A subsequent supplement entitled "Bronze, boxwood, and ivory in the Robert H. Smith Collection of Renaissance Sculpture : a second supplement to the catalogue volume 'Art of the Renaissance Bronze 1500-1650'" (2015) is bound and shelved with The Burlington Magazine Vol. 157, no. 1351-1353 & Suppl. (2015).

he revival of the bronze statuette popular in classical antiquity stands out as an enduring achievement of the Italian Renaissance. These small sculptures attest to early modern artists' technical prowess, ingenuity, and desire to emulate—or even surpass—the ancients. From the studioli, or private studies, of humanist scholars in fifteenth-century Padua to the Fifth Avenue apartments of Gilded Age collectors, viewers have delighted in the mysteries of these objects: how they were made, what they depicted, who made them, and when. This catalogue is the first systematic study of The Metropolitan Museum of Art's European Sculpture and Decorative Arts collection of Italian bronzes. The collection includes statuettes of single mythological or religious figures, complex figural groups, portrait busts, reliefs, utilitarian objects like lamps and inkwells, and more. Stunning new photography of celebrated masterpieces by leading artists such as Antico, Riccio, and Giambologna; enigmatic bronzes that continue to perplex; quotidian objects; later casts; replicas; and even forgeries show the importance of each work in this complex field. International scholars provide in-depth discussions of 200 objects included in this volume, revealing new attributions and dating for many bronzes. An Appendix presents some 100 more complete with provenance and references. An essay by Jeffrey Fraiman provides further insight into Italian bronze statuettes in America with a focus on the history of The Met's collection, and Richard E. Stone, who pioneered the technical study of bronzes, contributes an indispensable text on how artists created these works and what their process conveys about the object's maker. A personal reminiscence by James David Draper, who oversaw the Italian sculpture collection for decades, rounds out this landmark catalogue that synthesizes decades of research on these beloved and complex works of art.

Details with photographs and explanations of each piece found in the private collection of Robert H. Smith renaissance bronzes.

This volume focuses specifically on the applications, possibilities, and limitations of handheld X-ray fluorescence devices in art conservation and archaeology.

The fruit of sixteen years of discriminating acquisition on the international art market, Robert Smith's is one of the most important collections of European bronzes in private hands today. Consisting of thirty pieces, all of the highest quality, it embraces the Renaissance in Italy and northern Europe in such a way that its components complement and enhance the appreciation of each other. Central to the collection is a group of thirteen pieces that illustrate the legacy of Giambologna in Florence, including the superb Nessus and Deianira by his pupil Antonio Susini, and the Hercules and Lichas, a unique record in bronze of a lost silver group by Giambologna himself. Around this are assembled pieces by independent contemporaries: Alessandro Vittoria and Francesco Segala in the Veneto, and the younger Genoese-born Niccolo Roccatagliata, whose surviving work is of the utmost rarity. A selection of fine early North Italian bronzes serves as an introduction to the collection, and the Netherlands and France are well represented - the former by Willem van Tetrode (who briefly worked with Cellini in Florence) and Jan Gregor van der Schardt; the latter by Barthelemy Prieur, official sculptor to Henry IV.