Marks and Labels
Reverse formerly bore previous inventory number 347 in yellow paint (Ricci 1931); pigment removed during 1982 cleaning, but chemical imprint of numerals still visible.
Provenance
Gustave Dreyfus [1837-1914], Paris; his estate; purchased 1930 by (Duveen Brothers, Inc., London and New York); purchased 1945 by the Samuel H. Kress Foundation, New York; gift 1957 to NGA.
Exhibition History
- 2018
- Sharing Images: Renaissance Prints into Maiolica and Bronze, National Gallery of Art, Washington, 2018
Bibliography
- 1886
- Molinier, Émile. Les Bronzes de la Renaissance. Les Plaquettes; Catalogue Raisonné. 2 vols. Paris, 1886: 1:94-95, no. 139, as by Giovanni delle Corniole.
- 1908
- Migeon, Gaston. "La collection de M. Gustave Dreyfus, V: Les plaquettes." Les Arts 80 (August 1908): pl. 17, fig. 7, as by Giovanni delle Corniole.
- 1931
- Ricci, Seymour de. The Gustave Dreyfus Collection. Reliefs and Plaquettes. Oxford, 1931: 239, no. 347, pl. 100, as by “Master IO.F.F.”
- 1951
- Renaissance Bronzes: Statuettes, Reliefs and Plaquettes, Medals and Coins from the Kress Collection. Introduction by Perry B. Cott. National Gallery of Art, Washington, 1951: 154, as by “Master IO.F.F.”
- 1965
- Pope-Hennessy, John W. Renaissance Bronzes from the Samuel H. Kress Collection: Reliefs, Plaquettes, Statuettes, Utensils and Mortars. London, 1965: 34, no. 102, fig. 133, as by Master IO.F.F.
- 1983
- Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 97, no. 20, repro., as by Master IO.F.F.
- 1989
- Fulton, Christopher B. "The Master IO.F.F. and the Function of Plaquettes." Studies in the History of Art 22 (1989): 146, 159 note 10, fig. 5, as by Master IO.F.F.
- 1992
- Waldman, Louis. "A Livian Plaquette by Master IO.F.F." The Medal 21 (Autumn 1992): 17–19, fig. 4, as Death of Marcus Curtius, by “Master IO.F.F.”
- 2012
- Wood, Christopher B. “La Bocca della verità.” In Albrecht Altdorfer: Kunst als zweite Nature, ed. Christoph Wagner and Oliver Jehle. Regensburg, 2012: 59, color fig. 46.
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