Religious Terracotta Reliefs

Intricate terracotta and bronze reliefs depicting biblical scenes and figures, showcasing rich textures and historical themes in muted earth tones.

Joachim Receives the Angels Message Lindenholz ; Based on a woodcut from the life of the Virgin by Albrecht Durer (Oberrhein; about 1515; aquired 1988 Kaiser Friedrich-Museones-Verein)

Youth or Summer. John G. Unnevehr (American, born Denmark, 1822 - 1893)

Votive Relief with Zeus, Apollo, and Hera-Tyche. Unknown

The Arc de Triomph du Carrousel is a triumphal arch in Paris, located in the Place du Carousel is the smallest of the three arches on the Triumphal Way.

Bliżej Kultury unknown

Game Piece with Hercules Slaying the Three-Headed Geryon ca. 1150 German This carved disk was originally part of a set of thirty pieces made for the board game known as "tables," a precursor of backgammon. Classical and biblical themes are seen frequently on surviving tableman, including episodes from the stories of Hercules and Samson, suggesting that these ancient heroes often represented opposing sides in the game. Here, Hercules, at left, is shown killing the three-headed monster Geryonhis tenth Labor. The monster, now slain, is represented again at the bottom of the scene. Like many other examples this tableman retains traces of paint. Color allowed one side to be easily distinguished from the other side, which was often left unpainted.. Game Piece with Hercules Slaying the Three-Headed Geryon. German. ca. 1150. Ivory. Made in Cologne, Germany. Ivories-Walrus

Sperandio, The Flagellation, c 1480 The Flagellation

The Three Sons with their Father's Corpse. Dated: late 15th - early 16th century. Dimensions: overall: 2.3 x 2.7 cm (7/8 x 1 1/16 in.) gross weight: 8 gr. Medium: bronze//Yellow-brown patina. Museum: National Gallery of Art, Washington DC. Author: Italian 15th or 16th Century.

Charles Marville (1816-Vers 1878). Battle scene. Bas-relief of Bongino. Albumin paper. 1860. Paris, house of Victor Hugo. 79476-21 Bas-relief, battle, rider, soldier, soldier, 19th 19th 19th 19th 19th 19th century

Cassone second half 16th century Italian, Venice. Cassone. Italian, Venice. second half 16th century. Walnut. Woodwork-Furniture

Ludovisi Battle sarcophagus. 3rd century. Roman era. Battle scene between Romans and Goths. In the center with horse Hostilian or Herennius Etruscus (son of emperor Decius). National Museum of Rome. Altemps Palace. Rome. Italy.

Laocoon group, marble sculpture of Laocoon and his sons, copy after Hellenistic original,

Abruzzo, L'Aquila, Pescocostanzo, Basilica, Italy, 20th century, photo, photography, Europe

The Triumph of Humility (one of a series) last quarter 16th century Netherlandish. The Triumph of Humility (one of a series) 195381

GSELL-Laurent workshop. Album n ° 3; stained glass project for the Lourdes basilica; Choir window: the coronation of the Virgin. Pencil on layer. Paris, Carnavalet museum. Album n ° 3, Basilica Lourdes, Catholique, Chretien, Crown, crown, pencil on layer, window choir, project, saint, virgin, stained glass

Left Wing of a Diptych 15th century Franco-Netherlandish. Left Wing of a Diptych 464266

The Miners, c. 1890 - 1900. Constantin Meunier (Belgian, 1831-1905). Bronze; overall: 54.9 x 40.6 x 11.4 cm (21 5/8 x 16 x 4 1/2 in.).

Florence Baptistery, Fall of Jericho bronze panel, East doors, Gates of Paradise, by Lorenzo Ghiberti, Florence, Italy

Scene from the Legend of Saint Perpetua 1350-1400 French. Limestone with traces of polychromy and gilding .

Diptych with the Adoration of the Magi and the Crucifixion ca. 1310-20 or 1350-70 French or German The influence of French ivories on other centers of ivory production can be detected in this diptych, which was possibly carved in Cologne by a craftsman trained in Paris.. Diptych with the Adoration of the Magi and the Crucifixion 464286

SILLERIA DEL CORO - MADERA DE NOGAL Y BOJ - DETALLE DEL APOSTOL SANTIAGO - S XV. Author: FELIPE BIGARNY (1475/1543). Location: CATEDRAL-INTERIOR. BURGOS. SPAIN. Apóstol Santiago el Mayor. APOSTOL SANTIAGO EN CLAVIJO. APOSTOL SANTIAGO-SANTIAGO MATAMOROS.

The chair of Bishop Maximian, inlaid wood and ivory Paleochristian sculpture, from Ravenna, Italy. Byzantine Civilization, mid-6th Century.

Youth or Summer. Unknown maker, American

Morse. Culture: French. Dimensions: Overall: 4 5/16 x 5 13/16 x 1/2 in. (10.9 x 14.7 x 1.3 cm). Date: ca. 1250.A morse is a clasp attached to a liturgical vestment to prevent the garment from slipping from the shoulders. Gilded copper is at once heavy enough to support the weight of the fabric yet resplendent enough to be suitably ceremonial in appearance. Museum: Metropolitan Museum of Art, New York, USA.

Studies of a sitting naked man and two women, thirty.

Paduan 16th Century, Decorative Plaquette, 16th century Decorative Plaquette

Shanti stupa, Dauli hill, Bhubaneswar, Orissa, India Copyright: xRxModi/DinodiaxPhotox

Adam and Eve. Dated: c. 1600/1650. Dimensions: overall: 23.5 x 12.7 cm (9 1/4 x 5 in.). Medium: ivory. Museum: National Gallery of Art, Washington DC. Author: South German or Austrian 17th Century.

The Dead Christ with Two Angels. Dimensions: overall: 23.8 x 18.2 cm (9 3/8 x 7 3/16 in.) gross weight: 1655 gr. Medium: gilded bronze. Museum: National Gallery of Art, Washington DC. Author: Bartolomeo Bellano.

Altarpiece with Scenes from the Passion of Christ. (Antwerp; oak wood ; 1915; Sculpture Collection)

Sculptures of Constantia, the personification of perseverance, and Fortitudine, the personification of bravery, inner Burgtor castle gate of the Hofburg Imperial Palace, Vienna, Vienna State, Austria, Europe

Hercules and Cacus. Dimensions: overall (rectangle w/ arched top): 6.1 x 3.7 cm (2 3/8 x 1 7/16 in.). Medium: bronze//Medium brown patina. Museum: National Gallery of Art, Washington DC. Author: Caradosso Foppa.

Marble grave stele of a woman 425-400 B.C. Greek, Boeotian The deceased, seated on a chair, holds a lekythos (oil flask) in her raised left hand and a large pyxis (box) on her lap. Although the stele is said to be from Attica, the simplified treatment of the pediment, the somewhat stiff pose of the figure, and the type of marble suggest that it was carved in Boeotia. A flat area at the upper right of the relief has been worked over with a claw chisel, leaving short, parallel, toothlike marks. Such marks would be unlikely on finished grave reliefs of the classical period, for they would have been smoothed with a flat chisel. The presence of the marks suggests that the stele was reworked at a later time. A number of stelai with similar reworked surfaces have been found at Thespiae, in Boeotia. During the Roman period, the Thespians reused ancestral gravestones from the late fifth and fourth centuries B.C. to mark the graves of their own dead. The reliefs were often slightly refurbished:

Saint Simeon of Polirone in Jerusalem, Exorcising Demons from Men Possessed. Dated: model probably c. 1516; cast perhaps later (possibly 19th century). Dimensions: overall: 6.14 x 18.55 cm, 265.67 gr (2 7/16 x 7 5/16 in., 0.586 lb.). Medium: bronze//Medium brown patina. Museum: National Gallery of Art, Washington DC. Author: Bartolomeo Spani.

Granada, Retablo de la Capilla Real. Author: Felipe Birgani.

Relief with biblical performance, anonymous, c. 1400 - c. 1500 Bass relief of leg. From above three further square. Representing Christ on the cross between Mary and John. bone (material) cutting Bass relief of leg. From above three further square. Representing Christ on the cross between Mary and John. bone (material) cutting

Aristotle and Alexander of Aphrodisias. Dated: early 16th century. Dimensions: overall: 7.23 × 5.6 cm (2 7/8 × 2 3/16 in.) gross weight: 79.09 gr (0.174 lb.). Medium: bronze//Medium brown patina (rubbed on raised surfaces). Museum: National Gallery of Art, Washington DC. Author: Ulocrino.

Sarcophage du Satrape , Antiquities, Sarcophagi. Nicholas Catsimpoolas Collection

House of Queen in Palenque by Johann Friedrich Waldeck, color lithograph, circa1832-33, (1766-1875), USA, Chicago, Newberry Library

Krzyż: Ukrzyżowanie. Warsztat pomorski

Panel from a Box with Scenes from Romance Literature 19th century European (Medieval style) This modern carving copies the same sequence of scenes found on a fourteenth century ivory box now in the Victoria and Albert Museum, London (146-1866).. Panel from a Box with Scenes from Romance Literature. European (Medieval style). 19th century. Elephant Ivory. Ivories-Elephant

Pieta model second quarter of the 16th century (19th century silvering) Style of Jacopo Sansovino (Jacopo Tatti) Italian The composition of this unique cast relies heavily on Michelangelos Pietà, whereas the classical face of Mary is clearly influenced by Jacopo Sansovinos Madonna del Parto (Martelli altar, ca. 1518, SantAgostino, Rome).(1) The unknown modeler, then, must have been situated in Rome in the second quarter of the sixteenth century. The empty and coarse background suggests that the plaque was cast from a damaged or unfinished model. The bronze has an unusually high content, about 30 percent, of nickel. The silvering was done in the nineteenth century by electrotype.. Pieta 460453

Venus and Adonis, mid-1700s. Follower of Georg Raphael Donner (Austrian, 1693-1741). Lead; overall: 20.6 x 20.7 cm (8 1/8 x 8 1/8 in.).

Plakette, young man with Engelbewaarder, Adam Lenckhardt, After 1610 - Before 1661 On the left on a protruding ground and for a slightly tilted tree, the angel bends to the young man's coming from the right, who is threatened by a cave coming from a cave. The Engesl stands with the right foot forward and points up with the index finger, while protecting his left arm around the timid young man. He looks up to him, keeps the right hand gesturing against the chest and the left arm slightly off the body. The angel wears a shirt loose, which has been suspended around the shoulders, and at the feet classic sandals: the young man a shirt that is held together by a tire around the means. Only head and front claws are visible from the monster with open mouth. A city on a hill in the offing. ivory On the left on a protruding ground and for a slightly tilted tree, the angel bends to the young man's coming from the right, who is threatened by a cave coming from a cave. The Engesl stands with the

MEDALLON. Location: MUSEUM OF FINE ARTS. GRANADA. SPAIN. INFANT JESUS. VIRGIN MARY.

Two box panels with mithuna couples. Culture: India (Tamil Nadu). Dimensions: 5 11/16 × 8 in. (14.4 × 20.3 cm). Date: late 17th-early 18th century.These panels are outstanding examples of the arts of the Nayaka dynasty of southern India, known for their patronage of arts associated both with palaces and temples. Ivory carving was a celebrated art form in both realms. The sophistication of composition and execution of these panels point to major ivory workshops directly associated with the Nayaka courts. Notable examples of ivory religious imagery are preserved at Sri Meenakshi Sundareshwarar temple museum in Madurai and in the Srirangam temple Museum, Trichy, in Tamil Nadu. Paneled boxes, much favored examples of secular art, survive mostly in incomplete form with individual panels separated from the wooden casket. These two panels are closely related to others that were assembled in modern times, onto a single box; these related panels are now preserved in the Museum of Fine Arts Bos

Andrea Briosco, called Riccio, Satyr Family, c 1500 Satyr Family

Design for Funerary Monument to the Marchese Francesco Gonzaga. After Raffaello Sanzio, called Raphael; Italian, 1483-1520. Date: 1500-1521. Dimensions: 200 x 300 mm. Pen and brown ink, with brush and brown wash, heightened with lead white (partly oxidized), on tan laid paper, laid down on ivory wove paper. Origin: Italy. Museum: The Chicago Art Institute, USA.

Victor Orsel (1795-1850). Christianorum auxilium. Preparatory card for the decor of the Notre-Dame-de-Lorette church in Paris. Charcoal, graphite mine and blue wash on several sheets of assembled paper. 1834-1850. Museum of Fine Arts of the City of Paris, Petit Palais. Auxillium Christianorum, Preparatory, Catholic, Chretian, Chretian, Decor, Church, Church of Notre-Dame-de-Lorette, charcoal, Blue Lavis, Graphite Mine, Religious Scene, Serpent

Allegory of David and Saul 16th century Flemish. Allegory of David and Saul 200652

Tile Design, Processing Angels, 1866 William Morris (d.1896), Art Movement, Pre-Raphaelite, Tree, Arts and Crafts, 19th Century, Watercolour, Ink, Religion, Angel, Frame, Design, Works on Paper

'The rucifixion'. Germany, 16th century. Dimensions: 33x21 cm. Museum: State Hermitage, St. Petersburg. Author: German sculptor. 16th century. Albrecht Dürer (after).

Court of olives. .

'Battle of Maloyaroslavets. 1812'. Russia, First half of the 19th century. Dimensions: diam. 20,5 cm. Museum: State Hermitage, St. Petersburg.

. The front and rear elevation of the Town Hall are each dominated by a sculpted marble tympanum approximately twenty metres wide and surmounted by bronze statues. The side facing the Dam, where ships could moor, depicts the seas paying homage to Amsterdam. Parts of the tympanum design have been preserved, including this Maid of Amsterdam and all kinds of mythological sea creatures, such as nereids and tritons on dolphins and seahorses.

Solomo and the Queen of Saba Paradiest door Florence Paradiest door of Lorenzo Ghiberti 1425 at the Baptistery next to the cathedral in Florence

Nessus and Deianira. Dated: late 15th - early 16th century. Dimensions: overall: 9.4 x 4.3 cm (3 11/16 x 1 11/16 in.) gross weight: 58 gr. Medium: bronze//Very dark brown patina. Museum: National Gallery of Art, Washington DC. Author: MODERNO.

Deatil of Trajans Column Rome 2013. Commenmorating Roman Emperor Trajans victory in the Dacian Wars.

Nymph and Faun Dancing 1880 Medalist: Louis-Oscar Roty French. Nymph and Faun Dancing 187512 Artist: Medalist: Louis-Oscar Roty, French, Paris 18461911 Paris, Nymph and Faun Dancing, 1880, Bronze, cast, Diameter: 4 1/4 in. (108 mm). The Metropolitan Museum of Art, New York. Gift of Samuel P. Avery, 1893 (93.10.17)

The Last Supper. Dated: 16th century. Dimensions: overall: 7.5 x 15.4 cm (2 15/16 x 6 1/16 in.) gross weight: 244 gr. Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Italian 16th Century.

Pyx with enamel plates (detail), 15th century.

Walka Króla Małp - panneau. unknown, sculptor

Terracotta sculpture, Palazzo dell'INPS (National Social Security Institute), 1939, Mantua (UNESCO World Heritage List, 2008), Lombardy. Italy, 20th century.

Copper engraving, Laocoon Group

Great Cameo of France, sardonyx cameo depicting apotheosis of emperor Tiberius and Germanicus paying homage to emperor, Roman civilisation, circa 23 A.D.

Aimé-Jules Dalou (1838-1902). "Casseur de Cailloux". Patinated plaster, between 1889 and 1898. Museum of Fine Arts of the City of Paris, Petit Palais. Caillou, breakage, breaker, curve, leaning, patina patina

Hearthstone, from Antwerp Belgium, with narrow frame, with the history of Susanna, fireplace stone part ceramic pottery, fired Hearth of the Antwerp type with narrow frame with the representation of Daniel, which subjects both the elders from the history of Susanna separately to an interrogation (Daniel 13: 50v) building history heating old testament bible religion Daniël Susanna elder

Two Scenes from the Life of Saint Simeon of Polirone: The Miracle of the Stag (vignette) and The King of León (vignette). Dated: model probably c. 1516; cast perhaps later (possibly 19th century). Dimensions: overall: 6.13 x 13.78 cm, 215 gr (2 7/16 x 5 7/16 in., 0.474 lb.). Medium: bronze//Medium brown patina. Museum: National Gallery of Art, Washington DC. Author: after Bartolomeo Spani.

Putti on both sides of a medallion. Artist: Jacob de Wit (possibly). Draughtsman: Dionys van Nijmegen. Dating: 1715 - 1798. Measurements: h 93 mm × w 328 mm. Museum: Rijksmuseum, Amsterdam.

Fame. Dimensions: overall: 5.1 x 4.1 cm (2 x 1 5/8 in.) gross weight: 41 gr. Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: called Riccio Andrea Briosco.

Winter. Jacob de Wit painted this overdoor, an allegory of Winter, for the house of Cornelis Hop, who later became burgomaster of Amsterdam. Summer and Autumn are also on view in this room. With smoothly executed scenes in white and grey paint (grisailles), De Wit emulated stucco or marble reliefs, thereby imitating sculpture. In Dutch these kinds of paintings were called witjes’, a play on the artist’s surname, Wit (Dutch: white’).

Giovanni di Ser Giovanni, known as Lo Scheggia (1406-1486). Italian painter. Nuptial Chest (cassone). In the front, the triumphal entry of Romulus and Tatius in Rome. Inside the lid, a man carrying flowers. National Museum of Art. Copenhagen. Denmark.

Biblical story, tile relief, external wall of Orsanmichele Church in Florence, Tuscany, Italy Biblical story, tile relief, external wall of Orsanmichele Church in Florence, Tuscany, Italy Copyright: xZoonar.com/ZvonimirxAtletix 22993204

2 Pieces Gothic Panels (France); 1913-34-54

Europe, Greece. Thetis and her nymphs rising from the sea to console Achilles for the loss of Patroclus. 1778 by T. Banks.

Deeds of Hercules, sarcophagus, marble, 2nd century A. C. Palazzo Duccale, royal palace, San Giorgio fort, Mantua, Lombardy, Italy, Mantua, Lombardy, Italy, Europe

Peace Establishing Her Reign. Dated: 1512. Dimensions: overall: 40.6 x 33.9 x 7.6 cm (16 x 13 3/8 x 3 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: ANTONIO LOMBARDO.

Planets-manager. Cornalet Collection Sites 2013-2016. Numismatic.

Pair of firedogs ca. 1760-70 French Firedogs with paired figures of a Chinese man and woman enjoyed a certain popularity in the mid-eighteenth century. The present pair, with each figure seated before a curved palm branch on a twisted S-shaped scroll supported by a truncated fluted column beside a finial, is the later of two models that incorporate these particular figures. On the earlier, fully rococo version, they sit before a curved balustrade atop a boldly asymmetrical C-shaped scroll. One example of the earlier model is signed by the goldsmith and bronze worker François-Thomas Germain (1726-1791), and others are thought to derive from it.1 Another example of the present model is in the Musée des Arts Décoratifs, Lyons. Daniel Alcouffe has proposed that its combination of rococo (the Chinese figures, scrolls, and palms) and neoclassical motifs (column and finial) indicates a date of about 1760-70.2 Eriksen has suggested a slightly narrower period: about 1760-65.3 On a similar

Carved wood panel at Warwick Castle, England, based on Peter Paul Rubens painting 'The Battle of the Amazons'. The carving was by Simon Cognoulles, 1740.

Victoria and Albert museum, London, U.K. 1865 electrotype copy of a door of Pisa cathedral by Bonanus of Pisa depicting scenes from the life of Christ. The flight to Egypt

of 2