 2 1/4 x 1/8 in.). Once used as decorations for a reliquary shrine, each enamel plaque represents a biblical prophet: Isaiah, Zacharias, Elisha, and Hosea. Fine gold dots punctuate dark blue backgrounds. Typical of Hildesheim enamels, this detailing creates the illusion that the prophets sit against star-studded twilight skies.

Woodcarving of the head of John the Baptist. Artist: Unknown

Lluís Masriera / Colgante con figura femenina, 1915. Colección privada. Author: LLUÍS MASRIERA I ROSÉS.

The Entombment. Dated: 1525 or after. Dimensions: overall (oval): 8.9 x 9.8 cm (3 1/2 x 3 7/8 in.) gross weight: 176 gr. Medium: bronze//Dark brown patina. Museum: National Gallery of Art, Washington DC. Author: Valerio Belli.

Ivory panel showing St Paul and Thecla, 4th century. Artist: Unknown

Death Carrying off the Father of a Family, Sebastian Steiner (attributed to workshop of), c. 1865 With list. Innsbruck (possibly) linden With list. Innsbruck (possibly) linden

BLIŻEJ KULTURY

Border fragments made into four-fold screen. unknown c. 1550-1600 Tapestry Dimensions: H 6' x W 1'11" Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: Brussels Ownership History: French & Co. purchased from Mrs. Anthony J. Drexel Biddle 8/7/1917; sold to J. W. Harriman 9/12/1919 SS 4397. French & Co. purchased from Plaza Art Gallery (J. W. Harriman sale) invoiced 11/15/1934; sold to Joseph Zilaster 11/6/1953 SS 39654. 2 middle panels with female figures in niches of Promise Promissio with streams of light radiating from her hed (L) & Confidence Confidentia holding ship (R); 2 outer panels with garlands of oversize flowers & fruit 4 sections of 2 or more side borders from 1 or more tapestries, mounted on 4-fold screen. Screen is in gilded frame. French & Co. stock sheet in archive, 4397 French & Co. stock sheet in archive, 39654

Combat at a City Gate. Dimensions: overall: 8.8 x 10.1 cm (3 7/16 x 4 in.) gross weight: 274 gr. Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: called Riccio Andrea Briosco.

PARTE TRASERA DEL TRONO DE CARLOMAGNO. Location: MUSEO DE HISTORIA DE LA CIUDAD. SPAIN.

Portonaccio sarcophagus. 180 AD. Batlle between Romans and Germanics in Marcomannics Wars. National Roman Museum. Palace Massimo. Rome. Italy.

Figure of Jupiter Ammon, by Unknown artist, 25,1st Century, mural. Italy: Lazio: Rome: Palazzo Massimo alle Terme: Cubicolo B. Wall decorative detail in the Cubiculum B opposite the alcove. Figure of Jupiter Ammon frame panel red

Lazio Frosinone Boville Ernica S. Pietro Ispano4. Hutzel, Max 1960-1990 Medieval: Palaeochristian sarcophagus from 4th century, with relief of Nativity and Adoration of the Magi. Mosaic by Giotto. Post-medieval: Architecture, sculpture, frescoes. Structure of romanesque origin, but renovated in the 16th-17th centuries. Statues in niches of S. Peter and S. Paul, by Andrea Bregno. Marble relief of the Holy Family in the manner of Bregno (end 15th century). Frescoes from the end of the 16th century. General Notes: There were two sets of prints now integrated into a single 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. I

Standing Hercules with the Nemean Lion. Dated: c. 1488/1489. Dimensions: overall: 7.5 x 5.5 cm (2 15/16 x 2 3/16 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: MODERNO.

Team of Helios Athena, Perseus and Medusa with Pegaus, Hercules and Hercopes, Metops of the Tempesl Selinunte, Museo Archeologico Regionale Antonino Salinas, Collection of Etruscan, Roman, Egyptian and Greek Works, Palermo, Palermo, Sicily, Italy, Europe

Casket with scenes of courtly love (About 1180 AD); Copper, gilt, enamel Limoges, France Troubadour poets entertained the courts of Europe with love ballads. The front of this casket shows scenes of courtship from medieval love poetry. On the left, a troubadour serenades a dancing lady with a stringed instrument. On the right, a man kneels in submission to a lady who restrains him with a leash. A mysterious figure in black, holding a key and sword, separates the couples.

Harpsichord ca. 1670 Michele Todini Italian This harpsichord and its accompanying figures were part of Michele Todinis Galleria Armonica, a private museum featuring his complex musical mechanisms, clocks, and instruments. It was the centerpiece of La Macchina di Polifemo e Galatea, an installation that united music, visual art, and dramatic narrative. Canvasses by Gaspard Dughet representing sea and air completed the scene. The Galleria was a popular stop on the?European Grand Tour during the 1670s.The frieze on the harpsichords case depicts the Triumph of Galatea, and the two figures represent the narrative of the cyclops Polyphemuss unrequited love for the nymph Galatea. A small mechanical bagpipe that imitated the sound of his sculpted bagpipe would have been concealed in a "mountain," no longer present, and played from the harpsichord on a second keyboard. This enabled a narrator to present the story of Polyphemus and Galatea with musical accompaniment. Todinis ingenuity and mu

Ercole de'Roberti (1451-1496). Italian painter . Early Renaisance. Saint Michael, 1473. Louvre Museum. Paris. France.

Saint Lawrence led to prison, polychrome wood, 15th century, anonymous Flemish, Valladolid Museum , Castile and Leon, Spain.

CONJ. 39707. CAMAFEO EPOCA ROMANA IMPERIAL DE LA CORONA DE SANCHO IV. REPRESENTA A ONFALIA. 28 MM. Location: CATEDRAL-INTERIOR. Toledo. SPAIN.

The Coat of Arms of Russian Empire, Russian Applied Art

Federico da Montefeltro's alcove, by Bartolomeo di Giovanni Fra' Carnevale, 1459 - 1460, 15th Century, wooden furnishings tempera on panel. Italy: Marche: Pesaro Urbino: Urbino: Galleria Nazionale delle Marche. Whole artwork. Alcove furniture panels inlay wood trees festoons opening gilded

Drop-front secretaire (secrètaire à abattant) ca. 1770-75 René Dubois The form of this secretary, with its pierced pagoda-shaped top, is exceptional in French furniture. Although furniture in the Chinese taste was designed and executed in England during the second half of the eighteenth century, French chinoiserie was almost always limited to the surface decoration. The Oriental scenes in imitation lacquer on the front panels are based on designs for The Four Elements by François Boucher, known from engravings (1740) by Pierre Aveline. The element of fire, apparently the only one for which the original drawing by Boucher exists (now in the Metropolitan), shows a man pouring hot tea into the cup of a seated man who also appears twice on the front of the secretary. Charming tea-drinking scenes formed an important aspect of chinoiserie decoration.. Drop-front secretaire (secrètaire à abattant) 206972

(post conservation on white). The Annunciation. Artist: Sir Edward Burne-Jones. .

of 2