manuel cohen

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  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example has a stern, piercing expression and could represent a figure of authority. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC530.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a young man wearing a helmet with a happy smiling expression. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC519.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example has a forlorn expression. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC514.jpg
  • 'Reunion de 35 tetes diverses', or '35 Expressive Heads', engraving after the painting of 1824 by Louis-Leopold Boilly, 1761-1845, featuring 35 heads with varying comical expressions and grimaces. Copyright © Collection Particuliere Tropmi / Manuel Cohen
    LC_History_MC0074.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example of a beautiful young woman may represent innocence. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC541.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a weary-looking bearded man. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC515.jpg
  • Head of a figure with worried expression, wearing a hood, on 1 of the 77 choir stalls, carved in oak in the 14th century, with depictions of the medieval population of Dol on the armrests, in the Cathedral Saint-Samson, begun in the 13th century on the site of an older church and completed in the 18th century, in Dol-de-Bretagne, Brittany, France. The cathedral is dedicated to one of the founding saints of Brittany and until 1801 was the seat of the archbishopric of Dol. Picture by Manuel Cohen
    LC18_FRANCE_MC_0081.jpg
  • Arches, caryatid with mournful expression and sibyls holding tablets, sculptural detail from the Sacristy, designed by Andres de Vandelvira, 1509–75, and sculpted by Esteban Jamete, 1515-65, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC188.jpg
  • Caryatid with mournful expression and sibyl holding tablet, sculptural detail from the Sacristy,  designed by Andres de Vandelvira, 1509–75, and sculpted by Esteban Jamete, 1515-65, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC147.jpg
  • Head of a caryatid with mournful expression, sculptural detail from the Sacristy, designed by Andres de Vandelvira, 1509–75, and sculpted by Esteban Jamete, 1515-65, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC144.jpg
  • Detail of the crucifixion scene, with Nicodemus with sorrowful expression gesturing to Christ on the cross, from the Altarpiece of the Passion, late 15th century, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. The altarpiece was commissioned by Charles de Ternant, son of Philippe de Ternant, and depicts scenes of the Passion and the Glorification of Christ, including a sculpted triptych of the Entombment, Crucifixion and Pieta. It was made by Brabant and Flemish workshops in painted and gilded carved wood. The altarpiece has been restored many times and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0445.jpg
  • Carved face of a woman with a sorrowful expression, possibly with small wings on her forehead, from the underside of the slab topping a large temple-type monumental Lycian tomb at the acropolis at Sydima, a Lycian site at Dorduga village, Fethiye, Antalya, Turkey. The tomb is raised on two steps and originally had 2 columns.  The top slab has beautiful carved reliefs of human heads, believed to be women, and flowers, which were originally painted. The ruins at Sydima date from the earliest classical Lycian period around the 5th century BC, although many of the remaining structures are Roman. Picture by Manuel Cohen
    LC13_Turkey_MC712.jpg
  • Carved face of a woman with a solemn expression wearing a headband from the underside of the slab topping a large temple-type monumental Lycian tomb at the acropolis at Sydima, a Lycian site at Dorduga village, Fethiye, Antalya, Turkey. The tomb is raised on two steps and originally had 2 columns.  The top slab has beautiful carved reliefs of human heads, believed to be women, and flowers, which were originally painted. The ruins at Sydima date from the earliest classical Lycian period around the 5th century BC, although many of the remaining structures are Roman. Picture by Manuel Cohen
    LC13_Turkey_MC713.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows the face of a sad young man. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC537.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows the angry face of a young man wearing a lion helmet, possibly a Roman soldier. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC538.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a sad bearded man. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC527.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example may represent sadness or bitterness. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC528.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example is possibly the head of a god, with curly hair and a wreath of leaves. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC529.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example may represent surprise. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC531.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example may represent shock or surprise. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC534.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a sad, sorrowful man. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC533.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example may represent madness. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC513.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a young man who seems to be snarling, his teeth clearly visible. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC536.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a fierce, angry, bearded man. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC517.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows an extremely lifelike laughing man, possibly representing drunkenness. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC516.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a grinning mask-like face. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC518.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example possibly represents an emperor wearing a sun ray diadem. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC520.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a frowning, stern male face with wavy hair. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC522.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a serious, solemn young man. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC521.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a serious looking young man wearing a headband. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC524.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a smiling, happy woman. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC526.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a beautiful young woman. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC505.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a sad face. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC507.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example appears to be shocked or surprised. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC506.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a sad face. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC508.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a fierce bearded character. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC509.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a solemn young woman. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC510.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a sorrowful face. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC511.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example may represent madness. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC512.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows the gaunt face of a sad old man with a beard. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC539.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows the smiling face of a child with long hair. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC540.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example is possibly a theatrical mask, or could represent madness. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC532.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a solemn, sorrowful face of a young woman. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC535.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a sorrowful female face. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC523.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This smiling face is on the corner of the portico. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC525.jpg
  • Ghostly head with expression of despair in carved stucco from a frame of a fresco by Rosso Fiorentino, 1535-37, in the Galerie Francois I, begun 1528, the first great gallery in France and the origination of the Renaissance style in France, Chateau de Fontainebleau, France. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
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  • Portrait of Francois Rabelais, 1483-1553, French Renaissance writer and humanist, drawing, 1951, by Henri Matisse, 1869-1954, 1 of a series of 8 expressive heads of Rabelais, in the Musee Rabelais in the Maison La Deviniere, a 15th century farmhouse, home to a young Francois Rabelais, in Seuilly, Indre-et-Loire, France. The Maison La Deviniere is listed as a historic monument. Picture by Manuel Cohen - Further clearance requested, please contact us
    LC23_FRANCE_MC_0083.jpg
  • Mary lies in her deathbed surrounded by the 12 apostles, who have been miraculously transported from their missions to her bedside. John leans over the Virgin and Paul is at the foot of the bed, all with expressions of sadness. The Death of the Virgin, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC757.jpg
  • The 12 apostles, with expressions of grief, lower the body of Mary into her tomb, one swings incense while an angel descends on the scene from above. The Entombment of the Virgin, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC761.jpg
  • Two apostles, with expressions of sadness, to the right of the scene of the apostles carrying the coffin of Mary, from the Funeral of Mary in the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC774.jpg
  • Portrait of a man, Renaissance oil painting on board, 1476, by Antonello da Messina, 1430-79, in the Museo Civico d'Arte Antica, in the Palazzo Madama e Casaforte degli Acaja, built in the 14th - 18th century by the House of Savoy as a castle and royal residence, in Turin, Piedmont, Italy. The palace is part of the House of Savoy UNESCO World Heritage Site. Picture by Manuel Cohen
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  • Standing statue of Amenemhat III, 6th pharaoh of the 12th dynasty, wearing Nemes headdress with protective uraeus, Middle Kingdom, 1841-1792 BC, black granite, from the Karnak temple, in the Luxor Museum, inaugurated 1975, in Luxor, Egypt. Picture by Manuel Cohen
    LC22_EGYPT_MC_0077.jpg
  • Standing statue of Amenemhat III, 6th pharaoh of the 12th dynasty, wearing Nemes headdress with protective uraeus, Middle Kingdom, 1841-1792 BC, black granite, from the Karnak temple, in the Luxor Museum, inaugurated 1975, in Luxor, Egypt. Picture by Manuel Cohen
    LC22_EGYPT_MC_0076.jpg
  • Standing statue of Amenemhat III, 6th pharaoh of the 12th dynasty, wearing Nemes headdress with protective uraeus, Middle Kingdom, 1841-1792 BC, black granite, from the Karnak temple, in the Luxor Museum, inaugurated 1975, in Luxor, Egypt. Picture by Manuel Cohen
    LC22_EGYPT_MC_0079.jpg
  • Standing statue of Amenemhat III, 6th pharaoh of the 12th dynasty, wearing Nemes headdress with protective uraeus, Middle Kingdom, 1841-1792 BC, black granite, from the Karnak temple, in the Luxor Museum, inaugurated 1975, in Luxor, Egypt. Picture by Manuel Cohen
    LC22_EGYPT_MC_0078.jpg
  • Virgin Mary and Mary Magdalene grieving, detail from Nailing of Christ to the Cross, detail, Renaissance fresco, 1441-42, by an assistant of Fra Angelico, 1395-1455, in Cell 36, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_250.jpg
  • Mary holding Christ's feet, detail from the Lamentation over Christ, Renaissance fresco, 1440-42, by Fra Angelico, 1395-1455, in Cell 2 of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_218.jpg
  • Grotesque mask on the facade of the Hotel des Freres Raimbaud, an 18th century mansion on the Quai Turenne on Ile Feydeau, in Nantes, Pays de la Loire, France. The building is listed as a historic monument. Nantes was an important trading port, profiting greatly from the slave trade from 17th - 19th century, although the Rimbaud brothers were wood merchants. The Ile Feydeau area, a former island in the Loire, was developed from the 1720s with large mansions built by wealthy shipowners and slave traders. Picture by Manuel Cohen
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  • Galerie des Combats, detail, sculpture with Romans in red and Gauls in blue, at the entrance to the permanent exhibition space in the Centre d'Interpretation, a visitor centre designed by Bernard Tschumi, at the MuseoParc Alesia, on Mont-Auxois near Alise-Sainte-Reine, Burgundy, France. Alesia was originally a Celtic settlement which became a Gallo-Roman town after being conquered by Julius Caesar during the Gallic Wars. Alesia is the site of the Battle of Alesia, 52 BC, when the Romans under Julius Caesar defeated the Gauls under Vercingetorix. Picture by Manuel Cohen
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  • Tiki Makii Tau'a Pepe, carved in grey keetu or volcanic tuff, representing a woman lying on her stomach with outstretched arms and raised head with huge eyes and mouth, thought to be in the process of childbirth, at the Iipona archaeological site, near the village of Puamau, on the island of Hiva Oa, in the Marquesas Islands, French Polynesia. On the base of this sculpture are petroglyph reliefs of dogs, whose meaning is unclear. Tiki sculptures are usually carved in wood or stone and represent Ti’i, a half-human half-god ancestor who is believed to be the first man. Tiki often have a huge head, symbolising power, and big eyes symbolising knowledge. Tiki are respected and are often placed outside houses as protective statues. The Iipona site was a religious sanctuary or meae, built by the pre-European Marquesian civilisation, arranged over 2 large terraces with 5 monumental tikis. Picture by Manuel Cohen
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  • Bust of a bare-breasted smiling woman emerging from a circular recess in the wall, sculptural detail from the Sacristy, designed by Andres de Vandelvira, 1509–75, and sculpted by Esteban Jamete, 1515-65, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
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  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0356.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0349.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0345.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0423.jpg
  • The Death of the Virgin, with the apostles surrounding her body, from the Altarpiece of the Virgin, 1430-40, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. An angel reaches up to close the Virgin's eyes, and 2 other angels take her soul, in the form of a child, up to heaven. The altarpiece was commissioned by Philippe de Ternant and his wife Isabeau de Roye, and depicts 7 scenes of the Life of the Virgin, both painted and sculpted, including the Annunciation, Dormition and Glorification. It was made by Brabant and Flemish workshops in painted and gilded carved wood. The altarpiece has been restored many times and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0431.jpg
  • Sculptures of weepers including a bishop, under Gothic canopies, by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0518.jpg
  • Sculptures of weepers by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0521.jpg
  • Statues of hooded weeper under Gothic canopy from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0524.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0510.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0500.jpg
  • The Speech of St Stephen, with the saint speaking to people in the Greek language, aided by the holy spirit above, from the predella of the Retaule de l'Esperit Sant (Retablo del Espiritu Santo), or Altarpiece of the Holy Spirit, 1394, by Pere Serra, a Catalan artist, with 22 scenes and 36 figures of saints, in the Colegiata Basilica de Santa Maria, or Collegiate Basilica of Santa Maria, also known as La Seu, built in Gothic style by Berenguer de Montagut, from 1328 until 1486, around an existing 11th century Romanesque church, Manresa, Catalonia, Spain. The altarpiece was commissioned by the Guild of Tanners and contains scenes of the Holy Spirit and Life of Christ, with a predella originally from a different altarpiece (dedicate to St Anthony and disappeared), with the Lamentation, 1410, by Lluis Borrassa. Picture by Manuel Cohen
    LC16_SPAIN_MC055.jpg
  • Carved and painted roof bracket with head of a laughing man wearing a traditional headdress, architectural detail of the painted wooden ceiling in the shape of a boat's hull, in the Salle des Povres or Room of the Poor, almost 50m long, in Les Hospices de Beaune, or Hotel-Dieu de Beaune, a charitable almshouse and hospital for the poor, built 1443-57 by Flemish architect Jacques Wiscrer, and founded by Nicolas Rolin, chancellor of Burgundy, and his wife Guigone de Salins, in Beaune, Cote d'Or, Burgundy, France. The hospital was run by the nuns of the order of Les Soeurs Hospitalieres de Beaune, and remained a hospital until the 1970s. The building now houses the Musee de l'Histoire de la Medecine, or Museum of the History of Medicine, and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0048.jpg
  • The damned burning in hell, from the open panels of the polyptych altarpiece, 1446-52, by Rogier van der Weyden, 1399-1464, commissioned by Nicolas Rolin in 1443, in Les Hospices de Beaune, or Hotel-Dieu de Beaune, a charitable almshouse and hospital for the poor, built 1443-57 by Flemish architect Jacques Wiscrer, and founded by Nicolas Rolin, chancellor of Burgundy, and his wife Guigone de Salins, in Beaune, Cote d'Or, Burgundy, France. The altarpiece was originally in the Chapel, but is now in the museum. The panels were only opened to patients during holy days. The hospital was run by the nuns of the order of Les Soeurs Hospitalieres de Beaune, and remained a hospital until the 1970s. The building now houses the Musee de l'Histoire de la Medecine, or Museum of the History of Medicine, and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0083.jpg
  • St Joan of Arc (Jeanne d'Arc) at the stake, from a series of 19th century stained glass windows by Galland and Gibelin illustrating the life of Joan of Arc, in Orleans Cathedral, or the Basilique Cathedrale Sainte-Croix d'Orleans, built in Gothic style 1278-1329 and largely rebuilt 1601-1829 after it was partially destroyed in 1568, in Orleans, Loiret, Centre, France. The cathedral is listed as a historic monument. Picture by Manuel Cohen
    LC15_FRANCE_MC_1115.jpg
  • Face of statue of Joan of Arc (Jeanne d'Arc), 'Jehanne au sacre', 1901, by Prosper díEpinal, in an apsidal chapel in the Cathedrale Notre-Dame de Reims or Reims Cathedral, Reims, Champagne-Ardenne, France. Her armour is bronze, her face ivory, and her tunic is yellow marble with fleurs de lys incrusted with lapis lazuli. The cathedral was built 1211-75 in French Gothic style with work continuing into the 14th century, and was listed as a UNESCO World Heritage Site in 1991. Picture by Manuel Cohen
    LC15_FRANCE_MC0529.jpg
  • Sculpture of a man above a carved Romanesque capital with acanthus leaves and heads peering out, 12th century, in the nave of the Cathedrale Saint-Julien du Mans or Cathedral of St Julian of Le Mans, Le Mans, Sarthe, Loire, France. The cathedral was built from the 6th to the 14th centuries, with both Romanesque and High Gothic elements. It is dedicated to St Julian of Le Mans, the city's first bishop, who established Christianity in the area in the 4th century AD. Picture by Manuel Cohen
    LC15_FRANCE_MC0469.jpg
  • Carved polychrome Romanesque capital, 12th century, with human faces peering out of foliage of acanthus leaves, in the nave of the Cathedrale Saint-Julien du Mans or Cathedral of St Julian of Le Mans, Le Mans, Sarthe, Loire, France. The cathedral was built from the 6th to the 14th centuries, with both Romanesque and High Gothic elements. It is dedicated to St Julian of Le Mans, the city's first bishop, who established Christianity in the area in the 4th century AD. Picture by Manuel Cohen
    LC15_FRANCE_MC0460.jpg
  • The arrest of St Firmin, Gothic style polychrome high-relief sculpture from the South side of the choir screen, 1490-1530, commissioned by canon Adrien de Henencourt, depicting the life of St Firmin, at the Basilique Cathedrale Notre-Dame d'Amiens or Cathedral Basilica of Our Lady of Amiens, built 1220-70 in Gothic style, Amiens, Picardy, France. St Firmin, 272-303 AD, was the first bishop of Amiens. Amiens Cathedral was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC962.jpg
  • St Saulve praying for the discovery of the tomb of St Firmin, Gothic style polychrome high-relief sculpture from the South side of the choir screen, 1490-1530, commissioned by canon Adrien de Henencourt, depicting the life of St Firmin, at the Basilique Cathedrale Notre-Dame d'Amiens or Cathedral Basilica of Our Lady of Amiens, built 1220-70 in Gothic style, Amiens, Picardy, France. St Firmin, 272-303 AD, was the first bishop of Amiens. Amiens Cathedral was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC844.jpg
  • People in the crowd watching St Firmin preaching, Gothic style polychrome high-relief sculpture from the South side of the choir screen, 1490-1530, commissioned by canon Adrien de Henencourt, depicting the life of St Firmin, at the Basilique Cathedrale Notre-Dame d'Amiens or Cathedral Basilica of Our Lady of Amiens, built 1220-70 in Gothic style, Amiens, Picardy, France. St Firmin, 272-303 AD, was the first bishop of Amiens. Amiens Cathedral was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC855.jpg
  • The arrest of St Firmin, Gothic style polychrome high-relief sculpture from the South side of the choir screen, 1490-1530, commissioned by canon Adrien de Henencourt, depicting the life of St Firmin, at the Basilique Cathedrale Notre-Dame d'Amiens or Cathedral Basilica of Our Lady of Amiens, built 1220-70 in Gothic style, Amiens, Picardy, France. St Firmin, 272-303 AD, was the first bishop of Amiens. Amiens Cathedral was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC859.jpg
  • Exhumation of the remains of St Firmin, Gothic style polychrome high-relief sculpture from the South side of the choir screen, 1490-1530, commissioned by canon Adrien de Henencourt, depicting the life of St Firmin, at the Basilique Cathedrale Notre-Dame d'Amiens or Cathedral Basilica of Our Lady of Amiens, built 1220-70 in Gothic style, Amiens, Picardy, France. St Firmin, 272-303 AD, was the first bishop of Amiens. Amiens Cathedral was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC874.jpg
  • Crying angel sculpture, with skull and hourglass, 1636 by Nicolas Blasset, 1600-59, French sculptor, from the tomb of canon Guilain Lucas, died 1628, behind the choir in the Basilique Cathedrale Notre-Dame d'Amiens or Cathedral Basilica of Our Lady of Amiens, built 1220-70 in Gothic style, Amiens, Picardy, France. Amiens Cathedral was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC894.jpg
  • Figures holding Neptune's shell, from the Neptunbrunnen or Neptune Fountain, built 1891 and designed by Reinhold Begas, Berlin, Germany. The fountain depicts the god Neptune, putti and mythological figures and 4 allegorical figures representing the 4 main rivers in Prussia. It is situated between the Marienkirche or St Mary's Church and the Rotes Rathaus or Red Town Hall. Picture by Manuel Cohen
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  • "Kämpfende Amazone" (Fighting Amazonian Woman) by August Kiss, 19th century, sculpture of a woman on horseback spearing a lion, outside the Altes Museum or Old Museum, housing the Antique collection of the Berlin State Museums, Museum Island, Mitte, Berlin, Germany. The museum was built 1823-30 by Karl Friedrich Schinkel in neoclassical style to house the Prussian royal family's art collection. The buildings on Museum Island were listed as a UNESCO World Heritage Site in 1999. Picture by Manuel Cohen
    LC14_BERLIN_MC0417.jpg
  • Tragic mask, Hellenistic, from the Museum Of Apollonia near the Ardenica monastery in Fier, Albania. The museum was opened in 1958 to display artefacts found at the nearby Greek Illyrian archaeological site of Apollonia. Apollonia was an ancient Greek city in Illyria, founded in 588 BC by Greek colonists from Corfu and Corinth. It flourished in the Roman period and declined from the 3rd century AD when its harbour was silted up due to an earthquake. Picture by Manuel Cohen
    LC14_Albania_MC347.jpg
  • Sculpted wooden Medusa head from the door between the horseshoe vestibule and the Galerie Francois I, Chateau de Fontainebleau, France. The Galerie Francois I was begun in 1528 and was the first great gallery in France and the origination of the Renaissance style in France. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC485.jpg
  • Four apostles to the right of the scene of 2 thurifers or incense-bearer angels swinging censers, pointing down to the funeral procession of Mary, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC775.jpg
  • Theatrical Mask, proscenium of the 1st century BC theatre of Ostia Antica, Italy. Picture by Manuel Cohen
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  • Theatrical Mask, proscenium of the 1st century BC theatre of Ostia Antica, Italy. Picture by Manuel Cohen
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  • Three mourning women, by Benozzo Gozzoli, 1421-97, detail from Resurrection of Christ and Women at the Tomb, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 8, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_233.jpg
  • Virgin and St John the Baptist with the body of Christ, detail from the Lamentation over Christ, Renaissance fresco, 1440-42, by Fra Angelico, 1395-1455, in Cell 2 of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_216.jpg
  • Virgin and St John the Baptist with the body of Christ, detail from the Lamentation over Christ, Renaissance fresco, 1440-42, by Fra Angelico, 1395-1455, in Cell 2 of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_215.jpg
  • Tragic theatre mask, mosaic, 1st century BC, from the bedroom of house 1 in Empuries, in the Empuries Museum, or Museo de Arqueologia de Cataluna - Empuries (MAC), near Figueres, on the Costa Brava in Catalonia, Spain. Empuries is an ancient settlement founded in 575 BC by Greek colonists from Phocaea. The town was settled by the Romans from 218 BC and abandoned in the Middle Ages. The site has been undergoing excavation since 1908. Picture by Manuel Cohen
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  • Sculpted corbel with several heads, 15th century, in the north transept of the Eglise Saint-Martin d'Angers, a collegiate Carolingian church, Angers, Maine-et-Loire, France. The church is listed as a historic monument. Picture by Manuel Cohen
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  • Carved stone corner capital featuring anthropomorphic and zoomorphic heads, 13th century, from a small room of unknown purpose, at the Abbaye Saint Nicolas, founded 1021 by Foulques Nerra in Angers, Maine-et-Loire, France. In the 18th century this room was decorated with wood paneling. The abbey is listed as a historic monument. Picture by Manuel Cohen
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  • Grotesque mask on the facade of the Hotel des Freres Raimbaud, an 18th century mansion on the Quai Turenne on Ile Feydeau, in Nantes, Pays de la Loire, France. The building is listed as a historic monument. Nantes was an important trading port, profiting greatly from the slave trade from 17th - 19th century, although the Rimbaud brothers were wood merchants. The Ile Feydeau area, a former island in the Loire, was developed from the 1720s with large mansions built by wealthy shipowners and slave traders. Picture by Manuel Cohen
    LC21_FRANCE_MC_0071.jpg
  • Grotesque mask on the facade of the Hotel des Freres Raimbaud, an 18th century mansion on the Quai Turenne on Ile Feydeau, in Nantes, Pays de la Loire, France. The building is listed as a historic monument. Nantes was an important trading port, profiting greatly from the slave trade from 17th - 19th century, although the Rimbaud brothers were wood merchants. The Ile Feydeau area, a former island in the Loire, was developed from the 1720s with large mansions built by wealthy shipowners and slave traders. Picture by Manuel Cohen
    LC21_FRANCE_MC_0106.jpg
  • Grotesque mask on the facade of the Hotel des Freres Raimbaud, an 18th century mansion on the Quai Turenne on Ile Feydeau, in Nantes, Pays de la Loire, France. The building is listed as a historic monument. Nantes was an important trading port, profiting greatly from the slave trade from 17th - 19th century, although the Rimbaud brothers were wood merchants. The Ile Feydeau area, a former island in the Loire, was developed from the 1720s with large mansions built by wealthy shipowners and slave traders. Picture by Manuel Cohen
    LC21_FRANCE_MC_0108.jpg
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