Classical Female Sculptures

Bronze and marble sculptures of female figures from different eras, exhibiting a blend of classical and modern interpretations of femininity and beauty.

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

Przeszo Przyszoci unknown

Venus. Dated: c. 1580/1590. Dimensions: overall: 166 x 44 x 33.7 cm (65 3/8 x 17 5/16 x 13 1/4 in.) gross weight: 279.869 kg (617 lb.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Milanese 16th Century (model attributed to Francesco Brambilla the Younger).

Seated Faun Janet Scudder (American, 1873-1940). Seated Faun, 1924. Bronze, 38 x 14 3/8 x 18 1/4 in. (96.5 x 36.5 x 46.4 cm). In Seated Faun, Janet Scudder took as inspiration the part-human, part-goat figure found in classical mythology. One of only a handful of internationally known female sculptors in America at the time, Scudder studied in Paris and became the first woman employed at the Paris studio of the sculptor Frederick MacMonnies. She later made a name for herself crafting ornamental sculptures for the formal gardens of estates designed by the architect Stanford White. Admired by White, whose firm designed the Brooklyn Museum, Scudder was even selected as the only female to produce a sculpture, Japanese Art, for the Museums facade. American Art 1924

Attributed to Joseph Broche (1740-after 1801) or Jean-Baptiste Ignace Broche (1741-1794). "Naked swimmer sitting on a rock". Marble sculpture, 1700-1799. Paris, Cognacq-Jay museum. 77946-12 Assisi, Baigneuse, cross, woman, leg, marble, female naked, nudite, base, statue, head, turn, 18th 18th 18th 18th 18th 18th century, sheet

Female Figure (possibly Venus, formerly titled Bathsheba). Giambologna (Giovanni da Bologna or Jean de Boulogne) (Flemish, 1529 - 1608)

Venus. Joseph Nollekens (English, 1737 - 1823)

'Jupiter'. Italy. Venice, Second half of the 16th century (after the model of 1560s). Dimensions: height: 32,0 cm. Museum: State Hermitage, St. Petersburg.

Bacchus. Dated: 16th/19th century. Dimensions: overall with base: 18.1 x 6.3 x 5.5 cm (7 1/8 x 2 1/2 x 2 3/16 in.) base (height): 8 cm (3 1/8 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: after Michelangelo.

'Allegory of Architecture'. Italy. Florence, First half of the 17th century. Dimensions: height: 34,3 cm. Museum: State Hermitage, St. Petersburg.

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

Hercules en Antaeus.

Hercules, c. 1520, Francesco da Sant' Agata, 9 1/2 in. (24.13 cm) (without base), Bronze, Italy, 16th century

Crouching Venus second half 18th century Italian, Rome. Crouching Venus. Italian, Rome. second half 18th century. Bronze on modern, cylindrical, marbleized wood base. Sculpture-Bronze

'Nymph of a Spring'. France, 18th century. Dimensions: height 82 cm. Museum: State Hermitage, St. Petersburg.

'Boy Playing Lute'. Italy. Dimensions: height: 27,5 cm. Museum: State Hermitage, St. Petersburg.

Hercules Slaying the Centaur Eurytion, Giambologna (after), c. 1600 - c. 1650 The gesture Hercules stands on a rocky soil astride over the EURYAT, which he grabs with the left hand at the head of him, while the court holds the club. The EURYTION, which moves sideways by the front legs, tries to free his head from Hercules with one hand and has placed the other dismissive against his chest. His gestured face has left, the mouth opened. Florence (possibly) bronze (metal) The gesture Hercules stands on a rocky soil astride over the EURYAT, which he grabs with the left hand at the head of him, while the court holds the club. The EURYTION, which moves sideways by the front legs, tries to free his head from Hercules with one hand and has placed the other dismissive against his chest. His gestured face has left, the mouth opened. Florence (possibly) bronze (metal)

Bronze statuette of Hermes 1st century B.C.-1st century A.D. Greek or Roman Hermesmessenger of the gods, the cattle rustler, the inventor of the lyre, the guider of souls across the River Styx, the manly god of boundariesstands gracefully here rather than moving purposefully. He likely originally held his kerykeion (herald's staff) in his left hand. A pair of wings are strapped to his feet, and the small rectangular cuttings at the top of his head once held wings that sprang from his laurel-crown. The eyes, once inlaid with silver, glass paste, or stone, would have added vitality to the figure. The lack of interest in the specific delineation of the anatomy and the listless elegance of the pose attest to the decorative quality of this highly refined bronze. It is a sophisticated work, executed in a mannered, classicizing style that sets the god apart from the mundane world of the statuette's human owner and invites contemplation of the divine.. Bronze statuette of Hermes. Greek or Ro

The Fountain, Francis Derwent Wood (Keswick, England, 1871 - 1926) c. 1900

Alexandre Falguière (1831-1900). Young centaur. Terracotta. 1851-1900. Museum of Fine Arts of the City of Paris, Petit Palais. CENTAUR

Antoine Louis Barye, Minerva, model c 1840, cast by 1873 Minerva

Sculpture. Adamson Amandus, sculptor, Petersburg (huta szkła ; 1735-1774), factory

Pluto Abducting Proserpine. After model by François Girardon (French, 1628 - 1715)

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Hercules and Antaeus early 16th century Italian, probably Florence This is a free copy of an ancient marble group that was much admired during the Renaissance. The marble, now in the Palazzo Pitti, Florence, was brought in fragmentary form to the Vatican Belvedere by Julius II and apparently reached the Medici collections as a gift of Pius IV in 1560.1 Before then, the head and right arm of Antaeus and the lower legs of both figures were still missing. Until the restorations were carried out, artists accordingly had license to complete the group following their own fancy. Our sculptor chose to show Antaeus’s head thrown back, as did Antico in his two statuettes of the composition (in Vienna and in the Victoria and Albert Museum).2 A further innovation in this bronze is the curious placement of the hands of Antaeus.The heavy, solid cast of reddish metal is worked all over by hammer strokes. Sharp creases delineate the folds of skin, but not all the metal has been chased cleanly away

Bronze statuette of Mercury 1st century A.D. Roman He stands with his weight resting on the right leg, with the left foot drawn back.. Bronze statuette of Mercury. Roman. 1st century A.D.. Bronze. Early Imperial. Bronzes

José Álvarez Cubero / 'The Defence of Zaragoza'. 1818 - 1825. Carrara marble. Museum: Museo del Prado, Madrid, España.

Man Tying Loincloth. Tokyo Art School (Japan, created 1887). Japan, circa 1880. Costumes; Accessories. Ivory with light staining

Standing Bather Without Drapery Baigneuse Debout Sans Draperie Maillol, Aristide 1861-1944 French

Samson Fighting Two Philistines.The anonymous sculptor of this little figure group drew his inspiration from a design by Michelangelo for an unrealized marble destined for the Piazza della Signoria in Florence. Small-scale figures after his design circulated in many materials, including the ivory version by Paul Heermann displayed alongside this piece. This small version, suitable for a Kunstkammer, is based on Heermanns group. Samson is missing his raised right arm.

Bacchus ", XVIIth century, (made in France). According to a model by Michel Anguier (1612-1686). Ronde-bosse, bronze gilded. Museum of Fine Arts of the city of Paris, Petit Palais. 28845-2 Bronze gilded, God, Roman divin, nudite, realizes France, round-bosse, mythology, naked

Severo da Ravenna, Neptune on a Sea Monster, c 1500 1509 Neptune on a Sea Monster

Boy Triton 1710 Jonas Gutsche. Boy Triton 207708

Cupid, Pier Jacopo Alari Bonacolsi, c. 1520 On a profiled, disk -shaped plinth, Amor stands on the left leg forward and with the heel of the right foot something of the plinth. He holds out the left arm stretched in front of him and the curved right up. The curly hair, on the forehead through a band tied to a dash, falls down to the neck. He has small wings. A band runs from the right shoulder, which is held together on the left. Mantua bronze (metal) On a profiled, disk -shaped plinth, Amor stands on the left leg forward and with the heel of the right foot something of the plinth. He holds out the left arm stretched in front of him and the curved right up. The curly hair, on the forehead through a band tied to a dash, falls down to the neck. He has small wings. A band runs from the right shoulder, which is held together on the left. Mantua bronze (metal)

Abundantia, Pieter Adriaensz 't Hooft, c. 1637 The statue is on the top of Sokkel BK-18042-A-2. The Hague sandstone The statue is on the top of Sokkel BK-18042-A-2. The Hague sandstone

Jean-Pierre Dantan (1800-1869) said Dantan the young. Caricature of the director of the Opera Orchestra, François-Antoine Habeneck (1781-1849). Patinated plaster, terracotta. 1832. Paris, Carnavalet museum. Opera director, orchestra, pattero patina, terracotta, violin, caricature

Samson and the Lion 17th century probably Italian This is a relatively crisply chased example of a composition in which the lions gaping mouth serves as an inkwell. The model is frequently encountered in disappointing casts. Attributions in the past have run a wide gamut, from Pollaiuolo to Tiziano Aspetti. Anthony Radcliffe has ascribed the Samson statuettes to Bernardino Danese, the seventeenth-century Roman founder, noting a resemblance between the lion in a good example of the type in the Plymouth City Museum and Art Gallery and the two lions that adorn the pedestal of the bust of Paolo Giordano II Orsini in the same museum.[1 The Samson and the Orsini bust in Plymouth share the same early provenance.[2 When actually placed side by side, however, the lions in Plymouth are not so compellingly similar in modeling or in chasing. Those under the bust are conventional Baroque heraldic beasts tooled with relatively rigid parallel strokes. Bernardino Daneses main documented efforts—va

. He stands on a versatile ground for a tree trunk with branches. With the left hand it is tied to the trunk and with the right arm on a branch. His head is a bit to the left. He carries a loincloth, a sloping of which depends on it.

Italy, Tuscany, Monte Falterona, Bronze statue depicting figure making offering

Child (one of six) Manufactory Doccia Porcelain Manufactory Italian 1750-55

'Venus and Cupid'. Italy, Early 18th century ( ). Dimensions: height: 51,0 cm. Museum: State Hermitage, St. Petersburg.

Statuette of Venus (Venus de Clerq); Unknown; Rome, Italy, Lazio, Europe; 175 - 200; Marble with polychromy; Object: H: 97.2 x W: 33 x D: 20.3 cm (38 1/4 x 13 x 8 in.)

Bronze statuette of Venus ca. 1st-2nd century A.D. Roman The statuette is a small-scale Roman copy of the famous Greek statue of Aphrodite Anadyomene.. Bronze statuette of Venus 246413

L'Amour piqué par une abeille, c. 1775, Louis-Simon Boizot; Manufacturer: Sèvres Porcelain Factory, French, 1743-1809, 12 1/4 in. (31.12 cm), Sévres bisque ware, France, 18th century

Tony-Noël, Paul (Edme-Anthony-Paul Noël, dit) (n.1845-01-27-D.1909-10-03), group of children and two women wearing a basin (main title), 1865 . Patinated plaster and reworked with wax. Petit Palais, Museum of Fine Arts of the City of Paris.

Standing woman figure.

Louis-Ernest Barrias (1841-1905). Madeleine's dream. Terracotta. Museum of Fine Arts of the City of Paris, Petit Palais. REVE

Temptation; Godebski, Cyprian (1835-1909); before 1881 (1856-00-00-1881-00-00);

Ok, baked; Care, brothers (Warsaw; Wytwórnia Z Otnicz; 1884-1944), Gabowicz, Józef Moj ieszh (1862-1939); 1905-08 (1905-00-00-1908-00-00);figurines, men, purchase (provenance)

Tarquin and Lucretia added . .

Le Trait dUnion June 1872 Jean-Baptiste Carpeaux French The term trait dunion is French for hyphen, the sign linking the parts of a compound word. Here it poetically signifies the familial ties that were renewed when Carpeaux and his wife reconciled after their little son Charles recovered from terrifying convulsions. Amélie is on Carpeauxs lap. Charles binds their heads in an embrace. The reconciliation was brief and Carpeaux himself was soon jealous all over again and already desperately sick.. Le Trait dUnion. French, Paris. June 1872. Terracotta. Sculpture

Jean-Baptiste Carpeaux (1827-1875). French sculptor. Flora, 1873. Marble. Calouste Gulbenkian Museum. Lisbon. Portugal.

Eternal Spring, Auguste Rodin, 1907, Metropolitan Museum of Art, Manhattan, New York City, USA, North America

Edgar Degas, Dancer Moving Forward, Arms Raised, French, 1834 - 1917, c. 1885-1890, greenish-black wax, metal armature

Aimé-Jules Dalou (1838-1902). "Woman with a raised arm". Terracotta. Museum of Fine Arts of the City of Paris, Petit Palais. Arms raised, woman, lift, nudite, terracotta, naked

The Sirens, 1889. Auguste Rodin (French, 1840-1917). Bronze; overall: 43.2 x 41.6 x 30.5 cm (17 x 16 3/8 x 12 in.).

The Fallen Caryatid Carrying Her Stone. Auguste Rodin; French, 1840-1917. Date: 1886-1896. Dimensions: H. 44.5 cm (17 1/2 in.). Bronze. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

God Krishna Dancing on the Head of the Snake Demon Kaliya (Kaliyadamana) 1301-1400 Tamil Nadu. Bronze .

Figure of a Woman "The Sphinx". Dated: model early 1880s, carved 1909. Dimensions: overall: 59 x 62.1 x 58.3 cm (23 1/4 x 24 7/16 x 22 15/16 in.). Medium: marble. Museum: National Gallery of Art, Washington DC. Author: AUGUSTE RODIN.

Statuette of Hercules. Roman. Date: 50 AD-90 AD. Dimensions: 22 × 11.4 × 8.6 cm (8 11/16 × 4 1/2 × 3 3/8 in.). Bronze. Origin: Roman Empire. Museum: The Chicago Art Institute, Chicago, USA. Author: ANCIENT ROMAN.

La Baigneuse. Culture: French, Sèvres. Dimensions: Height: 22 in. (55.9 cm). Factory: Sèvres Manufactory (French, 1740-present). Modeler: After a model by Étienne-Maurice Falconet (French, Paris 1716-1791 Paris). Date: 1758-66.Étienne-Maurice Falconet executed the model in 1758 after his marble sculpture, exhibited at the Salon of 1757. Museum: Metropolitan Museum of Art, New York, USA.

'Apollo Killing Python'. Italy, 17th century. Dimensions: height: 37,0 cm. Museum: State Hermitage, St. Petersburg.

Neptune and Caenis late 16th-early 17th century Based on an engraving by Johann Sadeler I Ovid (Metamorphoses, XII, 195-209) relates Neptune's rape of the maiden Caenis while she walked along the Thessalian shore. The god, sated, promised to grant her any favor in return. Anxious to avoid further attacks of the sort, Caenis asked to become a man. Duly transformed, Caenis took on the masuline name Caeneus. Representations of the subject are rare, but, much like the story of Hercules and Omphale, Ovid's tale of androgyny was certain to be relished by the Late Mannerists: It challenged them to capture the moment of transformation, for, even as she named her wish, says Ovid, Caenis's voice took on deeper male tones. In the bronze there is, accordingly, a certain masculinization of the female form.The composition is derived from an engraving, dated 1580, by Johann Sadeler the Elder, based in turn on a drawing by Bartholomaeus Spranger in the Museum Plantin-Moretus, Antwerp. The crisscrossin

L'Homme qui Marche, Auguste Rodin (Paris, France, 1840 - 1917) 1877

Old Sabine Crouching possibly 17th-18th century After a model by Giambologna Netherlandish. Old Sabine Crouching 191255

Candlestick in the form of a Putto (see also 1975.1.1374, .1375, .1376) ca. 1600 or later Italian, Venice. Candlestick in the form of a Putto (see also 1975.1.1374, .1375, .1376) 461315

Léopold Morice (1846-1920). "Equality, detail of the monument to the Republic (back from back)". Plaster. Museum of Fine Arts of the City of Paris, Petit Palais. 26363-6 Allegory, back, detail, equalitis, woman, monument, plaster, republic

Statue of Aphrodite type Capua, by Unknown artist, 2nd Century, white marble, full relief. Italy: Campania: Naples: National Archaeological Museum: inv. 6017. Whole artwork. Statue woman naked breast goddess Love Aphrodite Venus

Aesop late 17th century After a model attributed to Pierre I Legros. Aesop 231007

Pair of Marble Statuettes: Fickle Love and Faithful Love, 1800s. After Augustin Pajou (French, 1730-1809). Marble; without base: 25.9 x 10.5 x 10.9 cm (10 3/16 x 4 1/8 x 4 5/16 in.).

Joseph-Charles Marin (1759-1834). "Sitting fauna with two small fauna". Taked earth sculpture. Paris, Cognacq-Jay museum. 77946-6 Statue, 19th XIXth XIX 19th 19th 19th century, 18th 18th 18th 18th 18th 18th 18th century

HàM, NGHI (n.1871-08-03-D.1944-01-14), without title attributed), 1920. Plaster. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

Dionysos und Pan Dionysos und Pan Copyright: xZoonar.com/Tolox 22682318

Statue of a Young Boy 1 CE-100 CE Italy. Representations of children were popular in both public and private art during the Roman imperial period. It is uncertain whether this statue is a portrait of a specific child or was inspired by a basic type that had originated among the Greeks several centuries earlier. The boy, who has a head of curly hair, rounded cheeks, and a pudgy belly, gazes downward and to the side. It is possible that he is admiring a pet at his feet, as Roman statues of children frequently depict them with companion animals such as geese, doves, and puppies.. Marble . Ancient Roman

Merman (one of six) 1750-55 Doccia Porcelain Manufactory Italian. Merman (one of six) 210004

La Masseuse modeled perhaps ca. 1895, 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. Only twenty-two edi

DIscobolus (Discus Thrower). Roman copy (2nd c AD) of an ancient Greek. Sculptor Myron, 5th c. BC. National Roman Museum. Palace Massimo. Rome. Italy. Author: Miron.

The Walking Man (L'Homme qui marche). Dated: model 1878-1900, cast probably 1903. Dimensions: overall: 85.1 x 59.8 x 26.5 cm (33 1/2 x 23 9/16 x 10 7/16 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: AUGUSTE RODIN.

SAN JUAN NINO DESNUDO. Location: CATEDRAL-MUSEO DIOCESANO. GRANADA. SPANIEN. SAN JUAN BAUTISTA.

Anonymous. "Hercules and the centaur". Bronze. Museum of Fine Arts of the City of Paris, Petit Palais. 144866-10

The three children depict, given the frequent cornlems, the summer. The girl right holds a shoved in her right hand as if it were a good bouquet and has some loose ears in her left. The boy in the middle is on a bundle and holds the handle of a degraded sickle in his left hand. The girl on the left occups itself especially with the boy, but has shifted a few ears of corn. In addition to the mutual interaction, Xavery also uses scarce drapers to connect the naked characters.

19th century wooden figure of Lono, the Hawaiian god of agriculture and rain. He appears in hooilo (the wet season) as rain clouds and winter storms. Some poe kahiko (Hawaiians of old) describe Lono as the akua poo huna i ke ao lewa, or the god whose head is hidden in the dark clouds.

Hercules and Omphale. Artist: Probably based on a composition by François Lemoyne (French, Paris 1688-1737 Paris). Culture: French, Vincennes. Dimensions: Overall: (confirmed): 8 7/8 × 9 13/16 × 9 3/8 in. (22.5 × 24.9 × 23.8 cm). Factory: Vincennes Manufactory (French, ca. 1740-1756). Date: ca. 1749.This figure group must have been one of the earliest produced at Vincennes, and the technical difficulties encountered are obvious. The thickness of the porcelain has caused the seated figures to sag and cracks to appear in the base. The composition of the group derives from a print made after François Lemoyne's painting of Hercules and Omphale of 1724. Museum: Metropolitan Museum of Art, New York, USA.

Statuette of Venus (Venus de Clercq). Unknown

Sketch of floating putti. .

Around 1500, bronze casting was still in its infancy north of the Alps. While Italian bronze-casters crafted their modelli in wax and clay, Netherlandish and German sculptors still worked from carved wooden models. Their figures - like this pair (which comes from Stift Heilingenkreuz, a Cistercian abbey near Vienna) - thus look rather stiff.

Satyr with vase (one of a pair) ca. 1540-50 Andrea Briosco, called Riccio Italian. Satyr with vase (one of a pair). Andrea Briosco, called Riccio (Italian, Trent 1470-1532 Padua). Italian, Padua. ca. 1540-50. Bronze. Sculpture-Bronze

Pluto Abducting Proserpine. François Girardon (French, 1628 - 1715)

Model for a Statue of Louis XV 1746-1748 France. Terracotta . Jean-Baptiste Lemoyne, II

Neptune. Artist: Adam Lenckhart (German, Würzburg 1610-1661 Vienna). Culture: Austrian. Dimensions: Height: 10 3/16 in. (25.9 cm). Date: mid-17th century.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. Museum: Metropolitan Museum of Art, New York, USA.

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

The Abduction of Helen by Paris. Giovanni Francesco Susini (Italian, 1585 - 1653)

Edgar Degas, Dancer Moving Forward, Arms Raised, c 1885 1890 Dancer Moving Forward, Arms Raised

Adagio, 1923. George Kolbe (German, 1877-1947). Gilt bronze; overall: 82.2 x 21.6 cm (32 3/8 x 8 1/2 in.); base: 16.6 x 14 cm (6 9/16 x 5 1/2 in.).

Anatomical Man (Ecorché), c. 1600, Italian (Florence), Italian (Florence), 1547 - 1615, 13 3/4 x 8 1/8 x 5 7/8 in. (34.93 x 20.64 x 14.92 cm), Bronze, Italy, 16th century, Through its active stance, this ecorché (literally, a 'flayed' figure) becomes a living cadaver. The pose, drawn from classical statuary, provides an excellent opportunity to display the muscles in action, notably seen here in the differing tensions and movements of the shoulder, neck, and thigh muscles. The ecorché demonstrates the practice of anatomical representation that arose during the Renaissance from an interest in the human body and its functions. Illustrated anatomy books, and particularly Vesalius' Fabrica, published in 1543, established the activated flayed corpse as the dominant type of anatomical representation. It remained so until the Borghese Gladiator was discovered around 1610. This provided a new model for the study of muscular anatomy as an intact, healthy body.

by Vries, Adriaen de (c. 1556-1626) Statens Museum for Kunst, Copenhagen 1615 Bronze 65x41 The Netherlands Mannerism Bible Sculpture

Diana. Frederick W. MacMonnies; American, 1863-1937; Cast by Roman Bronze Works; American, early 20th century. Date: 1889. Dimensions: 76.2 × 50.8 × 48.3 cm (30 × 20 × 19 in.). Bronze. Origin: United States. Museum: The Chicago Art Institute, USA. Author: Frederick William MacMonnies.

Standing figure ofAthena

Figure of a River God (Fleuve). Vincennes Porcelain Manufactory; French, founded 1740 (known as Sevres from 1756); Model by: Louis Antoine Fournier (possibly); French, active c. 1746-52. Date: 1747-1750. Dimensions: H. 31 cm (12 3/16 in.). Soft-paste porcelain. Origin: Vincennes. Museum: The Chicago Art Institute, Chicago, USA. Author: Manufacture de porcelaine de Vincennes.

'Venus Disarming Cupid'. France, 18th century. Dimensions: height: 45 cm. Museum: State Hermitage, St. Petersburg. Author: French sculptor, third quarter of the 18th century.

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