Sculptural Representations of Care

Various sculptures embodying maternal figures holding children, crafted in different materials and styles, celebrating themes of love and charity in art.

A woman with a child in her arms; Bohdanowicz, Jadwiga (1887-1943); 1850-1943 (1850-00-00-1943-00-00);

Virgin and Child. Culture: French. Dimensions: Overall: 12 1/4 x 4 3/4 x 3 3/4 in. (31.1 x 12.1 x 9.5 cm). Date: ca. 1530-50.The small sculpture is typical of the kind of gentle image of contented well-dressed mother and robust baby that graced doorways in both religious and domestic settings. Museum: Metropolitan Museum of Art, New York, USA.

Love, Willem Hendrik van der Wall, 1775 Utrecht terracotta (clay material) Utrecht terracotta (clay material)

Charity. Culture: Northern French or Flemish. Dimensions: Overall (confirmed): H. 54 3/4 x W. 17 1/2 x D. 12 3/8 in. (139.1 x 44.5 x 31.4 cm). Maker: Circle of Jacques du Broeucq (ca. 1500-1584). Date: mid-16th century.Alabaster was so prized that cases of the uncut stone bore locks to deter thieves. This sculptural tour de force is rendered from a large block of English alabaster--more luminous than marble, admired for its light color, and soft to carve though known to harden over time. Contrary to sculptural custom, much alabaster, including this personification of Charity, was not painted in color; indeed, one sixteenth-century observer noted that "smearing color" on alabaster "deprived it of its nobility." Here, the unpainted stone was originally gently highlighted with gilding, allowing the delicate veining of the alabaster to breathe life into Charity's skin. Probably made as part of a sculptural tabernacle or as a column figure for a church, she was designed to be seen from thr

Egyptian Civilisation. Relief, funeral cortege

'Winged Glory'. Italy, Circa 1742-1743. Dimensions: height 39,0 cm, length 42,0 cm. Museum: State Hermitage, St. Petersburg.

Figurka Ledy z łabędziem. unknown, author

The Savior 19th century, after 16th century original After an original by Giambologna Netherlandish This electrotype is after a sixteenth-century original in Pisa Cathedral at the time of reproduction.. The Savior. After an original by Giambologna (Netherlandish, Douai 1529-1608 Florence). British, after Italian original. 19th century, after 16th century original. Bronze. Metalwork-Electrotype

Virgin Nursing the Christ Child, c. 1370. France, Île de France. Painted limestone; overall: 111 x 38.5 cm (43 11/16 x 15 3/16 in.). This sculpture of the Virgin Mary nursing the Christ Child subtly emphasizes the intimate relationship between mother and child and brings the Son of God in his human existence closer to the viewer. The emotional interaction is characteristic of sculpture since the mid-1300s, especially in the circles close to the court of the French kings in Paris and Emperor Charles IV (reigned 1346-78) in Prague. These novel stylistic tendencies were possibly a reaction to the fear and uncertainty incurred by the first great plague wave in 1348.

A woman with a child in her arms; Bohdanowicz, Jadwiga (1887-1943); 1850-1943 (1850-00-00-1943-00-00);

Amor, the foolish failure of loyalty prevented, Louis Royer, c. 1803 - c. 1868 On an elongated ground, Amor, which holds a large dog with both hands on the belt, goes to the left. He has his arrow sleeve on his back, his cloak hangs over the dog to the floor. Netherlands terracotta (clay material) On an elongated ground, Amor, which holds a large dog with both hands on the belt, goes to the left. He has his arrow sleeve on his back, his cloak hangs over the dog to the floor. Netherlands terracotta (clay material)

Woman Bathing 17th-18th century Imitator of Giambologna Netherlandish. Woman Bathing. Imitator of Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, Florence. 17th-18th century. Bronze. Sculpture-Bronze

Terracotta figurine of the young terracotov; Hellenistic period (-323-00-00--30-00-00);

Prophet, from a Tree of Jesse, anonymous, c. 1520 - c. 1525 Prophet with spell band. Antwerp oak (wood) Prophet with spell band. Antwerp oak (wood)

Jean-Jacques FEUCHRE (1807-1852). "Satan". Bronze statuette. Muse of romantic life. Bronze statuette representing Satan seated, the featured wings, the chin leaning on the left hand. BRONZE, DEMON, DEVIL, Face, Front, SATAN, STATUETTE

Mother with two children, Eugène Lacomblé, c. 1800 - c. 1900 clay clay

Louis Ernest Barrias, Nature Unveiling Herself before Science, model 1895 1899, cast c 1900 Nature Unveiling Herself before Science

Sculpture1893P87. Virgin and Child, 1600-1700. Carved boxwood sculpture. Maker unknown, Flemish School

Aimé-Jules Dalou (1838-1902). "Monument to Gambetta". Terracotta, 1901. Museum of Fine Arts of the City of Paris, Petit Palais. Lawyer, glory, French politician, memory, monument, piedestal, terracotta

Venus en Amor, Cornelius Andreas Donett, c. 1682 - c. 1748 sandstone sandstone

Aimé Jules Dalou, Mother and Child, c 1873 Mother and Child

Stealthy Cupid ca. 1775 French Undoubtedly the terracotta sketch model of an Amour Silencieux exhibited by Julien at the Salon of 1785.. Stealthy Cupid. French. ca. 1775. Terracotta (pale yellow, unpatinated). Sculpture

Venus Giving Arms to Aeneas 1704 Jean Cornu French The later reign of Louis XIV witnessed a veritable explosion of theatrical Baroque sculptural groups devoted to the retelling of classical myths. In an episode taken from Virgil's Aeneid, the goddess Venus descends from the skies to present her son, the Trojan prince Aeneas, with a spectacular set of armor. As an addition to the story, Cupid, half-brother of Aeneas, raises the shield.. Venus Giving Arms to Aeneas. Jean Cornu (French, Paris 1650-1710 Lisieux). French, Paris. 1704. Terracotta and painted wood. Sculpture

Michiel De Ruyter (1607-1676) (). .

Architectural Relief Depicting the Gigantomachy (Battle Between Gods and Giants) 300 BCE-101 BCE Etruria. As the name suggests, the Gigantomachy was the struggle between and the Giants and the Olympian gods, who were led by Zeus. In flowing robes, a god and goddess capture a Giant, depicted with wings and serpent-like features, to deliver the final blow in this epic battle. These three animated figures were probably once part of a series of ornamental covers called antefixes, which were placed along the lowest row of roof tiles on a small building, probably a temple. Etruscans often decorated their buildings with brightly colored sculptural compositions based on Greek mythology.. terracotta, pigment . Ancient Etruscan

Etienne Maurice Falconet, The Punishment of Cupid The Punishment of Cupid

Saint John the Evangelist. Artist: Southern Netherlands; or Northern France. Culture: Southern Netherlands or Northern France. Dimensions: H. 35 cm (excluding base), h. 6.4 cm (base).. Date: ca. 1450-70. Museum: Metropolitan Museum of Art, New York, USA.

Pedimizing belonging to Genius (BK-NM-11943) ,, c. 1500 Florence marble (rock) Florence marble (rock)

Przeszłość Przyszłości unknown

Scene from the flood, Louis Royer, 1833 On a ground a naked young man stands on the toes of the right foot and with the raised left leg on a rock. With the left arm he holds against a naked woman hanging on the rock kneeling on the rock and supports her head hanging back with his right hand. She has her left hand against the back of the young man, who sees her head down on her, the right arm hangs limp down. A drapery falls from her lap to the bottom. The mantle of the young man is stopped on the back by a belt that runs from the right shoulder under the left arm. Netherlands terracotta (clay material) On a ground a naked young man stands on the toes of the right foot and with the raised left leg on a rock. With the left arm he holds against a naked woman hanging on the rock kneeling on the rock and supports her head hanging back with his right hand. She has her left hand against the back of the young man, who sees her head down on her, the right arm hangs limp down. A drapery falls fr

Model for a Monument to Alexandre Dumas père; Albert-Ernest Carrier-Belleuse (French, 1824 - 1887); France; about 1883; Terracotta; 80.6 x 27.9 x 25.4 cm (31 3,4 x 11 x 10 in.)

Venus Italica probably ca. 1822-23, variant of marble first executed 1810 Workshop of Antonio Canova Italian Canova's first marble Venus is in the Palazzo Pitti, Florence. Known as the Venus Italica, it was ordered in 1804 by Ludovico I, King of Etruria, as a replacement for the ancient Medici Venus that had been taken by the French for the Musée Napoleon. This replica, purchased from Canova's studio by the third marquess of Londonderry in late 1826 or early 1827, remained in Londonderry House, London, until 1962.. Venus Italica. Workshop of Antonio Canova (Italian, Possagno 1757-1822 Venice). Italian, Rome. probably ca. 1822-23, variant of marble first executed 1810. Carrara marble. Scientific Instruments

ESCULTURA DE UNA MADRE Y SU HIJO DEL SEPULCRO DE LORENZO EL MAGNIFICO - SIGLO XVI - RENACIMIENTO ITALIANO. Author: Michelangelo. Location: PALACIO MEDICI-RICCARDI. Florenz. ITALIA.

Figure of Love Carried by the Three Graces, 1768. Sèvres Porcelain Factory (French, est. 1756), after a design by François Boucher (French, 1703-1770). Unglazed soft-paste porcelain (biscuit); overall: 25.4 x 12.8 x 14 cm (10 x 5 1/16 x 5 1/2 in.).

Angel. France, Burgundy, circa 1350-1400. Sculpture. Limestone with traces of polychromy

Ten weepers from the tomb of Isabella of Bourbon, Borman workshop (attributed to), Renier van Thienen (I) (attributed to), c. 1475 - c. 1476 He stands on the right leg, has the left forward and holds the Rijksappel in the left hand. He wears a emperor crown with fanones hanging on the shoulders. Over his short robe with sleeves, which is deposited with fur at the bottom, hangs a cloak closing to the right shoulder, on which there is a wide shoulder collar. The cloak that hangs to the ground shows both at the opening and where it is stopped by the left arm, the legs stuck in huzen. A hanging coat slip is over the left foot. Brussels bronze (metal) casting He stands on the right leg, has the left forward and holds the Rijksappel in the left hand. He wears a emperor crown with fanones hanging on the shoulders. Over his short robe with sleeves, which is deposited with fur at the bottom, hangs a cloak closing to the right shoulder, on which there is a wide shoulder collar. The cloak that ha

Girl with a bird. Kuna, Henryk (1879-1945), sculptor

Appliqué for a funeral couch. Unknown

Standing bodhisattva, late 7th-early 8th century, 32 x 12 1/2 x 11 1/2 in. (81.28 x 31.75 x 29.21 cm), Marble, China, 7th-8th century, Although missing its head and arms, this work illustrates the graceful figural movement found in Tang dynasty sculpture as it had developed in the late 600s. It is a classic example of the type of realistic representation heavily influenced by the sculptural art of India during the Gupta period (320-647). The well-proportioned figure in languid pose is draped with light, nearly diaphanous multilayered robes, which extend from the left shoulder to the lotus pedestal. The statue is carved completely in the round and is adorned with a jeweled necklace and elaborate beads. The unprecedented interest in the human form seen here marks a departure from the rigid and symmetrical Buddhist sculpture of the preceding periods.

Virgin and Child. Culture: French. Dimensions: without base: 12 15/16 × 4 3/8 × 3 3/4 in. (32.8 × 11.1 × 9.5 cm)including base: 15 9/16 × 5 1/2 × 5 1/2 in. (39.5 × 14 × 14 cm)Base: 2 5/8 × 5 1/2 × 5 1/2 in. (6.7 × 14 × 14 cm). Date: ca. 1320-30. Museum: Metropolitan Museum of Art, New York, USA.

Jean-Pierre Dantan (1800-1869), said Dantan the young. Portrait charge of François Arago (1786-1853), astronomer. Terracotta patinated plaster. Paris, Carnavalet museum. Astronomer, French politician, pattero patina, terracotta, caricature

Hospital bed crowning. Fontana, Jakub (1710-1773), designer, Redler, Jan Chryzostom (fl. ca 1743-1773), woodcarver

Christ as a gardener. In a landscape, Christ is opposite the kneeling Mary Magdalena with a rising and a spainful landscape with a pallisade and a city with a city gate in the background. Christ, with spade, wears a big hat; The jacket hangs from the left shoulder to the ground. Magdalena has a turban and a robe with puffy sleeves. At the front against the ground the borted city mark: the hand.

Alexandre Falguière (1831-1900). Two characters. Tinted plaster. 1851-1900. Museum of Fine Arts of the City of Paris, Petit Palais. CHARACTER

Figure of a Child, 1300s. France, 14th century. Stone; overall: 64.8 x 30.5 cm (25 1/2 x 12 in.).

Coup de Vent, in or before 1894 sculptor: Parismaker: London terracotta (clay material). voet: wood (plant material) sculptor: Parismaker: London terracotta (clay material). voet: wood (plant material)

Statue of William of Orange, Louis Royer, c. 1848 - c. 1851 figure Bronze statue of Willem van Oranje. Dressed in official clothing against a pillar. His left hand rests on a sealed document. His sword stands against the pillar. There is a dog on his right foot that looks up at him. Amsterdam bronze (metal) casting historical persons

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Saint Simon. Artist: Southern Netherlands; or Northern France. Culture: Southern Netherlands or Northern France. Dimensions: H. 34.1 cm (excluding base), h. 6.4 cm (base).. Date: 1450-70. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta statuette of a seated goddess 3rd century B.C. Cypriot The seated figurine, probably a goddess of the Kition type, is mold-made and solid. The back is handmade and flattened.. Terracotta statuette of a seated goddess 241147

St Joseph and the Christ Child, Lucas Faydherbe, c. 1655 - c. 1660 Mechelen boxwood (hardwood) cutting Mechelen boxwood (hardwood) cutting

Saint Vincent de Paul, c. 1787, Jean Baptiste Stouf, French, 1742-1826, 18 3/8 x 9 1/2 x 8 1/2 in. (46.67 x 24.13 x 21.59 cm), Terracotta, France, 18th century, Saint Vincent de Paul (1581-1660) dedicated his life to helping the poorest of the poor in France, including abandoned and abused children. About a hundred years later, during the Enlightenment, when the French celebrated scientific reasoning and individual liberty, he was one of the few religious personages honored with a statue in the Great Men of France series, installed in the Louvres Grande Galerie. This terra-cotta model is the only record of Stoufs first proposal for the statue. Severely criticized for showing only the saints compassion and not his active deed of charity, Stouf modified the sculpture. His final version shows the saint lifting a child off the ground, symbolizing the childrens salvation.

Angel Playing a Lute, anonymous, c. 1450 - c. 1500 Utrecht pipe clay Utrecht pipe clay

Mourning Saint John, late 1400s. Germany, Franconia, late 15th century. Gilt bronze; overall: 9.6 cm (3 3/4 in.).

One of a Pair of Attendant Bodhisattvas. Culture: China. Dimensions: H. 26 7/8 in. (68.3 cm). Date: 10th-11th century. Museum: Metropolitan Museum of Art, New York, USA.

Chess Piece in the Form of a King 1350-1400 German. Chess Piece in the Form of a King. German. 1350-1400. Walrus ivory. Made in Cologne, Germany. Ivories

Kneeling Donor late 15th century French. Kneeling Donor. French. late 15th century. Stone. Sculpture-Stone

Terracotta statuette of a woman 3rd century B.C. Greek, South Italian, Tarentine Draped, standing head enveloped in himation, right arm akimbo, left at side.. Terracotta statuette of a woman 248608

The Hand of God modeled ca. 1896-1902, carved ca. 1907 Auguste Rodin French Rodin presents the inchoate figures of Adam and Eve cradled in Gods hand. The composition is an homage to his revered "master" Michelangelo, the Renaissance artist whose unfinished figures materializing out of rough stone symbolize the process of artistic creation. In this work, Rodin boldly equates the generative hand of God with the ingenious hand of the sculptor. When the collector B. Gerald Cantor saw The Hand of God at the Met in 1945, it initiated what has been called a "magnificent obsession." Cantors support of scholarship and his unparalleled gifts to American and French museums helped to revitalize interest in Rodin in the second half of the twentieth century.. The Hand of God. Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled ca. 1896-1902, carved ca. 1907. Marble. Sculpture

Enthroned Virgin first half 14th century Goro di Gregorio Italian This work is a rare surviving example of medieval sculpture in terracottano other Italian examples from the period exist today. The sketchiness of the modeling and the omission of figure of the Christ Child, among other details, suggest that the sculpture was most likely created as a workshop model rather than as a finished piece. It has been proposed that the terracotta was made as a goldsmith's model for the Virgin and Child group intended for the center of an altarpiece. The graceful pose of the Virgin, the rhythmic folds of drapery, and the delicate treatment of her face are consistent with the French-inspired style seen in Tuscany from the middle of the fourteenth century.. Enthroned Virgin 469983

Neptune and Dolphin; After Gian Lorenzo Bernini (Italian, 1598 - 1680); probably 17th century (after 1623); Bronze; 55.9 cm (22 in.)

Torchère figure (one of a pair) 19th century Style of Augustin Pajou French The nymphs are in the style of Augustin Pajou (1730-1809), who supplied comparable figures intended to hold candelabra for the dining room of Madame du Barry's pavillon at Louveciennes in 1771.. Torchère figure (one of a pair) 189471

Europe and America ca. 1752 Vincennes Manufactory French This is one of two groups personifying the Four Continents; its mate (2012.507) depicts Africa and Asia.. Europe and America 202344

Virgin and Child, early 1530s. Jacopo Sansovino (Italian, 1486-1570). Bronze; overall: 47.6 x 17.2 x 11.5 cm (18 3/4 x 6 3/4 x 4 1/2 in.).

Abraham sacrifice. At an uneven floor, Abraham is left to the left, with staggered legs and elevated right arm, behind Izaac, which with their backs at him, the arms around each other, and with a knee squatted on the ground, and whose blindfolded head he headed with the left hand pressed down. To the left of Izaac is the altar, on which a fire burns and for which a lamb lies with bound legs. Feet spread between Abrahams a branch forest; At his lost right wrench the fingers of the lost angel. Abraham carries a tight pair of pants under a tunic with stripped sleeves, the pipes of which reach under the knees; Furthermore, one of the right shoulder suspended shoulder, suspended by a tire around the waist, and a hat; Izaäk a shirt suspended around the medicine, which is closed on one side with a knot, but from the shoulders has slipped.

Wafflebar behind stove, two children and a drinking man with dog to his feet. Sculpture group of faience, consisting of a wafer baking behind the stove with a child on orphans. On the right a man drinking from a jug, a dog at his feet.

Enthroned Virgin. Artist: Goro di Gregorio (Italian, Siena, active ca. 1300-1334). Culture: Italian. Dimensions: Overall: 17 5/8 x 10 x 9 1/2 in. (44.8 x 25.4 x 24.1 cm). Date: first half 14th century.This work is a rare surviving example of medieval sculpture in terracotta--no other Italian examples from the period exist today. The sketchiness of the modeling and the omission of figure of the Christ Child, among other details, suggest that the sculpture was most likely created as a workshop model rather than as a finished piece. It has been proposed that the terracotta was made as a goldsmith's model for the Virgin and Child group intended for the center of an altarpiece. The graceful pose of the Virgin, the rhythmic folds of drapery, and the delicate treatment of her face are consistent with the French-inspired style seen in Tuscany from the middle of the fourteenth century. Museum: Metropolitan Museum of Art, New York, USA.

Statuette of a Muse. Unknown

Terracotta vase in the form of a sleeping Black African youth ca. 3rd-2nd century B.C. Cypriot The sleeping boy's nakedness and exhausted state suggest that he is a servant. Vases of this shape probably held perfumed oils.. Terracotta vase in the form of a sleeping Black African youth 241816

Marble round altar with a frieze of animals and masks. Culture: Roman. Dimensions: h. 7 3/16 in. (18.3 cm); d. 8 in. (20.3 cm). Date: 1st century A.D..The theatrical masks and panthers on this altar suggest it may have been used in a sanctuary of Bacchus (Roman Dionysos), since both motifs are common elements in the god's iconography. Museum: Metropolitan Museum of Art, New York, USA.

Three Horsemen from a Calvary, Adriaen van Wesel, c. 1470 - c. 1473 The front rider, whose horse has been seen entirely from the side, looks up (to the cross). Behind this figure there are two riders on a slightly higher level. The rider left, just like his horse, is directed to the left. Horse and rider are used to the right to the right. The rider turns around in the direction of the crosses. The rider at the front sits back on a seam with a high front. A cover has been laid over the saddle. With the left hand he holds the rein, he holds the right in front of the chest. The left foot rests in the stirrup. He is wearing a short tube and huzen and over it a long, on the neck and hem with fur with fur. On his head two headwear: a hood that reaches to the shoulders with a hollow sculpted bottom edge and decorated to the points with acorns, over it a large hat, from the front with a high triangular edge, looking like a miter, and with a hat -up cagica , from behind with a high edge fallin

Marble statue of Aphrodite. Culture: Greek. Dimensions: H. 32", W. 9 1/2", D. 6 1/2. Date: 2nd century B.C..The goddess of love stands in an exaggerated hipshot pose. She wears a thin chiton girded just below the breasts, and her himation (cloak), which must have been draped over the missing left arm, falls in thick folds between her legs. This figure is one of the many variants created in the Hellenistic period of a statue type known as the Tiepolo Aphrodite. A major over-life-sized version and numerous statuettes have been found in Athens; many examples also come from the island of Rhodes. Museum: Metropolitan Museum of Art, New York, USA.

Justitia (justice), Meisser Porzellan Manufaktur, c. 1779 - c. 1800 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 is marked. Float porcelain 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 is marked. Float porcelain

Inkwell or Salt-Cellar with Arion on the Dolphin, Gabriel Grupello (attributed to), c. 1680 - c. 1690 Southern Netherlands bronze (metal) Southern Netherlands bronze (metal)

Hemelnimf. Hemelnimf playing a wind instrument.

'Venus Disarming Cupid'. France, 18th century. Dimensions: height: 46 cm. Museum: State Hermitage, St. Petersburg. Author: French sculptor. 18th century.

Marble Putti, Laurent Delvaux, 1746 - 1748 marble (rock) marble (rock)

Terracotta statuette of a dancing woman 3rd century B.C. Greek, South Italian, Tarentine Draped, dancing, standing on left foot, right extended behind her.. Terracotta statuette of a dancing woman. Greek, South Italian, Tarentine. 3rd century B.C.. Terracotta. Hellenistic. Terracottas

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Anna-three. .

Figure Group: Charity (la bienfaisance).

Capital with story. First quarter of 13th century. Anonymous. Romanesque. Marble. From Catalonia. National Art Museum of Catalonia. Barcelona. Catalonia. Spain.

Bacchus and a Nymph with a Child and Grapes ca. 1790-1800 Clodion (Claude Michel) French The relatively constricted movement of the figures suggests the canon of Directoire taste.. Bacchus and a Nymph with a Child and Grapes. Clodion (Claude Michel) (French, Nancy 1738-1814 Paris). French, Paris. ca. 1790-1800. Terracotta. Sculpture

Terracotta relief ca. 450 B.C. or later Greek Seated woman with double flutes and youthFragment of a Melian relief; seated woman playing the double flutes and a man standing. Scholarly discussion continues as to whether the relief is ancient or a modern forgery.. Terracotta relief 253347 Greek , Terracotta relief, ca. 450 B.C. or later, Terracotta, H.: 6 5/16 in. (16 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1931 (31.11.9)

Marble disk with a herm of Dionysus in relief 3rd quarter of 1st century A.D. Roman Bearded Dionysos with wreath of grape leaves. In Roman houses such decorative discs were attached to the wall or suspended between the columns of a colonnade.. Marble disk with a herm of Dionysus in relief. Roman. 3rd quarter of 1st century A.D.. Marble. Early Imperial. Stone Sculpture

Chess Figure Janczar Skirmuntt, Helena (1827 1874)

'St John the Evangelist'. Italy, 1709. Dimensions: h. 68 cm. Museum: State Hermitage, St. Petersburg.

Model for a Statue or Rembrandt. The drawing Rembrandt sits on an increase with the right leg stretched and pulled up on a coffin. With the left hand, he holds a sketchbook that it rests on its upper leg, and in the judge the drawing pin. On the left on the ground are a palette with brushes and a paint pot. He is dressed in 17th-century costume with sash and beret. A mantle with fur collar hangs from his left shoulder and arm. On the coffin: r.v.r.1642; On the back: L. Royer. IVT.1840.

Chess Figure Baszybuzuk Skirmuntt, Helena (1827 1874)

Loving Couple (Mithuna). Culture: India (Orissa). Dimensions: H. 72 in. (182.9 cm). Date: 13th century.A Hindu temple was often envisioned as the world's central axis, in the form of a mountain inhabited by a god. The temple itself was therefore worshipped. This was done by circumambulation (walking around the exterior, in this case in a counterclockwise direction) and by viewing its small inner sanctum. The outside of the temple was usually covered with myriad reliefs: some portrayed aspects of the god within or related deities; others represented the mountain's mythological inhabitants. From early times, iconic representations of deities and holy figures were augmented by auspicious images, such as beautiful women, musicians, and loving couples (mithunas). Once part of the subsidiary decoration of a temple facade, the figures of this bejeweled couple embrace while peering rapturously into each other's eyes. Their full bodies and broad, detailed features are characteristic of archite

Father Time. Italian. Date: 1501-1600. Dimensions: 3 3/4 x 9 3/8 x 5 in. (9.5 x 23.9 x 12.7 cm). Bronze. Origin: Italian. Museum: The Chicago Art Institute, Chicago, USA.

Figure Group: Charity; Sèvres Manufactory (French, 1756 - present), Model by Louis-Simon Boizot (French, 1743 - 1809); Sèvres, France; 1785; Hard-paste biscuit porcelain; 23 x 20.3 cm (9 1,16 x 8 in.)

Probably North Italian 15th Century, Saint George and the Dragon, 15th century Saint George and the Dragon

Marble stele (grave marker) of a woman ca. 375-350 B.C. Greek, Attic The incomplete inscription makes clear that the seated woman is the daughter of a man from the deme (political district) of Sounion in Attica; the standing woman is named Philte.. Marble stele (grave marker) of a woman 255192 Greek, Attic, Marble stele (grave marker) of a woman, ca. 375350 B.C., Marble, H. 54 in. (137.2 cm). The Metropolitan Museum of Art, New York. Harris Brisbane Dick Fund, 1965 (65.11.11)

Christ Child, c. 1490-1500. Attributed to Michele (di Luca) Marini (Italian). Marble; overall: 87.6 x 35.6 x 30.5 cm (34 1/2 x 14 x 12 in.).

. Small, refined alabaster sculptures were a speciality of the Flemish sculptor Van den Broecke. This female figure, with her solid, muscular body, clearly recalls sculptures by Michelangelo. Van den Broecke must have thoroughly studied Michelangelos work during his sojourn in Italy.

Terracotta relief. Culture: Greek . Dimensions: H.: 6 5/16 in. (16 cm). Date: ca. 450 B.C. or later.Seated woman with double flutes and youthFragment of a Melian relief; seated woman playing the double flutes and a man standing. Scholarly discussion continues as to whether the relief is ancient or a modern forgery. Museum: Metropolitan Museum of Art, New York, USA.

The Dutch Virgin.

Venus and Adonis, Francis van Bossuit, c. 1685 - c. 1692

Christ, supported by Joseph van Arimathea (). There is three-quarters to the right on an ascending soil, with the right leg sloping, a bearded man, Joseph of Arimathea or Nicodemus with both hands the line wield, on which it has been stretched out to the spectator, dead body of Christ. Christ's arm hangs slope down, the left hand rests on the loincloth, a slip of which depends on the ground. The man carries a short tunic, over which the opened jacket has been discarded on the shoulders; Furthermore, one of the head-pine-pine green with shoulder collar, dashed hypuses and shoes and a belt with pouch bag.

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