Classical Bronze Sculptures

A collection of bronze statues depicting nude male figures, children, and emotional poses, showcasing intricate craftsmanship and historical significance.

Ratapoil, Le (Hired Bully In The French Revolution) Daumier, Honore(1808-1879 French) Bronze Christie's Images, London, England

Massimilian Soldani Benzi (1658-1740). Faune is cheered. Bronze à Cire Leman, Patine Florentine patine. Paris, carnavalet Musée. 77904-7 Bronze, kid, lost wax, standing, fauna, peacock flute, naked man, male naked, nudite, florantine patina, wear, statue, animal

Italian 16th Century, A Child with a Puppy, first half 16th century A Child with a Puppy

Statuette of Harpocrates, c. 50 BC. Greece, Greco-Roman Period, late Ptolemaic Dynasty. Bronze, hollow cast, with silver inlays; overall: 27 x 10.2 x 8.6 cm (10 5/8 x 4 x 3 3/8 in.).

Jean-Baptiste Carpeaux (1827-1875). Child crying. Tinted plaster, 1873. Museum of Fine Arts of the City of Paris, Petit Palais. 79393-25 Sketch, model, plaster, statuette, 19th 19th 19th 19th 19th 19th century

Nude Study of Balzac. Auguste Rodin (France, Paris, 1840-1917). France, Paris, first modeled c. 1892, this cast 1967. Sculpture. Bronze

Jules Dalou, Wisdom Supporting Liberty, c. 1889, bronze.

Abduction of a Sabine Woman last quarter 17th century After a model by Giambologna Netherlandish. Abduction of a Sabine Woman. After a model by Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, Florence. last quarter 17th century. Bronze on marble base. Sculpture-Bronze

'Death of Dido'. France, 1711. Dimensions: height: 51 cm; 29x32 cm. Museum: State Hermitage, St. Petersburg. Author: Claude-Augustin Cayot.

Ratapoil, Le (Hired Bully In The French Revolution) Daumier, Honore(1808-1879 French) Bronze Christie's Images, London, England

The Thinker, c. 1880. Auguste Rodin (French, 1840-1917). Bronze; overall: 70.8 x 34.9 x 59.7 cm (27 7/8 x 13 3/4 x 23 1/2 in.).

Aimé-Jules Dalou (1838-1902). "Bardeur with the pliers spilling the neck". Terracotta, between 1889 and 1898. Museum of Fine Arts of the city of Paris, Petit Palais. Bard, Bard, Eponge, Nape, Worker, Terracotta

'Bacchus and a Little Faun'. Italy. Dimensions: height: 41,0 cm. Museum: State Hermitage, St. Petersburg.

Sculptures of Nymphaeum Villa Visconti Borromeo Litta Lainate, by model Brambilla Francesco, 1587 - 1589, 16th Century, stucco. Italy: Lombardy: Milan: Lainate: Villa Visconti Borromeo Litta. Nymphaeum nymph calcarious concretions

Alexandre Falguière (1831-1900). Coronation of a fountain of perfume. Patinated plaster. 1851-1900. Museum of Fine Arts of the City of Paris, Petit Palais. CORONATION

Imitator of Honoré Daumier, The Visitor (Le visiteur), model probably after 1860, cast around February 1956 The Visitor (Le visiteur)

The Crouching Woman. Auguste Rodin (France, Paris, 1840-1917). France, Paris, circa 1880-1882. Sculpture. Painted plaster

Mother and Child; Mere et Enfant. Jacques Lipchitz (1891-1973). Bronze with green and black patina. Executed in 1930. 143.5cm high.

David, Jacopo del Duca (Possibly), c. 1540 David stands on the left leg and bent the right and slightly raised. The right lower arm is bent forward, the left hand he holds loosely against the thigh. The head is used to the left, the eyes staring in the distance. Florence bronze (metal) David stands on the left leg and bent the right and slightly raised. The right lower arm is bent forward, the left hand he holds loosely against the thigh. The head is used to the left, the eyes staring in the distance. Florence bronze (metal)

Eve Expelled from Paradise, c. 1640. Leonhard Kern (German, 1588-1662). Wood; overall: 18.6 x 5.2 x 7 cm (7 5/16 x 2 1/16 x 2 3/4 in.).

Eve. Dated: 1890. Dimensions: overall: 60.6 x 27.9 x 27.3 cm (23 7/8 x 11 x 10 3/4 in.). Medium: glazed ceramic. Museum: National Gallery of Art, Washington DC. Author: PAUL GAUGUIN.

Alexandre Falguière (1831-1900). Switzerland hosts the French army. Terracotta. 1874. Museum of Fine Arts of the City of Paris, Petit Palais. Allegories

Andiron with Figure of Mars. Dated: 1565/1607. Dimensions: overall: 107.6 x 55.8 x 41.2 cm (42 3/8 x 21 15/16 x 16 1/4 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Circle of Tiziano Aspetti.

Cleopatra, Benvenuto Cellini (School of), 1500 - 1599 Fragment of an ink jar. bronze (metal) Fragment of an ink jar. bronze (metal)

Statuette of the God Khonsu the Child. Egypt, Late Period, 712-332 BCE. Sculpture. Bronze

Edgar Degas, Woman Arranging Her Hair, possibly late 1880s 1890s Woman Arranging Her Hair

Venus taking off her sandal. unknown, author

Youth "(boy with letter scale). Acquired by the artist 1909 in Florence

Adze in the Form of a FemaleFigure

Seated Satyr with a Shell. Artist: Workshop of Andrea Briosco, called Riccio (Italian, Trent 1470-1532 Padua). Culture: Italian, Padua. Dimensions: Overall (confirmed): 8 1/4 × 4 5/8 × 6 1/2 in. (21 × 11.7 × 16.5 cm). Date: ca. 1520-30.The object in the satyr's 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

Aimé-Jules Dalou (1838-1902). "Supplication". Terracotta, around 1884. Museum of Fine Arts of the city of Paris, Petit Palais. Sitting, standing, embed, naked woman, naked man, nudite, supplication, begging, terracotta, front view, couple

Wrestling Himself. Japan, 19th century. Costumes; Accessories. Ivory with staining, sumi

Young Sophocles Leading the Chorus of Victory after the Battle of Salamis. John Donoghue; American, 1853-1903; Gorham Manufacturing Co.; Providence, Rhode Island, founded 1831. Date: 1911. Dimensions: 236.9 × 127 × 81.3 cm (93 1/4 × 50 × 32 in.). Bronze with green patina. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Venus Chastening Cupid. Artist: Giovanni Francesco Susini (died 1646). Culture: Italian, Florence. Dimensions: Overall (confirmed): 22 1/2 × 12 5/8 × 8 5/8 in. (57.2 × 32.1 × 21.9 cm). Date: ca. 1638. Museum: Metropolitan Museum of Art, New York, USA.

Janus Figure, 19th century, 14 5/8 x 5 1/8 x 5 5/8 in. (37.15 x 13.02 x 14.29 cm) (including attached base), Wood, brass tacks, Democratic Republic of the Congo, 19th century

Allegory of Autumn, from a Series of the Four Seasons, Larson workshop, c. 1730 - c. 1750 Putti is part of a series of the 'four seasons'. Northern Netherlands lead (metal) Putti is part of a series of the 'four seasons'. Northern Netherlands lead (metal)

Minerva (one of a pair) second half 16th century Style of Danese Cattaneo Italian. Minerva (one of a pair). Style of Danese Cattaneo (Italian, ca. 1512-1572). Italian, Venice. second half 16th century. Bronze. Sculpture-Bronze

Vulcan late 16th century Italian, Venice In Renaissance art, the Roman god of fire is usually shown in the character of a crippled blacksmith. As patron of those who worked with molten metal, Vulcan must have had a special meaning for the bronze artist. It would formerly have been the fashion to insist upon a name for this artist-and there are in fact certain resemblances to statuettes from the workshop of Girolamo Campagna-but in practice, the more one sees the fewer certainties there are about the lesser works generated by the increasingly numerous modelers and founders who were active in Venice in the late Renaissance. The figure once belonged to J. P. Morgan, whose collection of bronzes was so large that it forms the nucleus of more than one museum's holdings.. Vulcan. Italian, Venice. late 16th century. Bronze. Sculpture-Bronze

'Angel Holding Sheet Music'. Italy. Dimensions: height: 27,0 cm. Museum: State Hermitage, St. Petersburg.

Jupiter late 16th century After a model by Benvenuto Cellini Italian Cast after a model for a silver figure of the god that Cellini produced between 1540 and 1544 for Francis I at Fontainbleau.. Jupiter. Probably cast by Pietro da Barga (Italian, Florence, active 1574-88). Italian, probably Florence. late 16th century. Bronze. Sculpture-Bronze

Large Crouching Bather Grande Baigneuse Accroupie 1906-1907 Bourdelle, Emile Antoine(1861-1929 French) Christie's Images, London, England

Imitator of Honoré Daumier, The Jolly Good Fellow (Le bon vivant), model probably after 1860, cast around November 1956 The Jolly Good Fellow (Le bon vivant)

Seated Boy Clothed with Goat Skins Holding an Open Barrel, c. 1525. Italy, Padua, 16th century. Bronze; overall: 11.2 x 6 x 6.5 cm (4 7/16 x 2 3/8 x 2 9/16 in.).

Portrait of Balzac Modeled 1893 France. In 1891 Auguste Rodin was commissioned by a literary society to produce a posthumous monument to the French writer HonorÈ de Balzac. Over the course of seven years, the sculptor created numerous studies for the composition, including this deliberately ungainly nude portrait. A departure from the idealized classical bodies typical of public statuary, this study stresses Balzacís vitality and candor through its bold modeling, imposing torso, and confident stance. For the finished statue, in which the writer appears enveloped in a robe, Rodin continued to test the boundaries of sculpture, presenting his subject as an almost abstract, monolithic form. That version provoked harsh criticism from the public and was rejected by the literary society when first exhibited in 1898.. Bronze . Auguste Rodin

Nude female 17th century After a model by Giambologna Netherlandish Possibly a cast of the late seventeenth century.. Nude female. After a model by Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, Florence. 17th century. Bronze. Sculpture-Bronze

Torso of a Crouching Woman. Camille Claudel (French, 1864 - 1943) model about 1884-1885, cast by 1913 This bronze Torso of a Crouching Woman represents a fragmentary naked female body crouching on the floor, with no head or arms and the left knee cut off. The movement of the piece focuses on the perfectly mastered balance of the body. The weight rests firmly on the feet, which are in turn fully anchored to the ground. Harmoniously modeled, the back presents a splendid study of anatomy, with a masterful rendition of bones and muscles underneath the skin. From the contorted pose of the body and its fragmentary nature emanate expressions of pain, solitude, or fear. This sculpture is characteristic of Claudels very personal and powerful rendering of the human body. While the back and the chest display a natural sensuality, the position of the body folded on itself and the deliberate fragmentary composition express introspective meditation, suffering, and the solitude of the individual face

Farnese Hercules. Dated: c. 1550/1599. Dimensions: overall: 56.8 x 27.3 x 25.4 cm (22 3/8 x 10 3/4 x 10 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Florentine 16th Century.

Paris ca. 1518-1524 Antico (Pier Jacopo Alari Bonacolsi) Italian The artist's adopted nickname, Antico, refers to his lifelong work revitalizing and perpetuating the sculpture of antiquity. He is known above all for bronze statuettes of exquisite detail and refinement that reproduce compositions of famous classical statuary. Though a prototype has not been identified, this robust nude-among his largest statuettes-probably represents the Trojan prince Paris deciding which of three goddesses was the most beautiful. He chooses Venus, giving her his golden apple. The smooth flesh, elegantly chased features, and gilt and silvered highlights are good indications of why Antico's best bronzes remain among the most sought-after of all early Renaissance statuettes.. Paris 201862

Triton with shell serving as saltcellar third quarter 17th century Follower of Gian Lorenzo Bernini Italian. Triton with shell serving as saltcellar. Follower of Gian Lorenzo Bernini (Italian, Naples 1598-1680 Rome). Italian, Rome. third quarter 17th century. Copper, parcel gilt and silver-gilt. Sculpture-Bronze

Aimé-Jules Dalou (1838-1902). "Surprise swimmer". Patinated plaster, around 1870. Museum of Fine Arts of the city of Paris, Petit Palais. Bathering, back, woman, nudite, patina patina, modesty, naked

Aquamanile in the Form of Samson andthe Lion. Culture: Northern European (), possibly German. Dimensions: H. 34.1 cm, w. 14 cm, l. 38 cm, wt. 5332 g.. Date: ca. 1380-1400.The bearded Samson is perched on the lion's back with his knee bent as he grasps the lion's jaws in his hands. He wears a tight, fitted jacket and hose with pointed shoes, the same fashionable costume of the fourteenth century seen on Aristotle in another aquamanile in the Museum's collection. The large lion does not convey the struggle with Samson by the position of its torso or legs, but the beast rotates its head nearly 180 degrees to confront his opponent. Like Samson's hair and beard, the lion's tufted mane is vigorously engraved. Somewhat later than the examples we have seen from the north German groups, this aquamanile is more difficult to localize with any precision. Museum: Metropolitan Museum of Art, New York, USA.

Despairing Adolescent modeled 1882, cast 1980 Auguste Rodin French Rodin produced more than a dozen figures embodying human expressions of despair. The original context of this tortured youth was as one of the damned on the lower section of The Gates of Hell. Body erect, torso arched, face and arms reaching toward the heavens, the adolescent hopelessly yearns for redemption.. Despairing Adolescent. Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled 1882, cast 1980. Bronze. Sculpture-Bronze

Florence - National Museum: Volcano di G. Bologna. .

Bacchant, Adriaen de Vries, 1626 Prague bronze (metal) casting Prague bronze (metal) casting

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First Arabesque Penchée modeled probably before 1890, 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 limited. Onl

Perseus Arming, 1882. Sir Alfred J Gilbert (d.1934)

Umberto Boccioni (1882-1916). Italian painter and sculptor in the genus futuristic. Unique Forms of Continuity in Space, 1913. Bronze sculpture. Tate Modern. London. England. UK.

Aimé-Jules Dalou (1838-1902). "Ariane and Bacchus". Patinated plaster, 1892. Museum of Fine Arts of the City of Paris, Petit Palais. Roman divin, back, embed, sink, nudite, Greek mythological character, patina patina, naked

Statuette of a warrior Greek. Statuette of a warrior 254657 Greek, Statuette of a warrior, Bronze, H.: 7 5/8 x 1 1/2 x 1 1/2 in. (19.4 x 3.8 x 3.8 cm). The Metropolitan Museum of Art, New York. Anonymous Gift, 1950 (50.52.1)

L'Amazone blessée Made 1839 . Bronze . Jean-François-Théodore Gechter

'Girl Covering her Face with her Hand'. France, 1905. Dimensions: h. 22 cm. Museum: State Hermitage, St. Petersburg.

Aimé-Jules Dalou (1838-1902). "Woman sitting in an armchair, removing her stockings". Terracotta, S.D. Museum of Fine Arts of the City of Paris, Petit Palais. Sitting, stockings, deshabiller, armchair, woman, dress, nudite, remove, naked

Personified Thunderbolt (Vajra Purusha). Nepal, circa 1000. Sculpture. Copper alloy with traces of paint

Standing Hercules late 18th century Italian, possibly Rome. Standing Hercules. Italian, possibly Rome. late 18th century. Bronze, with silvered wreath. Sculpture-Bronze

Return from the Hunt 1851-1908 United States. Bronze . John J. Boyle

Romanesque art in the National Art Museum of Catalonia,Barcrelona,Christ (1180 AC), cast bronze, chiseled and gilded.

FUGIT AMOR - 1886 - BRONCE - Alt. 38,8; Anch. 46 cm. Author: AUGUSTE RODIN. Location: MUSEE D'ORSAY. France.

OVIRI - 1894-1895 - GRES - Alt. 75; Anch. 19; P. 27 cm. Author: PAUL GAUGUIN. Location: MUSEE D'ORSAY. France.

Neptune early 17th century German, probably Nuremberg Part of a table fountain.. Neptune 194909

Bacchus late 17th century French. Bacchus 198571

The Myrtle's Altar, 1899. Andrea Carlo Lucchesi (d. 1924)

Spinario or Boy with Thorn bronze dating to the first century BCE in the Capitoline Museums, Rome, Italy, Europe

Jean-Pierre Dantan (1800-1869), said Dantan the young. Caricature of the doctor, probe specialist, Pierre -Jules Descot (doctor of medicine on August 28, 1822 - died around 1840). Statuette. Patinated plaster, terracotta, 1833. Paris, Carnavalet museum. MEDICINE, DOVESCINE, PATRE PATINE, Round-bump, probe, specialist, statuette, terracottus, caricature

Standing Woman. Artist: Gaston Lachaise (American (born France) 1882-1935). Dimensions: 13 3/4 x 3 1/4 x 5 in. (34.9 x 8.3 x 12.7 cm). Date: ca. 1915-17; cast by 1923. Museum: Metropolitan Museum of Art, New York, USA.

Horus falcon in double crown 664-30 B.C. Late Period-Ptolemaic Period The falcon god Horus stands with his wings swept back. He wears the double crown of Egypt, a royal crown that symbolizes the union of Lower and Upper Egypt, and highlights Horus role as the legitimate ruler of the entire land. The falcon wears the double crown because Horus and the concept of kingship were closely tied, as early as the Predynastic Period. The falcon stands on a rectangular platform, which could have functioned in a number of ways. The figure could have been attached to a separate cupreous metal or wooden base, or it could have topped a standard modeled after those used in festival processions and on sacred barks. The falcon also could have sat on top of a hollow box intended for holding an animal mummy, like 41.160.107. Such falcon mummy boxes, or sarcophagi, would have been offered for deposition in animal necropoleis, not just in relation to the cult of Horus, but also more broadly in association

Bronze finial of two warriors from a candelabrum. Culture: Etruscan. Dimensions: H. (with base) 5 1/4 in. (13.3 cm). Date: ca. 480-470 B.C..This finial, which originally decorated the top of a tall candelabrum, is an excellent example of Early Classical sculpture. A bearded warrior wearing a full panoply of armor assists his younger, beardless comrade, who has sustained a wound to his left leg or foot and is supported by the spear he once held in his right hand and by his friend's shoulder. Museum: Metropolitan Museum of Art, New York, USA.

François Girardon, Pluto and Persephone (Allegory of Fire), French, 1628-1715, original marble 1677-1699, bronze cast c. 1693-1716, bronze

Florentine 15th Century, Winged Boy with Hands Raised, mid 15th century Winged Boy with Hands Raised

Neoptolemus and Polyxena. Giuseppe Piamontini; Italian, 1664-1742. Date: 1720-1730. Dimensions: 13 1/4 in. (33.7 cm). Bronze. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

MIRON (5th BC). Discobolus. ca. 460 BC. Bronze Roman copy by Myron. Classical Greek art. Sculpture on marble. VATICAN CITY. Vatican Museums.

Saint Sebastian. Culture: Austrian, Salzburg. Dimensions: Overall: 17 1/2 in. (44.5 cm) (without wooden socle). Maker: Master of the Furies (Austrian). Date: 17th century.As protector of potential plague victims and soldiers, Saint Sebastian (died ca. 288) was popular with the faithful. The emphasis is on the saint's God-given beauty and the exotic material to realize it. The Pretorian is shown shot through with the arrows of his martyrdom. Tears trickle from his eyes as he appears to breathe a last sigh of exhaustion, provoking compassion. A putto is about to crown the martyr with a winner's laurel wreath, thus vanquishing his physical suffering. The distinctive style of the so-called Master of the Furies is supremely present and similarly found in the master's name-piece, a Fury statuette in the Kunsthistorisches Museum in Vienna. Museum: Metropolitan Museum of Art, New York, USA.

Jean Pierre Dantan dit Dantan young (1800-1869). "Portrait-charge of Paul Baroilhet (1810-1871), lyrical singer, role of Alphonse XI in the" favorite ". Bronze. 1842-1842. Paris, Carnavalet Museum. 99384-16 Portrait

Aimé-Jules Dalou (1838-1902). "Lion of the Alexandre III bridge". Wax, around 1898. Museum of Fine Arts of the city of Paris, Petit Palais. Cherubin, wax, child, lion, model, Alexandre III bridge

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.

Italian 16th Century, Standing Child with Raised Left Arm, early 16th century Standing Child with Raised Left Arm

Dying Centaur Modeled 1864-1874 New York City. Bronze . William Rimmer (Sculptor)

Hercules and Antaeus Cast 1600-1625 Italy. Bronze . Unknown Italian

Frog Fountain. Artist: Janet Scudder (American, Terre Haute, Indiana 1869-1940 Rockport, Massachusetts). Dimensions: 37 1/2 x 26 x 19 in. (95.3 x 66 x 48.3 cm). Date: 1901; cast 1906.Scudder is best known for her ornamental garden sculptures, sought by wealthy Americans for the landscaped grounds of their lavish houses. She modeled" Frog Fountain" in Paris and brought it to New York in hopes of attracting commissions. Her plan met with success when the architect Stanford White (1853-1906) purchased a cast for his Saint James, Long Island, estate. He recommended her to his clients, initiating a productive working relationship that lasted until White's death. "Frog Fountain" reflects the influence of Renaissance sculptures Scudder had studied in Italy as well as the works of her mentor, Frederick William MacMonnies--such as his ebullient "Boy and Duck" (22.61). Museum: Metropolitan Museum of Art, New York, USA.

The Sirens. Dated: model before 1887, cast probably 1900/1920. Dimensions: overall: 43.2 x 45.8 x 31.8 cm (17 x 18 1/16 x 12 1/2 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: AUGUSTE RODIN.

The Sun Vow Cast 1901 United States. Hermon Atkins MacNeil first became interested in Native American culture after viewing the ethnographic displays at the 1893 Worldís Columbian Exposition in Chicago. Modeled several years later while MacNeil lived in Rome, The Sun Vow portrays a young Native American undergoing a rite of manhood while under the tutelage of an older warrior after shooting an arrow skyward at the sun, the boy and his mentor follow its ascent in the sky. The sculpture displays the artistís desire to blend anthropological accuracy with the idealized beauty of the ancient sculptures that he studied in Rome.. Bronze . Hermon Atkins MacNeil (Sculptor)

Hercules and Iole, 1710-1725. Giovanni Battista Foggini. The subject tells a story of the ancient Greek hero Hercules (or Heracles). Hercules was sold to Omphale, Queen of Lydia. He became her lover and whilst in her service started to display feminine traits, wearing women's dress and spinning. The sculpture depicts Omphale with her arm around Hercules, she wears his lion skin. The arms of Hercules, and one of Omphale's arms are now missing so we can no longer be sure what they held in their hands. In the traditional depiction she is shown holding his club, whilst he holds a spindle. This subject appealed to Renaissance and Baroque artists as it could be used to explore the theme of woman's domination over man.

Joseph Llimona y Bruguera / 'Grief'. 1907. Marble. Museum: Museo del Prado, Madrid, España.

Statuette of an athlete 4th century B.C. Greek . Statuette of an athlete. Greek . 4th century B.C.. Bronze. Late Classical. Bronzes

Jesień - akt stojącej kobiety. Wittig, Edward (1879-1941), sculptor

'Figurine of Young Warrior'. Tajikistan, Pendjikent, late 7th - early of 8th century. Dimensions: 93x26 cm. Museum: State Hermitage, St. Petersburg.

Imogen. Erastus Dow Palmer; American, 1817-1904; Cast by Ferdinand Barbedienne; French, 1810-1892. Date: 1874. Dimensions: 43.2 × 13 × 11.4 cm (17 × 5 1/8 × 4 1/2 in.). Bronze. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia37. 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.

ATTIS DE BRONCE DE SANCTI PETRI - ROMANO-S II AC. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Grande Arabesque, Third Time (First Arabesque Penchée). Dated: c. 1885/1890. Dimensions: overall without base: 42 x 31.8 x 55.5 cm (16 9/16 x 12 1/2 x 21 7/8 in.) height (of figure): 40.6 cm (16 in.). Medium: greenish-brown and black plastiline. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

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