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

G376

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

Warrior with Shield, 1953–54
Henry Moore

G371

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

G340

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

The Fighter of the Spirit, 1928
Ernst Barlach

Exterior Grounds

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

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

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

G323

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

G324

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

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

G306

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 Avenger, modeled 1914, cast 1923
Ernst Barlach

G371

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

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

G377

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

G377

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

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

G351

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

G280

standing 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

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

G213

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

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

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

G330

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

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

G208

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

G208

Mirror with figures. — Mirror, 220-586
China

G215

Round, lacquer, gold and silver. — 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

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

G215

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

G213

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

G213

mirror, round, with pictorial decoration in relief, Yeuh type — Mirror, 1st-2nd century
China

G215

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

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

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

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

A Chief of the Multnomah Tribe, 1905
Hermon Atkins MacNeil

G301

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

G319

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

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
Unknown Japanese

G205

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

G376

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

G376

Vase, large, gourd handles — Large vase with gourd handles, late 19th century
Echigo-no-Kami

G239

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

G310

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

G310

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

G310

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

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

G354

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

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

G324

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

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

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

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

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

G220

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

G220

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

G220

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
Unknown Japanese

G225

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

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

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

Not on View

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

G377

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 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

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

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

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

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

Equestrian figure — Horse and Rider, 1950
Marino Marini

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

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

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

Not on View

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

Not on View

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

Not on View

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

G211

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

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

Equestrian Figure — Bronco Buster, 19th century
Frederic Remington

G301

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

Ganymede and the Eagle, c. 1710
Antonio Montauti

G310

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

Not on View

Mirror, round, black and green patina. — Mirror, 1st-2nd century
China

G215

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

Not on View

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

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

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

G250

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

G250

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

dancing figure looking down, wearing a horned animal skin over his head like a hooded cape; figure wears bells on straps around his knees and holds a rattle in his PL hand and an unidentified arcing object in his PR hand; slightly stylized; attached to two-tiered wooden base — Deer Dancer, 1971
Michael Naranjo

G255

woman seated cross-legged with her body completely covered with a brown blanket, with only her face and long loose hair visible; woman looks over her PR shoulder; bronze-colored face — Young Woman, 1992
Allan Houser

G261

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

Bust of Diana, Jean Alexandre Joseph Falguière — Bust of Diana, 19th century
Jean Alexandre Joseph Falguière

G319

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

G314

Udhyana Buddha, China — Udhyana Buddha, 14th century
China

G212

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