Ancient Sculptural Artifacts

Reliefs and stone carvings featuring mythological themes and narratives from various ancient cultures, conveying historical and artistic significance.

Conversion and ordination of Nanda and fight scene (War Relic) 3rd century. The Amaravati School (1st century BC - 3rd century AD) marmoreal limestone sculpture from Andhra Pradesh, India

Cult Relief of Mithras Slaying the Bull(Tauroctony)

Hearing stone with image, anonymous, c. 1400 - c. 1950 Hearing stone with windows, representing a fountain, a sitting shepherd and shepherdin on either side. Sheep in the offing. Southern Netherlands earthenware Hearing stone with windows, representing a fountain, a sitting shepherd and shepherdin on either side. Sheep in the offing. Southern Netherlands earthenware

Death of the Buddha (Parinirvana). Culture: Pakistan (ancient region of Gandhara). Dimensions: H. 11 3/4 in. (29.8 cm); W. 6 3/16 in. (41.1 cm); D. 2 1/4 in. (5.7 cm). Date: 2nd-3rd century. Museum: Metropolitan Museum of Art, New York, USA.

Fireplace with suzanna representation, which is led by the two elders before the judge. Fireplace with suzanna representation, which is led by the two elders before the judge.

Baked fireplace, with a grotesque horse and rider in a square table, and with a coat of arms and St. Andrieskruis. Baked fireplace, with a grotesque horse and rider in a square table, and with a coat of arms and St. Andrieskruis.

Hearing stone with a mascaron between two fruiting sines, anonymous, c. 1575 - c. 1600 Hearing stone with a mascaron between two fruiting sines, the whole surrounded by a fruit festival. Antwerp (possibly) earthenware Hearing stone with a mascaron between two fruiting sines, the whole surrounded by a fruit festival. Antwerp (possibly) earthenware

Hearing stone with a representation of the baptism of Christ in the Jordaan, Anonymous, Anonymous, c. 1525 - c. 1575 Highstone with a forest of Christ baptized by Johannes in the Jordaan. In the background a hilly landscape with a few trees. Antwerp earthenware Highstone with a forest of Christ baptized by Johannes in the Jordaan. In the background a hilly landscape with a few trees. Antwerp earthenware

Plaque with griffin ca. 8th-7th century B.C. Assyrian This small piece of ivory is carved in low relief with the image of a griffin, a fantastic creature that combines the body of a lion with the head of a bird of prey, depicted with or without wings. The griffin rests its forelegs on a plant-like form that rises from the ground line and lifts its head, perhaps to graze on the upper part of the plant, which could originally have been depicted on the adjacent plaque to the left. Carved ivory pieces such as this were widely used in the production of elite furniture during the early first millennium B.C. They were often inlaid into a wooden frame using joinery techniques and glue, and could be overlaid with gold foil or inlaid with colored glass or stone pieces to create a dazzling effect of gleaming surfaces and bright colors. Griffins nibbling on plants were frequently depicted on carved ivory plaques, including three well-preserved pieces in various styles from Nimrud which are also in

Conversion and ordination of Nanda and fight scene (War Relic) 3rd century. The Amaravati School (1st century BC - 3rd century AD) marmoreal limestone sculpture from Andhra Pradesh, India

Two fragments from a frieze, anonymous, c. 1350 - c. 1400 Part of a relief series. Presentation: Three standing figures on a bumpy boulder path in a hilly landscape. Trawulan andesite Part of a relief series. Presentation: Three standing figures on a bumpy boulder path in a hilly landscape. Trawulan andesite

Relief of Aphrodite in aniche

Highstone with a pig hunt, c. 1550 - c. 1600 Hearing stone with a pig hunt. Southern Netherlands earthenware Hearing stone with a pig hunt. Southern Netherlands earthenware

Marble votive tablet depicting the Danube horsemen. 2nd-3rd centuries AD. From Lom (ancient Roman city of Almus), Montana region, Bulgaria. National Archaeological Museum. Sofia. Bulgaria.

Relief portraying gladiatorial scene with Samnite bringing down Retiarius

Two knights wearing Phrygian caps with a female figure in the centre in front of a tripod, Cabeiri relief, copy from Bucharest. Roman civilisation, 3rd century AD.

amazonomaquia, I antes de Cristo, arcilla, Italia, coleccion Campana.

Sabaean stele- Ghalit, daughter of Mufidat invokes god Athtar, 1st cent. BC. Pre-Islamic , Saudi Arabia.

Winged female demon. 6th century BC, Sicily. Greek period. Greek art, Limestone.

Relief ze świątyni grobowej Niuserre. unknown, author

Cylinder seal ca. 13th century B.C. Assyrian. Cylinder seal 327209

Roman civilization, relief portraying magistrate sitting on 'bisellium' and surrounded by lictors and figures

Hearing stone with a performance of climbing lion, c. 1575 - c. 1625 Hearing stone with a show of climbing lion to the left (heraldic), placed in profiled window. A double -headed eagle in the half windows on the sides. The half windows on the top and bottom are filled with half medallions with star motif. Southern Netherlands earthenware Hearing stone with a show of climbing lion to the left (heraldic), placed in profiled window. A double -headed eagle in the half windows on the sides. The half windows on the top and bottom are filled with half medallions with star motif. Southern Netherlands earthenware

Amorous Couple (Mithuna) Seated in a Chair. India; Uttar Pradesh, Kaushambi. Date: 100 BC-1 BC. Dimensions: 10.1 x 8.2 x 2 cm (3 15/16 x 3 3/16 x 13/16 in.). Molded terracotta with red slip. Origin: Uttar Pradesh. Museum: The Chicago Art Institute, Chicago, USA.

Het with winged deer, Anonymous, 1614 Het with winged and running down deer. Shared by windows, in two of which the year 1614. In the parts of the further windows a lily (). Fried. Very violated. Southern Netherlands earthenware Het with winged and running down deer. Shared by windows, in two of which the year 1614. In the parts of the further windows a lily (). Fried. Very violated. Southern Netherlands earthenware

Plaque with a Royal Family 1st century B.C. India (West Bengal, Chandraketugarh) This family scene and the touching intimacy that permeates it are unusual in Indian terracotta. With his left hand, the man, seated on a chair, holds the back of his wife's head: she stands before him and gently caresses his knees. A small figure, thought the couple's son, is shown seated, besides a dog he holds by its leash, in the foreground. Two ducks appear at the lower left while at the far right, fragments of a monkey, climbing the leg of the chair, can be seen.. Plaque with a Royal Family. India (West Bengal, Chandraketugarh). 1st century B.C.. Terracotta. Shunga period. Sculpture

Fireplace with a representation of Judith, who is about to show the sleeping holofernes in his tent. Fireplace with a representation of Judith, who is about to show the sleeping holofernes in his tent.

Tile with representation of two beggars. Flat tile on which in embossed two beggars.

Fragment of a Sarcophagus with a Naval Battle. Unknown

Double-Sided Theatrical Relief; Italy; mid-1st century A.D; Italian marble; 29.5 × 44.5 cm (11 5,8 × 17 1,2 in.)

Cylinder seal ca. 15th-13th century B.C. Cypriot. Cylinder seal. Cypriot. ca. 15th-13th century B.C.. Steatite. Late Cypriot. Cyprus

Hearing stone with a performance of climbing lion, c. 1575 - c. 1625 Hearing stone with a show of climbing lion to the left (heraldic), placed in profiled window. A double -headed eagle in the half windows on the sides. The half windows on the top and bottom are filled with half medallions with star motif. Southern Netherlands earthenware Hearing stone with a show of climbing lion to the left (heraldic), placed in profiled window. A double -headed eagle in the half windows on the sides. The half windows on the top and bottom are filled with half medallions with star motif. Southern Netherlands earthenware

Tile depicting Abraham and the sacrifice of Isaac from the walls of a Christian basilica, terracotta

Fireplace with suzanna representation, which is led by the two elders before the judge. Fireplace with suzanna representation, which is led by the two elders before the judge.

Marble cinerary chest with lid. Culture: Roman. Dimensions: H. with cover 21 3/8 in. (54.3 cm). Date: ca. A.D. 90-110.The Latin inscription reads: "To the spirits of the dead. M. Domitius Primigenius made this for himself, his freedmen and freedwomen, and their descendants." Above is a scene in which the deceased, standing on a pedestal, making an offering to a female figure, perhaps Tellus (mother earth), who reclines on a couch bedecked with flowers. They are attended by two young servants, holding food and wine. The chest is in the form of a pedimental building, with flaming torches taking the place of columns at the corners. Museum: Metropolitan Museum of Art, New York, USA.

Hearing stone with the year 1589, lions and windows, 1607 Hearing stone with the year 1607, lions and windows. Southern Netherlands earthenware Hearing stone with the year 1607, lions and windows. Southern Netherlands earthenware

Fireplace with presentation of Sint Joris on horseback. Fireplace with presentation of Sint Joris on horseback, moving to the left.

Limestone votive relief 3rd century B.C. Cypriot Above is a figure, identified as Apollo, seated before an altar or baetyl (sacred stone), and below is a scene interpreted as showing workers in a mine or quarry. The inscription, in Cyprio-syllabic script, reads, "Diaithemis dedicated this to the god Apollo in good fortune." Such inscriptions show that in the Hellenistic period, while Greek became the dominant language used in Cyprus, the local script continued to play a part, especially in religious rites and for dedications to the gods.. Limestone votive relief 241926

Front of a Sarcophagus with the Myth of Endymion. Unknown

Bagpipe Player, anonymous, 1600 - 1700 Antwerp (possibly) bronze (metal) Antwerp (possibly) bronze (metal)

Lazio Roma Rome S. Paolo85. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture fragments, tomb sculpture fragments, sculptural fragments, inscribed tomb markers, sculpture, fresco painting, mosaics Specific Location: Basilica Antiquities: Architectural sculpture fragments, tomb sculpture fragments, sculpture fragments General Notes: the "tomb markers" need to be sorted and catalogued 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.

Fragment of a Stela ca. 1353-1295 B.C. New Kingdom, Amarna Period. Fragment of a Stela. ca. 1353-1295 B.C.. Limestone. New Kingdom, Amarna Period. From Egypt. Dynasty 18

Relief fragment: cavalrymen along a stream in mountainous terrain ca. 704-681 B.C. Assyrian This relief fragment dates to the time of the Assyrian king Sennacherib (r. 704-681 B.C.), and comes from the great Southwest Palace, called by Sennacherib the "Palace Without Rival," at Nineveh in northern Iraq. It shows two Assyrian soldiers, each leading a horse, walking along the bank of a river or stream. The scale pattern of the landscape in the background indicates a hilly or mountainous location.The two soldiers wear similar armor. Their typical high conical Assyrian helmets have cheek-guards, and some decoration is visible. Surviving remains of Assyrian and Urartian helmets suggest that they probably featured divine protective imagery. They carry short spears, and on their backs carry bows and quivers full of arrows. Their body armor, worn over their normal clothing of tunics and wraps, consists of scales that were made of leather or metal, and the hatched pattern seen on the legs above

Headstone with a head of a Roman warrior with helmet, anonymous, c. 1500 - c. 1600 Heart with a head of a Roman warman with a helmet, seeing on the right. Chimères left and right. Southern Netherlands earthenware Heart with a head of a Roman warman with a helmet, seeing on the right. Chimères left and right. Southern Netherlands earthenware

Hearing stone with representation of Sint Joris on Horse, Anonymous, Anonymous, c. 1575 - c. 1599 Hearing stone with representation of Sint Joris on horseback, riding to the left. With a lance he kills the dragon in the bottom left. Left in the background the kneeling figure of the princess Antwerp earthenware Hearing stone with representation of Sint Joris on horseback, riding to the left. With a lance he kills the dragon in the bottom left. Left in the background the kneeling figure of the princess Antwerp earthenware

Hearing stone with a mascaron between two fruiting sines, anonymous, c. 1575 - c. 1600 Hearing stone with a mascaron between two fruiting sines, the whole surrounded by a fruit festival. Antwerp (possibly) earthenware Hearing stone with a mascaron between two fruiting sines, the whole surrounded by a fruit festival. Antwerp (possibly) earthenware

Detail of the Harpy Tomb from Xanthos, 5th century BC. Artist: Unknown

Console with lion and cartouche, console construction element sandstone stone, sculpted Console with seated lion holding cartouche. Rippled mane stares straight up the mouth open but the jaws on top of each other.

Relief. Episode from Buddha's life (departure from the fatherly palace on the horse Kantaka).

Furniture plaque carved in relief with bulls and tree ca. 9th-8th century B.C. Assyrian This carved ivory plaque was found in a storage room in Fort Shalmaneser, a royal building at Nimrud that was used to store booty and tribute collected by the Assyrians while on military campaign. It depicts a pair of bulls flanking a small tree, each nibbling at a leaf, framed above and below by a plain flat border. The five branches of the tree are arranged symmetrically and the leaves or fronds are decorated with horizontal ridges. Each bulls ribs are defined by vertical parallel lines, and similar lines frame the eye and the muscular ridges on the back of the neck. Neither is depicted with horns. Because of damage to the plaque in antiquity, only the head and shoulders of the left bull are preserved, but the right bull is complete. The genitals are represented and the tail is slightly raised, but held in a relaxed position. Carved ivory pieces such as this were widely used in the production of

Relief depicting legionaries wearing regulation armor from Cumae, Campania region, Italy, Roman civilization.

Console, male head with hat and mustache, console construction element sandstone stone, sculpted Console with male head with hat and mustache. Pendant 10479 Rotterdam City Triangle Oppert Binnenrotte Hoekhuis Oppert 4 Binnenrotte Rotterdam.

Egyptian commemorative palette

Fragment of a terracotta plaque. Culture: Greek, Cretan. Dimensions: 3 3/4 in. x 2 in. (9.5 cm x 5 cm). Date: 7th century B.C..Youth in a long garment. Museum: Metropolitan Museum of Art, New York, USA.

Lazio Viterbo Tuscania Museo Comunale9. Hutzel, Max 1960-1990 Antiquities: Etruscan sarcofagi 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.

Relief of a Hoplitodromos. Unknown

Terracotta statuette of a woman. Culture: Cypriot. Dimensions: H. 8 5/8 in. (21.9 cm). Date: 6th century B.C..The figure wears an elaborate garment, armlets, and a variety of amulets on her abdomen. Museum: Metropolitan Museum of Art, New York, USA.

Lazio Roma Velletri Museo Civico di Velletri0. Hutzel, Max 1960-1990 Medieval: Marble tondo of the depositon, early christian sarcophagus. Antiquities: Roman;statue of Athena, male and female sculpture fragments- heads, torsos, marble cinerary urn; cippi with inscriptions inscriptions, altars, sarcofagi, sarcofagus with scenes of the feats of Herakles. Etruscan; votive objects, heads, legs feet, eyes, uterus, intestine , animals; bronze objects Architectural sculpture and fragments; relief of procession pottery fragments, lamps; brickstamps. Object Notes: The Museo Civico is housed in the Palazzo Comunale. There are two Hutzel photo campaign notes, one undated and the other November 9, 1985. 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 o

Tile from Side of Stairway to Dais ca. 1279-1213 B.C. New Kingdom, Ramesside This tile once decorated the palace of Ramesses II in Piramesse, which he made into one of the greatest royal cities of ancient Egypt. Thanks to the royal favor and its strategic location, Piramesse soon became an important international trade center and a cosmopolitan metropolis, boasting a harbor, a military base, and temples dedicated to various gods like Amun-Re-Harakhty-Atum, Seth, Astarte, etc. Poems were written in the city's praise, and its name, which translates as "The House of Ramesses, Beloved of Amun, Great of Victories" when fully written, came to us through the Old Testament as Raamses.’ The tiles bear the names of Seti I, Ramesses II and later Ramesside kings, who renovated the palace and changed its decoration through the reigns. New tiles were made, and the old tiles may be have been dismantled and buried together. Based on the tiles, we can still reconstruct quite a number of the features o

Fragment of a tankard (schnelle) with Calliope, anonymous, c. 1550 - c. 1599 fragment Fragment of a jug (schnelle) of stoneware. On the shard in relief a printed and imposed elongated box containing a representation of Calliope, 'Caliope', between rolling and leaf vines. Siegburg. Siegburg stoneware vitrification

Limestone cippus base ca. 500-450 B.C. Etruscan, probably Chiusine A cippus is a large stone marker used by the Etruscans to establish a boundary or, more commonly, to mark the location of a tomb. The Etruscans produced several types of cippi. This example, the only one in the Museum's collection, is a cubic block that originally would have supported a large spherical, onion-shaped, or pointed stone. Each side of the block is carved with an identical scene showing symmetrically disposed horsemen. These almost certainly represent the twin gods, Castur and Pultuce (Roman: Castor and Pollux), among the most popular deities worshiped by the Etruscans. This type of cippus is closely associated with Chiusi, an important city in Central Italy.. Limestone cippus base. Etruscan, probably Chiusine. ca. 500-450 B.C.. Limestone. late Archaic-Classical. Stone Sculpture

Relief with Three Goddesses. India, Uttar Pradesh, Mathura, 2nd century. Sculpture. Mottled red sandstone

Hearing stone with representation of Sint Joris on horseback, who kills the dragon, c. 1525 - c. 1550 Hearing stone with representation of Sint Joris on horseback, who kills the dragon, with the princess on the right. A decorated edge around the show. Right bottom corner and parts of the back are missing. Southern Netherlands earthenware Hearing stone with representation of Sint Joris on horseback, who kills the dragon, with the princess on the right. A decorated edge around the show. Right bottom corner and parts of the back are missing. Southern Netherlands earthenware

Fragment of a doorpost. This stone is carved with two scenes from the life of the Buddha, when he was still a prince. On the front, he is sending his carriage driver and horse back to the family palace from which he has just fled. He later meets a grass-cutter who gives him a bundle of freshly cut grass - an episode depicted on the side. The Buddha would later attain enlightenment seated on this bundle.

Pa. German Stove Plate. Dated: c. 1942. Dimensions: overall: 34.5 x 21.6 cm (13 9/16 x 8 1/2 in.). Medium: black and white photograph. Museum: National Gallery of Art, Washington DC. Author: Charles Von Urban.

Brick with bust of Charles V inside a showness. A brick on which relief is the bust of Charles V inside a showness. Broken into two parts.

Console with lion head, sides decorated in abstract, console construction element sandstone stone, sculpted Console lion head with closed mouth. On the sides abstract decorations.

Moulds for producing embossments Pazuzu left-head Rear Lovers on a bed 2. / 1. Millennium BC Front God with water bottle (Babylon)

Plaque with image of two horned animals. unknown, craftsman

Sardinia Sassari Castel Sardo Cathedral2. Hutzel, Max 1960-1990 Post-medieval: 16th century architecture, built in late Gothic style; architectural sculpture; choir stalls; sculpture; paintings on canvas and panel; altarpiece; fresco; pulpit; tomb monuments; baptismal font; sacred objects 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.

Dancers, fragment of stone sculpture dating from the 1st century from Mathura, Government Museum, Mathura, Uttar Pradesh, India, Asia

Fragment of a large terracotta statue of a man 6th century B.C. Cypriot There are two subjects preserved on the fragment. At the left are the head and forepart of a lion. A vertical strip in low relief separates him from a scene including a figure holding a large sword and, just above, the mouth of a lion. The fragment has been interpreted as being part of a decorated piece of body armor worn by a large, presumably male, figure.. Fragment of a large terracotta statue of a man 241083

Facade stone with half moon in cartouche, facing stone sculpture sculpture building component sandstone stone, ca 40 kg sculpted Facing stone on which elaborately carved cartouche with waxing moon in which human face Delfshaven Aelbrechtskolk Rotterdam Aelbrechtskolk Delfshaven

Cylinder seal ca. 2700-2600 B.C. Sumerian. Cylinder seal 323876

Relief of Mars Ultor, 26 BC - 14. Italy, Roman, Augustan period. Marble; overall: 20.1 cm (7 15/16 in.).

Cylinder seal ca. 15th-14th century B.C. Mitanni. Cylinder seal 324351

Ivory depicting a griffin eating leaves from a tree

The Pillar of the Tax-Payers, relief depicting a tax payment

Roman Times. Stele of Atilon and his family. 3rd century AD. Atilon reclining on a couch, protected by Anubis and Horus. Greco-roman cementery of Kom Abu Billo, Egypt. Coptic era. Louvre Museum. Paris. France.

Lapis lazuli cylinder seal, from Ur, southern Iraq, c2600 BC. Artist: Unknown

Travertine cinerary urn. Culture: Etruscan. Dimensions: Overall: 22 9/16 x 5 1/8in. (57.3 x 13cm). Date: 2nd century B.C..The reclining woman on the lid holds a fan in her right hand and a pomegranate in her elongated left hand. The frieze below depicts the murder of a woman, perhaps Ismene, youngest child of Oedipus and sister of Antigone, or perhaps the Matricide of Alkmene, mother of Herakles. At least twenty other urns, most from Volterra, have been attributed to the same workshop, the so-called Officina di Poggio alle Croci. Vestiges of the original polychromy are visible on the hair of some figures and on the footstool at bottom center. Museum: Metropolitan Museum of Art, New York, USA.

Head, child with double chin, gable gable ornament sculpture sculpture building material sandstone stone, sculpted Above wider than under top and bottom right Children's head with double chin and collar in high relief Same style size and material as 10354 and 10375.

Plaque ca. 1550-1070 B.C. New Kingdom. Plaque 565760

Panel fragments with hunting scenes. Culture: Iran. Dimensions: H. 2.24 x W. 6.22 in. (5.69 x 15.8 cm). Date: ca. 8th-7th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Cylinder seal with three-figure contest scene late 8th - 7th century B.C. Assyro-Babylonian Although engraved stones had been used as early as the seventh millennium B.C. to stamp impressions in clay, the invention in the fourth millennium B.C. of carved cylinders that could be rolled over clay allowed the development of more complex seal designs. These cylinder seals, first used in Mesopotamia, served as a mark of ownership or identification. Seals were either impressed on lumps of clay that were used to close jars, doors, and baskets, or they were rolled onto clay tablets that recorded information about commercial or legal transactions. The seals were often made of precious stones. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery no longer extant in

Relief plaque, upper part of crocodile-headed god 400-30 B.C. Late Period-Ptolemaic Period Small Late Period and Ptolemaic reliefs or sculptures that depict a subject in a partial or unfinished way but are themselves complete objects constitute a special class of object. Guidelines like those for artists are often prominently exhibited as part of the object, although, in fact, many instances can be noted where the object simply could not serve as a suitable model for a traditional formal Egyptian representation. Personifications of kingship, figures that may represent the now emerging demigods Imhotep and Amenhotep Son of Hapu, and popular gods like Harpokrates or Isis, are heavily represented within the corpus. Taken together, the figures represented and the other features indicate the reliefs and sculptures of this class, sometimes called by Egyptologists "sculptors models / votives," were the material of a donation practice, perhaps connected with the prolific temple building of th

Relief fragment of confrontingbeasts, ca. 6th century A.D., Limestone, 29.4 × 56.4 × 5.5 cm (11 9/16 × 22 3/16 × 2 3/16in.), Egyptian, Coptic, Sculpture

Relief panel ca. 883-859 B.C. Assyrian This panel from the Northwest Palace at Nimrud (ancient Kalhu) depicts a winged supernatural figure. Such figures appear throughout the palace, sometimes flanking either the figure of the Assyrian king or a stylized "sacred tree." The reliefs were painted, but today almost none of the original pigment survives. However, the reliefs themselves retain incredible detail, including intricate incised designs on many of the figures clothing.In most rooms of Nimruds Northwest Palace, the reliefs showing magical figures had a single, overlifesize pictorial register, with the "Standard Inscription" in the center cutting across the imagery. The relief shown here, however, is at half-height because it comes from a room in which two registers of imagery were separated by a central band containing the inscription. It is not clear why the design is different in these rooms, although their position in the palace suggests they had special ritual significance. O

Marble relief sign of coppersmith's shop, from Pompei

Spain, Osuna, Bas-relief depicting a warrior from a memorial monument found in Urso

Cast of funerary monument, depicting Porphyrius the Charioteer standing on chariot between two winged Victories

Tile with Impressed Figures of Emaciated Ascetics and Couples Behind Balconies 5th-6th century India (ancient kingdom of Kashmir, Harwan) This tile decorated the courtyard of an apsidal temple at Harwan, in Kashmir. As this site has a Buddhist affiliation, the presence of emaciated nude ascetics is not easy to explain; they are more readily understood within the Hindu Shaivite tradition. As this mixture of Buddhist and Hindu imagery is also found at other contemporary sites in Afghanistan and western India, the tile appears to be part of a larger exchange that perhaps occurred in relation to the emergence of Esoteric, or Vajrayana, Buddhism. Numerals in Kharoshthi script have been incised into the tile, presumably to aid its placement.. Tile with Impressed Figures of Emaciated Ascetics and Couples Behind Balconies 38243

Stucco relief panel 2nd half of 1st century A.D. Roman The female figure flying to the right is a maenad. She holds up a tympanum, a large tambourine-like musical instrument as her drapery floats loosely about her.. Stucco relief panel. Roman. 2nd half of 1st century A.D.. Stucco. Early Imperial. Miscellaneous-Stucco

Votive stele with reliefs containing elements of Berber, Punic and Greek-Roman culture, from Ghorfa at Macota, surroundings of Dougga, Tunisia

'Fragment of a Sarcophagus with the Depicting of Maenad'. Ancient Rome, Late 3rd century. Dimensions: h. 26 cm. Museum: State Hermitage, St. Petersburg.

Plaque with Christ Before the High Priest Caiaphas. Culture: British. Dimensions: Overall: 2 3/16 x 2 1/16 x 1/4 in. (5.6 x 5.2 x 0.6 cm). Date: ca. 1150-75.Originally thought to be the missing base plaque of The Cloisters cross, this ivory is one of its closest surviving parallels. Within the city walls of Jerusalem, the bound figure of Christ is brought before the High Priest Caiaphas for trial. The shallow relief space and sketchy, less decisive figures differentiate its carving from that of the cross. It must have originally been part of a large narrative cycle dedicated to the Life of Christ. Museum: Metropolitan Museum of Art, New York, USA.

Tuscany Grosseto Massa Marittima S. Cerbono (Duomo)52. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture (13th-early 14th century); Fresco (14th century); Panels/Crucifix (14th century); pascal candle; sculpture including the Arca di S. Cerbone; architectural relief (c. 1267); Tabernacle (mid-14th century). Post-medieval: Paintings, fresco (14th century), sculpture Antiquities: Relief 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.

Terracotta relief plaque with head of Medusa. Culture: Greek. Dimensions: H. 1 9/16 in. (4 cm.). Date: 2nd century B.C..Intact. No color remains. Museum: Metropolitan Museum of Art, New York, USA.

Nineveh (Akkadian: Ninua) is an ancient Mesopotamian city on the eastern bank of the Tigris River, and capital of the Neo-Assyrian Empire. It was the largest city in the world for some fifty years until, after a bitter period of civil war in Assyria itself, it was sacked by an unusual coalition of former subject peoples, the Babylonians, Medes, Persians, Chaldeans, Scythians and Cimmerians in 612 BCE. Its ruins are across the river from the modern-day major city of Mosul, in the Ninawa Governorate of Iraq. In early 2015 the jihadist group ISIL (Islamic State in Iraq and the Levant) announced their intention to destroy the walls of Nineveh if the Iraqis try to liberate the city, they also threatened to destroy artifacts. On February 26 they destroyed several items and statues in the Mosul Museum, and are believed to have plundered others to sell overseas. The items were mostly from the Assyrian exhibit, which ISIL declared blasphemous and idolatrous.

Relief of Heracles with lionskin, A.D.165-256, Limestone, 21 × 22.5 × 13 cm (8 1/4 × 8 7/8 × 5 1/8in.), Yale-French Excavations atDura-Europos, Excavated in Dura-Europos, Syria, Syrian,Dura-Europos, Roman (2nd or 3rd century A.D.), Sculpture

Cylinder seal and modern impression: bull-men flanking deity above sacred tree; winged deity holding horned animal heads. Culture: Assyrian. Dimensions: 1.24 in. (3.15 cm). Date: ca. mid-8th-7th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

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