Figurative Sculptures in Plaster

Sculptures depicting human figures in dynamic poses, showcasing themes of love, agriculture, and artistic creation, made from patinated plaster and terracotta.

Juno with Peacock, 16th century, in the style of Girolamo Campagna, Italian, 1549-1625, 17 3/4 x 5 1/8 x 5 1/8 in. (45.09 x 13.02 x 13.02 cm), Bronze, Italy, 16th century

Aimé-Jules Dalou (1838-1902). "Man carrying a woman, passage from the Rhine". Patinated plaster, 1890-1892. Museum of Fine Arts of the City of Paris, Petit Palais. Woman, man, nudite, patter patina, wear, naked

Juno with Peacock, 16th century, in the style of Girolamo Campagna, Italian, 1549-1625, 17 3/4 x 5 1/8 x 5 1/8 in. (45.09 x 13.02 x 13.02 cm), Bronze, Italy, 16th century

Aimé-Jules Dalou (1838-1902). "The sculptor". Patinated terracotta, around 1895. Museum of Fine Arts of the city of Paris, Petit Palais. Naked man, nudite, tool, sculptor, terracotta patina, front view

Hannah Moore. Minton; English, founded 1793. Date: 1815-1825. Dimensions: 17.5 × 9.8 × 11.7 cm (6 7/8 × 3 7/8 × 4 5/8 in.). Biscuit porcelain. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

MATERNIDAD. Author: JUAN ADSUARA (1891-1973). Location: MUSEUM OF FINE ARTS. CASTELLON DE LA PLANA. Castellón. SPAIN.

Saint John the Baptist, late 1500s. Angelo de Rossi (Italian), Giuseppe de Levis (Italian, 1605). Bronze; overall: 49.5 x 16.5 x 14.5 cm (19 1/2 x 6 1/2 x 5 11/16 in.).

Prudentia (Prudence), Rombout Verhulst (attributed to workshop of), c. 1670 - c. 1690 The Hague sandstone The Hague sandstone

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Louis Dejean (1872-1953). Woman with the coat known as La Parisienne. Plaster. Around 1900. Museum of Fine Arts of the city of Paris, Petit Palais. 79437-11 Woman, coat, Parisian, plaster, statue, statuette, elegance

The Sacrifice of Jephthah's Daughter probably modeled 1725, cast 1730-37 Massimiliano Soldani Italian Twelve sculptures of religious subjects made for the electress palatine, Anna Maria Luisa de Medici, between 1722 and 1725 constitute the most significant commission of Florentine bronze groups of its time. The sculptures were not linked by a specific program but shared a pictorial attitude characteristic of the period. Surveying the series in 1976, Jennifer Montagu cited documents indicating that the bronzes, made by the citys leading sculptors, Massimiliano Soldani Benzi, Antonio Montauti, Giuseppe Piamontini, Giovanni Battista Foggini, and Agostino Cornacchini, were exhibited in various rooms of the electresss apartment in the Palazzo Pitti, Florence.[1 Four of them stood on bases of ebony and lapis lazuli ornamented with gilt bronze designed by Foggini.[2 Soldanis Sacrifice of Jephthahs Daughter was placed on one of the bases and paired with Giuseppe Piamontinis Sacrifice o

Skater, 1700 - 1800 Figure of ivory in the form of a young man who binds his skates. Dressed in a costume from around 1750. Pedest of Red Marble. ivory cutting Figure of ivory in the form of a young man who binds his skates. Dressed in a costume from around 1750. Pedest of Red Marble. ivory cutting

A girl with a bird; Kuna, Henryk (1879-1945); 1922 (1922-00-00-1922-00-00);

Of lens ..

Lamenting Britannia. Culture: British, Chelsea. Dimensions: Overall (confirmed): 6 13/16 × 7 1/16 × 4 1/2 in., 2 lb. (17.3 × 17.9 × 11.4 cm, 0.9 kg). Maker: Saint James's Factory (British, ca. 1748/49-1760). Date: 1751. Museum: Metropolitan Museum of Art, New York, USA.

Richard James Wyatt, 1795-1850, active in Italy (1821-1850), British, Nymph Entering the Bath, ca. 1834. Marble.

Tomb Figure Representing a Musician Playing a Bamboo Flute, 618-906, 8 in. (20.32 cm), Painted earthenware with white slip, China, 7th-10th century

Andromeda, c. 1720-1730. Antonio Tarsia (Italian, 1663-1739). Terracotta; overall: 25.5 x 32 x 19.5 cm (10 1/16 x 12 5/8 x 7 11/16 in.).

Decorative tray with a figure of a nude woman. Bębnowski, Wacław (1865-1945), author

'Psyche Recognizing Cupid'. France, 18th century. Dimensions: 46x33 cm. Museum: State Hermitage, St. Petersburg. Author: French sculptor, third quarter of the 18th century.

Exhibit at the Art Gallery of Ontario in Toronto, Canada Exhibit at the Art Gallery of Ontario in Toronto, Canada Copyright: xZoonar.com/RituxJethanix 21761931

Lion on which a lady of marble, c. 1400 - c. 1950 Lion on which a lady of marble. marble (rock) Lion on which a lady of marble. marble (rock)

Anteros, 1893-96. Sir Alfred J Gilbert (d. 1934)

Virgin and Child, Adriaen van Wesel, c. 1470 - c. 1480 On a four -sided plinth, which narrows at the bottom, Mary with the bent right leg stands slightly forward, causing her upper body to turn to the left. With both hands she wears the child sitting on the left hip, which is portrayed half -lying. It seems to pick a grape with the right hand from the TROS, which holds it with his left and on which his gaze seems to be targeted. Maria's face, which shows a slight smile, is bordered by the separate hair that falls in front of the shoulder and is partially covered by the mantle sliced from the head. Her robe with a round neck, the sleeves of which appear under the cloak at the wrists, is absorbed under the arms, has been struck to the right and shows a hanging slip for the left leg. Under the cloak, the right foot appears on a slip of the bottom. The child wears a shirt with split in front of the chest. Utrecht oak (wood). chalk On a four -sided plinth, which narrows at the bottom, Mary

Figure of Venus and Amor. Campagna, Girolamo (1549-1625), sculptor

Louis-Ernest Barrias (1841-1905). The two sisters. Terracotta. Museum of Fine Arts of the City of Paris, Petit Palais. SISTER

Fragment of the Oranjeboom, 1874 Leaning man with hat. His feet rest on a lion's head. Part of a model in plaster of a non -executed environment De Table for William III. gypsum Leaning man with hat. His feet rest on a lion's head. Part of a model in plaster of a non -executed environment De Table for William III. gypsum

Venetian 15th Century (Possibly Giovanni Battista Bregno), Standing Angel, c 1495 1500 Standing Angel

The Crouching Aphrodite of Doedalsas 17th-18th century Italian. The Crouching Aphrodite of Doedalsas. Italian. 17th-18th century. Bronze, black lacquer patina. Sculpture-Bronze

Henri Allouard (1844-1929). "Figaro". Terracotta, 1880-1900. Paris, Carnavalet museum. 60823-13 Character of theater, statue, terracotta

Alexandre Falguière (1831-1900). Cain and Abel. Terracotta. 1876. Museum of Fine Arts of the City of Paris, Petit Palais. Biblical character

Minerva with Shield second half 16th century After a model by Benvenuto Cellini Italian. Minerva with Shield. After a model by Benvenuto Cellini (Italian, Florence 1500-1571 Florence). Italian, Florence. second half 16th century. Bronze. Sculpture-Bronze

A child, a season suggesting. The autumn...

Samson and the Philistines ca. 1550 After a model by Michelangelo Buonarroti Italian. Samson and the Philistines. After a model by Michelangelo Buonarroti (Italian, Caprese 1475-1564 Rome). Italian, Florence. ca. 1550. Bronze. Sculpture-Bronze

Naked men's figure, c. 1600 - c. 1699 Italy marble (rock) Italy marble (rock)

Antonio Canova, Dancer with Finger on Chin, model 1809 1814, carved 1819 1823 Dancer with Finger on Chin

Terracotta doll with articulated arms seated on a chair 4th century B.C. Greek, Attic Seated on a chair.. Terracotta doll with articulated arms seated on a chair. Greek, Attic. 4th century B.C.. Terracotta. Late Classical or Early Hellenistic. Terracottas

Camillo Torreggiani / 'Isabel II, veiled'. 1855. Carrara marble. Museum: Museo del Prado, Madrid, España.

Saint Agnes third quarter 17th century After a model by Gian Lorenzo Bernini Italian The saint is shown standing, her gaze lifted to heaven to emphasize her ecstatic expression. She wears a robe and heavy cloak and holds a palm symbolizing her martyrdom. A lamb, symbol of Saint Agnes, is depicted crouching at her feet. Another example of this statuette is in the Chapel of Palazzo Doria, Rome.. Saint Agnes. After a model by Gian Lorenzo Bernini (Italian, Naples 1598-1680 Rome). Italian, Rome. third quarter 17th century. Bronze. Sculpture-Bronze

Sol (the Sun). The sun is portrayed in the guise of a young man with an idealized muscular body, and a mask encircled by rays of light before his face. He is accompanied by a lion, the astrological symbol of the sun. This statuette may have been part of a spectacular table fountain, although it is questionable whether this lavish ornament was ever completed.

Mother of God with the Child; Bourdelle, Émile-Antoine (1861-1929); 1920 (1920-00-00-1920-00-00);

North Italian 16th Century, A Seated Nymph, early 16th century A Seated Nymph

Spinario (Boy Pulling a Thorn from His Foot). Culture: Northern Italian. Dimensions: Overall (confirmed): 9 5/8 × 7 1/4 × 6 1/2 in. (24.4 × 18.4 × 16.5 cm). Date: ca. 1500-1520. Museum: Metropolitan Museum of Art, New York, USA.

Mercury, attributed to Willem Danielsz. van Tetrode, c. 1560 - c. 1575

King, from a Tree of Jesse, Master Arnt of Kalkar, c. 1470 - c. 1480 The king, a semi -figure, has the right hand above the knee on a spell band, which curls around on both sides, and gesturing the left in front of the chest. On the head -sloping head, he wears a bourrelet with crown, on which part of the tree. The bourrelet with a gem in the front, is on both sides, by a lamfer, the two ends of which are tied loosely under the chin and then hang over the arms. The sleeves of the tunic are pleated at the shoulder light. A few oak leaves under the semi -figure. Gets up oak (wood) The king, a semi -figure, has the right hand above the knee on a spell band, which curls around on both sides, and gesturing the left in front of the chest. On the head -sloping head, he wears a bourrelet with crown, on which part of the tree. The bourrelet with a gem in the front, is on both sides, by a lamfer, the two ends of which are tied loosely under the chin and then hang over the arms. The sleeves of th

Renaissance-style statuette of the Baptism of Christ Italian 19th century View more. Renaissance-style statuette of the Baptism of Christ. Italian. 19th century. Bronze, alabaster base (modern). Sculpture-Bronze

Naked men's figure: Pluto. Pluto.

Cupid on a lion ca. 1765 Chelsea Porcelain Manufactory. Cupid on a lion. British, Chelsea. ca. 1765. Soft-paste porcelain. Chelsea Porcelain Manufactory (British, 1745-1784, Gold Anchor Period, 1759-69). Ceramics-Porcelain

Virgin and Child early 17th century Niccolò Roccatagliata Italian This bronze figure group originally was displayed in a marble niche over the main entrance of a house in Genoa. There, the Virgin and Child would have acted as symbolic holy protectors of the household. The smiling Virgin gently restrains her divine Son who enthusiastically reaches out to bless city dwellers passing by on the street.. Virgin and Child. Niccolò Roccatagliata (Italian, born Genoa, active 1593-1636). Italian, Venice. early 17th century. Bronze. Sculpture-Bronze

Juan Samsó / 'Pietá'. 1882. Terracotta. Museum: Museo del Prado, Madrid, España.

Mahasiddha Kirava ca. 14th century Nepal (Kathmandu Valley) The fierce and militant forms of Manjushri, the patron deity of Nepal, are relatively rare. Here, he raises a sword behind his head and holds a small shield in his left hand to symbolize his combat with the forces of ignorance. His dhoti (loincloth) is secured by a sash around his waist, and he wears the usual jewelry of the period. A tree, with finely detailed leaves, and a rocky hill complete the scene.This superbly modeled and lively Manjushri exemplifies what must have been an important type of sculpture. Very few early Nepalese terracottas of the type have survived. Probably this one was part of a series of terracotta sculptures.. Mahasiddha Kirava 38337

Sculpture of 'Beatrice', Spode Ceramic Works, English, established 1776, biscuit (parian), vitreous enamel, gold, On irregularly cut base, a standing figure of a young woman with left knee bent and right arm and hand lifted to left breast. Flowing dress ornamented with enamel and gold. 'BEATRICE' impressed on front of base., England, ca. 1860, ceramics, Decorative Arts, sculpture, sculpture

Tritonide statuette, around 100 BC. J.-C.- 200 AD. Production: Roman art of Asia Minor. Provenance: "Envoy de Smyrne". Place of excavation: found on the Bonetto property, at a place called Les fine d'Annecy on November 16, 1867. Paris, Museum of Fine Arts of the City of Paris, Petit Palais. 26978-10 Antiquity, Asia Minor, Bronze, Female Bust, Tail fish, Ancient Rome, Statuette, Triton, Tritonide, Mythology

A shepherd and a shepherd in a ruin. Group of porcelain unilted presenting a flute shepherd and a lute shepherd with sheep for a piece of architecture consisting of half a bow, a column and a piece of wall. On the left side of the column there is an amor figure and on the right on a wall is a vase. There is a dolphin under the vase. Signature: Investor K / 1.

Virgin and Child with the Young Saint John the Baptist. Culture: Northern French, Île-de-France (). Dimensions: Overall: H. 27 1/4 x W. 13 1/2 x D. 13 1/2 in., 129lb. (69.2 x 34.3 x 34.3 cm, 58.514kg). Date: ca. 1525-50.Carved in France, this graceful image is rooted in Italian Renaissance compositions. Leonardo da Vinci's painting known as the Virgin of the Rocks and Raphael's La Belle Jardinière (both Musée du Louvre, Paris) were models for the integration of these three holy figures into a compact, pyramidal format. Since both paintings belonged to King Francis I (1494 - 1547), it is not surprising that French sculptors emulated their famed designs. The subject was more popular in Italy than in France in the sixteenth century, so few exemplars were available north of the Alps.[1Italian, Flemish, and native French artists worked at the French court and around the Île-de-France in the first half of the sixteenth century; the character of this marble sculpture reflects that interna

Statuette of a Satyr; Unknown; Greece, Europe; 480 - 460 B.C.; Bronze; Object: H: 9.8 x W: 4.1 x D: 5.4 cm (3 7/8 x 1 5/8 x 2 1/8 in.)

Michel Anguier, Neptune with a Hippocamp, model 1652, cast probably 1652 1680s Neptune with a Hippocamp

Cupid with doves ca. 1755-60 Chelsea Porcelain Manufactory. Cupid with doves. British, Chelsea. ca. 1755-60. Soft-paste porcelain. Chelsea Porcelain Manufactory (British, 1745-1784, Red Anchor Period, ca. 1753-58). Ceramics-Porcelain

Design for a monument from a 17th century musician, Eugène Lacomblé, 1800 - 1900 clay clay

Nereid Arranging her Necklace. Antoine-Louis Barye (France, 1796-1875). France, circa 1836. Sculpture. Plaster and wax

Lower half of statuette of half-drapedAphrodite

'Sleeping Cupid'. Italy. Florence, 17th century (). Dimensions: height 36,0 cm; length 74,0 cm. Museum: State Hermitage, St. Petersburg.

St. Louis Of Toulouse Donatello (ca.1386-1466 Italian) Bronze Basilica di Santa Croce, Florence, Italy

Terracotta figurine of the Prophet Balaam. Created by Tommaso Porlezza Della Porta (1546-1606). Dated 16th Century

Allegorical Group, Manufactuur Oud-Loosdrecht, c. 1782 - c. 1784 Allegorical group of Biscuit. A begging woman with a child on the back to the left of a bust of Diana on a high square pedestal, with a standing gentleman on the right, who gives her an alms and whose shoeendoor is brushed a young man dressed in rags; Next to him a barking dog. On the pedestal in relief four times the same hunting trophy. Loosdrecht porcelain Allegorical group of Biscuit. A begging woman with a child on the back to the left of a bust of Diana on a high square pedestal, with a standing gentleman on the right, who gives her an alms and whose shoeendoor is brushed a young man dressed in rags; Next to him a barking dog. On the pedestal in relief four times the same hunting trophy. Loosdrecht porcelain

Atalos, Pierre Lepaitre, C. 1704 bronze (metal) bronze (metal)

Mountain scene with pine, cranes, and immortals 18th-19th century China The central figure in this bold-relief carving is a Daoist deity accompanied by an attendant and several cranes, symbols of longevity.. Mountain scene with pine, cranes, and immortals 43862

God Triton 101 CE-300 CE Gandhara. Schist .

L'Amour Qui Passe (Love That Passes) Auguste Rodin (1840-1917 French) Bronze Christie's Images, London, England

Summer, c. 1760. England, Derby, 18th century. Soft-paste porcelain; overall: 15.6 x 11.3 x 10 cm (6 1/8 x 4 7/16 x 3 15/16 in.).

Venus after the Bath, c. 1600. Cast possibly by the Workshop of Giambologna (Flemish, active Italy, 1529-1608), Giambologna (Flemish, active Italy, 1529-1608). Bronze ; overall: 25.6 x 7 x 9 cm (10 1/16 x 2 3/4 x 3 9/16 in.).

Terracotta statuette of a man seated on a horse. Culture: Greek. Dimensions: H. 4 5/8 in. (11.7 cm). Date: ca. 350-200 B.C..Carrying shield on a galloping horse. Museum: Metropolitan Museum of Art, New York, USA.

Two Boys with a Basket ofFruit. Artist: Unknown Artist, attributed to: Silvestro dell’Aquila, Italian, 1450-1504

Jean-Baptiste Carpeaux (1827-1875). "Child". Terracotta on metallic reinforcement, 1873. Museum of Fine Arts of the City of Paris, Petit Palais. Metallic frame, child, nudite, terracotta, 19th XIXth 19th 19th 19th 19th century, naked

Roebuck Attacked by Hound after 1780 probably Italian, Rome. Roebuck Attacked by Hound. probably Italian, Rome. after 1780. Bronze. Sculpture-Bronze

Japanese Netsuke of a Chinese dancer and child, 18th century. Artist: Masahira

Bust of Tolstoy, d. 1985 - 1905. Théodore Rivière (French, 1857-1912). Bronze; overall: 28 x 29.9 x 25.4 cm (11 x 11 3/4 x 10 in.).

Triton and Nereid after 1532-before ca. 1550 Possibly workshop of Andrea Briosco, called Riccio Italian. Triton and Nereid. Possibly workshop of Andrea Briosco, called Riccio (Italian, Trent 1470-1532 Padua). Italian, Padua. after 1532-before ca. 1550. Bronze. Sculpture-Bronze

Garuda Vanquishing the Naga Clan. Culture: Pakistan (ancient region of Gandhara). Dimensions: H. 13 1/8 in. (33.3 cm); W. 9 7/8 in. (25.1 cm). Date: ca. 2nd-3rd century.There are many jatakas (Buddhist tales) about the former lives of the Buddha. In this one, he was born as the king of Benares and ruled with his beloved queen, Kakati. The royal solar bird Garuda came to the court disguised as a man and gambled with the king. He then became enamored of the queen and abducted her. But when Garuda heard of the king's great sadness and of his true love for Kakati, he restored her to him. Museum: Metropolitan Museum of Art, New York, USA.

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

Ceres late 16th-early 17th century Attributed to Girolamo Campagna. Ceres. Attributed to Girolamo Campagna (Italian, Verona 1549-1625 Venice). Italian, Venice. late 16th-early 17th century. Bronze. Sculpture-Bronze

Venetian 16th Century, Charity, c 1530 Charity

Allegorical Figures of the Four Continents, biscuit, Allegorical figures of the continents with their animal attributes., Italy, late 18th century, ceramics, Decorative Arts, sculptures, sculptures

Figure of Europe and America from the Four Continents, c. 1760. Chelsea Porcelain Factory (Britain, London, 1745-84). Soft-paste porcelain; overall: 24.6 x 18.9 x 16.9 cm (9 11/16 x 7 7/16 x 6 5/8 in.). Often collected by wealthy British merchants who were beneficiaries of colonial expansion, figural groups were frequently part of elaborate table decorations meant to signify wealth and global dominance. Here, Europe is seen holding an orb and wearing a crown as queen of the world, suggesting Europes supremacy over the other continents. She is entangled with America, who is wearing feathers with a bow and arrow at her feet. This depiction of America reveals a purely imagined understanding of faraway places.

'Constantine the Great'. Italy, Circa 1662-1663. Dimensions: height: 45,0 cm. Museum: State Hermitage, St. Petersburg.

Sleeping Beauty. Few Dutch sculptors risked depicting romantic themes in the 19th century. Strackés Sleeping Beauty is, therefore, quite exceptional. He captured the fairy-tale princess in her deep, 100-year sleep, after she had pricked her finger on an enchanted spindle. She is rendered so realistically that the statue seems alive, as if she could awaken any moment.

Group of Three Children: Allegory of Summer, Jan Baptist Xavery, 1726 The three children, given the frequent Korenhalmen, depict the summer. The girl on the right holds a sheaf in her right hand as if it were a big bouquet and has some loose corners in her left. The boy in the middle is on a bundle and keeps the handle of a broken sickle in his left hand. The girl on the left mainly occurs with the boy, but has put a few corners of the hair into the hair. In addition to the mutual interaction use XAAY, also scarce draperies to connect the naked figures. Amsterdam terracotta (clay material) The three children, given the frequent Korenhalmen, depict the summer. The girl on the right holds a sheaf in her right hand as if it were a big bouquet and has some loose corners in her left. The boy in the middle is on a bundle and keeps the handle of a broken sickle in his left hand. The girl on the left mainly occurs with the boy, but has put a few corners of the hair into the hair. In addition t

LaLiberté. Artist: Gustave Courbet, French, 1819-1877

Autumn 1750-1760 Meissen. Hard-paste porcelain, polychrome enamels, and gilding . Meissen Porcelain Manufactory (Manufacturer)

Pain; Madeyski, Antoni (1862-1939); around 1898 (1898-00-00-1900-00-00);

Saints figure in Pseudo-Roman soldiers suit. .

Unique Forms of Continuity in Space 1913, cast 1950 Umberto Boccioni Italian The Futurists celebration of the fast pace and mechanical power of the modern world is emphasized here in the sculptures dynamism and energy. The figures marching silhouette appears deformed by wind and speed, while its sleek metal contours allude to machinery. World War I broke out the year after Boccioni created this work. Believing that modern technological warfare would shatter Italys obsession with the classical past, the Futurists welcomed the conflict. Tragically, Boccioni was killed in action in 1916, at the age of thirty-four. Listen to experts illuminate this artwork's story Listen Play or pause #1838. Unique Forms of Continuity in Space 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.. Unique Forms of Continuity in Space 485540

Sextus Tarquinius and Lucretia, Adriaen de Vries (after), Adriaen de Vries (after) ,,, c. 1600 - c. 1700 Netherlands bronze (metal) Netherlands bronze (metal)

Peasant Dancers. Culture: German, Meissen. Dimensions: Height: 6 in. (15.2 cm). Factory: Meissen Manufactory (German, 1710-present). Modeler: Johann Friedrich Eberlein (German, 1695-1749). Date: ca. 1735. Museum: Metropolitan Museum of Art, New York, USA.

Sculpture of pink terracotta: young woman with half naked, screaming child on her arm and a dog on her feet. Op Rondeem., Jean Baptiste Carpeaux, 1874 sculpture Sculpture of pink terracotta: young woman with half naked, screaming child on her arm and a dog on her feet. On round pedestal. In the edge of the foot the inscription: "Apres La Guerre 1870 = 1871, J.B. Carpeaux" and two small, oval stamps, of which one on one an eagle with text: propriete carpeaux. The other stamp says: Atelier Depot 77 Rue Boileau Autuil. Condition: broken and poorly recovered; Lower leg and the foot of right leg and the foot is missing. France terracotta (clay material) casting

Statuette of Venus on Round Base; Asia Minor (); 1st century A.D; Bronze; 17 × 6.4 × 6.4 cm (6 11,16 × 2 1,2 × 2 1,2 in.)

Dancer Putting on Her Stocking, 19th century, Edgar Degas, French, 1834 - 1917, 16 3/4 x 11 1/4 x 6 1/2 in. (42.55 x 28.58 x 16.51 cm), Bronze, France, 19th century

Hercules () last quarter 15th century School of Antonio Pollaiuolo Italian. Hercules (). School of Antonio Pollaiuolo (Italian, Florence ca. 1432-1498 Rome). Italian, Florence. last quarter 15th century. Bronze. Sculpture-Bronze

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