Classical Sculptures

Artistic representations of famous figures and allegorical scenes, featuring exquisite detailing in sculptural forms made from various materials throughout the 18th and 19th centuries.

Andromeda and the Sea Monster; Massimiliano Soldani-Benzi (Italian, 1656 - 1740); Italy; designed before 1717; cast about 1725; Bronze on grey-green marble bases with bronze mounts; 49.6 x 33.3 x 20.7 cm (19 1,2 x 13 1,8 x 8 1,8 in.)

'The Rape of Proserpina'. Italy, Middle of the 18th century. Dimensions: height: 75,0 cm. Museum: State Hermitage, St. Petersburg.

Roussel, Paul (n.1867-10-28-D.1928-01-01), L'Eternal Song (or Paolo and Francesca) (main title), 1887. Terracotta. Petit Palais, Museum of Fine Arts of the City of Paris.

'Sculptural group 'Francis I Hunting''. Gechter, Jean-Francois-Theodore. France, 1842. Dimensions: h. 62,5 cm. Museum: State Hermitage, St. Petersburg.

Portrait-charge de Sarah Bernhardt Anonymous. Portrait-Charge of Sarah Bernhardt. Statuette. Tinted plaster.

'"Model of the Monument to Generalissimo Alexander Suvorov in St Petersburg"'. Russia, 1801. Dimensions: 69x22x22 cm. Museum: State Hermitage, St. Petersburg.

Minerva. Augustin Pajou (French, 1730 - 1809)

Andromeda and the Sea Monster; Massimiliano Soldani-Benzi (Italian, 1656 - 1740); Italy; designed before 1717; cast about 1725; Bronze on grey-green marble bases with bronze mounts; 49.6 x 33.3 x 20.7 cm (19 1,2 x 13 1,8 x 8 1,8 in.)

Attack ofMara

Seated Satyr with an Inkwell and a Candlestick ca. 1530-40 Northern Italian Bronzes in the Louvre and in the Wallace Collection, London, are virtually identical to this one, except that the horns are differently fashioned in each, and the Linsky bronze bears a special featurea small rodentbrusquely chased into the tree trunk alongside a bit of sprouting foliage. The candlestick, in the form of a cornucopia, has been broken and mended.It is difficult to say where bronzes of this model were produced. Knowledge of the satyrs by Andrea Riccio is evident, but there is no equivalent in Riccio’s oeuvre for the laxity of tooling, as in the ropy channels chased into this satyr’s flanks. The workshop of Severo da Ravenna, the attribution proposed by Bertrand Jestaz[1 for bronzes of this group, does not offer strong enough analogies. Our artist was best at fashioning grotesque heads, as demonstrated by those of the satyrs themselves and by the masks on their inkwells. The opulent ornamental vo

Neptune with Dolphin. After Gian Lorenzo Bernini (Italian, 1598 - 1680)

Aeolus and the Winds 1600-1700 Flemish. Bronze, dark brown patina . Jean Jacques Caffieri

Archangel Michael.According to the Book of Revelation, the Archangel Michael conquered the devil in the form of a dragon. For such a violent theme, the gracefulness of this figure of the archangel is rather remarkable. He almost seems as if he is a ballet dancer. Such elegance is characteristic of late 17th-century Flemish Baroque art. The year 1692 is inscribed on a palm frond just belowthe archangels navel.

. Allegorical figure, presenting spring with a woman leaning against a tree stump and a child to her feet holding a basket with flowers. The eyes of the woman and the child are painted blue. Marked with two crossed swords and three dumplings in underglazing blue and enrolling x.

Arion Seated on a Shell. Dated: first quarter 16th century. Dimensions: overall: 8.6 x 5.3 x 4.2 cm (3 3/8 x 2 1/16 x 1 5/8 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Attributed to Severo da Ravenna.

Figure of Cupids Representing Air, from a Group Called 'The Elements', Derby Porcelain Factory, English, established 1756, biscuit, Two cherubs under a tree on a mound of ricks with clinging vegetation. Standing cherub at left sharpening an Arrowpoint on a grindstone. Seated cherub holds a torch in an upraised hand., England, 1790-1796, ceramics, Decorative Arts, figure, figure

Cupid and Psyche, c. 1870. Albert-Ernest Carrier-Belleuse (French, 1824-1887). Bronze with marble base; overall: 45.7 x 53.3 x 26 cm (18 x 21 x 10 1/4 in.).

Amor, the foolish failure of the faith. On an elongated soil goes to the left Amor, which stops a large dog with both hands on the belt. He has his wrench on the back, his cloak hangs over the dog to the floor.

Circle of Girolamo Campagna, Andiron with Figure of Venus, probably 1549 1625 Andiron with Figure of Venus

Mithras Tauroktonos. Roman sculpture group. White marble (93 x 96 x 35 cm). The god of the Sun. Second half of 2nd century AC. It comes from the Roman village of Fuente Las Piedras, known as Villa del Mitreo, in Cabra, province of Cordoba. It represents the Persian god, with the Phrygian hat, sacrificing the bull. The dog, Mithra's faithful friend, is drinking from the purifying blood that flows from the bull. The snakes produces animals and plants and men appear from the scorpion. Archaelogy an

Tarquin and Lucretia late 17th century After a composition by Hubert Gerhard German The design is a compositional outgrowth of Hubert Gerhards Mars, Venus, and Cupid. His large bronze group with that subject, cast in 1584-85 as the centerpiece for a fountain at the Fugger castle, Kirchheim, is now in the Bayerisches Nationalmuseum, Munich, and a fine reduction, with modifications, is in the Kunsthistorisches Museum, Vienna. The Tarquin and Lucretia is a further variant in which the movements of both figures are directed more violently to the right. Several examples exist—in museums in Amsterdam, Baden-Baden, Baltimore, and Cleveland, among others. The strongest may be the one in the Metropolitan Museum (50.201; from the Thyssen collection, Schloss Rohoncz).[1 It preserves something of Gerhard and his school. The present bronze is sleeker, and of a yellowish metal covered with the ruddy lacquer patina that is typical of bronzes of the Louis XV period.The masks on the self-base are equ

Judith and Holofernes. After Agostino Cornacchini (Italy, Pescia, 1686-1754)Doccia Manufactory (Italy, Florence, founded 1737). Italy, original model 1722-1723, this example circa 1746-1750. Sculpture. Doccia porcelain with original wood base

Archangel Michael as Dragon Slayer, Pieter Scheemaeckers (I) (attributed to), 1692 Antwerp boxwood (hardwood) cutting Antwerp boxwood (hardwood) cutting

Orpheus. Culture: Italian, Venice. Dimensions: Overall (confirmed): 35 1/2 in. × 17 in. × 11 1/8 in. (90.2 × 43.2 × 28.3 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

RAPTO DE GANIMEDES - S XVI - RENACIMIENTO ITALIANO. Author: BENVENUTO CELLINI. Location: MUSEO DEL BARGELLO. Florenz. ITALIA.

Giovanni Battista Foggini, Bacchus and Ariadne, 1711 1724 Bacchus and Ariadne

The Flute Lesson ca. 1752 Vincennes Manufactory French Works of art by the French artist François Boucher (1703-1770), who held the prestigious title of first painter to the king, served as a highly popular source of inspiration for artists working in a variety of media in the middle decades of the eighteenth century. Prints made after paintings by Boucher were widely circulated and provided artists with compositions that could be faithfully reproduced in smaller scale or adapted to three-dimensional porcelain sculpture. Works by Boucher served as the source not only for the painted scenes on vases and snuffboxes, but also for the porcelain figures which were listed as "Enfants Boucher" (Boucher Children) in the factorys sales ledgers.. The Flute Lesson. After a painting by François Boucher (French, Paris 1703-1770 Paris). French, Vincennes. ca. 1752. Soft-paste porcelain. Ceramics-Porcelain

Falguière, Alexandre Jean Joseph (1831-09-07-1900-06-20), La Résistance or La Défense de Paris, 1871. Wax and wood. Carnavalet museum, history of Paris. Allegory. Resistance. Woman, naked, draped, cannon. Headquarters of Paris.

Nessus and Dejanira early 17th century After a model by Giambologna Netherlandish. Nessus and Dejanira. After a model by Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, Florence. early 17th century. Bronze. Sculpture-Bronze

Toy Bank. Dated: 1935/1942. Dimensions: overall: 26.1 x 31.6 cm (10 1/4 x 12 7/16 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Hans Mangelsdorf.

Reclining Female mid-16th century Italian, probably Rome The figure probably comes from a shrine somewhat imitating a Michelangelesque monument in miniature.. Reclining Female. Italian, probably Rome. mid-16th century. Bronze, black lacquer patina. Sculpture-Bronze

Sculpture known as The Bordeaux Lovers, terracotta

Horse Attacked by Lioness. Jean-François Theodore Gechter (France, 1796-1844). France, 1843. Sculpture. Bronze

Horse tamer (Cheveaux de Marly), c. 1850 - c. 1900 Group of bronze with dark green patina, representing an antique warrior trying to tame a prancing horse. Signed in the base: Coustou; Stamped Société des Bronzes de Paris. Paris bronze (metal) casting Group of bronze with dark green patina, representing an antique warrior trying to tame a prancing horse. Signed in the base: Coustou; Stamped Société des Bronzes de Paris. Paris bronze (metal) casting

Carving 18th century China. Carving 44179

Vanity and Modesty, 1900s. Mario Korbel (American, 1882-1954). Bronze; overall: 25.8 x 11.5 cm (10 3/16 x 4 1/2 in.).

Fighting Lions 1870-71; cast possibly 1906, definitely by late January 1907 William Rimmer American, born England Rimmer was always fascinated by lions; he drew, painted, and sculpted them. While Rimmer may have known the lions depicted in paintings by Théodore Gericault and Eugène Delacroix, he was almost surely influenced by the work of Antoine-Louis Barye. Rimmers colleague William Morris Hunt had introduced the sculpture of Barye to Boston collectors in the 1860s, so Rimmer likely knew the French animal sculptors realistic statuettes of battling beasts, at the very least through engravings. "Fighting Lions" portrays a male and female lion locked in combat, an angry, turbulent mass of interlocked forms. Rimmers intimate knowledge of animal anatomy is evident, especially in his rendering of the straining muscles beneath the rippling, activated surface.. Fighting Lions 11917

Brühl, Augustusburg Castle/ Terracotta model with putti

Bronze relief of a Roman soldier and a barbarian ca. A.D. 200 Roman Group, in high relief, representing a warrior standing over a prostrate opponent.. Bronze relief of a Roman soldier and a barbarian 248494

Aimé-Jules Dalou (1838-1902). "Lion of the Alexandre III bridge". Organic, wax, around 1898. Museum of Fine Arts of the city of Paris, Petit Palais. Lion, PONT ALEXANDRE III

Theseus and theMinotaur. Artist: Antoine-Louis Barye, French, 1796-1875

Vessel with three putti. Artist: Francesco Bertos (Italian, 1678-1741). Culture: Italian, Venice. Dimensions: Overall (confirmed): 15 × 9 1/4 × 6 5/8 in. (38.1 × 23.5 × 16.8 cm). Date: ca. 1720-40. Museum: Metropolitan Museum of Art, New York, USA.

Flower grant of cut paper., Hendrik van Irkoven, Before 1881 Flower grant of cut paper, by Hendrik van Irkoven. The Netherlands. Netherlands paper. glass. wood (plant material) Flower grant of cut paper, by Hendrik van Irkoven. The Netherlands. Netherlands paper. glass. wood (plant material)

Table Base with Jonah Swallowed and Cast Up by the Big Fish early 300s Roman This table base displays the story of Jonah (Jonah 1:12-2:10), who is shown being swallowed by a ketos, a legendary sea monster of the classical world, and then being rescued. According to Matthew (12:40), the story of Jonah was a foretelling of the Resurrection of Christ. The ship is a rare detailed depiction of a Roman merchant ship. Tarsos, where the base was found, was the birthplace of Saint Paul and an important Christian city.. Table Base with Jonah Swallowed and Cast Up by the Big Fish. Roman. early 300s. Marble, white. Made in Asia Minor. Sculpture-Stone

A sculpture during the exhibition 'artificial treasures from Vienna' in 1947. The exhibition 'artificial treasures from Vienna' ran from 10 July to 12 October 1947 and consisted of objects from Austrian museums, churches and monasteries. Here 'the battle of the lost son', Antwerp 1540.

Mountain with figures of women. Culture: China. Dimensions: H. 4 3/8 in. (11.1 cm); W. 3 1/2 in. (8.9 cm); D. 2 in. (5.1 cm). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA.

Giovanni Camillo Cateni / 'Moses and the burning Bush'. 1725. Bronze. Museum: Museo del Prado, Madrid, España.

Jungfer Lorenzen of Tangermünde. Christian Daniel Rauch; German, 1777-1857. Date: 1835-1840. Dimensions: 45 cm (with base) × 32.5 cm (17 3/4 in. (with base) × 12 3/4 in.). Bronze, inlaid with silver and rubies. Origin: . Museum: The Chicago Art Institute, Chicago, USA.

Sculpture titled 'Battle of Anghiari' by Giovan Francesco Rustici (after Leonardo da Vinci). Giovanni Francesco Rustici (1475-1554) an Italian Renaissance painter and sculptor.

Table automaton in the form of Diana on a stag. This is an expensive toy for the entertainment of dinner guests. It can roll over the table, since the base of the sculpture’ has wheels and a movement to propel it forward. The head of the stag can be removed and its body filled with wine. The guest in front of whom Diana stops may take the first drink.

Mingqi Horse and Cavalier. Terracotta with glaze. China, Northern Wei Dynasty. Paris, Cernuschi museum. Chinese art, rider, China, horse, northern wei dynasty, glacure, mingqi, funeral statuette, terracotta

Venus. Artist: After a model by Girolamo Campagna (Italian, Verona 1549-1625 Venice). Culture: Italian, Venice. Dimensions: Height: 44 1/2 in. (113 cm). Date: late 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Celadon Figure of War Elephant dating from the14th century, Sukhothai, Thailand, Southeast Asia, Asia

Jean-Baptiste Carpeaux (1827-1875). The four parts of the world supporting the celestial sphere. Partially patinated plaster, 1867. Museum of Fine Arts of the city of Paris, Petit Palais. 79393-20 Allegory, woman, allegorical figure, model, world, allegorical character, support, terracotta, 19th 19th 19th 19th 19th 19th century

Foot of a Cista (Storage Box). Etruscan; probably Vulci. Date: 500 BC-450 BC. Dimensions: 15.6 × 10.4 × 5.4 cm (6 1/8 × 4 1/8 × 2 1/8 in.). Bronze. Origin: Vulci. Museum: The Chicago Art Institute, USA. Author: Ancient Etruscan.

Agony in the Garden, from a Passion Retable, anonymous, c. 1515 - c. 1520 Northern Netherlands oak (wood) Northern Netherlands oak (wood)

Bliżej Kultury Reinemer & Spiegel Vienna VII

Gold plaque in the form of a dancing woman, Ancient jewelry

The Maid of Amsterdam and other fragments, Artus Quellinus (I), c. 1650 - c. 1653 A hippocampus driven by a najade. Amsterdam terracotta (clay material) City Hall of Amsterdam (1655-1808) A hippocampus driven by a najade. Amsterdam terracotta (clay material) City Hall of Amsterdam (1655-1808)

Laocoön. The Trojan priest Laocoön and his sons are struggling in vain against the power of two sea serpents. This group, a copy of a famous Ancient original, was cast in Rome for the wealthy Dutch merchant Nicolaas Calff. He placed the statue in the garden of his country house, Polanen, near Halfweg in North Holland.

The Onslaught, study of a footballscrum. Artist: R. Tait McKenzie, American, 1867-1938

Mountain. Culture: China. Dimensions: H. 5 1/4 in. (13.3 cm); W. 4 1/4 in. (10.8 cm). Museum: Metropolitan Museum of Art, New York, USA.

Model of a Tree-Climbing Ritual 100 CE-800 CE Nayarit state. Ceramic and pigment . Nayarit

The Sun Vow. Hermon Atkins MacNeil; American, 1866-1947. Date: 1901. Dimensions: h. 176.5 cm (69 1/2 in.). Bronze. Origin: United States. Museum: The Chicago Art Institute, USA.

The Disturbed Slumber ca. 1760 Real Fabrica de Buen Retiro. The Disturbed Slumber 207331

Tony-Noël, Paul (Edme-Anthony-Paul Noël, dit) (n.1845-01-27-D.1909-10-03), Alphonse de Neuville (main title), 1870. Patinated plaster. Petit Palais, Museum of Fine Arts of the City of Paris.

Goldsmith's art, Italy, 18th century. Reliquary of Saint Mary of Egypt in gilded bronze, ebony and pietre dure, 1704. Height cm. 68.

Queen Victoria on Horseback, Thomas Thornycroft, 1815-1885, British, 1853, Bronze, Overall: 21 1/4 x 26 1/2 x 7 1/2 inches (54 x 67.3 x 19.1 cm), bonnet, horse (animal), portrait, woman

Aimé-Jules Dalou (1838-1902). "Piéstal de la Fontaine de Toul". Patinated plaster, between 1892 and 1893. Museum of Fine Arts of the City of Paris, Petit Palais. Fountain of Toul, man, piedestal, patina patina

Antoine Louis Barye, Two Arab Horsemen Killing a Lion, model 1838, cast by 1873 Two Arab Horsemen Killing a Lion

Jordan, Amman, The Citadel, National Archealogical Museum, Roman statue

Support with Addorsed Figures, 1400s. Tibet, Densatil Monastery, 15th century. Gilt bronze; overall: 33.5 x 9.5 x 8 cm (13 3/16 x 3 3/4 x 3 1/8 in.).

Nessus Abducting Dejanira ca. 1815-25 Giuseppe Girometti Italian The centaur Nessus, midstream, is carrying the protesting Deianira, wife of Hercules, at the very moment that Hercules, standing on the riverbank facing them, fires the arrow that will kill him. Girometti repeated a relief by the Danish Neoclassical sculptor Thorvaldsen; the Museum acquired a fine marble example of the Thorvaldsen as well as this gem in 2004. Girometti signed the cameo in Greek.. Nessus Abducting Dejanira 231029

Cavalier at the sword (username), 1930. Sandstone partially covered with covered. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

Medallion (obverse). Jules Dupré (French, 1811-1889). Bronze; overall: 6.4 x 4.8 cm (2 1/2 x 1 7/8 in.).

Head of a Sleeping Disciple (St Peter), from Christ in Gethsemane, from the Soest Altarpiece, c. 1475 - c. 1499 wood (plant material) wood (plant material)

Terracotta group of women seated around a well head 2nd half of 4th century B.C. Greek, Tarentine Incense burners (Greek thymiateria) were important cult implements throughout the ancient Mediterranean world. This South Italian terracotta example of the second half of the 4th century B.C. is exceptionally complex and rare: five women crowned with flowers are shown around a wellhead. The iconography reflects a local cult, probably that of Demeter and Kore who were widely worshipped in Southern Italy and Sicily at the time.. Terracotta group of women seated around a well head. Greek, Tarentine. 2nd half of 4th century B.C.. Terracotta. Classical. Terracottas

Chariot group. Culture: Cypriot. Dimensions: H. 3 1/8 in. (8 cm). Date: ca. 600-480 B.C..The handmade group is missing two of the original four horses. The chariot box held only a single charioteer. Museum: Metropolitan Museum of Art, New York, USA.

Jean-Pierre Dantan (1800-1869) said Dantan the young. Bust of Berlioz, load (seen from the back). Paris, Carnavalet museum. 23645-7 Bust, load, French composer, back view

The Three Magi, Fragment of an Adoration of the Christ Child.Three kings of which only the upper stop stayed, slope left to the left. Melchior sees down (to the child), in the left he wears a jar with a brid-decorated lid. Balthasar, for a brick wall, sees and keeps the left arm diagonally. Caspar has targeted the left arm to the right and the other goes up, apparently to keep the camel standing behind him at the rein. Melchior carries a cloak tailed to the right, which hangs with a slip over the left door, a crown on his head, around it; The juvenile looking Balthasar one from the front with a row knots closed with turned collar and to head a helmet-shaped, leathery looking headgear. Caspar with a 'metal' band around the neck has an outstanding jacket with pitch-additous on the shoulders, the under-sleeves are turned off and attached to a loop on a knot on the upper sleeve. To head a knotted band.

Terracotta relief probably from a funnel vase late 3rd-early 2nd century B.C. Greek, South Italian, Apulian, Canosan This is one of four reliefs with two-figure compositions depicting a combat, likely between a Gaul and a Greek.. Their raised hands originally held spears. Several reliefs probably decorated a large funerary jar. They rested on a shelf-like projection from the body of the vase and were secured by dowels through the holes in the plaque. The rendering of the mounted figures almost in the round enhances the drama of the encounter.. Terracotta relief probably from a funnel vase 248731

'Warrior Drawing a Bow (Odysseus)'. France, Last quarter of the 18th century (after the model of 1715). Dimensions: height: 88,0 cm; pedestal 37,0x39,0 cm. Museum: State Hermitage, St. Petersburg.

Jean-Pierre Dantan (1800-1869) said Dantan the young. Jean-Eugène Robert-Houdin (1805-1871), prestidigator portrait. Terracotta patinated plaster. 1846. Paris, Carnavalet museum. 53355-1 Magician, number, pattero patina, portrait-charging, conjurer, terracotta

Plaque: Eagle with Snake, c.1830 - 1875. Antoine-Louis Barye (French, 1796-1875). Bronze; overall: 10.2 x 15 x 1 cm (4 x 5 7/8 x 3/8 in.).

Eagle. Dated: c. 1938. Dimensions: overall: 48.7 x 35.9 cm (19 3/16 x 14 1/8 in.). Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Jane Iverson.

Mars (War), Rombout Verhulst (attributed to), c. 1650 - c. 1658 sculptor: HollandAmsterdam (possibly) oak (wood) sculptor: HollandAmsterdam (possibly) oak (wood)

House Group, c. 100-400, 18 x 9 3/4 x 7 in. (45.7 x 24.8 x 17.8 cm), Clay, pigments, Mexico, 2nd - 5th century, People of all ages engage in solitary, contemplative activities or social interactions such as cooking and eating tamales in this model house. The steeply pitched roof painted with geometric patterns gives clues to the appearance of the houses of the ancient Nayarit in western Mexico. However, archaeological evidence suggests the ancient Nayarit did not live in two-story dwellings. This leads scholars to conclude this sculpture is conceptual - meaning it represents ideas and beliefs, rather than an architecturally accurate depiction. The Nayarit believed only a slight barrier separated the realms of the living and the dead. The lower level here is the underworld, where the activities of departed ancestors closely mirror those of the living depicted above. This sculpture was placed in a tomb along with food, drink, and other offerings as a means of ensuring the living and the

Satyr head harp ornament 18th century French. Satyr head harp ornament 189567 French, Satyr head harp ornament, 18th century, Carved and gilded wood, 7 1/2 2 1/2 in. (19.1 6.4 cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1906 (07.225.328)

Dame, Saar de Swart, 1923 - 1925 Sitting figure with crown, a falcon on her hand and two pages behind her. sculptor: Capricaster: Naples bronze (metal). patina: cuprous oxide casting Sitting figure with crown, a falcon on her hand and two pages behind her. sculptor: Capricaster: Naples bronze (metal). patina: cuprous oxide casting

'"Portrait of Emperor Peter I"'. Russia, St Petersburg, 1741-1743. Dimensions: 67x47 cm (with the frame). Museum: State Hermitage, St. Petersburg.

Truth And Falsehood, 1856-66. Alfred George Stevens. A sketch model for part of the Wellington monument at St Paul's Cathedral

Allegorical Figure of "Africa" Figure; Manufactured by Royal Porcelain Manufactory, Berlin (Germany); Modeled by Wilhelm Christian Meyer (1726 - 1786); Germany; hard paste porcelain, vitreous enamel, gold

Daniel Webster. Thomas Ball (United States, Massachusetts, Charlestown, 1819-1911). United States, modeled 1853. Sculpture. Bronze

Mercury and Argus; Produced in the Ginori Porcelain Factory, Italian, active 1735 - present, After models by Giovanni Battista Foggini, Italian, 1652 - 1725, Probably made by Gaspero Bruschi, Italian, 1701 - 1780, Painted in the shop of Johann Karl Wendelin Anreiter von Zirnfeld, Austrian, active 1739 - 1745; Doccia (outside Florence), Italy, Europe; 1750 - 1760; Hard-paste porcelain, polychrome enamel decoration, gilding; Object: H: 45.1 x W: 33 x D: 28 cm (1 ft. 5 3/4 in. x 1 ft. 1 in. x 11

Design for a flower standard, Eugène Lacomblé, c. 1828 - c. 1905 clay clay

Joseph Chéret (1838-1894). Especially from Pomone Flore table. Porcelain, 1886. Museum of Fine Arts of the City of Paris, Petit Palais. 25792-1 Angel, above, pomone flora, porcelain, especially, table

Maria in worship for the child, Tondo, Antonio Rossellino (Manner of), After 1427 Tondo in Terracotta with the representation of the St. Virgin with child, surrounded by a majolica frame, consisting of leaves, fruits and flowers. terracotta (clay material) Tondo in Terracotta with the representation of the St. Virgin with child, surrounded by a majolica frame, consisting of leaves, fruits and flowers. terracotta (clay material)

Pygmalion and Galatea, Manufacture de Sèvres, c. 1780 France porcelain France porcelain

Piece of chess representing an elephant belonging to Charlemagne. Hindu art. Sculpture on ivory. FRANCE. ëLE-DE-FRANCE. Paris. National Library.

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