Julius Caesar by Andrea di Pietro di Marco Ferrucci
Italian (from Florence), c. 1512-1514
marble
Metropolitan Museum of Art
Source: metmuseum.org
Pair of firedogs representing Venus and Mars, designed by Quentin-Claude Pitoin and modeled by Etienne-Maurice Falconnet
French, c. 1769
gilt bronze and iron supports
Art Institute of Chicago
Source: artic.edu
Egyptian Goddess and Egyptian God by Claude Michel, called Clodion
French, probably 1780s
painted terracotta
Metropolitan Museum of Art
Source: didoofcarthage
Sardonyx cameo with Cupid crowning Venus, in a gold mount with an openwork enamel frame
Roman, 1st century B.C. (cameo); French, c. 1660 (frame)
Royal Collection Trust
Source: rct.uk
Agate cameo with a bust of a young woman in high relief, possibly representing the Roman goddess Proserpine, after an antique type
Italian, late 16th century (cameo) and late 18th century (gold mount)
Royal Collection Trust
Source: rct.uk
Source: didoofcarthage
Onyx cameo of Ariadne, in a modern gold ring. Greek, Hellenistic Period, 3rd-2nd centuries B.C. In the Royal Collection.
Description from the Royal Collection Trust:
Cameo with a head of Ariadne, consort of Dionysos, facing to the right with her gaze slightly lifted. She wears a wreath of ivy leaves and berries. Her hair is gathered in a roll at the back and ringlets cascade down her neck with a stray lock before the neck. A trace of her dress becomes visible along the neckline. The rather fleshy features and short nose recall portraits of Ptolemaic queens and the resemblance may be deliberate since such assimilation to deities was common practice.
Source: rct.uk
Bas-relief of the head of a bearded man (perhaps Asclepius), likely a fragment from a larger object such as a vase, in a modern mount
Greek, Hellenistic, 1st or 2nd century B.C.
sardonyx
Royal Collection Trust (acquired by King George III)
Source: rct.uk
Fragment of an oval cameo with Zeus wearing the aegis, in a modern mount
Greek, Hellenistic Period, 1st or 2nd century B.C.
sardonyx
Royal Collection Trust (acquired by King George III)
Source: rct.uk
Cameo portrait of Emperor Claudius, in modern mount, perhaps cut after his triumph over Britain in A.D. 44
Roman, Imperial Period, A.D. 43-45
sardonyx with glass backing
Royal Collection Trust (acquired by King Charles I when Prince of Wales)
Source: rct.uk
#cameo#portrait#Ancient Rome#Emperor Claudius#Claudius#Roman emperor#Roman#Imperial Period#Julio-Claudian Dynasty#Julio-Claudian Period#sardonyx#glass#carving#sculpture#ancient art#Royal Collection Trust#The victory over Britain was in AD 43 but the triumph occurred in AD 44#It's confusing that those words are synonyms in English!
Prayer Nut with the Nativity and the Adoration of the Magi, attributed to the workshop of Adam Dircksz
Netherlandish, c. 1500-1530
boxwood, silver, and gold
Rijksmuseum
Source: hdl.handle.net
Source: didoofcarthage
didoofcarthage reblogged
Statue of a seated poet (Orpheus?)
Greek (from Tarentum), Early Hellenistic Period, 330-300 B.C.
terracotta with white slip of calcium carbonate and polychromy
Getty Museum
Source: getty.edu
didoofcarthage reblogged
Young Woman with a Spear c. AD 50–200 Afghanistan, Begram, Kushan period Ivory
This smiling female figure has her hair tied up to one side, wound around with an embroidered strip of cloth. She stands akimbo with her upper garment removed and tied in a loose looped knot at her side. A broad girdle holds up her clinging, diaphanous skirt. She has the ideal female form of a young mother, and since she holds a spear, she may have served a protective function.
didoofcarthage reblogged
Figure of a young woman Carved and painted plaster (stucco) Gandhara, Pakistan 4th - 5th century AD Kushan Period
didoofcarthage reblogged
Marine Deity (Triton or Ichthyocentaur) ca. 1st century Pakistan (ancient region Gandhara (Swat Valley?))
This sculpture and the Stair Riser with Marine Deities (13.96.21) are part of a set of twenty-one panels that embellished the stairway of a stupa, likely on the western end of the Swat Valley. The treatment of the anatomy of these athletic men is interesting in terms of both the naturalism and schematization of the musculature. The oars they carry and the acanthus leaves that appear to grow out of their bodies suggest that they are marine deities.
Personification of the River Nile (and details) by Giovanni Volpato. Italian, c. 1785-1785. Hard-paste biscuit porcelain. In the Metropolitan Museum of Art.
From the Met:
In 1785 Giovanni Volpato established a manufactory in Rome for the production of biscuit-porcelain sculpture. This group personifying the river Nile was the most ambitious work made at Volpato's factory, as well as the most expensive, as shown by a surviving price list. Most of the sculptural groups made under Volpato's supervision were reproductions of antique marbles, the biscuit-porcelain medium being ideally suited to this purpose.
The River Nile is a reduction of a colossal Roman marble at the Vatican, much admired in Volpato's time, and is remarkably faithful to the marble original; only the base has been simplified, as was required by the change in scale. The composition is an allegory of fecundity. A cornucopia is placed prominently near the reclining Nile, and the sixteen small children who cavort on and about the figure of the river symbolize the sixteen units of measurement, known as cubits, by which the river rose annually, fertilizing the surrounding areas.
The complexity of the composition, due in large part to the incorporation of the children, accounted for the high price of the biscuit group, of which this is the only known example.
Source: metmuseum.org