Filippo Maria Visconti

part before 1878, part 1930

Anonymous Artist

Sculptor

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Artwork overview

  • Medium

    marble

  • Credit Line

    Samuel H. Kress Collection

  • Dimensions

    overall: 48.7 x 35.8 cm (19 3/16 x 14 1/8 in.)

  • Accession

    1943.4.77

Artwork history & notes

Provenance

Charles Armand Signol [d. 1875], Paris; (his estate sale, Hôtel Drouot, Paris, 1-3 April 1878, no. 68); Chatel.[1] Gustave Dreyfus [1837-1914], Paris; his estate; purchased 1930 with the entire Dreyfus collection by (Duveen Brothers, Inc., London, New York, and Paris); sold 1941 to the Samuel H. Kress Foundation, New York; gift 1943 to NGA.
[1] Victor Champier, L'Année Artistique: Année 1878, Paris, 1879: 314.

Associated Names

Exhibition History

1874

  • Quatrième Exposition, Union Centrale des Beaux-Arts Appliqués à l'Industrie, Musée Historique du Costume, Paris, 1874, unnumbered catalogue.

1938

  • Eighteenth Loan Exhibition of Old Masters: Italian Gothic and Early Renaissance Sculptures [cover title: Italian Sculpture 1250-1500], Detroit Institute of Arts, 1938, no. 86, repro.

Bibliography

1875

  • Raymond, Jules. "M. Charles-Armand Signol." L'Art 1:1 (1875): 163-164, repro.

1883

  • Perkins, Charles. Historical Handbook of Italian Sculpture. London, 1883: 402.

1907

  • Vitry, Paul. "La collection de M. Gustave Dreyfus: I. - La Sculpture." Les Arts 72 (December 1907): repro. 24, 29, 32.

1913

  • Malaguzzi Valeri, Francesco. La Corte di Ludovico il Moro. 4 vols. Milan, 1913-1923: 3(1917),Gli Artisti Lombardi:32, 37, fig. 18.

1938

  • Middeldorf, Ulrich. "Die Ausstellung italienischer Renaissanceskulptur in Detroit." Pantheon 22 (October 1938): 315-318, esp. 318, repro.

1943

  • Swarzenski, Georg. "Some Aspects of Italian Quattrocento Sculpture in the National Gallery." Gazette des Beaux-Arts 6th series, 24 (November 1943): 298 fig. 13, 300-301.

1944

  • Duveen Brothers, Inc. Duveen Sculpture in Public Collections of America: A Catalog Raisonné with illustrations of Italian Renaissance Sculptures by the Great Masters which have passed through the House of Duveen. New York, 1944: fig. 168, as by Giovanni Antonio Amadeo.

1945

  • Shapley, Fern Rusk. "A Portrait of Francesco Sforza." The Art Quarterly 9 (Winter 1945): 25-39, esp. 37.

1948

  • Comstock, Helen. "Quattrocento Portrait Sculpture in the National Gallery, Washington." The Connoisseur 122, no. 309 (September 1948): 49.

1959

  • Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 418, repro., as by Giovanni Antonio Amadeo.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 145, as by Giovanni Antonio Amadeo.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 129, repro., as Giovanni Antonio Amadeo.

1974

  • Encyclopaedia Britannica. 30 vols. 15th ed. Chicago, 1974: 10:458, repro.

1976

  • Middeldorf, Ulrich. Sculptures from the Samuel H. Kress Collection: European Schools XIV-XIX Century. London, 1976: 50.

1990

  • Luchs, Alison. "Duveen, the Dreyfus Collection, and the Treatment of Italian Renaissance Sculpture: Examples from the National Gallery of Art." Studies in the History of Art 24 (1990): 33-34, repro.

1994

  • Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1994: 35, repro.

1999

  • Norman Herz, Katherine A. Holbrow and Shelley G. Sturman. "Marble Sculture in the National Gallery of Art: a Provenance Study." In Max Schvoerer, ed. Archéomatériaux: marbres et autres roches: ASMOSIA IV, Bordeaux, France 9-13 october 1995: actes de la IVème Conférence international de l’Association pour l’étude des marbres et autres roches utilizes dans le passé. Talence, 1999: 101-110.

Wikidata ID

Q63809598

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