This marble statue depicts a standing male figure, who holds a closed book in his left hand and makes what appears to be a gesture indicating speech with his right. The curls of his flowing beard and long hair are echoed in the gentle curving folds and undulating edges of his long robe and mantle. He turns his head downward and to his left
This standing apostle, produced in the Belgian city of Liege, formerly stood in the interior of a church, where he would have appeared in a niche above eye level as part of a larger sculptural ensemble that probably included the other apostles and religious figures.
Inscribed in plate in image, LC below statue: "Omnium elegantissimum Herculis signum Gliconis Atheniensis peritissimi artificis manu fabre factu[m], Quod Paulo iij Pont. max[im]o. in/ thermarum antoninianar[um] ruderibus inuentum et in domus Farnesianë ad campum Florë interiori porticu locatum Ant. Lafrerius/ Sequanus aeneis formis diligenter expressit Anno [M] D LXII" (See object file for more accurate transcription.) Inscribed in plate, LR corner of pedestal, top face: "Jacobus Bossius Belga incidit" Inscribed in plate, on rock in image, in Greek (See object file for transcription.) Watermark: crossed arrows surmounted by star; somewhat similar to Briquet 6291, 6298, 6299, 6300.
This engraving reproduces a colossal marble sculpture of Hercules leaning upon his club, which is draped with a lion skin. Bos carefully records the powerful musculature of the figure and sets the statue within a niche.
The engraving reproduces a statue that is itself a copy from the 3rd century CE of an original from the 4th century BCE. The monumental sculpture was unearthed in Rome in the 1540s, and quickly became one of the most famous and influential of all ancient sculptures. The statue was purchased soon after its discovery by Cardinal Alessandro Farnese and displayed in the family's residence in Rome, the Farnese Palace, until the late eighteenth century.
Square format photograph with brown/amber/white color tones. Two glass objects in the abstract shape of a human figure (shoulder, neck and tilted head only) are placed in the foreground with the heads tilted toward each other. On the right side there is a partial view of a table that is shown out of focus. Light is reflected on the rounded forms of the figures and their shadows are projected on a blank wall behind them. There is a large shadow profile of a man also projected onto the wall.
Following the death of his wife, in 1977 Kertész photographed objects in his New York City apartment using a Polaroid SX-70 camera. This photograph features a small glass bust that he said reminded him of his wife's features. In some cases he positioned it on his windowsill to capture the reflection of sunlight, but here he has used two figurines leaning toward each other and