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Probably Italian or French, after Nicolas de Douai and Jacques de Nivelles, based on a design by Jacques d'Anchin

Saint Agnes, 1272/1298; cast c. 1897/1908

Not on View

Medium

gilded copper

Dimensions

overall: 22.1 x 6.9 x 6 cm (8 11/16 x 2 11/16 x 2 3/8 in.)

Credit Line

Widener Collection

Accession Number

1942.9.283

Artists / Makers

Italian 19th Century (artist)

French 19th Century (artist)

Italian 20th Century (artist)

French 20th Century (artist)

Nicolas de Douai (artist after) Flemish, active 1272/1298

Jacques de Nivelles (artist after) Flemish, active 1272/1298

Jacques d'Anchin (artist after) Flemish, active 1272/1298

Image Use

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Provenance

(Bourgeois Frères, Cologne), before 1922;[1] purchased 1922 by Joseph Widener, Elkins Park, Pennsylvania, as French, c. 1290; inheritance from the Estate of Peter A. B. Widener by gift through power of appointment of Joseph E. Widener, after purchase by funds of the Estate, 1942.

[1] The name "Bourgeois" appears on a Widener file card in NGA curatorial files as the dealer from whom the Saint Agnes was purchased in 1922 (with reference to a letter from Wilhelm R. Valentiner, 2 May 1922, which has not been located). An early photograph of the Saint Agnes in NGA files is stamped "Bourgeois & Co., Cöln a. Rh.". The collection of a pair of Bourgeois brothers, dealers in Cologne, was sold in 1904 after both had died (Stephan in 1899, Gaspard in 1904). See Catalogue des objets d'art et de haute curiosité, composant la collection Bourgeois frères, et dont la vente aura lieu à Cologne...du...19 au...27 octobre 1904, J. M. Heberle, Cologne; the objects catalogued do not include the Saint Agnes. Perhaps a relative later sold the sculpture to Widener.

Associated Names

Bourgeois Frères
Widener, Joseph E.

Exhibition History

1937: Master Bronzes Selected from Museums and Collections in America, The Buffalo Fine Arts Academy, Albright Art Gallery, 1937, no. 114, repro., as French (Tournai), c. 1290.

Technical Summary

The bronze is in generally good condition except for wear to the gilding and some cracks in the figure's back, apparently casting flaws. A metal strip about 1 cm wide, pierced by two holes, is soldered across the open bottom, apparently as a means for attaching the sculpture to a base.

X-ray fluorescence analysis indicated that the alloy consists of unusually pure copper with a very small amount of tin, probably less than 5 percent.[1] Traces of silver (possibly in the gilding) and iron but no lead or zinc were detected. The presence of mercury indicates that the object is fire gilded.

[1] Barbara Miller, conservation scientist, report in conversation 31 August 1983.

Bibliography

1935: Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 31.

1937: Davis, Robert Tyler. "An Odyssey of Bronze Statuettes," Art News 35 (6 February 1937): 13.

1937: Master Bronzes Selected from Museums and Collections in America. Exh. cat. The Buffalo Fine Arts Academy, Albright Art Gallery, Buffalo, New York, 1937: no. 114.

1937: Washburn, Gordon B. "Master Bronzes at Buffalo," Magazine of Art 30 (February 1937): 94, repro.

1942: Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 9, as Flemish (Tournai) 13th Century.

1993: Distelberger, Rudolf, Alison Luchs, Philippe Verdier, and Timonthy H. Wilson. Western Decorative Arts, Part I: Medieval, Renaissance, and Historicizing Styles including Metalwork, Enamels, and Ceramics. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1993: 54-57, repro. 55.

1998: Avery, Charles, Marzia Ratti, and Angela Acordon, eds. Sculture: bronzetti, placchette, medaglie. Museo Civico Amedeo Lia, La Spezia. [Cinisello Balsamo], 1998: 48, 254, no. 174.