🔎 medium:"Bronze" | Mia

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Warrior with Shield, 1953-1954
Henry Moore

G375

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
Greek

G241

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

G377

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

G250

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), ca. 1100
India

G211

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

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. — Wine vessel zun in the shape of an owl, 13th-12th century BCE
Unknown

Not on View

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

G200

Equestrian figure — Horse and Rider, 1950
Marino Marini

G375

standing male nude; represents man awakening to a fuller comprehension of his physical powers — The Age of Bronze, 1876–1877 (plaster model); casting date unknown
Auguste (François-Auguste-René) Rodin; Alex Rudier Fondeur

G355

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

G242

Light golden brown patination. After the monument in Dijon, France, commissioned 1852. — Hebe and the Eagle of Jupiter, modeled c. 1853-1855 (casting history and edition size unknown)
François Rude; Thièbaut Frères

G354

standing horse with legs slightly splayed outward; wide eyes; open mouth with exposed teeth; upward-pointed ears; green patina with white, blue and red pigment traces — Celestial Horse, 25-220
China

G215

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
Japan

G220

circular bronze mirror with two possibly Portuguese figures in low relief; one figure is taller, carrying two circular objects in PL hand, and object on pole over PR shoulder; second figure is shorter, carrying a plate and tray in each hand; comes with wooden display plaque — Mirror with Nanban figures, 17th century
Japan

G238

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

G242

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

G200

Round, silverized, animal and grape design — 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

One of 37 gold weights, bronze, various sizes; pattern circle divided in half with three v-shaped lines on each side of center line — Goldweight [Geometric], 20th century
Asante

G254

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, 1723-1735
China

G200

Represented as a child. The figure is in the tribhanga stance and carries a cymbal in his left hand. The right hand is in a gesturing position. Patina brownish-green. Index finger of right hand missing. — Child-Saint Sambandar, 15th century
Tamil Nadu, India

G211

Crouching hoofed mythical animal; double horn with head turned to side and mouth open; scaly body with flamelike ribbons at haunches; tufted mane and tail — Water Dropper, 16th-17th century
China

G217

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

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

G340

One of 37 Gold weights, bronze, various sizes; pattern checkerboard — Goldweight [Geometric], 20th century
Asante

G254

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

G200

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. 1620-1630
Italy

G330

Satyr and Nymph, Ferdinando Tacca — Satyr and Nymph, 17th century
Ferdinando Tacca

G310

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

G310

Ganymede and the Eagle, c. 1710
Antonio Montauti

G310

green ox with attachable cart consisting of yoke, 2 side rails and 2 wheels, with accompanying free-standing farmer — Cart with Ox and Farmer, 1st century
China

G215

possibly a votary figure for placement in a tomb; dimensions include permanent mount. — Figure of a Youth, 470-460 BCE
Etruscan

G242

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
Japan

G220

hexagonal bronze container on round base; hexagonal cover with stepped dome; spire with three disks; tiny dragons on each hexagonal point — Hexagonal Sutra Container, 1127
Japan

G220

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

G200

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

G242

Female Figure; Figure of Diana with bow in left hand (goddess in classical Greek Mythology) — Diana with a Bow, 1890
Frederick William MacMonnies

G322

One of 37 gold weights, bronze, various sizes; pattern three diamonds — Goldweight [Geometric], 20th century
Asante

G254

The Fighter of the Spirit, 1928
Ernst Barlach

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

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

G310

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, 8th-9th century
China

G200

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

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

One of 37 gold weights, bronze, various sizes; pattern upright traingle with three lines following the shape on each side; — Goldweight [Geometric], 20th century
Asante

G254

This richly adorned bell, of pointed oval cross section, is typical of the advanced Huai style. The suspending device consists of one big snake with two bodies, each rising in a bold S-curve. It is flanked by two tigers whose long necks pass under and around the first curve of the snake's bodies, and whose heads are turned so that their noses rest on their backs. Their shoulder line is emphasized by a big, comma-shaped spiral. Their hindquarters have similar comma-shaped loops and their bodies are covered with granulation. The top surface of the bell displays a complicated geometrical scheme of narrow, rope-patterned bands and comma figures. The bell itself is decorated with three bare bands of bosses formed of coiled snakes. Two narrow belts between display dragons in a decor applied by dies. The original drawing for these belts was obviously somewhat wider, inasmuch as parts of the dragon bodies have been cut off. An elaborate t'ao-t'ieh appears in a small, empty space in the center of the forehead. The interlaced and extensively embellished body of the main t'ao-t'ieh is decorated with scale-bands, pointed spirals, and granulation. For a clarification of this involved decor area, see Karlgren, Number 58, figures 62 and 63. Patinagrey-green with blue patches. — Ritual bell bo, late 6th-early 5th century BCE
China

G215

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

G376

The decor of this bell, in cross section a pointed oval with an arched line at the bottom, is quite complicated. The shaft has three decor belts and one bulky ring with a vertically placed suspending device formed by a contorted tiger. The beast stands with body half raised against the shaft, its claws pressing against the lower of the three decor belts. The upper body and neck turn backward, with the tiger biting its own tail. The loop thus completed serves for the suspension of the bell by a strap passed through the loop. Of the three decor belts on the shaft, the upper displays a t'ao-t'ieh (to be seen from above). The two lower belts have dragons that turn alternately upward and downward. The bulbous ring supporting the tiger is decorated with a loosely twined cord pattern and interlaced lines. The top of the bell has rolled up dragons, their bodies formed of bands filled with voluted and triangles. In the two belts between the spikes on the outer surface of the bell are dragons placed alternately upward and downward. The decor field of the lower part of the bell is a magnificant specimen of gaudy Huai decor in which a t'ao-t'ieh bites on the body of a bird-dragon with a big, hooked beak, an S-shaped crest, and a heart-shaped horn. This involved and elaborate decor is carried out with the brilliance and dazzeling skill of the Huai-style bronze art. Patina green and blue-green. — Ceremonial bell yongzhong, late 6th-5th century BCE
China

G215

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 B.C.-A.D. 1st century
Roman

G242

One of 37 Gold weights, bronze, various sizes; pattern center row of 3 diamonds with triangles above and below — Goldweight [Geometric], 20th century
Asante

G254

cast no. 6; figure — Madeleine I, modeled 1901
Henri Matisse

G377

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 — Ritual bell bo, late 6th-5th century BCE
China

G215

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

G319

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, 14th century
Tamil Nadu, India

G211

nude male figure with short hair and elongated earlobes standing rigidly upright on a base with incised designs — Jina, 11th or 12th century
Jain

G211

Toreador, Jacques Lipchitz — Toreador, 1914–15
Jacques Lipchitz

G275

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

G208

This small bell, of pointed oval cross section and a straight bottom line, has a relatively simple suspending device. It is formed of two confronted tigers facing backward and joined, head-to-head, by a plain narrow band through which a strap could be passed. The bodies of the tigers, and of the coiled snakes on the bosses, are filled with granulation. The remaining decor areas, on body and top, are filled with interlaced snakes, their bodies formed by four parallel relief threads. Warlike studs occur at the junction of the snakes' bodies. Patinagreen-blue. — Ritual bell bo, late 6th-early 5th century BCE
China

G215

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

G306

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

G200

cast no. 8/10; cast in 1948 — Reclining Nude II, 1927
Henri Matisse

G367

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

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

G376

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

G303

Equestrian Figure — Bronco Buster, 19th century
Frederic Remington

G301

cast no. 2/10; figure — Large Seated Nude, c. 1923–25
Henri Matisse

G377

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

G200

Seated Bird Man, Leonard Baskin; Bed-Rosey Foundry — Seated Bird Man, 1963
Leonard Baskin; Bed-Rosey Foundry

G376

This bell, in cross section a pointed oval with an arched line at the bottom has a bottle-shaped handle that is most unusual. The decor field, confined to the body of the bell, is filled with granulation. It displays a variation of the 'volute with angle' theme; every two such figures combine into larger compounds, the whole resulting in a lozenge pattern. The border is partly a running spiral pattern and partly dissolved dragon figures. At the lower corners are sinuously drawn birds with S- or heart shaped horns. The mask of a playful t'ao-t'ieh must be seen from above. Patina brownish green with brighter green patches. — Ritual bell zheng, 5th century BCE
China

G215

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

G208

One of 37 gold weights, bronze, various sizes; pattern four squares across center — Goldweight [Geometric], 20th century
Asante

G254

Woman in a Bathtub, 1889 modeled (cast 1920-21) no. 26/C
Edgar Degas

G351

standing female figure holding an apple in her proper left hand — Eve with Apple, c. 1902
Aristide Maillol

G371

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

G354

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

G310

flower vase with squat, round body, high neck, and high foot; ornately decorated with figures in relief; figure of a sage and a crane on each side of neck; two handles — Vase with Rin Nasei (Ch. Lin Hejing) and crane, 18th-19th century
Japan

G225

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

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, 17th century
Italy

G310

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 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

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

A Chief of the Multnomah Tribe, 1905
Hermon Atkins MacNeil

G301

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 (François-Auguste-René) Rodin

Not on View

Charmed Circle of Youth, Esther Moore — Charmed Circle of Youth, late 19th century
Esther Moore

Not on View

unique cast; figure — Little King, 1958
Sir Eduardo Paolozzi

Not on View

Kuei without handles. The vessel is divided into four vertical panels by heavy flanges with alternate straight and T-shaped scores. In two places in the neck band the flanges give way to free animals' heads. The features of the bodied t'ao-t'ieh in the main belt are similar to those seen on vessels 50.46.48 and 50.46.86 (Karlgren numbers 7, 11, 30), except that the mouth line is S-shaped and shows the teeth. The dragons in the foot belt have the mouth of the ordinary gaping dragon, but the head turns downward, thus differing slightly from the usual trunked dragon. — Gui food vessel, 12th century BCE
China

G214

executed in shades of green and white mottled and striated stained glass panels set within a ribbed pattern; base formed in a tall, elongated root-style with a double-folded ribbed platform — "Mandarin" (Lotus Leaf) lamp, c. 1900-1905
Louis Comfort Tiffany; Tiffany Studios

G320

Clock, Jean-Antoine Lepine; Joseph Coteau — Clock, c. 1789
Jean-Antoine Lepine; Joseph Coteau

G314

Clock with vestals, Pierre-Phillippe Thomire; Clockworks by Sauvageot — Clock with vestals, c. 1790
Pierre-Phillippe Thomire; Clockworks by Sauvageot

G314

Bureau de Dame, Jean Gaspard Feilt, kingwood, oak, marquetry, gilded bronze mounts, French XVIII listed on cat. card as Louis XV Lady's Writ- ing Desk; Dims 38-1/4 x 41-1/2 x 23-1/2'; 6/88: a-desk; b-j-drawers; k-l lower drawers; key — Lady’s writing desk, c. 1750
Jean Gaspard Feilt

G314

Flight of Night, 1916
Paul Manship

G371

figures — Stampede, 1958-59
Harry Jackson

G301

bronze vase with narrow, tubular body and flaring, wide, flat mouth; sinuous dragon in high relief; foot is smaller than mouth with round incised line — Flower vase with dragon, 19th century
Japan

Not on View

funnel-shaped flower vase with wide, flaring mouth and attached internal cylinder for flowers; band just above foot with square swirling pattern and organic figures; swirling designs incised above band — Flaring flower vase, 18th century
Japan

Not on View

<I>Gu<I> wine vessel, one of a pair, China — Gu wine vessel, one of a pair, 13th-12th century BCE
China

Not on View

He, inscribed. Vessels of the He class vary according to the shape of the belly, which may be that of a Li, a Li-ting, or a Ting. This unique specimen has the hemispherical shape of a Ting. The handle, surmounted by an animal's head; the chain and its rings; the small handle on the lid decorated with dragon heads; the spout and the legs are very simple. The blade decor of the spout and legs, and the dragon motif in the neck and lid belts -- so dissolved as to leave only the eyes and interlocked double spirals as remnants of the bodies -- are in no way uncommon. In view of their off-hand treatment, the decor of the belly is doubly striking. It consists of rows of scales in flat,double-band relief, each scale being filled with a dissolved cicada motif in thread relief. This scale decor is a harbinger of the scale-band of the Middle Chou style. Therefore this vessel, with its cylindrical legs of the earlier periods, is best dated in the latter part of the early Chou, on the border of Middle Chou, i.e., circa B.C.900. Patina gray and blue-green — Wine vessel he, 11th-10th century BCE
China

Not on View

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 B.C.
China

Not on View

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