Historical Bronze Artifacts

Collection of intricate bronze and terra-cotta artworks depicting mythological and religious themes from the 1st to 17th century.

Abruzzo, L'Aquila, L'Aquila, Museo Nazionale d'Abruzzo, Italy, 20th century, photo, photography, Europe

Boss with Head of Oceanus, 1st-2nd century, 4 1/2 in. (11.43 cm), Bronze with silver and copper inlays, Italy, 1st-2nd century, This bronze medallion depicts the bearded head of Oceanus, the god of the river which the ancients believed surrounded the earth and was the source of all waters. A boss served as an ornamental attachment to a piece of domestic or religious furniture. There are remnants of silver and copper inlays on the god's eyes, cheeks, nose, and forehead. Various sea creatures dive in and out of his flowing beard, while two dolphins on his head function as a crown. Oceanus is set against a background of scales, in reference to the tradition that he had a human head and a fish's body.

BLIŻEJ KULTURY

Lunette, in which Maria with a child between Cherubs. .

A Triumph. Dated: early 16th century. Dimensions: overall: 4.9 x 7.4 cm (1 15/16 x 2 15/16 in.) gross weight: 73 gr. Medium: bronze//Light brown patina. Museum: National Gallery of Art, Washington DC. Author: Mantuan 16th Century.

Bacchus discovering Ariadne on Naxos. Culture: Italian, Padua. Dimensions: Overall: H. 2 1/4 x W. 3 1/16in. (5.7 x 7.8cm). Date: 15th century.This plaquette is a free version of the composition of a gem that once belonged to the Gonzaga in Mantua.Some of the grandest figures of their respective eras, from Lorenzo the Magnificent to Catherine the Great, were ardent collectors of ancient glyptics. Connoisseurs were well aware of the praise that the writers of antiquity had heaped on specific cameo carvers. Copies initially reached the wider public in the form of bronze replicas and, later, engravings. Inevitably, the rage for cameos entailed a certain amount of forgery and twisting of facts. Museum: Metropolitan Museum of Art, New York, USA.

Thalia second quarter 19th century Giuseppe Girometti Italian This cameo reiterates the head of an ancient marble statue of Thalia, the muse of comedy, in the Vatican Museums' Sala delle Muse.. Thalia 198619

Goldsmith's art, Italy, 17th century. Enamelled gold jewel depicting bust of a woman, set with gems and baroque pearls, 55x40 mm.

Panel from a Minbar 13th-14th century Although the pattern of this group of panels appeared as early as the late twelfth century in Azerbaijan and is recorded as late as 1480-81, it enjoyed a particular vogue in Cairo between 1330 and 1350. A number of minbars in Cairo with this pattern and from this period bear very close resemblance to these pieces.. Panel from a Minbar 445034

Scythian gold axe shaft-cover. Artist: Unknown

Manolo Hugé / 'Figura' siglo XX. Museu Municipal de Tossa de Mar.

Chryseis with an attendant bearing presents, praying to Menelaus to restore his daughter early 19th century probably Italian The intaglio is a fake, one of six in the Museum's collection, similar in style to those supplied by Italian Neoclassical engravers to Prince Stanislaw Poniatowski of Poland. Carried out in a figural style indebted to that of Antonio Canova, the Poniatowski gems bear the names of the carvers most celebrated in ancient Greece. The deception of the Poniatowski gems was revealed in 1895. The Museum's six were mounted in velvet boxes by Tiffany & Co.. Chryseis with an attendant bearing presents, praying to Menelaus to restore his daughter 202574

Ink Tablet with Thousand-Year Fungus Motif. Artist: Workshop of Cheng Junfang (Chinese, 1541-ca. 1620). Culture: China. Dimensions: Diam. 4 1/2 in. (11.4 cm). Date: late 19th-early 20th century. Museum: Metropolitan Museum of Art, New York, USA.

'Judgement of Paris'. France, 18th century. Dimensions: 42x47 cm. Museum: State Hermitage, St. Petersburg. Author: French sculptor. 18th century.

Carnelian ring stone. Culture: Roman. Dimensions: Length: 1/2 in. (1.2 cm). Date: ca. 1st -3rd century A.D..This is a rare depiction of an artist at work. In his right hand, he holds a stick-like object that has a round knob at one end and is pointed at the other and slightly thickened, likely a brush. In his left hand, he holds another object, which is evidently not a mallet but perhaps a palette seen in perspective. Ancient marble sculpture was often brightly painted. The artist holds his tool lightly and is probably painting rather than modeling. Museum: Metropolitan Museum of Art, New York, USA.

Abduction of Proserpine possibly 17th century Italian. Abduction of Proserpine 198338

Saint Simeon of Polirone and the Miracle of the Stag. Dated: probably c. 1516. Dimensions: overall: 6.16 x 18.9 cm, 285 gr (2 7/16 x 7 7/16 in., 0.628 lb.). Medium: bronze//Medium brown patina. Museum: National Gallery of Art, Washington DC. Author: Bartolomeo Spani.

Pablo Picasso / "Bull-fighter's assistant and bull", 1950, Relief (bas-relief of red clay (earth of Fayenza)), 8 x 7.5 x 0.5 cm. Museum: Fundació Palau. Caldes d'Estrac, Barcelona, España.

Plaque in the form of a sphinx ca. 8th century B.C. Hammered from single sheets of bronze, these sphinxes look outward toward the viewer. Their striding poses mirror each other and suggest that they may once have been displayed approaching each other. While many of the incised details are the same, differences such as the position of the hair swirl on the chest indicate that two separate craftspeople may have been responsible for the decorative work. The supernatural character of the sphinx, a composite creature with the head of a human and the body of a lion, is an ancient royal symbol of Egypt. Here the sphinx is further enhanced with the addition of wings, an ancient Near Eastern innovation.The Levant and inland Syria were conquered in the eighth century B.C. by the Assyrian kings. Luxury goods, including metal and carved ivory objects, were produced by skilled Syrian and Phoenician craftspeople and came as tribute and booty to the Assyrian capitals. These works in bronze share cert

Fragment of a terracotta neck-amphora (jar) ca. 360-350 B.C. Attributed to the Painter of the Geneva Orestes Woman with basket on her head in a finerary structureThe fragment belongs to a funerary representation. With her right hand, the woman is holding onto one of the columns supporting a funerary structure. On her head, she carries a shallow basket hung with fillets that she will probably bring to the tomb. The fragment is notable for its fine drawing and polychromy as well as for the basket that so resembles a sombrero.. Fragment of a terracotta neck-amphora (jar) 255838

Amerique, Terracotta, Allegorical figure of America; relief figure in regal attire, with feather cap and aigrette, holding a club; attributes: two macaws and tropical fruit., France, late 17th century, ceramics, Decorative Arts, Stove Tile, Stove Tile

Bliżej Kultury

Bliżej Kultury

Mascaron, , c. 1600 - c. 1699 Italy bronze (metal) Italy bronze (metal)

Bible illustrations, c. 1550 - c. 1699 wood (plant material)

Pedimis of Neptunus with sea horse, Pieter Xaveri, c. 1760 - c. 1770 On the pedestal ships at sea, washed -up tons and crates are depicted. The pedestal is not signed and was later made by an unknown sculptor. Leiden Image: Terracotta (Clay Material). Pedimate: Wood (Plant Material) On the pedestal ships at sea, washed -up tons and crates are depicted. The pedestal is not signed and was later made by an unknown sculptor. Leiden Image: Terracotta (Clay Material). Pedimate: Wood (Plant Material)

Cartouche fragment from a frame 18th century French. Cartouche fragment from a frame 189600 French, Cartouche fragment from a frame, 18th century, Wood, Overall: 7 1/2 13 1/4 in. (19.1 33.7 cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1906 (07.225.348)

Engraved Scaraboid; about 500 B.C; Rock crystal; 0.7 × 1.3 × 1 cm (1,4 × 1,2 × 3,8 in.)

Lluís Masriera / Colgante con busto de mujer, c. 1908. Oro, diamantes, perlas y esmalte «pliqué-à-jour». Museu Nacional d'Art de Catalunya (MNAC). Author: LLUÍS MASRIERA I ROSÉS.

Central plaque from a Champleve enamel and gilded copper cross. French, Limoges circa 1185-95

Sir Charles Nicholson, Thomas Woolner, 1825-1892, British, 1854, Bronze, in circular wood frame, Overall: 8 7/16 x 8 7/16 inches (21.4 x 21.4 cm), face, judge, man, politician, portrait

Bliżej Kultury

Pyxis with the head of Medusa, the Gorgon, in relief and a Maeander painted in perspective. Dated 4th Century BC

Medallion from a Set of Harness of Greek Type. Unknown

Plaque: hunting the Calydonian Boar. Wedgwood, Josiah (1730-1795), factory owner, Etruria Factory (Staffordshire ; wytwórnia ceramiki ; 1769-1950), factory

Engraved Gem. Two actors standing facing each other; they each carry a pedum and cloak over their arm and wear grotesque masks; the actor on the right carries an uncertain circular object in his left hand. Groundline. A four-letter inscription along the top and in the bottom right corner: L A E S.. Inscribed in Latin: L A E S.

Bronze Plaquette from Belgium ofHealth. Artist: J. Lecroart, Belgian

Medusa; Vincenzo Gemito, Italian, 1852 - 1929; Naples, Italy, Campania, Europe; 1911; Partially gilt silver; Object: H: 23.5 cm (H: 9 1/4 in.)

BLIŻEJ KULTURY

Cruz Procesional, 1380, Nº Inv. 577. Museo Arqueológico Nacional.

Saint Jerome in the Wilderness. Artist: Probably by Antonio Rossellino (Italian, Settignano 1427-ca. 1479 Florence). Culture: Italian, Florence. Dimensions: Overall (confirmed): 16 5/8 × 15 1/4 × 2 7/8 in., 31 lb. (42.2 × 38.7 × 7.3 cm, 14.0615kg). Date: ca. 1470.The Metropolitan displays in its galleries an important group of quattrocento reliefs of the Madonna and Child by such Italian Renaissance masters as Antonio Rossellino (see acc. no. 14.40.675) and Benedetto da Maiano (see acc. no. 41.190.137). Until Saint Jerome in the Wilderness entered the collection, however, the Museum had no example of a classic narrative relief. Beginning in 1424, when Lorenzo Ghiberti's first set of bronze doors for the Baptistery was set in place, narrative reliefs held signal importance in Florentine art. (It was Ghiberti who invented the device, echoed here, of showing the foreground spilling over the frame in the reliefs for his second set of Baptistery doors, the "Gates of Paradise.")1 Small relie

Saint Jerome. Dimensions: overall: 5.2 x 8 cm (2 x 3 1/8 in.) gross weight: 86 gr. Medium: bronze//Medium brown patina. Museum: National Gallery of Art, Washington DC. Author: Gianfrancesco Enzola.

Bliżej Kultury

Design for a round ceiling piece with the four cardinal points. Draughtsman: Mattheus Terwesten. Dating: 1727. Measurements: h 629 mm × w 555 mm. Museum: Rijksmuseum, Amsterdam.

Hercules and the Nemean Lion. Dated: late 15th - early 16th century. Dimensions: overall: 4.3 x 5.5 cm (1 11/16 x 2 3/16 in.) gross weight: 27 gr. Medium: gilt bronze. Museum: National Gallery of Art, Washington DC. Author: MODERNO.

Engraved Gem Antinous.

Two Devils. After Michelangelo Buonarroti; Italian, 1475-1564. Date: 1580-1599. Dimensions: 74 x 74 mm (max.). Red chalk on ivory laid paper, cut to circle. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

British, Rococo frame, Unknown framemaker, mid-18th century, Carved wood, successive later oil gildings over original gilding and sanded frieze

Thomas Woolner, 1825-1892, British, Sir Charles Nicholson, 1854. Bronze, in circular wood frame.

Mars, Venus, Cupid and Vulcan c. 1480-1500. Mars, god of war, sits with his trophies around gazing at his lover Venus, while her cuckolded husband Vulcan fashions a helmet. This decorated roundel was made in the circle of the Gonzaga court sculptor Antico at Mantua, possibly by the goldsmith Gian Marco Cavalli.

Silversmith's art, Italy, 17th century. Reliquary of Saint Sigismund in silver, gilded bronze, ebony and pietre dure. Height cm. 57.7. Detail.

The Infant Hercules Strangling the Serpents. Dated: late 15th - early 16th century. Dimensions: overall: 8.9 x 7.8 cm (3 1/2 x 3 1/16 in.) gross weight: 117 gr. Medium: bronze//Dark brown patina (rubbed on exposed surf aces). Museum: National Gallery of Art, Washington DC. Author: MODERNO.

Sphinx 18th century, with expert later repairs Italian Sphinxes allantica, like Medusa heads, were enigmas often invoked in Neoclassical decorative arts. Someone took pains to preserve this piece after it broke, expertly repairing it with closely matched stone, then gluing it to a glass backing that has since been removed from the quartz ground layer.. Sphinx 198359

St. Pius V. Artist: Possibly after a model by Angelo de Rossi (Italian, 1671-1715). Culture: Italian, Rome. Dimensions: Height: 25 1/2 in. (64.8 cm). Date: early 18th century.Pius V (reigned 1566-1572) was beatified in 1672 and canonized in 1712. His ascetic features are here set off by the undulating surfaces of the gilt relief, a late baroque creation probably dating from the reign of Clement XI, when there was a renewed devotion to the saint's cult. Museum: Metropolitan Museum of Art, New York, USA.

Applique decor to the bust of Jupiter. Copper alloy. Gallo-Roman time. Paris, Carnavalet museum. Decor of Applique to the bust of Jupiter Copper alloy, antiquity, bust, applique decor, Roman divinity, Gallo-Roman, ancient time

Thalia. Artist: Giuseppe Girometti (Italian, Rome 1780-1851 Rome). Culture: Italian, Rome. Dimensions: Overall (confirmed): 1 1/8 x 7/8 in. (2.8 x 2.3 cm); 28.4 x 22.8 x 9.5 mm. Date: second quarter 19th century.This cameo reiterates the head of an ancient marble statue of Thalia, the muse of comedy, in the Vatican Museums' Sala delle Muse. Museum: Metropolitan Museum of Art, New York, USA.

Hat Badge Mounted as a Pendant with the Flaying of Marsyas. Artist: Albert André (French, Lyons 1869-1954 Laudun). Dimensions: H. 6.7 cm, w. 5.7 cm. Date: first half 16th century and 1859-86. Museum: Metropolitan Museum of Art, New York, USA.

The blinded Polyphemus, The Capitoline Museums, Rome, Lazio, Italy, Europe

COFRE DE MARFIL PINTADO PROCEDENTE DE SICILIA - SIGLO XIII. Location: MUSEO DE PERGAMO. BERLIN. GERMANY.

France, Center-Val de Loire, Indre-et-Loire, fortress of Chinon, plate representing Joan of Arc at the tomb of Saint Martin (terracotta enameled by Edouard Avisseau, 19th century)

Carved Relief. Aubert-Henri-Joseph Parent (French, 1753 - 1835)

Prudence ca. 1550-60, back: 19th century Enamel on reverse after a design by Etienne Delaune French One of the four cardinal virtues, Prudence gazes into a mirror while holding a snakeattributes symbolizing, respectively, her self-knowledge and her wisdom. The pendant is an example of the Italian commesso technique, in which carved gemstones are combined with gold and enamel to create figural compositions. The enamel on the reverse, a nineteenth-century addition, is after a design by Étienne Delaune (1518/19-1583).. Prudence 193692

Fanière brothers, Bacchanal pendant (main title). Graphite, gouache on gray cartonette. Petit Palais, Museum of Fine Arts of the City of Paris.

Scena alegoryczna "Praga i Wełtawa". Sucharda, Stanisłav (1866-1916), male medallist

Good results

Lluís Masriera / Colgante con figura femenina, 1904. Colección privada. Author: LLUÍS MASRIERA I ROSÉS.

Terracotta statuette of a draped figure, probably female 7th century B.C. Greek, Cretan The missing proper left arm probably repeated the position of the right one. This figure may have been shown holding her breasts.. Terracotta statuette of a draped figure, probably female 254755 Greek, Cretan, Terracotta statuette of a draped figure, probably female, 7th century B.C., Terracotta, 4 in. x 3 in. (10.1 cm x 7.6 cm). The Metropolitan Museum of Art, New York. Gift of the Archaeological Institute of America, 1953 (53.5.30)

Louis Legendre (1655-1733) was a French historian. Bernard Collot, canon of Notre-Dame of Paris. Charles Coffin (1676-1749) Former rector of the University of Paris and Principal of the College de Beauvais. France. Europe. Old 19th century engraved illustration from Portraits et histoire des hommes utile by Societe Montyon et Franklin 1837

Plaquette (obverse), 1900s. Godefroid Devreese (Belgian, 1861-1941). Bronze; overall: 6.1 x 7.5 cm (2 3/8 x 2 15/16 in.).

Plaque with the emperor's bust; after. 16th century (1550-00-00-1550-00-00);Chynowski, Józef (Ca 1833-1915) - collection, Society of Encouragement of Fine Arts (Warsaw - 1860-1940) - collection, Valerius Maximus (Fl. 14-37), bearded heads, enamel, enamel, men's head, laurel wreaths

Macierzyństwo. Wittig, Edward (1879-1941), sculptor

Jean-Baptiste or Giovanni-Battista Nini (1717-1786). "Portrait of Marie-Antoinette (1755-1793), Queen of France". Paris, Carnavalet museum. 101433-3

Silversmith's art, Italy, 17th century. Silver and gilded bronze Saint George and the Princess, late 1600, attributed to Lorenzo Vaccaro (1655-1706). Detail.

Cameo with the Head of a Satyr. Culture: probably Italian. Dimensions: 2 1/8 × 3/16 in. (5.4 × 0.5 cm). Date: late 18th or early 19th century.The tradition of representing satyrs on intaglios and cameos is an ancient one, stretching back at least as far as sixth-century Greece. This cameo, with its forced perspective and strong, unidealized image, belongs to a rather late stage in the evolution of the representation of the sylvan deity. It was probably made in Italy, the chief center of cameo production in the late eighteenth and nineteenth century, as it is today.Clare Vincent, The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, p. 189, no. 108. Museum: Metropolitan Museum of Art, New York, USA.

Lluís Masriera / Colgante con busto femenino, 1913. Colección privada. Author: LLUÍS MASRIERA I ROSÉS.

Medallion with Judgment of Hercules 1773-1783 Burslem. Stoneware (jasperware) . Wedgwood Manufactory (Manufacturer)

Cameo. Unknown 18th or 19th century Bust of a black African man with short curly hair wearing a cloak on his left shoulder fastened with a looped knot. The back of the gem is flat and polished. The banding of the agate has been utilized so that the figure is black against a white background.

Architectural Element; terracotta

Scholar's Table Screen with Stand, 1736-1795, 6 5/8 x 8 3/4in. (16.8 x 22.2cm), Jade, China, 18th century

Bliżej Kultury

Bliżej Kultury

Anonymous / 'Mirror framed by eagle heads'. XVII century. Glass. Museum: Museo del Prado, Madrid, España.

Cruz Procesional, 1415, Nº 686. Museu de Lleida Diocesà i Comarcal.

Agriculture. Mint: France Artist: Marie-Alexandre-Lucien Coudray, French, 1864-1932

Bliżej Kultury

Portrait Plaque. Apsley Pellatt and Company; England, 1790-1875. Date: 1820-1830. Dimensions: Diam. 7.6 cm (3 in.). Glass, sulphide, painted wood, bronze. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Anonymous. Portrait of Marat, politician (1743-1793). Medallion. Sculpture. Bronze. Paris, Carnavalet museum. Portrait

Portrait of a woman Rega, Filippo (1761 1833)

Bronze PlaqueAlsacienne. Artist: Ernesta Robert-Mérignac, French, 1849-1933

Bliżej Kultury

Bliżej Kultury

Attic Red-Figure Skyphos Fragment. Unknown

Sketch Model of Soldiers Head for the Shaw Memorial #2. Artist: Augustus Saint-Gaudens, American, born Ireland, 1848-1907, LL.D. (HON.) 1905

Antonio Marescotti, Guilio Cesare Varano, c 1430 1502, Lord of Camerino, c 1444 1462 Guilio Cesare Varano, c. 1430-1502, Lord of Camerino

Relief bronze plate depicting dog by Benvenuto Cellini (1500-1571)

Painted Medallion in Locket Frame Recto: Our Lady of Mount Carmel with Male Donor Figure Verso: Archangel Raphael with Female Donor Figure Unknown. Painted Medallion in Locket Frame Recto: Our Lady of Mount Carmel with Male Donor Figure Verso: Archangel Raphael with Female Donor Figure, ca. 1830-1850. Oil on metal in oval silver frame, 4 1/2 x 3 3/8 x 1/2 in. (11.4 x 8.6 x 1.3 cm). American Art ca. 1830-1850

Saint Nicolas de Veroce baroque chapel. Painting after renovation. France.

Altarpiece with Relics, c. 1735-40. Joseph Matthias Götz (German, 1696-1760), and Workshop. Gilded wood, with relics in niches: gilded wood, mother-of-pearl, ebony, red silk, gold wire, seed pearls, rock crystal, pen and ink on paper; overall: 165.1 x 108 x 20 cm (65 x 42 1/2 x 7 7/8 in.).

Bliżej Kultury

09/25/2013. National Library. Madrid. Spain. Presentation of the exhibition three hundred years of the Royal Spanish Academy. Nobel Prize medal to Santiago Ramón y Cajal. Photo: De San Bernardo. archdc Barrenechea.

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