Medieval Religious Sculpture

A collection of 14th to 15th century sculptures depicting saints and symbolic figures. The pieces feature intricate drapery and painted details, showcasing medieval artistry.

Portrait of Faustina the Elder; Unknown; Roman Empire; 140 - 160; Marble; Object: H: 209 cm (H: 82 5/16 in.)

Saint Eleuthere or Saint Rustique 14th century French. Saint Eleuthere or Saint Rustique. French. 14th century. Stone, paint. Sculpture

Figure of an unknown (in. Mary Magdalena); Multtscher, Hans (CA 1400-1467); approx. 1450 (1450-00-00-1500-00-00);Mary Magdalena (Saint), Multtscher Hans, Deposit - Ended - Łódź - Museum of Art, Medieval Art

Virgin and Child first quarter 14th century French Elevated high in his mothers arms, the Christ Child holds the end of her belt, a gesture that may indicate the mystical marriage of Christ and his mother, a theme frequently mentioned in popular hymns and sermons. This detail is characteristic of similar sculptures from Normandy. Stylistic elements including the Virgins pose and the rendering of drapery folds buttress the attribution to Normandy.. Virgin and Child. French. first quarter 14th century. Limestone with traces of paint and gilding. Made in Normandy, France (probably). Sculpture-Stone

Symbolisch vrouwenfiguur: Pictura.Pictura stands on a square plinth on the left leg and with the curved judge something aside. In the left hand, she carries a paint jar, a brush for the chest in the right. A veil falls down. She carries a long shirt that leaves left shoulder and chest uncovered, and a mantle beaten around.

Symbolic Woman Character: Gravura. Gravura stands on a square plinth on the right leg and bent with the left. With the right hand, she holds a large writing tablet to himself and has a writing stick in the left, which she late. She is dressed in a classic robe.

Archangel Gabriel, from an Annunciation, Master of Koudewater (follower of), 1470 - 1490 Northern Brabant oak (wood) Northern Brabant oak (wood)

Saint Jerome. Culture: Austrian. Dimensions: H: 31 1/2" (80 cm). Date: 15th century. Museum: Metropolitan Museum of Art, New York, USA.

Saint Denis 14th century French. Saint Denis. French. 14th century. Stone, paint. Sculpture

Jean-Baptiste Carpeaux (1827-1875). Paul and Virginia. Patinated plaster. Museum of Fine Arts of the City of Paris, Petit Palais. 79394-7 Character of novel, pattero patina, portrait, sculpture in the foot, 19th XIXth 19th 19th 19th 19th 19 Center, couple

Portrait of Faustina the Elder; Unknown; Roman Empire; 140 - 160; Marble; Object: H: 209 cm (H: 82 5/16 in.)

Fall 1800-1810 American Personifications of the four seasons were common subjects for engravers and printmakers in the eighteenth century, but carved wood statuettes such as these are exceedingly rare. In this set of figurines (1971.180.83-.86), the seasons are identified by their attributes: Spring by flowers, Summer by wheat, Autumn by a basket of fruit, and Winter by a muff. Other than for ships figureheads, there was little demand in the United States for sculptural carving during this time period. The surviving examples of non-maritime wood sculpture originated almost exclusively in Boston or Salem, Massachusetts.. Fall. American. 1800-1810. Wood. Possibly made in Salem, Massachusetts, United States; Possibly made in Boston, Massachusetts, United States

Luisa Deti (d. 1557) after 1604 Ippolito Buzio Italian Buzio was one of the preeminent sculptors at the turn of the seventeenth century in Rome, producing full-length sculptures, busts and fountains for members of the Roman aristocracy. This portrait may represent Luisa Deti (d. 1557), the mother of Pope Clement VIII (1536-1605), and was originally intended for the Aldobrandini family chapel in Santa Maria sopra Minerva in Rome.. Luisa Deti (d. 1557) 194671

Marble portrait bust of a woman ca. A.D. 193-211 Roman In the early third century A.D., some marble busts became so deep as to be almost half-statues and often included the arms, giving the image a lively appearance. This young woman has a hair arrangement made popular by Julia Domna, wife of the emperor Septimius Severus (r. A.D. 193-211) and mother of the emperor Caracalla (r. A.D. 211-217). Parted at the center, long locks framed the face, covering the ears and falling almost to the shoulders before looping back to form a bun at the back of the head.. Marble portrait bust of a woman. Roman. ca. A.D. 193-211. Marble. Severan. Stone Sculpture

The industry.

DURET, Francisque Joseph (n.1804-10-19-D.1865-05-26), Rachel in the role of Phèdre (username), 1849. Bronze with brown patina and gilding ups. Museum of Romantic Life.

Mourning Virgin, early 1400s. Austria, Upper Rhine, 15th century. Gilt copper; overall: 15.3 cm (6 in.).

Virgin and Child. South Netherlandish or German (Rhineland). Date: 1350-1375. Dimensions: H: 16.8 cm (6 5/8 in. ). Ivory. Origin: Meuse. Museum: The Chicago Art Institute, Chicago, USA.

Judith with the Head of Holofernes, 1750, Ignazio Collino, Italian (Turin), Italian (Turin) 1706 - 1787, 27 1/2 × 12 × 8 in. (69.85 × 30.48 × 20.32 cm), Terracotta, Italy, 18th century, As told in the Bible, the Jewish heroine Judith slew the Assyrian general Holofernes, who had laid siege to her city. Pretending to desert her people, Judith attracted the attention of Holofernes, who invited her into his tent. When he passed out drunk, she beheaded him. Here, Judith is shown in a solemn and heroic pose, her upturned head a sign of the divine inspiration that enabled her to save her people.

St. Margaret ca. 1520 German. St. Margaret. German. ca. 1520. Limewood. Made in Swabia. Sculpture-Wood

Figure; wood, carved and painted

Karyatide: the right science ..

Westalka (Great Herkulka); Koenigliche Porcellain Fabrique, Meissen (1710-1763), Matthäi, Johann Gottlob (1753-1832); XVIII/19th century (1780-00-00-1815-00-00);

Female Musician 618 CE-906 CE China. Earthenware with polychrome pigments .

Female Musician. China. Date: 618 AD-906 AD. Dimensions: 20.9 × 13.3 × 13.5 cm (8 1/4 × 5 1/4 × 5 5/16 in.). Earthenware with polychrome pigments. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Figura de alabastro procedente del sepulcro de Bernat de Pau, siglo XV. Museu-Tresor de la Catedral de Girona / Museo Tesoro de la Catedral de Gerona. Museum: Museu Tresor de la Catedral, Girona.

'St Susanna'. Italy, 17th - first half of the 18th century. Dimensions: height: 28,0 cm. Museum: State Hermitage, St. Petersburg.

Female Bust, c. 1470-1500. Austria, 15th century. Painted and gilded lindenwood; overall: 52.7 cm (20 3/4 in.).

Terracotta statuette of a woman Greek, South Italian, Tarentine late 3rd century BCE This figure may represent a maenad, a follower of Dionysos, god of wine. She wears a wreath of ivy and korymboi (ivy berries), and her garment is draped to leave her right breast bare. View more. Terracotta statuette of a woman. Greek, South Italian, Tarentine. late 3rd century BCE. Terracotta. Hellenistic. Terracottas

Italy, Sicily, Taormina, Statue representing an Isis priestess, marble

Anonymous. "Juno seated". Metal, silver. 1st century. Museum of Fine Arts of the City of Paris, Petit Palais. 99931-13 Antiquity, money, middle of the 1st 1st 1st 1st century, metal, ancient

SANTA BARBARA-TALLA EN MADERA-PROCEDE CAPILLA UNIVERSITARIA. Author: FELIPE BIGARNY (1475/1543). Location: ESCUELAS MENORES-MUSEO UNIVERSITARIO. SALAMANCA. SPAIN. PATRONA DE LA ARTILLERIA. SANTA BARBARA (273-306) BARBARA DE NICOMEDIA.

Angel. Culture: French. Dimensions: H: 26 1/2" (67 cm). Date: late 13th century. Museum: Metropolitan Museum of Art, New York, USA.

Italy. Rome. Palazzo Massimo. Sculpture of Minerva.

Mary Magdalene, Master of the Emmerich Saints (circle of), c. 1480 - c. 1500 Standing female saint. She has a diadem on her head. With her right hand, she holds an open book against her. Her left hand is missing. The image is related to a group of images that can be located in Utrecht. However, all images are from different hand. sculptor: UtrechtLower Rhine region oak (wood) Standing female saint. She has a diadem on her head. With her right hand, she holds an open book against her. Her left hand is missing. The image is related to a group of images that can be located in Utrecht. However, all images are from different hand. sculptor: UtrechtLower Rhine region oak (wood)

Belvedere museum. Viennese woodcarver. Kneeling Virgin. 15 th century. Vienna. Austria.

Maria met kind. .

Virgin and Child, c. 1510-1515. South Netherlands, Malines, 16th century. Painted and gilded walnut; without base: 43.5 x 15.9 cm (17 1/8 x 6 1/4 in.).

Marble statue of Muse Urania

Bronze statuette of a priest sacrificing. Culture: Roman. Dimensions: H. 9 3/4 in. (24.8 cm). Date: late 1st century B.C..He holds and incense box in his left hand. Museum: Metropolitan Museum of Art, New York, USA.

Marble statue portraying Roman matron, from colony of Cirta, Algeria

Victory Alighting on Earth 1809 Gilles-Lambert Godecharle The Paris-trained Godecharle became the most important Neoclassical sculptor of Belgium. This enchanting statuette served as the model for a relatively stolid marble statue that stands in a niche in the royal palace of Laeken. Ordered at a time when the emperor Napoleon I included Laeken among his possessions, the figure is to be understood in the self-congratulatory context of French victories, interpreted as bringing peace to the world, or at least that part of the world upon which this winged Victory alightsthe orb is inscribed with the names of countries of the Mediterranean, including Portugal and Spain, where Napoleon's vast designs by this time had infact been stymied. Our terracotta girl formerly grasped an olive branch of peace along with the drapery in her lowered hand, while the upraised hand once brandished a trumpet.[James David Draper, 1998. Victory Alighting on Earth. Gilles-Lambert Godecharle (Brussels, Belgium

Nydia, the Blind Flower Girl of Pompeii 1853-54; carved 1859 Randolph Rogers American "Nydia, the Blind Flower Girl of Pompeii" was the most popular American sculpture of the nineteenth century. According to Rogers, it was replicated 167 times in two sizes. The subject was drawn from "The Last Days of Pompeii" (1834), a widely read novel by Lord Edward Bulwer-Lytton, which ends with the eruption of Mount Vesuvius in a.d. 79. Rogerss evocative portrayal of Nydia highlights her heroic attempt to lead two companions out of the burning, ash-covered city. Her closed eyes and staff allude to her blindness, while the hand raised to her ear refers to her acute sense of hearing. The destruction of Pompeii is symbolized by the broken Corinthian capital beside her right foot. Listen to experts illuminate this artwork's story Listen Play or pause #99. Nydia, the Blind Flower Girl of Pompeii, Part 1 Play or pause #99. Nydia, the Blind Flower Girl of Pompeii, Part 2 Play or pause #99. Nydia, the Bl

Greek terracotta statuette of an 'ephedrismos' group, 3rd century BC. Artist: Unknown

Madonna

National Museum of Ancient Art. Saint Agatha. 15th century. Polychrome limestone..

Bust of a young woman, c. 1400 - c. 1500 Bust of a young woman of polychromed and gilded stucco, placed on a profiled plinth. The face is used to left to the left; On the wavy hair a headscarf, her dress opened by the neck. Siena stucco Bust of a young woman of polychromed and gilded stucco, placed on a profiled plinth. The face is used to left to the left; On the wavy hair a headscarf, her dress opened by the neck. Siena stucco

Commemoration of the proclamation of the 1st of the Republic, 1848 (dummy title) Anonymous. Commemoration of the proclamation of the 1st Republic, 1848 (Apers).

Statue of Athena Parthenos, Roman copy of original by Phidias of 2nd century B.C.

Statuette of a woman 3rd century B.C. Greek. Statuette of a woman 255447

Washer at the Phrygian cap, 1848 Anonymous. "Washer at the Phrygian cap, 1848". Polychrome terracotta.

Gravestone of Apollonia; Greece; about 100 B.C; Marble with polychromy; 112.4 × 63.5 × 20 cm, 308.4 kg (44 1,4 × 25 × 7 7,8 in., 680 lb.);

Marble stele (grave marker) of a woman mid-4th century B.C. Greek, Attic This noble image of a woman brings to mind the philosopher Aristotle's description of commonly held beliefs about the dead: "In addition to believing that those who have ended this life are blessed and happy, we also think that to say anything false or slanderous against them is impious, from our feeling that it is directed against those who have already become our betters and superiors" (Of the Soul, quoted in Plutarch, A Letter to Apollonius 27). Larger than life and seated on a thronelike chair, this figure assumes almost heroic proportions.. Marble stele (grave marker) of a woman. Greek, Attic. mid-4th century B.C.. Marble. Late Classical. Stone Sculpture

An Allegory ofModesty. Artist, attributed to: Giovanni della Robbia, Italian, 1469-1529/1530

Female Attendant, one of five, 7th century, 12-3/8 x 3-1/2 x 3 in. (31.4 x 8.9 x 7.6 cm), Glazed ceramic, pigment, China, 7th century

DETALLE - SANTO ENTIERRO - MADERA DE NOGAL - SIGLO XVI - PROCEDENTE DE LA RIOJA. Location: MUSEO MARES-COLECCION. Barcelona. SPANIEN.

Standing youth. Culture: Cypriot. Dimensions: H. 5 3/8 in. (13.7 cm). Date: 3rd century B.C..The figurine is mold-made and solid. The back is handmade, flattened, and pared. He stands frontally with his legs apart; a panel of clay connects the legs for support. Museum: Metropolitan Museum of Art, New York, USA.

Bust of Juliette Récamier (1777 - 1849); Joseph Chinard, French, 1756 - 1813; France, Europe; about 1801 - 1802; Terracotta; Object including socle: H: 63.2 x W: 32.4 x D: 24.1 cm (H: 24 7/8 x W: 12 3/4 x D: 9 1/2 in.)

Yakshi 99 CE-199 CE Mathura. Red sandstone .

The Archangel Gabriel from an Annunciation Group, c. 1350. France, Paris. Alabaster with traces of paint and gilding; overall: 56.5 x 26 x 10.5 cm (22 1/4 x 10 1/4 x 4 1/8 in.).

Christ in Distress, anonymous, c. 1520 - c. 1530 Christ on the cold stone. Southern Netherlands oak (wood) Christ on the cold stone. Southern Netherlands oak (wood)

BUSTO RELICARIO DE SANTA ALBINA O SANTA URSULA - 1525-1530 - ESCUELA FLAMENCA. Location: MUSEO DIOCESANO DE ARTE SACRO. VITORIA / GASTEIZ. ALAVA. SPAIN.

Pieta. unknown, sculptor

Przeszo Przyszoci Mi Nia (Meissen)

St James the Less, Walter Pompe, 1773 Antwerp terracotta (clay material) Antwerp terracotta (clay material)

Europe 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

The Young Christ (). Dated: c. 1500/1510. Dimensions: overall: 37.6 x 36.9 x 18.2 cm (14 13/16 x 14 1/2 x 7 3/16 in.). Medium: terracotta. Museum: National Gallery of Art, Washington DC. Author: Giovanni Della Robbia.

Italy, Basilicata, Heraclea, West Necropolis statue representing a female figure, terracotta

ASPASIA - 470/410 AC - AMANTE DE PERICLES. Location: MUSEOS VATICANOS-MUSEO PIO CLEMENTINO. VATICANO.

Vestalis Maxima with a mural crown. Priestesses of Vesta. Rome. House of Vestal Virgins. Roman Forum. 2nd century. National Roman Museum (Baths of Diocletian). Rome. Italy.

Mingqi: Standing woman ". Terracotta with yellow and cream glaze. Tang dynasty (618-907). Paris, Cernuschi museum. Chinese art, Chinese ceramic, standing, woman, minqqi, statuette, funeral substitute, terracotta

Statuette of a Draped Female Figure. Unknown

. Isabella of Bourbon, wife of Charles the Bold, Duke of Burgundy died in 1465. Their daughter Mary built a funeral monument for her in the abbey of Saint Michael in Antwerp. The tomb was surrounded by 24 figures of mourning family members and ancestors, known as weepers (pleurants). They symbolized the importance of the Burgundy dynasty. These ten figures are all that remain.

SANTO TORIBIO (LLAMADO ALFONSO DE MOGROVEJO)-S XVII ESCULTURA BARROCA-MADERA POLICROMADA. Author: GREGORIO FERNANDEZ. Location: CATEDRAL. ASTORGA. LEON. SPAIN.

Male Torso, terracotta sculpture from the site of Lavinium-Pratica di Mare, Lazio, Italy. Latin Civilization, 5th Century BC.

Bust of Amphitrite, Anthonie Turck (workshop of), after Ignatius van Logteren, c. 1712 Amsterdam terracotta (clay material) Amsterdam terracotta (clay material)

Emperor Henry IV at Canossa ca. 1770-75 Ubaldo Gandolfi Italian Lacking marble quarries, Bologna developed sculptural traditions that relied on readily available materials such as clay and stucco. In the eighteenth century some Bolognese artists best known for terracotta work were Giuseppe Mazza and Angelo Piò. Even the citys painters tried their hand at clay statuettes, and one such artist who occasionally practiced three-dimensional modeling was Ubaldo Gandolfi. Member of an artistic family that included his brother Gaetano, he was a prolific draftsman, becoming director of drawing at the Accademia Clementina in 1760. [1 The Museums study for The Presentation of the Virgin Mary in the Temple, an altarpiece formerly in the church of San Giovanni in Persiceto, gives a fine impression of Ubaldos ability to define forms with flowing washes of ink. [2 His principal occupation was the painting of church altarpieces in and around Bologna, and he also executed frescoes of mythological s

Diana (), Jean Goujon, c. 1550 - C. 1560 Paris ivory Paris ivory

Amphitrite with Cupid (one of a pair) ca. 1770-80 Ralph Wood the Younger. Amphitrite with Cupid (one of a pair). British, Burslem, Staffordshire. ca. 1770-80. Lead-glazed earthenware. Ceramics-Pottery

Greek statue Kore 675, 6th century BC. Artist: Unknown

Fra' Fazio, by North master, 1370, 14th Century, . Italy: Tuscany: Lucca: San Martino cathedral Museum. Whole artwork. Statue client benefactor man Fra' Fazio monk dress/garment/robe bag purse folds

Female bust dressed in Carthaginian peplos Female bust dressed in Carthaginian peplos, 500-450 BC, Archaeological Museum of Ibiza and Formentera, Spain Copyright: xZoonar.com/Tolox 23005392

Bust of Amphitrite. Lambert Sigisbert Adam; French, 1700--1759. Date: 1720-1730. Dimensions: H. 62 cm (24 in.). Terracotta. Origin: France. Museum: The Chicago Art Institute, FLORENCIA, USA. Author: Lambert Sigisbert Adam.

Saint Bartholomew 1340-1350 Germany. Gilt bronze .

Anonymous (n. - d.), Virgin and child (main title), 1580. Buis. Petit Palais, Museum of Fine Arts of the City of Paris.

Terracotta statuette of a dancing woman 3rd century B.C. Greek, South Italian, Tarentine The bare breast of the figure suggests that she is a maenad, a follower of Dionysos. The well preserved pigments indicate the original bright color of the piece.. Terracotta statuette of a dancing woman. Greek, South Italian, Tarentine. 3rd century B.C.. Terracotta. Hellenistic. Terracottas

Apostle or Saint. Artist: Alonso Berruguete (Spanish, Paredes de Nava (Palencia) 1486-1561 Toledo). Culture: Spanish, Valladolid. Dimensions: confirmed: 40 9/16 × 14 9/16 in., 65 lb. (103 × 37 cm, 29.5 kg). Date: ca. 1520s.The figure's dynamic twist and its finish on three sides suggest that this sculpture stood on an outer corner of a retablos, or a multistoried altarpiece composed of sculptures and paintings. That larger ensemble, and the unidentified chapel or church of its origin, would have provided more clues to the bearded figure's identity.Berruguete visited Italy in the age of Michelangelo and returned to Spain to become one of the country's most important sculptors. His expressive figures, often represented in dramatic movement, stand at the head of that country's centuries-long tradition of carved and painted sculpture. Museum: Metropolitan Museum of Art, New York, USA.

Stands on a quadrangular plinth, in front of the left foot forward. On his left is a sloping foil, of which he holds some leaves with the right. It is wearing a beret and underlet that is visible at the neck and closed with the wrists with buttons, a fur-lined tabbard. This is held together with a band, has a standing collar and wide sleeves returned to the wrists. A flanked scarf is hanging over the shoulders, the long ends of which depend on the front. The loose and low pedestal D cover plate and base consists of roll ornament, shows a ringing tire on the front.

Fernando VI of Spain 18th century Chinese or Philippine The chain around the man's neck may represent the Order of the Golden Fleece, awarded only to Catholic dignitaries. It is unclear whether the pair (see pendant bust 1975.433.2), designed for export, was intended as actual portraits (perhaps representing the Spanish viceroy and his wife, who ruled the Philippines from Mexico City), but the carver no doubt based his work on an engraved or painted European model.. Fernando VI of Spain. Chinese or Philippine. 18th century. Ivory, on curved ebony base. Sculpture-Miniature

Paulus, , 1600 - 1650 Rome bronze (metal) Rome bronze (metal)

Fragment from 'The Mocking of Christ'. Workshop of Cristoforo Mantegazza (Italy, Pavia, active 1464-1482)Antonio Mantegazza (Italy, Pavia, active 1473-1495). Italy, circa 1480. Sculpture. Marble

Fragment of a terracotta relief of a woman and child. Culture: Greek, South Italian, Tarentine. Dimensions: H.: 6 7/8 in. (17.5 cm)Other: 5 1/8 in. (13 cm). Date: 4th century B.C..The fragment probably belongs to a larger composition consisting of a reclining man and this group of a woman and child at his feet. The figures have been identified as the god Dionysos, Persephone, and Iakchos. Museum: Metropolitan Museum of Art, New York, USA.

Greek art. Figured vessel: Goddes with crotales. clay. 4th century BC. From Necropolis of Phanagoria. Taman Peninsula, Black Sea, Rusia. The State Hermitage Museum. Saint Petersburg. Russia.

St. James the Less. Culture: North Netherlandish. Dimensions: Overall: 25 1/2 x 8 1/2 x 5 1/4in. (64.8 x 21.6 x 13.3cm)without base: 23 7/8 x 8 1/4 x 5in. (60.6 x 21 x 12.7cm). Date: ca. 1500. Museum: Metropolitan Museum of Art, New York, USA.

busto femenino vestido con peplo, 500-450 antes de Cristo, Museo arqueológico de Ibiza y Formentera, Patrimonio de la Humanidad «Ibiza, biodiversidad y cultura», Ibiza, balearic islands, Spain.

The Lamentation over the Dead Christ, St John the Evangelist, by Dei Cori Domenico, 14th Century, wood, freestanding and painted. Italy, Tuscany, Siena, San Pietro all'Ovile Church. Detail. St John the Evangelist pitying dead Christ dress: garment gold mantle: cloak red short wavy hair face contracted pain joined hands.

Limestone statuette of a beardless male votary with a wreath of leaves 4th century B.C. Cypriot Young male figure leaning on column.. Limestone statuette of a beardless male votary with a wreath of leaves 242261

St. Francis of Assisi 15th century French. St. Francis of Assisi. French. 15th century. Limestone, paint. Made in Burgundy. Sculpture-Stone

Study for San Niccolo by Agenore Fabbri (1911-1998)

Bust ofCupid. Artist: Bertel Thorvaldsen, Danish, 1770-1844

Statue of a Muse. Unknown

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