Bronze Mythical Figures

A collection of bronze sculptures depicting mythological themes including Hercules, Triton, and Eve, showcasing dynamic poses and intricate details.

Apollo standing next to a tree stump, c. 1500 - c. 1599 Italy bronze (metal) Italy bronze (metal)

Bronze statue of Hercules in battle, from Villa Cassarini (Bologna). Etruscan Civilization, ca 400 BC.

Triton. Artist: Giambologna (Netherlandish, Douai 1529-1608 Florence). Culture: Italian, Florence. Dimensions: Height: 36 in., 53.9 lb. (91.4 cm, 24.4 kg). Date: 1560-70.The Triton, seated on a circular base formed of three dolphins with tails interlaced and heads resting on three inverted scallop shells, originally served as a fountain figure. Like most of the sculptor's compositions, this work was meant to be viewed from all sides. With its supple modeling and its vigorous chasing, the present bronze is the earliest example of this composition to survive and should be dated to the artist's early maturity, in the 1560s, shortly after he arrived in Florence from his native Flanders.Giambologna was renowned for his skill in casting bronze, the medium in which almost all his work (ranging in scale from minute to monumental) was executed. The nature of the casting process lent itself to the multiplication of original models under the sculptor's supervision as well as the production of s

Eve. Artist: Auguste Rodin (French, Paris 1840-1917 Meudon). Culture: French. Dimensions: Overall (wt. confirmed): 68 1/2 × 20 1/2 × 23 1/2 in., 635 lb. (174 × 52.1 × 59.7 cm, 288 kg). Date: modeled 1881, cast 1910.Rodin intended Eve and the towering Adam to flank his monumental bronze doorway, The Gates of Hell. There, the biblical progenitors of humanity would have stood as perpetual witnesses to the consequences of their sin--bodily death and the damnation of souls. As an independent sculpture, Eve is a physical manifesto of remorse; her body twisted in suffering, her face imprisoned within a gesture of anguish. The bronze casts of Adam and Eve were commissioned for The Met in 1910 from plaster models in the sculptor's studio. Museum: Metropolitan Museum of Art, New York, USA.

Apollo standing next to a tree stump, c. 1500 - c. 1599 Italy bronze (metal) Italy bronze (metal)

An Oread. Eos, James Pittendrigh Macgillivray (Inverurie, Scotland, 1856 - 1938) 1910

View 2. Circe, 1893. Bronze sculpture. Sir Edgar Bertram Mackennal (d. 1931)

Edward Burch, 1730-1814, British, Ecorché Figure, ca. 1767. Bronze.

Venus and Cupid Figure; bronze; 29.8 cm (11 3/4 in. )

Style of Venetian or Paduan 16th Century, Female Figure with Raised Arms (a Niobid), c 1520 1530 Female Figure with Raised Arms (a Niobid)

Man Struggling with a Serpent early 16th century Italian, Padua. Man Struggling with a Serpent. Italian, Padua. early 16th century. Bronze, on yellow marble base. Sculpture-Bronze

'Apollo'. Italy. Florence, No later than 1532-1533. Dimensions: height: 30,0 cm. Museum: State Hermitage, St. Petersburg.

Woman Bathing modeled probably ca. 1870-80, cast 1907 Aimé-Jules Dalou This piece was apparently cast to the Museum's order by E. Houdebine, editor and founder, in the Spring of 1907.. Woman Bathing 189273 Artist: Aim-Jules Dalou, French, Paris 18381902 Paris, Woman Bathing, modeled probably ca. 187080, cast 1907, Bronze, Overall: 17 10 1/4 8 in. (43.2 26 20.3 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1907 (07.153)

The Sluggard modeled 1886, cast possibly before 1896 Frederic, Lord Leighton British. The Sluggard. Frederic, Lord Leighton (British, Scarborough 1830-1896 London). British, London. modeled 1886, cast possibly before 1896. Bronze, dark olive brown patina. Sculpture-Bronze

Silversmith's Art, Italy 20th century. Eugenio Bellosio (1847-1927), Silver-plated tin, female figure-shaped knife handle.

FIGURA DE CORCHO. Author: ANGEL FERRANT (1890-1961). Location: PRIVATE COLLECTION. MADRID. SPAIN.

Amor, , 1475 - 1499 Florence bronze (metal) Florence bronze (metal)

Lucretia ( ) 1547-1548 Italy. Bronze, yellow patina . Pierino da Vinci

Sculpture1913P26. Flying Mercury, 1800-1900. Bronze sculpture. After Giovanni Bologna.. Shows Hermes balancing on a column of air coming out of the mouth of Zephyr

ESCULTURA. Author: CRISTINO MALLO-CRISTINO GOMEZ GONZALEZ. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Italy, Fermo, Bronze statue depicting fighting Minerva

Saint Sébastien ". Organic, bare wood, waxed, between 1470 and 1500. Museum of Fine Arts in the city of Paris, Petit Palais. 52012-7 Naked wood, Catholic, Christian Christian, martyr, nudite, organic, saint

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia08. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Aimé-Jules Dalou (1838-1902). "Study of flay". Patinated plaster, around 1898. Museum of Fine Arts of the city of Paris, Petit Palais. Study Ecorche, Patina Patre, Statue, Unijambiste, back view

Chess Figure Turek Skirmuntt, Helena (1827 1874)

Apollo. Ferdinando Tacca (Italy, Florence, 1619-1686). Italy, Florence, circa 1660. Sculpture. Bronze

Diana Modeled 1889 United States. While studying in Paris, the young sculptor Frederick MacMonnies modeled a life-size plaster version of Diana for exhibition at the Paris Salon of 1889. The sculpture, a depiction of the Roman goddess of the hunt, won an honorable mention and assured his reputation as an important artist both in France and in the United States. Diana then proved so popular that he produced numerous reduced-sized replicas in bronze for American patrons. True to the Beaux-Arts ideals then current in France, MacMonnies included traditional symbols of the goddess such as the bow in her hand and the crescent moon in her hair, recalling classical precedent. However, his naturalistic rendering of the nude female figure, modeled from life, has a lively grace that marks MacMonniesís independence from strict neoclassical tradition.. Bronze . Frederick William MacMonnies (Sculptor)

Statuette "Daphne". .

Edgar Degas, Spanish Dance, 1880s Spanish Dance

The Old Courtesan (La Belle qui fut heaulmière) modeled ca. 1885, cast 1910 Auguste Rodin French Incorporated into the left pilaster on The Gates of Hell, the withered old woman evoked a moral connection between sin and the ravages of time. The harrowing veracity of the independent sculpture accords with a statement of Rodins: "Character is the intense truth of any natural [sight, beautiful or ugly.". The Old Courtesan (La Belle qui fut heaulmière). Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled ca. 1885, cast 1910. Bronze. Sculpture-Bronze

Rybak. Kuna, Henryk (1879-1945), sculptor

Fortuna, anonymous, c. 1575 - c. 1600 Southern Germany (possibly) bronze (metal) Southern Germany (possibly) bronze (metal)

Hercules mid-16th century possibly Italian, Venice. Hercules. possibly Italian, Venice. mid-16th century. Bronze. Sculpture-Bronze

Seated Satyr with a Shell after 1600 Workshop of Andrea Briosco, called Riccio Italian The object in the satyrs left hand, possibly s moneybag, is of later facture. Otherwise, the bronze is unusually crisply chased and an altogether superior product of the Riccio workshop. Its details, especially the hair, are more incisive than those of the seated satyr with inkwell, shell, and candlestick in the Frick Collection, New York, which bears the arms of the Paduan Capodivacca family, and much more so than related bronzes in Berlin-Dahlem and in the Louvre. A good variant was in the Chichester-Constable collection.[1 Although the alert poses greatly resemble each other, notably in the gracile grossing of the hooves, it is worth stressing that the composition of each member of this group was completely reworked, as was standard practice in the Riccio workshop.[James David Draper, The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, p. 144, no. 57Footnotes

Votive Statuette of Hercle; Etruria; 320 - 280 B.C; Bronze; 24.3 × 7 × 8.7 cm (9 9,16 × 2 3,4 × 3 7,16 in.)

MERCURIO EN BRONCE-PROCD DE CUBILLAS CERRATO. Location: ARCHAEOLOGICAL MUSEUM. PALENCIA.

François Coudray, Saint Sebastian, 1712 Saint Sebastian

Mercury. Alessandro Vittoria (Italian, 1525 - 1608)

Mars Balearicus, 4th-3rd century BC. Son Amer, Son Carrió. small bronze warrior, Museu regional d'Artà, archeology room. Artà. Majorca. Balearic Islands. Spain.

Bronze statue of young boy from Marathon, Greece

Bronze statuette of drunken Herakles 3rd-2nd century B.C. Greek Said to be from SmyrnaThe hero lists back, clearly inebriated, his stomach bloated and the muscles of his legs taut as he tries to maintain balance. On analogy with other statuettes of this type, he may have held his club in his left hand and a kantharos (two-handled drinking cup) in his right.. Bronze statuette of drunken Herakles. Greek. 3rd-2nd century B.C.. Bronze. Hellenistic. Bronzes

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia64. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Venus. Unknown

Bronze figurine of Bacchus and Pan

Statuette of Aphrodite 3rd-2nd century B.C. Greek, South Italian. Statuette of Aphrodite 251364 Greek, South Italian, Statuette of Aphrodite, 3rd2nd century B.C., Terracotta, H. 10 3/16 in. (25.9 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1923 (23.160.20)

Hercules and the Nemean Lion late 17th century Italian or German The composition recurs in a bronze in the Badisches Landesmuseum, Karlsruhe, and in another bronze on the art market in London (sale, Sothebys, New York, May 29, 1981, no. 162). Wilhelm von Bode discussed the present statuette as an early-sixteenth century Venetian work from the circle of Camelio. However, the violent sideward torsion and the decorous penetrations of space along the right flank are fully Baroque. Convincing comparisons with Italian sculpture are wanting. The richly faceted surface suggests an original model in limewood. The anatomy is expressive but scientifically inexact, as can be appreciated especially in Hercules; muscular back, where the forms are knotted together around a high, pinched-in waist. These qualities recall German Baroque carving—large-scale sculptures by Bendl, Brokoff, and Braun families of Bohemia come to mind—but next to nothing is known about German bronze statuettes of the late sev

Roussel, Paul (n.1867-10-28-D.1928-01-01). Small love (main title), 1887. Terracotta. Petit Palais, Museum of Fine Arts of the City of Paris.

Femme Se Lavant La Jambe Gauche 1919-1921 ORIG 1896-1911 Degas, Edgar(1834-1917 French) Bronze Brown Patina Christie's Images, New York, USA

Bronze sculpture of a 'Captive'. Dated 17th Century

Piraeus Apollo. Ancient Greek bronze sculpture in the archaic style. Dated ca. 530-520 BC. Detail. Archaeological Museum of Piraeus. Greece.

Youth 17th century, after model ca. 1600 Probably after Barthélemy Prieur French. Youth 197067

MATERNIDAD ESCULTURA EN BRONCE. Author: JOAQUIN GARCIA DONAIRE (1926-2003). Location: FUNDACION SANTANDER CENTRAL HISPANO. MADRID. SPAIN.

'Statuette of Aphrodite with a Gold Necklace'. Syria, 2nd century. Dimensions: h. 25 cm. Museum: State Hermitage, St. Petersburg.

The Great prophet, bronze sculpture, 1933. Museum: Museo Nacional Centro de Arte Reina Sofía (MNCARS), MADRID, SPAIN. Author: PABLO GARGALLO.

Dancer in the Role of Harlequin modeled probably ca. 1884-85, cast 1920 Edgar Degas French Upon Degas's death in 1917, more than 150 figurative sculptures were found in his studio. Most were made of fragile wax, clay, and plastiline (a wax- and oil-based modeling material). Many had deteriorated. Only a few were preserved in copies that had been cast from them in plaster. Except for the wax Little Fourteen-Year-Old Dancer (Washington: NGA) none of these sculptures had been publicly exhibited during the artists lifetime.Although Degas had not favored reproducing his sculptures in more permanent materials, his heirs authorized that copies be cast in bronze in order to preserve the compositions and to sell them as finished works. Paul-Albert Bartholomé, a sculptor and Degas's longtime friend, prepared 72 of the figures for casting, a process executed by the distinguished Paris foundry A.-A. Hébrard et Cie. The quality of the Degas bronzes was tightly controlled and their edition was limi

Neptune on a Sea Monster. Dated: c. 1500/1509. Dimensions: overall: 45.6 x 26.7 x 20 cm (17 15/16 x 10 1/2 x 7 7/8 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Severo da Ravenna.

Roma - Museo Vaticano. Il Discobolo. (Scultura antica) , Antiquities, Sculpture, Discus throwing, Myron, active 5th century B.C. Discobolus. Nicholas Catsimpoolas Collection

Putto with Flute 16th century Niccolò Roccatagliata Italian. Putto with Flute. Niccolò Roccatagliata (Italian, born Genoa, active 1593-1636). Italian, Venice. 16th century. Bronze, dark green marble plinth. Sculpture-Bronze

Andromeda Chained to a Rock mid-17th century probably Flemish. Andromeda Chained to a Rock. probably Flemish. mid-17th century. Bronze. Sculpture-Bronze

Christ at the Column, 1756. Johann Baptist Hagenauer (Austrian, 1732-1810). Gilt bronze; overall: 19.6 x 10.2 x 11.3 cm (7 11/16 x 4 x 4 7/16 in.).

'Dancer Looking at the Sole of Her Right Foot', c1900. Artist: Edgar Degas.

Crouching Flora. Culture: French, Paris. Dimensions: Overall: 8 1/2 x 3 3/4 x 4 1/4 in. (21.6 x 9.5 x 10.8 cm). Maker: Jean-Baptiste Carpeaux (French, Valenciennes 1827-1875 Courbevoie). Date: ca. 1863.Carpeaux's first important public commission was to embellish the attic exterior of the Louvre's Pavillon de Flore with a high relief of the Triumph of Flora, personifying the benefits of the goddess's realm over spring and plants, and by implication, the benefits of life under the regime of the Second Empire. Numerous clay models of nubile young women led up to the final configuration in limestone. Museum: Metropolitan Museum of Art, New York, USA.

Women's act - knee -free torso; Kuna, Henryk (1879-1945); 1926 (1926-00-00-1926-00-00);

Immortal Liu Hai 17th century China. Immortal Liu Hai. China. 17th century. Bronze. Ming dynasty (1368-1644). Sculpture

The Freedman Modeled 1863 United States. A leader among the nationís second generation of sculptors, John Quincy Adams Ward played a significant role in elevating the medium in the United States, calling for a new realism to address moral concerns. Inspired by Abraham Lincolnís 1862ñ63 Emancipation Proclamation, The Freedman reflects not only Wardís aspiration to create relevant statements on pressing issues of the day but also his abolitionist sentiments. Using antiquity as his inspiration, he depicted a seminude man seated on a tree stump who has just been liberated from the shackles that bound him to slavery. Ward broke artistic convention by showing the former enslaved person as master of his own destiny, not a man reliant on white men for freedom. The vestiges of chains, potent symbols of his bondage, dangle from both wrists, and his muscular body, turned to look over his shoulder, is contained within a formal, triangular composition. The Freedman was modeled from life and is gene

Hercules Pomarius. The sculptor was inspired by a colossal ancient marble known as the Hercules Farnese. Unlike its model, Tetrodes Hercules radiates aggression and vigilance. He stands with his legs spread, concealing golden apples behind his back- a wedding gift to chief god Jupiter and his wife, Juno, which he had stolen by ruse. Hercules holds his right hand, clutching the club, low behind him,ready to swing.

William Rimmer, Dying Centaur, model 1869, cast 1967 Dying Centaur

Mercury. Johann Gregor van der Schardt (Dutch, about 1530 - 1581)

Bronze statuette of a warrior, from Brolio (Tuscany). Etruscan Civilization, ca 550 BC.

Neptune mid-17th century Adam Lenckhart Neptune is shown calming the stormy sea, represented by the wild-eyed dolphin. The sea god's trident has been lost. Neptune's swirling hair and beard parallel the spiral of his stance; these features may owe a debt to Italian prototypes but may also have been determined by the form of the tusk. The anatomical precision of the musculature, body hair, and folds of flesh are marks of the northern carving tradition in which Lenckhart was first trained.. Neptune 195122

Bronze mirror support in the form of a man early 5th century B.C. Greek, South Italian The male figure carries the forepart of a horse on each shoulder and the upper part of a human female on his head.. Bronze mirror support in the form of a man. Greek, South Italian. early 5th century B.C.. Bronze. Archaic. Bronzes

Greek civilization, Diadumenos by Polyclitus, Roman marble copy, From Delos, Greece

Orpheus 1600-1601 Cristoforo Stati (Cristofano da Bracciano) Italian Orpheus, famous for taming beasts with his music, is here shown entertaining himself, his body swaying to the sound of the lira da braccio. The statue was carved for the Palazzo Corsi, Florence.. Orpheus. Cristoforo Stati (Cristofano da Bracciano) (Italian, 1556-1619). Italian, Florence. 1600-1601. Marble. Sculpture

Jean-Baptiste Carpeaux (1827-1875). "Mocking love". Patinated plaster, 1873. Museum of Fine Arts of the City of Paris, Petit Palais. Love, seated, child, mocker, pattero patina, laughing, 19th XIXth XIX 19th 19th 19th century

Michel Anguier (1612-1686). "Silène carrying Bacchus Child (leaning on a tree trunk)", bronze. Paris, Carnavalet museum. Sadi Carnot. Man, costume, coat, fur. Tree, baby, baby, bronze, Roman divinity, Greek Mythology, Mythological Figure, Greek mythology, Naked, Nudite, Nudity, Mythological Personality, Divinity Roman, Scenic, Trunk, Tree, Trunk, Nude, Nude

Indian Youth Training a Bear c 1887-1897 United States. Bronze . Paul Wayland Bartlett

Mars Balearicus, siglo IV-III antes de Jesucristo. Son Favar III.Museu regional d'Artà, sala de arqueología.Artà.Mallorca.Islas Baleares. España.

Nessus and Deianeira, Caspar Gras, Giambologna (after), c. 1640 - c. 1650 On a pedestal. Innsbruck bronze (metal) On a pedestal. Innsbruck bronze (metal)

Rider, c. 400-375 BC. Greece, perhaps from workshop of Tarentum, early 4th Century. Bronze; overall: 13.3 x 7.6 cm (5 1/4 x 3 in.).

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia15. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

The fortune.

Probably Milanese 16th Century, Bacchus and a Faun, 1580 1600 Bacchus and a Faun

Tony-Noël, Paul (Edme-Anthony-Paul Noël, dit) (n.1845-01-27-D.1909-10-03), Horace Vernet (main title), 1865. Patiné plaster. Petit Palais, Museum of Fine Arts of the City of Paris.

Paduan 16th Century, A Warrior, c 1500 1525 A Warrior

The Thinker (Le Penseur), bronze sculpture by Auguste Rodin. The work shows a nude male figure of over life-size sitting on a rock with his chin resting on one hand as though deep in thought and is often used as an image to represent philosophy. 1904

Standing Kinnari Holding an Oil Receptacle ca. first quarter of the 10th century Indonesia (Java). Standing Kinnari Holding an Oil Receptacle 39077

Bronze statuette of Taranis, Gaulish god associated to Roman Jupiter, from Le Chatelet at Saint-Didier, France

Antoine-Louis Bare (1795-1875). "Naked man standing". Wax on partially visible metal reinforcement and plaster, on wooden base. Nineteenth century. Museum of Fine Arts of the City of Paris, Petit Palais. Statuette, 19th XIXth 19th 19th 19th 19th century, animal

Bronze statuette of Herakles 3rd-1st century B.C. Italic Nude with lion's skin over left arm.. Bronze statuette of Herakles 246425

Juggling Man; Adriaen de Vries, Dutch, about 1545 - 1626; Netherlands, Europe; about 1615; Bronze; Object: H: 76.8 x W: 51.8 x D: 21.9 cm (2 ft. 6 1/4 in. x 1 ft. 8 3/8 in. x 8 5/8 in.)

Bronze youth late 5th century B.C. Greek This exceptionally fine bronze statuette is said to have been found on Cyprus; it is nonetheless a purely Greek work. In style, it reflects the innovations of Polykleitos, a contemporary of Pheidias and Myron, whose major achievements were in bronze. Particularly noteworthy here is the masterful articulation of the body.. Bronze youth. Greek. late 5th century B.C.. Bronze. Classical. Bronzes

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia68. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Figure in the Shape of a Japanese Man with a Fish, royal porcelain manufactory, 1911 Image of porcelain in the form of a Japanese man with a fish on his neck. Painted in underlaze green, beige, brown and on the glaze gold. Marked on the underside with the scepter, the figures 140/645, the Rijksappel with K.P.M in red and blue, annual letter i.o (1911), model number 9615 B. Art Nouveau. Berlin porcelain. glaze. painting / vitrification Image of porcelain in the form of a Japanese man with a fish on his neck. Painted in underlaze green, beige, brown and on the glaze gold. Marked on the underside with the scepter, the figures 140/645, the Rijksappel with K.P.M in red and blue, annual letter i.o (1911), model number 9615 B. Art Nouveau. Berlin porcelain. glaze. painting / vitrification

'Girl at the Fountain', 19th century, (1912).Artist: Alexandre Schoenewerk

'Woman Bather'. France, 1770. Dimensions: 38x41 cm. Museum: State Hermitage, St. Petersburg. Author: NICOLAS-FRANCOIS GILLET.

Riace Bronze. Bronze statue of man found in the sea off Calabria. 4th cent. BC. Also known as Agamemnon.

Five-light candelabrum (one of a pair) ca. 1785 Derived from a model by Clodion (Claude Michel) French Functional and highly decorative bronzes dameublement, the so-called furnishing bronzes - wall lights, candelabra and other types of lighting, firedogs, hearth fittings and clocks - were an important aspect of eighteenth century décor. Well-known artists and sculptors were frequently involved in their design, closely following the latest styles. Here, in a design derived from a model by the sculptor Clodion (Claude Michel, Nancy 1738-1814) a male (58.75.123) and a female faun (58.75.124), half-human and half-goat like mythological creatures, each hold a five-light candelabrum. The spiral fluted support of the candle branches takes the form of a cornucopia laden with fruits and flowers. The contrast of the patinated bronze figures with the gilt bronze candelabra is particularly striking: the juxtaposition of gilded and patinated bronzes became fashionable in the neo-classic period. Th

DEDALO E ICARO - 1777-1797 - MARMOL - 200 X 95 X 97 cm. Author: ANTONIO CANOVA. Location: MUSEO CORRER. Venedig. ITALIA.

'Seated Young Man'. France, 18th century. Dimensions: height: 19 cm; 11,5x23 cm (pedestal). Museum: State Hermitage, St. Petersburg.

Hercules and a Centaur early 17th century Manner of Giambologna Netherlandish. Hercules and a Centaur 197352

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