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The Robert Lehman Collection XII: European Sculpture and Metalwork

The Robert Lehman Collection XII: European Sculpture and Metalwork

Scholten, Frits
2011
288 pages
289 illustrations
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Over the course of the twentieth century, Philip and Robert Lehman amassed 230 remarkably varied pieces of European sculpture and metalwork, now part of the Robert Lehman Collection at The Metropolitan Museum of Art. Presented here are exemplary aquamanilia, bronze sculptures, medals, and plaquettes dating from the Middle Ages through the twentieth century. Acquired from the most prominent dealers in Europe and the United States, many of the objects were accompanied by illustrious provenances, including Buckingham Palace, European nobles, and the American financier J. Pierpont Morgan.

An early highlight from the Southern Netherlands is a medieval aquamanile, the finest of its type, depicting the theme of foolish love in the fable of Phyllis and Aristotle. Later standouts include four superb brass fifteenth-century Belgian sculptures of Saints Adrian, Stephen, John the Evangelist, and Peter that probably once adorned a lectern or baptismal font. A delightful household sculpture from sixteenth-century Padua takes the form of a perfume burner surmounted by a faun. Another decorative bronze, dating to about 1600, depicts a commanding figure of Mars in the guise of a musketeer loading his weapon. The middle section of the book is devoted to the entire group of Lehman medals and plaquettes—its 117 pieces constitute more than half of the holdings described in this catalogue. Italian, German, French, and Netherlandish works are represented, lending an impressive geographical and chronological breadth. Rarely on public view, this fascinating collection is fully revealed for the first time.

These, as well as all the works included here, are illustrated, the majority with new color photography made expressly for this book. Enhancing the in-depth scholarly discussions are professionally researched provenances, exhibition histories, and references, as well as selected comparative illustrations. The volume also includes a bibliography and an index.

Aquamanile in the Form of a Lion, Bronze; binary copper alloy (approx. 88% copper, approx. 8% tin) hollow cast,<br/>chased, engraved, and gilded., North German, Lubeck (?)
North German, Lubeck (?)
ca. 1230 or early nineteenth century
Aquamanile in the Form of a Knight on
Horseback, Bronze; Quaternary copper alloy with a high content of zinc (approx. 73% copper, approx. 15% zinc, approx. 7% lead, approx. 3% tin) with natural patina, hollow cast; remnants of the clay core<br/>and iron armature in the legs, German, Lower Saxony (?)
German, Lower Saxony (?)
ca. 1350
Aquamanile in the Form of Samson and
the Lion, Bronze; quaternary copper alloy (approx. 78% copper, approx. 10% zinc, approx. 6% tin, approx. 5% lead) with natural patina. Remnants of the iron armature are in the lion’s legs and the figure of Samson., Northern European (?), possibly German
Northern European (?), possibly German
ca. 1380–1400
Aquamanile in the Form of Aristotle and Phyllis, Bronze; Quaternary copper alloy (approx. 72% copper, approx. 17% zinc,<br/>approx. 6% lead, approx. 3% tin)., South Netherlandish
South Netherlandish
late 14th or early 15th century
Aquamanile in the Form of a Griffin, Bronze; Ternary copper alloy with a very high content of zinc (approx. 74%<br/>copper, approx. 22% zinc, approx. 2% lead) with natural patina, hollow cast., German, Nuremberg
German, Nuremberg
ca. 1425–50
Aquamanile in the Form of a Human Head, Bronze; Ternary copper alloy with a very high percentage of zinc (approx. 68% copper,<br/>approx. 26% zinc, approx. 4% tin), covered with a thin black lacquer patina; traces of cinnabar have been detected on the interior and exterior of the vessel., German or French, Paris (in fourteenth-century Hildesheim style)
German or French, Paris (in fourteenth-century Hildesheim style)
last quarter 19th century
Aquamanile in the Form of a Gourd with a
Human Head, Bronze; quaternary copper alloy (62.8% copper, 18.3% lead; 11.9% zinc, 7% tin); with a thin layer of dark patina., German
German
19th century
Saint  Adrian, Brass (copper alloy with a high percentage of zinc) with natural olive green patina., Netherlandish, Tournai
Netherlandish, Tournai
third quarter fifteenth century
Saint Stephen, Brass (copper alloy with a high percentage of<br/>zinc) with natural olive green patina., Netherlandish, Tournai
Netherlandish, Tournai
third quarter fifteenth century
Saint John the Evangelist, Brass (copper alloy with a high percentage of zinc) with natural olive green patina., Netherlandish, Tournai
Netherlandish, Tournai
third quarter 15th century
Saint Peter, Brass (copper alloy with a high percentage of zinc) with natural olive green patina., Netherlandish, Tournai
Netherlandish, Tournai
third quarter of the 15th century
Satyress and her Infant, Severo Calzetta da Ravenna  Italian, Indirect cast; copper alloy, dark brown with areas of black patina.
ca. 1520 or later
Satyress and her Infant, Severo Calzetta da Ravenna  Italian, Bronze, light reddish brown patina.
ca. 1520 or later
Inkwell in the Form of Atlas Holding a Globe, Severo Calzetta da Ravenna  Italian, Copper alloy
first half 16th century or later
Warrior on Horseback, Desiderio da Firenze  Italian, Ternary alloy of copper, zinc and tin, with small traces of<br/>lead, iron, nickel, silver, and antimony (both horse and rider);<br/>Black lacquer patina under a chocolate brown patina (on<br/>both horse and rider); the eyes of the horse are inlaid with<br/>silver.
ca. 1540
Horse and rider startled by a snake, Bronze, Italian, Venice or Padua
Italian, Venice or Padua
early 16th century
Perfume Burner Surmounted by a Satyr, Desiderio da Firenze  Italian, Binary alloy (copper, tin, with traces of zinc, iron, nickel, silver, and antimony); a brown to olive green patina and minor traces of gilding.
ca. 1530–40
Lower part of a marble relief with two goddesses, Marble, Pentelic, Roman
Roman
1st–2nd century CE
Perfume Burner Surmounted by a Satyr, Desiderio da Firenze  Italian, The cover and body are binary bronze (copper and tin, with traces of zinc, iron, nickel, silver, and antimony); the foot is cast in brass (copperzinc alloy with very minor amounts of tin, lead, and the usual copper impurities of iron, nickel, silver, and antimony).
ca. 1540–50
Satyr, Desiderio da Firenze  Italian, Copper alloy with a reddish brown patina; the base and shell with a dark brown patina.
ca. 1530
Showing 20 of 235

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Metropolitan Museum of Art (New York, N.Y.), and Frits Scholten, eds. 2011. The Robert Lehman Collection. XII: European Sculpture and Metalwork. New York : Princeton [N.J.]: Metropolitan Museum of Art ; In association with Princeton University Press.