Skip to Content

Said to have been found 1877-1878 in Naples;[1] Alessandro Castellani [1823-1883], Rome; (his estate sale, at his palace by H. Hoffmann and Charles Mannheim, Rome, 17 March - 10 April 1884, 12th day [29 March 1884], no. 540); Corvisieri; (Ciampolini, Florence); sold by 1902 to (Stefano Bardini [1836-1922], Florence); sold 1909 to (Jacques Seligmann, Paris);[2] sold October 1909 to Thomas Fortune Ryan [1851-1928], New York;[3] his estate; (his estate sale, American Art Association-Anderson Galleries, New York, 23-25 November 1933, no. 416); (Duveen Brothers, Inc., London, New York, and Paris); purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[4] gift 1937 to NGA.

Exhibition History
Fiftieth Anniversary Exhibition, The Metropolitan Museum of Art, New York, 1920, unnumbered catalogue.
Italian Renaissance Exhibition, The Metropolitan Museum of Art, New York, 1923, no. 56.
Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, 44-45, color repro.
Bode, Wilhelm von. "Desiderio da Settignano und Francesco Laurana: Zwei Italienischen Frauenbüsten des Quattrocento im Berliner Museum." Jahrbuch der Königlich Preussischen Kunstsammlungen 9 (1888): 216, 222.
"Duveen Enhances Laurana Bust by Cleaning." The Art News (December 9, 1933): 123, repro.
Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 27.
Wittkower, Rudolf. "Sculpture in the Mellon Collection." Apollo 26, n. 152 (August 1937): 79, 81, fig. 6.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: A-8, .
Book of Illustrations. National Gallery of Art, Washington, 1942: 253, repro. 230.
Valentiner, Wilhelm R. "Laurana's Portrait Busts of Women." Art Quarterly 4 (1942): fig. 10.
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. 75-77, as Ippolita Maria Sforza, Duchess of Aragon.
Petrovitch, Rastko. "Questi Schiavoni (II), Luciano and Francesco Laurana." Gazette des Beaux-Arts 31 (March-April 1947): fig. 10.
Comstock, Helen. "Quattrocento Portrait Sculpture in the National Gallery, Washington." The Connoisseur 122, no. 309 (September 1948): 48, repro.
Kurz, Otto. Fakes: A Handbook for Collectors and Students. London, 1948: 136.
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 153, repro.
Seymour, Charles. Masterpieces of Sculpture from the National Gallery of Art. Washington and New York, 1949: 176-177, note 24, repro. 87, 89, 90.
Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 79.
Pope-Hennessy, John. Italian Renaissance Sculpture. London, 1958: 330, pl. 105.
Kennedy, Ruth Wedgwood, and Clarence Kennedy. Four Portrait Busts by Franceso Laurana. Northampton, MA, 1962: not paginated, repro. as Ippolita Maria Sforza d'Aragona, Duchess of Calabria.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 159.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 141, repro.
Hersey, George L. Alfonso II and the Artistic Renewal of Naples. New Haven and London, 1969: n. 23, n. 25, 37-38, fig. 54.
Kraft, Hanno-Walter. "Rezensionen: George L. Hersey. Alfonso II and the artistic renewal of Naples 1485-1495." Kunstchronik 23 (1970): 151-166.
Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 42, 62
Norton, Thomas E. 100 Years of Collecting in America: The Story of Sotheby Parke-Bernet. New York, 1984: 188, 229.
Scalia, Fiorenza, and Cristina de Benedictis. Il Museo Bardini: A Firenze. Milan, 1984: 59-89.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 632, no. 987, repro.
Domonkos, L.S. "The Portrait Bust of a Hungarian Queen in the Art Collection of an American University." Acta Historiae Artium Academiae Scientarium Hungaricae 32 (1986): 60, n. 17.
Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1994: 130, repro.
Martinez, Benjamin and Jacqueline Block. Visual Forces: An Introduction to Design. 2nd edition, Englewood Cliffs, NJ, 1995: 176, fig. B.
Fusco, Peter. "An Image of Saint Cyricus by Franceso Laurana." In Antologia di belle arti. La Scultura II. Italy, 1996: 8-16.
Damianaki, Chrysa. The female portrait busts of Francesco Laurana. Rome, 2000: 96-101, 106-111, 171-176 nn. 1-50, 182-186 nn. 107-150, pls. 181, 183-190.
Fogelman, Peggy, and Peter Fusco, with Marietta Cambareri. Italian and Spanish Sculpture. Catalogue of the J. Paul Getty Museum Collection. Los Angeles, 2003: 4, 6, fig. IA, 10 notes 3-4.
Pavicic, Ivana Prijatelj. "Franceso Laurana i razvoj jedne renesansne sheme portreta Laure de Noves." Rad. Inst. povij. umjet. 27 (2003): 73-80.
Damianaki, Chrysa. I busti femminili di Francesco Laurana tra realtà e finzione. Verona, 2008: 241-254, figs. 197-210.
Riesenberger, Nicole. King of the Renaissance: Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494. Ph.D diss. University of Maryland, 2016: 142-143, n. 330, as not Laurana.
Catterson, Lynn. "Stefano Bardini and the Taxonomic Branding of Marketplace Style: From the Gallery of a Dealer to the Institutional Canon." In Eva-Maria Troelenberg and Melania Savino, eds. Images of the Art Museum. Connecting Gaze and Discourse in the History of Museology. Berlin and Boston, 2017: 48, 49 fig. 3.
Related Content
Show  results per page