Classical Sculptures

A collection of classical sculptures depicting figures, including allegorical representations and religious icons, crafted from materials like clay, marble, and ivory.

Michel de Ruther (1607-1676) (), Johannes Fredericus Maes (Attributed to), c. 1743 - c. 1759 The Hague (possibly) terracotta (clay material) The Hague (possibly) terracotta (clay material)

Synagoge (), Eugène Lacomblé, c. 1828 - C. 1905 clay clay

Alexandre Jean Joseph Falguière (1831-1900). The Peach. Plaster. 1880-1883. Museum of Fine Arts of the City of Paris, Petit Palais. Female allegory, woman, fishing, fish, fishing product, statuette

Bonino da Campione, Justice, c 1357 Bonino da Campione (Lombard, active 1357 - 1397), Justice, c. 1357, marble, Samuel H. Kress Collection 1960.5.5

Virgin and Child 1350-1375 Meuse. This ivory statuette with its gangly Christ Child and rather plain-faced Virgin seems far removed from the aristocratic figures produced in Paris, which was a great center for the production of Gothic ivories. The angular and somewhat earthy figures and the intensity of the connection between mother and child find parallels in other more monumental sculpture made in the Meuse valley, where present-day Belgium, Holland and Germany meet. This border region had a long and distinguished artistic tradition.. Ivory .

Rebecca 1878 John Warrington Wood British. Rebecca. John Warrington Wood (British, 1839-1886). British. 1878. Marble. Sculpture

St. John the Evangelist, probably from a Crucifixion Group ca. 1420 German. St. John the Evangelist, probably from a Crucifixion Group. German. ca. 1420. Limewood. Made in Upper Rhineland, Germany. Sculpture-Miniature-Wood

Europe, Joachim Henne (attributed to), c. 1670 - c. 1700 On a square skirting board, on a square skirting board, is on the left leg with a forward -looking right. She keeps the curved right arm forward, with the left arm she presses a horn of overvleod against her, which rests on the bottom and from which fruit protrudes. In the hair she has a bond in front and furthermore a crown, of which a scarf goes out at the back, which is included in the hair to both sides and then depends on the back. On the 'leather' keys with hanging buildings, which leaves the breasts uncovered, hangs a skirt hanging into knees and a second skirt, which reaches up to the feet. A cloak, closed under the neck with a brooch, hangs from the back, is held against the horn through the left hand and reaches to the skirting. A chain of links around the neck. An object is missing in the right hand. Ivory Carver: Northern Germany ivory cutting On a square skirting board, on a square skirting board, is on the left leg

An image, the Fortuin imagining.The image is on the top of the BK-18042-A-2 base.

Michel de Ruther (1607-1676) (), Johannes Fredericus Maes (Attributed to), c. 1743 - c. 1759 The Hague (possibly) terracotta (clay material) The Hague (possibly) terracotta (clay material)

The Virgin and St John the Evangelist, Mattheus van Beveren (attributed to), c. 1670 Standing Johannes on oval, slightly profiled plinth (cut out of one piece). He wears a short tunic with a loose cloak over it. He looks up and holds his right arm up, in his field of vision. The other arm is directed diagonally backwards. He wears classic sandals. Brussels ivory Standing Johannes on oval, slightly profiled plinth (cut out of one piece). He wears a short tunic with a loose cloak over it. He looks up and holds his right arm up, in his field of vision. The other arm is directed diagonally backwards. He wears classic sandals. Brussels ivory

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The art.

Image of Saint Catharina with crown, book, rad and sword, anonymous, c. 1500 - c. 1550 Image of Saint Catharina with Crown, Book, Rad and Sword. Cast in plaster. The forms are located in the municipal collection in Utrecht. gypsum Image of Saint Catharina with Crown, Book, Rad and Sword. Cast in plaster. The forms are located in the municipal collection in Utrecht. gypsum

Juno; Joseph Nollekens (English, 1737 - 1823); England; 1776; Marble; 139.1 cm (54 3,4 in.)

'St Cecilia'. France, 1702/1703. Dimensions: h. 38 cm. Museum: State Hermitage, St. Petersburg.

Figurine of Hermes as achild

Saint Agnes, Adriaen van Wesel, c. 1470 - c. 1480 Agnes stands on a ground with the bent right leg forward, causing the upper body to turn to the left. With the right hand she holds her long rug at the hip, with the left she presses the rug, a plug sticking above the arm, against her. Her head with peeling facial expression is used slightly to the right and shows loudly, which is held together by a bond with pearls and rosettes. The rug has close -fitting sleeves and a round neck opening. At her feet lies the lamb, which looks like her and that she keeps a leash. Utrecht oak (wood) Agnes stands on a ground with the bent right leg forward, causing the upper body to turn to the left. With the right hand she holds her long rug at the hip, with the left she presses the rug, a plug sticking above the arm, against her. Her head with peeling facial expression is used slightly to the right and shows loudly, which is held together by a bond with pearls and rosettes. The rug has close -fitting s

Young woman with lamb.

Allegory of War probably before 1868 Albert-Ernest Carrier-Belleuse French. Allegory of War. Albert-Ernest Carrier-Belleuse (French, Anizy-le-Chteau 1824-1887 Sèvres). French. probably before 1868. Cast terracotta with a coat of brown paint; original turned ebonized socle. Sculpture

God the Father, Master of the Madonna of La Gleize (possibly), c. 1360 God the Father sitting on a couch. His right arm has been lifted, his left arm is on the Globe, which rests on his left knee. The image is part of a coronation of Maria. Liège oak (wood) God the Father sitting on a couch. His right arm has been lifted, his left arm is on the Globe, which rests on his left knee. The image is part of a coronation of Maria. Liège oak (wood)

Allegorical Figure. Attributed to Bartolomeo Ammanati; Italian, 1511-1592. Date: 1535-1550. Dimensions: H. 32.4 cm (12 3/4 in.). Bronze. Origin: Italy. Museum: The Chicago Art Institute, USA.

Jephthah and HisDaughter. Artist: Hezekiah Augur, American, 1791-1858, M.A. (HON.) 1833

Bozzetto for Saint Paul 1771-1781

Anonymous. "Young woman sitting on a rock". Molded terracotta, pinkish land, remains of white slip and polychromy, 2nd half of the 3rd century BC .. Museum of Fine Arts in the city of Paris, Petit Palais. 99934-30 Antiquity, ieme half of the 3rd iiie 3rd 3rd 3rd century before av. JC, terracotta, ancient

Virgin of the Immaculate Conception. Netherlands or Germany, late 18th century. Sculpture. Ivory

Architectural Fragment from a Retable, Tabernacle, or Tomb ca. 1400 French. Architectural Fragment from a Retable, Tabernacle, or Tomb 466315

Ivory applies in the form of an actor in a female role (front view), ancient Rome ". Ivory. Museum of Fine Arts of the city of Paris, Petit Palais. 26310-16 Actor, wall lamp, face, ivory, female role, ancient Rome

Terracotta statuette of a woman standing 4th-3rd century B.C. Greek Standing, draped statue of a woman.. Terracotta statuette of a woman standing 244801

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

Terracotta statuette of a woman wearing a hat and holding a fan. Culture: Greek, Boeotian. Dimensions: H. 8 5/8 in. (21.8 cm). Date: 3rd century B.C..Standing, draped, wearing hat, right hand enveloped, fan held up in left. Museum: Metropolitan Museum of Art, New York, USA.

Kobieta z dzieckiem na ręku. Bohdanowicz, Jadwiga (-1943), sculptor

Two temple guardians, Anonymous, c. 1300 - c. 1400

America 1781-88 Fulda Pottery and Porcelain Manufactory The circumstances around the founding of the porcelain factory at Fulda conform to the pattern established in earlier decades at other German factories. The production of porcelain was preceded by the production of faience, although in the case of Fulda, there was an interval of four years between the closure of the faience operation and the beginning of porcelain production; both the faience and porcelain enterprises were dependent on the expertise of workers from other factories; the factory was both established and then supported by an aristocratic patron; and lastly, the factory was not able to survive beyond the death of its founder.The Fulda porcelain enterprise was founded in 1764 by Prince- Bishop Heinrich von Bibra (1711-1788), and it took over the buildings formerly occupied by a faience factory that had failed due to the death of its founder, Prince- Bishop Amand von Buseck (1737-1756), as well as to the vicissitudes of

'Flora and a Child'. France, 18th century. Dimensions: 43x28 cm. Museum: State Hermitage, St. Petersburg. Author: French sculptor. 18th century.

Jean-Pierre Dantan (dit Dantan young). Portrait-charge of Louise-Sophie Mengozzi, Woman Guillemin, (1794 -1878), actress, in "A lady under the Empire". Terracotta patinated plaster. 1840. Paris, Carnavalet museum. 53357-18 Actress, empire, french, pattero patina, serious portrait, terracotta, a lady under the empire

Africa 1781-88 Fulda Pottery and Porcelain Manufactory The circumstances around the founding of the porcelain factory at Fulda conform to the pattern established in earlier decades at other German factories. The production of porcelain was preceded by the production of faience, although in the case of Fulda, there was an interval of four years between the closure of the faience operation and the beginning of porcelain production; both the faience and porcelain enterprises were dependent on the expertise of workers from other factories; the factory was both established and then supported by an aristocratic patron; and lastly, the factory was not able to survive beyond the death of its founder.The Fulda porcelain enterprise was founded in 1764 by Prince- Bishop Heinrich von Bibra (1711-1788), and it took over the buildings formerly occupied by a faience factory that had failed due to the death of its founder, Prince- Bishop Amand von Buseck (1737-1756), as well as to the vicissitudes of

Statue of a Muse. Unknown

Image of Willem Bilderdijk, poet and historian with pedestal, Jean Theodor Stracké, c. 1877 figure Image of Willem Bilderdijk, standing with left leg forward. With the right hand he keeps his cloak close by the chest. He holds a book in the left hand. To the right next to him a taboeret on which two books, paper and an ink cooker with pen. He has curly hair, wears a jabot and a shirt with how border around which a wide cravas is wounded, hubs and shoes with blunt noses bows. Profiled pedestal, in the middle concave, with a cartouche with a inscription held by two putti at the front. the Bosch terracotta (clay material). gilding (material) gilding

Benoît Massou, Anselme Flamen, and Nicolas Rebillé, A Garden Allegory The Dew and Zephyr Cultivating Flowers, 1683 1732 A Garden Allegory: The Dew and Zephyr Cultivating Flowers

Limestone statuette of Apollo() 3rd-1st century B.C. Cypriot Male figure with drapery thrown over left arm.. Limestone statuette of Apollo() 242319

Bronze thymiaterion (incense burner). Culture: Etruscan. Dimensions: H. 10 5/8 in. (27 cm). Date: late 6th-early 5th century B.C..The calyx-shaped receptacle on the woman's head was probably originally surmounted by a shaft. Utensils incorporating human figures as supports or handles were as popular in Etruria as in Greece. This incense burner is exceptional, not only for the rendering of the woman, who is both statuesque and decorative, but also for the manner in which every part emphasizes her three-dimensionality. Museum: Metropolitan Museum of Art, New York, USA.

Portrait of Madame Roland Emile-François Chatrousse (1829-1896). "Portrait of Mrs Roland". Terracotta.

Cupid and Psyche. Artist: Antonio Canova (Italian, Possagno 1757-1822 Venice). Culture: Italian, Rome. Dimensions: Overall: 53 × 59 1/2 × 32 in. (134.6 × 151.1 × 81.3 cm). Date: 1794.The metal pins inserted over the surface assisted the sculptor in transferring the form of the complex group from the plaster to the block of marble from which the sculpture was carved. Canova made two slightly different versions of this composition. The first, commissioned by a Briton, was later acquired by Napoleon's brother-in-law and is now in the Musée du Louvre, Paris. The second, for which this full-scale model was prepared, was made for Prince Nicholas Youssoupov and is now in the Hermitage, Saint Petersburg. The plaster was inherited by Canova's assistant, Adamo Tadolini, who used it to replicate additional groups. Museum: Metropolitan Museum of Art, New York, USA.

Saint Peter, Cuba (1), 1658 Terracotta preliminary study for the marble Peter statue of Artus Quellinus in the Andrieskerk in Antwerp (1658); the front carefully worked out, the back of the finishing of finishing; Two venting holes. Peter stands next to the reverse cross, which refers to his martyrdom. At the foot of it is a crowing rooster, the emblem of his denial of Jesus in the court of olives. Antwerp terracotta (clay material) Terracotta preliminary study for the marble Peter statue of Artus Quellinus in the Andrieskerk in Antwerp (1658); the front carefully worked out, the back of the finishing of finishing; Two venting holes. Peter stands next to the reverse cross, which refers to his martyrdom. At the foot of it is a crowing rooster, the emblem of his denial of Jesus in the court of olives. Antwerp terracotta (clay material)

The Prophet Balaam, Tommaso Porlezza Della Porta (c. 1546-1606) Rome or Loreto, 1575-1577, terracotta. This sculpted modello or bozzetto is a design for a statue of the prophet Balaam intended for the basilica of the pilgrimage site of Loreto in Central Italy. The church was built around the Santa Case, the house where, according to legend, the Virgin was born. The statuette stands out for its virtuoso modelling as in the figures right arm and hand. It was long thought to be by Michelangelo.

Zodiac Figure: Hare China. Zodiac Figure: Hare. China. Porcelain, in the biscuit and with turquoise and aubergine glazes. Qing dynasty (1644-1911). Ceramics

Imitation of a Statuette of a Seated Woman. Unknown

Adorant with Garland

Dancing Girl cast 1854 Ludwig Michael von Schwanthaler This piece is a replica of a somewhat over lifesize marble dancer, one of two commissioned in 1837 by Duke Wilhelm von Nassau for the dining room in the Castle at Wiesbaden, installed in 1841.. Dancing Girl 185835

Figurine of an actor holding amask.

Head of the Virgin with child. In the late Middle Ages, modelling with pipe clay (which is white after firing) became a flourishing branch of decorative art in the Low Countries. The inexpensive material and the use of moulds opened the way to large-scale production of sculptures inthis medium, which became an affordable alternative to wooden or ivory figurines. This is a fragment of a statue of the Virgin Mary that was hidden in the tower of the Oude Kerk in Soest during the Iconoclastic Fury in 1566.

Lion Supporting an Escutcheon, from the Top of a Balustrade or the Backrest of the Stadholders Chair in the Rolzaal in the Hof van Holland, The Hague, Joost Janszoon, Jan de Paep, 1511 Sculpture of animal or human with weapon board, sitting on a column. The statue is part of eleven images (BK-NM-144-1 to BK-NM-144-12). wood (plant material). paint (coating). oak (wood) Sculpture of animal or human with weapon board, sitting on a column. The statue is part of eleven images (BK-NM-144-1 to BK-NM-144-12). wood (plant material). paint (coating). oak (wood)

Hovering Angel from a Calvary, anonymous, c. 1500 - c. 1525 The angel is used to left to the left in a floating position with raised knees. He holds his head, on which long pipe curls hang, slightly aside and has folded the hands. The facial expression is sad. The shirt with collar, which is dated around the waist, covers both feet and hangs down from there. Low Countries oak (wood) gilding The angel is used to left to the left in a floating position with raised knees. He holds his head, on which long pipe curls hang, slightly aside and has folded the hands. The facial expression is sad. The shirt with collar, which is dated around the waist, covers both feet and hangs down from there. Low Countries oak (wood) gilding

Amor Caritas 1880-98, cast 1918 Augustus Saint-Gaudens American Amor Caritas” represents the perfection of Saint-Gaudens’s vision of the ethereal female, a subject that he modeled repeatedly, beginning in 1880. The elegant figure in a frontal pose with free-flowing draperies and downcast eyes also appears in the caryatids for the Vanderbilt mantelpiece (25.234) and in several funerary works. Here, Saint-Gaudens made subtle changes in the drapery and added upward-curving wings, a tablet, and a belt and crown of passionflowers. He considered several titles with universal themes, including To Know Is to Forgive, Peace on Earth, God Is Love, and Good Will towards Men, before settling on Amor Caritas [Love (and) Charity. Listen to experts illuminate this artwork's story Listen Play or pause #4505. Amor Caritas Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Amor

Figure of a Standing Lady 18th century Japan. Figure of a Standing Lady. Japan. 18th century. Porcelain (Hizen ware, Kutani type). Edo period (1615-1868). Ceramics

. The image is on the top of base BK-B-92-B-1.

Figure of Kui Xing with his leg resting on the mythical fish-dragon. unknown, sculptor

Dancer - a grave figurine; VIII-9th century (701-00-00-900-00-00);Purchase (provenance)

Lar, AD 1-25. Italy, Rome, Early Imperial period. Bronze with copper inlays; overall: 14.5 cm (5 11/16 in.).

Terracotta statuette of a woman Greek, South Italian, Tarentine early 3rd century BCE Standing draped women represent one of the most common types of terracotta figure from the fourth through second century B.C. throughout the Greek world. Recent studies have suggested that they are not simply ladies of fashion but that their meaning has to do with marriage. The variant with one arm akimbo may have a specific social connotation. View more. Terracotta statuette of a woman. Greek, South Italian, Tarentine. early 3rd century BCE. Terracotta. Hellenistic. Terracottas

Pallas Athena

Figurka Erosa z lirą. unknown, author

Marble statue of Tyche-Fortuna restored with the portrait head of a woman 1st or 2nd century A.D. Roman Tyche wearing double chiton, holding cornucopia in left hand and steering paddle in right. Adaptation of Greek original.. Marble statue of Tyche-Fortuna restored with the portrait head of a woman. Roman. 1st or 2nd century A.D.. Marble. Imperial, Late Flavian or Early Trajanic. Stone Sculpture

Terracotta statuette of a draped woman. Culture: Greek, probably Boeotian. Dimensions: H. 8 3/8 in. (21.2 cm). Date: 3rd century B.C..There are considerable remnants of color, especially on the face and hair. The lady is also wearing earrings. Museum: Metropolitan Museum of Art, New York, USA.

Statue of a Muse; Unknown; about 200; Marble with polychromy; Object: H: 91.5 cm (36 in.)

One of the Set of the Four Evangelists Mark 1575-1585 Italy. Terracotta . Alessandro Vittoria

Bust of Madame Recamier; Joseph Chinard (French, 1756 - 1813); France; about 1801 - 1802; Terracotta; 63.2 x 32.4 x 24.1 cm (24 7,8 x 12 3,4 x 9 1,2 in.)

Terracotta Statuette of a Woman Raising a Cloak. Unknown

Woman with a Veil, c. 1891. Jean-Léon Gérôme (French, 1824-1904). Bronze; overall: 60.5 x 32.7 cm (23 13/16 x 12 7/8 in.). Many of Gérômes best known works reflect the 19th-century European fascination with the Middle East, Asia, and North Africa, which manifested in Orientalist works like this sculpture depicting a woman adjusting her veil. Multiple versions of this sculpture exist, including some with marble and gold additions.

Bronze statuette of a young woman late 6th century B.C. Etruscan This statue, perhaps the best-known Etruscan figural bronze in the Museum's collection, was produced at one of the major bronze working centers, probably Vulci or Chiusi. The artist was clearly inspired by archaic Greek korai, votive statues of young women, a connection especially noticeable in the typical frontal pose with right hand extended and left hand holding the garment. However, the sculptor was not especially concerned about the accurate depiction of costume. The Greek himation (cloak), for example, is misrepresented. The folds so prominently visible from the front are absent on the back of the statue, perhaps an indication that the artist was looking at a two-dimensional source such as a relief sculpture or vase painting rather than a sculpture in the round. In any case, he clearly was more interested in rich surface embellishment than in realistic rendering of drapery and produced a wealth of engraved details i

Jozef with Christuskind, Laurent Delvaux, 1746 terracotta (clay material) terracotta (clay material)

Anonymous, southern Germany. Sainte-Barbe. Wood, 15th-fifth century. Museum of Fine Arts of the City of Paris, Petit Palais. Chretian art, religious art, Christianity, woman, holy, Gothic style, 15th 15th 15th 15th 15th 15th century, 16th XVI 16th 16th 16th century, wood

Lion Supporting an Escutcheon, from the Top of a Balustrade or the Backrest of the Stadholders Chair in the Rolzaal in the Hof van Holland, The Hague, Joost Janszoon, Jan de Paep, 1511 Sculpture of animal or human with weapon board, sitting on a column. The statue is part of eleven images (BK-NM-144-1 to BK-NM-144-12). wood (plant material). oak (wood). paint (coating) Sculpture of animal or human with weapon board, sitting on a column. The statue is part of eleven images (BK-NM-144-1 to BK-NM-144-12). wood (plant material). oak (wood). paint (coating)

Figural Group

Saint Geneviève. Culture: French. Dimensions: Overall (without base): 7 1/2 in. (19.1 cm). Date: second half 15th century. Museum: Metropolitan Museum of Art, New York, USA.

Jean-Baptiste Carpeaux at Work. Artist: Antoine-Émile Bourdelle (French, Montauban 1861-1929 Vésinet). Culture: French. Dimensions: Overall: 98 5/16 × 42 × 29 in. (249.8 × 106.7 × 73.7 cm). Founder: Cast by Alexis Rudier (French). Date: modeled ca. 1908-9.Bourdelle modeled two monuments to famous French nineteenth-century sculptors, this one to Jean-Baptiste Carpeaux (1827-75) and the other to Auguste Rodin (1840-1917). Museum: Metropolitan Museum of Art, New York, USA.

. According to legend, the Christian princess Ursula and her retinue of 11,000 handmaidens were murdered by Huns near Cologne. This statue depicts her as a well-to-do woman, dressed in the latest fashion of the Renaissance. Some of her companions seek protection under her cloak.

'St Paul the Apostle ( )'. Italy, Early 18th century. Dimensions: height: 27,0 cm. Museum: State Hermitage, St. Petersburg.

Aimé Millet (1819-1891). "Finance". Wax. 1882. Paris, Carnavalet museum. 72099-37 Seat, wax, woman, statue, finance

Tomb Figure Representing a Musician Playing a Lute, 618-906, 7 7/8 in. (20 cm), Painted earthenware with white slip, China, 7th-10th century

Two temple guardians, Anonymous, c. 1300 - c. 1400

Terracotta statuette of a seated youth 3rd century B.C. Greek, Cypriot The figurine is mold-made and hollow. The back is probably mold-made, although without detail.. Terracotta statuette of a seated youth 241291

Terracotta statuette of a nude woman 3rd century B.C. Greek, South Italian, Tarentine This statuette likely represents the goddess Aphrodite.. Terracotta statuette of a nude woman. Greek, South Italian, Tarentine. 3rd century B.C.. Terracotta. Hellenistic. Terracottas

Saint George Slaying the Dragon. Artist: In the style of Michael Pacher (Austrian or German, active by 1462/3-died 1498). Culture: Austrian. Dimensions: Overall: 53 3/8 x 16 1/8 x 13 3/4 in. (135.6 x 41 x 34.9 cm)Ht. without spear or base: 42 1/4 in. (107.3 cm)Base: 3 1/4 x 12 1/2 x 10 in. (8.3 x 31.8 x 25.4 cm). Date: ca. 1480.This sculpture is indebted to the work of the Tyrolean painter and sculptor Michael Pacher (active 1460-1500). Museum: Metropolitan Museum of Art, New York, USA.

Minerva and Cupid, Bywhers house the countryside, flagBacci racatia, c. 1600. The goddess is graceful, leaning back a little to the left, on a throne with the right leg forward and the left backwards. She turned the right shoulder of the viewer and thereby leaned with the right hand on the lost lance, while holding the open book open, from which she reads. The Amor leans against her left knee. He looks up to the burning torch, which he holds in the right hand, while he has lifted the left (for the bow). From his shoulder, the arrow sleeve hangs on a belt. Minerva wears a long tunic under a pseudo-Roman harness, the sleeves of which have been rolled up and that shows a rough on the neck. The harness, with a shoulders and lower edge lobben and lambrequins, is decorated on the chest with a medusa mask and with a stylized leaf motif. On a belt running in front of the breast, the mantle, which depends on the back and is placed on the left hip in a knot. She is wearing a helmet awarded by a

Bust of William IV, Jan Baptist Xavery, 1733 The prince has the head three -quarters to the right, wears a wig, the curls of which partly hang down to the back and are tied together by a bow at the neck. Over a thin, finely folded shirt with Jabot, of which only the lobed upper edge of the inner lining is visible, a Kuras. From the left shoulder, the cloak lined with ermine, including the ribbon of the order of the garter, is partially hidden. The corresponding decorative with Honi soit qui mal y pense is partly visible on the mantle, which is closed by a gem from the front and depends on either side of the pedestal. The image ends above the elbows and turns into a profiled pedestal at the agent. The Hague terracotta (clay material) The prince has the head three -quarters to the right, wears a wig, the curls of which partly hang down to the back and are tied together by a bow at the neck. Over a thin, finely folded shirt with Jabot, of which only the lobed upper edge of the inner linin

Terracotta statuette of Aphrodite seated on a rock. Culture: Greek, South Italian. Dimensions: H. 8 in. (20.3 cm). Date: 3rd century B.C..Seated, phiale in right hand, dove on left knee. Museum: Metropolitan Museum of Art, New York, USA.

Votive bronze statuette of Lar deity, from Barco di Susegana, Veneto region, Italy

Jean Louis Lemoyne, A Companion of Diana, 1724 A Companion of Diana

Imitation of a Statuette of a Standing Girl Holding a Vase. Unknown

Boy with bagpipes ca. 1770-80 Ralph Wood the Younger. Boy with bagpipes. British, Burslem, Staffordshire. ca. 1770-80. Lead-glazed earthenware. Ceramics-Pottery

Gothic sculpture of an bishop, from San Pedro de la Rua, Estella, Museum of Navarra, Pamplona, Navarra,Spain.

Bronze statuette of the goddess Fortuna ca. 2nd century A.D. Roman Fortuna is the Roman equivalent of the Greek goddess Tyche. She holds a ships rudder and a cornucopia. On her head she wears a diadem with a modius on top.. Bronze statuette of the goddess Fortuna. Roman. ca. 2nd century A.D.. Bronze. Imperial. Bronzes

Limestone statue of Hera or Demeter () ca. 330-200 B.C. Cypriot Figure wearing long tunic and cloak.. Limestone statue of Hera or Demeter (). Cypriot. ca. 330-200 B.C.. Limestone. Early Hellenistic. Stone Sculpture

Spirit of the Waters. Artist: Daniel Chester French (American, Exeter, New Hampshire 1850-1931 Stockbridge, Massachusetts). Dimensions: 11 1/8 x 8 1/2 x 4 in. (28.3 x 21.6 x 10.2 cm). Date: 1913; cast 1931 or after.Many of French's public monuments feature allegorical females representing such abstract concepts as life, death, and victory. In 1913 he was commissioned to create a memorial fountain to financier Spencer Trask (1844-1909) for Congress Park in Saratoga Springs, New York. In this small preliminary sketch, the partially draped winged figure serenely symbolizes the fluidity of water. For the final result, French raised the figure's arms over her head, producing a more buoyant and joyful interpretation titled The Spirit of Life. Museum: Metropolitan Museum of Art, New York, USA.

Artemis. Bronze statue attributed to the Greek sculptor Euphranor. Mid-4th century BC. Archaeological Museum of Piraeus. Greece.

Bodhisattava 524 CE China. Gilt bronze .

St. John the Evangelist ca. 1744 Capodimonte Porcelain Manufactory These two figures (1971.92.1 and .2) are among the most ambitious and finely modeled sculptures produced at the Capodimonte factory. The large scale of the figures is also unusual for the factory, and their successful firing represents an enormous technical achievement. The two figures were modeled by Giuseppe Gricci (1700-1770), one of the greatest of all eighteenth-century porcelain modelers, and this Mourning Virgin is the only Capodimonte figure that bears Gricci's signature.The Mourning Virgin and Saint John are all the more remarkable because of their early date. The Capodimonte factory was established in 1743, and documents suggest that the Mourning Virgin was produced the following year. Much of the aesthetic impact of these two figures derives from the expressiveness of their poses as well as the skill with which they were modeled. However, the superb quality of the soft-paste porcelain itself plays an importan

The Flagellation, anonymous, c. 1530 - c. 1540 Antwerp oak (wood) Antwerp oak (wood)

Venus and Cupid, c. 1840-1850. Jean-Jacques Feuchère (French, 1807-1852). Terracotta; overall: 19.7 x 21.7 x 13.1 cm (7 3/4 x 8 9/16 x 5 3/16 in.).

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