Plaques
Easy to fit onto your wall:
All our Plaques are equipped with a safely inserted wall hanging ring at the back of the plaque.
All our Plaques are equipped with a safely inserted wall hanging ring at the back of the plaque.
Apis the Bull
The original can be viewed at the British museum being a round-topped sandstone stela divided into three registers:
The original can be viewed at the British museum being a round-topped sandstone stela divided into three registers:
More Info
1 - Winged sun-disc with pendent crowned uraei and jackals with flails below.
2 - Scene of Ptolemy II wearing the double crown offering to the Buchis Bull.
3 - Four lines of Hieroglyphic text recording the death of the sacred Buchis bull.
Ptolemy II wears a double crown, possibly with a streamer hanging from the back and a false beard, as well as a broad collar, projecting kilt, and bull’s tail.
He presents an offering tray with three bread loaves shaped like reed leaves, one of which is damaged. An incense burner stands before the bull, who wears a sun-disc with double-plumes, and a stands on a platform.
Above the incense burner is a column intended for text, but no trace of inscription is evident and it may have been left blank. On the left, over the figure of the bull, is a second winged sun-disc, smaller and with unusually positioned wings, more often seen on hovering Horus falcons.
Despite the rather poor quality of the stone, the musculature of the king’s knees and the bull’s legs are indicated, and their faces are relatively modelled. The king’s face is somewhat rounded and fleshy. The stela is chipped around the edges.
Height: 210mm
Width: 155mm
Depth: 15mm
2 - Scene of Ptolemy II wearing the double crown offering to the Buchis Bull.
3 - Four lines of Hieroglyphic text recording the death of the sacred Buchis bull.
Ptolemy II wears a double crown, possibly with a streamer hanging from the back and a false beard, as well as a broad collar, projecting kilt, and bull’s tail.
He presents an offering tray with three bread loaves shaped like reed leaves, one of which is damaged. An incense burner stands before the bull, who wears a sun-disc with double-plumes, and a stands on a platform.
Above the incense burner is a column intended for text, but no trace of inscription is evident and it may have been left blank. On the left, over the figure of the bull, is a second winged sun-disc, smaller and with unusually positioned wings, more often seen on hovering Horus falcons.
Despite the rather poor quality of the stone, the musculature of the king’s knees and the bull’s legs are indicated, and their faces are relatively modelled. The king’s face is somewhat rounded and fleshy. The stela is chipped around the edges.
Height: 210mm
Width: 155mm
Depth: 15mm
Palette of King Narmer
The Narmer Palette, also known as the "Great Hierakonpolis Palette", or the Palette of Narmer, is a significant archeological find dating from about 31st century BC.
The Narmer Palette, also known as the "Great Hierakonpolis Palette", or the Palette of Narmer, is a significant archeological find dating from about 31st century BC.
More Info
It contains some of the earliest hieroglyphic inscriptions ever found. The tablet is thought by some to depict the unification of Lower and Upper Egypt under the King Narmer.
Height: 380mm
Width: 230mm
Depth: 15mm
Height: 380mm
Width: 230mm
Depth: 15mm
Birds and Papyrus Plaque
Jean-Philippe Lauer (1902 – 2001), was a French architect and prominent Egyptologist.
Jean-Philippe Lauer (1902 – 2001), was a French architect and prominent Egyptologist.
More Info
This limestone relief was unearthed during Lauer's 1948 excavations of the upper temple of the funerary complex of Userkaf, the first king of the 5th Dynasty.
The piece depicts several birds; the pied kingfisher, purple gallinule, the striped hoopoe, the sacred ibis, the night heron and the European kingfisher.
Height: 245mm
Width:280mm
Depth: 186mm
The piece depicts several birds; the pied kingfisher, purple gallinule, the striped hoopoe, the sacred ibis, the night heron and the European kingfisher.
Height: 245mm
Width:280mm
Depth: 186mm
Akhenateh, Nefertiti, and three Daughters Plaque
House Altar depicting Akhenaten, Nefertiti and Three of their Daughters, limestone, New Kingdom.
Amarna period, 18th dynasty, c.1350 BCE
House Altar depicting Akhenaten, Nefertiti and Three of their Daughters, limestone, New Kingdom.
Amarna period, 18th dynasty, c.1350 BCE
More Info
This piece was meant to be a house altar. the iconography of Aten and the depiction of the royal family of Akhenaten was propagated to encourage people to embrace the new monotheistic religion.
works such as this relief carving were present and central to everyday life; the house altar serves a practical function as well as an artistic one, so the underlying message becomes present and visible in the family's daily life.
Height: 215mm
Width: 255mm
Depth: 15mm
works such as this relief carving were present and central to everyday life; the house altar serves a practical function as well as an artistic one, so the underlying message becomes present and visible in the family's daily life.
Height: 215mm
Width: 255mm
Depth: 15mm
Night & Day Plaque (Night)
The reliefs 'Night and Day' are Thorvaldsen’s most popular. As opposites they represent the two halves of a day.
The reliefs 'Night and Day' are Thorvaldsen’s most popular. As opposites they represent the two halves of a day.
More Info
Night personified floats passively over the sky. Her eyes are closed as are the eyes of the children in her embrace.
Her hair is braided with poppies, for their sleep-inducing capacities, known since Antiquity.
Day personified flies actively across the sky with her head held high. She looks over her shoulder and fixes her gaze on the small torch-bearing boy here proudly symbolizing the light and the sun.
Height: 150mm
Width: 150mm
Depth: 15mm
Her hair is braided with poppies, for their sleep-inducing capacities, known since Antiquity.
Day personified flies actively across the sky with her head held high. She looks over her shoulder and fixes her gaze on the small torch-bearing boy here proudly symbolizing the light and the sun.
Height: 150mm
Width: 150mm
Depth: 15mm
Night & Day Plaque (Day)
The reliefs 'Night and Day' are Thorvaldsen’s most popular. As opposites they represent the two halves of a day.
The reliefs 'Night and Day' are Thorvaldsen’s most popular. As opposites they represent the two halves of a day.
More Info
Night personified floats passively over the sky. Her eyes are closed as are the eyes of the children in her embrace.
Her hair is braided with poppies, for their sleep-inducing capacities, known since Antiquity.
Day personified flies actively across the sky with her head held high. She looks over her shoulder and fixes her gaze on the small torch-bearing boy here proudly symbolizing the light and the sun.
Height: 150mm
Width: 150mm
Depth: 15mm
Her hair is braided with poppies, for their sleep-inducing capacities, known since Antiquity.
Day personified flies actively across the sky with her head held high. She looks over her shoulder and fixes her gaze on the small torch-bearing boy here proudly symbolizing the light and the sun.
Height: 150mm
Width: 150mm
Depth: 15mm
Ages of Man
Childhood (Spring)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
Childhood (Spring)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
More Info
Bertel Thorvaldsen (1770-1844) lived in Rome for many years where he became one of the most important European representatives of Neo-Classicist sculptural art.
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
Ages of Man Youth (Summer)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
More Info
Bertel Thorvaldsen (1770-1844) lived in Rome for many years where he became one of the most important European representatives of Neo-Classicist sculptural art.
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
Ages of Man Middle Age (Autumn)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
More Info
Bertel Thorvaldsen (1770-1844) lived in Rome for many years where he became one of the most important European representatives of Neo-Classicist sculptural art.
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
Ages of Man Old Age (Winter).
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672)
More Info
Bertel Thorvaldsen (1770-1844) lived in Rome for many years where he became one of the most important European representatives of Neo-Classicist sculptural art.
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
Ages of Man Spring, Summer, Autumn, Winter (Set of Four Plaques)
Click on the image to enlarge.
Click on the image to enlarge.
Click on the image to enlarge.
Click on the image to enlarge.
Head of Leda (Verdigris)
Our Verdigris coloured plaque is inspired by this season's trend of dusky pastels.
This relief is a copy of a preparatory pen and ink drawing of a woman's head by Leonardo da Vinci for the painting "Leda and the Swan".
Our Verdigris coloured plaque is inspired by this season's trend of dusky pastels.
This relief is a copy of a preparatory pen and ink drawing of a woman's head by Leonardo da Vinci for the painting "Leda and the Swan".
More Info
The original painting by Da Vinci was completed around 1508 and was an oil painting depicting a naked female (Leda) embracing a swan, with four babies just hatched from eggs at their feet.
The original painting is believed lost, but a copy can be seen in Wilton House, Salisbury, England.
In Greek mythology, the god Zeus transforms himself into a swan and travels to earth to seduce Leda. On the same night she sleeps with her husband, the Spartan King, Tyndareus.
She gives birth to two eggs that hatch. In one is Zeus's children Helen and Polydeuces, in the other, King Tyndareus's, Castor and Clytemnestra.
The plaque is individually made by hand in Bath, England. The material is British gypsum plaster.
Height: 210mm
Width:180mm
Depth: 20 mm
The original painting is believed lost, but a copy can be seen in Wilton House, Salisbury, England.
In Greek mythology, the god Zeus transforms himself into a swan and travels to earth to seduce Leda. On the same night she sleeps with her husband, the Spartan King, Tyndareus.
She gives birth to two eggs that hatch. In one is Zeus's children Helen and Polydeuces, in the other, King Tyndareus's, Castor and Clytemnestra.
The plaque is individually made by hand in Bath, England. The material is British gypsum plaster.
Height: 210mm
Width:180mm
Depth: 20 mm
St. Cecilia
Patron Saint of Music
Reproduced from a bronze relief believed to be the work of Italian Renaissance sculptor, Donatello.
St. Cecilia is the patron saint of music & musicians.
Patron Saint of Music
Reproduced from a bronze relief believed to be the work of Italian Renaissance sculptor, Donatello.
St. Cecilia is the patron saint of music & musicians.
More Info
It is said that there was a church dedicated to St. Cecilia in Rome in the fifth century, in which Pope Symmachus held a council in 500.
In the city of Rome there was a virgin named Cecilia, who came from an extremely rich family and was given in marriage to a youth named Valerian. She wore sackcloth next to her skin, fasted, and invoked the saints, angels, and virgins, beseeching them to guard her virginity
During her wedding ceremony she was said to have sung in her heart to God and before the consummation of her nuptials, she told her husband she had taken a vow of virginity and had an angel protecting her. Valerian asked to see the angel as proof, and Cecilia told him he would have eyes to see once he traveled to the third milestone on the Via Appia (Appian Way) and was baptized by Pope Urbanus.
Height: 245mm
Width: 165mm
Depth: 20mm
In the city of Rome there was a virgin named Cecilia, who came from an extremely rich family and was given in marriage to a youth named Valerian. She wore sackcloth next to her skin, fasted, and invoked the saints, angels, and virgins, beseeching them to guard her virginity
During her wedding ceremony she was said to have sung in her heart to God and before the consummation of her nuptials, she told her husband she had taken a vow of virginity and had an angel protecting her. Valerian asked to see the angel as proof, and Cecilia told him he would have eyes to see once he traveled to the third milestone on the Via Appia (Appian Way) and was baptized by Pope Urbanus.
Height: 245mm
Width: 165mm
Depth: 20mm
Angel of Annunciation (White)
This relief in plaster is a copy of a detail from the painting,"The Annunciation" by Leonardo da Vinci, and depicts the Angel Gabriel.
This relief in plaster is a copy of a detail from the painting,"The Annunciation" by Leonardo da Vinci, and depicts the Angel Gabriel.
More Info
The original painting is an oil and tempera composition on wood and was painted around 1472-1475. Today it can be seen in the Uffizi Gallery, Florence.
It depicts the annunciation by the Archangel Gabriel to the Virgin Mary that she will conceive Jesus Christ and is set in the enclosed courtyard garden of a Florentine villa.
In this relief detail we see The Angel Gabriel holding a Madonna lily in his left hand, a symbol of Mary's virginity and of the city of Florence.
Height: 200mm
Width: 190mm
Depth: 15mm
It depicts the annunciation by the Archangel Gabriel to the Virgin Mary that she will conceive Jesus Christ and is set in the enclosed courtyard garden of a Florentine villa.
In this relief detail we see The Angel Gabriel holding a Madonna lily in his left hand, a symbol of Mary's virginity and of the city of Florence.
Height: 200mm
Width: 190mm
Depth: 15mm
Angel of Annunciation (Black)
This relief in plaster is a copy of a detail from the painting,"The Annunciation" by Leonardo da Vinci, and depicts the Angel Gabriel.
This relief in plaster is a copy of a detail from the painting,"The Annunciation" by Leonardo da Vinci, and depicts the Angel Gabriel.
More Info
The original painting is an oil and tempera composition on wood and was painted around 1472-1475. Today it can be seen in the Uffizi Gallery, Florence.
It depicts the annunciation by the Archangel Gabriel to the Virgin Mary that she will conceive Jesus Christ and is set in the enclosed courtyard garden of a Florentine villa.
In this relief detail we see The Angel Gabriel holding a Madonna lily in his left hand, a symbol of Mary's virginity and of the city of Florence.
Height: 200mm
Width: 190mm
Depth: 15mm
It depicts the annunciation by the Archangel Gabriel to the Virgin Mary that she will conceive Jesus Christ and is set in the enclosed courtyard garden of a Florentine villa.
In this relief detail we see The Angel Gabriel holding a Madonna lily in his left hand, a symbol of Mary's virginity and of the city of Florence.
Height: 200mm
Width: 190mm
Depth: 15mm
Proportions of Man
Leonardo da Vinci
The original of "The proportions of the human body" is a drawing by the Italian polymath Leonardo da Vinci around 1490.
Leonardo da Vinci
The original of "The proportions of the human body" is a drawing by the Italian polymath Leonardo da Vinci around 1490.
More Info
It is accompanied by notes based on the work of the architect Vitruvicus.
Marcus Vitruvius Pollio c. 80–70 BC – after c. 15 BC), commonly known as Vitruvius, was a Roman author, architect, civil engineer and military engineer during the 1st century BC.
He was known for his multi-volume work entitled De - Architectura.
His discussion of perfect proportion in architecture and the human body led to the famous Renaissance drawing by Leonardo da Vinci of Vitruvian Man.
The drawing, which is in pen and ink on paper, depicts a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square.
The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man.
It is kept in the Gabinetto dei disegni e stampe of the Gallerie del' Academia in Venice, Italy, under reference 228.
Like most works on paper, it is displayed to the public only occasionally, so it isn't part of the normal exhibition of the museum.
The drawing is based on the correlations of ideal human proportians with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Arcitectura.
Vitruvius described the human figure as being the principal source of proportion among the classical orders of Architecture.
Vitruvius determined that the ideal body should be eight heads high. Leonardo's drawing is traditionally named in honor of the architect.
Height: 280mm
Width: 220mm
Depth: 15mm
Marcus Vitruvius Pollio c. 80–70 BC – after c. 15 BC), commonly known as Vitruvius, was a Roman author, architect, civil engineer and military engineer during the 1st century BC.
He was known for his multi-volume work entitled De - Architectura.
His discussion of perfect proportion in architecture and the human body led to the famous Renaissance drawing by Leonardo da Vinci of Vitruvian Man.
The drawing, which is in pen and ink on paper, depicts a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square.
The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man.
It is kept in the Gabinetto dei disegni e stampe of the Gallerie del' Academia in Venice, Italy, under reference 228.
Like most works on paper, it is displayed to the public only occasionally, so it isn't part of the normal exhibition of the museum.
The drawing is based on the correlations of ideal human proportians with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Arcitectura.
Vitruvius described the human figure as being the principal source of proportion among the classical orders of Architecture.
Vitruvius determined that the ideal body should be eight heads high. Leonardo's drawing is traditionally named in honor of the architect.
Height: 280mm
Width: 220mm
Depth: 15mm
The Magna Carta Seal
In 2015 we celebrated the 800th anniversary of the signing of the Magna Carta.
In 2015 we celebrated the 800th anniversary of the signing of the Magna Carta.
More Info
Exhibitions took place across the UK to commemorate the event which established the fundamental principal of law and liberty within our social history.
Working with Salisbury Cathedral, one of the key institutions involved in the Magna Carta 800 celebrations, Modern Souvenir Company created a plaster reproduction of the seal which bound together the 1215 Magna Carta.
Each Magna Carta seal is hand made in British gypsum plaster by our team of craftsmen in the Bath workshop.
Height: 90mm
Width: 95mm
Depth: 15mm
Working with Salisbury Cathedral, one of the key institutions involved in the Magna Carta 800 celebrations, Modern Souvenir Company created a plaster reproduction of the seal which bound together the 1215 Magna Carta.
Each Magna Carta seal is hand made in British gypsum plaster by our team of craftsmen in the Bath workshop.
Height: 90mm
Width: 95mm
Depth: 15mm
Green Man Plaque (Large)
'From the naves and pillars of English Country Churches to the Jain temples of Rajastan.
'From the naves and pillars of English Country Churches to the Jain temples of Rajastan.
More Info
The Green Man symbolises life and renaissance.'
Height: 190mm
Width:145mm
Depth: 35mm
Height: 190mm
Width:145mm
Depth: 35mm
Ladder of Angels
Bath Abbey
The first sight most visitors have of Bath Abbey,
Bath Abbey
The first sight most visitors have of Bath Abbey,
More Info
is the West front, with its unique ladders of Angels. The story behind this is that Bishop Oliver King is said to have had a dream of ascending and descending angels which inspired the design of the facade.
Height: 2800mm
Width: 72mm
Depth: 25mm
Height: 2800mm
Width: 72mm
Depth: 25mm
Click on the image to enlarge.
Jane Austen Commemorative Decoration
More Info
Etched Copper base with resin portrait to commemorate the 200th anniversary of Jane Austen's death in
Height: 85mm
Width: 65mm
Depth: 10mm
Height: 85mm
Width: 65mm
Depth: 10mm
Plaques Collection
Easy to fit onto your wall:
All our Plaques are equipped with a safely inserted wall hanging ring at the back of the plaque.
Apis the Bull
The original can be viewed at the British museum being a round-topped sandstone stela divided into three registers:
The original can be viewed at the British museum being a round-topped sandstone stela divided into three registers:
More Info
1 - Winged sun-disc with pendent crowned uraei and jackals with flails below.
2 - Scene of Ptolemy II wearing the double crown offering to the Buchis Bull.
3 - Four lines of Hieroglyphic text recording the death of the sacred Buchis bull.
Ptolemy II wears a double crown, possibly with a streamer hanging from the back and a false beard, as well as a broad collar, projecting kilt, and bull’s tail.
He presents an offering tray with three bread loaves shaped like reed leaves, one of which is damaged. An incense burner stands before the bull, who wears a sun-disc with double-plumes, and a stands on a platform.
Above the incense burner is a column intended for text, but no trace of inscription is evident and it may have been left blank. On the left, over the figure of the bull, is a second winged sun-disc, smaller and with unusually positioned wings, more often seen on hovering Horus falcons.
Despite the rather poor quality of the stone, the musculature of the king’s knees and the bull’s legs are indicated, and their faces are relatively modelled. The king’s face is somewhat rounded and fleshy. The stela is chipped around the edges.
Height: 210mm
Width: 155mm
Depth: 15mm
2 - Scene of Ptolemy II wearing the double crown offering to the Buchis Bull.
3 - Four lines of Hieroglyphic text recording the death of the sacred Buchis bull.
Ptolemy II wears a double crown, possibly with a streamer hanging from the back and a false beard, as well as a broad collar, projecting kilt, and bull’s tail.
He presents an offering tray with three bread loaves shaped like reed leaves, one of which is damaged. An incense burner stands before the bull, who wears a sun-disc with double-plumes, and a stands on a platform.
Above the incense burner is a column intended for text, but no trace of inscription is evident and it may have been left blank. On the left, over the figure of the bull, is a second winged sun-disc, smaller and with unusually positioned wings, more often seen on hovering Horus falcons.
Despite the rather poor quality of the stone, the musculature of the king’s knees and the bull’s legs are indicated, and their faces are relatively modelled. The king’s face is somewhat rounded and fleshy. The stela is chipped around the edges.
Height: 210mm
Width: 155mm
Depth: 15mm
Palette of King Narmer
The Narmer Palette, also known as the "Great Hierakonpolis Palette", or the Palette of Narmer, is a significant archeological find dating from about 31st century BC.
The Narmer Palette, also known as the "Great Hierakonpolis Palette", or the Palette of Narmer, is a significant archeological find dating from about 31st century BC.
More Info
It contains some of the earliest hieroglyphic inscriptions ever found. The tablet is thought by some to depict the unification of Lower and Upper Egypt under the King Narmer.
Height: 380mm
Width: 230mm
Depth: 15mm
Height: 380mm
Width: 230mm
Depth: 15mm
Birds and Papyrus Plaque
Jean-Philippe Lauer (1902 – 2001), was a French architect and prominent Egyptologist.
Jean-Philippe Lauer (1902 – 2001), was a French architect and prominent Egyptologist.
More Info
This limestone relief was unearthed during Lauer's 1948 excavations of the upper temple of the funerary complex of Userkaf, the first king of the 5th Dynasty.
The piece depicts several birds; the pied kingfisher, purple gallinule, the striped hoopoe, the sacred ibis, the night heron and the European kingfisher.
Height: 245mm
Width:280mm
Depth: 186mm
The piece depicts several birds; the pied kingfisher, purple gallinule, the striped hoopoe, the sacred ibis, the night heron and the European kingfisher.
Height: 245mm
Width:280mm
Depth: 186mm
Akhenateh, Nefertiti, and three Daughters Plaque
House Altar depicting Akhenaten, Nefertiti and Three of their Daughters, limestone, New Kingdom.
Amarna period, 18th dynasty, c.1350 BCE
House Altar depicting Akhenaten, Nefertiti and Three of their Daughters, limestone, New Kingdom.
Amarna period, 18th dynasty, c.1350 BCE
More Info
This piece was meant to be a house altar. the iconography of Aten and the depiction of the royal family of Akhenaten was propagated to encourage people to embrace the new monotheistic religion.
works such as this relief carving were present and central to everyday life; the house altar serves a practical function as well as an artistic one, so the underlying message becomes present and visible in the family's daily life.
Height: 215mm
Width: 255mm
Depth: 15mm
works such as this relief carving were present and central to everyday life; the house altar serves a practical function as well as an artistic one, so the underlying message becomes present and visible in the family's daily life.
Height: 215mm
Width: 255mm
Depth: 15mm
Click on the image to enlarge.
Night & Day Plaque (Night)
The reliefs 'Night and Day' are Thorvaldsen’s most popular. As opposites they represent the two halves of a day.
The reliefs 'Night and Day' are Thorvaldsen’s most popular. As opposites they represent the two halves of a day.
More Info
Night personified floats passively over the sky. Her eyes are closed as are the eyes of the children in her embrace.
Her hair is braided with poppies, for their sleep-inducing capacities, known since Antiquity.
Day personified flies actively across the sky with her head held high. She looks over her shoulder and fixes her gaze on the small torch-bearing boy here proudly symbolizing the light and the sun.
Height: 150mm
Width: 150mm
Depth: 15mm
Her hair is braided with poppies, for their sleep-inducing capacities, known since Antiquity.
Day personified flies actively across the sky with her head held high. She looks over her shoulder and fixes her gaze on the small torch-bearing boy here proudly symbolizing the light and the sun.
Height: 150mm
Width: 150mm
Depth: 15mm
Click on the image to enlarge.
Night & Day Plaque (Day)
The reliefs 'Night and Day' are Thorvaldsen’s most popular. As opposites they represent the two halves of a day.
The reliefs 'Night and Day' are Thorvaldsen’s most popular. As opposites they represent the two halves of a day.
More Info
Night personified floats passively over the sky. Her eyes are closed as are the eyes of the children in her embrace.
Her hair is braided with poppies, for their sleep-inducing capacities, known since Antiquity.
Day personified flies actively across the sky with her head held high. She looks over her shoulder and fixes her gaze on the small torch-bearing boy here proudly symbolizing the light and the sun.
Height: 150mm
Width: 150mm
Depth: 15mm
Her hair is braided with poppies, for their sleep-inducing capacities, known since Antiquity.
Day personified flies actively across the sky with her head held high. She looks over her shoulder and fixes her gaze on the small torch-bearing boy here proudly symbolizing the light and the sun.
Height: 150mm
Width: 150mm
Depth: 15mm
Click on the image to enlarge.
Ages of Man
Childhood (Spring)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
Childhood (Spring)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
More Info
Bertel Thorvaldsen (1770-1844) lived in Rome for many years where he became one of the most important European representatives of Neo-Classicist sculptural art.
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
Click on the image to enlarge.
Ages of Man Youth (Summer)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
More Info
Bertel Thorvaldsen (1770-1844) lived in Rome for many years where he became one of the most important European representatives of Neo-Classicist sculptural art.
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
Click on the image to enlarge.
Ages of Man Middle Age (Autumn)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672).
More Info
Bertel Thorvaldsen (1770-1844) lived in Rome for many years where he became one of the most important European representatives of Neo-Classicist sculptural art.
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
Click on the image to enlarge.
Ages of Man Old Age (Winter).
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672)
Bertel Thorvaldsen's Ages of Man plaques are based on an interpretation of the poem Of 'The Four Ages of Man' written by Anne Bradstreet (1612 – 1672)
More Info
Bertel Thorvaldsen (1770-1844) lived in Rome for many years where he became one of the most important European representatives of Neo-Classicist sculptural art.
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
The roundels depict the four ages, or four seasons, of man: Childhood (Spring), Youth (Summer), Middle Age (Autumn), Old Age (Winter).
Height: 130mm
Width: 150mm
Depth: 15mm
Ages of Man Spring, Summer, Autumn, Winter (Set of Four Plaques)
Click on the image to enlarge.
Head of Leda (Verdigris)
Our Verdigris coloured plaque is inspired by this season's trend of dusky pastels.
This relief is a copy of a preparatory pen and ink drawing of a woman's head by Leonardo da Vinci for the painting "Leda and the Swan".
Our Verdigris coloured plaque is inspired by this season's trend of dusky pastels.
This relief is a copy of a preparatory pen and ink drawing of a woman's head by Leonardo da Vinci for the painting "Leda and the Swan".
More Info
The original painting by Da Vinci was completed around 1508 and was an oil painting depicting a naked female (Leda) embracing a swan, with four babies just hatched from eggs at their feet.
The original painting is believed lost, but a copy can be seen in Wilton House, Salisbury, England.
In Greek mythology, the god Zeus transforms himself into a swan and travels to earth to seduce Leda. On the same night she sleeps with her husband, the Spartan King, Tyndareus.
She gives birth to two eggs that hatch. In one is Zeus's children Helen and Polydeuces, in the other, King Tyndareus's, Castor and Clytemnestra.
The plaque is individually made by hand in Bath, England. The material is British gypsum plaster.
Height: 210mm
Width:180mm
Depth: 20 mm
The original painting is believed lost, but a copy can be seen in Wilton House, Salisbury, England.
In Greek mythology, the god Zeus transforms himself into a swan and travels to earth to seduce Leda. On the same night she sleeps with her husband, the Spartan King, Tyndareus.
She gives birth to two eggs that hatch. In one is Zeus's children Helen and Polydeuces, in the other, King Tyndareus's, Castor and Clytemnestra.
The plaque is individually made by hand in Bath, England. The material is British gypsum plaster.
Height: 210mm
Width:180mm
Depth: 20 mm
St. Cecilia
Patron Saint of Music
Reproduced from a bronze relief believed to be the work of Italian Renaissance sculptor, Donatello.
St. Cecilia is the patron saint of music & musicians.
Patron Saint of Music
Reproduced from a bronze relief believed to be the work of Italian Renaissance sculptor, Donatello.
St. Cecilia is the patron saint of music & musicians.
More Info
It is said that there was a church dedicated to St. Cecilia in Rome in the fifth century, in which Pope Symmachus held a council in 500.
In the city of Rome there was a virgin named Cecilia, who came from an extremely rich family and was given in marriage to a youth named Valerian. She wore sackcloth next to her skin, fasted, and invoked the saints, angels, and virgins, beseeching them to guard her virginity
During her wedding ceremony she was said to have sung in her heart to God and before the consummation of her nuptials, she told her husband she had taken a vow of virginity and had an angel protecting her. Valerian asked to see the angel as proof, and Cecilia told him he would have eyes to see once he traveled to the third milestone on the Via Appia (Appian Way) and was baptized by Pope Urbanus.
Height: 245mm
Width: 165mm
Depth: 20mm
In the city of Rome there was a virgin named Cecilia, who came from an extremely rich family and was given in marriage to a youth named Valerian. She wore sackcloth next to her skin, fasted, and invoked the saints, angels, and virgins, beseeching them to guard her virginity
During her wedding ceremony she was said to have sung in her heart to God and before the consummation of her nuptials, she told her husband she had taken a vow of virginity and had an angel protecting her. Valerian asked to see the angel as proof, and Cecilia told him he would have eyes to see once he traveled to the third milestone on the Via Appia (Appian Way) and was baptized by Pope Urbanus.
Height: 245mm
Width: 165mm
Depth: 20mm
Angel of Annunciation (White)
This relief in plaster is a copy of a detail from the painting,"The Annunciation" by Leonardo da Vinci, and depicts the Angel Gabriel.
This relief in plaster is a copy of a detail from the painting,"The Annunciation" by Leonardo da Vinci, and depicts the Angel Gabriel.
More Info
The original painting is an oil and tempera composition on wood and was painted around 1472-1475. Today it can be seen in the Uffizi Gallery, Florence.
It depicts the annunciation by the Archangel Gabriel to the Virgin Mary that she will conceive Jesus Christ and is set in the enclosed courtyard garden of a Florentine villa.
In this relief detail we see The Angel Gabriel holding a Madonna lily in his left hand, a symbol of Mary's virginity and of the city of Florence.
Height: 200mm
Width: 190mm
Depth: 15mm
It depicts the annunciation by the Archangel Gabriel to the Virgin Mary that she will conceive Jesus Christ and is set in the enclosed courtyard garden of a Florentine villa.
In this relief detail we see The Angel Gabriel holding a Madonna lily in his left hand, a symbol of Mary's virginity and of the city of Florence.
Height: 200mm
Width: 190mm
Depth: 15mm
Angel of Annunciation (Black)
This relief in plaster is a copy of a detail from the painting,"The Annunciation" by Leonardo da Vinci, and depicts the Angel Gabriel.
This relief in plaster is a copy of a detail from the painting,"The Annunciation" by Leonardo da Vinci, and depicts the Angel Gabriel.
More Info
The original painting is an oil and tempera composition on wood and was painted around 1472-1475. Today it can be seen in the Uffizi Gallery, Florence.
It depicts the annunciation by the Archangel Gabriel to the Virgin Mary that she will conceive Jesus Christ and is set in the enclosed courtyard garden of a Florentine villa.
In this relief detail we see The Angel Gabriel holding a Madonna lily in his left hand, a symbol of Mary's virginity and of the city of Florence.
Height: 200mm
Width: 190mm
Depth: 15mm
It depicts the annunciation by the Archangel Gabriel to the Virgin Mary that she will conceive Jesus Christ and is set in the enclosed courtyard garden of a Florentine villa.
In this relief detail we see The Angel Gabriel holding a Madonna lily in his left hand, a symbol of Mary's virginity and of the city of Florence.
Height: 200mm
Width: 190mm
Depth: 15mm
Proportions of Man
Leonardo da Vinci
The original of "The proportions of the human body" is a drawing by the Italian polymath Leonardo da Vinci around 1490.
Leonardo da Vinci
The original of "The proportions of the human body" is a drawing by the Italian polymath Leonardo da Vinci around 1490.
More Info
It is accompanied by notes based on the work of the architect Vitruvicus.
Marcus Vitruvius Pollio c. 80–70 BC – after c. 15 BC), commonly known as Vitruvius, was a Roman author, architect, civil engineer and military engineer during the 1st century BC.
He was known for his multi-volume work entitled De - Architectura.
His discussion of perfect proportion in architecture and the human body led to the famous Renaissance drawing by Leonardo da Vinci of Vitruvian Man.
The drawing, which is in pen and ink on paper, depicts a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square.
The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man.
It is kept in the Gabinetto dei disegni e stampe of the Gallerie del' Academia in Venice, Italy, under reference 228.
Like most works on paper, it is displayed to the public only occasionally, so it isn't part of the normal exhibition of the museum.
The drawing is based on the correlations of ideal human proportians with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Arcitectura.
Vitruvius described the human figure as being the principal source of proportion among the classical orders of Architecture.
Vitruvius determined that the ideal body should be eight heads high. Leonardo's drawing is traditionally named in honor of the architect.
Height: 280mm
Width: 220mm
Depth: 15mm
Marcus Vitruvius Pollio c. 80–70 BC – after c. 15 BC), commonly known as Vitruvius, was a Roman author, architect, civil engineer and military engineer during the 1st century BC.
He was known for his multi-volume work entitled De - Architectura.
His discussion of perfect proportion in architecture and the human body led to the famous Renaissance drawing by Leonardo da Vinci of Vitruvian Man.
The drawing, which is in pen and ink on paper, depicts a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square.
The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man.
It is kept in the Gabinetto dei disegni e stampe of the Gallerie del' Academia in Venice, Italy, under reference 228.
Like most works on paper, it is displayed to the public only occasionally, so it isn't part of the normal exhibition of the museum.
The drawing is based on the correlations of ideal human proportians with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Arcitectura.
Vitruvius described the human figure as being the principal source of proportion among the classical orders of Architecture.
Vitruvius determined that the ideal body should be eight heads high. Leonardo's drawing is traditionally named in honor of the architect.
Height: 280mm
Width: 220mm
Depth: 15mm
The Magna Carta Seal
In 2015 we celebrated the 800th anniversary of the signing of the Magna Carta.
In 2015 we celebrated the 800th anniversary of the signing of the Magna Carta.
More Info
Exhibitions took place across the UK to commemorate the event which established the fundamental principal of law and liberty within our social history.
Working with Salisbury Cathedral, one of the key institutions involved in the Magna Carta 800 celebrations, Modern Souvenir Company created a plaster reproduction of the seal which bound together the 1215 Magna Carta.
Each Magna Carta seal is hand made in British gypsum plaster by our team of craftsmen in the Bath workshop.
Height: 90mm
Width: 95mm
Depth: 15mm
Working with Salisbury Cathedral, one of the key institutions involved in the Magna Carta 800 celebrations, Modern Souvenir Company created a plaster reproduction of the seal which bound together the 1215 Magna Carta.
Each Magna Carta seal is hand made in British gypsum plaster by our team of craftsmen in the Bath workshop.
Height: 90mm
Width: 95mm
Depth: 15mm
Green Man Plaque (Large)
'From the naves and pillars of English Country Churches to the Jain temples of Rajastan.
'From the naves and pillars of English Country Churches to the Jain temples of Rajastan.
More Info
The Green Man symbolises life and renaissance.'
Height: 190mm
Width:145mm
Depth: 35mm
Height: 190mm
Width:145mm
Depth: 35mm
Ladder of Angels
Bath Abbey
The first sight most visitors have of Bath Abbey,
Bath Abbey
The first sight most visitors have of Bath Abbey,
More Info
is the West front, with its unique ladders of Angels. The story behind this is that Bishop Oliver King is said to have had a dream of ascending and descending angels which inspired the design of the facade.
Height: 2800mm
Width: 72mm
Depth: 25mm
Height: 2800mm
Width: 72mm
Depth: 25mm
Click on the image to enlarge.
Jane Austen Commemorative Decoration
More Info
Etched Copper base with resin portrait to commemorate the 200th anniversary of Jane Austen's death in
Height: 85mm
Width: 65mm
Depth: 10mm
Height: 85mm
Width: 65mm
Depth: 10mm
