Cultural Figurative Statuettes

Ancient artifacts showcasing figures from different cultures, including a crouching goddess and a mendicant. These pieces evoke historical significance and craftsmanship.

Mendicant carrying a child on his back, 18th century, attributed to Yoshimura Shūzan, Japanese, died 1776, 4 1/8 x 1 5/8 x 1 1/8in. (10.5 x 4.1 x 2.9cm), Wood with traces of pigment, Japan, 18th century

Faience statuette of Aphrodite. Culture: Egyptian, Ptolemaic. Dimensions: H.: 1 9/16 in. (3.9 cm). Date: 334-30 B.C..Amulet in the form of a crouching Aphrodite. Museum: Metropolitan Museum of Art, New York, USA.

The Retable of Soest, the flogging. Retable of Soest, the flogging. Fragment of the ty of a man with raised left arm.

Mendicant carrying a child on his back, 18th century, attributed to Yoshimura Shūzan, Japanese, died 1776, 4 1/8 x 1 5/8 x 1 1/8in. (10.5 x 4.1 x 2.9cm), Wood with traces of pigment, Japan, 18th century

Netsuke of Man with Boy on His Back. Culture: Japan. Dimensions: H. 2 1/4 in. (5.7 cm); W. 5/8 in. (1.6 cm); D. 1 in. (2.5 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Bronze statue depicting flute player from Samo

Mortuary Figure of the Zodiac Sign: Sheep (Scorpio), 500s. China, Northern Wei dynasty (386-534). Gray earthenware with traces of slip; overall: 22.6 cm (8 7/8 in.).

Hercules and Cacus. Artist: After a model by Michelangelo Buonarroti (Italian, Caprese 1475-1564 Rome). Culture: Italian, Florence. Dimensions: Overall (confirmed): 19 1/4 × 8 1/2 × 6 1/2 in. (48.9 × 21.6 × 16.5 cm).. Date: second half 16th century. Museum: Metropolitan Museum of Art, New York, USA.

'Jacob Fighting with the Angel'. France; USA, 1932. Dimensions: 94x96,5x59,1 cm. Museum: State Hermitage, St. Petersburg. Author: Jaques Lipchitz.

Bronze Statuette ofPan

Singer ". Terracotta. China, Tang dynasty. Paris, Cernuschi museum. 72691-24 Chinese art, sitting, singing, singer, tang dynasty, woman, statuette, terracotta, back view

Ancestor Figure(Hampatong)

EL RAPTO DE PROSERPINA - GRUPO DE BRONCE PROCEDENTE DE BAELO CLAUDIA. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Scarecrow. Ōmiya Kahei (Japan, active 18th century). Japan, 18th century. Costumes; Accessories. Wood

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

Seated Monkey. Roman, A.D. 1st-2nd century. Sculpture. Bronze, cast

Painted wood statue of scribe Intef recording wheat harvest

Jean-Baptiste Carpeaux (1827-1875). Eve attempted or Eve after the fall. Patinated plaster, 1871. Museum of Fine Arts of the city of Paris, Petit Palais. 79393-23 Original fault, woman, naked woman, female naked, female nudite, original fishing, biblical character, temptress, 19th XIX 19th 19th 19th 19th century

Louis-Ernest Barrias (1841-1905). The Sphinx. Patinated plaster. 1887. Museum of Fine Arts of the City of Paris, Petit Palais. SPHINX

Funerary Sculpture of a Noble Lady. China, Western Han dynasty, 206 B.C.-A.D. 25. Sculpture. Molded earthenware with slip and traces of paint

Pilgrim's Badge. Culture: French. Dimensions: Overall: 2 5/16 x 11/16in. (5.9 x 1.8cm). Date: 14th-16th century. Museum: Metropolitan Museum of Art, New York, USA.

Visjnoe, anonymous, 1200 Visjnoe stands on the shoulders of his riders, the mythological bird Garuda. Cambodia bronze (metal) Visjnoe stands on the shoulders of his riders, the mythological bird Garuda. Cambodia bronze (metal)

Kumara, The Divine General. Nepal, 9th century. Sculpture. Copper alloy

Cabbage and Beetle, mid-1700s. China, Qing dynasty (1644-1911), Qianlong reign (1736-95) or earlier. Carved wood; overall: 13.9 cm (5 1/2 in.).

Study Models of Parts of the Body. This group of small models of parts of the body are carefully copied after famous sculptures, in particular by Michelangelo, in Florence and Rome. They came from the workshop of the Nijmegen sculptor Johan Gregor van der Schardt, who had a successful career in Italy, Nuremberg, and Copenhagen. They are extremely rare examples of the, in part autograph, study material of a 16th-century sculptor.

Female Figure 3rd century B.C.-A.D. 4th century Chupicuaro. Female Figure 313165

Miniature cippus of Horus (magical stela). Dimensions: H. 5.2 × W. 3.1 × D. 2.2 cm (2 1/16 × 1 1/4 × 7/8 in.). Date: 332-30 B.C..This very small cippus is, unusually, made of cupreous metal. The front scene shows the child Horus standing on crocodiles and holding a snake and an oryx on the left and a lion and a scorpion on the right. At the top of the cippus is a Bes-head. On the reverse is an upper register depicting a falcon standing on an oryx, Thoth seated wearing the atef crown, and a seated goddess and god. Below that are five lines of inscription giving a spell familiar from magical stelae: "welcome god son of god, welcome heir son of the heir, welcome steer son of the steer born of the body of god, welcome Horus brought forth by Osiris whom Isis bore......" The signs are somewhat garbled, and on the sides of the stela actually make no obvious sense.It seems likely such a small stela was used like an amulet for its magical protection rather than being used to impart its magic

Male figure, 20th century, 13 × 3 3/8 × 2 7/8 in. (33.02 × 8.57 × 7.3 cm) (with base), Wood, Nigeria, 20th century

Bronze statuette of a pantheress 1st-2nd century A.D. Roman The female panther is rendered in fine detail with her spots inlaid with copper, silver, and niello.. Bronze statuette of a pantheress. Roman. 1st-2nd century A.D.. Bronze, copper, silver, niello. Imperial. Bronzes

Quadraped with Bowl and Three Cockerels. Afghanistan, Begram, 2nd century. Sculpture. Terracotta with paint

Fitting (Shi) in the Form of a Chimera (Bixie). China, Six Dynasties period, 317-581. Sculpture. Cast bronze with gilding

Le Grenouillard (The Frog Man) ca. 1891 Jean-Joseph Carriès French Carriès was fascinated by frogs, which appear in several examples of his work. Le Grenouillard is his fantastical sculpture of a half-man, half-frog sitting among a family of smaller frogs. It recalls the gargoyles of Gothic cathedrals while also resembling a large-scale version of the whimsical Japanese carved sculpture known as netsuke. Carriès may have known the Japanese legend of Gama Sennin (frog sage), an Immortal who often took the form of his companion, a large toad.. Le Grenouillard (The Frog Man). French, Saint-Amand-en-Puisaye. ca. 1891. Glazed stoneware. Ceramics-Pottery

. Shielding wooden lion, most likely belonging to the eleven shield racks already in the collection (BK-NM-144) present and from the Karel de Stoute, founded Court of Holland in 's-Gravenhage. Note: In sculpture catalog no. 52, it is referred to as existing 12 shield racks I.P.v. 11, as well as two colonets (BK-NM-12305-A, B).

Fragmentary Statuette of Mithras Tauroktonos. Unknown

FIGURA DEL APOSTOL SANTIAGO EN BARRO COCIDO. Location: ALFARERIA. BUÑO. A CORUÑA. SPAIN.

Emmanuel Frémiet (1824-1910). "The Gastronoma Pelican". Museum of Fine Arts of the City of Paris, Petit Palais. 99298-2 Baby, beak, bird, fish, animal sculpture, feed, animal, pelican

Alcove ornament in form of a man lying down. Culture: Japan. Dimensions: H. 5 9/16 in. (14.1 cm); L. 11 in. (27.9 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Flying Celestial Apsara (Feitian). Culture: China. Dimensions: H. 26 3/4 in. (67.9 cm); W. 16 3/4 in. (42.5 cm); D. 4 3/4 in. (12.1 cm); Wt. 30.3 lbs. (13.7 kg). Date: 7th century.Celestial attendants to both Buddhist and Hindu deities in South Asia, apsaras are also frequently depicted in East Asia Buddhist art. This diamond-shaped tile may have decorated the exterior of the pagoda of the Xiuding Temple near Anyang in Henan Province. Museum: Metropolitan Museum of Art, New York, USA.

Seitaka Dôji 1401-1500 Japan. Seitaka Doji is one of the two boy attendants of Fudo Myo-o (the Immovable or Unshakable One). Sculptural triads of these figures exist from the late Heian period (794ñ1185). In these triads, Seitaka Doji has a troll-like appearance, which contrasts with the placid features of his fellow attendant, Kongara Doji.. Wood with traces of polychromy .

Statue of pensive man on black background

ESCULTURA DE ARCILLA. Author: ANTONIO BALLESTER BALLESTER.

Cat with kittens amulet ca. 1070-664 B.C. Third Intermediate Period or later This figure is part of a repertoire of figures created in a distinctive spotted faience from Dynasty 22 into Dynasty 26. The center of production was the eastern Delta, in particular Bubastis and Tanis; this was an area where Near Eastern peoples had long been interwoven in the population; at this time it was also a center for the settlement of Libyan tribal peoples. Possibly these conditions influenced this particular production.Through their appearance, the figures all allude to the goddess Bastet. In particular, many details evoke the myth termed "The Return of the Faraway Goddess." The feline / leonine Bastet was angry with the god Re and left Egypt for Nubia. Re wanted her back again, so he sent the god Thoth, who, taking the form of a monkey, lured her back with fables. Bes, musicians and dancers accompanied the train of the returning goddess, whose arrival brought the return of good fortune to Egypt. Fi

Benkei fighting with Yoshitsune, late 19th century, Kogyoku, Japanese, 2 1/16 x 1 3/8 x 1 5/16in. (5.2 x 3.5 x 3.3cm), Ivory, pigment, Japan, 20th century

Alcove ornament in form of a man lying down 19th century Japan. Alcove ornament in form of a man lying down. Japan. 19th century. Faience with decoration of enamels (Kyoto ware). Edo (1615-1868) or Meiji period (1868-1912). Ceramics

Sound Native American maternal statuette. Artist: Unknown

Dancing Figure, Han dynasty (206 BC-AD 220). China, Han dynasty (202 BC-AD 220). Painted plaster of Paris;

Bronze furniture attachment. Culture: Roman. Dimensions: Other: 11 in. (28 cm). Date: late 1st century B.C.-early 1st century A.D..The naturalistic rendering of the acanthus rinceau matches the style of marble decoration found on public monuments, notably the Ara Pacis, erected in Rome between 14 and 9 B.C. Museum: Metropolitan Museum of Art, New York, USA.

Mask ca. 1870 Alutiiq/ Sugpiaq, Native American The peoples of the Arctic region use music and performance to invoke the spirit realm. According to native Alaskan beliefs, spirits communicate with people through whistling: these masks may be the faces of such supernatural beings, as they appear to whistle at their beholders. The formal resemblance between the pair, including the prominent noses, minimal eyes, and pointed head decorations, may mark them as specific, linked characters in a myth. Early twentieth-century modernist artists and collectors were drawn to the bold simplicity of such works.. Mask. Alutiiq/ Sugpiaq, Native American. ca. 1870. Wood and pigment. Made in Kodiak Island, Alaska, United States

ESCULTURA EN BRONCE - TOROS IBERICOS - 1956/1958 - BRONCE - 96 CM DE ALTURA. Author: ALBERTO SANCHEZ (1895-1962). Location: FUNDACION SANTANDER CENTRAL HISPANO. MADRID. SPAIN.

Jean-Baptiste Carpeaux (1827-1875). Pensive. Patinated plaster, 1847-1875. Museum of Fine Arts of the City of Paris, Petit Palais. 79393-9 Allegory, allegorical figure, model, allegorical character, plaster, dream, reverie, reverge, dream, think, 19th XIX 19th 19th 19th 19

Netsuke of Female Figure 19th century Japan. Netsuke of Female Figure. Japan. 19th century. Wood. Edo (1615-1868) or Meiji period (1868-1912). Netsuke

Sculpture in the root standing figure of a bearded man in a high headdress unknown

ESCULTURA EN MADERA. Author: LEANDRO MBOMIO (1938-). Location: PRIVATE COLLECTION. MADRID. SPAIN.

Seated Figure 3rd century B.C.-A.D. 4th century Chupicuaro. Seated Figure 313049

Ikkaku: The One-Horned Immortal. Hidemasa (Japan, active early 19th century). Japan, late 18th-early 19th century. Costumes; Accessories. Ivory with staining, sumi

The Fall of the Rebel Angels. Unknown maker, Southern German or Austrian

'Dwarf Morgante as Bacchus'. Italy. Florence, 16th century. Dimensions: height: 13,2 cm. Museum: State Hermitage, St. Petersburg.

Fisherman with lobster, late 18th century, Unknown Japanese, 3 5/8 x 1 3/16 x 3/4in. (9.2 x 3 x 1.9cm), Ivory, Japan, 18th century

Aimé Jules Dalou, The Binder (Le botteleur), model c 1894, cast c 1907 1934 The Binder (Le botteleur)

Seated AncestorFigure

Mermaid with ink pot 16th century Italian, possibly Venice. Mermaid with ink pot. Italian, possibly Venice. 16th century. Bronze. Sculpture-Bronze

Warrior Figure. Culture: Moche (Loma Negra). Dimensions: Length 4-3/4 in. (12 cm). Date: 390-450. Museum: Metropolitan Museum of Art, New York, USA.

Pre-Columbian art. The Ancient Jama-Coaque Culture. Northern coast of Ecuador. 500 BC-500 AD "Chone type". Male figure sitting. 39 x 19 cm. Private collection.

Eleven-Headed and Six-Armed Guanyin (Avalokiteshvara) Standing on a Lotus. China. Date: 801 AD-900 AD. Dimensions: 9.3 × 3.5 × 2.5 cm (3 3/4 × 1 3/8 × 1 in.). Gilt copper alloy. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Terracotta fire-dogs (alari) discovered in an ancient dwelling, Emilia-Romagna, Italy. Italic Civilization, 5th Century BC.

Figure of a Musician. Culture: China. Dimensions: H. 5 1/2 in. (14 cm); W. 4 1/2 in. (11.4 cm). Date: 5th-6th century. Museum: Metropolitan Museum of Art, New York, USA.

Angel late 13th century French. Angel. French. late 13th century. Wood, paint. Sculpture-Wood

Figure: Equestrian 16th-18th century Dogon peoples. Figure: Equestrian. Dogon peoples. 16th-18th century. Wood. Mali. Wood-Sculpture

Scribe statuette 332-30 B.C. Ptolemaic Period This is an unusual statuette of a scribe. The features indicate a quite late date - a time when seated scribal statues have gone out of vogue. Preserved on the lap is an inlaid inscription that reads from the direction of the sitter, but only the first word "scribe" is clear. One could conjecture that the pose is adopted in this instance to represent a revered individual from the past who was a scribe such as Imhotep, but this would be a unique occurrence of this pose to depict Imhotep.. Scribe statuette 544906

Puppet (Wayang Klitik) possibly of Layang Kumitir orSeta

Native American male pottery figure, 9th-15th century. Artist: Unknown

Byron Dingman, Figure, 1935 1942 Figure

Jean-Baptiste Carpeaux (1827-1875). "Imploration". Patinated plaster, 2nd half of the 19th century. Museum of Fine Arts of the City of Paris, Petit Palais. Woman, implore, plaster patina, pray, beg, 19th 19th 19th 19th 19th 19th century

R-FIGURA DE MUJER SENTADA-NEOLITICO GRIEGO.PROC DE HIERAPETRA S V AC. Location: MUSEO. Volos. GREECE.

Lead figure of a winged goddess late 7th-early 6th century B.C. Greek, Laconian Small flat votive figurines of cast lead have been found in great quantities at the ancient sanctuaries of Laconia; over one hundred thousand, dating from the seventh century B.C. to the Classical period, were dedicated to the goddess Artemis Orthia in Sparta.. Lead figure of a winged goddess. Greek, Laconian. late 7th-early 6th century B.C.. Lead. Archaic. Miscellaneous-Lead

Head of a Bodhisattva. Culture: China. Dimensions: H. 4 in. (10.2 cm); W. 4 1/2 in. (11.4 cm). Date: 10th century. Museum: Metropolitan Museum of Art, New York, USA.

Figure of a Deity mid-14th century China. Figure of a Deity. China. mid-14th century. Porcelain with Qingbai "shufu" transitional type glaze. Yuan dynasty (1271-1368). Ceramics

Stern of a barque from a standard 664-30 B.C. Late Period-Ptolemaic Period. Stern of a barque from a standard 552022

EXVOTO CABRA (DEPOSITO: MUSEO ARQUEOLOGICO NACIONAL).

Door Boss Bust of a Satyress 1575-1585 Northern Italy. Bronze .

Polychrome carving. Passion of Christ. Jesus in the column. Germany. Second half of the 14th century. Museum of the City of Malmo. Sweden.

Lead figure of a man with a spear or scepter. Culture: Greek, Laconian. Dimensions: Height: 1 7/8 in. (4.8 cm). Date: 6th-5th century B.C..Small flat votive figurines of cast lead have been found in great quantities at the ancient sanctuaries of Laconia; over one hundred thousand, dating from the seventh century B.C. to the Classical period, were dedicated to the goddess Artemis Orthia in Sparta. Museum: Metropolitan Museum of Art, New York, USA.

Fishing Canoe Prow, 1800s. Polynesia, New Zealand, Maori people, 19th century. Wood with haliotis (pearl) shell inlay; overall: 35.3 cm (13 7/8 in.). Intricate surface patterning characterizes Maori wood carvings. The swirls and spirals covering the face on this canoe prow replicate traditional facial tattoo patterns. Similar designs were used for post and gable figures that adorned both dwellings and compounds.

Plaque: Two Mudfish 16th-17th century Edo peoples At its origins, the centralized city-state of Benin was founded by Edo-speaking peoples. The accounts by official court historians and descriptions provided by visitors evoke a vibrant cultural center continually redefined by its leadership through shifting internal and external power dynamics. According to oral tradition, circa 1300, Edo chiefs are reputed to have reached out to the leader of neighboring Ife, Oranmiyan, to establish a new divinely sanctioned royal dynasty. Since then, the investiture of Benins rulers to the title of obas has conferred upon them at once a role of chief priest officiating in important religious ceremonies and presiding over an elaborate structure of palace officials. During the fifteenth century reign of Oba Ewuare, Benins armies were formed and the fortification of its capital with a massive wall undertaken. In parallel, delegations of Portuguese traders assiduously sought to secure exclusive commerci

Person Being Cradled While Reclining on Bench in Caregiving or Curing Scene. Mexico, Nayarit, Nayarit, 200 BCE-400 CE. Ceramics. Slip-painted ceramic

Photo courtesy of the Ernst Barlach Foundation Guestrow

Głowa kobiety (Mme Blavatsky). Bohdanowicz, Jadwiga (-1943), sculptor

Honoré Daumier, Charles Guillaume Etienne, model c 1832 1835, cast 1929 1950 Charles-Guillaume Etienne

Top of standard with male figure and flanking ibexes attacked by dogs. Culture: Elamite. Dimensions: 11 3/4 x 4 3/4in. (29.8 x 12.1cm). Date: ca. 1500-1100 B.C..One of a pair, this cast bronze element was attached to a pole by the curved tang at the bottom. A hollow ring with ropelike ridges and incised rosettes in between is surmounted by a solid-cast striding male figure wearing a knee-length belted garment and boots with upturned toes. A snake supports his front foot. He holds an object, possibly an animal, at his chest while raising the other hand in a gesture of supplication. He has both a mustache and beard, and his hair projects slightly at the front. He is flanked by two solid recumbent horned animals whose haunches are attacked by crouching dogs. The style of the male figure and the snake point to Elam as the place of manufacture. The meaning of such an unusual composition is not known, but similar male figures are found among Elamite votive images. Museum: Metropolitan Museu

Luohan. Culture: China. Dimensions: H. 8 3/4 in. (22.2 cm); W. 4 in. (10.2 cm); D. 3 in. (7.6 cm). Museum: Metropolitan Museum of Art, New York, USA.

Man lid on a ton. Lid of image of faïence

Double Head; Attributed to Francesco Primaticcio (Italian, 1504 - 1570); Fontainebleau, France; about 1543; Bronze; 38.5 × 35 × 20 cm (15 3,16 × 13 3,4 × 7 7,8 in.)

Pair of Figure Vessels 1200-1500 Nayarit Between the third century B.C. and second century A.D., the people in the west Mexican state of Colima buried their honored dead with sculptural ceramic vessels in the form of human and animal figures. In the same region in later centuries, ceremonial vessels were given simpler form with a strong emphasis on polychrome surface decoration. This pair of male and female figure vessels, said to have come from the site of El Chanal in Colima, combines the early with the later tradition. Both vessels have large flared openings in back of their necks. From humplike protuberances on their backs project long-tapering spouts. The surfaces are covered with red slip and embellished with detailed red-on-cream designs. The flat, square faces with hatchet noses appear masklike and bear different motifs, while the crescent headdresses with horns are identical. The female figure holds a child that looks up to her, and has legs that wrap around her waist.. Pair o

Charity. Aimé-Jules Dalou (France, 1838-1902). France, Modelled circa 1877, this cast circa 1905 (Adrien Hébrard, founder). Sculpture; assemblages. Bronze

Tall bird 1896 R. W. Martin and Brothers British Determined that pottery vessels should be regarded as true works of art, avant-garde ceramicists in France in the last decades of the nineteenth century transformed their craft into an intellectual and emotional endeavor. The pioneers of this revival were Jean Carriès, Ernest Chaplet, Théodore Deck, and Auguste Delaherche. These revolutionary artist-potters embraced artisanal traditions while pursuing lost techniques through exhaustive experimentation. Reacting to what they viewed as an excessive and improper use of ornament, they celebrated the simplicity and sincerity of their medium, following the tenets of the Art Nouveau style taking place in Europe. Based on the principles of the British Arts and Crafts movement, Art Nouveau artists sought to reform the decorative arts by emphasizing uniqueness and a return to craftsmanship. Artist-potters found inspiration in Asian ceramics, particularly Japanese stoneware (a hard, dense type of p

Python Swallowing aDoe. Artist: Antoine-Louis Barye, French, 1796-1875

Clay Dragon Figure, The Capital Museum, Beijing, China

Kneeling Female Figure with Three Children. Culture: Dogon or Tellem peoples (). Dimensions: H. 13 x W. 3 x D. 2 5/8 in. (33 x 7.6 x 6.7 cm). Date: 15th- 19th century ().The subject of this intimately-sized sculpture is a kneeling female figure. The woman is shown sitting on her knees with flexed feet and hands resting on her thighs. The posture's grounded and meditative quality is accentuated by the compact rendition of the lower body whose center of gravity is concentrated around the circular base. In contrast to the slim lower limbs, the sculptor elongated and enlarged the figure's torso. In the cylindrical articulation of the upper body, we identify the woman's small breasts, rounded belly, and three children, one resting diagonally across her abdomen and two vertically extended along her back. With its straight spine and chin at a slight angle, the sculpture visualizes the fortitude of a mother who regally supports her offspring and the humility of a figure who invokes higher f

Figure of a Woman, before 1950, Dia.15 in., Terra cotta, China, 20th century

Fragmentary cameo sculpture with a theatrical mask and seated figure. Unknown

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