Religious Statues from the Netherlands

Statues of saints and a young woman created in the North Netherlandish style, characterized by detailed attire and graceful poses, evoking a sense of devotion.

Angel, Master Tilman (attributed to workshop of), c. 1470 - c. 1480 Cologne oak (wood) Cologne oak (wood)

Saint Paul. Culture: North Netherlandish. Dimensions: Overall: 26 x 9 1/2 x 5 1/4in. (66 x 24.1 x 13.3cm)without base: 24 3/16 x 8 x 4in. (61.4 x 20.3 x 10.2cm). Date: ca. 1500. Museum: Metropolitan Museum of Art, New York, USA.

Saint Phillip. Culture: North Netherlandish. Dimensions: Overall: 25 3/4 x 8 15/16 x 5 5/16in. (65.4 x 22.7 x 13.5cm)without base: 23 15/16 x 8 1/2 x 4 1/2in. (60.8 x 21.6 x 11.4cm). Date: ca. 1500. Museum: Metropolitan Museum of Art, New York, USA.

Young Lady with a Lapdog (Loyalty), Pieter Xaveri, 1673 She stands on a rectangular ground with the right leg forward and with the head to the right. On the right arm, on which the skirt has been taken, she wears a dog that holds it with both hands. Her hairstyle consists of hair separated on the forehead, which runs aside and back from the center of the head and falls on shoulder and back in pipe curls. On the head a V-shaped hair clip () With a gem in the front. About a robe that depends on the ground and right shoe point, a dress consisting of a wide skirt, which is pinned from behind, and a pointed keys with short puffed sleeves and converted collar of Hermelijn, on which a brooch. One of the shoulders is slipped over the back and arms, the ends of which get a breath of fresh air. Leiden terracotta (clay material) She stands on a rectangular ground with the right leg forward and with the head to the right. On the right arm, on which the skirt has been taken, she wears a dog that ho

Saint Philip ca. 1450-60 North French or South Netherlandish This figure, along with others in the Museum's Collection, originally formed part of an altarpiece that included Christ and the twelve apostles.. Saint Philip 470384

Young Woman, c. 1612 - c. 1615 Image of terracotta, representing a young woman in seventeenth century clothing, standing in contrapost. Amsterdam terracotta (clay material) Image of terracotta, representing a young woman in seventeenth century clothing, standing in contrapost. Amsterdam terracotta (clay material)

Hoop, Willem Hendrik van der Wall, 1776 The hope is on a rock above a plinth with truncated corners with the left foot on the right. The legs are slightly to the right, the upper body and head to the left. With the right arm she opens a horizontally lying anchor, on which she sits, the hand holds a part of her cloak. She lifts her left arm. A long veil hangs from her head and fall over the back and left arm. Side wears a robe with sleeves, the folding collar of which is closed by a knot. The cloak, which has struck her lap to the left, is partly hanging over her right arm; Sandals at the feet. On the left side of the plinth: W.H. Of the Wall FC 1776. Utrecht terracotta (clay material) The hope is on a rock above a plinth with truncated corners with the left foot on the right. The legs are slightly to the right, the upper body and head to the left. With the right arm she opens a horizontally lying anchor, on which she sits, the hand holds a part of her cloak. She lifts her left arm. A l

Angel, Master Tilman (attributed to workshop of), c. 1470 - c. 1480 Cologne oak (wood) Cologne oak (wood)

St Paul, anonymous, c. 1500 Paul stands on a ground with an open book in the right hand and holds a slip of the mantle in the left, which has been struck to the right and covered a large part of his bar. Hair and beard are strongly curled. His gaze is directed over the book to the viewer. Utrecht oak (wood) Paul stands on a ground with an open book in the right hand and holds a slip of the mantle in the left, which has been struck to the right and covered a large part of his bar. Hair and beard are strongly curled. His gaze is directed over the book to the viewer. Utrecht oak (wood)

Design for Hugo de Groot's monument, Eugène Lacomblé, 1800 - 1900 clay clay

Anonymous / 'The Muse Urania'. 130 - 150. Marble. Museum: Museo del Prado, Madrid, España.

Chloris Caressed by Zephyr. Dated: model 1847, cast 1847/1904. Dimensions: overall: 29.5 x 8.3 x 7.8 cm (11 5/8 x 3 1/4 x 3 1/16 in.). Medium: plaster. Museum: National Gallery of Art, Washington DC. Author: Jean-Jacques Pradier.

Figural study of a female in draped garments late 18th-early 19th century Jacques-Edmé Dumont Jacques-Edmé Dumont was a highly accomplished Neoclassical miniaturist. His family, a dynasty of sculptors, preserved a great many of these captivating little terracottas (see 2015.378-.382a, b). This figural study shows how Dumont expertly wielded a flat-sided stick to carve the clay along rectangular planes.. Figural study of a female in draped garments. Jacques-Edmé Dumont (Paris 1761-1844). French. late 18th-early 19th century. Terracotta. Sculpture-Miniature

Madrid, M.A.N. Arte Edad Media. Figurilla 'pleurant' del sepulcro de Jaime I, obra de Jaime Cascalls. 1367.1. Monasterio de Poblet, Tarragona.

Judas Holding a Rope and a Sack of Gold. Mauro Benini (Italian, 1856 - 1915). Italy, circa 1890. Sculpture. Earthenware

Portrait of Mademoiselle Rachel Louis Chavagnier (1822-1872). Portrait of Mademoiselle Rachel. Statuette. Plaster.

Saint Catherine of Siena (1347-1380) ca. 1600 Fulvio Signorini During her lifetime, Saint Catherine achieved enormous fame as a Dominican visionary all over Italy, but particularly in her native Siena. Though she belonged to a rival religious order, this bronze was formerly in the Church of San Francesco in Siena, where she was adopted as a protector of the city.. Saint Catherine of Siena (1347-1380). Fulvio Signorini (1563-after 1609). Italian, Siena. ca. 1600. Bronze, black patina. Sculpture-Bronze

Dalou, Aimé-Jules. "Portrait of Pierre-Victorien Vergniaud (1753-1793), politician". Ocré plaster. 1892. Paris, Carnavalet museum.

Virgin ca. 1300 French. Virgin 464134

Undine, c. 1912, Albert-Ernest Carrier-Belleuse, French, 1824-1887, 30 x 17 1/2 x 12 7/8 in. (76.2 x 44.45 x 32.7 cm), Bronze, France, 20th century, The organic curves and dynamic nature of the water nymph Undine as she moves through the cattails is indicative of Carrier-Belleuse's inspiration from the Baroque and Rococo. The sculptor was an influential figure in shifting artistic taste in mid-nineteenth century France from an idealized style inspired by Classicism to one that favored active figures, high energy, and curvilinear design. The subject of the sculpture is taken from a popular novella and opera of the time, in which Undine must bear a human child to gain her soul.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia75. 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.

Minerva. Artist: Clodion (Claude Michel) (French, Nancy 1738-1814 Paris). Culture: French, modeled Italy, Rome. Dimensions: Height: 18 3/4 in. (47.6 cm). Date: 1766.The entertaining French sculptor Claude Michel--called Clodion-- spent nine years in Italy (1762-71), where he attended the French Academy in Rome and studied important collections of antiquities. Instructed by Charles-Joseph Natoire, director of the French Academy, to study sculpture by making clay copies instead of drawing, Clodion soon perfected a type of highly finished small terracotta sculpture popular with eighteenth-century collectors. Minerva combines the features of several ancient marbles, most importantly the Minerva Giustiniani in the Vatican. Clodion depicts the goddess of wisdom and the arts wearing a helmet, Greek chiton and mantle draped over her left shoulder and wrapped around her waist. Her raised right hand once held a spear (now lost). Her lowered left hand steadies a shield with quilted padding and ar

Bozzetto for the Marble 'The Assumption of the Virgin' in the Padua Duomo. Antonio Bonazza (Italy, Padua and Venice, 1698-1763). Italy, circa 1740. Sculpture. Earthenware on painted wood base

Women's figure. .

Virgin And Child, Fragment. On a soil, changing in a hexagonal profiled pedestal with arcades and niches, Mary stands on a crescent nickel, the left knee bent. She is wearing the right arm the half-lying Christ child, which she has a foot in the left hand. The child puts his left hand on Maria's bosom and holds a fruit in the other. A nimbus behind the child's head. Maria's hair appears under the veil, which has been deposited with a pleated strip. Her robe, pleated the agent, shows an embroidered round neck deposition. The furred shutle to the left is included under the right arm. The child's shirt with turned sleeves also has embroidered hems.

Amor in the form of an angel with torch., 1700 - 1800 Amor figure of ivory in the form of an angel with torch. ivory cutting Amor figure of ivory in the form of an angel with torch. ivory cutting

Neptunus, Willem Hendrik van der Wall, 1757 Neptune. terracotta (clay material) Neptune. terracotta (clay material)

John Milton Made 1811-1848 Derby. Soft-paste porcelain, polychrome enamels and gilding . Derby Porcelain Manufactory

European figure with an elephants tusk in tribute, c. 1725 - c. 1775 Image of a man with curly hair, a long jacket and heavy shoes with heels. He carries a small elephant position in his hands. Traces of black and red polychromy. China ivory cutting Image of a man with curly hair, a long jacket and heavy shoes with heels. He carries a small elephant position in his hands. Traces of black and red polychromy. China ivory cutting

Virgin of the Apocalypse, Mattheus van Beveren, c. 1680 Maria stands on the left leg above the globe on the crescent, with bent right knee bent forward. The head is used to the left, the left shoulder deviates backwards; The left foot travels the snake, the right on the crescent, stands slightly aside and turned out. On her left hand it is slightly bent over Christ child, which stretches the hands and that she protects from the right hand with the fingertips. A slip of the cloth on which the child sits lies over the legs and is scammed by Mary's index finger. Maria's separated hair, which was absorbed in braids at the sleep, comes partly on the back of the head in a Wrong, then falls into waves on the right shoulder and shows a cord beads with a large pearl from the front. Over a thin robe, the sleeves of which end in finely pleated, wider flashing cuffs, is the spacious mantle, left backwards, which has been struck to the right and has been absorbed over the left arm, so that part of

Bartomeu de Robio (documented 1359-1379). Spanish sculptor. Sculpture of Archangel Gabriel, second half of 14th century. Gothic. Alabaster. Probably part of an Annunciation group. From the Seu Vella (Lleida). National Art Museum of Catalonia. Barcelona. Catalonia. Spain.

Kneeling; Broniewska, Janina (1886-1947); 1913-1914 (1913-00-00-1914-00-00);

Saint Agnes. Artist: After a model by Gian Lorenzo Bernini (Italian, Naples 1598-1680 Rome). Culture: Italian, Rome. Dimensions: Overall (confirmed): 13 15/16 × 6 × 5 7/8 in. (35.4 × 15.2 × 14.9 cm). Date: third quarter 17th century.The saint is shown standing, her gaze lifted to heaven to emphasize her ecstatic expression. She wears a robe and heavy cloak and holds a palm symbolizing her martyrdom. A lamb, symbol of Saint Agnes, is depicted crouching at her feet. Another example of this statuette is in the Chapel of Palazzo Doria, Rome. Museum: Metropolitan Museum of Art, New York, USA.

Elisabeth-Marie-Suzanne Le Detz; Bust of a lady. .

Saint Matthew. Artist: Brabant (Diest or Leuven). Culture: Brabant (Diest or Leuven). Dimensions: H. 67.3 cm.. Date: ca. 1470. Museum: Metropolitan Museum of Art, New York, USA.

Judith with the Head of Holofernes, 1722-23. Agostino Cornacchini

Crozier Head ca. 1350-75 Italian A crozier, the principal emblem of a bishop's pastoral role, was often decorated with rich subjects appropriate to his authority. The double depiction of Christ may be a visual reference to John 15:1, "I am the true vine: and my Father is the Husbandman." Below are the allegorical virtues: Justice with her scales, Fortitude with the lion, Temperance pouring water into a flask, and Prudence with her lamp.. Crozier Head. Italian. ca. 1350-75. Ivory, gilding. Made in possibly Lombardy, Italy. Ivories

Nude mans image .. nude mans image.

Figurine, 300-100 BC. South Italy, Tarentum, 3rd - 2nd Century BC. Terracotta; overall: 11.5 cm (4 1/2 in.).

Charles Christofle and René Rozet. Testimonial of Louis Aucoc, 1908. Silver Doré, Lapis-Lazuli, Onyx and Enamel. Museum of Fine Arts of the City of Paris, Petit Palais. 50566-10 Silver gild, jewelry, email, woman, allegorical figurine, jewelry, lapis-lazuli, onyx, goldsmith, testimonial

Saint Philip. Master of the Rimini Altarpiece (Netherlandish, active about 1410 - 1440)

Terracotta statuette of a standing woman Greek, probably Attic late 4th-early 3rd century BCE Weight on left leg, right foot drawn to side. Enveloping mantle from shoulders to right ankle and left calf. Right arm bent, hand beneath mantle pulls cloth down from neck. Left hand at hip, zigzag drapery falls from arm to hem. Rough melon coiffure, with punched chignon at nape. Plaque base.

'Cupid with a Tambourine'. Italy. Dimensions: height 17 cm. Museum: State Hermitage, St. Petersburg. Author: Niccolo Roccatagliata (imitator of).

Chess Figure Arnauta Skirmuntt, Helena (1827 1874)

Barthélemy Prieur, Woman Bathing Her Foot, early 17th century Woman Bathing Her Foot

Netsuke. Culture: Japan. Dimensions: H. 1 3/4 in. (4.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Virgin and Child. Culture: Italian. Dimensions: Overall (with base): 5 5/16 x 1 5/8 x 1 1/8 in. (13.5 x 4.2 x 2.9 cm)Overall (without base): 4 7/8 x 1 9/16 x 1 1/8 in. (12.4 x 4 x 2.9 cm)base: 7/16 x 1 5/8 x 1 in. (1.1 x 4.2 x 2.5 cm). Date: 15th century (). Museum: Metropolitan Museum of Art, New York, USA.

Jean Pierre Dantan (1800-1869), said Dantan the young. Caricature of the Belgian violinist Henri-François-Joseph Old Time (1820-1881). Patinated plaster, terracotta. Paris, Carnavalet museum. Chef orchestra, composer, pattero patina, terracotta, Belgian violinist, caricature

Virgin and Child with a Bird, c. 1350. France, Île-de-France, Paris, 14th century. Marble; without base: 54.6 x 17.8 cm (21 1/2 x 7 in.).

Chess figure Jan Iii sobieski Skirmuntt, Helena (1827 1874)

Bronze statuette of a philosopher on a lamp stand. Culture: Roman. Dimensions: Overall: 10 3/4 in., 2.9kg (27.3 cm, 6.4lb.). Date: late 1st century B.C..Adaptation of a Greek statue of the 3rd century B.C.Surmounted by a portrait statuette of a philosopher. This statuette is a reduced copy of a Hellenistic original of the III century B.C. Museum: Metropolitan Museum of Art, New York, USA.

Saint Adrian. Culture: Netherlandish, Tournai. Dimensions: H: 30.8 cm. Date: third quarter fifteenth century. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta statuette of a woman leaning on a pillar. Culture: Greek, South Italian, Tarentine. Dimensions: H. 9 3/8 in. (23.8 cm). Date: 3rd century B.C..Draped, leaning right arm on pedestal. Museum: Metropolitan Museum of Art, New York, USA.

Statue of Horwedja 1st century BC Ptolemaic Period. Statue of Horwedja 571624

Statuette of Dionysos, 50 BC-AD 50. Italy, Roman, 1st Century BC-1st Century. Bronze and silver and traces of gilding, hollow cast; overall: 39.7 x 17.8 x 16.1 cm (15 5/8 x 7 x 6 5/16 in.).

Part of the child murder of Bethlehem, Eugène Lacomblé, 1868 A woman is lying on the floor, and holds a baby in her left arm. With her other arm she seems to want to keep a soldier at a distance. clay A woman is lying on the floor, and holds a baby in her left arm. With her other arm she seems to want to keep a soldier at a distance. clay

Two Warriors Fighting, anonymous, c. 1680 - c. 1700 On an oval ground, a beautifully dressed warrior kneels with his left leg on top of a warrior lying on his back and has put his right foot on his curved left arm. He raises his right arm to bring the man's blow to the man lying under him, while holding his right pols with the left hand. The underlying has raised the legs, the left of which is against the ground. Both are dressed in pseudo-Roman costume. The victor is wearing a helmet with feather forest and a breath of fresh air, which is attached to the right shoulder and the left hip with a loop. The cloak of the overcome runs from his left shoulder under the body. A low tree stump is located under the kneeling figure. Germany ivory cutting On an oval ground, a beautifully dressed warrior kneels with his left leg on top of a warrior lying on his back and has put his right foot on his curved left arm. He raises his right arm to bring the man's blow to the man lying under him, while h

Sculpture titled 'Mother of God' by Anonymous. Dated 14th Century

Sitting women's figure with a few flowers in the left hand, Eugène Lacomblé, c. 1800 - c. 1900 clay clay

Standing femalefigurine.

Bronze statuette of a priest. Culture: Etruscan. Dimensions: H. 11 5/8 in. (29.5 cm). Date: 3rd-2nd century B.C..This large statuette portrays a man, perhaps a votary or a priest, pouring an offering to the gods from a patera (libation bowl) held in his right hand. The gesture is typical of human and divine beings who are making sacrifice. Museum: Metropolitan Museum of Art, New York, USA.

Bronze statuette of Harpokrates 1st-2nd century A.D. Roman Small votive figurines of Harpokrates (the infant Horus) are common, especially in Egypt where he was an important deity in local popular religion. He wears the pschent (the double crown of the Two Lands of Egypt) and carries a cornucopiae in his left arm. He is shown with his forefinger to his lips, a pose that dates back to the New Kingdom in the Late Bronze Age. It was interpreted by Roman writers as signifying secrecy with regard to the mysteries of the Egyptian cult.. Bronze statuette of Harpokrates. Roman. 1st-2nd century A.D.. Bronze. Imperial. Bronzes

Risen Christ. Italy, Florence, circa 1620. Sculpture. Partially gilded bronze

Putto, Supporting Figure from the Pulpit in the Sint-Pauluskerk in Antwerp, Erasmus Quellinus (I) (attributed to workshop of), in or before 1636 Antwerp oak (wood) Antwerp oak (wood)

Ten weepers from the tomb of Isabella of Bourbon, Borman workshop (attributed to), Renier van Thienen (I) (attributed to), c. 1475 - c. 1476 The head tends slightly forward and to the left; She has her hands against her rug together, while with the right lower arm she stops a hanging decorative sleeve. On a hood a V-shaped bent bourrelet with gem, which is held by a cloth under the chin, and of which a veil depends back. Over a thin underceding, which is equally visible at the neck, a second rug with close -fitting sleeves, raced on the chest and provided with a wide bontrand on the skirt zoom. A very spacious sitting over it with V-shaped necklace and short sleeves, from which long decorative sleeves depend on it. The short sleeves and the hem of the rug, part of which is in front of the feet, are also deposited with fur. Brussels bronze (metal) casting The head tends slightly forward and to the left; She has her hands against her rug together, while with the right lower arm she stops

Sleeping Cupid early 16th century Italian, Venice. Sleeping Cupid. Italian, Venice. early 16th century. Bronze, partly gilded. Sculpture-Bronze

Asia 1781-88 Fulda Pottery and Porcelain Manufactory The circumstances around the founding of the porcelain factory at Fulda conform to the pattern established in earlier decades at other German factories. The production of porcelain was preceded by the production of faience, although in the case of Fulda, there was an interval of four years between the closure of the faience operation and the beginning of porcelain production; both the faience and porcelain enterprises were dependent on the expertise of workers from other factories; the factory was both established and then supported by an aristocratic patron; and lastly, the factory was not able to survive beyond the death of its founder.The Fulda porcelain enterprise was founded in 1764 by Prince- Bishop Heinrich von Bibra (1711-1788), and it took over the buildings formerly occupied by a faience factory that had failed due to the death of its founder, Prince- Bishop Amand von Buseck (1737-1756), as well as to the vicissitudes of th

TALLA DE SAN JUAN BAUTISTA - 1623 - BARROCO ESPAÑOL. Author: JUAN DE MESA (1583-1627). Location: MUSEO DE BELLAS ARTES-CONVENTO DE LA MERCED CALZAD. Sevilla. Seville. SPAIN.

La Nourrice ca. 1753-55 Chelsea Porcelain Manufactory The production of figures was a major focus for the Chelsea factory for much of its history, and the prominence accorded to figural work coincided with the arrival of the modeler Joseph Willems (Flemish, 1715/16-1766) at the factory in 1748, at which time his name is first recorded. Like Nicholas Sprimont (Walloon, 1716-1771),1 Willems was from the Low Countries, and it is clear that he was a capable sculptor by the time of his arrival in England,2 although nothing is known of his training prior to 1748. It appears that Willems assumed complete responsibility for the factory’s porcelain sculpture upon his employment, and all of the models introduced between around 1749 and 1766 are regarded as his work.3 Willems’s output at Chelsea was prodigious, and while he drew on a wide variety of sources for his figures and groups, he created what amounted to a factory style, as has been observed by Hilary Young.4 Willems’s versatility

Maria met kind, anonymous, 1749 Figure of Faience, representing Maria with child. Multicolored painted. Signed on the back of the plinth: D: H:, and dated 1749. Delft . Figure of Faience, representing Maria with child. Multicolored painted. Signed on the back of the plinth: D: H:, and dated 1749. Delft .

Terracotta statuette of a standing girl early 3rd century B.C. Greek, probably Boeotian This little figure stands in a pose similar to that of the nearby Attic figure; but the proportions are not as careful, the head seems too large, it is not clear which foot projects beyond the hem, and the drapery folds are cursory and thick.. Terracotta statuette of a standing girl 250741 Greek, probably Boeotian, Terracotta statuette of a standing girl, early 3rd century B.C., Terracotta, H. 5 1/4 in. (13.3 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1919 (19.192.7)

Portrait of a Man in Armor. Austria or Northern Italy, circa 1710-1720. Sculpture. Marble

Aimé Millet (1819-1891). "Justice". Bronze. 1861. Museum of Fine Arts of the City of Paris, Petit Palais. 123540-2

Bronze statuette of a draped man. Culture: Greek or Roman. Dimensions: H. 4 3/4 in. (12.1 cm). Date: 1st century B.C.-1st century A.D..This impressive statuette shows a mature, bearded man who stands purposefully and looks upward. The cloak that covers his torso also conceals his arms, bent forward over his chest. Proposed identifications have linked him with the theater, specifically as an actor declaiming a text rather than playing a role. Museum: Metropolitan Museum of Art, New York, USA.

Woman as Old Age. Possibly Ralph Wood; English, 1715-1772; and Enoch Wood; English, 1759-1840. Date: 1780-1790. Dimensions: H. 20.6 cm (8 1/8 in.). Lead-glazed earthenware (pearlware). Origin: Burslem. Museum: The Chicago Art Institute, Chicago, USA. Author: Enoch Wood.

Pietà with Sorrowing Angels. Artist: Workshop of Mattheus van Beveren (Flemish, Antwerp ca. 1630-1690 Brussels). Culture: Flemish. Dimensions: Overall (with base): 18 × 12 1/2 × 6 1/2 in. (45.7 × 31.8 × 16.5 cm). Date: 17th century.Van Beveren also worked in ivory (see 1980.220) and carved larger wood and marble compositions for wealthy religious orders in Antwerp. The monumentality of this Lamentation derives from the sculptor's full-scale version of 1668, made for the altar of Our Lady of the Seven Sorrows in Dendermonde (now Belgium). A cutout on the back of the base indicates that a cross once stood behind the group. Museum: Metropolitan Museum of Art, New York, USA.

Keysinger, Auguste (n.1814-10-20-D.1883-01-06), La République (title awarded), 1878, plaster with Patina Dorée, Maisons de Victor Hugo Paris-Guernsey.

Acroter. Terracotta with yellow and green glaze. Paris, Cernuschi museum. 78844-4 Acroter, Asian art, ancient ceramic, covered, email, glacide, terracotta, terracotta emaillee

Griezende Pallas, from the burial monument by Leonard Mathias van der Noot, wall figure, together with two putti, Laurent Delvaux, 1746 - 1748 marble (rock) marble (rock)

Plaque with Saint Catherine of Alexandria ca. 1400 French. Plaque with Saint Catherine of Alexandria 467479

Prudentia (caution). Figure of painted porcelain. On a square gold randed pedestal is a woman (Prudentia) with a black mirror raised in her right and a black hose in her left hand. The figure has been marked.

Figurine. Samson Edmond, factory

'Cupid Holding Sheet Music'. Italy. Dimensions: height: 17,0 cm. Museum: State Hermitage, St. Petersburg. Author: Niccolo Roccatagliata (imitator of).

Christ Child. This nude boy is represented in his future role as saviour of the world. This is indicated by the globe he holds and his gesture of benediction. Statues of the naked Christ Child were often dressed with real clothes and a metal crown. The statues base bears the hallmarks of Mechelen, a guarantee of the quality of the painting.

Terracotta statuette of a draped woman. Culture: Greek, Attic. Dimensions: H.: 7 1/8 in. (18.1 cm). Date: early 3rd century B.C..The variety among terracotta statuettes of draped ladies occurs principally in their hairdos and in the fall of their draperies, with the concomitant play of folds. Museum: Metropolitan Museum of Art, New York, USA.

Female Attendant (Tomb Figurine), c. 2nd Century BC. China, probably Shensi province, Western Han dynasty (202 BC-AD 9). Gray earthenware with slip coating and traces of polychromy; overall: 54.9 cm (21 5/8 in.).

'Two Saints'. Italy, Circa 1635. Dimensions: height: 63,0 cm. Museum: State Hermitage, St. Petersburg.

$Bottoms-up cup or stirrup cup (Sturzbecher) ca. 1550-70 German, Cologne Clay enabled a spontaneity of modeling impossible for goldsmiths; stoneware objects could be made quickly and at a fraction of the cost of metal ones. The potter turned this vessel on a wheel to manipulate its basic form, pressing on the separately made head, arms, and other details; the glaze was applied so hastily its trickles are discernable.Traditionally, a departure would be marked by a farewell or Godspeed toast drunk in honor of Saint Gertrude, patron of travelers. "Bottoms-up" (or stirrup) cups are associated with this ceremony. With no base to be set down upon, they are intended to be used on horseback and the liquid downed in a gulp.Elizabeth Cleland, 2017. Bottoms-up cup or stirrup cup (Sturzbecher). German, Cologne. ca. 1550-70. Salt-glazed stoneware. Ceramics-Pottery$

Marguerite Bellanger Carrier-Olluser (Albert-Ernest Carrier de Oeluse, 1824-1887). Marguerite Bellanger (1838-1886), Actress. Terracotta and ceramic support, 1865-1870.

De Handel, Eugène Lacomblé, 1800 - 1950 clay clay

Buddha with Left Hand in Gesture of Gift-Giving (Varadamudra). India; Tamil Nadu, Nagapattinam. Date: 1001-1200. Dimensions: 78.7 × 34.0 × 25.4 cm (31 × 13 3/8 × 10 in.). Bronze. Origin: Nagappattinam. Museum: The Chicago Art Institute, Chicago, USA.

The Splendid Virgin in silver-gilt. A gift given to the Abbey of St Denis by Jeanne d'Evreux, Widow of Charles IV. The base is divided into fourteen panels, depicting the story of the passion in enamel. Dated 14th Century

Lorenzo Coullaut Valera / 'The Annunciation'. 1901. Plaster. Museum: Museo del Prado, Madrid, España.

Costume Bell 19th century () German This bell takes the form of an elegant eighteenth century French woman, perhaps Madame Pompadour.. Costume Bell. German. 19th century (). metal. Nürnberg, Central, Germany. Idiophone-Struck-bell-clapper

Woman with a basket on her back, Meissener Porzellan Manufaktur, c. 1740 - c. 1744 Figure of painted porcelain. On an irregular round pedestal is a woman with a large oval basket on her back. On her white skirt she wears a yellow apron with red edges. With her right hand she holds her apron, in her left hand on the back she has a yellow flower on a green branch. The image is not marked. Float porcelain Figure of painted porcelain. On an irregular round pedestal is a woman with a large oval basket on her back. On her white skirt she wears a yellow apron with red edges. With her right hand she holds her apron, in her left hand on the back she has a yellow flower on a green branch. The image is not marked. Float porcelain

PROFETA - ESCULTURA DEL RETABLO DE SAN BENITO - 1526 - ESCULTURA MANIERISTA. Author: ALONSO BERRUGUETE (1488-1561). Location: MUSEO NACIONAL DE ESCULTURA-COLECCION. Valladolid. SPAIN.

Anonymous. "The Republic of 1848". Bronze. Paris, Carnavalet museum. Phrygian cap, second iieme iieme iie II 2nd 2nd republic, woman, allegorical figure, allegorical character, French republic, 19th XIX 19th 19th 19th 19

Jean-Baptiste Carpeaux, The Bacchante with Roses, c. 1872, terracotta.

Ten weepers from the tomb of Isabella of Bourbon, attributed to Renier van Thienen, c. 1475 - c. 1476

Female Bust, c. 1470-1500. Austria, 15th century. Painted and gilded lindenwood; without base: 44.2 cm (17 3/8 in.).

Saint John the Baptist. Artist: Juan Martínez Montañés (Spanish, Alcalá la Real 1568-1649 Seville). Culture: Spanish, Seville. Dimensions: Overall (confirmed): H. 60 5/8 x W. 29 5/8 x D. 27 5/8 in. (154 x 75.2 x 70.2 cm). Date: ca. 1620-30.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 draper

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