Religious Wooden Sculptures

A collection of wooden sculptures representing saints and biblical figures, showcasing intricate details, historical craftsmanship, and varying states of preservation and material.

Ten weepers from the tomb of Isabella of Bourbon, Borman workshop (attributed to), Renier van Thienen (I) (attributed to), c. 1475 - c. 1476 She stares right in front of herself and laid the right hand over the left, with which she stops a scarf. On the head of braids, the Bourrelet, decorated with a small -needed, stands, of which short pieces of with a serrated edge depend. Her overspread with pocket sleeves and a stiff -rigid collar from the front is held together by a broad belt. The mantle hanging from the back with a raised collar is held in front of the breast by a tire and agrafen and falls to the feet. Brussels bronze (metal) casting / casting She stares right in front of herself and laid the right hand over the left, with which she stops a scarf. On the head of braids, the Bourrelet, decorated with a small -needed, stands, of which short pieces of with a serrated edge depend. Her overspread with pocket sleeves and a stiff -rigid collar from the front is held together by a bro

Female Saint (St Agatha), c. 1500 - c. 1520 With the right foot she stands a little forward on a ground and holds a fragment of an open book in the left hand. Under the keys with scumed neck cut and with sleeves, with splits, a thin pleated shirt. The cloak, which is included in the arms, hangs from the shoulders. Under the skirt of the Keurs the blunt right shoe point and part of undercarred. A hanging sash for the drug. The head is missing. Utrecht oak (wood) gilding With the right foot she stands a little forward on a ground and holds a fragment of an open book in the left hand. Under the keys with scumed neck cut and with sleeves, with splits, a thin pleated shirt. The cloak, which is included in the arms, hangs from the shoulders. Under the skirt of the Keurs the blunt right shoe point and part of undercarred. A hanging sash for the drug. The head is missing. Utrecht oak (wood) gilding

Biblical figure, Eugène Lacomblé, 1800 - 1900 clay clay

St Christopher. The gigantic Christopher, who is described in legend as carrying the infant Christ across a river, became the patron saint of travellers. This compact sculpture of the saint was undoubtedly intended for a traveller to carry on a journey, to avert the perils that awaited those who took to the open road.

Saint Paul ca. 1500 North Netherlandish. Saint Paul. North Netherlandish. ca. 1500. Oak with traces of polychromy and gilding. Sculpture-Wood

Model for the so-called "Female Saint of Starnberg" ca. 1755 Ignaz Günther German The celebrated eighteenth-century Munich court sculptor Ignaz Günther carved this mesmerizing statuette. It is a "bozetto," or working model, for the nearly lifesize sculpture of the so-called "Female Saint of Starnberg," whose haunting composition was widely considered to be one of the artist's most innovative and poignant figural inventions. Günther captured the principal forms and volumes and the essential elements of the composition in his 'bozetto" in the same way a painter would use a sketch. Though the model's surface is still angular and the detailing is uneven, its elegance and courtly gesture presage its transformation into a large figure. The seductive twisting of the saint's body, her theatrically animated costume rippling in an imaginary breeze, and the play of light and shadow contrast dramatically with the aura of restrained ecstasy. Whimsical sculptural accents such as the coiffure reflect

Virgin and Child, anonymous, c. 1490 She stands on a ground with the curved right leg forward and the tip of the shoe in the cloak, creating a diagonal fold. The child dressed in a shirt is in Maria's right hand. She looks thoughtfully in front of herself; The hair falls along the sleeping and shoulders in a few thick strands. She wears a cloak tied to the breast with a double tire with a round neck cut, which is held under both arms, has been struck to the right in front of the lap and is still visible in part of the rug. Utrecht oak (wood) gilding She stands on a ground with the curved right leg forward and the tip of the shoe in the cloak, creating a diagonal fold. The child dressed in a shirt is in Maria's right hand. She looks thoughtfully in front of herself; The hair falls along the sleeping and shoulders in a few thick strands. She wears a cloak tied to the breast with a double tire with a round neck cut, which is held under both arms, has been struck to the right in front of t

Woman with Lantern (Midwife or Persian Sibyl), from a Nativity or Adoration of the Shepherds, anonymous, c. 1500 - c. 1515 She stands on an ascending base with the curved right leg slightly aside and with the head to the left. She carries the lantern in the right hand and holds the skirt of the overspring with the left, so that part of it depends on the forearm and can be seen the undercarrow, as well as the blunt shoe points. The woman wears a stamped hood and a turban over it. It has a wide covered over the middle, has a wide flat collar. Antwerp oak (wood) She stands on an ascending base with the curved right leg slightly aside and with the head to the left. She carries the lantern in the right hand and holds the skirt of the overspring with the left, so that part of it depends on the forearm and can be seen the undercarrow, as well as the blunt shoe points. The woman wears a stamped hood and a turban over it. It has a wide covered over the middle, has a wide flat collar. Antwerp oa

Ten weepers from the tomb of Isabella of Bourbon, Borman workshop (attributed to), Renier van Thienen (I) (attributed to), c. 1475 - c. 1476 She stares right in front of herself and laid the right hand over the left, with which she stops a scarf. On the head of braids, the Bourrelet, decorated with a small -needed, stands, of which short pieces of with a serrated edge depend. Her overspread with pocket sleeves and a stiff -rigid collar from the front is held together by a broad belt. The mantle hanging from the back with a raised collar is held in front of the breast by a tire and agrafen and falls to the feet. Brussels bronze (metal) casting / casting She stares right in front of herself and laid the right hand over the left, with which she stops a scarf. On the head of braids, the Bourrelet, decorated with a small -needed, stands, of which short pieces of with a serrated edge depend. Her overspread with pocket sleeves and a stiff -rigid collar from the front is held together by a bro

Girl with Bird Nest. Italy. Date: 1770-1780. Dimensions: H. 10.2 cm (4 in.). Lead-glazed earthenware. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Figure of the Nurse, early 1600s. Attributed to Claude Bertélémy de Blénod (French). Faience with enamel decoration; overall: 23.5 x 11.6 x 11.6 cm (9 1/4 x 4 9/16 x 4 9/16 in.).

'The Model of the Monument to Empress Catherine II in the Public Garden in front of the Alexandrinsky Theatre in St Petersburg'. Russia, 1873. Dimensions: 90x88x88 cm. Museum: State Hermitage, St. Petersburg.

Girl with hat. Figure in the shape of a girl with hat and flowerguirland in hand. Marked with a rad and brass S.

'Statuette of a Goddess'. Ancient Greece, Late 4th century BC. Dimensions: h. 26,7 cm. Museum: State Hermitage, St. Petersburg.

Figure of a fruit picking woman, Doornik, c. 1755 - c. 1780 Image of Soft-Paste Porcelain (Pâte Tendre). The image represents a woman who is picking up fruit that she carries in her apron. A few branches on the pedestal. Torlative porcelain. soft-paste porcelain. glaze painting / vitrification Image of Soft-Paste Porcelain (Pâte Tendre). The image represents a woman who is picking up fruit that she carries in her apron. A few branches on the pedestal. Torlative porcelain. soft-paste porcelain. glaze painting / vitrification

Alexandre Falguière (1831-1900). Naked woman sitting. Terracotta. 1878. Museum of Fine Arts of the City of Paris, Petit Palais. FEMME

Jean-Baptiste Carpeaux (1827-1875). "The tomb". Terracotta, 2nd half of the 19th century. Museum of Fine Arts of the City of Paris, Petit Palais. Bury, put in the tomb, terracotta, 19th 19th 19th 19th 19th 19th century

Giovanni Battista Morelli / 'The Infant Saint John the Baptist'. Ca. 1659. Ceramic paste. Museum: Museo del Prado, Madrid, España.

Maria with child, 1425 - 1449 stucco stucco

Arbor group. Culture: British, Staffordshire. Dimensions: Height: 8 1/8 in. (20.6 cm). Date: ca. 1750. Museum: Metropolitan Museum of Art, New York, USA.

Bust of Louis XV, c. 1745, lead-glazed earthenware (faience fine).

Virgin and Child mid-14th century French This elegant sculpture reflects aspects of both contemporary ivories and monumental sculpture, especially the refined, yet supple drapery and the delicate facial features. Originally painted, the figure would probably have been housed within a small architectural tabernacle.. Virgin and Child 467744

This figure comes from the tomb of Duke Philip the Bold from the church of Champmol near Dijon (Burgundy, France). Philip, who founded the monastery and designated it as his burial place, hired the best artists, many of whom came from the Netherlands. While the commission was given in 1381, the work was not completed until 1410, six years after the dukes death.This mourner is unusual for the time because it is not carved as a static low relief on the pedestal of the tomb but interacts with the viewers and their fellow procession members. The lifelike quality of the figure is due in large part to the alabaster. Its softness allowed artists to carve details into the material, and the transparent, milky white stone could also be polished to a high gloss. Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364-1404), 1404-1410. Claus de Werve (Netherlandish, 1380-1439). Vizille alabaster; overall: 41.7 x 16.6 x 11.7 cm (16 7/16 x 6 9/16 x 4 5/8 in.).

. The man sits on a tree stump on a drailer to play, resting on his left. With the left hand, he touches the keys, it rotates the pendulum with the judge. The smiling head with long hair is used to the left. A wide roared hat on his head. It is dressed in a 1673 old-fashioned costume, a joker and shirt with lying collar and wide sleeves, a short puff pockets, stockings and companter boots. He sits on his cloak that falls over and the left arm partially covered. A poppy animal emerges from a cavity in the tree trunk. The ground is overgrown with plants.

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

. Image of a man on a pedestal of porcelain, covered with a translucent white glaze. The image presents Liu Hai, a taoistic immortal, with its attribute the 3-legged path and a gold coin; It is dressed in an open robe and stands on a pedestal in the shape of a cloud. A few bakes; A finger has broken off. Blanc De Chine.

Beatrice, 1853-1855. Sculptor: John Hancock

. She is standing with both feet on Emperor Maxentius (), Het Head brushed up slightly to the right and sees, vaguely smiling, somewhat down for himself. She keeps the left noise up, opposite to the judge. The hair springs at the slept and falls into waves over the back and shoulders. On the head a wound band with pearls and a few rosettes. The released robe, which is ceased under the left arm, falls over the lying frost, but release the points of its footwear and a part of the underlet. The robe has to show both on the zoom and sleeves for ornamental stones. A prayer cord on the sloping belt; Under the round neck cutting the vaulted front of the undergarment, which also appears again at the left foot; To the neck a three-piece pearl necklace with toothed edge, to which a diamond-shaped pendant. The jacket hanging from the shoulders is stopped under the right arm. The frost is overflowing on a ground, supports his head with the right hand, while the left on the sheath of the hair rest

St John of Nepomuk on a Cloud, Meissener Porcelain Manufaktur, 1731 Figure of painted porcelain. The statue represents the Holy John Nepomuk, kneeling on a cloud that is worn by four angels. There are a number of gilded stars in relief on the cloud. The saint is mainly painted in brown and black. The figure is marked. Float porcelain Figure of painted porcelain. The statue represents the Holy John Nepomuk, kneeling on a cloud that is worn by four angels. There are a number of gilded stars in relief on the cloud. The saint is mainly painted in brown and black. The figure is marked. Float porcelain

Figure of Autumn from the Four Seasons, c. 1775. Bristol Porcelain Factory (British, 1770-81). Hard-paste porcelain; overall: 28.4 x 16.2 x 13.7 cm (11 3/16 x 6 3/8 x 5 3/8 in.). The modern notion of childhood as a time of innocence and simplicity emerged during the second half of the eighteenth century. This understanding of adolescence led to numerous depictions of children as personifications of the four seasons. Here autumn is portrayed as a young girl playfully jostling her overskirt as she balances a basket of fruit against her hip. The grapes, plums, and apples filling her basket allude to a plentiful fall harvest.

Henri Allouard (1844-1929). Portrait of Richelieu in La Rochelle (1585-1642), ecclesiastics and statesman. Bronze patinated plaster. 1901. Paris, Carnavalet museum. 60823-9 Cardinal, ecclesiastics, French State, Platre Patine Bronze, statue

Terracotta relief detached from a funnel-jar late 4th-early 3rd century B.C. Italic-Native, South Italian (Canosan) Figure of a youth removed from funnel-jar 06.1021.248 a, b. Terracotta relief detached from a funnel-jar. Italic-Native, South Italian (Canosan). late 4th-early 3rd century B.C.. Terracotta. Early Hellenistic. Vases

Mother and child. .

Sigisbert Michel. "Shepherdess lying near her basket and her dog (from the front) in 1757". Paris, Cognacq-Jay museum. 35091-8 Lengthened, sheep, woman, face, basket, dog

Venancio Vallmitjana Barbany (In collaboration with Vallmitjana Barbany, Agapito) / 'Saint Elizabeth of Hungary'. 1862. Marble. Museum: Museo del Prado, Madrid, España.

Dancer, c. 1760-1765. England, Derby, 18th century. Soft-paste porcelain; overall: 27 x 13.9 x 13.4 cm (10 5/8 x 5 1/2 x 5 1/4 in.).

Johann-Joachim Kaendler (1706-1775). "Minerva (front view)", between 1745 and 1750. German porcelain from Meissen. Paris, Cognacq-Jay museum. Roman deesse, Meissen Manufacture, German porcelain, front view, mythology

Moeder en Kind, Eugène Lacomblé, 1800 - 1905 clay clay

The hope.

Bust of a Man in Womens Attire, anonymous, 1700 - 1800 sculptor: Northern NetherlandsSouthern Netherlands terracotta (clay material) sculptor: Northern NetherlandsSouthern Netherlands terracotta (clay material)

The Entombment, from the Soest Altarpiece, Master of the Soest Altarpiece, c. 1475 - c. 1500 Above a sarcophagus with profiled upper and bottom, on the left Nicodemus () Holds on a line wader 'body, the head and part of the shoulders are missing. Behind the Sarcophagus Maria, who holds the right arm of her son with both hands. Against Maria's Leftelleboog remains of a hand (Johannes). On the right on the line a hand and a forearm (Joseph of Arimathea). Maria wears a rug with neck cloth and a cloak over the head. The man with must a rug with short sleeves, with fur deposited, over a long cover with long sleeves; Over it a two-part rug, the sides of which of the front and back have a flat bontrand and have been held together by an Agrafe. Utrecht oak (wood) gilding Above a sarcophagus with profiled upper and bottom, on the left Nicodemus () Holds on a line wader 'body, the head and part of the shoulders are missing. Behind the Sarcophagus Maria, who holds the right arm of her son with bo

Figure of a standing Chinese man ca. 1740 Villeroy. Figure of a standing Chinese man. French, Villeroy. ca. 1740. Soft-paste porcelain. Villeroy (French, 1734/37-1748). Ceramics-Porcelain

Two Standing Women ca. 1st century B.C. Pakistan (ancient region of Gandhara). Two Standing Women 38436

Netsuke of Woman and Deer. Culture: Japan. Dimensions: H. 1 1/4 in. (3.2 cm); W. 1 in. (2.5 cm); D. 5/8 in. (1.6 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Africa.

Anonymous. "Saint Georges killing the dragon". Stone and traces of polychromy. Fifteenth century. Museum of Fine Arts of the City of Paris, Petit Palais. 71433-8 Armor, dragon, stone, saint, terrouir, polychromy trace, kill, launches

Jean-Baptiste Carpeaux (1827-1875). "Napoleon". Museum of Fine Arts of the City of Paris, Petit Palais. 36158-3 French emperor, statue, 19th 19th 19th 19th 19th 19th century

Two children 1751-54 Chelsea Porcelain Manufactory. Two children. British, Chelsea. 1751-54. Soft-paste porcelain. Chelsea Porcelain Manufactory (British, 1745-1784, Transitional (Brown Anchor) Period, ca. 1758-1759). Ceramics-Porcelain

Seated King, Probably Herod. Culture: South Netherlandish. Dimensions: Overall: 18 3/4 x 6 1/8 x 3 11/16 in. (47.6 x 15.6 x 9.3 cm). Date: ca. 1300-1350.Said to have come from the convent of the Beguines of Namur in Belgium, this sculpture was carved by craftsmen who also worked for royal patrons in Paris. The figure's crossed legs, often seen in representations of Herod commanding the Massacre of the Innocents, are seen as a sign of disrespect. Museum: Metropolitan Museum of Art, New York, USA.

Marble hekataion 2nd century A.D. Roman. Marble hekataion. Roman. 2nd century A.D.. Marble. Imperial. Stone Sculpture

. It stands on a ground with the right leg forwards and is dressed in the skin of a camel, of which a leg hangs between the knees and the head is between the feet. A belt around the waist. The jacket that falls down from the shoulders and back is included with the elbows. Next to him is the lamb, scratching with a leg behind the ear.

Jean-Baptiste Carpeaux (1827-1875). Overlap. Tinted plaster, 1864. Museum of Fine Arts of the City of Paris, Petit Palais. 79392-23 Sketch, model, plaster, statuette, 19th 19th 19th 19th 19th 19th century

. In the course of the 16th century, Venice grew into one of the most important centres for bronze sculpture in Italy. Although many small workshops mass-produced everyday objects, refined and unique bronzes were also made. This Minerva is an example of the high level of finish of the best Venetian bronzes.

. Alongside all manner of classical and mythological subjects, the French court sculptor Prieur also made a few figurines representing daily life. With this elegant couple he played with the unequal standing of the figures: the dashing, urban lord versus the simple country lass holding a basket and an apple. The electric erotic tension between them can be read from their gestures and attributes - gloves and an apple.

The Lost Sheep, c. 1770. Staffordshire Factory (British), John Voyez (French). Lead glazed earthenware; overall: 21.6 x 9.6 cm (8 1/2 x 3 3/4 in.); diameter of base: 8 cm (3 1/8 in.).

Allegorical Figure of Columbia 1795-1805 Stoke on Trent. Soft-paste porcelain with gilding . Mintons Ltd. (Manufacturer)

Saint John the Evangelist, Master of Koudewater, c. 1470 John the Evangelist stands on a ground with the left foot slightly forward, the head just aside and the gaze facing down (on the missing chalice). He lifts the right hand, the left arm is bent. The curly hair hangs to the right shoulder. He wears a tunic over a covering with upright collar and long sleeves, which is tied together with a belt with buckle and partly leaves the feet uncovered. The cloak, closed on the chest with a knot, is stored against the right shoulder and is absorbed under the left arm. The changed left sleeve still shows part of the undercarrow. Northern Brabant walnut (hardwood) gilding John the Evangelist stands on a ground with the left foot slightly forward, the head just aside and the gaze facing down (on the missing chalice). He lifts the right hand, the left arm is bent. The curly hair hangs to the right shoulder. He wears a tunic over a covering with upright collar and long sleeves, which is tied toget

Charles van Wijk, Model for image of Johan van Oldenbarnevelt, full-length with stick in right hand, model sculpture sculpture clay, modeled figure of standing man in tabbard and with millstone collar Oldenbarnevelt town hall town hall City Center Stadsdriehoek Rotterdam Sketch design for the statue (unveiled 1920) on the façade of the new town hall in the niche under the mayor's room.

Saint John the Evangelist (from the church of Saint Martin ofAngers), ca.1185-95, Polychrome limestone, 188 × 48.2 × 38.1 cm, 861.83 kg (74 × 19 × 15 in., 1900lb.), Onview, French,Angers, 12thcentury, Sculpture

Anonymous. "Saint Wendelin". Decapped wood (linden) Formerly polychrome. 1500. Museum of Fine Arts of the City of Paris, Petit Palais. 123479-27

Female Attendant, one of five, 7th century, 11-7/8 x 3-3/16 x 3-3/4 in. (30.2 x 8.1 x 9.5 cm), Glazed ceramic, pigment, China, 7th century

Meissen Manufacture. "Clarinetist monkey". This subject belongs to a set of several pieces. Metal, bronze, porcelain, wood. Around 1755/1760. Museum of Fine Arts of the City of Paris, Petit Palais. 144002-8 German art, decorative art, ceramic, faience, German renaissance, musician monkey, rococo style, 18th 18th 18th 18th 18th 18th century, animal

Bust of William IV, Jan Baptist Xavery, 1733

Season, presented by child with attribute ,, 1725 - 1740 Northern Netherlands terracotta (clay material) Northern Netherlands terracotta (clay material)

Sight (one of a pair) ca. 1755 Chelsea Porcelain Manufactory The rainbow indicates that the figure represents Seeing.. Sight (one of a pair). British, Chelsea. ca. 1755. Soft-paste porcelain with enamel decoration and gilding. Chelsea Porcelain Manufactory (British, 1745-1784, Red Anchor Period, ca. 1753-58). Ceramics-Porcelain

Jean-Pierre Dantan (1800-1869) said Dantan the young. Charles-Emmanuel Lepeintre portrait portrait, known as Lepeintre elder (1785-1854), actor in "The Laboureur and Voltaire soldier". Terracotta patinated plaster. 1837. Paris, Carnavalet museum. 53354-3 Actor, the Laboureur and Voltaire soldier, Patre patina, portrait-load, terracotta

Horn Player Made 1750-1770 Staffordshire. Lead-glazed earthenware (creamware and redware) .

Standing Figure of a Beauty: Arita Ware, 1600s. Japan, Edo period (1615-1868). Porcelain with overglaze enamel decoration; overall: 27.4 cm (10 13/16 in.).

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

Stole. Culture: Indian. Date: 1800-1810. Museum: Metropolitan Museum of Art, New York, USA.

Raoul Verlet (1857-1923). "The reader (sketch for the monument to Maupassant)". Terracotta. 1894. Museum of Fine Arts of the City of Paris, Petit Palais. Young woman, reading, reading, reader, commemorative monument

Virgin of the Immaculate Conception. Artist: Probably after a model by Lorenzo Vaccaro (Italian, 1653-1706). Culture: Italian, Naples. Dimensions: Overall: 30 1/8 × 14 1/4 × 9 1/2 in. (76.5 × 36.2 × 24.1 cm). Date: ca. 1680. Museum: Metropolitan Museum of Art, New York, USA.

Female term figure. Culture: British, London. Dimensions: 4 1/2 × 1 1/4 in. (11.4 × 3.2 cm). Maker: Saint James's Factory (British, ca. 1748/49-1760). Date: ca. 1750-55. Museum: Metropolitan Museum of Art, New York, USA.

Bacina, Mare de Déu del Roser, siglo XIX. Museu Català de les Arts i Tradicions Populars.

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

Madonna and Child, c. 1330-1340. Attributed to Andrea Pisano (Italian, c. 1295-1348/49). Marble with traces of gilding; base: 5 x 15.9 x 15.1 cm (1 15/16 x 6 1/4 x 5 15/16 in.); without base: 32.7 x 15 x 9.6 cm (12 7/8 x 5 7/8 x 3 3/4 in.).

Young Mermaid, Fountain In figure, 1700 - 1725 lead (metal) lead (metal)

Kneeling Saint Jerome, c, 1525. Workshop of Severo da Ravenna (Italian, c.1496-c.1543). Bronze; overall: 9.5 x 5 x 6.5 cm (3 3/4 x 1 15/16 x 2 9/16 in.).

Birch wood carving of Saint Lucia from Saint-Bertrand-de-Comminges. Dated 14th Century

Mare de Deu from the Ternelles cell, 13th century, late Romanesque carving, Hermitage of Cel.la Vella, pollensa museum, Majorca, Balearic Islands, Spain.

Pair of Seated Figures (Pagodas), Meissener Porcelain Manufaktur, 1735 Figure of painted porcelain. The figure represents a sitting Chinese man (pagoda). The man is sitting with crossed legs on a green pillow, which is on a rectangular pedestal with beveled corners. The man has a monkey on his right knee and a red fruit in his left hand. The man wears a flat hat with a raised edge. The image is marked. Float porcelain Figure of painted porcelain. The figure represents a sitting Chinese man (pagoda). The man is sitting with crossed legs on a green pillow, which is on a rectangular pedestal with beveled corners. The man has a monkey on his right knee and a red fruit in his left hand. The man wears a flat hat with a raised edge. The image is marked. Float porcelain

Running Victory 1789 Jean Guillaume Moitte French These are preparatory models for reliefs on the façade of the Palais de Salm-Kyrbourg, today the Palais de la Légion d'Honneur, Paris, one of the great gems of Neoclassical architecture.. Running Victory. French, Paris. 1789. Terracotta. Sculpture

Jean-Pierre Dantan (1800-1869) said Dantan the young. Caricature of the oboe at the Opera Henri Brod (1799-1839). Statuette. Patinated plaster, round-bump, terracotta, 1838. Paris, Carnavalet museum. 52164-3 Humbois, Music instrument, opera, patina patina, round-bump, statuette, terracotta, caricature

Gardener. Culture: British, Chelsea-Derby. Dimensions: Overall: 2 1/2 × 2 in. (6.4 × 5.1 cm). Factory: Derby Porcelain Manufactory (British, Chelsea-Derby period, 1769-1784). Date: ca. 1765. Museum: Metropolitan Museum of Art, New York, USA.

Pilaster of Angels Sounding Trumpets from the Parapet of a Pulpit. Artist: Workshop of Giovanni Pisano (Italian, Pisa ca. 1240-before 1320 Siena). Culture: Central Italian. Dimensions: Overall: 33 5/8 x 9 1/8 x 7 in. (85.4 x 23.2 x 17.8 cm). Date: 1302-10.The trumpet-blowing angels, heralding the Last Judgment once flanked a relief of Christ as Judge (now in Berlin) in the center. The central pilaster is composed of a compact group with symbols of the evangelists: the angel of Matthew at center, the ox of Luke at his left, and the lion of Mark on the right. The pilaster supported an eagle lectern, similar to the adjacent one, for the reading of the Gospels. The eagle of John thus completed a representation known as a tetramorph. Probably executed by assistants after designs by the sculptor Giovanni Pisano, the pulpit was finished in 1310. It was dismantled in 1603, then reconstructed in the cathedral in 1926. Museum: Metropolitan Museum of Art, New York, USA.

L' Indifférent 1741-44 Vienna. L' Indifférent 203205

Two kings in a landscape. Ivory carving, fragment, from two kings in a landscape. Of the figures, cut from a concave piece ivory, the left to the right has turned, has a beard and wears an object in his right hand, while his left hand rests against the breast in pointing attitude. The right figure is used to the left, has a pot in both hands and looks upwards. Behind them the heads of a camel and a horse.

KAN-U (Guandi, Ch Ski Genera Guan Yu); Okimono; 1890-1912 (1890-00-00-1912-00-00);Guandi (iconogr.), Paderewski, Ignacy Jan (1860-1941), Paderewski, Ignacy Jan (1860-1941)-collection, gift (provenance), figurines, Japanese (culture), Okimono, Japanese art

Bearded Man on a Donkey accompanied by Four Boys (The Song of Silenus) ca. 1500-1520 Italian, Padua This recently discovered sculpture relates in style to Bellano’s David with the Head of Goliath (64.304.1). Around 1500, casting techniques were not yet advanced enough to produce freestanding, multifigure statuettes in bronze. Terracotta provided a respected, classical medium for this ambitious group.. Bearded Man on a Donkey accompanied by Four Boys (The Song of Silenus). Italian, Padua. ca. 1500-1520. Terracotta, with traces of bronze-colored coating. Sculpture

Sarah Bernhardt (1844-1923). Inkwell representing Sarah Bernhardt, seen from three-quarters. Paris, Carnavalet museum. Sarah Bernhardt, woman, anthropomorphic, chimera, skull, inkwell. Actrice Francaise, Aile, Egigi, EGGIFY, ECRIER, CRESS DONTRY, THREE-Quarter, Tring

Image, lower part, from a Mary with Christ's corpse on lap. Image, lower part, from a Mary with Christ's corpse on lap. Casting in plaster. The form is located in the municipal collection in Utrecht.

Woman as Old Age Made 1780-1790 Burslem. Lead-glazed earthenware (pearlware) . Enoch Wood

Seated Virgin and Child. Culture: French. Dimensions: Overall: 6 3/8 x 2 1/2 x 2 in. (16.2 x 6.3 x 5.1 cm). Date: early 14th century (later restorations/alterations). Museum: Metropolitan Museum of Art, New York, USA.

Angel 18th century Attributed to Giuseppe Sanmartino Italian In 1964, Loretta Hines Howard generously presented to the Museum over 140 Neapolitan crèche figures, dating from the second half of the eighteenth century. The varied assortment includes figures from the three traditional scenes of a complete Neapolitan presepio: the Nativity, with angels, shepherds, and sheep; the procession of the three Magi, with their colorful retinue of attendants; and the varied and gay crowd of country and town people thronging the tavern, or inn, of Bethlehem the diversorium mentioned by St. Luke, where on the Holy Night there was no place for Mary and Joseph. Averaging between twelve and fifteen inches in height, according to the position they were to take in perspective in the stage set, the figures are pliable and can be given poses at will, according to their facial expressions. Their bodies are made of tow and wire, their arms and legs are finely carved of wood, and their heads and shoulders ar

Mare de Deu from the Ternelles cell, 13th century, late Romanesque carving, Hermitage of Cel.la Vella, pollensa museum, Majorca, Balearic Islands, Spain.

Procession with Four Figures, Late 1800s- Early 1900s. Japan, Meiji period (1868-1912). Ivory; overall: 6.2 cm (2 7/16 in.).

FIGURILLA FEMENINA - SIGLO XIX. Location: MUSEO DEL ROMANTICISMO-CERAMICA. MADRID. SPAIN.

Zouave Dantan, Antoine Laurent (said old dantan). "Zouave". Patinated terracotta plaster. 1853-1853.

Portrait-Charge of Gustave Brion, Painter Moreau-Vauthier, Augustin-Jean. "Charge portrait of Gustave Brion, painter". Terracotta.

Turkish Figure, Sweetmeat Dish. Bow Porcelain Factory; London, England, 1744-1775. Date: 1755-1765. Dimensions: H. 20.3 cm (8 in.). Soft-paste porcelain, polychrome enamels and gilding. Origin: Bow. Museum: The Chicago Art Institute, Chicago, USA.

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