Lodovico Sforza, Duke of Bari
early 1490s
Sculptor, Lombard, active 1477 - after 1514
West Building Ground Floor, Gallery G15
Artwork overview
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Medium
marble
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Credit Line
-
Dimensions
diameter: 60.96 cm (24 in.)
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Accession
1937.1.120
Artwork history & notes
Provenance
Sir John Charles Robinson [1824-1913], London; purchased 1862 by Louis-Charles Timbal [1821-1880], Paris; sold 1872 with Timbal's collection to Gustave Dreyfus [1837-1914], Paris;[1] his estate; purchased 1930 with the entire Dreyfus collection by (Duveen Brothers, Inc, London, New York, and Paris); purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[2] gift 1937 to NGA.
[1] Gaston Migeon, Gustave Dreyfus, Vice-Président de la Société des Amis du Louvre: Notice lue à l'Assemblé générale annuelle de la Société des Amis du Louvre, le 5 Février 1929, Paris, 1929: 5-6.
[2] The original Duveen Brothers invoice is in Gallery Archives, copy in NGA curatorial files; the sculpture is listed as by Giovanni Antonio Amadeo.
Associated Names
Exhibition History
1932
Wadsworth Atheneum, Hartford, Connecticut, 1932, Sculpture no. 9.
Sculpture and Medals of the Renaissance from the Dreyfus Collection, Fogg Art Museum, Cambridge, Massachusetts, February 1932, as by Giovanni Antonio Amadeo.
2015
Arte lombarda dai Visconti agli Sforza. Milano al centro dell'Europa, Palazzo Reale, Milan, 2015, no. 2a, repro.
Bibliography
1865
"Ludovic le More." Magasin Pittoresque 33 (1865): repro. 333 (engraving by Tamisier after drawing by Olivier Merson).
1904
Malaguzzi Valeri, Francesco. Gio. Antonio Amadeo Scultore et architetto Lombardo (1447-1522). Bergamo, 1904: 319.
1907
Vitry, Paul. "La collection de M. Gustave Dreyfus: I. - La Sculpture." Les Arts 72 (December 1907): repro. 27, 32.
1909
Clausse, Gustave. Les Sforza et les Arts en Milanais 1450-1530. Paris, 1909: 117-118, 121, repro.
1913
Malaguzzi Valeri, Francesco. La Corte di Ludovico il Moro. 4 vols. Milan, 1913-1923: 1(1913), La vita privata e l'Arte a Milano nella seconda metà del Quattrocento:52, repro.
1925
Vaudoyer, Jean-Louis. “La collection Gustave Dreyfus.” L’Amour de l’Art 6, no. 7 (1925): 245-256, esp. 254-256, repro. 252.
1929
Malaguzzi Valeri, Francesco. La Corte de Ludovico il Moro. 4 vols. Milan, 1929 [Reprint Nendeln Liechtenstein, 1970]: I: La Vita privata e l'Arte a Milano nella seconda metà del Quattrocento: 46, repro.
1932
Rowlandson, Benjamin, Jr. "The Dreyfus Collection. A Review of the Exhibition." Bulletin of the Fogg Art Museum 1 (March 1932): 54-56.
1937
Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 27.
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 218, no. A-9, as Lodovico Sforza, called Il Moro by Giovanni Antonio Amadeo (or Omodeo).
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 253, repro. 223, as Lodovico Sforza, called Il Moro by Giovanni Antonio Amadeo (or Omodeo).
1943
Swarzenski, Georg. "Some Aspects of Italian Quattrocento Sculpture in the National Gallery." Gazette des Beaux-Arts 6th series, 24 (November 1943): 283-304, esp. 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: figs. 171-172, as by Giovanni Antonio Amadeo.
1948
Comstock, Helen. "Quattrocento Portrait Sculpture in the National Gallery, Washington." The Connoisseur 122, no. 309 (September 1948): 45-49, repro.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 160, repro., as Lodovico Sforza, called Il Moro by Giocanni Antonio Amadeo.
Seymour, Charles. Masterpieces of Sculpture from the National Gallery of Art. Washington and New York, 1949: 179-180, note 37, repro. 120, as Lodovico Sforza, called Il Moro by Giovanni Antonio Amadeo.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 145, as Ludovico Sforza, Called Il Moro by Giovanni Antonio Amadeo.
1966
Seymour, Charles. Sculpture in Italy, 1400 to 1500. Harmondsworth, 1966: 194-195, 248 n. 11, repro. 135A.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 129, repro., as Ludovico Sforza, Called Il Moro by Giovanni Antonio Amadeo.
1978
Dell'Acqua, Gian Alberto. "Gli Sforza e le arti." In Lopez, Guido, et al, eds. Gli Sforza a Milano. Milan, 1978: 105-181, esp. 131, repro.
1980
Caroselli, Susan. "The Casa Marliani and Palace Building in Late Quattrocento Lombardy." Ph.D. dissertation, The Johns Hopkins University, Baltimore, 1980: 120-121, 226 n. 316.
Roth, Anthony. "The Lombard sculptor Benedetto Briosco: works of the 1490s." The Burlington Magazine 122 (January 1980): 7-22.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 632, no. 988, repro., as Lodovico Sforza, Called Il Moro by Giovanni Antonio Amadeo.
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): 31-33, repro.
1992
Röll, Johannes. "Benedetto Briosco." In Allgemeines Künstler-Lexikon: die bildenden Künstler aller Zeiten und Völker. Edited by Günther Meissner. 87+ vols. Munich and Leipzig, 1992+: 14(1996):254.
1994
Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1994: 34, repro.
Vigano, Antonio. "Il periodo Milanese di Benedetto Briosco e i suoi rapporti con i cognati Francesco e Tommaso Cazzaniga: nuove acquisizioni documentarie." Arte Lombarda 108/109 (1994): 145-146, 160 n. 56, repro.
2006
Bresc-Bautier, Geneviève, ed. Les sculptures européenes du musée du Louvre. Paris, 2006: 241, 243.
Inscriptions
around top circumference: .LVDOVICVS. .M. SF.DVX.BARI.
Wikidata ID
Q63809307