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.)

Saint Catherine of Alexandria early 15th century French Saint Catherine, depicted in the delicately jeweled statuette, was seen to embody the power of Christian erudition. According to legend, Saint Catherine's learned arguments on behalf of Christianity converted not only the court philosophers of the pagan emperor Maxentius, but 200 guardian soldiers and the ruler's wife as well. In retribution, all were put to death. The virtuous saint is shown holding the spiked wheel upon which she was tortured before being decapitated. Though the statue is reputed to have come from a convent in Clermont-Ferrand, the fine workmanship, sensitive modeling, and precious gem-studded decoration are consistent with the finest works produced in Paris. The image may have come from a reliquary, where it and figures of other saints would have been integrated into an architectural ensemble. Listen to experts illuminate this artwork's story Listen Play or pause #3175. Saint Catherine of Alexandria Supported b

Ricardo Bellver y Ramón / 'Fame'. Ca. 1887. Brass. Museum: Museo del Prado, Madrid, España.

The Peep Show, or the Magic Lantern (La Curiosité ou La Lanterne Magique) 1752-1762 Sèvres. Beginning in the mid-1750s, biscuit, or unglazed porcelain, replaced glazed porcelain in sculpture because fine details were sometimes obscured by glazes. In addition, the matte surface of biscuit pieces resembled marble, a medium favored in sculpture. Unglazed porcelain figures were often sold with dinner services, and, as such, they replaced fragile sugar figures, which had adorned dessert tables of the previous era.. Soft-paste unglazed porcelain (biscuit) . Manufacture nationale de Sèvres (Manufacturer)

Sultan and Moor. Culture: German, Fürstenberg. Dimensions: Height: 9 5/8 in. (24.4 cm). Factory: Fürstenberg Porcelain Manufactory (German, founded 1747). Modeler: Anton Carl Luplau (1745-1795, active Fürstenberg ca. 1759-76). Date: ca. 1773-74. Museum: Metropolitan Museum of Art, New York, USA.

Louis-Ernest Barrias (1841-1905). "Lying woman". Terracotta, 1880-1900. Paris, Carnavalet museum. 60824-15 Lengthened woman, female naked, nudite, statue, terracotta, naked

Bed from the hospital of St. John of God in Warsaw; Redler, Jan Chrysostom (Fl. Ca 1743-1773), Fontana, Jakub (1710-1773); 1757-1760 (1757-00-00-1760-00-00);

Four musicians ca. 1765-70 Mennecy. Four musicians 199341

Peter Gaspar Scheemakers, 1691-1781, Flemish, active in Britain (from ca. 1720), Cleopatra, ca. 1723. Marble.

Youth playing hurdy-gurdy, girl teaching dog dressed as harlequin to dance ca. 1765 Derby Porcelain Manufactory. Youth playing hurdy-gurdy, girl teaching dog dressed as harlequin to dance. British, Derby. ca. 1765. Soft-paste porcelain. Derby Porcelain Manufactory (British, 1751-1785). Ceramics-Porcelain

Blessing Christkind, Desiderio Da Settignano (Copy After), After 1460 stucco stucco

Antoine Louis Barye, Theseus Fighting the Centaur Bienor, model 1849, cast 1873 Theseus Fighting the Centaur Bienor

Hovering Angel with Banderole, anonymous, c. 1700 - c. 1725 sculptor: Northern NetherlandsSouthern Netherlands linden sculptor: Northern NetherlandsSouthern Netherlands linden

Relief with two nude girls 3rd century B.C.() Cypriot The mold-made relief of two standing girls is probably a vase attachment. The back is handmade and flattened.. Relief with two nude girls 241262

Seated Aphrodite. Unknown

Girl with dog ca. 1750-55 Saint James's Factory. Girl with dog. British, London. ca. 1750-55. Soft-paste porcelain. Ceramics-Porcelain

Mare de Déu de Sant Cugat, talla sobre madera, 1218, procedente del Monasterio de Sant Cugat del Vallès. Museum: Museu de Terrassa.

Floating angel, c. 1500 The angel holds out in the hands (a fragment of) an indefinable object. He raised the right leg with the knee forward and the other with the foot waving backwards. The upper part of the other wing is visible behind the Nimbus. The angel wears over a bottom, of which only the sleeves and part of the skirt can be seen by a split in the upper rug (according to the colors), a second rug with half sleeves and a collar. This is the sleeveless top -rug, which is good around the waist and the hips. A part of this robe, which is stopped backwards by the tire crossed over the breast; An indefinable appendix, the end of which is round, can be seen at the degrading foot. Florence earthenware. tin glaze majolica The angel holds out in the hands (a fragment of) an indefinable object. He raised the right leg with the knee forward and the other with the foot waving backwards. The upper part of the other wing is visible behind the Nimbus. The angel wears over a bottom, of which

Saint Francis of Assisi; Base with Putti 1600-1620 Italy. Bronze . Nicolò Roccatagliata

Joseph and Potiphar's Wife 1610-1670 Central Italy. Tin-glazed earthenware .

'Boys Fighting'. Italy, 1640s. Dimensions: h. 24 cm. Museum: State Hermitage, St. Petersburg.

Auguste François Willème (1835-1905). "Portrait of a woman in prayer". Painted plaster. Paris, Carnavalet museum. 74059-18 Noding, chair back, woman, leg, attached hand, painted plaster, fold, portrait in the foot, pray, portrait, prayer, base, statuette, rosary

Singer 1770-1790 Germany. Hard-paste porcelain . Franz Anton Bustelli (Modeler)

'Boys Holding Ears'. Italy, Early 18th century. Dimensions: h. 26 cm. Museum: State Hermitage, St. Petersburg.

Limestone plinth with the remains of a group of Herakles and the Hydra late 6th or early 5th century B.C. Cypriot Statue base with the remains of the scene of Herakles and Iolaos fighting the Lernaean Hydra.. Limestone plinth with the remains of a group of Herakles and the Hydra 242295

Seated goddess 4th century B.C. Cypriot The figurine, a seated goddess of the Kition type, is mold-made and hollow. The back is handmade, flattened, and concave behind the headdress. This figurine may be from the same mold series as accession number 74.51.1589, but it is larger and therefore must be earlier.. Seated goddess. Cypriot. 4th century B.C.. Terracotta; mold-made. Cypro-Classical II. Terracottas

Hercules and Achelous. Artist: Attributed to the Master of the Martyrdom of St. Sebastian (Austrian). Culture: probably Austrian. Dimensions: Overall (confirmed): H. 11 x W. 6 1/4 x D. 4 3/8 in. (27.9 x 15.9 x 11.1 cm). Date: probably mid-17th century.The feats of Hercules provided sculptors with an opportunity to explore the power of the male figure in intricate action. This large group, carved fully in the round, shows the struggle between the mythological hero and one of his foes-either Antaeus or Achelous, a river god who transformed from man to bull to serpent. This work and two others in the case are attributed to an anonymous artist who carved two large relief scenes depicting the Early Christian saint Sebastian assailed by Roman bowmen. This master's work is characterized by violent and exaggerated movements, extreme emotions, and a fanatical delineation of physical details. Museum: Metropolitan Museum of Art, New York, USA.

'Boy with a Garland'. Italy. Florence, 15th - early 16th century. Dimensions: height: 39,0 cm. Museum: State Hermitage, St. Petersburg.

Figure of Mongol 14th century China. Figure of Mongol. China. 14th century. Pottery with burnishing. Yuan dynasty (1271-1368). Sculpture

Gil de Siloé / 'The Virgin enthroned with the Christ Child'. 1490 - 1500. Alabaster. Museum: Museo del Prado, Madrid, España.

Angel ca. 1760-70 Workshop of Ignaz Günther German. Angel. Workshop of Ignaz Günther (German, Altmannstein 1725-1775 Munich). Southern German. ca. 1760-70. Lindenwood, traces of gesso. Sculpture

South Netherlandish 15th Century, Pietà, 1450 1475 Pietà

SAN BARTOLOME-TALLA EN MADERA POLICROMADA-S XVII-. Author: ESCUELA CASTELLANA. Location: ESCUELAS MENORES-MUSEO UNIVERSITARIO. SALAMANCA. SPAIN. SAN BARTOLOME APOSTOL / NATAEL / NATANAEL.

Figure of Britannia, c. 1756. Made by Longton Hall Porcelain Factory (British, Staffordshire, 1749-60), decorated by Vauxhall Porcelain Factory (British, 1751-1764). Soft-paste porcelain; overall: 28 x 24.5 x 13.7 cm (11 x 9 5/8 x 5 3/8 in.).

'"The Model of the Statue of Empress Catherine II for the Conference Hall in the Academy of Arts in St Petersburg"'. Russia, 1831. Dimensions: 58x32x43 cm. Museum: State Hermitage, St. Petersburg.

Priam Supplicating Achilles for the Body of Hector ca. 1815-25 Giuseppe Girometti Italian In The Iliad Homer tells of King Priam of Troy visiting the tent of the Greek hero Achilles to beg him for the body of his eldest son, the great warrior Hector, whom Achilles had killed and then dragged back to his camp. Achilles, attended here by one of his warriors, Automedon or Alcimus, took pity on the old king and ordered the corpse to be bathed and returned to him. Girometti turned again to Bertel Thorvaldsen, this time creating a capital stripped-down version, with several variations, of the sculptors marble relief of 1815 at Woburn Abbey. The purplish ground provides a magisterial backdrop for the white figures.. Priam Supplicating Achilles for the Body of Hector 198621

Figure of Africa. Bow Porcelain Factory; London, England, 1744-1775. Date: 1760-1770. Dimensions: 14.8 × 7.1 × 7.3 cm (5 13/16 × 2 13/16 × 2 7/8 in.). Soft-paste porcelain, polychrome enamels and gilding. Origin: Bow. Museum: The Chicago Art Institute, Chicago, USA.

St. George, Alfred Gilbert, 1854-1934, British, 1891 to 1896, Bronze, Overall: 21 1/2 x 10 1/4 x 10 1/4 inches (54.6 x 26 x 26 cm), armor, Christianity, crucifix, man, martyr, masterpiece, religious and mythological subject, tomb, Victorian, weapon, wings

Model for a jewel with Adam and Eve, Meester IP (attributed to), c. 1530 Bavaria pear (wood). boxwood. silver (metal) Bavaria pear (wood). boxwood. silver (metal)

Bust of Heraclitus 'The Weeping Philosopher'. Vienna Porcelain Manufactory (Austria, Vienna, active 18th century). Austria, circa 1757. Sculpture. Porcelain

Bust of the triumphant Christ, 1435 - 1488 terracotta (clay material) terracotta (clay material)

Gil de Siloé / 'The Virgin enthroned with the Christ Child'. 1490 - 1500. Alabaster. Museum: Museo del Prado, Madrid, España.

Saint Martin on Horseback. Germany, Franconia, circa 1510. Sculpture. Linden wood

Mantel clock with musical movement ca. 1784 Clockmaker: Jean-Baptiste-André Furet One of the most remarkable clocks in the Museum is this one shaped like the bust of an African princess. The unusual model had already attracted attention during the late eighteenth century, according to a description in the anonymous chronicle Mémoires secrets, for July 4, 1784: The curious are going to M. Furet’s shop in the rue Saint-Honoré to see three extraordinary clocks of his creation. The first represents the bust of a negress exceptionally made.. Upon pulling one ear-ring the hour is described in the right eye and the minutes in the left. Upon pulling the other a musical movement plays a succession of airs.”[1 This particular clock was not long afterward acquired for the royal collection, but the model was repeated several times with small variations. One of them, signed by Furet, clockmaker to the king, is the Museum’s version. The dark, enameled surface of the bust contrasts beautifully with

Mary of Burgundy Modeled 1820-1844 France. Jean-Auguste Barre was celebrated for his statuettes of contemporary celebrities and historical personages. This sculpture is a particularly ambitious example of a small bronze depicting a historical subject. Mary of Burgundy (1457ñ1482), the daughter and heiress of Charles the Bold, Duke of Burgundy, died unexpectedly in a riding accident. Barre depicted the moment just before her tragic fall, as she hunts with a falcon, accompanied by a page. The rich attention to detail on the bronzeís surface contributes to the pictorial nature of the composition.. Bronze . Jean-Auguste Barre

Figure of Admiral Samuel Hood ca. 1785 Pierre Stephan French. Figure of Admiral Samuel Hood 38

Four Carnival Musicians ca. 1770 Zurich Pottery and Porcelain Factory This group has long been difficult to place. Of the three known examples, tow have traditionally been attributed to Capodimonte, while the third, in the Museo Stibbert, Florence, has recently been assigned to Ferdinand IVs Royal Factory at Naples. The subject matter, the sparely applied pastel colors, and the slightly wistful mood are all compatible with Capodimonte work, but the circular composition and the modeling of the figures are not. Instead of the robust Neapolitan peasants with their plump faces and wide feet, typical of Capodimonte sculpture, these figures are conspicuous for their lightness, with thin, almost pointed faces and feet. Single figures displaying the same characteristics—and even including such details as the masks and wide-brimmed hats—were made at the Zurich factory where the original models have survived and were first recognized by Siegfried Ducret. One such figure is in the Metropolitan,

CONTACTING WOMEN venom horseback; 460-450 BC (-460-00-00--450-00-00);Melos, v w.pne, terakota

Kitty Clive. Artist: After an engraving by Charles Mosley (British, ca. 1720-ca. 1756); After a drawing by Thomas Worlidge (British, Peterborough 1700-1766 Hammersmith). Culture: British, Bow, London. Dimensions: Overall (confirmed): 9 3/4 × 6 1/2 × 4 3/4 in. (24.8 × 16.5 × 12.1 cm). Factory: Bow Porcelain Factory (British, 1744-1776). Date: ca. 1750.These popular actors are represented in their roles in David Garrick's farce Lethe. The figure of Kitty Clive is modeled after an engraving of 1750 by Charles Mosley (1720-1770) taken from a drawing by Thomas Worlidge (1700-1766). The figure of Henry Woodward (see 64.101.690) is modeled after his portrait by Francis Hayman (1708-1776) taken from a mezzotint by James McArdell (1728-1765).Jessie McNab, 2002. Museum: Metropolitan Museum of Art, New York, USA.

Pieta 1937-1938 ORIG. Kollwitz, Käthe(1867-1945 German) Bronze Brown Patina Christie's Images, New York, USA

'Fountain Statue: Eros Riding a Dolphin'. Dimensions: height 87 cm. Museum: State Hermitage, St. Petersburg.

Madrid, M.A.N. 52263. Arte Edad Media. Santiago peregrino de estilo Gótico y del tipo 'de pernas'. Azabache. 1500.Toledo.

Johannis de Graef, Sculpture main entrance Burgerweeshuis, orphan girl, facade sculpture sculpture material building component sandstone stone, total 542 kg pedestal 111 kg hull ca 410 kg head 12 kg arm 6 kg hand 2 kg sculpted Standing statue of orphan girl holding the drapery (10091) with the right hand. On the drapery poem by Jacob Kortewant Gereformeerd Burgerweeshuis Gereformeerd Burger Orphanage orphan war Second World War Rotterdam City Triangle Goudsewagenstraat Jacob Kortewant Goudsewagenstraat Rotterdam from rubble after the bombing of May 1940.

Pièce the environment. Table made a woman with O.A. shield and laurel wreath (Sri Billiton) and attributes derived from work in the tin mines. Around the pedestal 4 medallions with performances of labor in the tin mines (to photos). On the pedestal a medallion with text and one with the engraved portrait of Ermeling. At the top behind the woman two palms; A candle arm on both sides of the pedestal. Table piece is offered by officials and miners of the Billiton Society to their chief J.PH. Ermeling at his 70th birthday at a party on Billiton.

Matchsafe 1830-70 American. Matchsafe. American. 1830-70. Parian porcelain. Probably made in Bennington, Vermont, United States

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

Burma/Myanmar: Wooden carving of a Burmese nat or spirit decorated in gold leaf and red lacquer, Mandalay, c. late 19th century

Double -sided gingerbread form

Zenmyō nyoshin, the Goddess Shanmiao, 18th century, Unknown Japanese, 21 3/4 × 8 5/8 × 6 1/2 in. (55.25 × 21.91 × 16.51 cm), Wood with polychrome and gold, brass, glass beads, Japan, 18th century

Angel second half 18th century Italian, Naples 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 are modeled of t

Plaster model of the statue in the Laurenskerk of Admiral Witte Cornelisz de With, grave monument sculpture sculpture model wood plaster, Plaster model of the statue of Admiraal Witte Cornelisz. de With in his grave monument in the Laurenskerk Presentation: De With wounded lying on the deck of his ship wrapped in armor staff in right hand. On wooden pedestal Stones from beneath the plaster parts of wooden attributes dead mourning City Triangle Rotterdam Laurenskerk Witte de With Admiralty on the Maze ornamentate admiral military Pieter Rijckx

Statuette late 19th century China. Statuette. China. late 19th century. Ivory. Qing dynasty (1644-1911). Ivories

Lady and gentleman playing a duet 1737 Meissen Manufactory German. Lady and gentleman playing a duet. German, Meissen. 1737. Hard-paste porcelain. Ceramics-Porcelain

Baku: Monster that Eats Nightmares. Attributed to Gechū (Japan, active 18th century). Japan, 18th century. Costumes; Accessories. Ivory with staining, sumi (ink), and traces of red pigment

Le Grenouillard (Frog-Man) 1892 France. During his short but brilliant career, Jean-Joseph CarriËs explored alternative sculptural media such as ceramics and plaster, which were considered vastly inferior to marble and bronze. His works draw upon themes from Japanese art and Social Darwinism, none more impressively than his late masterpiece Le Grenouillard. The squat figure with bulging eyes and an elongated spine appears to be half man, half amphibian, yet he could also be likened to a netsuke, a whimsical Japanese carving, but on a grand scale.. Patinated plaster . Jean-Joseph Carriès

Angel with Blue dress (tattered) with detached wings. Culture: Italian. Dimensions: Overall (.1a): 15 1/4 × 5 1/2 × 5 3/4 in. (38.7 × 14 × 14.6 cm); Overall (.1b PR wing): 4 × 9 × 1 1/4 in. (10.2 × 22.9 × 3.2 cm); Overall (.1c PL wing): 4 1/4 × 6 1/2 × 5 in. (10.8 × 16.5 × 12.7 cm). Date: second half 18th-mid-19th century.The practice of using crèche figures to restage religious events reached the height of its complexity and artistic excellence in eighteenth-century Naples, and the Metropolitan Museum of Art's group of Neapolitan crèche is one of the finest and most complete survivals of the art form. The ensemble consists of characters traditional to eighteenth-century Italian Christmas holiday customs. The Nativity, featuring the holy family, shepherds and their flocks, and a host of angels and cherubs is joined by the procession of the three Magi and colorful peasants, townspeople, and animals. The figures have articulated bodies of tow and wire with polychromed terracotta heads,

Allegorical Figure Representing Africa 1746 Meissen. Hard-paste porcelain, polychrome enamels, and gilding . Meissen Porcelain Manufactory (Manufacturer)

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

Pietà 1681-1691 Italy. Terracotta . Filippo Parodi

. Meissen porcelain manufactory, Model attributed to Johann Joachim Trader (1706-1775), Meissen, c. 1750-1760Hard Paste Porcelain

'The Horse Tamer'. France, 18th century. Dimensions: 35x12x36 cm. Museum: State Hermitage, St. Petersburg. Author: GUILLAUME COUSTOU.

Tibetan culture, Bronze, Sculpture , 16th-17th centuries, Russia, St. Petersburg, State Hermitage, H 14, 5

Man and woman with sleigh ca. 1765 Possibly Ansbach Pottery and Porcelain Manufactory. Man and woman with sleigh. German, possibly Ansbach. ca. 1765. Hard-paste porcelain. Ceramics-Porcelain

Hand of fountain in the form of a sitting man, De Klaauw, c. 1760 - c. 1775 Hand of fountain of multicolored painted Faïence. Delft earthenware. tin glaze. Hand of fountain of multicolored painted Faïence. Delft earthenware. tin glaze.

Anonymous. "Saint Roch". Polychrome wood, 15th century. Museum of Fine Arts of the City of Paris, Petit Palais. 71433-3 Polychrome wood, statue, saint, face view, 15th century

EquestrianDrummer, 7th-8thcentury, Earthenware with three-color (sancai) glaze, 16 × 14 1/4 × 4 3/4 in. (40.6 × 36.2 × 12.1 cm), China, Chinese, Tang dynasty (618-907 C.E.), Sculpture

Antoine-Louis Bare (1795-1875). "Deer rubbing its woods against a tree". Bronze patinated plaster on metal frame. Before 1857. Museum of Fine Arts of the City of Paris, Petit Palais. Statuette, 19th XIXth 19th 19th 19th 19th century, animal

RELICARIO S XVI-XVII. Location: CONVENTO DE SAN CLEMENTE-MUSEO. Toledo. SPAIN.

Schindler (court jester and hussar). Culture: German, Meissen. Dimensions: Height: 6 7/8 in. (17.5 cm). Factory: Meissen Manufactory (German, 1710-present). Date: ca. 1735. Museum: Metropolitan Museum of Art, New York, USA.

Painted Scroll Coming to Life: Shōki Attacking Demon. Shūōsai Hidemasa II (Japan, active mid-19th century). Japan, mid-19th century. Costumes; Accessories. Ivory with staining, sumi, wood inlays

Woman, Allegory of the Year ca. 1750-60 Imperial Porcelain Manufactory. Woman, Allegory of the Year 201791

God the Father, from the Annunciation. Andrea della Robbia (Italy, Florence, 1435-1525). Italy, circa 1465. Sculpture. Lead-glazed earthenware

FIGURAS DEL BELEN-S XVIII. Author: Barros. Location: MUSEE D'ARTS DECORATIFS. MADRID. SPAIN.

Diana the huntress Roman sculpture Ephesus Turkey

Statue. St. John the Evangelist. Unknown provenance. 12th century. Carved pear wood with remains of polychromy. National Art Museum of Catalonia. Barcelona. Catalonia. Spain. Author: Anonymous.

Chimney Ornament: Little Red Riding Hood. England, Staffordshire. Date: 1825-1835. Dimensions: 25.1 x 13.3 x 6 cm (9 7/8 x 5 1/4 x 2 3/8 in.). Glazed earthenware with polychrome enamel decoration. Origin: Staffordshire. Museum: The Chicago Art Institute, Chicago, USA. Author: Staffordshire Potteries.

The Laotian Goddess Ki Mao Sao and Worshippers ca. 1750-52 Bow Porcelain Factory British The composition is based on an engraving of 1731, titled "Idole de la Déesse KI MAO SAO dans le Royaume de Mang au pays des Laos," by Michel Aubert (1700-1751) that was itself after a design by Antoine Watteau (1684-1721).. The Laotian Goddess Ki Mao Sao and Worshippers. After an engraving by Michel Aubert (French, 1700-1757 Paris). British, Bow, London. ca. 1750-52. Soft-paste porcelain. Bow Porcelain Factory (British, 1747-1776). Ceramics-Porcelain

Europa and the Bull Manufactory Meissen Manufactory German 18th-19th century

Dancers, c. 1760-1765. England, Derby, 18th century. Soft-paste porcelain; overall: 27 x 13 x 12 cm (10 5/8 x 5 1/8 x 4 3/4 in.).

Mercury last half 18th century possibly Haly workshop. Mercury 460547

Saint Roch and the Angel. Artist: Master of the Biberach Holy Kinship (German, active 16th century). Culture: German. Dimensions: Overall: 28 1/2 x 10 1/4 x 7 3/8 in. (72.4 x 26 x 18.7 cm)at base: 9 x 5 3/4 in. (22.9 x 14.6 cm). Date: ca. 1520.This sensitively carved group represents Saint Roch lifting his robe, while a small angel, his wings now missing, applies ointment to the boil on the saint's leg. The drawn and weary face of the saint elicits empathetic anguish from the angel. The sculptor paid considerable attention to the anatomy of forms, notably in the rendering of the underlying bone structure of the face and hands and the careful articulation of the veins. Both figures are slightly rotated, which is emphasized by the long diagonal fold across the torso of Saint Roch that animates the group with implied motion. Museum: Metropolitan Museum of Art, New York, USA.

Asahina, the Strong Man, Carried by Demons. Ikkōsai Tōun (Japan, active 1830-1843). Japan, mid-19th century. Costumes; Accessories. Ivory with staining, sumi

Photograph of the Cellini Salt Cellar (Saliera), a part-enamelled gold table sculpture, by Benvenuto Cellini. It was completed in 1543 for Francis I of France, from models that had been prepared many years earlier for Cardinal Ippolito d'Este. The Cellini Salt Cellar depicts a male figure representing the sea and a female figure that represents the earth. Benvenuto Cellini (1500-1571) an Italian goldsmith, sculptor, draftsman, solider, musician, and artist. Dated 16th Century

Johann-Joachim Kaendler (1706-1775). "The Wood and his dog". German porcelain between 1735 and 1756. Museum of Fine Art of the City of Paris, Petit Palais. Baton, Chemineau, Meissen Manufacture, German porcelain, vase, animal, dog

Angel second half 18th century Italian, Naples 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 are modeled of t

Three Fates 1773 Frankenthal Porcelain Manufactory. Three Fates. German, Frankenthal. 1773. Hard-paste porcelain. Ceramics-Porcelain

Lion About to Strike a Serpent (Lion la patte levée sur un serpent or Esquisse du lion des Tuileries) modeled 1832, executed after 1848 Antoine-Louis Barye French. Lion About to Strike a Serpent (Lion la patte levée sur un serpent or Esquisse du lion des Tuileries). Antoine-Louis Barye (French, Paris 1795-1875 Paris). French. modeled 1832, executed after 1848. Bronze, brown patina; marble. Sculpture-Bronze

Robotnik. Dalou, Aime Jules (1838-1902), sculptor

Panels from an organ case in the church of Saint Vitus in Naarden.These ten figures adorned the medieval organ in the church of Saint Vitus in Naarden. Each figure holds a weapon and a coat of arms on a strap. Some are dressed as knights with a breastplate and a helmet, others as princes or noblemen. They may represent the Counts of Holland. All the shields would have originally been painted.

Two Opera Singers 1749-50 Meissen Manufactory German This figure group represents two opera singers engaged in a duet. Their identities as singers are reflected as much by their theatrical gestures as by their elaborate costumes. The group has been interpreted as depicting a duet from Acis and Galatea as performed by Madame de Pompadour and the prince de Rohan, an event known to have taken place in the theater of Versailles in 1749.1 However, subsequent identification of a group corresponding to this model in the workbook of the Meissen modeler Kändler dating from March 1744 - five years earlier - indicates the impossibility of this interpretation.2 Kändler's entry refers to the male singer's Roman outfit (Römischen Habit), and it is clear that his costume and plumed helmet were intended to identify him as a classical and hence heroic figure. His wide scalloped skirt was known as a tonnelet and was frequently worn by male singers and ballet dancers.The popularity of porcelain figur

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