Sculptural Figures and Deities

Sculptures representing various deities and allegorical figures, crafted from different materials showcasing cultural symbolism and artistic expressions.

Saint Bartholomew; possibly Belgian; 18th century; Terracotta; 57.2 × 21 × 17.8 cm (22 1,2 × 8 1,4 × 7 in.)

Genius, anonymous, c. 1500 Florence bronze (metal) Florence bronze (metal)

Sculpture deity figure standing on a fictional animal with the head of a dragon unknown

Love. .

Allegory of Africa, anonymous, c. 1700 - c. 1750 Trapani (possibly) alabaster (mineral) Wijk bij Duurstede Trapani (possibly) alabaster (mineral) Wijk bij Duurstede

Sitting woman figure.

Two Warriors Fighting. Fighting figures were a favourite subject for sculptors, since they allowed them to create complex compositions that could be viewed from various angles. The fact that this small group has been fully modelled on all sides suggests that it may once have crowned the lid of a large ceremonial tankard.

Jean-François SEOUX (1816-1891). "The Republic taking off the veil of ignorance". Plaster. 1879. Museum of Fine Arts of the City of Paris, Petit Palais. 100124-1 Allegory of the Republic, plaster, republic, statue, toga, 19th XIXth 19th 19th 19th 19th century

LED figurine with a child; after. III century BC (-250-00-00--250-00-00);Ant., V., Froehner

Saint Matthew ca. 1450-70 Southern Netherlands Southern Netherlands. Saint Matthew 460872

Saint Bartholomew; possibly Belgian; 18th century; Terracotta; 57.2 × 21 × 17.8 cm (22 1,2 × 8 1,4 × 7 in.)

'Angel Holding a Candelabrum'. Italy, Early 18th century. Dimensions: height: 28,0 cm. Museum: State Hermitage, St. Petersburg.

De Kunst, Eugène Lacomblé, 1800 - 1900 clay clay

Saint James the Less 1450-60 Northeast French or South Netherlandish These figures, along with five others in the Robert Lehman Collection at the Metropolitan Museum, originally formed part of an altarpiece that included Christ and the twelve apostles.. Saint James the Less 466270

Charity mid-16th century Circle of Jacques du Broeucq This allegorical figure of Charity nurtures three children. One clambers up her blouse to reach her left breast; one she pins with one arm to her left hip; the eldest stands at her feet, twisting to look up at his brother. Standing calmly amid her wriggling brood, the woman looks down with a trace of a smile. She wears a laurel wreath on her long hair. Lifting her robe, which is trimmed at the hem with a rinceau border, she reveals sandals decorated with seraphim heads. In its iconography, this Charity is related to the type of statue that stood in the loft or gallery atop the screen that separated the altar of a church from the congregation and also supported a crucifix, or rood. The Charity carved in 1550-52 by Domenico del Barbiere for the stone rood screen that once stood in the church of Saint-Étienne (now Saint-Pantaléon), Troyes, has three children tucked into the folds of her voluminous robe.[1 Another example, carved by

Terracotta victory (3/4 right), ancient Greece ". Terracotta. Museum of Fine Arts in the city of Paris, Petit Palais. 26984-10 Allegory, woman, ancient Greece, statuette, terracotta, victory

The Risen Christ. Artist: Model and cast by Antonio Susini (Italian, 1558-1624 Florence). Culture: Italian, Florence. Designer: Probably after a design by Giambologna (Netherlandish, Douai 1529-1608 Florence). Dimensions: Overall (confirmed): 11 3/4 × 5 1/2 × 3 1/8 in. (29.8 × 14 × 7.9 cm). Date: 1596.The design of this figure goes back to a large marble by Giovanni Bologna, The Risen Christ, made for the Cathedral of Lucca between 1577 and 1579. Museum: Metropolitan Museum of Art, New York, USA.

Saint John late 15th century Italian, Siena The statuette, a reprise of the nearby composition, is also to be imagined as coming from a three-figure Crucifixion group.. Saint John. Italian, Siena. late 15th century. Bronze, on marble pedestal. Sculpture-Bronze

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

Musical Angel. Culture: French. Dimensions: Overall: 16 1/8 x 15 13/16 x 3 3/8 in. (41 x 40.1 x 8.5 cm). Date: ca. 1450-1500.This angel plucking a gittern (a predecessor of the guitar) was probably once part of an angelic orchestra. Such musical ensembles were frequently included in scenes devoted to the Virgin Mary, such as those depicting her assumption into heaven or coronation as celestial queen. Museum: Metropolitan Museum of Art, New York, USA.

Figure of Venus. Manufacture nationale de porcelaine de Sevres (1756-), factory

Sitting woman figure with some flowers in the left hand.

Terracotta draped woman 3rd century B.C. Greek, Boeotian Enveloped in himation; standing and draped.. Terracotta draped woman 247882

Venus. Figure, representing Venus with a garment in her hands, leaning against a rocky party with a dolphin, a shell and aquatic plants.

Shepherd with His Dog; Johann Jakob Wilhelm Spängler (Swiss, 1755 - after 1795), working for the Derby Porcelain Factory (British, active 1750 - 1848); about 1795; Biscuit Porcelain; 31.8 cm (12 1,2 in.)

John Wilkes (1727-1797), M.P. for Westminister ("Liberty Wilkes") ca. 1765 Chelsea Porcelain Manufactory. John Wilkes (1727-1797), M.P. for Westminister ("Liberty Wilkes"). British, Chelsea. ca. 1765. Porcelain. Chelsea Porcelain Manufactory (British, 1744-1784). Ceramics-Porcelain

Virgin and Child.The most precious monumental French and Mosan sculptures were made from imported Italian marble, such as this fine example. Mary holds a lily in her right hand as a symbol of her virginity.

Pierre Eugène Emile Hébert, Amazon Preparing for Battle (Queen Antiope or Hippolyta), or Armed Venus, model c 1860 1872, cast by 1882 Amazon Preparing for Battle (Queen Antiope or Hippolyta), or Armed Venus

. The one sits on a reverse basket three-quarters to the right and with the head to the left, the other, with the head in the same direction, stands with bent knees behind him with his hands on his shoulders; Beaded looks in the same direction. They have convex, smiling faces with open mouths, in which tongue and teeth are visible. The seated jester points forward with the right hand and holds a stick with bubbles with the other (karwats with bubbles) For the chest. There is a wart on his cheek. He is wearing neck-made narrating hood with decorated zoom, which calls, and over a rug with narrow sleeves a mantle with wide flared sleeves, the judge of which mountains a bar with narring head. The cloak covered its entire left leg, but leave the right with trouser pipe free. The latter has mastered a decorated bond with calling, is brought together at the ankles and falls over the boot. On the head of the standing figure a narrating hole with donkey ears, the wide collar of which has a dec

. John the Baptist stands on a square pedestal with the right leg slightly forward. He wears a camel hair dress, which is a cloak.

Winged putto.

Aimé-Jules Dalou (1838-1902). "Boulonnaise carrying her child". Patinated terracotta, around 1895. Museum of Fine Arts of the city of Paris, Petit Palais. Boulonnaise, young woman, wear child, terracotta patinae

First steps.

Design for the Monument of Hugo de Groot.

Terracotta group of two girls playing a game known as ephedrismos late 4th-early 3rd century B.C. Greek, Corinthian The subject of this group with one person carrying another has a long history in Greek art. It is thought to illustrate a game called ephedrismos. A stone was placed upright on the ground, and balls or pebbles were thrown at it from a distance. The loser's eyes were covered, and he had to carry the other player on his back until he found and touched the stone. There were probably a number of variations. Here the little girl carries her companion but does not have her eyes covered.. Terracotta group of two girls playing a game known as ephedrismos 247884

The Vow of Vengeance. Hermon Atkins MacNeil; American, 1866-1947. Date: 1894. Dimensions: 42.6 × 18.7 × 21.6 cm (16 3/4 × 7 3/8 × 8 1/2 in.). Bronze. Origin: United States. Museum: The Chicago Art Institute, USA.

Faith, Willem Hendrik van der Wall, 1775 Utrecht terracotta (clay material) Utrecht terracotta (clay material)

The Demidoff Table 1845 Lorenzo Bartolini Italian Commissioned by Count Anatoly Nicolaevich Demidoff. The subject is a complex, cosmological allegory best described in the sculptor's own words: "Stretched out upon the plan of the world is Cupid, god of generation, sustaining and watching over the symbolic genius of dissolute wealth without virtue, who snores in his sleep.. dreaming of past diversions in pleasure. Left to himself, the genius of ambitious rectitude in work sleeps the agitated sleep of misfortune and glory.. his head extending beyond the periphery of the world."The original plaster is in the Gipsoteca Bartoliniana, Florence.. The Demidoff Table 188827 Artist: Lorenzo Bartolini, Italian, 17771850, Patron: Commissioned by Prince Anatole Demidov, 18451870, The Demidoff Table, 1845, Marble, Overall (confirmed): H. 64 3/8 x W. 51 1/4 x Diam. 49 3/4 x in. (163.5 x 130.2 x 126.4 cm). The Metropolitan Museum of Art, New York. Gift of le Duc de Loubat, 1903 (03.11ad)

Funeral figure of a pregnant lady, c. 220 - c. 589 Grafiguur of earthenware, with remains of painting in red, white and black. A sitting, pregnant woman. China earthenware painting Grafiguur of earthenware, with remains of painting in red, white and black. A sitting, pregnant woman. China earthenware painting

Netsuke of Group of men in the Water holding a Large Carp 19th century Japan. Netsuke of Group of men in the Water holding a Large Carp. Japan. 19th century. Ivory. Edo (1615-1868) or Meiji period (1868-1912). Netsuke

Netsuke in the form of a Dutch woman with a child, anonymous, c. 1700 - c. 1800 Seat knot (Netsuke) made of wood in the form of a curved man with a child on the back and an object in hand. Japan wood (plant material) Seat knot (Netsuke) made of wood in the form of a curved man with a child on the back and an object in hand. Japan wood (plant material)

Isis (after the antique). Workshop of Joseph Wilton (English, 1722 - 1803)

'Angel with Cross'. Italy, Circa 1668. Dimensions: h. 59 cm. Museum: State Hermitage, St. Petersburg.

The Education of the Virgin 1575-1585 Germany. Wood, traces of original gilding and polychromy .

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

A Prophet mid-16th century Tiziano Minio. A Prophet. Tiziano Minio (Italian, 1517-1552). Italian, Venice. mid-16th century. Bronze. Sculpture-Bronze

The Girl Offers Her Coin in Payment. Sèvres Porcelain Manufactory; French, founded 1740; Modeled by Etienne-Maurice Falconet; French, 1716-1791; After an engraving of a painting by François Boucher; French, 1703-1770. Date: 1752-1762. Dimensions: H. 12.2 cm (4 13/16 in.). Unglazed soft-paste porcelain (biscuit). Origin: Sèvres. Museum: The Chicago Art Institute, USA. Author: Manufacture nationale de Sevres.

Antoine Louis Barye, Indian Mounted on an Elephant Crushing a Tiger, model nd, cast c 1845 1873 Indian Mounted on an Elephant Crushing a Tiger

Figure of a Woman. Dimensions: Overall: H. 15 1/8 in. (38.4 cm) W. 5 13/16 in. (14.7 cm) D. 3 3/4 in. (9.6 cm). Date: 5th century.Found in a tomb, the brightly painted statuette displays typical female attire. Under a sheer overgarment indicated in gray paint, the woman wears an elaborate tunic with richly colored clavi (bands), extending to her feet. Metallic paint is used to show that the cross around her neck is of gold. Museum: Metropolitan Museum of Art, New York, USA.

Saint Bavo. Culture: North Netherlandish. Dimensions: Overall: 44 1/4 x 17 x 14 1/4 in. (112.4 x 43.2 x 36.2 cm). Date: ca. 1460.Saint Bavo (d. 657), patron saint of Ghent and Haarlem, is partially identified by his armor, sword, and rich clothing, which indicate his aristocratic status. The "book bag" in his right hand was a popular late medieval accessory. Museum: Metropolitan Museum of Art, New York, USA.

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

The Virgin and Saint John the Evangelist, Arnt van Tricht, c. 1540 - c. 1545 John stands on the right leg with the left leg slightly bent forward on a disc -shaped soil. The head is used to the left and back, the look slanted upwards. Under the right arm he clamps a book, the curved left he keeps some off the body. He wears a bar with a flat collar with a knot. There are an ink cooker and a partition for writing utensils on the belt. Gets up oak (wood) John stands on the right leg with the left leg slightly bent forward on a disc -shaped soil. The head is used to the left and back, the look slanted upwards. Under the right arm he clamps a book, the curved left he keeps some off the body. He wears a bar with a flat collar with a knot. There are an ink cooker and a partition for writing utensils on the belt. Gets up oak (wood)

Young woman standing ", ancient statuette, terracotta. Ancient Rome from -1000 to the 5th century. Museum of Fine Arts in the city of Paris, Petit Palais. 24107-18 Antiquity, standing, young woman, ancient Rome, statuette, terracotta, ancient

Men's figure in gray soapstone, a bird cage bearing, anonymous, 1800 - 1900 Men's figure in gray soapstone, a bird cage bearing. Gray pedestal. Japan soapstone (metamorphic rock) Men's figure in gray soapstone, a bird cage bearing. Gray pedestal. Japan soapstone (metamorphic rock)

Seated female, possibly Flora. Culture: Northern Italian. Dimensions: Overall (confirmed): 9 7/8 × 4 5/8 × 3 1/8 in. (25.1 × 11.7 × 7.9 cm). Date: ca. 1525-40. Museum: Metropolitan Museum of Art, New York, USA.

Ten weepers from the tomb of Isabella of Bourbon, attributed to Renier van Thienen, c. 1475 - c. 1476

La Letizia (Happiness) by Gio Ponti (1891-1979)

Bronze statue for the feet of Willem van Oranje. Cleared in official clothing against a pillar. His left hand rests on a sealed document. His sword is against the pillar. At his right foot is a dog that looks up at him.

Virgin and Child 14th century French. Virgin and Child. French. 14th century. Ivory. Ivories

Clytie Cast 1868 England. Clytie, a Greek water nymph, was turned into a sunflower by the gods. The Victorian sculptor George Frederick Watts used this subject as a meditation on transformation, blending male and female elements in this bust, much as Michelangelo had done in his sculptures. Wattsís composite approach gives the work a powerful and experimental quality, which is enhanced by the presence of mold marks. Plaster casts were made from piece molds that left mold lines after casting. Normally these would have been smoothed away, but Watts chose to leave them here. The presence of these lines in the cast invites comparison with bronzes by Wattsís younger contemporary Auguste Rodin, in which mold lines are also preserved.. Plaster . George Frederick Watts

Sleeping Hercules ca. 1505 or later Italian, possibly Bologna The unusual subject as well as some uncertainties about authorship give added interest to this outstanding bronze. The harmonious composition and finely hammered surfaces show a master in total command of his medium.. Sleeping Hercules. Italian, possibly Bologna. ca. 1505 or later. Bronze. Sculpture-Bronze

Mary, Joseph and three angels, Adriaen van Wesel, c. 1475 - c. 1477

Joan Huydecoper and Sophia Coymans as Mars and Venus.Venus helps her lover Mars, who has returned from battle, remove his harness. These statuettes were probablya wedding gift for Joan Huydecoper van Maarsseveen (1625-1704) and Sophia Coymans (1636-1714), who marriedin 1656. Like his father, Joan served several times as mayor of Amsterdam. Mars and Venus’ is a subtle allusion toMaarsseveen’, the name of the family’s estate, which was added to their surname.

Anonymous / 'The Muse Erato'. 130 - 150. White marble. Museum: Museo del Prado, Madrid, España.

Fidelity, the Mother of Constant Love 1799 Augustin Pajou French In this highly moralizing allegory, the young woman's hair is styled modishly à la Titus, a short bob in emulation of a hairstyle favored by ancient Roman republicans.. Fidelity, the Mother of Constant Love. Augustin Pajou (French, Paris 1730-1809 Paris). French, Paris. 1799. Terracotta. Sculpture

Two Chinese figures, anonymous, c. 1765 Figure of painted porcelain. On a flat square pedestal a figure is known as a 'malabar' against a tree stump. The pedestal is contained in a square gilded bronze pedestal. The man is dressed in a yellow lower dress and a green top with edges of fur. With his right hand, he holds a large shield on the ground. He holds the left hand in his side. On his back he wears a tube with arrows. The figure is not marked. Parisporcelain Company: Meissenendigner: Meissendeigner: Meissen porcelain. bronze (metal). gilding (material) gilding Figure of painted porcelain. On a flat square pedestal a figure is known as a 'malabar' against a tree stump. The pedestal is contained in a square gilded bronze pedestal. The man is dressed in a yellow lower dress and a green top with edges of fur. With his right hand, he holds a large shield on the ground. He holds the left hand in his side. On his back he wears a tube with arrows. The figure is not marked. Parisporcelain

Anonymous. "Woman holding a garland of flowers", 18th century. German porcelain from Meissen. Museum of Fine Arts of the City of Paris, Petit Palais. Germany, woman, flower, flower garland, Meissen Manufacture, German porcelain

Two temple guardians, c. 1300 - c. 1400 Image of a temple keeper: Naraen Congo (Ungyo), wood with remains of polychromy. Japan wood (plant material) Image of a temple keeper: Naraen Congo (Ungyo), wood with remains of polychromy. Japan wood (plant material)

Reclining Woman, earthenware, wood, Reclining woman with flowing dress, holding bucket from which water is flowing. Crackled yellow glaze. Modern carved wooden base made to fit figure., France, ca. 1760, ceramics, Decorative Arts, sculpture, sculpture

Female Musician. China. Date: 618 AD-906 AD. Dimensions: 21.4 × 13.6 × 13.2 cm (8 7/16 × 5 3/8 × 5 3/16 in.). Earthenware with polychrome pigments. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Strażnik Niebios i Obrońca Wiary. unknown, sculptor

The Virgin and Child with Saint Anne early 16th century Italian, Florence The iconological type to which this group belongs, combining the Virgin and Child with her mother, Saint Anne, generally goes by its German name, Annaselbdritt (literally, "Anne triplicated"). It developed in proportion to the growing devotion to Saint Anne amid theological concerns to establish the Virgin Mary's exemption from original sin, which eventually became dogma. Compositions that bind the three together in closely knit familial groupings became one of the classic and most deeply meditated pursuits of Florentine High Renaissance masters, challenging all their harmonious instincts. Leonardo da Vinci treated the subject.in the Royal Academy cartoon of about 1499 and in another of 1501, since lost, as well as in the Louvre painting begun about I507. The marble group by Andrea Sansovino in Sant' Agostino, Rome, dates from 1512, and that by Francesco da Sangallo in Or San Michele, Florence, from 1526. Rather

Workshop of Francesco Fanelli, Cupid on a Dolphin, c 1635 1660 Cupid on a Dolphin

Decorative tray from the character naked woman; B Bnowski, Wac Aw (1865-1945); 1937 (1937-00-00-1937-00-00);

Golden Madonna Sculpture/Relief Kunstsammlungen, Bamberg, Germany

The Entombment, From The Soest Altarpiece. Above a sarcophagus with profiled upper and bottom, left Nicodemus () On a line disposal Christ's body, whose head and part of the shoulders are missing. Behind the Sarcophagus Maria, who holds the right arm of her son with both hands. Against Maria's Linkerelleboog Remains of a hand (John). On the right to the linewad a hand and a forearm (Joseph of Arimathea). Maria carries a rug with scarf and a cloak over the head. The man with musted a dress with short sleeves, with fur, over a long sleeves with long sleeves; Here over a two-part rug, the sides of the front and back of which have a flat bonter edge and have been held together by an agree.

Workshop of Severo da Ravenna, David, c 1530 David

Anonymous. "Winged woman protecting four children". Terracotta. Museum of Fine Arts of the City of Paris, Petit Palais. 145008-17

The Virgin and Child with St Anne, anonymous, c. 1480 - c. 1490 On a sofa, placed on an elevation, Anna sits with her feet sitting on her feet. He holds the naked child on her right leg, on which she looks down. Anna wears head and child corner and a cloak over a robe, which depends on the shoulders backwards and has struck the left to the left. Utrecht oak (wood) On a sofa, placed on an elevation, Anna sits with her feet sitting on her feet. He holds the naked child on her right leg, on which she looks down. Anna wears head and child corner and a cloak over a robe, which depends on the shoulders backwards and has struck the left to the left. Utrecht oak (wood)

Mermaid of wood from one of the gates of the small or ell. Church in Edam.A Wooden Mermaid. From One of the Gates to the Small (O.L. Vrouwe) Church in Edam.

Jean-Baptiste Carpeaux (1827-1875). The vineyard fisherman. Patinated plaster, 1874. Museum of Fine Arts of the City of Paris, Petit Palais. 79392-4 Bigorneau, shell, woman, fishing on foot, fishing, female character, small job, vineaux, vignot, 19th 19th 19th 19th 19th 19th century

Seated Cupid. Already in the 18th century this famous sculpture was known by various nicknames, the best known of which was lamour menaçant, ‘menacing love. The threat is most evident in the Cupids knowing gaze, while the gesture he makes invokes us to secrecy. The statue was made for Madame de Pompadour, King Louis XVs art-loving mistress.

Architectural Relief Depicting the Gigantomachy (Battle Between Gods and Giants). Etruscan. Date: 300 BC-101 BC. Dimensions: 45.8 × 46 × 21.9 cm (18 1/16 × 18 1/8 × 8 5/8 in.). Terra-cotta, pigment. Origin: Etruria. Museum: The Chicago Art Institute, USA. Author: Ancient Etruscan.

Randolph Rogers, Nydia, the Blind Girl of Pompeii, American, 1825 - 1892, model 1855, carved 1860, marble

Limestone funerary monument of a woman 1st century A.D. Roman, Cypriot The deceased woman is accompanied by a servant girl who holds a jewelry chest in her right hand; a round object that resembles a mirror hangs from her left arm. The tight curls that frame the woman's face were made fashionable in the court of the Flavian emperors at Rome toward the end of the first century A.D. The face of the plinth on which the servant stands is inscribed: "Zoilos of Golgoi made it.". Limestone funerary monument of a woman 242041

Spring 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.. Spring. American. 1800-1810. Wood. Made in Massachusetts

. Vitus was a 4th-century Sicilian boy who endured barbaric forms of torture after his conversion to Christianity. The cruellest of these was to be boiled, aged twelve, in a cauldron of oil, resin and pitch. Miraculously, he survived, thanks to his unwavering faith. Depicting Vitus in a cauldron was very popular during the Middle Ages, especially in southern Germany.

Virgin and Child, anonymous, c. 1515 - c. 1530 Maria stands on a ground with a bent left leg. She wears on her right arm, the half lying, in a shirt -dressed child, whose right foot she holds with the left hand. Maria's hair tresses are partly falling for the shoulders. She wears a wounded pearl band on the head, a shirt that can be seen on the chest and at the wrists and a robe with angular necklace, which depends on a point down to the bottom at the bottom. The mantle hanging from the shoulders is included under both arms and struck to the left. On the back the built -in Mechelen city coat of arms: the three beams. Mechelen walnut (hardwood) Maria stands on a ground with a bent left leg. She wears on her right arm, the half lying, in a shirt -dressed child, whose right foot she holds with the left hand. Maria's hair tresses are partly falling for the shoulders. She wears a wounded pearl band on the head, a shirt that can be seen on the chest and at the wrists and a robe with angular

Boy with a barrel 16th century () probably Italian. Boy with a barrel. probably Italian. 16th century (). Bronze, brown patina, on base of yellow marble with grey veining. Sculpture-Bronze

Figure of the Artist's Father, George Paul Eckstein, 1739-1828, German, active in Britain (from 1760), between 1775 and 1800, Terracotta, with separate gilded base, Overall: 7 x 8 x 8 inches (17.8 x 20.3 x 20.3 cm), coat, father, hat, man, portrait, table

Saint Barbara. Culture: German. Dimensions: Overall: 24 1/8 x 8 13/16 x 5 3/16 in. (61.2 x 22.4 x 13.2 cm). Date: ca. 1510. Museum: Metropolitan Museum of Art, New York, USA.

Altarpiece with Relics - Putto with column, upper right, 1735-1740. Joseph Matthias Götz (German, 1696-1760), and Workshop. Gilded wood, with relics in niches: gilded wood, mother-of-pearl, ebony, red silk, gold wire, seed pearls, rock crystal, pen and ink on paper;

Appliqué Figure ca. 1220-40 French. Appliqué Figure 464651 French, Appliqu Figure, ca. 122040, Copper: repouss, chased, engraved, scraped, stippled, gilt; blue-black and turquoise glass beads, Overall: 6 5/8 x 1 15/16 x 7/8in. (16.8 x 4.9 x 2.3cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1917 (17.190.789)

Andromeda and the Sea Monster. Artist: Domenico Guidi (Italian, 1625-1701). Culture: Italian, Rome. Dimensions: Overall (confirmed): 64 3/8 x 46 3/8 x 34 5/8 in. (163.5 x 117.8 x 87.9 cm). Patron: Commissioned by Francesco II, Duke of Mantua and Reggio (Italian, 1660-1694) , who died before the sculpture's completion. Date: 1694.Acquired in Rome by John Cecil, the fifth Earl of Exeter (1648-1700), this sculpture was long believed to have been the work of Pierre-Étienne Monnot, the French-born sculptor who carved the English statesman's funerary monument. The Andromeda, thoroughly Roman Baroque in conception and treatment, was once thought to have been merely influenced by Domenico Guidi, Monnot's mentor, but now seen to be Guidi's own work.The sculpture has recently been identified as the Andromeda (previously considered lost) originally commissioned by Francesco II d'Este, Duke of Modena, who died before acquiring it. John Cecil bought the work for Burghley House, his Northamptonshire

Woman with Child Moreau, Mathurin (1822 1912)

Statuette of Venus. Unknown

Triton with shell serving as saltcellar. Artist: Follower of Gian Lorenzo Bernini (Italian, Naples 1598-1680 Rome). Culture: Italian, Rome. Dimensions: Overall (confirmed): 5 1/16 × 4 7/8 × 4 7/16 in. (12.9 × 12.4 × 11.3 cm). Date: third quarter 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Figurine of Isis

. Sculpture of animal or man with arm board, sitting on a column. The image belongs to eleven images (BK-NM-144-1 to BK-NM-144-12).

Angel second half 18th century Italian, Naples In 1964, Loretta Hines Howard generously presented to the Museum over 140 Neapolitan crèche figures, dating from the second half of the eighteenth century. The varied assortment includes figures from the three traditional scenes of a complete Neapolitan presepio: the Nativity, with angels, shepherds, and sheep; the procession of the three Magi, with their colorful retinue of attendants; and the varied and gay crowd of country and town people thronging the tavern, or inn, of Bethlehem the diversorium mentioned by St. Luke, where on the Holy Night there was no place for Mary and Joseph. Averaging between twelve and fifteen inches in height, according to the position they were to take in perspective in the stage set, the figures are pliable and can be given poses at will, according to their facial expressions. Their bodies are made of tow and wire, their arms and legs are finely carved of wood, and their heads and shoulders are modeled of t

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