Looking for medina, metius, medic?

Warrior with Shield, 1953–1954
Henry Moore

Not on View

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
China

G214

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), c. 1100
India

G211

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

G377

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

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

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

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

G376

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

G303

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

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

G215

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

G214

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

G214

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

G214

The decor is disposed in the three areas usual in vessels of this class the foot, bulb, and neck. The foot belt, divided into four panels by deeply scored flanges, displays a mask t'ao-tieh with a C-shaped mouthline, hooked forehead shield, small eyebrows, and S-shaped norns. Above is a narrow band with consecutive trunked dragons. The decor ground is of squared spirals throughout. The bulb, also divided into four panels, displays a t'ao-tieh bodied to the extent that some simple lines of a vertical body still remain above the leg. The central line of the face, with no forehead shield, is formed by the flange. The lower zone of the high throat is filled with consecutive snakes, their heads turned EN FACE. Above are slender rising blades, the major part of each filled with a t'ao-t'ieh to be seen from above. Streaked eyebrows appear over buldging eyes, and over these, again, long-drawn-out C-shaped figures forming the horns. Below the eyes are two C-shaped figures, modifications of mouthlines. At the end of the blade, separated from the t'ao-t'ieh by a narrow, empty band, is a V-figure- a corruption of a cicada drawing. Patina grey-green and blue-green with patches of red. Except for a cross-shaped perforation between the foot and the area above, the beaker is in almost every detail exactly similar to the one with a Yin inscription published in Huang, TSUN KU CHAI. — Gu wine vessel, 12th-11th century BCE
China

G214

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

G324

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

G306

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

G351

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

G319

thinly cast with a narrow spout and pointed lip above an oblong body cast with three medial lines, a single loop handle; all standing on tall blade-form legs — Jue wine vessel, 16th-15th century BCE
China

G214

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

G242

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

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; Caster: Thièbaut Frères

G354

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

The Fighter of the Spirit, 1928
Ernst Barlach

Exterior Grounds

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

G323

The Avenger, modeled 1914, cast 1923
Ernst Barlach

G371

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

G377

Equestrian Figure — Bronco Buster, 19th century
Frederic Remington

G301

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

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

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

Not on View

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

bulb shaped with ring handles; handles held on by hardware with animal-like "face"; incised pattern covers entire vessel; vessle is green with areas of white showing through the pattern — Hu wine vessel, 5th-4th century BCE
China

G214

Wide foot with a very long stem, thinner in the center; round bowl with 2 vertically placed attached ring handles; round lid with 3 protruding prongs on top; incised decorations overall — Dou food vessel, 4th century BCE
China

G214

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
Korea

G206

saucer with attached central stemmed container, decorated with dragons on foot; openwork lid with openings behind mountains with figures and animals — Boshanlu hill censer, 1st-2nd century
China

G215

The shape of this vessel, called a Kien in its inscription, is very like that of the earlier Kuei. Fundamentally a Kien was a basin for holding water, but it is more probable that this example was not a profane vessel, but a ritual one. A companion vessel, exactly like this one and with the same inscription, is in the Freer Gallery. The decor is desposed in three belts separated by bands of plait-pattern, each strand in the plait made up of a number of very thin threads. A similar plait appears on the foot rim. The neck rim is adorned with a narrow band of cowries. The top and bottom belts on the body carry interlaced dragons, the head of every second one being close to the lower margin, the intervening heads being close to the upper. In the broad central belt are t'ao-t'ieh heads, every second seen right as the vessel stands, the intervening ones seen from above. This intricate scheme of interlaced bodies is clearly to be seen in Karlgren, number 51, figures 53 and 54. The four stout handles have t'ao-t'ieh heads at the top. This creature, with broad rolled up nose and a protruding, hooked crest in place of the ancient forehead sheild, is very different from the early ogre head. A row of stylized cicadas adorns the front and sides of the handles, and there are interlaced dragons on the flat, movable rings suspended from two of the handles. The technical execution of these decor elements narrow bare borders to every band, the center filled with either spirals or volutes with triangles, is exceedingly close to that on vessels of the Li-yu find (Umehara, Etude, plates 1 ff.) This is particularly interesting since Li-yu is in northern Shansi and the present vessels, according to Jung Keng (Shang-Chou, Volume 1, Page 470), were found in Huei-hien in northern Honan, thus both belong to the northern sphere. C.F. Yau suggests Kin-ts'un as the locale of this basin. Patina Light green with patches of blue. The inscription reads 'Kien-vessel [to be] handled [i.e. used] by the nobleman Chi.' For a discussion of the inscript — Jian water basin, 500-400 BCE
China

G214

Ting with supporting Animals, inscribed. Boldly modelled birds, hooked beaks facing outward and big horns facing inward, support a broad, shallow bowl with uprights. The body decor is in three belts, the two lower ones interupted by flanges corresponding to the supporting birds. The middle belt, of realistic cicades in rounded relief on spiral ground, is bordered by narrower bands with big eyes connected by diagonal lines, C-figures, and fork-like elements which may represent strongly disfigured dragons. Patina grey-green patches of brighter green — Ding food vessel, 11th-10th century BCE
China

G214

Fangjia wine vessel, 13th-12th century BCE

China

G214

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. — Yong bell, late 6th-5th century BCE
China

G215

Ox (water buffalo), recumbent. The pose of this buffalo, with legs folded in under the body and head turned to the side, is typical of the northern nomad style and may be influenced by the Northern art. The decor is executed in broad bands in flat relief on a ground of spirals unobtrusive in comparison with the bold spirals emphasizing the shoulders and hind quarters of the beast. This decor of broad bands in spiral form is reminiscent, in its use of tufts, of earlier dragon decor. The slanting figures the hind legs and the chest recall those on the famous tigers in the Freer gallery. The holes in the back of the buffalo indicate that the piece had some practical use, as yet undetermined. Patina green — Recumbant water buffalo, 9th century BCE
China

G214

The form of this vessel is the usual broad type with oval section, but the exaggeratedly high collar of the lid, topped by a spherical knob, adds to the impression of height. The decor, disposed in three belts foot, neck, and lid, displays dragons with S-shaped bodies, turned heads, and large S-shaped crests (or horns?). The neck belt is divided in two panels on the long side by a free animal's head, the foot and rim belts by very shallow lines in low relief representing flanges. The handle ends in animals' heads with bottle horns. For a discussion of this type of horn see Karlgren, number 17 (50.46.18ab). Patina green and blue-green. — You wine vessel, 10th-9th century BCE
China

G214

The division into four panels is achieved by the hancles only in two places and in the remaining two places by small flanges in the foot belt, a slight ridge in the central belt, and free animals' heads in the neck belt. The flange forms the center of a rudimentary t'ao-t'ieh mask, the ridge the center of a well-contained bodied t'ao-t'ieh with the usual elements. This creature, done with a light touch, is surely one of the most urbane of its kind in the long history of Chinese bronzes. The winged dragons in the foot belt and the birds in the neck belt are, like the t'ao-t'ieh, in thr rounded relief on a bare ground. The handle, with a ramlike animal's head at the top, is adorned with birds' wings in flat band relief on the bow, thus giving the ram's head a bird's body. The bird's long tail descends vertically in the same relief, the end turned up. The bird's leg and foot come down in front, almost to the point of resting on the curled-up tail. This arangement, seen in plastic form on the Ting with supporting animals, Karlgren number 4 (50.46.105), survives in other Kuei vessels in the form of a C-shaped hook below the bow handle. Patina pale green. — Gui food vessel, 11th century BCE
China

G214

The decor of bodied t'ao-t'ieh and beaked dragons is in rounded relief on a ground of squared spirals. Eight flanges divide the vessl into eight panels. T'ao-t'ieh masks and a flange appear at the tops ofthe four cylindrical legs. The upright handles are decorated with spirals on the outer surface. Patina pale green, red patches. — Ding food vessel, 12th-11th century BCE
China

G214

This small sculpture of a kneeling man holding a tube-like vessel in his extended hands is one of a group of similar figures that may have served as torch bearers in a tomb. The sensitively modelled face, with an expression at once tentative and hopeful lends credibility to this supposition. The figure is clothed in a close-fitting garment that wraps from left to right in a broad overlap and is belted with a narrow band. The head-covering, rather like an open helmet, is broad at the back and rises to a peak-like top before descending in a narrow, tounge-shaped band to the forehead. It is bound to the head by a strap that goes down in front of the ears and under the chin. A second strap passes around the head from the forehead to the occiput. This figure is one of a group of bronze sculptures found in the Han family tombs a Kin-ts'un near Lo-yang and reported by W. C. White in Tombs of Old Lo-Yang. The artistic tradition of the early Yin culture, modified by an approach to nature, still persists in some of these small bronze sculptures from the old Lo-yang area. Their general characteristics - the unvarying block-like form, the broad type with large round eyes, the details of costume, particularly the head gear, reflect a new interest in and a closer observation of nature. Such figures constitute the links between early Yin sculptures and those of Han time. Essential characteristics of the earlier works do persist, but in a modified form. One discerns also in these small works, as in some other early Chinese bronzes, a resemblance to certain examples of pre-Columbian art -- a kind of parallelism which points to a similar artistic disposition or a common origin, rather than to any direct influence or intercommunication between these centers of art so widely separated in time and space. However this paralleleism came about, it is clear that the sculptural products of Yin-Chou art reflect traditions of style no longer to be found in those of Han time. Patina green — Kneeling figure, 4th century BCE
China

G214

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. — Zheng ritual bell, 5th century BCE
China

G215

This unique vessel displays a technical perfection which proves that the artisans of Early Zhou sometimes fully equaled their Yin predecessors in taste and skill. The usual division into four panels is suggested exclusively by the free animals' heads alternating, in the neck region, with the handles. The decor ground, of rounded and acute angled spirals, carries an eyed band with diagonals in the foot belt and antithetical tail-raising birds in flat relief on the belly. The crests of these extraordinary birds split up in three strands, the middle one a short, spearlike point; the other two forming long plumes, one falling staight down past the turned head and in front of the breast, the other going forward past (and parallel with) the beak, then rising in a bold sweep above the head and descending in two parts behind the first strand. Thus three parallel bands descend, the outer two adorned with rounded figures reminiscent of those of a peacock. For comment of these figures see Karlgren, number 29, 50.46.120. From the raised tail three bands descend in a fashion exactly similar to those of the crest. The animal's head on the handle has large tusks protruding at the sides. The hook on the bottom is reminiscent of the bird representation often seen on Kuei handles. patina pale green with patches of blue green. The meaning of the inscription is ' The King attacked Tsi-yu and went out and attacked Naohei. When he came [back], he made liao-sacrifice [burnt-offering] in Tsung Chou and presented to [me], Kuo Po X, cowries, ten double strings. [I] presume in response to extol the king's grace, and so I have made my accomplished dead father's precious Kuei vessel. May for a myriad years sons and grandsons forever treasure and use it.' For comment on the inscription, see Karlgren, number 36 (50.46.119). The birds on the Kuei have a clase parallel on a 'YU' in the Simitomo Collection (Senoku, Volume 2, Plate 67) and on a 'TSUN' in the Imperial Collection, but are, for the rest, unique. Mr. Loo stated that this vessel and th — Gui food vessel, 10th century BCE
China

G214

The foot belt, divided into two panels by shallow flanges, displays long-drawn, antithetical gaping dragons. The neck belt, correspondingly divided by two free animals' heads, carries S-shaped, turning dragons with bug C-shaped crests. The division of the body into panels is achieved entirely by the decor, executed in low, flat relief on a ground of spirals. It consists of pairs of antithetical, tail-raising birds, their crests cleft in three strands. One slants gracefully backward; the second rises over the head in a bold bow and drops to the feet of the bird; the third curves down over the bird's back. From the raised tail a big plume descends to the feet in a C-shape. Tufts appear in the middle of the big crest, and on the descending tail. the effect of this antithetical arrangement of crests and tail plumes is that of rudimentary t'ao-t'ieh masks the nose at the bottom, the hooked forehead shield, and the big horns in reclining C-shape. On the neck of the bird is a scale of the type often found on snakes and owls, and perhaps of some magical significance. Antithetical birds reappear in the rising blades on the neck of the vessel. Here, however, the club-like crest leans forward and a detached horn rises to the top of the blade. Patina blue-green. The inscription reads 'The Prince has made the precious vessel; may sons and grandsons forever use it.' — Zun wine vessel, 10th century BCE
China

G214

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

Not on View

The handle is divided into three sections: a t'ao-t'ieh mask, summarily executed, just behind the bowl; a band of lozenges with a plian, narrow central ridge midway on the handle; and a rather elaborate arrangement of dragons at the end of the handle. The animal forming the terminal curve is a dragon with a bottle horn and a body that bends violently to the left before rising vertically with a leg and claw on the outer (left) side. Toward the end it cleaves, one strand curling out into an ordinary tail, the other going on and ending in a second dragon head at the base of the mid-handle lozenge field. This dragon head has a big crest falling down along the back. The crest takes the shape of a bird, with a big V-shaped horn and a small crest connecting with the forehead of the first dragon a striking and ingenious composition. The dragon body is adorned with rows of scales and with alternating straight and T-shaped scores in the manner of a flange. — Ladle, 11th century BCE
China

G214

green patina overall; rounded body with inward-flaring shoulder and outward-flaring flat mouth; three feet; six decorative brackets; two "handles"; elaborate decorations overall of geometric forms — Shengding food vessel, 6th century BCE
China

G214

An eccentric combination of four masks occurs on this bronze. A forceful t'ao-t'ieh head with recumbent C-shaped horns, the borders decorated with straight and T-shaped scores, appears on one side of the top. This monster bites on a human head with the broad nose typical of many early masks. On the other side a ram's head, with horns turned down, bites on a head resembling a t'ao-t'ieh but with a raised elephant's trunk instead of the usual ridge in the central line. This remarkable and unusual piece is a powerful example of early Chinese sculpture. Patina green. — Pole finial, 12th-11th century BCE
China

G214

This pole top and its companion (50.46.23) resemble the two scored flanges (50.46.46, 50.46.91). In this instance, however, the whole conception is simpler. The bird on the present pole top has only a lightly scored crest that turns up in a short hook at the back. It also has a pellet in the body, thus making it a rattle or a bell. Patina blue-green. — Chariot Finial with Bird, 11th century BCE
China

G214

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

rounded body supporting a tall neck tapering to domed disk surrounded by a thin faceted sprinkling spout; set at one side with a tall waisted spout and attached lid. Koryo dynasty. — Water Vessel, 12th-13th century
Korea

G206

round bronze medallion with raised knob at center; five bands inside encircling center knob; each band with different figures inside including four directional guardian animals and twelve zodiac signs in relief — Mirror with Cosmological Design, 12th-13th century
Korea

G206

Three tapered legs, helmet shaped body, elephant head grips, chased dragon band decoration — Jue libation vessel, 8th century BCE
China

G214

Three tapered legs, helmet shaped body, elephant head grips, chased dragon band decoration — Jue libation vessel, 206 BCE - 221 CE
China

G214

Ding ritual food vessel (Liyu style) with separate lid — Ding food vessel, 6th-5th century BCE
China

G214

tripod vessel with handle and elongated spout; decorative band around middle — Jue libation vessel, 11th century BCE
China

G214

Wine can, so-called 'Yu', inscribed. A rich and varied decor is disposed in seven horizontal belts, of which five the foot belt, the two lower body belts, and the two on the domed lid, are divided into four panels by heavy, scored flanges with tooth-like projections. In the neck belt, flanges occur only on the long sides of the oval, where they form central ridges of the rudimentary t'ao-t'ieh. On the other sides the flanges are ousted by two handle attachments. The foot, the lower body, and the rim belts antithetical birds of three different types on a ground of squared spirals. The neck belt of the body and the lower belt on the dome of the lid have antithetical dragons of two kinds. Vertical ribs, typical of the B style appear on the middle belt of the body and the top belt of the lid. The knob is conical with incised cicadas all around. The bow handle, terminated by animals' heads with bottle horns, displays long gaping dragons. Patina grey-green patches of sharp green. — You wine vessel, 12th-11th century BCE
China

G214

Wine can, so-called 'Yu', inscribed. This vessel, broad and oval in section, has a bow-shaped handle attached to rings at the ends of the oval. These rings, together with free animal's heads on the long side of the oval, serve to divide the neck belt into four panels. On the lid and foot, decor belts are divided into four panels by simple flanges. The body and the cupola of the lid, interrupted only by two unsegmented flanges at the ends of the oval, constitute two large fields for the principle decor, executed in rather high, rounded relief on a bare ground, unusual in this vessel class. Two consecutive winged dragons appear in each panel of the narrow belts, those in one panel antithetically placed to those in the next. The body of the vessel displays a bodied t'ao-t'ieh, its vertically rising body and leg detached from the forcefully modeled head. The t'ao-t'ieh of the lid faces the same way as that on the body. The animal head at the end of the handle is a remarkable feature of this vessel. In general, it resembles the ordinary t'ao-t'ieh, but the horns are highly eccentric. Basically the well-known 'bottle horns', they are flattened at the top into a five-fingered leaf centered by a big eye in the same high, rounded relief as that in the animals' face. Patina green with patches of brown. — You wine vessel, 11th-10th century BCE
China

G214

The sculpture quality of these dishing beasts is admirably conveyed by their carriage, the proud pose of their heads, and the almost arrogant suppleness of their bodies. The forceful comma-shapes of the tails and their jaunty tufts, as well as the double-rope pattern on the mustachios, give ample proof that, in spite of the scale that, in these creatures must be dated later than Middle Zhou. Patina grey-green — Winged Dragon, 5th-4th century BCE
China

G214

tall thin vessel with a flaring top; round base with four blade shape designs up the sides — Gu wine vessel, 13th-12th century BCE
China

G214

The disposition of this vessel is unusual, for, despite the fact that it has the broad shallow bowl and deep foot of its class, it does not rest on the foot proper. It is supported instead by three small human figures facing outward as they grip the rim of the foot. their bent knees suggest clearly the weight of their burden, as does the strained positon of their heads, held close to the bottom of the bowl and bearing part of its weight. On each of two handles of the bent ear type, an ox reclines calmly, its head turned outward, its legs folded under the body. The division of the vessel into the usual four sections is achieved by two more animals contrasting strongly with the placid oxen. These are dragons that climb vigorously up the sides of the bowl and bite on its rim. The neck belt displays the broad, figured bands of Middle Chou and the foot carries a band of hanging scales of an advanced, almost squared type. Patina sharp green with patches of blue. — Pan water vessel, 9th-8th century BCE
China

G214

Tsue (Chueh), inscribed. This 'Wine cup (in bird shape)' is an unusually fine example of its type. The ample well-proportioned bowl of this vessel provides and admirable balance for the slender, spreading legs. In the principal decor belt is a strongly dissolved t'ao-t'ieh, its horns, shield and c-shaped mouth-line so filled with spirals that they almost coalesce with the background spirals.The neck bears a band of rising blades, the one under the spout elongated. An animal's head of the bovine type decorates the top of the handle, and whorl circles appear on the tops of the uprights. Patina blue -green. The inscription probably depicts a scene of human sacrifice. — Jue wine vessel, 12th–11th century BCE
China

G214

Wine Cup 'CHI', inscribed. The decor on a ground of spirals is one of restrained exuberance, dragonized t'ao-t'ieh (winged type) appear in the foot and neck belts, which are interrupted by shallow, flat flanges only on the long sides. The bodied t'ao-t'ieh on the belly displays tiny hooks on the forehead shield, and scores on the horns similar to those usually found on flanges. Two strongly stylized, head-turning dragons appear behind the feet of the t'ao-t'ieh. Rising blades, with spirals suggesting dissolved cicadas, adorn the neck of the vessel. The lid has two t'ao-t'ieh masks on a ground of squared spirals. Patina grey-green and blue-green. The meaning ofthe inscription, showing two arrows on a stand, is unknown. — Zhi wine vessel, 13th-12th century BCE
China

G214

The low-relief decor is confined to the belly of this flask. In the lower, main belt, on a ground of squared spirals, it displays a geometrical pattern reminiscent of the compound lozenge and interlocked 'T' motifs. It also recalls the decor of the white ceramic wares of Anyang. The band of highly stylized dragons above presents another point of contact with Anyang ceramics. The top belt on the body carries a band of 'S' shaped spirals bordered by circle bands.The lid and its knob are almost conical. Both are adorned with whorl circles; in relief on the lid, on the knob in incised lines. On the throat, just below the lid, are two small ears, perhaps for passing a cord. Patina grey-green. — Hu wine vessel, 13th-12th century BCE
China

G214

This is one of the important group of hunting-scene Hu flasks which can with certainty be dated pre-Han, since many of them have decor elements that belong to the Huai style and did not survive into Han time. The Hu has the ordinary shape of this class and two small handles witha movable ring suspended from the mouth of a small t'ao-t'eih mask. (One of the movable handles is missing.) The foot has a narrow belt with a band of volutes and triangles, the volutes here turned into birds' heads. On the vessel proper there are six narrow bands in low relief with swastika-like figures which are merely a corruption of the well-known whorl circle. The decor of the five principal belts has been impressed by dies, sometimes with curious results. The two lower belts depict scenes in which beasts of the bovine type are pursued by men in feathered (?) headdresses who attack with swords and arrows. In the third belt, archers with one knee bent and bodies thrust violently backward shoot at birds. The shoulder belt, disposed in one panel for every two in the lower belts, depicts a vivid hunting scene. A man attacks with his sword a tiger that has an arrow through its shoulder. To the left is a two-wheeled carriage drawn by four horses. As the driver rushes forward his companion aims at a bird above and to the rear. The neck belt is filled with birds which swallow snakes. For a detailed description of the decor, see Karlgren Number 53 (50.46.9)/ Patina Green. The Hunting-scene hu vessels mark a revolutionary departure in the Chinese bronze art. In earlier vessels there were no real scenes, only figures placed with strict regard for symmetry. Here, for the first time, are freely disposed scenes of action. The shoulder panel is especially remarkable in this respect the ancient rule of symmetical arrangement is completely abandoned, and the artist has depicted a wide-ranging scene of vivid action. That this emancipation was due to foreign influence, the Northern Nomad art style ('Ordos'), seems clear. For comment on this point, see B — Hu wine vessel, 5th century BCE
China

G214

Fanghu wine vessel, 5th-4th century BCE

China

G214

This weapon displays the assymetrically placed tang and the strongly beaked, crested head of a bird that was a ubiquitous motif in the bronze art of Yin-time. The details of the bird's head are in rather heavy thread relief. This piece is similar to Karlgren Number 81, plate 99, but is of bronze throughout. Patina green — Ceremonial dagger, 12th-11th century BCE
China

G214

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. — Bo bell, 6th- 5th century BCE
China

G215

Several aspects of this vessel set it apart from others of the Kuei type in the collection. Most immediately arresting is the high, square base on which it rests. Other differences are the spiral ground of the decor, the absence of a neck belt, the division of the vessel into four vertical panels by four flanges in the foot belt by two flanges and the two handles on the belly. Atypical Early Chou feature distinguishes the heavy, thick flanges the breaking through of the T-scores to give the impression of big hooks. The flanges on the body form the center lines of the familiar bodied t'ao-t'ieh. In the foot belt just below, the flanges are the median lines of rudimentary t'oa-t'ieh masks (nose and forehead shield) flanked by trunked dragons of the winged variety which are hee drawn so far apart as to isolate and emphasize the t'ao-t'ieh shield. The t'ao-t'ieh on the base is the same as the one on the belly except for the central line, here a slight ridge instead of a flange. The handle is the most remarkable feature of the vessel. The bow displays the wings of a bird in relief, and the projection at the bottom contains the curved-up bird's tail and its feet descending almost to rest on the tail. The head of the bird body is that of an elephant with big ears in pointed C-shape, raised trunk and protruding tusks. Patina green — Gui food vessel, 11th century BCE
China

G214

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, late 6th-early 5th century BCE
China

G215

This vessel, the disposition of its decor on a bare ground, the panels and the system of flanges, free animal's heads, and handles that delimit them, are the same as in the Kuei 50.46.19, Karlgren pl.49. The beaked dragons in neck and foot belts have the unusual feature of an additional plume which hangs down from the curled-up tail. The handles are topped with rams' heads and terminate at the bottom with a C-hook reminiscent of the bird's tail on vessels 49 and 52. Most interesting feature of the vessel is the decor on the bottom surface. It is a coiled dragon, in threadlike relief, with a rolled-up nose and a body adorned with a row of big scales. A foot with claws and fetlock is seen on the inside curve. The outer edge of the body has tufts which in pairs form C-figures. The space behind the tail has been filled out with a simple figure with is really the rudiment of a dragon body. Patina grey-green. — Gui food vessel, 11th-10th century BCE
China

G214

The name Kuei for this vessel type is well established in the early literature. The surfaces of the vessel are divided into four vertical panels by four flanges on the foot, two flanges and two handles on the body. These narrow, thin flanges contrast contrast sharply with the heavy handles and their massive bovine heads. The principal figures in the decor, executed in low relief except for the strongly protruding eyes, are so covered with adorning lines that they tend to merge with the ground of squared spirals. In the foot belt are rudimentary t'ao-t'ieh masks, the central line formrd by two of the flanges, and two consecutive, head-turning dragons with C-shaped horns. The mask t'ao-t'ieh on the belly, with ordinary features strongly detatched, is flanked by vertical dragons. The flanges form the centers of two such t'ao-tieh, the handles of two other masks in which the face (nose and hooked forehead shield) has been cleft, leavint an interstice as broad as the handles between the two halves. This space under the handles is decorated with a bovine head in flat relief, thus creating a small t'ao-t'ieh inside a larger one. The neck belt displays dragons with oversized beaks. Patina blackish. — Gui food vessel, 11th century BCE
China

G214

The bowl is decorated in flat, band relief two belts with vertical scales below a broad upper belt of S-figures finished at each end with big tufts. These are probably remnants of strongly deformed dragons. At the end of the spout this band terminates in a dragon with a rolled-up nose. The scale bands stop short of this point and two large scales, placed crosswise, fill out the space. The legs are unusual in that those in front have a dragon's head, like that in the neck belt, whereas the hind leg is adorned with a big spiral such as usually emphasizes the hind quarters of an animals. The two legs have thus to be taken together as a whole the front and hind part of one animal. For other examples see Eumorfopoulos, Volume 1, Plate 45, and BMFEA, Volume 8, Plate 45. The rather stiff legs end in feet coarsely drawn like two comma-shaped claws. The handle is finished at the top with an animal's head displaying an unusual and highly decorative feature big horns shaped as two back-to-back birds. Patina green. For comment on the inscription, see Karlgren number 45 (50.46.44) For a discussion of this vessel type, see Karlgren number 313 (50.46.104) — Yi water vessel, 9th-8th century BCE
China

G214

The cylindrical base of this bird is lower than that of the companion pole top (50.46.91). In other respects the scored flanges, S-shaped horns, and openings in the body, it is very similar. This example has a pellet in the body, however, thus serving as a rattle -- or a bell. Patina grey-green. — Chariot finial with bird, 11th century BCE
China

G214

Low, narrow flanges, corresponding to the legs, form the central ridges in t'ao-t'ieh figures on a ground of squared spirals. The t'ao-t'ieh of the belly is the ordinary, bodied type with C-shaped horns, hooked forehead shield, and strongly protruding eyes. It is flanked by vertical gaping dragons. Dragonized t'ao-t'ieh, the halves fromed as winged dragons, appear on a ground of squared spirals in the neck belt. Patina green with patches of red. — Liding food vessel, 12th-11th century BCE
China

G214

Jia wine vessel, 12th century BCE

China

G214

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

G376

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

Not on View

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

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

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

G376

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

G310

Ganymede and the Eagle, c. 1710
Antonio Montauti

G310

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
Japan

G205

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

G377

A Chief of the Multnomah Tribe, 1905
Hermon Atkins MacNeil

G301

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

Not on View

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

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 sculpture quality of these dashing beasts is admirably conveyed by their carriage, the proud pose of their heads, and the almost arrogant suppleness of their bodies. The forceful comma-shapes of the tails and their jaunty tufts, as well as the double-rope pattern on the mustachios, give ample proof that, in spite of the scale that, in these creatures must be dated later than Middle Chou. Patina grey-green — Winged dragon, one of a pair, 5th-4th century BCE
China

G214

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

Not on View

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

Not on View

showing 100 of 1205 results matching medium:"Bronze". (load 200 more)