Sculptural Figures and Deities

Sculptures representing various deities and allegorical figures, crafted from different materials showcasing cultural symbolism and artistic expressions.

Saint Bartholomew; possibly Belgian; 18th century; Terracotta; 57.2 × 21 × 17.8 cm (22 1,2 × 8 1,4 × 7 in.)

The victory.

Aeneas receives weapons from Venus, Jean Cornu, 1704 - 1710 Sculpture group on almost square plinth with beveled corners representing a standing man in Roman harness. Right behind him, floating, a woman in ancient gestation. At his feet a rocky soil with piled up weapon. France gypsum Sculpture group on almost square plinth with beveled corners representing a standing man in Roman harness. Right behind him, floating, a woman in ancient gestation. At his feet a rocky soil with piled up weapon. France gypsum

Ivory statuette of a reclining woman 3rd-4th century A.D. Roman Ivory carving has a long history in the ancient world. The material, although regarded as a rare luxury, was used for practical objects such as handles, pins, and boxes, as well as for works of art. In late Roman times, pagan or secular subjects gradually gave way to Christian images, and ivory became a prestige medium in Byzantine art.. Ivory statuette of a reclining woman 249180

'Head of an Angel'. Italy. Siena, Middle of the 15th century ( ). Dimensions: height: 46,0 cm. Museum: State Hermitage, St. Petersburg.

Gloria Victis, c. 1880. Antonin Mercié (French, 1845-1916). Bronze with gilding; overall: 73.7 cm (29 in.); without base: 71.2 cm (28 1/16 in.).

Woman in a Wide Skirt 1750-1799 France .

Season, proposed by child with attribute. .

Allegory of winter - figurine; Porcelain manufacture of Elektor Karol Teodor (Frankenthal; 1762-1795); according to the model from the 18th century (1770-00-00-1850-00-00);

Female Figure 1853-58 United States Pottery Company. Female Figure 3587

Greek terracotta of a woman in a flowing dress. Artist: Unknown

Terracotta statuette of a woman 3rd century B.C. Greek, Boeotian Standing, draped girl, wearing hat, fan held down in left hand, right hand behind her.. Terracotta statuette of a woman. Greek, Boeotian. 3rd century B.C.. Terracotta. Hellenistic. Terracottas

Saint Peter.During the years when Quellinus was working on the new Town Hall in Amsterdam, he retained his workshopin Antwerp, which is where this figure of Saint Peter originated. It is a preparatory study for a large marblestatue for the tomb of Pieter Saboth in the local Sint-Andrieskerk. Quellinus rarely produced works of a religiousnature, such as this Saint Peter, in predominantly Protestant Amsterdam.

St. Vincent van Paolo.

Ugolino and his Children. Jean Baptiste Carpeaux; French, 1827-1875. Date: 1863-1865. Dimensions: H. 48.9 × 37.2 ×22.9 cm (19 1/4 × 14 5/8 × 9 in.). Bronze. Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: Jean Baptiste Carpeaux.

Two Angels and Cherubs Bearing an Icon of Christ, c. 1670-1680. Probably by Paolo Naldini (Italian, 1616-1691). Terracotta; overall: 41.9 x 41.9 x 15.3 cm (16 1/2 x 16 1/2 x 6 in.). This work is probably a study for a large altarpiece that would have combined several materials, including marble, stucco, and paint. The artist modeled his design in soft clay, which was then hardened by firing; subtle tints suggest the richness of the finished work. The idea of using sculptural figures to support a painted image within an altarpiece was influenced by the work of the Roman sculptor Gian Lorenzo Bernini (1598-1680), with whom Naldini is known to have worked.

SANTIAGO EL MAYOR. SANTIAGO PEREGRINO. APOSTOL . MARTIR AÑO 44. " SANTIAGO PEREGRINO " , MADERA POLICROMADA SIGLO XIV.

Female Musician 618 CE-906 CE China. Earthenware with polychrome pigments .

Engel, anonymous, 1475 - 1485 The figure consists of the following cast, ciseled and taught parts: the angel, the wing piece, the hand sounded on the left arm. The angel stands on a five -sided pedestal, which is marked at the front, has a notch on the back and has a threaded around hole at the bottom. In the back, a portion is saved around the eye, in which the wing part can be encouraged with a pin. The right hand and the object, which the angel held, is missing. Northern Netherlands (possibly) brass (alloy) casting The figure consists of the following cast, ciseled and taught parts: the angel, the wing piece, the hand sounded on the left arm. The angel stands on a five -sided pedestal, which is marked at the front, has a notch on the back and has a threaded around hole at the bottom. In the back, a portion is saved around the eye, in which the wing part can be encouraged with a pin. The right hand and the object, which the angel held, is missing. Northern Netherlands (possibly) bras

Fickle Love, 1800s. After Augustin Pajou (French, 1730-1809). Marble; without base: 25.9 x 10.5 x 10.9 cm (10 3/16 x 4 1/8 x 4 5/16 in.).

Statuette of an actor. Culture: Greek. Dimensions: H. 3 7/16 in. (8.7 cm). Date: mid-4th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

'The Apostle James (James the Less)'. Italy, Circa 1704. Dimensions: height: 55,0 cm. Museum: State Hermitage, St. Petersburg.

Virgin and Child on the Crescent Moon; about 1490-1500 Limewood Tilman Riemenschneider; German; active Wurzburg; 1460-1531

Justitia (justice). Figure of painted porcelain. On a square gold randed pedestal is a woman (Justitia) with a sword in her right hand and a scales over her left arm. She is blindfolded. The figure has been marked.

Abduction of Polyxena, c. 1855, Pio Fedi, Italian, 1825 - 1892, 51 x 31 x 22 in. (129.54 x 78.74 x 55.88 cm), Plaster, polychromed, Italy, 19th century

Figure; ivory

South Netherlandish 15th Century, Pietà, 1450-1475, alabaster with traces of polychromy

Vecchia Contadina (Old Farm Woman) Figure; Designed by Angelo Leone; Italy; terracotta

Bronze bust of Serapis, From Volubilis (Morocco)

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

Diana, marble figurine. Madrid, public museum. Location: MUSEO DE HISTORIA DE MADRID-EBORARIA-MARFILES. MADRID. SPAIN. DIANA CAZADORA-DIOSA EN LA MITOLOGIA ROMANA.

Bozzetto for a Funerary Monument, Probably for Lieutenant-General Count Reinhard Vincent von Hompesch (c. 1660-1733), Jan Baptist Xavery, 1728 terracotta (clay material) terracotta (clay material)

The Good Shepherd, AD 280-90. Asia Minor, Late Roman-early Christian. Marble; overall: 49.5 x 26 x 16.2 cm (19 1/2 x 10 1/4 x 6 3/8 in.).

Louis Dejean (1872-1953). The toilet ; Young woman sitting; Bal outlet. Plaster, around 1900. Museum of Fine Arts of the City of Paris, Petit Palais. 78194-12 Sitting, ball, arms, hood, cover, standing, armchair, woman, statuary group, lift, coat, plaster, breast, go out, statuette, seat, head, naked, toilet

Maria with child, standing on a monster.

Relief with Two Maenads; Tarentum (Taras), South Italy; 350 - 300 B.C; Terracotta with foil gilding and polychromy (pink); 6.4 × 15.2 cm (2 1,2 × 6 in.)

West European Applied Art., Silver on wood, 12th century, Russia, St. Petersburg, State Hermitage, H 42

St Catherine, anonymous, c. 1500 - c. 1510 She stands on a ground with the right leg bent forward over the lying Maxentius. In the left hand she wears an open book. Her upper body with hanging right arm bends slightly to the left. The hairs fall over the back and shoulders. Over a shirt and lower dressing, both with V-shaped necklace, a robe with rectangular necklace and frills on the upper sleeve. From her left shoulder, the cloak runs under the right arm and has struck to the right. Maxentius with long, braided beard holds it with the right hand, while supporting the left arm on the ground. He is wearing a crown and a costume, the sleeves of which show hanging at the top and continuing to split. Mechelen oak (wood) She stands on a ground with the right leg bent forward over the lying Maxentius. In the left hand she wears an open book. Her upper body with hanging right arm bends slightly to the left. The hairs fall over the back and shoulders. Over a shirt and lower dressing, both wit

Lion Supporting an Escutcheon, from the Top of a Balustrade or the Backrest of the Stadholders Chair in the Rolzaal in the Hof van Holland, The Hague, Joost Janszoon, Jan de Paep, 1511 Sculpture of animal or human with weapon board, sitting on a column. The statue is part of eleven images (BK-NM-144-1 to BK-NM-144-12). wood (plant material). paint (coating). oak (wood) Sculpture of animal or human with weapon board, sitting on a column. The statue is part of eleven images (BK-NM-144-1 to BK-NM-144-12). wood (plant material). paint (coating). oak (wood)

Shepherd ca. 1765 Chelsea Porcelain Manufactory. Shepherd. British, Chelsea. ca. 1765. Soft-paste porcelain. Chelsea Porcelain Manufactory (British, 1745-1784, Gold Anchor Period, 1759-69). Ceramics-Porcelain

Jean-Pierre Dantan (1800-1869), said Dantan the young. Serious portrait of Madame Devy (from London). Terracotta patinated plaster, 1833. Paris, Carnavalet museum. Bust, pattero patina, woman portrait, terracotta

Joueaman's joueager. Tears cook at glaçures. Par musée musée malée. 78847-30 Asian art, old ceramic, covered, email, musical instrument, musician, character, porcelain, terracotta emaillee, tricolor

Bacchus and Ariadne, c. 1780, Guiseppe Boschi, Italian, (Rome), 1760-after 1821, 20 15/16 x 10 x 9 1/2 in. (53.18 x 25.4 x 24.1 cm), Bronze, Italy, 18th century

Roman Sculptor / 'Ariadne sleeping'. 150 - 175. White marble. Museum: Museo del Prado, Madrid, España. Author: TALLER ROMANO.

SeatedVirgin. Artist: Unknown

Hercules and Omphale ca. 1749-50 Vincennes Manufactory French This figure group depicting two figures from Greek and Roman mythology, Hercules and Omphale,1 is one of the earliest sculptural models produced by the Vincennes factory. While the model first appears in the factory inventory of 1752, it seems almost certain that it was in production by the middle of 1749. On July 12, 1749, the account book of the famous Parisian marchand mercier Lazare Duvaux (French, 1703-1758) records the sale of “a large round gilt-bronze base for a Hercules made of Vincennes porcelain” to a Monsieur de Villaumont.2 As the Vincennes factory had only recently attempted the production of sculptural figures and groups, it is unlikely that there was another model of Hercules to which this notation in Duvaux’s account book could refer. Due to its size and the complexity of its composition, Hercules and Omphale is a surprisingly ambitious work for a factory that was founded in 1740 yet began production in

Agathon Léonard (1841-1923). "Dancer with the scarf, view from the front". Terracotta. 1897. Museum of Fine Arts of the City of Paris, Petit Palais. 99298-3 Dancer, scarf, woman, face, terracotta, 19th 19th 19th 19th 19th 19th century

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

The Sleeping Shepherdess ca. 1775 Fulda Pottery and Porcelain Manufactory. The Sleeping Shepherdess. German, Fulda. ca. 1775. Hard-paste porcelain. Ceramics-Porcelain

Turk ca. 1760 Style of Ralph Wood the Elder. Turk. British, Staffordshire. ca. 1760. Lead-glazed earthenware. Ceramics-Pottery

Daniel Chester French, Alma Mater (Columbia University), model 1900 1903, cast c 1907 Alma Mater (Columbia University)

Seated limestone kourotrophos with another child standing. Culture: Cypriot. Dimensions: Overall: 16 x 12 3/4 x 9 in. (40.6 x 32.4 x 22.9 cm). Date: 4th century B.C..Seated, with child in lap, another standing at knee. Museum: Metropolitan Museum of Art, New York, USA.

Dancing Apsaras, 900s. China, late Tang dynasty (618-907) - Five dynasties (907-960). Dry lacquer; overall: 36.3 cm (14 5/16 in.).

Venus and Mercury. porcelain factory of Wilhelm Caspar Wegely (1714-1764)Berlin, c. 1752-1757hard-paste porcelain

Justice ", 18th century. Anonymous after Johann-Joachim Kaendler. German porcelain from Meissen. Museum of Fine Arts of the City of Paris, Petit Palais. Germany, German, Woman, Justice, Meissen Manufacture, Porcelain

Lady. Culture: British, Chelsea-Derby. Dimensions: 2 1/2 × 1 in. (6.4 × 2.5 cm). Factory: Derby Porcelain Manufactory (British, 1751-1785). Date: ca. 1765-68. Museum: Metropolitan Museum of Art, New York, USA.

Allegorical Victory of the Grand Condé. Artist: Robert Guillaume Dardel (French, 1749-1821). Culture: French. Dimensions: 9 × 6 × 4 in. (22.9 × 15.2 × 10.2 cm). Date: 1786.The year 1786 was the centenary of the death of Louis II de Bourbon, prince de Condé, the illustrious warrior of the Louis XIV period known to all as the Grand Condé. His descendant, the eighth prince de Condé, commissioned decorations to honor his forebear. The eighth prince allotted this subject - winged Victory awarding the palm to a wounded hero in agony - to his favorite sculptor, the talented Robert-Guillaume Dardel. Modeled for a statuary group that was evidently never realized, the terracotta's Baroque flourishes pay homage to the epoch of the Grand Condé. Museum: Metropolitan Museum of Art, New York, USA.

Johann-Joachim Kaendler (1706-1775). "Colinette", German porcelain from the 18th century. Museum of Fine Art of the City of Paris, Petit Palais. Baton, Meissen factory, sheep, character, German porcelain, animal

Nydia, the Blind Girl of Pompeii. Dated: model 1855, carved 1860. Dimensions: overall: 137.2 cm (54 in.) gross weight: 880 lb. (399.165 kg) pedestal weight: 1221 lb. (553.842 kg). Medium: marble. Museum: National Gallery of Art, Washington DC. Author: Randolph Rogers.

Chess Figure Sam Skirmuntt, Helena (1827 1874)

Statuette of a Nike. Perhaps from Workshop of Tomb 112B

Terracotta cinerary urn 2nd century B.C. Etruscan The container depicts a fantastic head with bovine ears and wearing a Phrygian cap with wings. This soft, cloth cap was worn by the people of ancient Phrygia (modern central Turkey). Certain divinities, including Castor and Pollux, and heroes, including Paris, as well as Amazons, are often depicted wearing it. Other examples of this subject, made from the same mold, come from Chiusi, the likely site of manufacture for the entire group.. The dedicatory inscription in red paint is too poorly preserved to read.. Terracotta cinerary urn. Etruscan. 2nd century B.C.. Terracotta. Hellenistic. Terracottas

Apollo and Daphne. Culture: British, Chelsea. Dimensions: Overall: 3 5/8 × 1 1/8 in. (9.2 × 2.9 cm). Factory: Chelsea Porcelain Manufactory (British, 1745-1784, Gold Anchor Period, 1759-69). Date: ca. 1765. Museum: Metropolitan Museum of Art, New York, USA.

Lead figure of a sphinx. Culture: Greek, Laconian. Dimensions: Height: 1 5/16 in. (3.3 cm). Date: 6th-5th century B.C..Small flat votive figurines of cast lead have been found in great quantities at the ancient sanctuaries of Laconia; over one hundred thousand, dating from the seventh century B.C. to the Classical period, were dedicated to the goddess Artemis Orthia in Sparta. Museum: Metropolitan Museum of Art, New York, USA.

Oguri Hangan: Legendary Horseman

Athena

Anonymous / 'Ariadne'. XVIII century. Marble. Museum: Museo del Prado, Madrid, España.

Korbeel with cut representation of a Elector Aartsbishop, Anonymous, c. 1550 - c. 1600 Korbeel van Oakhout with a Elector Aartsbishop, standing under a canopy. Coming from the broken house Warmoesstraat 145 in Amsterdam. Northern Netherlands oak (wood) Korbeel van Oakhout with a Elector Aartsbishop, standing under a canopy. Coming from the broken house Warmoesstraat 145 in Amsterdam. Northern Netherlands oak (wood)

Pair of lovers 1781-85 Le Nove Porcelain Manufactory. Pair of lovers 189021 Factory: Le Nove Porcelain Factory, Factory director: Parolin period, 17811802, Pair of lovers, 178185, Hard-paste porcelain, Height: 6 1/2 in. (16.5 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1906 (06.381)

Bronze statuette of a Lar. Culture: Roman. Dimensions: H. 5 1/16 in. (12.9 cm). Date: ca. 1st century A.D..The Lar holds in his right hand a rhyton with a protome in the form of an antelope's head and in his left a phiale. Museum: Metropolitan Museum of Art, New York, USA.

Diana of Versailles , Antiquities, Sculpture, Goddesses, Diana Roman deity. Nicholas Catsimpoolas Collection

Allegorical Victory of the Grand Condé 1786 Robert Guillaume Dardel French The year 1786 was the centenary of the death of Louis II de Bourbon, prince de Condé, the illustrious warrior of the Louis XIV period known to all as the Grand Condé. His descendant, the eighth prince de Condé, commissioned decorations to honor his forebear. The eighth prince allotted this subject - winged Victory awarding the palm to a wounded hero in agony - to his favorite sculptor, the talented Robert-Guillaume Dardel. Modeled for a statuary group that was evidently never realized, the terracotta's Baroque flourishes pay homage to the epoch of the Grand Condé.. Allegorical Victory of the Grand Condé 232210

Virgin and Child on a crescent moon late 15th-early 16th century Italian, probably Florence The style shows the continuing influence of Andrea del Verrocchio (ca. 1435-1488).. Virgin and Child on a crescent moon 208160

The Pottery Seller ca. 1745 Capodimonte Porcelain Manufactory Giuseppe Gricci (Italian, ca. 1700-1770) was one of the most accomplished and prolific porcelain modelers of the eighteenth century and often compared to his contemporaries Johann Joachim Kandler (German, 1706-1775) at the Meissen porcelain factory in Germany (1982.60.300) and Franz Anton Bustelli (Swiss, d. 1763) at the Nymphenburg porcelain manufactory in Munich (1977.216.56) in terms of stature in the field of porcelain sculpture. Griccis work is remarkable for being executed in soft-paste porcelain, which did not permit the degree of detail or crispness that Kandler or Bustelli could achieve in working with the hard-paste porcelain. Very little is known about Griccis career before he joined the Capodimonte factory; nonetheless, his name appears in the factorys first personnel list dated November 1743.[1 Gricci arrived in Naples from Florence, where he presumably received his training, and some of his earliest work at

Terracotta statuette of Eros and Psyche 4th-3rd century B.C. Greek, Boeotian Draped and wearing wreaths.. Terracotta statuette of Eros and Psyche 247480

Léopold Morice (1846-1920). "Monument to the Republic: freedom". Plaster. 1879. Museum of Fine Arts of the City of Paris, Petit Palais. 123479-2

Cavalier 1585-94 Barthélemy Prieur French These are the most widely replicated of Prieurs statuettes. There is an implicit contrast between social types, that of the fashionable gentleman holding gloves and that of the simple but chic countrywoman (see 64.101.1564) lifting her skirt while offering an apple (in some cases a basket is slung over her same left arm). The dancing forms as well as the red translucent lacquer patination were generically inspired by Giambologna and his followers in Florence.. Cavalier 203985

Arlesian Féigoule, Claude-André. "Arlesian". Terracotta.

Pedestal. Wedgwood Manufactory; England, founded 1759. Date: 1780-1790. Dimensions: 22.2 × 17.8 × 17.2 cm (8 3/4 × 7 × 6 3/4 in.). Stoneware (jasperware). Origin: Burslem. Museum: The Chicago Art Institute, Chicago, USA.

Captain ca. 1750-53 Höchst Manufactory. Captain. German, Höchst. ca. 1750-53. Hard-paste porcelain. Ceramics-Porcelain

Infant and satyr child with a panther mid-18th century After a model by Louis Félix de La Rue French One of a pair with 1983.72.12. Possibly one of the small groups of infants that La Rue modeled for Sèvres before he left for Rome in 1754.. Infant and satyr child with a panther 207348

Bronze statuette of Eros sleeping 1st century B.C.-2nd century A.D. Greek or Roman Reduced version of a Greek bronze statue of the 3rd or 2nd century B.C.During the Hellenistic period, bronzes came to be appreciated, collected, and displayed for their own sake. Ownership spread most widely in the private sphere, and new types and motifs were introduced to meet the demand. The sleeping Eros had such wide appeal that it was reproduced in bronze, terracotta, and marble in many sizes and was marketed all over the Greek world.. Bronze statuette of Eros sleeping. Greek or Roman. 1st century B.C.-2nd century A.D.. Bronze. Late Hellenistic or Imperial. Bronzes

Seated men's figure with opened foliant on his knee. He is placed on a round increase with the right foot back and the left for himself on a small, square increase. He turns to the right, holds some pages of the foliant on a knee with the left hand and the other top. The caricatural head has big eyes, a long, bent, crooked nose with a lump on it, a pointed chin and an opened mouth, in which tongue and teeth are visible. On the head there is a wig with her of teërleid length, the longest of which hangs to the back. He wears a short jacket over a closed cardigan and around the neck a knotted cloth; A shorts, closed at the knees with a row of buttons, stockings that are rotated around the legs and spire tapered low shoes, on which a bow.

ESCULTURA EN BRONCE DE EMILIO CASTELAR HABLANDO DESDE SU ESCAÑO DE DIPUTADO - 1913 - MAQUETA PARA EL MONUMENTO DEL PASEO DE LA CASTELLANA. Author: MARIANO BENLLIURE. Location: CONGRESO DE LOS DIPUTADOS-ESCULTURA. MADRID. SPAIN.

Saint Christopher Carrying Christ. Culture: German. Dimensions: 56 1/2 × 19 1/2 × 14 1/2 in., 72 lb. (143.5 × 49.5 × 36.8 cm, 32658.986g). Date: 1510-20.According to legend, Saint Christopher devoted his life to carrying the weak and poor across a river. One night, when he was carrying a child, he felt his burden grow heavier with each step. When questioned, the child declared that he was Christ and that Christopher was thus bearing the weight of the world. The widespread cult of Saint Christopher stemmed largely from the belief that gazing on his image would protect the faithful from storms and other threats in their travels. Although not fully carved in the round, this figure was probably intended as an independent work to be placed on a console or against a pier. It is executed in a highly expressive and animated style, with the saint looking intensely at his youthful burden, while his hands rest on his hip for support. The drapery sweeps around the figure, mirroring the water swi

Seated Virgin and Child mid-13th century French. Seated Virgin and Child. French. mid-13th century. Copper-gilt, champlevé enamel. Made in Limoges, France. Enamels-Champlevé

Begging figure, Simon Troger (School of), After 1693 - Before 1768 ivory ivory

Woman carrying a basket of flowers 18th century Chelsea Porcelain Manufactory. Woman carrying a basket of flowers. British, Chelsea. 18th century. Soft-paste porcelain. Chelsea Porcelain Manufactory (British, 1744-1784). Ceramics-Porcelain

Vesperbild (Pietà), c. 1515-20. Master of Rabenden (German). Lindenwood, polychromed and gilded ; overall: 89.1 x 78.7 x 32.4 cm (35 1/16 x 31 x 12 3/4 in.).

Undine Rising from theWaters. Artist: Chauncey Bradley Ives, American, 1810-1894

Figure. Jagmin, Stanisław (1875-1961)

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia28. 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.

Saint James. Artist: Workshop of Santiago de Compostela. Culture: Spanish. Dimensions: Overall: 8 3/16 in. (20.8 cm). Date: ca. 1410. Museum: Metropolitan Museum of Art, New York, USA.

Figure of Attendant Deity China. Figure of Attendant Deity. China. Mud, gilded and painted. probably Ming dynasty (1368-1644). Sculpture

According to Etienne-Maurice Falconet (1716-1791). Love threatening. Sculpture, marble. Cognacq-Jay museum. 78873-26 Wing, seated, body, mouth finger, back, child, flower, boy, marble, male nude, nudite, rock, pink, statue

Carving from an Overmantel, c. 1675-77. Grinling Gibbons (British, 1648-1721). Lindenwood; See cover record.

"Lion Attacking a Horse" and "Lion Attacking a Bull"; Antonio Susini, Italian, active 1572 - 1624, or Giovanni Francesco Susini, Italian, 1585 - 1653, after models by Giambologna (Giovanni da Bologna or Jean de Boulogne), Italo-Flemish, 1529 - 1608; Italy, Europe; first quarter of 17th century; Bronze; Various, see extensions

Jacopo Sansovino, Door Knocker with Nereid, Triton, and Putti, c 1550 Jacopo Sansovino (Florentine-Venetian, 1486 - 1570), Door Knocker with Nereid, Triton, and Putti, c. 1550, bronze, Pepita Milmore Memorial Fund 1979.10.1

Right corner of a marble sarcophagus with the myth of Apollo and the satyr Marsyas. Culture: Roman. Dimensions: Overall: 24 x 21 x 15in. (61 x 53.3 x 38.1cm). Date: ca. A.D. 210-230.Part of scene showing the flaying of Marsyas.Marsyas challenged Apollo to a musical contest, and he was flayed alive as punishment after losing. here, he is shown hanging from a pine tree, while a bearded Phrygian slave kneeling at his feet sharpens his knife. Behind Marsyas, another slave tightens the ropes that bind him to the tree. The group showing the flaying is copied from a sculptural group created in the Hellenistic period. Museum: Metropolitan Museum of Art, New York, USA.

Nostalgia. Wittig, Edward (1879-1941), sculptor

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