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Found in a temple near Pondicherry. The figure represents cosmic activity. The significance of the gestures is as follows the drum in the right hand signifies creation; the fire in the upper left hand, destruction; the abaya (fear not) position of the lower right hand, protection; the position of the raised left foot, salvation; the foot placed on the prostrate dwarf, Apasmarapurusa, removal of illusion/ignorance. — Shiva Nataraja (Lord of the Dance), c. 1100
India

G211

Warrior with Shield, 1953–54
Henry Moore

G371

Leopard Aquamanile, Bronze, Benin Culture, Africa, XVIIc; covered with incised spots and smnall punch marks. Rare example. — Water pitcher, 18th century
Edo

G250

possibly a cast of the bozzetto of the larger sculpture modeled by Giovanni Bologna for a statue at the Medici Villa of Castello, outside Florence; base is of a later date — Florence or Venus, first half of the 17th century
Italy

G310

standing male nude; represents man awakening to a fuller comprehension of his physical powers — The Age of Bronze, 1876–77 (plaster model); casting date unknown
Auguste Rodin; Caster: Alex Rudier Fondeur

G355

Baboon and Young, Pablo Picasso — Baboon and Young, 1951
Pablo Picasso

G376

The Avenger, modeled 1914, cast 1923
Ernst Barlach

G371

Ptolemaic Ruler in the Guise of Hercules, Graeco-Egyptian — Ptolemaic Ruler in the Guise of Hercules, 2nd century BCE
Graeco-Egyptian

G241

Light golden brown patination. After the monument in Dijon, France, commissioned 1852. — Hebe and the Eagle of Jupiter, model c. 1853-55 (casting history and edition size unknown)
François Rude; Caster: Thièbaut Frères

G354

Old base (b) R5A2.1 MS — Psyche Abandoned, c. 1800
Augustin Pajou; Caster: Possibly Pierre-Philippe Thomire

G306

face-covering helmet with back and sides curled upward; vertical opening at center from eye holes through bottom; organic design on forehead; curving eyebrows, connected at center — Corinthian helmet, c. 540 BCE
Unknown Greek

G241

Bust — Portrait of Luca Salvioni, c. 1536
Agostino Zoppo

G340

Round-bodied pot with 3 legs, 2 decorative, curving, detachable 'handles' and fan-like lattice element at back; decorated overall with organic and geometric designs — Censer, 1723-1735
China

G214

Golden Bird, Constantin Brancusi — Golden Bird, c. 1919
Constantin Brancusi

G377

cast no. 2/10; figure — Large Seated Nude, c. 1923–1925
Henri Matisse

G377

Recumbent female nude bathing in a shallow circular bathtub — Woman in a Bathtub, 1889 (modeled), 1920-21 (cast)
Edgar Degas; Caster: A.-A. Hébrard et Cie, Paris

G351

Portrait Bust of Pope Clement X, Circle of Gianlorenzo Bernini — Portrait Bust of Pope Clement X, modeled c. 1668 (cast late 17th century)
Circle of Gianlorenzo Bernini

G310

seated Buddha with hands in lap; wearing necklace, bracelets, earrings and hatlike crown; coiled snake body throne; 7 horselike heads on back of throne, each with a floral medallion under chin — Naga-enthroned Buddha, 12th-13th century
Khmer

G213

Khmer Culture, Angkor Wat Style Ritual Altar Bell with Ganesh Motif Handle — Hindu altar bell with Ganesha, 12th century
Khmer

G213

Buddhist ritual conch shell with a dancing Hevajra, Khmer — Buddhist ritual conch shell with a dancing Hevajra, 12th-13th century
Khmer

G213

Janus, Max Ernst — Janus, modeled 1973 (cast 1975)
Max Ernst

G376

Figure; This work was cast posthumously from a terracotta sketch, ca. 1900; casting history and edition size unknown — Dancer Putting on Her Stocking, 19th century
Edgar Degas

G351

Leda and the Swan, Antonio Montauti — Leda and the Swan, c. 1710
Antonio Montauti

G310

mirror; twelve continuous arches design — Mirror with abstract decor, 4th century BCE
China

G215

Mandalay style; Buddha seated in the bhumisparsamudra pose, his left hand is held in his lap and his right hand touches the pedestal — Shakyamuni Buddha Calling the Earth to Witness, 18th century
Myanmar (Burma)

G200

Round, lacquer, gold and silver. — Mirror, 8th century
China

G208

Mirror, round, with t'ao-t'ieh masks in relief. — Mirror, 4th-3rd century BCE
China

G215

Round, silverized, animal and grape design — Mirror, 8th century
China

G208

Round, Tree of Life design, rabbit preparing elixir of long life. — Mirror, 8th century
China

G208

Four inch gilt bronze mirror decorated with seahorse, grape, bird and foliage design; box — Mirror, 7th-11th century
China

G208

Bowl median band of strap work with t'ao-ti'eh mask loop handles; interior with animal in relief and two-character inscription — Bowl, 2nd century BCE
China

G215

round, flat object with scalloped, pointed edges; raised knob at center; rough ship just R of center knob; stylized waves at L; four Korean characters at top center; green with patina — Mirror showing a ship at sea and inscription, 12th century
Unknown Korean

G206

Bowl with short stem and lobed foot; two protruding elements at front with floral motif decorations; large openwork decorative element above handle with flower and leaf designs — Oil Lamp, 1st century BCE - 1st century CE
Roman

G241

two seated figures, male and female, on separate bases that fit into large separate rectangular base; larger male figure has four arms and sits with PL leg drawn in and PR leg extended downwards at an angle; man wears headdress with wheel on back; one hand has a small animal perched on his fingers, another hand has a small axe-like object resting on fingers; female figure seated in mirror image of man's position, with a small bolster under PR knee; woman is bare-breasted and hold PL hand out, palm up; woman wears a tiered conical headdress with a wheel on the back — Somaskanda (Holy Family), 13th-14th century
India

G211

One of a pair of similar bronze escrutcheons, the shield in each bearing the Arms of the Borghase family: a crowned eagle with outspread wings, above a griffin. The shield incorporates at the top a man's head, and above this a cross, which appears under a Cardinal's hat. Each side is supported by a nude winged cherub. — Coat of arms of Cardinal Scipione Borghese (1579–1633), c. 1620–30
Italy

G330

bronze hollow cast in the lost wax process, representing the goddess Isis in a striding attitude — Goddess Isis, 1st century
Ancient Egyptian

G250

footed incense burner, saucer base, pierced cover, bronze, blue patina. — Incense Burner, 1st-2nd century
China

G215

Coat of arms of Cardinal Scipione Borghese (1579–1633), Italy — Coat of arms of Cardinal Scipione Borghese (1579–1633), c. 1620–30
Italy

G330

Concave, incised; scene represents the Dioskouroi, the twins Castor and Polydeuces (Polyx) with their sister Helen and the goddess Minerva — Mirror, 3rd-2nd century BCE
Etruscan

G241

Buddha seated with legs crossed at the ankles. He wears a monk's diaphanous garment which covers only his right side. He is seated in a adamantine pose with the soles of his feet facing upward (as in early Gupta art). He assumes a gesture of exposition with his very long fingers. His face is excellently modelled with heavy eyelids, eyes looking downward and an enigmatic smile. His ears are large with long perforated lobes and he wears a tiered snail-like hairdo. Original and dark patina. Dvaravati style, Mon, Thailand. Cast in the lost wax process. — Seated preaching Buddha, 7th-9th century
Mon-Dvaravati

G213

Free standing figure, modeled in the round, with a rich brown patination. — Faith, early 16th century
Attributed to Niccolò Tribolo

G310

Rich light brown patina with lacquer. The figure stands with left arm raised and the weight resting on the right foot. The left foot is placed on a skull, a very rare feature. On stepped, circular, mottled green base. On the base of the bronze, the number 27 (Mayer Collection). — Anatomical Man (Ecorché), c. 1600
Italy

G310

Free standing figure, modeled in the round, with a rich brown patination. — Justice, early 16th century
Attributed to Niccolò Tribolo

G310

Portrait. — Portrait of John Scott Bradstreet, 1915
Paul Fjelde; Depicted: John S. Bradstreet

G319

Bronze bell (Dotaku); Dotaku- Bronze Bell with so-called 'crossing bands' (in Japanese Kesadasuki) decoration. Fine natural green patina; no repairs, in excellent condition. Excavated at Chiwa-Yama, Yashu-gun, Ohmi Province (now Shiga Prefecture) in the 14th year of Meiji, or 1881 A.D. This was on the 14 bells found, the largest of which is now in the Tokyo national Museum. with a box authentication of Professor Sueji Umehara. Modern wooden storage box has authentication by Professor Umchara. — Ritual Bell (Dōtaku), 1st century BCE-1st century CE
Unknown Japanese

G205

figure seated with legs crossed, one hand raised and one hand resting on a rail; dressed in flowing robes, crown on head; incised line details overall; rail curving around figure at front, supported behind at sides and in center front of figure; sculpture sits on a fitted black wood base — Celestial Worthy of Primordial Beginning, 15th-16th century
China

G201

base in the form of a man, kneeling, with PL arm raised; curved apron; curling hair, bushy brows over bulging eyes, large nose, moustache and small beard; wearing robe decorated with raised medallions, apron, chain mail issuing from animal masks on shoulders, boots; foliate drip pan with baluster-shaped socket cast with coiled dragon balanced on man's head; seperate candleholder of flaring cylindrical form, raised on long stem, with two horned, four clawed dragon in very high relief, chasing a flaming pearl amid clouds; blackish patina — Two-piece Candlestick, one of a pair, 14th-17th century
China

G201

base in the form of a man, kneeling, with PR arm raised; curved apron; curling hair, bushy brows over bulging eyes, large nose, moustache and small beard; wearing robe decorated with raised medallions, apron, chain mail issuing from animal masks on shoulders, boots; foliate drip pan with baluster-shaped socket cast with coiled dragon balanced on man's head; seperate candleholder of flaring cylindrical form, raised on long stem, with two horned, four clawed dragon in very high relief, chasing a flaming pearl amid clouds; blackish patina — Two-piece Candlestick, one of a pair, early 17th century
China

G201

scepter with 2 snakes with knotted bodies at top, a pair of wings below and a bulbous form on a bent stem — Caduceus, 2nd century
Roman

G241

Goddess Isis holding the infant Horus on her knee — Goddess Isis, c. 664 BCE - 30 CE
Ancient Egyptian

G250

wide ring foot; rounded body with wide shoulder tapering to narrow, long neck with garlic-head top; ring around neck; mottled green-bronze-red patina — Ping wine vase with garlic shaped mouth, 3rd-2nd century BCE
China

G215

round body on tall tripod legs with flat feet; pair of U-shaped handles; domed cover with three decorative scrolls; copper-colored, red and green mottled patina — Ding food vessel, 3rd century BCE
China

G215

ovoid body, tapering at top with outward-flaring top section; relief design with teardrop shapes, swirls and zigzags; greenish patina — Ceremonial Bell, 3rd-2nd century BCE
Dong Song

G213

five feet; bowl-shaped body with outward-turned rim; domed cover with geometric and organic pierced design; teardrop-shaped finial; green patina — Covered Incense Burner, 7th-8th century
China

G214

long handle; cup-shaped censer with removable liner with small lion on rim; end of handle has another seated lion; top of handle has petal-shaped ornament; green patina — Buddhist Long-handled Censer, 8th century
China

G214

head (male) wearing thick collar up to lower lip; openwork caplike headdress with hanging braids and beaded cords around ears; two "beads" on forehead; flower-like beaded elements at temples--one at PR ear, two at PL ear; open circle at top of head — Memorial head, 1550-1650
Edo

G250

Neo-Classical head resting on PR side with cloth strips wrapped around top of nose and upper lip; open eyes; deeply crackled surface; mottled patina with greens, golds and browns; two incised/drawn mummy-like heads on back of neck; interior has deeply textured surface — Eros Bendato Screpolato, 1999
Igor Mitoraj

Exterior Grounds

rectangular metal wicket; open center with elaborate scrolls, foliate motifs and floral motifs with a grid aroudn center opening; arched opening in base; five small holes on edge of each long side; some curved motifs resemble parts of gears — Cast of teller's wicket, 1967 (designed 1908)
Louis Henri Sullivan; Designer: George Grant Elmslie; Caster: Jerry Bonnette

G300

two handle vessel, undecorated except for handles, and three rings on top of cover — Covered vessel hu, one of a pair, 5th-4th century BCE
China

G215

circular mirror with knob on verso decorated with chinese characters; purchased with BBD funds by Qi Xiyu — Mirror, Date Unknown
China

G215

Palanquin Hardware, China — Palanquin Hardware, 12th century
China

G213

dagger, double-edged. Arms and Armor-Edged Weapon — Dagger, 900-400 BCE
Persia (Iran)

G241

bronze, of warm brown patination — Antoine-Laurent de Lavoisier (1743-1794), 1891
Aimé-Jules Dalou

G354

key design band circling exterior rim; loop handles and three legs; bronze — Ding tripod, 900-600 BCE
China

G215

standing nude woman with long wavy hair, with a mischievous expression, and her PR hand drawn up to her mouth; small figure with the head, torso and arms of a human and a long serpent's tale twined around a tall stump covered with a vine; small figure leans of woman's PL shoulder and pushes a tiny fruit toward her PL hand — Eve Tempted, 1874
Jean-Baptiste Carpeaux

G324

nude little smiling boy with two dimples and short curly hair, riding on a seahorse; lily pads and scallops on base; octagonal bottom has alternating seahorses and fluted designs; greenish patina — Putto on Seahorse, 1933
Evelyn Beatrice Longman

G280

standing female figure with bare breasts, in contraposto pose; wearing tiered conical headdress with wheel on back, necklaces, bracelets, rings, heavy belt, gauzy form-fitting slacks, anklets; figure stands on a graduated base; PL arm down, PR hand upraised — Devi Uma Parameshvari, Great Goddess Uma, 13th century
India

G211

Theseus Slaying the Centaur Bianor, Antoine-Louis Barye; Caster: F. (Ferdinand) Barbedienne — Theseus Slaying the Centaur Bianor, c. 1850 (modeled, cast c. 1891)
Antoine-Louis Barye; Caster: F. (Ferdinand) Barbedienne

Not on View

Bronze cast after a plaster model exhibited in Paris Salon of 1850 entitled 'Jaguar et Lievre' — Panther Devouring a Rabbit, c. 1850
Antoine-Louis Barye; Caster: F. (Ferdinand) Barbedienne

Not on View

Equestrian figure — Horse and Rider, 1950
Marino Marini

Not on View

L'Amour et L'Amité, Albert-Ernest Carrier-Belleuse — L'Amour et L'Amité, c. 1857
Albert-Ernest Carrier-Belleuse

Not on View

Sixth casting, inventory No.1022 — The Cathedral, after 1908
Auguste Rodin

Not on View

galloping horse with flat, stylized rider (wearing long headdress); flat, stylized figure beneath front legs of horse; incised decoration on both figures (front only); on wooden base (attached) — All Of You Get Out Of My Way! (Hanta Po!), 20th century
Wanbli Koyake

Not on View

two standing bodhisattvas cast in three-quarter relief in front of a petal-shaped mandorla rising to a slender point and engraved with flame motifs, each slender deity with serene expression, shown standing with one arm held up close to the chest and the other arm held down at the waist, holding lotus-bud shaped objects in each hand, wearing simple monastic robes falling in graceful pleated folds to the top of the bare feet resting on a domed lotus-petal plinth, with hair gathered into a high topknot behind a simple crown, and with an engraved halo of petals around the head and a simple nimbus framing the body, raised on a table-form pedestal with angled legs at the corners lightly encrusted with a smooth dark grayish-green patina overall showing spots of bright malachite green and touches of reddish cuprite — Votive stele, 596
China

G214

slightly rounded body with long thin neck with wide, flat ring midway to top; small spout with hinged cover; green patina — Buddhist Ritual Water Bottle, c. 750
China

G214

Urn-shaped, slender neck; no decoration, rim diam. 3-3/16 in. — Vase, 10th century
Unknown Chinese

G214

Cup, engraved with stylized lotus design and stipple background; gilt bronze. — Cup, 7th-8th century
China

G214

Flat of reflective side with unpolished original patination, the back with 'squirrel and grape' motif cast in high relief. — Mirror, 7th-10th century
China

G214

fountain-shaped; bell-shaped foot with flat-sided basin; central vertical element with small basin at top with pointed spike at center; decorated overall with organic and geometric designs — Imperial Candlestick, Yongzheng period, 1723-1735
China

G214

fountain-shaped; bell-shaped foot with flat-sided basin; central vertical element with small basin at top with pointed spike at center; decorated overall with organic and geometric designs — Imperial Candlestick, 18th century
China

G214

Vase-shaped with flaring foot and mouth and wide neck; 2 ring handles; geometric and organic designs overall — Vase, Yongzheng period, 1723-1735
China

G214

vase-shaped with flaring foot and mouth and wide neck; 2 ring handles; geometric and organic designs overall — Vase, Yongzheng period, 1723-1735
China

G214

rounded square metal box with lid; fisherman carved on lid; handle — Hand warmer, 17th century
China

G214

straight sides with three bands of three ribs each; footed bottom; bulbous tripod feet; chocolate brown; six-character inscription on bottom — Censer, 16th-17th century
China

G214

two fighting kui dragons, the front dragon with its head turned back with its mouth open and ferocious expression, its body pulling away from its attacker; right leg raised as it tries to extricate itself from its attacker who has his teeth sunk into its lower back; attacker has both front legs raised on the rump and back of its prey, its back arched as it pounces; both dragons have their tripartite tails curled back on themselves — Brush Rest, 15th-16th century
China

G214

Recumbent buffalo with tail pulled to PL side; back curved slightly to L with head slightly raised and turned left — Water dropper in the form of a water buffalo, 16th century
China

G214

pear-shaped vase, wooden base. — Pear-shaped vase, early 19th century
China

G214

footed, with round body and long thin neck, flaring at mouth; pairs of incised lines inside mouth; cover is disk with 2 joined bronze strips below — Ritual Buddhist Bottle Vase and Cover, 7th-8th century
China

G214

compressed spherical form on a high pedestal foot; domed cover with knob of concentric graduated disks surmounted by pear-shaped finial — Buddhist Reliquary, 7th-8th century
China

G214

bowl shape without foot; straight sides; small lip — Ritual Buddhist Basin, 7th-8th century
China

G214

Vessel in the shape of an owl. Two flanges, one ending just under the beak in front and the other continuing to the top of the head in back, have alternating straight and L-shaped scores, those on the front flange being much the deeper of the two. The tail, with a scored flange border, forms the back support of the vessel. Apart from the realistically-formed feet, the bird is strongly stylized. The body is completely covered by rows of scales except for the shoulder line, expressed by a vigorous spiral, and the wings quills, rendered by bands filled with antithetical spirals. Patina green. — Zun wine vessel in the shape of an owl, 13th-12th century BCE
Unknown

Not on View

cylindrical container with lid; concentric inscribed orbital lines around cylinder; scalloped bottom edge with elegant feet; three-tiered cover with concentric inscribed rings; spire at top with four disks and budlike finial on top — Cylindrical Sutra Container, first half 12th century
Unknown Japanese

G220

incense burner in the shape of an antique Chinese bronze basin with three legs, tall slotted handles and lid; lions in relief over a tao-tieh design on front and back and larger lion with ball on the top on a cloud design of the lid; perhaps originally coated with black lacquer — Incense burner with Chinese lions, 16th century
Unknown Japanese

G220

long-necked ewer with motif of dragons on handle and lid; bulbous body, gently curving spout with scalloped design around base — Ewer, 15th-16th century
Rihei

G220

bronze ritual bell with handle in the shape of a five-pronged vajra, handle stem and bell shoulder decorated with lotus petal design; probably intended for use in Esoteric Buddhist rites — Ritual bell with handle in the shape of the vajra, 18th century
Unknown Japanese

G220

This vessel is a remarkable example of its type, and of perfect workmanship. The body is divided into three horizontal belts by narrow, bare interstices uninterrupted by the scored flanges which, with the handle of the vessel, delimit four panels. The plain handle has an animal's head with zigzag lines across the nose and C-shaped horns with parallel lines in thin, thread relief. The lid is partly shaped as a plastic animal. The head, with the forehead lozenge and bottle horns of a t'ao-t'ieh, has other, more realistic details well-modelled ears and a mouth with saw-like teeth. The body is that of a long-drawn-out dragon in low relief reclining along the center of the lid. The central flange, curving with the body in the looped tail, has straight and T-shaped scores. A t'ao-t'ieh and various types of dragons figure in a decor scheme that covers almost the entire body of the vessel. The bodied t'ao-t'ieh with S-shaped horns in the middle belt is flanked by strongly stylized head turning dragons. Also strongly stylized are the dragons in the foot belt, which are similar to those on vessels 50.46.43, Karlgren #11, and 50.46.89, Karlgren #21. The consecutive dragons in the neck belt are not identical. To the right is an ordinary beaked dragon with recumbent C-shaped horn and a small vertical crest. The dragon under the spout of the vessel has no crest. Its horn is heart-shaped, and it has the drawn-out, pointed eye of the t'ao-t'ieh below. Its enormous beak is drawn out to parallel the curve in the rim. Inside the curve of the beak is a small, head turning dragon. The big dragon on the lid has spirals at the base of the horns and a single scale between parallel zigzag lines that flank the central flange, forming the common lozenge pattern. The legs, in flat relief, flank the big dragon, thier tails meeting at the end of the lid. Patina light blue-green. — Gong wine vessel, late 13th century BCE
China

Not on View

The rich decor of the vessel covers every surface except the backs of the stubby legs. The ground is squared spirals throughout. On the long side of the body the median line is marked by a free animal's head on the neck belt and by a t'ao-t'ieh in low relief on the bottom. The shoulder line of the owl is boldly stylized into an enormous spiral, the wing quills emerging in narrow parallel bands. Behind the quills the tail protrudes in a short downward hook. The shoulder, neck and quills are covered with scales. Two birds with cleft crests, bottle horns, and tails adorned with scales, flank the free head on the neck of the vessel. Coiled dragons decorate the front sides of the legs, and the bottom surface of the vessel is covered with scales in parallel rows. The whole area is bordered at the rim by a circle band which appears also on the adjoining rim of the lid. The owl has enormous eyes, and the horns are the large, C-shaped type of the ordinary t'ao-t'ieh. Patina bluish-green — You wine vessel in double-owl shape, 12th-11th century BCE
China

Not on View

The decor of incised lines and spirals on this animal recall those on the Middle Chou water buffalo, Karlgren Number 90 (50.46.113). It should be noted, however, that the spirals on shoulders and hind quarters area here centered by a raised ring with turquoise inlay. These decor figures might point to a similar epoch were it not for certain details that are a clear indication of a later date. The rope pattern around the eyes, on the eyebrows, the fetlocks, and on the dragon decorating the socket, as well as the granulation on the front of the ears and the head of the dragon, point to the Early Huai Style Period. The socket on the back suggests that the tiger served as a podium. Patina bluish- green. — Tiger, 6th-5th century BCE
China

Not on View

The principle surface displays a rectangular field of interlocked T's on a ground of squared spirals framed on three sides by rows of spikes. Scored flanges at the four corners of the vessel are supplemented in the upper belt by additional flanges which thus divide it into eight panels. Antithetical, long-tailed birds flank the short flanges forming the central ridge of a rudimentary t'ao-t'ieh mask. Hanging blades appear on the cylindrical legs, and disfigured dragons in flat relief on the outer surface of the upright handles. Patina green — Fangding food vessel, 11th century BCE
China

Not on View

bronze budhist temple bell; tall football shaped body with flat top; two dragons turned away from each other form hanger at top center; sides decorated with two rectangular fields striped with three bands of three raised circular bumps — Bo bell, late 6th-5th century BCE
China

Not on View

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