Figurative Sculptures

Bronze and terracotta sculptures depicting figures in various poses, ranging from classical to caricatural styles, emphasizing human expressions.

Jean-Pierre Dantan (1800-1869) said Dantan the young. Caricature of the lawyer, politician, Adrien d'Epinay (1794-1839). Terracotta patinated plaster. 1834. Paris, Carnavalet museum. French, politician, lawyer, patina patina, terracotta, caricature

Satyr sitting on a turtle, ink jar, Alessandro Castellani (attributed to), c. 1860 - in or before 1889 He is sitting with the left leg raised and backwards on a turtle shield. He holds the right hand on the shell that stands for him, the left leans on the head of a dolphin. A grin is on his face, picking hair standing upright behind the horns. Sculptor: Romesculptor: Romesculptor: Florence bronze (metal) He is sitting with the left leg raised and backwards on a turtle shield. He holds the right hand on the shell that stands for him, the left leans on the head of a dolphin. A grin is on his face, picking hair standing upright behind the horns. Sculptor: Romesculptor: Romesculptor: Florence bronze (metal)

Jean-Pierre Dantan (1800-1869), said Dantan the young. Portrait charge of Alexandre Batta (1816-1902), Belgian cellist. Terracotta patinated plaster. 1836. Paris, Carnavalet museum. Belgian, pattero patina, load portrait, terracotta, cellist, caricature

Cupid 16th century Northern Italian. Cupid. Northern Italian. 16th century. Bronze. Sculpture-Bronze

Woman Stretching. Dated: c. 1896/1911. Dimensions: overall without base: 36.4 x 20.2 x 15.4 cm (14 5/16 x 7 15/16 x 6 1/16 in.). Medium: pigmented beeswax, metal armature, on wooden base. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

Jean-Pierre Dantan (1800-1869), said Dantan the young. Portrait charge of Louis-Antoine-Eléonore Ponchard (1787-1868), lyrical singer, in the role of Georges de la Dame Blanche. Patinated plaster, terracotta. 1832. Paris, Carnavalet museum. Lyric singer, pattero patina, load portrait, terracotta, caricature

The Rape of a Sabine Woman, Giambologna (after), Giambologna (rejected attribution), c. 1600 - c. 1625 On a rocky bottom there is a victorious Roman with legs spread over a conquered, crushed Sabine, with both arms a stir -out virgin above him, through which it bends diagonally backwards; She lies diagonally against his chest and on his left arm, with which he includes her back and shoulders; His right hand is on her thigh. She turns her face with open mouth away from him, stretching the arms, spreads her fingers and keeps her legs tight against each other. The crushed Sabijn bends under the back of the Roman left forward and is feared with fear to the man standing above him; He holds one hand with spread fingers for the face and leans with the other on the rock bottom. sculptor: Florencebrazier: Southern Germany (possibly) bronze (metal) On a rocky bottom there is a victorious Roman with legs spread over a conquered, crushed Sabine, with both arms a stir -out virgin above him, through

Jean-Pierre Dantan (1800-1869) said Dantan the young. Caricature of the lawyer, politician, Adrien d'Epinay (1794-1839). Terracotta patinated plaster. 1834. Paris, Carnavalet museum. French, politician, lawyer, patina patina, terracotta, caricature

MARIA MAGDALENA. Author: JUAN DE JUNI (1507-1577). Location: MUSEO NACIONAL DE ESCULTURA-COLECCION. Valladolid. SPAIN.

German 16th Century, Christ Crowned with Thorns, fourth quarter 16th century Christ Crowned with Thorns

Woman Taken Unawares modeled probably ca. 1896, cast 1920 Edgar Degas French Upon Degas's death in 1917, more than 150 figurative sculptures were found in his studio. Most were made of fragile wax, clay, and plastiline (a wax- and oil-based modeling material). Many had deteriorated. Only a few were preserved in copies that had been cast from them in plaster. Except for the wax Little Fourteen-Year-Old Dancer (Washington: NGA) none of these sculptures had been publicly exhibited during the artists lifetime.Although Degas had not favored reproducing his sculptures in more permanent materials, his heirs authorized that copies be cast in bronze in order to preserve the compositions and to sell them as finished works. Paul-Albert Bartholomé, a sculptor and Degas's longtime friend, prepared 72 of the figures for casting, a process executed by the distinguished Paris foundry A.-A. Hébrard et Cie. The quality of the Degas bronzes was tightly controlled and their edition was limited. Only twen

Dancer Adjusting the Shoulder Strap of Her Bodice. Dated: 1880s/1890s. Dimensions: overall without base: 35.3 x 11.7 x 9.4 cm (13 7/8 x 4 5/8 x 3 11/16 in.). Medium: pigmented beeswax, metal armature, on wooden base. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

Standing male figure, early 20th century, 7 1/8 × 2 1/4 × 2 1/4 in. (18.1 × 5.72 × 5.72 cm) (with base), Wood, metal, Democratic Republic of Congo, 20th century

Bound Asiatic Captive 664-525 B.C. Late Period, Saite. Bound Asiatic Captive 548237

Woman Seated in an Armchair, Wiping Her Left Armpit. Dated: c. 1890s. Dimensions: overall without base: 32.2 x 18.9 x 33.6 cm (12 11/16 x 7 7/16 x 13 1/4 in.) height (of figure): 27.7 cm (10 7/8 in.). Medium: pigmented beeswax, plastiline, metal armature, cork, wood, on wooden base. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

Attributed to Francesco Righetti, Apollino of the Villa Medici, c 1775 1820 Apollino of the Villa Medici

Woman Seated in Armchair Wiping Her Left Armpit Edgar Degas French Cast by A.-A. Hébrard et Cie modeled probably ca. 1895, cast 1920 Upon Degas's death in 1917, more than 150 figurative sculptures were found in his studio. Most were made of fragile wax, clay, and plastiline (a wax- and oil-based modeling material). Many had deteriorated. Only a few were preserved in copies that had been cast from them in plaster. Except for the wax Little Fourteen-Year-Old Dancer (Washington: NGA) none of these sculptures had been publicly exhibited during the artists lifetime.Although Degas had not favored reproducing his sculptures in more permanent materials, his heirs authorized that copies be cast in bronze in order to preserve the compositions and to sell them as finished works. Paul-Albert Bartholomé, a sculptor and Degas's longtime friend, prepared 72 of the figures for casting, a process executed by the distinguished Paris foundry A.-A. Hébrard et Cie. The quality of the Degas bronzes was tig

The Clenched Left Hand (Study for Hand of Pierre de Wiessant). Artist: Auguste Rodin (French, Paris 1840-1917 Meudon). Culture: French. Dimensions: Overall (wt. confirmed): 18 1/4 × 10 3/8 × 7 5/8 in., 23.1 lb. (46.4 × 26.4 × 19.4 cm, 10.5 kg). Founder: Cast by Georges Rudier (French). Date: modeled ca. 1885, cast 1974.To Rodin, hands communicated as forcefully as the human face. His independent sculptures of hands are portraits of emotions. This emphatically modeled, dramatically gesturing hand--that both seeks and draws away, that clenches but cannot grasp--is one of Rodin's most compelling depictions of powerless despair. Museum: Metropolitan Museum of Art, New York, USA.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia80. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Tony-Noël, Paul (Edme-Anthony-Paul Noël, dit) (n.1845-01-27-D.1909-10-03), Antoine Vernet (Main title), 1865. Patinated plaster. Petit Palais, Museum of Fine Arts of the City of Paris.

Italy, Florence, bronze statuette of Orpheus

Thorn Extractor. Henri Matisse; French, 1869-1954. Date: 1906. Dimensions: 7 15/16 × 5 1/2 × 6 in. Bronze. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Woman Cutting Her Nails. Dated: early 17th century. Dimensions: overall: 8.2 x 5.1 x 6 cm (3 1/4 x 2 x 2 3/8 in.). Medium: bronze//Black lacquer (much rubbed) over medium brown bronze; traces of gilding on drapery and seat. Museum: National Gallery of Art, Washington DC. Author: Workshop of Barthélemy Prieur.

Jean-Baptiste Carpeaux (1827-1875). Venus disarming love. Patinated plaster, 1869. Museum of Fine Arts of the city of Paris, Petit Palais. 78930-29 Allegorie, love, deesse Greco-Romaine, Roman deesse, Greek-Roman divinity, Roman divinity, child, woman, ancient influence, Greco-Roman mythology, Roman mythology, allegorical character, mythological character, pattero patter, statue, 19th XIX 19EME 19th 19 century, Putto

Fountain, 1920. Jessica McMurray (American). Bronze; overall: 67.3 x 21 x 21 cm (26 1/2 x 8 1/4 x 8 1/4 in.).

Florentine 15th Century, Wreathed Boy with Hands Raised, mid 15th century Wreathed Boy with Hands Raised

Dancer Putting on Her Stocking (Third State) modeled before 1910, cast 1920 Edgar Degas French Upon Degas's death in 1917, more than 150 figurative sculptures were found in his studio. Most were made of fragile wax, clay, and plastiline (a wax- and oil-based modeling material). Many had deteriorated. Only a few were preserved in copies that had been cast from them in plaster. Except for the wax Little Fourteen-Year-Old Dancer (Washington: NGA) none of these sculptures had been publicly exhibited during the artists lifetime.Although Degas had not favored reproducing his sculptures in more permanent materials, his heirs authorized that copies be cast in bronze in order to preserve the compositions and to sell them as finished works. Paul-Albert Bartholomé, a sculptor and Degas's longtime friend, prepared 72 of the figures for casting, a process executed by the distinguished Paris foundry A.-A. Hébrard et Cie. The quality of the Degas bronzes was tightly controlled and their edition was

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

Model of a figurehead of Johan van Barneveld, Anonymous, 1800 - 1850

Desca, Edmond (n.1855-11-26-D.1918-06-22), Pensive (or thinking) (main title), 1875. Plaster. Petit Palais, Museum of Fine Arts of the City of Paris.

Alexandre Jean Joseph Falguière (1831-1900). Monument to Bizet. Terracotta. 1898. Museum of Fine Arts of the City of Paris, Petit Palais. French composer, sketch, monument, French musician

The Vow of Vengeance 1894 United States. Hermon Atkins MacNeil modeled The Vow of Vengeance in Chicago in 1894, a year after he had worked on sculptural decorations for the Worldís Columbian Exposition. He grew interested in Native American culture at the fair, where he encountered ethnographic displays and performers from Buffalo Billís Wild West Show. His first freestanding Indian sculpture, The Vow of Vengeance depicts an elder chieftain guiding a young brave as he shoots an arrow skyward. The individualistic modeling of the man suggests study from life, while the youthís graceful pose adheres more closely to neoclassical idealism. The sculpture later served as inspiration for The Sun Vow, MacNeilís large-scale bronze (1926.1503).. Bronze . Hermon Atkins MacNeil

Mother Ape 1595-96 Camillo Mariani Italian A tailless barbary ape performs a mothers balancing act. With her long arms she originally clutched two baby apes to her shoulder. The arm and leg of one of them can still be seen dangling along her left side, and its head originally lolled back against hers. The remains of four digits and of a footpad, as well as various surface gouges in the bronze, permitted Richard E. Stone to reconstruct the position of the missing second baby: it climbed up along the mothers right side, resting its right paw on her knee and reaching its arms around her to grab the arms of the first baby.[1 One of the mothers legs extends downward, as if to test water in a pool beneath; she has bent the other up against her body to steady herself. While the babies cavort, she carefully controls her charges, as her concentrated expression makes clear. The texture of the fur, the details of the clenched paws, and the postures of the apes all make this one of the most vi

Acrobat. Artist: Gaston Lachaise, American, born France, 1882-1935

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia89. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Anonymous. "Carrier". Metal composition. 1830-1830. Paris, Carnavalet museum.

Italy, Province of Bolzano-Bozen, Vandoies, Statuette representing Hercules (Heracles), bronze

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

Bronze figure of awarrior. Artist, attributed to: Hartog Master

Satyr Holding a Boy Satyr on his Shoulder 16th century possibly Italian, Padua. Satyr Holding a Boy Satyr on his Shoulder. possibly Italian, Padua. 16th century. Bronze. Sculpture-Bronze

Hospital bed crowning. Fontana, Jakub (1710-1773), designer, Redler, Jan Chryzostom (fl. ca 1743-1773), woodcarver

Saint Michael Overcoming Satan. Artist: Cast by Edward William Wyon (British, 1811-1885); Based on a composition by John Flaxman (British, York 1755-1826 London). Culture: British, London. Dimensions: Height: 20 3/4 in. (52.7 cm). Date: 1842.This work was based on a composition dating between 1819 and 1824 by John Flaxman (1755-1826). It was cast by Edward William Wyon (1811-1885) for the Art Union of London. Museum: Metropolitan Museum of Art, New York, USA.

Figurka Priapa. warsztat rzymski, workshop

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia89. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Dziewczyna ze sztandarem. Wiciński, Henryk (1908-1943), sculptor

Kinderherm, Niccolò Roccatagliata (workshop of), c. 1600 bronze (metal) bronze (metal)

Frederick William MacMonnies, Young Faun with Heron, model 1890, cast 1894 1904 Young Faun with Heron

Mingqi: Lady standing ". Terracotta, traces of white coating. Han dynasty (206 BC-220 AD). Paris, Cernuschi museum. Chinese art, lady, standing, han dynasty, han time, woman, mingqi, statuette, funeral substitute, terracotta

Aimé-Jules Dalou (1838-1902). "Sitting man," said Edouard Pailleron seated ". Terracotta, 19th century. Museum of Fine Arts of the City of Paris, Petit Palais. Cross leg, French writer, seated man, terracotta

Meleager Seated on a Boar. Culture: possibly British. Dimensions: Height: 8 in. (20.3 cm). Date: 17th-18th century. Museum: Metropolitan Museum of Art, New York, USA.

ESCULTURA-EL ABRAZO. Author: CRISTINO MALLO-CRISTINO GOMEZ GONZALEZ. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Statuette of a Nude Male Figure. Unknown

Orphan; Drexler, Luna (1882-1933); 1905 (1905-00-00-1905-00-00);

Statuette of a Sphinx from a Barque Standard Made 984 BCE-715 BCE Egypt. The sphinx god Tutu stood on the bows of the sacred boats that carried statues of the pharaoh and the gods. The power of the sphinx, represented by the head of the king and the body of a lion, is further emphasized by the two cobras that rear up at its paws.. Copper alloy . Ancient Egyptian

Male Figure. Iran, Iron Age II-III, about 1000-650 B.C.. Sculpture. Bronze, cast

Chinese Man, anonymous, c. 1695 - c. 1720 Faaience men's figure. Blue painted. Delft . Faaience men's figure. Blue painted. Delft .

Scholar's rock China. Scholar's rock 53123 China, Rock in the form of a fantastic mountain, Black Lingbi limestone; wood stand, Overall (with base): H. 18 3/8 in. (46.7 cm); W. 12 7/8 in. (32.7 cm); D. 6 5/8 in. (16.8 cm). The Metropolitan Museum of Art, New York. Gift of Richard Rosenblum Family, 2009 (2009.512.1a, b)

Terracotta vase in the form of a pygmy carrying a dead crane. Culture: Greek, South Italian. Dimensions: H. 3 1/4 in. (8.3 cm). Date: 3rd century B.C..Mythic battles between pygmies and cranes are amusing subjects in Greek art with a long tradition. The combats were thought to take place on the fringes of the southern part of the world. Museum: Metropolitan Museum of Art, New York, USA.

Small Nude; Piccolo Nudo. Marino Marini (1901-1980). Bronze with greenish/brown patina. Cast in 1943. 53.4cm.

Les Deux Soeurs Henri Laurens (1885-1954 French) Sculpture Christie's Images, London, England

Persian man kneeling, Roman copy after the original statue by the School of Pergamon

Gestas, the Impenitent Thief, from a Calvary, anonymous, c. 1530 Antwerp oak (wood) Antwerp oak (wood)

Alexandre Jean Joseph Falguière (1831-1900). Monument to Ambroise Thomas. Terracotta. 1898. Museum of Fine Arts of the City of Paris, Petit Palais. French composer, sketch, monument, French musician

Bronze statuette of a youth 4th-3rd century B.C. Etruscan Nude youth.. Bronze statuette of a youth. Etruscan. 4th-3rd century B.C.. Bronze. Late Classical-Early Hellenstic. Bronzes

Medicine Man. Dated: c. 1937. Dimensions: overall: 30.4 x 22.9 cm (11 15/16 x 9 in.). Medium: watercolor, graphite, and colored pencil on paperboard. Museum: National Gallery of Art, Washington DC. Author: Yolande Delasser.

Summer, Anonymous, c. 1740 - c. 1760 Figure multi -colored painted representing the summer. Braunschweig . Figure multi -colored painted representing the summer. Braunschweig .

ESCULTURA-TORSO DE PIE. Author: CRISTINO MALLO-CRISTINO GOMEZ GONZALEZ. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Circle of Hubert Gerhard, Saint Sebastian, early 17th century Saint Sebastian

Allegory of War late 16th-early 17th century, after models from ca. 1585-86 After a model by Girolamo Campagna This figure and its pair (14.40.692) are derived from Girolamo Campagna's marbles of Peace and War above the Porta al Senato, Sala delle Quattro Porte, Palazzo Ducale, Venice.. Allegory of War. After a model by Girolamo Campagna (Italian, Verona 1549-1625 Venice). Italian, Venice. late 16th-early 17th century, after models from ca. 1585-86. Bronze. Sculpture-Bronze

Young Sophocles Leading the Chorus of Victory after the Battle of Salamis Cast 1911 Providence. Bronze with green patina . John Donoghue (Sculptor)

Enthroned deity ca. 14th-13th century B.C. Canaanite This small seated figure would have originally sat on a separately made chair or stool. A tang at the feet and another at the buttocks would have held it in place. He wears a long gown and a conical hat with a small knob at the top. His large eyes may once have held inlays of another material. One arm is missing but both would have been bent from the elbow, with hands most likely held forward in a peaceful gesture. The bronze body is covered with a fairly thick layer of gold foil, which would have protected the underlying material from weathering, added to his radiant appearance, and indicated his divine nature. The seated pose, enlarged features, hat shape, and gold foil overlay ultimately all identify him as a deity. The figure may have had a ritual purpose as a votive or cult statue.During the second millennium B.C. in the Levant, small statues of Canaanite gods were produced that incorporated elements from a variety of cultures.

Statuette of the Child Amenemhab ca. 1550-1479 B.C. New Kingdom Amenemhab is identified by his nudity as a very young boy. His closely cropped head is also an attribute of childhood, while the closed lotus bud he holds against his chest may allude to a hope of resurrection. The figure is remarkable for the sensitive rendering of the youthful body and childish face.The statuette was found inside the coffin of a woman named Ahhotep Tanodjmu (Ahhotep the sweet) together with a wooden statuette of a youth named Huwebenef (26.7.1414a, b). Both statuettes were dedicated by the boys' father, Djehuty. It is logical to assume that Ahhotep was the mother of the two youngsters.A fine scarab (26.7.575) was also found in the coffin.. Statuette of the Child Amenemhab. ca. 1550-1479 B.C.. Bronze, separate silver lotus, wood base with pigmented inlays. New Kingdom. From Egypt, Upper Egypt, Thebes, Asasif, Tomb CC 37, Hall (C), burial 24, inside coffin, Carnarvon/Carter excavations, 1911. Dynasty 18, e

Henri Emile Allouard. "Portrait of Richelieu (1585-1642), ecclesiastics and statesman". Bronze patinated plaster. Paris, Carnavalet museum.

Jean-Pierre Dantan (1800-1869), said Dantan the young. Portrait load of Jean-Zulema Amussat (1796-1856), surgeon. Terracotta patinated plaster. Paris, Carnavalet museum. French surgeon, patina patina, terracotta, caricature

Honoré Daumier, Auguste Gady, model c 1832 1835, cast 1929 1950 Auguste Gady

Celestial Musician. India, Tamil Nadu, Madurai, 17th century. Sculpture. Patinated ivory

Mercury. Artist: After a model by Giambologna (Netherlandish, Douai 1529-1608 Florence). Culture: Italian. Dimensions: Overall (confirmed, width and depth subjective depending on rotation): 13 1/4 × 4 3/8 × 6 3/4 in. (33.7 × 11.1 × 17.1 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Statuette of Phrixos. Unknown

Bes on a column holding a knife 664-30 B.C. Late Period-Ptolemaic Period Although often named simply Bes, this unusual figure is properly termed a Bes-image because it serves to represent a number of different deities who were protective gods, often with a close association to the protection of women and children during and after childbirth. The Bes-image has a mixture of attributes, displaying a dwarfs body but also incorporating leonine features, such as a lions mane and tail. The Bes-image normally wears a feathered crown, which is broken on this figure. Here "Bes" stands on a papyrus column and brandishes a knife, which he would have used to attack and subdue any malignant forces that would threaten the owner. Bes-images could be standalone offerings, as this one may have been, but they were also frequently incorporated into furniture or personal items to bring good fortune and protection daily. Bes figures had no central cult location, but they were widely manufactured and were

the goddes Aphrodites, bronze, Graeco Roman Period, Musei Vaticani, State of the Vatican City, Roma, Lazio, Italia.

Eva, Study of a Nude, 1913. Emil Fuchs (American, 1866-1929). Bronze; with base: 41.9 cm (16 1/2 in.).

Lying woman, 1500 - 1600 Italy bronze (metal) Italy bronze (metal)

'Cupid'. Italy. Florence, Second half of the 15th century. Dimensions: height: 13,5 cm. Museum: State Hermitage, St. Petersburg.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia29. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Dionysus Attended by Two Bacchantes. Jean-Baptiste Deschamps (France, 1841-1867). France, circa 1865. Sculpture. Wax with metal and wood accoutrements

Kneeling Boy, 1500s. China, Ming dynasty (1368-1644). Ivory; overall: 11 cm (4 5/16 in.).

LaPéri. Artist: Malvina Cornell Hoffman, American, 1885-1966

Bronze statue of an Amorino (infant cupid) with a dolphin from the Thermae (baths) at Regio IX, Insula IV, 5. Illustration drawn by Miss Amy Butts and lithographed by J.G. Bach from Emil Presuhn's "Pompeji. Die Neuesten Ausgrabungen von 1874-1881," Weigel, Leipzig, 1882. German archeologist Presuhn (1844-1881) lived in Italy for eight years and, with Mr. Discanno and Miss Amy Butts, made exact copies of many wall paintings that are now lost.

Jean-Pierre Dantan (1800-1869), known as Dantan young. Caricature of the surgeon Jean-Jacques-Joseph Leroy, dit d'etiolles (1798-1860). Bronze, 1837. Paris, Carnavalet museum. 53174-6 Kneeling, bronze, German composer, man, musician, portrait, caricatural style, caricature

Tony-Noël, Paul (Edme-Anthony-Paul Noël, dit) (n.1845-01-27-D.1909-10-03), standing girl (Mademoiselle Tony Noël) (main title), 1865. Terracotta. Petit Palais, Museum of Fine Arts of the City of Paris.

ESCULTURA-CISNE 1968-BRONCE 57X65X80 CM. Author: VENECIANO A. Location: FUNDACION SANTANDER CENTRAL HISPANO. MADRID. SPAIN.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia30. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Hercules Delivering the Erymanthean Boar to Eurystheus last quarter 17th century François Lespingola Hercules fourth Labor was to drag before King Eurystheus a wild boar that had been wreaking devastation around Mount Erymanthus. This spirited composition divulges some of Lespingolas experiences in Italy between 1672 and 1675. The figure of Hercules is poised to fling the beast in the same way David is ready to sling his shot at Goliath in the marble masterpiece by Gian Lorenzo Bernini (1623-24; Galleria Borghese, Rome). Presumably Lespingola got to know the dramatic bronze groups invented by Massimiliano Soldani and Giovanni Battista Foggini in Florence. His are ruggedly textured, their reddish metal having been lightly peened all over to producesurfaces as lively and painterly as the compositions themselves.. Hercules Delivering the Erymanthean Boar to Eurystheus 203958

Woman Seated in an Armchair Wiping Her Neck modeled probably before 1902, cast 1920 Edgar Degas French Upon Degas's death in 1917, more than 150 figurative sculptures were found in his studio. Most were made of fragile wax, clay, and plastiline (a wax- and oil-based modeling material). Many had deteriorated. Only a few were preserved in copies that had been cast from them in plaster. Except for the wax Little Fourteen-Year-Old Dancer (Washington: NGA) none of these sculptures had been publicly exhibited during the artists lifetime.Although Degas had not favored reproducing his sculptures in more permanent materials, his heirs authorized that copies be cast in bronze in order to preserve the compositions and to sell them as finished works. Paul-Albert Bartholomé, a sculptor and Degas's longtime friend, prepared 72 of the figures for casting, a process executed by the distinguished Paris foundry A.-A. Hébrard et Cie. The quality of the Degas bronzes was tightly controlled and their edit

Seated Women Holding Mirror Artist's working dates 618 CE-906 CE China. Earthenware with three-color (sancai) lead glazes and traces of polychrome pigments .

Five-light candelabrum (one of a pair) ca. 1785 derives from a model by Clodion (Claude Michel) French Functional and highly decorative bronzes dameublement, the so-called furnishing bronzes - wall lights, candelabra and other types of lighting, firedogs, hearth fittings and clocks - were an important aspect of eighteenth century décor. Well-known artists and sculptors were frequently involved in their design, closely following the latest styles. Here, in a design derived from a model by the sculptor Clodion (Claude Michel, Nancy 1738-1814) a male (58.75.123) and a female faun (58.75.124), half-human and half-goat like mythological creatures, each hold a five-light candelabrum. The spiral fluted support of the candle branches takes the form of a cornucopia laden with fruits and flowers. The contrast of the patinated bronze figures with the gilt bronze candelabra is particularly striking: the juxtaposition of gilded and patinated bronzes became fashionable in the neo-classic period. Th

Statuette of Hercle. Unknown

Herakles the Archer, 1908-1909. Emile Antoine Bourdelle (French, 1861-1929). Bronze; overall: 61.6 x 59.1 cm (24 1/4 x 23 1/4 in.).

Gama Sennin carrying the three-legged toad, mid 19th century, Kunimitsu, Japanese, active mid-19th century, 2 11/16 x 1 1/16 x 15/16 in. (6.8 x 2.7 x 2.4 cm), Ivory, Japan, 19th century

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