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Results for On display?:on; Current location:UMMA Gallery Location ➔ AMH, 1st floor ➔ 102 (Richard and Rosann Noel Gallery)

72 UMMA Objects (page 1/6)
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St. John the Evangelist sits in the foreground with a book open on his knee and quill pen poised over its pages. Two books rest next to him and an eagle has alighted on an adjacent rock. St. John looks up and to his right to see a standing figure of the Virgin Mary holding the infant Christ, who appear in a glowing mandorla hovering in the sky. A vast panoramic view of a bustling harbor and formidable mountains unfolds behind St. John and extends into the distance.
Joos van Cleve;Lucas Gassel
St. John the Evangelist on Patmos
1520 – 1530
Museum Purchase
1958/2.77
The front (obverse) of this medal represents a portrait of a man in profile wearing a papal tiara and a cope. The reverse depicts a city square dominated by an obelisk with a pair of identical domed churches in the background. Inscriptions run around the edge of the medal on both sides.
Gioacchino Travani
Pope Alexander VII (obverse), and the Piazzo del Popolo (reverse)
1662
Museum Purchase
1984/1.282
This pair of finely carved bust-length figures depicts two men in ecclesiastical garb. On the right appears an older figure who wears elaborate vestments and a papal tiara with a book in his left hand. His deeply lined and wrinkled face conveys a patient wisdom and authority as he stares directly ahead. His more youthful companion, dressed in a simpler collared robe and brimless cap, glances introspectively aside. He grasps an unfurled scroll in his left hand and a diminutive lion stares out from its perch on his left shoulder.
Atelier of J
Busts of Saints Jerome and Gregory
1495 – 1505
Museum Purchase
1958/1.59
The front of this handsome oak credenza, or sideboard, is divided into halves by three pilasters. Each half is outfitted with a drawer and a door below. The decorative and functional components are artfully arranged across the front of the piece to form a balanced composition of repeated geometric shapes and harmonious proportions.
Italian
Credenza
1500 – 1530
Bequest of Margaret Watson Parker
1955/1.228
This bronze plaque features a pair of oxen pulling a four-wheeled wagon with six passengers. The seated driver holds a rod in his right hand and a two-tined fork in his left. An older figure holding a flaming vessel stands behind him, followed by a seated figure wearing classical drapery and a laurel wreath. The next figure, seated in the middle of the cart, is an older female, nude to the waist, who holds a cornucopia full of fruit and raises her left hand to point skyward. Two smaller standing figures appear next, one holding a bowl of fruit. The final figure is a reclining female nude holding a flower in the crook of her right arm.
The Triumph of Plenty
1595 – 1605
Museum Purchase
1960/2.5
This enamel roundel depicts three figures in an interior. In the foreground a man with a soft pointed cap maneuvers small round loaves of bread in an oven with a long wooden paddle. Behind him a woman with an elaborate headdress and another figure prepare more loaves for baking. The silvery gray tones of this grisaille enamel impart the scene with a subtle luminosity.
Jean de Court, called Vigier
Baking Bread, Labor of the Month for December
1540 – 1560
Museum Purchase
1977/1.168
The body of this cylindrical censer is decorated with eight columns spaced at regular intervals. The lid of the censer consists of an openwork dome divided into sections by eight vertical ribs that converge at its apex. An arched horizontal band intersects the midpoint of the ribs, and these eight junctures are marked with a projecting bird that holds a small bronze ball dangling from its beak. Two segments of the dome are decorated with Maltese crosses while another two feature curved plant forms. The apex is surmounted by a finial comprised of a globe topped by a Maltese cross on which a bird holding a piece of fruit perches.
Coptic;Egyptian
Censer with Maltese crosses, birds, and columns
500 – 699
Museum Purchase
1960/2.4

French (French (culture or style))
Capital with vines and mask
1125 – 1150
Wadsworth Atheneum Museum of Art, Hartford, CT, Bequest of Henry Schnakenberg
LTL2009.2.1
The front (obverse) of the medal presents a profile portrait of a bearded man wearing a cassock, cap, and stole. The reverse depicts a bridge spanning a river. A winged figure flies above the bridge blowing a trumpet, while a nude male figure reclines below the bridge in the foreground and a wolf nurses at his feet. Inscriptions run around both the border edge of both sides of the medal.
Nicolas-François Chéron
Pope Clement IX (obverse), and the Ponte Sant' Angelo (reverse)
1669
Museum Purchase
1984/1.284
This marble statue depicts a standing male figure, who holds a closed book in his left hand and makes what appears to be a gesture indicating speech with his right. The curls of his flowing beard and long hair are echoed in the gentle curving folds and undulating edges of his long robe and mantle. He turns his head downward and to his left
Belgian
Apostle
1350 – 1360
Museum Purchase
1957/2.3
An angel, draped with a flowing red mantle, descends on the left from a bank of clouds. He holds a scepter and twisting scroll in his left hand while he points with his right toward a white dove encircled by a halo of light that descends toward a woman dressed in long robes and a veil. She sits, holding a book open on the lectern before her, and draws back slightly with her right hand raised and her eyes downcast. Six cherubim sit above on the edge of the cloudbank, which opens to reveal a male figure barely visible in the blinding light that fills the cloud.
Juan de Vald
The Annunciation
1661
Museum Purchase
1962/1.99
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