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Identification and Creation

Object Number
1932.56.29
Title
Ares
Classification
Sculpture
Work Type
sculpture, statuette
Date
19th-early 20th century
Places
Creation Place: Unidentified Region
Period
Modern
Culture
Unidentified culture
Persistent Link
https://hvrd.art/o/303870

Physical Descriptions

Medium
Brass
Technique
Cast, lost-wax process
Dimensions
22.86 cm (9 in.)
Technical Details

Chemical Composition: ICP-MS/AAA data from sample, Brass:
Point 1: Cu, 52.73; Sn, 1.26; Pb, 1.53; Zn, 44.19; Fe, 0.12; Ni, 0.06; Ag, 0.06; Sb, 0.04; As, less than 0.10; Bi, less than 0.025; Co, less than 0.005; Au, less than 0.01; Cd, 0.011

Point 2: Cu, 48.8; Sn, 1.29; Pb, 1.65; Zn, 47.98; Fe, 0.11; Ni, 0.06; Ag, 0.06; Sb, 0.04; As, less than 0.10; Bi, less than 0.025; Co, less than 0.005; Au, less than 0.01; Cd, 0.013

J. Riederer

Technical Observations: The patina is green with red and brown accretion on top of the green. It is difficult to tell if the patina is a result of long-term burial. Areas of red corrosion products lie on top of the green rather than under it, and there is no sign of deep corrosion in the underlying metal. However, the surface gives the impression of age under magnification, and the green layer is relatively thick. The patina on the shield is black.

The left arm and the shield have been reattached with modern lead solder. The top and bottom of the spear are lost. The bronze appears to be solid cast, presumably using an indirect lost-wax process. The spear appears to have been cast as part of the figure and the break surfaces at the losses above and below the hand show evidence of a brittle fracture. Details in the modeling of the face are soft and give the impression of having one or more generations of separation from the original model, although this is not necessarily indicative of a modern cast. There is little to no evidence of cold working.

The shield, which has been described as modern, matches the yellow color of the figure in its underlying alloy. The black color of the surface is intentionally formed or applied. It is not soluble in organic solvents. Holes at the back of the shield where it meets the bronze hand appear old and are probably related to the original means of attachment.


Henry Lie (submitted 2001)

Provenance

Recorded Ownership History
Dr. Harris Kennedy, Milton, MA (by 1932), gift; to the William Hayes Fogg Art Museum, 1932.

Acquisition and Rights

Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Gift of Dr. Harris Kennedy, Class of 1894
Accession Year
1932
Object Number
1932.56.29
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
Permissions

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Descriptions

Published Catalogue Text: Ancient Mediterranean and Near Eastern Bronzes at the Harvard Art Museums
This peculiar little warrior has small eyes and nose, a small, open mouth, and a jutting chin. He wears a helmet with a tiny crest, a feature perhaps meant to denote a Samnite helmet. He has roughly marked spiral locks, two to three on each side, and neat, straight hair visible below the back of the helmet. His posture is also odd: he stands on his right foot and leans back, his left foot raised and placed forward. There are holes in the bottoms of both feet, the left one clearly recent. He holds a weapon in his right hand, its shaft broken on either side of his hand, and he appears to be about to make a downward strike. An oval shield on his left arm is ornamented with a relief showing two crudely rendered standing nude males. The one at the left rests a club on the ground, while the one at the right wears what may be a Thracian helmet and holds in one hand an arrow or a spear and in the other a round, oval shield with a raised dot in the center. Their awkward stances echo that of the statuette himself.


Carol Mattusch

Publication History

  • Carol C. Mattusch, "Artists and Workshops: The Craft and the Product", Ancient Bronzes through a Modern Lens: Introductory Essays on the Study of Ancient Mediterranean and Near Eastern Bronzes, ed. Susanne Ebbinghaus, Harvard Art Museums (Cambridge, MA, 2014), 112-31, pp. 116-17, fig. 5.2.
  • Susanne Ebbinghaus, ed., Ancient Bronzes through a Modern Lens: Introductory Essays on the Study of Ancient Mediterranean and Near Eastern Bronzes, Harvard Art Museum and Yale University Press (Cambridge, MA, 2014), pp. 78, 89, 116-117, fig. 5.2

Subjects and Contexts

  • Ancient Bronzes

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu