showing 100 of 1211 results matching `medium:"Bronze"`. (load 200 more)

Looking for medina, metius, media, medic?

Warrior with Shield, 1953–54
Henry Moore

G371

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

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

G250

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

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

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

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

G376

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

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 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

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

G319

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

G250

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

The Fighter of the Spirit, 1928
Ernst Barlach

Exterior Grounds

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, model c. 1853-55 (casting history and edition size unknown)
François Rude; Caster: Thièbaut Frères

G354

The Avenger, modeled 1914, cast 1923
Ernst Barlach

G371

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

G324

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

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

G323

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

G351

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

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

G250

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

G306

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

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

G377

Equestrian Figure — Bronco Buster, 19th century
Frederic Remington

G301

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

G314

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

G208

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

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

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

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

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

Not on View

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. — Chariot Finial, 11th-10th 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

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

Not on View

Jia wine vessel, 12th 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

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

Not on View

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

Not on View

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

Not on View

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

Not on View

The decor of the upper part of this bipartite boiler is restricted to a neck belt with low, narrow flanges of which every second becomes the central ridge in the face of a dragonized t'ao-t'ieh,the halves formed by winged dragons.The bulbs of the Li-ting forming the lower half of the vessel are adorned with forceful t'ao-t'ieh heads of a fairly realistic bovine type, with eyebrows, ears, scaly horns . — Yan steamer, 11th century BCE
T'Ien Nung

Not on View

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

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

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 — He wine vessel, 11th-10th century BCE
China

Not on View

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

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 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

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

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

Not on View

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

G354

Ganymede and the Eagle, c. 1710
Antonio Montauti

G310

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

G310

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

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

statuette, of ibis-headed god, seated, wears wig and atef crown. Thoth of Hermapolis was known as the scribe of the gods and the god of wisdom. The Ibis was sacred to him. — Thoth, c. 644 BCE - 30 CE
Ancient Egyptian

Not on View

Equestrian figure — Horse and Rider, 1950
Marino Marini

Not on View

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

G213

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
Unknown Korean

G206

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

Thick, unusually heavy flanges, narrowing toward the vessel, divide the foot, bulb, and neck into panels. They are scored with alternating straight and T-shaped scores, the stem of the T turned inward instead of outward in the usual fashion. This is a most eccentric feature. The decor, on a ground of squared spirals, covers almost the entire vessel. The t'ao-t'ieh on foot and bulb are similar but vary in detail.The foot monster has a lower forehead shield, no eyebrows and S-shaped horns, as against the recumbent C-shaped horns of the beast on the bulb. The remnants of a vertical body and a leg are the same on both. In the lower neck belt are antithetical beaked dragons. Above are blunt, sturdy rising blades with a decor to be seen from the top. Flanking the flange, as a central line, are two antithetical dragons with strongly hooked beaks and C-shaped horns, their bodies going down (with a leg half way and a tuft lower down) meeting at the end of the blade. Together their heads form a t'ao-t'ieh (observe the ears in the outer border of the blade). In the decor throughout, the principal raised features, shaped as broad, flat bands, are quite smooth except for a few scores on the horns of the bulb t'ao-t'ieh. Patina green with patches of red. The symbol in the inscription may be an abbreviation of the graph lu. For a comment see Karlgren, Number 18 (50.46.97). — Zun wine vessel, 11th century BCE
China

Not on View

The pronounced sperical shape of this flask is most unusual. the decor is disposed in four broad belts set off from each other by narrow, bare, ridged bands bordering a single line of spirals. The belts, and the rising blades on the neck, are filled awith the comma pattern. The t'ao-t'ieh on the ring handle has scale bands on top and two big scales under the eyes. Patina blue-green. — Hu wine vessel, 4th 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

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

Not on View

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

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

G310

A Chief of the Multnomah Tribe, 1905
Hermon Atkins MacNeil

G301

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

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

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

G242

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

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

Not on View

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

G376

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

G242

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

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

G242

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

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

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
Unknown Korean

G206

The body of the vessel displays a band of hanging blades with crisply delineated cicadas in a ground of squared spirals. In the neck belt, piars of consecutive beaked dragons are separated from pairs of antithetical beaked dragons by rudimentary flanges. Again the background is squared spirals. Patinagreen. — Ding food vessel, 12th century BCE
China

Not on View

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 Shaiva Saint Sambandar, 15th century
India

G211

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

G376

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

Not on View

Stout Wine Beaker,'Tsun', inscribed. A high degree of sophistication is evident in the decor of this broad beaker. In the foot and principal body belts it is disposed in six panels formed by six flanges with straight and L-shaped scores. The foot belt displays a dragonized t'ao-t'ieh with S-shaped horns, and a tail rising in an S-curve. The same decor occurs in the main body belt, where the vertical dragons under the raised tail are clearly visible. The narrow belt above has only three flanges, which form the central lines of dragonized, winged t'ao-t'ieh. The spaces occupied below by additional flanges are filled by t'ao-t'ieh in flat relief. All of these dragonized t'ao-t'ieh have T-shaped horns. The six panels on the shoulder, delimited alternately by flanges and big, plastically rendered rams heads, carry dragon figures with protruding eyes executed in exaggerated loops. In the lower belt of the neck, which has no flanges, pairs of consecutive trunked dragons facing to the right confronting pairs facing to the left. They have bottle horns and quills on their backs. Above, in the slender, rising blades, the decor filling consists of antithetical dragons with standing C-shaped horns, their trunk-like noses meeting in the median line, their narrow, band-like bodies joining at the tip of the blade and its filling is probably meant to suggest an eyed cicada, which it does in fact vaguely suggest. Patina green with patches of blue. The inscription depicts a wine vessel. — Zun wine vessel, late 12th-11th century BCE
China

Not on View

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

G377

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

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

G213

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

This ting represents the Huai style at its extreme point in the matter of the vessel shape. The tradition that in this style the body of the Ting is big and bulky in proportion to the extremely short, thin legs, is here carried to the ultimate degree. The high lid, its ring-shaped top capable of serving as a foot if the lid is inverted, is fully spherical in shape. The legs are very small and thin and display a t'ao-t'ieh with spiral horns on their upper parts. (The t'ao-t'ieh, all but extinct during Middle Chou, reappeared in the Huai Style Period). Dissolved dragon rigid ring handles are adorned with a row of cowries bordered by rope-patterned bands. On the top of the lid, a loosely twined cord pattern encloses a quartefoil with its central disk filled with granulation. Patina blue-green. — Vessel with Cover, 5th-4th century BCE
China

Not on View

'Kia', with uprights. A strongly S-profiled wall, its inward curvature placed low, creates a high, flaring collar decorated with a band of dragonized t'ao-t'ieh. Above is a row of rising blades filled with stylized cicadas. On the body, three deeply scored flanges form the central ridges of three dissolved t'ao-t'ieh on a spiral ground. The handle is surmounted by an animal's head with well defined feratures. The upper part, forming the neck of the animal, is covered with rows of scales; the lower part, starting from the mouth, is decorated with incised compound spirals in front and with lozenges in low relief on the sides. Directly under the handle, two small dragons with turned heads stand opposite each other. Patina blue-green. — Jia wine vessel, 13th-12th century BCE
China

Not on View

bowl with loop handles on three legs; band of t'ao-t'ieh masks and medallions surrounding rim — Ting (Ritual Food Vessel), 12th century BCE
China

Not on View

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

showing 100 of 1211 results matching medium:"Bronze". (load 200 more)

Download results as CSV