Collections: Decorative Arts: Plaque

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Head of a King

Granite is extremely hard, but the sculptor of this statue was able to give the king's plump face and small features a softly natural qualit...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Slab with Two Reclining Male Figures

    Most people think of Egypt as a very warm country, but at night the desert air can be uncomfortably cold. This camp scene shows two men lyin...


    Want to add this object to a set? Please join the Posse, or log in.


    60.198.1_SL1.jpg 60.198.1_acetate_bw.jpg


    Apollo, who is shown at the center, was one of the principle deities of the Greeks. He was the son of Zeus and Leto and the twin brother of Diana, the goddess of the hunt. Although mainly known as the god of the sun and prophecy, here he is depicted as Apollo Musagetes, the leader of the nine Muses, female divinities who presided over the arts and sciences. Each Muse is shown with her attribute. For example, Euterpe, Muse of lyric poetry, holds a paired flute, and Thalia, Muse of comedy, holds an actor's mask.

    Plaques like this were sometimes framed as independent artworks, but were also inserted into wall panels, chimneypieces and mantels, and furniture. Each of the white figures was cast in clay in a separate mold and then applied to the colored plaques. In this way, each figure could be used as needed, either mounted individually on single small plaques or vases, or arranged in different groups. This interchangeability of decorative elements was a progressive factory procedure devised by Wedgwood that permitted a variety of different objects to be made easily from preexisting elements.

    • Maker: Wedgwood & Bentley, 1759-present
    • Modelled By: Probably John Flaxman R.A., British, born New York, United States, 1755-1826
    • Medium: Stoneware
    • Dates: ca.1775
    • Dimensions: 6 1/2 x 25 1/2 in. (16.5 x 64.8 cm)  (show scale)
    • Markings: WEDGWOOD / & BENTLEY" impressed on back.
    • Signature: no signature
    • Inscriptions: no inscriptions
    • Collections:Decorative Arts
    • Museum Location: This item is on view in Wedgewood, 4th Floor
    • Accession Number: 60.198.1
    • Credit Line: Gift of Emily Winthrop Miles
    • Rights Statement: Creative Commons-BY
    • Caption: Wedgwood & Bentley (1759-present). Plaque, ca.1775. Stoneware, 6 1/2 x 25 1/2 in. (16.5 x 64.8 cm). Brooklyn Museum, Gift of Emily Winthrop Miles, 60.198.1. Creative Commons-BY
    • Image: overall, 60.198.1_SL1.jpg. Brooklyn Museum photograph
    • Record Completeness: Good (67%)
    advanced 110,570 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."

    Please note, the Museum does not provide monetary appraisals. Please see our FAQ.

    Please review the comment guidelines before posting.

    Before you comment...

    We get a lot of comments, so before you post yours, check to see if your issue is addressed by one of the questions below. Click on a question to see our answer:

    Why are some objects not on view?

    The Museum’s permanent collections are very large and only a fraction of these can be on exhibition at any given time. Sometimes works are lent to other museums for special exhibitions; sometimes they are in the conservation laboratory for study or maintenance. Certain types of objects, such as watercolors, textiles, and photographs, are sensitive to light and begin to fade if they are exposed for too long, so their exhibition time is limited. Finally, as large as the Museum is, there is not enough room to display everything in the collections. In order to present our best works, collections are rotated periodically.

    How do I find out how much an object in the Brooklyn Museum collections is worth?

    The Museum does not disclose the monetary values of objects in its collections.

    Can you tell me the value of an artwork that I own?

    The Museum does not provide monetary appraisals. To determine the value of an object or to find an appraiser, you may contact the Art Dealers Association of America or the American Society of Appraisers.

    I own a similar object. Can you tell me more about it?

    Please submit via e-mail a photograph of the object you own and as much information about it as you can, and we will provide any additional information we are able to find. Please note that research in our files is a lengthy process, and you may not have a response for some time.

    How would I go about lending or gifting a work to the Museum or seeing if the Museum is interested in purchasing a work that I own?

    Please submit via e-mail a photograph of the object you would like us to consider, as well as all of the information you have about it, and your offer will be forwarded to the appropriate curator. The Brooklyn Museum collections are very rich, and we have many works that are not currently on exhibition; because of this, and because storage space is limited, we are very selective about adding works. However, the collection has become what it is today through the generosity of the public, and we continue to be grateful for this generosity, which can still lead to exciting new acquisitions.

    How can I get a reproduction of a work in your collection?

    Please see the Museum’s information on Image Services.

    How can I show my work to someone at the Museum or be considered for an exhibition?

    Please see the Museum’s Artist Submission Guidelines.

    Why do many objects not have photographs and/or complete descriptions?

    The Museum's collection is very large, and we are constantly in the process of adding photographs and descriptions to works that do not currently have them, or replacing photographs that have deteriorated beyond use and descriptions that are minimal or out of date. This is a long and expensive process that takes time.

    How can I find a conservator or get advice on how to treat my artwork?

    Please visit the American Institute for Conservation, which has a feature on how to find a conservator.

    I have a comment or question which is not included in this list.

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.