Original: Discovered in 1781 on Esquiline Hill. Considered to be a copy of an earlier Greek original. The popularity of the sculpture in antiquity was no doubt due to its representation of the athletic ideal. Discus-throwing was the first element in the pentathlon, and while pentathletes were in some ways considered inferior to those athletes who excelled at a particular sport, their physical appearance was much admired. This was because no one particular set of muscles was over-developed, with the result that their proportions were harmonious. Listed in the first catalogue of casts as Greek, located in Vatican and bought from Brucciani. Original currently in the collection of the Louvre, Paris, France. Photographed in GSA 1915.
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.
Plaster casts of a left and right anatomical feet. Both feet show details of musculature, and the heel of the right foot is slightly elevated. On top of each leg is a maker's stamp that reads "J Giusti & Co Makers, St Vincent St, Glasgow". The inward facing edge of each base includes the inscription "J Giusti & Co, Glasgow". These anatomical feet are the only items in the Giusti Plaster Cast Collection to include such an incription, and the presence of both the inscriptions and the maker's stamp suggests that the feet may have been both sculpted by J. Giusti & Co. (likely in the late 19th century) and subsequently reproduced by the company.
Bucrania thought to be from the Temple of Vesta. The Temple of Vesta is an ancient edifice in Rome, Italy, located in the Roman Forum near the Regia and the House of the Vestal Virgins. Listed in first catalogue of casts as Roman and purchased from D. Brucciani.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: Michelangelo, c1526-1534. Lorenzo de' Medici (01 Jan 1449-09 Apr 1492) was an Italian statesman and de facto ruler of the Florentine Republic during the Italian Renaissance. Original currently in the Medici Chapel in the Church of San Lorenzo, 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.
Print of 'An Angel Adoring' by Robert Anning Bell. Protective cover sheet has annotation which attributes the original work to Robert Anning Bell, and the medium as a coloured plaster relief.
Located inside folder: Item DC 094/1/3/10 - Folder of calligraphic life studies
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: The original scaled Roman statue of c50BC by the sculptor Kleomenes. The Nude male statue, erroneously identified as Germanicus, a member of the family of the Emperor Augustus, probably should be considered a portrait of a member of a wealthy family of the late Republic. Original currently in the collection of the Louvre, Paris, France.
Includes a corner of Valerie's home with painted artworks on the wall, cast sculptures, and a Tiffany style lamp; " Val + John's house / Florid. Oct. 2010" with a printed image verso. Has small white border and is glossy.
Includes a view of a living room with a focus on six sculptures of different people on a coffee table; "X Val's self portrait / Val's sculptures in their house / Florida, 2010" verso. Has small white border and is glossy.
Pencil drawing of three figures/sculptures which all appear to be female. Sculptures looking in three different directions. The word "futile" seems to be written to the right of the women. Four drawn eyes that seem to be similar to the Egyptian Eye of Horus verso.
Black and white photograph of a bronze male head sculpture sitting on a box. Male figure has a chin strap beard and prominent nose. Says ""Jack Dalziel" - by Helen Biggar - c. 1939" written in blue pen with "92B" circled verso. Jack Dalziel (real name "John") was likely a friend of Helen's.
Original: Greco-Roman attribution, shows Mercury God of merchandise and merchants, commonly identified with the Greek Hermes, fleet-footed messenger of the gods.
This item was damaged in the fire in the Mackintosh Building on 23rd May 2014. It underwent conservation and consolidation work in 2016.
Venus with missing arm, supported by dolphin and cherub. Original: Roman copy of Greek statue c2 BC, of Hellenistic style. Listed in the first catalogue of casts as Greek, located in the 'Florence Gallery' and was purchased from D. Brucciani.
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. Horsemen. 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. Figures bearing water jugs. 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 currently in the collection of the Acropolis Museum, Athens, Greece.
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.
