Showing 161 results

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.

Original: Also known as the Porte Royale, the West Portal was carved by 1150. The sculptures and reliefs were modelled on those in the triple west portal at St. Denis and at Chartres Cathedral.

Plaster cast copies of sculptures from the church of Notre-Dame de Corbeil, Essonne, France. The original sculptures were previously displayed in the Musée des Monuments as King Clovis I of the Franks (465 - 511) and his wife Queen Clotilde (474 – 545). However, they are now housed in the Louvre where they are catalogued as possibly the Old Testament monarchs, King Solomon and the Queen of Sheba.

Plaster cast copies of sculptures from the church of Notre-Dame de Corbeil, Essonne, France. The original sculptures were previously displayed in the Musée des Monuments as King Clovis I of the Franks (465 - 511) and his wife Queen Clotilde (474 – 545). However, they are now housed in the Louvre where they are catalogued as possibly the Old Testament monarchs, King Solomon and the Queen of Sheba.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Original: Portal figures from Chartres Cathedral. The central tympanum illustrates the Apocalypse with a central Christ surrounded by twenty-four Elders.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Original: Portal figures from Chartres Cathedral. The central tympanum illustrates the Apocalypse with a central Christ surrounded by twenty-four Elders.

Original: Attributed to Gregorio di Allegretto, 1476. Marble. Church of Santa Giustina, Padua, Italy. On the front of the sarcophagus the body of the saint is carved in relief, lying on a bier and covered with a cloth. At the ends are reliefs of angels swinging censers. Annotated "182A Brucciani & Co, London".

Foundling roundel, originally glazed blue and white terracotta. Original: Andrea della Robbia, 1487, at the Ospedale degli Innocenti, Florence, Italy. Annotated with numbers on reverse.

Original: Andrea della Robbia, 1489. Glazed terracotta. Loggia of L'Ospedale San Paolo, Florence, Italy.

Original: Andrea della Robbia, 1489. Glazed terracotta. Loggia of L'Ospedale San Paolo, Florence, Italy.

Roundel, surrounded by fruits. Original: Studio della Robbia, c1490. Glazed terracotta. Original currently in the collection of the National Gallery of Ancient Art in the Palazzo Barberini, Rome, Italy. Annotated "D Brucciani & Co London EC" and "325".

Original: Andrea della Robbia, c1487. Blue and white tin-glazed terracotta. Florence, Italy. The original relief is believed to have been commissioned by Gabriele di Cambio de' Medici, whose marriage to Lucrezia di Alessandro Rondinelli took place in 1487-88. The style of the relief is related to that of Andrea del Verroccio.

Original: Andrea della Robbia, c1479. Glazed terracotta. A variant of the Brizi Adoration relief at La Verna, Italy. Currently in the collection of the Courtauld Institute of Art, London, UK. Annotated: "2168".

Original: Andrea della Robbia (1435-1525), c1470. Glazed terracotta in a carved and gilt wood frame. Virgin and Child with two cherub heads. Circular relief originally in blue and white enameled terracotta. The Virgin holds the Child standing on her right. She is represented half-length turned slightly to the left, supporting the Child in a standing posture beside her. He holds the end of her veil in his right hand. The eyes are painted in brown and black. Original currently in the collection of The National Museum of Bargello, Florence, Italy. Bears "D Brucciani & Co" maker's stamp. Annotated: "324".

Original: Andrea della Robbia (1435-1525), c1470. Glazed terracotta in a carved and gilt wood frame. Virgin and Child with two cherub heads. Circular relief originally in blue and white enameled terracotta. The Virgin holds the Child standing on her right. She is represented half-length turned slightly to the left, supporting the Child in a standing posture beside her. He holds the end of her veil in his right hand. The eyes are painted in brown and black. Original currently in the collection of The National Museum of Bargello, Florence, Italy. Bears "Commission Royale Belge Atelier du Moulage, Bruxelles" maker's mark.

Original: Andrea della Robbia (1435-1525), c1470. Glazed terracotta in a carved and gilt wood frame. Virgin and Child with two cherub heads. Circular relief originally in blue and white enameled terracotta. The Virgin holds the Child standing on her right. She is represented half-length turned slightly to the left, supporting the Child in a standing posture beside her. He holds the end of her veil in his right hand. The eyes are painted in brown and black. Original currently in the collection of The National Museum of Bargello, Florence, Italy. Annotated "D Brucciani & Co" and "324".

Original: Lucca della Robbia (1400-1482). Part of the two 'Cantorie' made for Florence Cathedral. Original currently in the collection of the Museo dell'Opera del Duomo, Florence, Italy.

This item was damaged in the fire in the Mackintosh Building on 23rd May 2014. It underwent conservation and consolidation work in 2016.

Original: Lucca della Robbia (1400-1482). Part of the two 'Cantorie' made for Florence Cathedral. Original currently in the collection of the Museo dell'Opera del Duomo, Florence, Italy.

This item was damaged in the fire in the Mackintosh Building on 23rd May 2014. It underwent conservation and consolidation work in 2016.

Original: Lucca della Robbia (1400-1482). Part of the two 'Cantorie' made for Florence Cathedral. Original currently in the collection of the Museo dell'Opera del Duomo, Florence, Italy.

This item was damaged in the fire in the Mackintosh Building on 23rd May 2014. It underwent conservation and consolidation work in 2016.

Original: Lucca della Robbia (1400-1482). Part of the two 'Cantorie' made for Florence Cathedral. Original currently in the collection of the Museo dell'Opera del Duomo, Florence, Italy.

This item was damaged in the fire in the Mackintosh Building on 23rd May 2014. It underwent conservation and consolidation work in 2016.

Original: Lucca della Robbia (1400-1482). Part of the two 'Cantorie' made for Florence Cathedral. Original currently in the collection of the Museo dell'Opera del Duomo, Florence, Italy.

This item was damaged in the fire in the Mackintosh Building on 23rd May 2014. It underwent conservation and consolidation work in 2016.

Original: Lucca della Robbia (1400-1482). Part of the two 'Cantorie' made for Florence Cathedral. Original currently in the collection of the Museo dell'Opera del Duomo, Florence, Italy.

This item was damaged in the fire in the Mackintosh Building on 23rd May 2014. It underwent conservation and consolidation work in 2016.

Original: Agostino di Duccio, c1450. Basilica Malatesta, Rimini, Italy. Bears "Commission Royale Belge Atelier du Moulage, Bruxelles" maker's mark.

Original: Gian Marco Cavalli, c1490. Marble and bronze. Original currently in the Mantegna Chapel, Basilica di Sant’Andrea, Mantua, Italy. Bears a "Musée de Sculpture Comparée du Trocadero, Paris, 1910 " maker's stamp.

Panel depicting the infant Christ being attended by the wise men. Original: Tilman Reimenschneider, c1510. Lime wood. Rothenburg ober der Tauber, Germany. Currently in the collection of the British Museum, London, UK. Annotated "D Brucciani & Co London".

Carved relief of woman sitting looking into mirror. Possible a GSA student piece.

In relief. Bears "Commission Royale Belge Atelier du Moulage, Bruxelles" maker's stamp.

Part of a temple frieze.

Matron with bambini, sea god, domestic animals (bull, sheep and frog). Original: Marble. Ara Pacis Augustae (Altar of Augustan Peace), Rome, Italy. Bears "Musées Nationaux Moulage, Paris" maker's stamp.