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Sculptures of Mother Figures

Sculptures representing mother figures and divine personas, captured in various materials, showcasing emotional expressions and intricate designs.

Virgin and Child, anonymous, c. 1640 - c. 1675 Brabant terracotta (clay material) Brabant terracotta (clay material)
Virgin and Child, anonymous, c. 1640 - c. 1675 Brabant terracotta (clay material) Brabant terracotta (clay material)
228 assets in this story
6145-58871580
Figure of a boy with a bird's nest, Höchst, c. 1762 - c. 1767 Image of porcelain, painted on the glaze in email colors and gold. The image represents a boy, with his hat with a bird's nest in his arms. Marked on the bottom with the wheel and M. Maximum porcelain. glaze. gold (metal) painting / gilding / vitrification Image of porcelain, painted on the glaze in email colors and gold. The image represents a boy, with his hat with a bird's nest in his arms. Marked on the bottom with the wheel and M. Maximum porcelain. glaze. gold (metal) painting / gilding / vitrification
6145-59000809
Fratin, Christophe. "Equestrian portrait of the Count of Chambord (1820-1883)". Bronze. Paris, Carnavalet museum. French aristocrat, French aristocracy, rider, horse, at the foot, man, portrait
6145-59044248
Pastoral scene ", 18th century. Anonymous. German porcelain from Meissen. Museum of Fine Arts of the city of Paris, Petit Palais. Germany, German, dove, Meissen Manufacture, Porcelain, Pastoral Scene, Couple
6145-46157096
Adhesive, young man with an angel guard. On the left on a protrusion ground and for a slightly turned to the right, the angel fends to the right-coming young man, which is threatened by a cave from a cave. The Enger stands with the right foot forward and points up with the index finger, while he strikes his left arm protecting around the timid. This looks at him, keeps the right hand hole against the chest and the left arm slightly off the body. The angel wears a shirt suspended around the shoulders, which has been suspended around the agent, and at the feet of classical sandals: the youth a shirt that is held together by a band through a band. From the monster with opened mush, only head and coves are visible. On a hill in it a city.
6145-30149907
Boy with Dog Made 1755-1765 Chelsea. Soft-paste porcelain, polychrome enamels and gilding . Chelsea Porcelain Factory
6189-55132991
Luisa Granero, Maternitat, 1983, bronze, pollensa museum, Majorca, Balearic Islands, Spain.
6145-59044255
Uranie, muse of astronomy ", 18th century. German porcelain of Meissen. Museum of Fine Arts of the city of Paris, Petit Palais. Germany, German, astronomy, astronomical telescope, Meissen Manufacture, Porcelain, mythology
4409-17582785
'Mahaparinirvana (''The Great Final Pass into Nirvana'')'. Siam (now Thailand). Lanna art (Extreme North area), Sculpture - 16th-17th, pedestal - 18th-19th century. Dimensions: 23x6x8 cm (sculpture), 30x11x12 cm (pedestal). Museum: State Hermitage, St. Petersburg.
4409-17435899
Sculptural group with The Lamentation Over the Dead Christ. Culture: Eastern Central Italian, Emilia-Romagna or the Marche. Dimensions: Overall: 29 1/2 x 64 x 12in. (74.9 x 162.6 x 30.5cm);(a) confirmed: 9 1/8 × 28 5/8 × 6 3/4 in., 30.3 lb. (23.2 × 72.7 × 17.1 cm, 13.7 kg);(b) confirmed: 27 3/4 in., 54.1 lb. (70.5 cm, 24.5 kg);(c) confirmed: 28 5/8 in., 31.9 lb. (72.7 cm, 14.4 kg);(d) confirmed: 29 1/4 in., 33.9 lb. (74.3 cm, 15.4 kg);(e) confirmed: 27 1/2 in., 32.9 lb. (69.9 cm, 14.9 kg);(f) confirmed: 28 5/8 in., 36 lb. (72.7 cm, 16.4 kg);(g) confirmed: 8 5/8 in. (21.9 cm)(h) confirmed: 7 7/8 in. (20 cm). Date: 1487.This work is the largest and most spectacular surviving example of sculptural maiolica from the Renaissance. The standing figures are set in high relief against a landscape of rocky yellow earth and green grass. Conceived as an altarpiece, the scene depicts the moment of grief and reflection after Christ's body is taken down from the cross. It allowed the artist-
6145-29710860
Death mid-17th century German Carved images of death were cherished items in sixteenth- and seventeenth-century collectors' cabinets. Most were of wood, though ivory versions are known. They relate to the artistic preoccupation with death in the Late Middle Ages and the Renaissance. The naturalistic poses, gestures, and movement of drapery date this group to the mid-seventeenth century; indeed, the composition recalls an etching of 1663 by Stefano della Bella (MMA Print Department 68.736.1). The group is carved in one piece except for the plumes on the turban. The skeleton has an elaborately hollowed-out torso and neck, and the tendons of his forearms and lower legs are similarly undercut.. Death 193613
4409-17323391
BELEN ARGENTINO. Location: MUSEE D'ARTS DECORATIFS. MADRID. SPANIEN.
4409-17383733
Harlequin. Culture: German, Neudeck-Nymphenburg. Dimensions: Height: 7 7/8 in. (20 cm). Factory: Nymphenburg Porcelain Manufactory (German, 1747-present). Modeler: Franz Anton Bustelli (Swiss, Locarno ca. 1720-1763 Munich). Date: ca. 1760.In the eighteenth century, porcelain figures depicting characters from the Italian commedia dell'arte were extremely popular. The various characters that comprised a typical Italian comedy troupe were instantly recognizable to the audience because of their costumes, and the details of these costumes were faithfully copied in the porcelain figures. The male figure illustrated here depicts Harlequin, the principal character of the commedia dell'arte, who always wears a suit composed of brightly colored patches. The female figure (see 1974.356.524), Harlequina, is dressed in a complementary costume.Italian commedia dell'arte figures were produced at all of the major German porcelain factories, but those made at Nymphenburg are among the most accomplish
6145-29787644
The Thrown Kiss ca. 1736 Meissen Manufactory German The figure of the lady (1982.60.311) is modeled after an engraving by Pierre Filloeul, "Le Baiser Rendu," after a painting by Jean-Baptiste Joseph Pater. For other pairs of these models in the Metropolitan's collection, see 64.101.47, .48 and 1974.356.353, .354.. The Thrown Kiss 207191
4409-17413142
America. Culture: German, Frankenthal. Dimensions: Height: 8 in. (20.3 cm). Factory: Frankenthal Porcelain Manufactory (German). Factory owner: Karl Theodor period (1762-1800). Modeler: Franz Konrad Linck (1730-1793, active 1762-66). Date: ca. 1765. Museum: Metropolitan Museum of Art, New York, USA.
6145-59127677
Boy Dressed as a Sculptor. Unknown, manufacturer Perhaps Tournai Manufactory, manufacturer (Belgian, founded 1751 - about 1850) about 1765 The small white-glazed figure represents Sculpture. Dressed in an upturned wide-brimmed hat, long vented coat, shirt, and breeches, a boy is shown barefoot standing with legs crossed on a square base molded to look like wood flooring. He holds a mallet in his right hand and leans against a fragment of sculpture similar in form to the Belvedere Torso (Rome, Vatican Museums), one of the most famous and admired works of classical sculpture; his left hand grasps another item, broken off at the base, that may have been a chisel. It was likely made as part of a larger group that could have been used to decorate a dining able during the dessert course. Incised on the base Bernard possibly for the sculptor Bernard Huet
6145-29160688
Chenet second half of 19th century French, Paris. Chenet 461375
1848-49619844
Sculpture with a wolf, St. Bonifatius, a former free-world ladies' convent with a collegiate church in Freckenhorst, Warendorf district, North Rhine-Westphalia, Germany, Europe
6145-29168336
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
1848-55210118
St Eufemia, 1360, Palazzo Patriarcale, Dioezesan Museum with the Tiepolo Galleries, 16th century, Udine, most important historical city in Friuli, Italy, Udine, Friuli, Italy, Europe
6145-29168372
Moorish king 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 model
4409-17219938
Ramon Amadeu i Grau / Mare de Déu dels Desemparat, siglo XVIII. Museum: Santa Maria del Pi, Barcelona.
6145-29785499
Richard Watson Gilder, Helena de Kay Gilder, and Rodman de Kay Gilder modeled 1879, cast ca. 1883-84 Augustus Saint-Gaudens American Among Saint-Gaudens's most technically innovative sculptures is a charming series of low-relief portraits of artists and friends completed during the late 1870s in Paris. This example, a compact rectangular portrait of the Gilder family, was the sculptor's most ambitious to date. It depicts the sitters in shoulder-length profile with Richard Gilder facing his wife Helena and two-year-old son Rodman. In 1879, the Gilders took an extended trip to Europe. In May, they sat for Saint-Gaudens in Paris for this family portrait, the sculptor's first multifigure relief. Gilder (1844-1909) was a close friend of Saint-Gaudens and an intimate of New York's genteel circle. He used his position at Scribner's Monthly and, after 1881, as editor of Century Illustrated Monthly Magazine to proselytize for younger, French-trained, American sculptors, Saint-Gaudens being his
6145-29828189
Dwarf musician (one of a pair) ca. 1750 French, Niderviller Faience, or tin-glazed and enameled earthenware, first emerged in France during the sixteenth century, reaching widespread usage among elite patrons during the seventeenth and early eighteenth centuries, prior to the establishment of soft-paste porcelain factories. Although characterized as more provincial in style than porcelain, French faience was used at the court of Louis XIV as part of elaborate meals and displays, with large-scale vessels incorporated into the Baroque garden designs of Versailles. Earlier examples of French faience attest to the strong influence of maiolica artists from Italy. Later works demonstrate the ways in which cities such as Nevers, Rouen, Lyon, Moustiers, and Marseille developed innovative vessel shapes and decorative motifs prized among collectors throughout Europe. While faience can be created from a wide mixture of clays, it is foremost distinguished by the milky opaque white color achieved b
6145-29763410
Statuette group 1833 Bartolomeo Pinelli Italian. Statuette group 195517
6145-29718893
Female figure carrying a vessel second half 18th century Frankenthal Porcelain Manufactory. Female figure carrying a vessel 206680
4409-17220617
Ramon Amadeu / Manger figure, 19th century. Museum: Museu de la Garrotxa.
1746-19984916
French medieval shield (may have been a gift or a prize in a tournament). Depicts a lady wearing a Flemish pointed headdress and a young knight kneeling at her feet. The figure of Death lurks behind him. The legend on the scroll above his head reads: 'vous ou la mort' ('you or death). About 1475-1500 Flanders or Burgundy. Wood, leather, gesso and paint
6145-46040369
Gustaaf II Adolf from Sweden. Oval painted copper plaque with the portrait of Gustaaf II Adolf with head to the right on the lower half. He has a balding head, a mustache and sik. He wears a rich-curved cloak with a square collar, on which a sash is oblique about his right shoulder. The inscription and portrait are golden. Front inscription in the middle: GVSTAVE Adolphe; Middle under: Costvo Adolpho. D.C / SVFCOPVMPEX. Reverse: Roy de Suede / Tuel à la Bataille de Lutz and Le 16.9.bre 1632 Agé de 39 / Ans.