57 UMMA Objects
Sort by


Lobi (Lobi)
Anklet with figures on opposing ends
1945 – 1955
Museum Purchase
1985/2.53
This fibula, a type of brooch used to pin outer garments, features a crossbar that ends in three onion-shaped terminals, which give the fibula a shape reminiscent of a crossbow. An arched bow connects the crossbar to the longer catchplate, which is ornamented with vegetal motifs.
Gallo-Roman (Gallo-Roman)
Crossbow fibula with vegetal ornament on the catchplate
450 – 500
Gift of Mr. Robert H. Tannahill
1966/2.17
A bronze sculpture depicting a man with his mouth open.
Diana Williams
Closeup of "Gates of Hell, Rodin, Paris"
1998
Gift from the Collection of David S. Rosen MD, MPH
2014/2.195
This sculpture has a rectangular metal base supporting a gray stone and bronze rod, which together support a curved rectangular bronze element. A yellow glass wheel with a square radial and protruding dimples tops the work. 
Herb Babcock (American (North American))
Pillared #5
1990
Gift of Carol Wilke in honor of Manuel and Joan Jacobs
2015/2.56
A bronze sculpture of a dancer posed in a high kick.
Auguste Rodin (French (culture or style))
Dance Movement A
1911 – 1956
Gift of the Kurt Delbanco Trust in honor of Nicholas Delbanco, and partial purchase
2011/1.71
Bronze temple bell with traces of polychrome, text, and lowermost handle in shape of a pair of addorsed lions. A decorated post threads through the space created by the back-to-back lions, on which an additional handle decorated with addorsed dragons is thread. The open space created between the dragons' connecting tails is where part of a frame would pass through, suspending the bell above the ground. This type of bell does not have a metal clapper, and is rung by striking with a wooden stick.
Burmese
Temple bell with handle of a pair of addorsed lions and a dragon
1907
Gift of Timothy L. Dickinson and Anja Lehmann
2002/2.237A-C
Round mirror with a loop on top for suspending by card, and the bottom loop has mostly broken offf. A swastika symbol is in relief on the reverse side.<br />
<br />
This mirror features a swastika in relief on its reverse side. The patterns surrounding the swastika are difficult to identify because of severe peeling. This mirror has a loop on the top for suspending a cord, but the one on the bottom has fallen off leaving only a trace.
<p>[Korean Collection, University of Michigan Museum of Art (2017), 241]</p>
Korean (Korean (culture or style))
Bronze Mirror with Swastika Motif
918 – 1392
Gift and partial purchase from Bruce and Inta Hasenkamp, purchase with funds from Elder and Mrs Sang-Yong Nam
2021/1.143
bronze abstract sculpture
Erwin Binder
Requiem
1988
Gift of Jack A. and Noreen Rounick
2004/2.107
Gilt bronze standing Buddha on lotus pedestal. He is clothed in monastic robes with cascading U-shaped folds, similar to the gentle folds of his neck. His hands ake the form of two mudras: the abhaya (&ldquo;have no fear&rdquo;) mudra with the right hand, and varada (&ldquo;wishes are granted&rdquo;) mudra with the left.<br />
<br />
<br />
It is well proportioned overall and represent Buddha in a standing position; a position quite popular in Unified Shilla Buddhist sculpture. The Ushinisha on the top of Buddha&#39;s head is tall, voluminous and black. The face is plump and facial features, including the eyes, nose and the mouth, are all rather small. The earlobes hang are hanging and the three curved lines on the neck are highly distinct.<br />
<br />
The body and pedestal of this statue were cast as a single mass. The body is made of solid bronze, but the pedestal is hollow. The back part of the pedestal features a hole for the insertion of a mandorla, which is missing. Unlike most Buddha statues from
Korean (Korean (culture or style))
Standing Buddha in Abhaya-vara mudra
676 – 935
Museum purchase for the James Marshall Plumer Memorial Collection
1961/2.80
This bronze light fixture consists of a central circular celestial motif from which extend twelve arms in a radial pattern. Six of these arms, embellished with maltese crosses, end in omega-shaped terminals. These decorated arms alternate with six unadorned arms that terminate in rings designed to hold glass oil lamps. The entire disk is suspended from three bronze chains joined to a large hook.
Coptic;Egyptian
Polycandelon for six oil lamps
6th century
Museum Purchase
1965/2.54
This bronze sculpture depicts a female figure kneeling, bending forward with her arms outstretched. She grasps a long piece of cloth that is stretched on the ground in front of her, as she looks directly at the cloth with intent. The woman is wearing a long skirt, which covers her legs and feet and swirls around her on the ground. Her blouse has flowing sleeves that end at the elbows, leaving her forearms bare. Her hair is pulled back and gathered into a knot. The bronze has a dark green patina and the surface of the statue is smooth and polished.
Aristide Maillol (French (culture or style))
The Laundress
1896
Museum Purchase
1973/2.78
Two distinct columnar forms emerge from a platform and are topped with spherical shapes that lean in and touch each other. The left form is slightly taller and wider than the right one.
Sir Anthony Caro (British (modern))
Lovers
1956
Museum Purchase
1961/1.172
Loading…