The sculpture depicts a bust of a young woman with a neutral expression and partially closed eyes. The woman's hair is styled back behind her head, with a few small curls around her ears. She has a straight nose, faint eyebrows, and thin lips which are slightly turned up at the edges. She wears a simple short-sleeved garment with a wide neckline above a triangular panel. The base of the sculpture is carved with small scenes of people on horseback and cherubic figures. The sculpture is made of a smooth white material with some areas of yellowish discoloration.
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The sculpture depicts a bust of a young woman with a neutral expression and partially closed eyes. The woman's hair is styled back behind her head, with a few small curls around her ears. She has a straight nose, faint eyebrows, and thin lips which are slightly turned up at the edges. She wears a simple short-sleeved garment with a wide neckline above a triangular panel. The base of the sculpture is carved with small scenes of people on horseback and cherubic figures. The sculpture is made of a smooth white material with some areas of yellowish discoloration.

National Gallery of Art · Sculpture

A Young Noblewoman

Style of Francesco Laurana

Date
c. 1475 or later
Medium
marble
Dimensions
overall: 44.4 x 45.2 x 22.1 cm (17 1/2 x 17 13/16 x 8 11/16 in.)
Classification
Sculpture · Bust
Accession number
1937.1.119
Credit line
Andrew W. Mellon Collection
Time span
1401 to 1500
Department
CSD

Subjects and terms

  • female
  • portrait
  • European Sculpture 1300-1800
  • Renaissance
  • Lombard-Neapolitan
  • Princess of House of Aragon
Provenance

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. [1] Wilhelm von Bode, "Desiderio da Settignano und Francesco Laurana: Zwei Italienischen Frauenbüsten des Quattrocento im Berliner Museum," _Jahrbuch der Köninglich Preussischen Kunstsammlungen_ 9 (1888): 216. [2] Information on the sculpture's early provenance, its acquisition by Corvisieri and Ciampolini (the latter a Florentine art dealer), the sale to Bardini, and Bardini's ownership, comes from Chrysa Damianaki, _The female portrait busts of Francesco Laurana_, Rome, 2000: 106-108, 182-184 nn. 113-130. She cites a 1910 court declaration by Italo Palmerini of the Ufficio per l’Esportazione degli Oggetti di Antichità e d’Arte of the Florentine Soprintendenza, elaborating on the provenance and declaring the bust a skillful fake. It is possible that "Corvisieri" is Costantino Corvisiersi (1822-1898); see https://it.wikipedia.org/wiki/Costantino_Corvisieri, accessed 27 December 2019. A Vincenzo Ciampolini is referenced in "Giurisprudenza Contemporanea: Giudicati Italiani," _Rivista Penale di Dottrina, Legislazione e Giurisprudenza_ II of 2nd serie, vol. 22, fasc. 4 (26 October 1885): 318 n. 1-2, and may be the same dealer discussed by Damianaki. [3] The invoice for the NGA bust and its companion bust of a man, dated 4 October 1909, is in the Jacques Seligmann & Co. records, 1904-1978, Archives of American Art, Smithsonian Institution, Washington (available on-line: https://www.aaa.si.edu/collections/jacques-seligmann--co-records-9936): Series 2.1, Collectors, Box 203, Folder 1: Ryan, Thomas F., 1909-1926, undated; copy in NGA curatorial files. [4] The original Duveen Brothers invoice is in Gallery Archives, copy in NGA curatorial files.

NGA object ID 126. Collection metadata is reproduced under CC0. This work is included because its NGA published-image record is marked open access; visitors should recheck the source record before substantial reuse.