Ptolemy 1st Soter, King of Egypt at The Louvre, Parismyminifactory.com
Ptolemy I Soter I (i.e. Ptolemy (the Savior)), also known as Ptolemy Lagides, c. 367 BC – c. 283 BC, was a Macedonian general under Alexander the Great, who became ruler of Egypt (323–283 BC) and founder of the Ptolemaic Kingdom and dynasty. In 305/4 BC he demanded the title of pharaoh.
Marble Head of a Hellenisitic Ruler at The Metropolitan Museum of Art, New Yorkmyminifactory.com
The flat fillet worn by this young man is an insignium of kingship. He has been identified as one of the Macedonian Greek kings who rules the new kingdoms formed in the lands that Alexander the Great had conquered in the late fourth century B.C. The head was once part of the collection of antiquities formed in the early seventeenth century in Rome by the Marchese Vincenzo Giustiniani.
Statue of Osorkon 1st at The Louvre, Parismyminifactory.com
The son of Shoshenq I and his chief consort, Karomat A, Osorkon I was the second king of Egypt's 22nd Dynasty and ruled around 922 BC – 887 BC. He succeeded his father Shoshenq I who probably died within a year of his successful 923 BC campaign against the kingdoms of Israel and Judah. Osorkon I's reign is known for many temple building projects and was a long and prosperous period of Egypt's History. His highest known date is a "Year 33 Second Heb Sed" inscription found on the bandage of Nakhtefmut's Mummy which held a bracellet inscribed with Osorkon I's praenomen: Sekhemkheperre. This date can only belong to Osorkon I since no other early Dynasty 22 king ruled for close to 30 years until the time of Osorkon II. Other mummy linens which belong to his reign include three separate bandages dating to his Regnal Years 11, 12, and 23 on the mummy of Khonsmaakheru in Berlin. The bandages are anonymously dated but definitely belong to his reign because Khonsmaakheru wore leather bands that contained a menat-tabnaming Osorkon I. Secondly, no other king who ruled around Osorkon I's reign had a 23rd Regnal Year including Shoshenq I who died just before the beginning of his Year 22.
Sir Cedric Morris at the Sainsbury Centre for Visual Arts, Norwichmyminifactory.com
Welsh painter and horticulturist. He was a self-taught painter but attended the académies libres in Paris as a young man. He was a member of the art communities of Newlyn in Cornwall (1919–20), Paris (1921–6) and London (1926–39). Although he had experimented with abstraction c. 1922, he resigned from the society when it moved away from representation. Between 1937 and c.1975 Morris and Lett-Haines directed the distinctly non-academic East Anglian School of Painting and Drawing; in 1940 the school was moved to Morris's home at Benton End, Hadleigh, Suffolk, where he also cultivated a garden and bred irises.
Ptolemy of Mauretania at The Louvre, Parismyminifactory.com
Ptolemy of Mauretania (13 BC/9 BC-40) was the last Roman client king and ruler of Mauretania for Rome. This marble sculpture by an unknown artist was carved between 30-40 BC AD depicting the King. The vigorous image executed in the time of Tiberus (14-17 AD) or Caligula (37-41 AD) is an example of the realistic, animated style which can be found in North Africa during the Hellenistic period of Egypt. The style is in a similar to style to the representations of the Roman Imperial period.
Noble Roman Roman at The Royal Ontario Museum, Ontariomyminifactory.com
This marble head was created around AD 150-200. The sculpture might portray Lucilla, the eldest daughter of the Co-Emperor Marcus Aurelius (ruled AD 161-180) and his wife Faustina the Younger. Lucilla married Lucius Verus in AD164. Alternatively it could be a portrait of Julia Domna, wife of the Emperor Septimius Severus (ruled AD 193-211)
Marble Head of Emperor Tiberius at The British Museum, Londonmyminifactory.com
The head, set into a modern bust, shows the image of the future emperor Tiberius (reigned AD 14-37). It was commissioned in AD 4 to mark his adoption as the successor of the emperor Augustus, his step-father. At the time Tiberius would have been forty-six years old, but is shown in the portrait as much younger.
Lucie Rie at the Sainsbury Centre for Visual Arts, Norwichmyminifactory.com
Lucie Rie was born in 1902 in Vienna, where she studied at the Kunstgewerbeschule under Michael Powolny from 1922 to 1926. In 1938 she moved to London, where she lived from 1939 in Albion Mews. After the war she opened a pottery and button-making workshop where she was joined in 1946 by Hans Coper.
Louis-Philippe at The Louvre, Parismyminifactory.com
This marble sculpture, signed and dated in 1834, was made by Jean-Jacques (James) Pradier (Geneva, 1790 - Paris, 1852). It depicts Louis-Philippe (1773-1850), the King of France between 1830 and 1848. Living in the Palace of Tuilieries nearby to the Louvre, the King became incredibly interested in the museum, where he installed his collection of Spanish antiquities.
Leif Erikson Bust at the Leif Erikson Hall, Seattlemyminifactory.com
Leif Erikson or Leif Ericson was an explorer regarded as the first European to land in North America (excluding Greenland), nearly 500 years before Christopher Columbus. According to the Sagas of Icelanders, he established a Norse settlement at Vinland, tentatively identified with the Norse L'Anse aux Meadows on the northern tip of Newfoundland in modern-day Canada.
Hercules at The Royal Ontario Museum, Ontariomyminifactory.com
This marble bust depicts the head of a young Hercules, produced in Rome after a Greek work of about 340 BC. This head is of the same type as on the 'Lansdowne Herakles', a statue attributes to the Greek sculptor Skopas. A number of Roman copies exist of this statue or of the head alone exist. The complete herm would have consisted of a 4-cornered pillar topped by the head.
Head of Athena at The Metropolitan Museum of Art, New Yorkmyminifactory.com
The goddess Athena is represented in an art-futuristic style. A decorative, retrospective reminder that incorporated Mystic characteristics of archaic Greek art of the sixth or early fifth century B. C. into newly created figures and compositions. The style flourished from the late second century B.C. onward, fulfilling a demand for decorative works.
Head of Bhairava at The Metropolitan Museum of Art, New Yorkmyminifactory.com
A fearsome form of Shiva, the wide-eyed and fanged Bhairava embodies rage. Flames emit from his mouth, eyes, eyebrows, and chin, and his red hair appears as an aureole of fire. It supports a diadem entwined with snakes and skulls and set with large rock crystals. Coiled snakes form his pendant ear ornaments. A small hole pierces the inner mouth to receive the drinking tube used during the annual Indrayatra festival to funnel beer to bless eager devotees. The representation of Bhairava as an independent, mask-like head is unique to the Newari metalworkers of Nepal, who were famous throughout the Himalayan world for their skills in working copper. This mask bears close comparison to an inscribed example dated 1560 and may be dated to the mid-sixteenth century.