1979.63: Study for a Frieze with Siren and Acanthus

Identification and Creation

Object Number

1979.63

People

? Tullio Lombardo, Italian (c. 1455 - 1532 Venice, Italy)

Title

Study for a Frieze with Siren and Acanthus

Classification

Drawings

Work Type

drawing

Date

c. 1481-1489

Places

Creation Place: Europe, Italy, Veneto, Venice

Culture

Italian

Persistent Link

https://hvrd.art/o/295503

Physical Descriptions

Medium

Brown ink on off-white antique laid paper, scored for transfer

Dimensions

19.5 x 28.2 cm (7 11/16 x 11 1/8 in.)

Inscriptions and Marks

• inscription: l.l. corner, Reddish brown ink: Giovanni d'Udine
• collector's mark: Just above center of bottom edge: [Unidentifiable]
• inscription: Verso, bottom edge, Brown ink: Zuanne [?] d'Udine [?]
• inscription: Verso, top left corner, Graphite: 500f
• inscription: Verso, below center, Brown ink: Jma

Provenance

Recorded Ownership History

Unidentified Collector. Collector's mark. Bernard D'Hendecourt, London, England, sold [through Sotheby's, London, May 8-10, 1929]; to [Thomas Agnew & Sons, Ltd., London]. Philip and Frances L. Hofer, Cambridge, Massachusetts; bequest of Frances L. Hofer, 1979.63.

Acquisition and Rights

Credit Line

Harvard Art Museums/Fogg Museum, Bequest of Frances L. Hofer

Accession Year

1979

Object Number

1979.63

Division

European and American Art

Contact

am_europeanamerican@harvard.edu

Permissions

The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request.

Publication History

• Art in New England, exh. cat., Museum of Fine Arts, Boston (Boston, MA, 1939), cat. no. 186, p. 107; repr. no. 186, pl. LXXXII
• P. Rotondi, Il Palazzo Ducale di Urbino, 2 vols. (Urbino, 1950), vol. I, pp. 240-242, 260-262 and 280-285, repr. in vol. II
• Wendy Stedman Sheard, "The Tomb of Andrea Vendramin in Venice by Tullio Lombardo" (Thesis, Yale University, 1971), Unpublished, pp. 414, 418-421 and passim
• Wendy Stedman Sheard, Antiquity in the Renaissance, exh. cat., Smith College Museum of Art (Northampton, MA, 1978), cat. no. 118, repr.
• Debra Pincus, "Tullio Lombardo as Restorer of Antiquities: An Aspect of Fifteenth Century Venetian Antiquarianism", Arte veneta: rivista di storia dell'arte (1979), vol. XXXIII, pp. 29-42
• Beverly Louise Brown, Prints and Drawings of the Quattrocento, exh. cat., Fogg Art Museum (Cambridge, MA, 1981), p. 15; cat. no. 15, p. 19, as Lombardo (?)
• Eunice Williams, Master Drawings and Watercolors: The Hofer Collection, exh. cat., ed. Konrad Oberhuber and William W. Robinson, Harvard University Art Museums (Cambridge, 1984), cat. no. 1, pp. 15-16, repr. pl. 1, p. 75
• Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), text and repr., cat. no. 251, p. 217
• Agnes Mongan, Konrad Oberhuber, and Jonathan Bober, The Famous Italian Drawings at the Fogg Art Museum in Cambridge, Silvana Editoriale (Milan, Italy, 1988), cat. no. 9, n.p., and pp. 22 and 24; repr. color
• Edward Saywell, Behind the Line: The Materials and Techniques of Old Master Drawings, Harvard University Art Museums Bulletin, Harvard University Art Museums (Cambridge, 1998), vol. 6, no. 2, p. 13; repr. fig. 12, p. 15; checklist no. 16, p. 27
• Everett Fahy, Dipinti, disegni, miniature, stampe, Alberto Bruschi (Florence, Italy, 2000), cat. no. 572, p. 57; repr. no. 572, p. 307; under no. 36, p. 351; repr. . . .
• James Cuno, ed., Harvard University Art Museums Annual Report, 1998-99, Harvard University Art Museums (Cambridge, 2000), repr. p. 38
• Stephan Wolohojian, Sacred and Profane Visions from Renaissance Venice, brochure, Harvard University Art Museums (Cambridge, MA, 2001), cat. no. 17 as (?)
• Matteo Ceriana, Il Camerino di alabastro: Antonio Lombardo e la scultura all'antica, exh. cat., Silvana Editoriale (Cinisello Balsamo, Milan, 2004), cat. no. 49, pp. 218-19, repr. as Antonio or Tullio Lombardo (?), and pp. 26....
• Lorenzo G. Buonanno, The Performance of Sculpture in Renaissance Venice (2022), pp. 221-22; repr. as fig. 4.17, 4.18 (detail) on p. 223

Exhibition History

• Art in New England: Paintings, Drawings, Prints from Private Collections in New England, Museum of Fine Arts, Boston, Boston, 06/09/1939 - 09/10/1939
• Antiquity in the Renaissance, Smith College Museum of Art, Northampton, 04/06/1978 - 06/06/1978
• Prints and Drawings of the Quattrocento, Fogg Art Museum, Cambridge, 07/03/1981 - 08/31/1981
• Master Drawings and Watercolors: The Hofer Collection, Tampa Museum of Art, Tampa, 04/15/1984 - 07/07/1984; Harvard University Art Museums, Fogg Art Museum, Cambridge, 10/05/1984 - 11/29/1984
• Behind the Line: The Materials and Techniques of Old Master Drawings, Harvard University Art Museums, Cambridge, 10/03/1998 - 12/30/1998
• Sacred and Profane Visions from Renaissance Venice, Harvard University Art Museums, Cambridge, 02/17/2001 - 07/23/2001
• Il Camerino di alabastro: Antonio Lombardo e la scultura all'antica, Castello Estense, Ferrara, 03/14/2004 - 07/04/2004
• 32Q: 2540 Renaissance, Harvard Art Museums, Cambridge, 04/20/2017 - 08/31/2017

Subjects and Contexts

• Collection Highlights
• Google Art Project

Verification Level