1926.33.41: Fac-simile of a Portion of an Altar-Picture Representing the Madonna Enthroned, Surrounded by Saints and Angels, by Fra Angelico, in the Florence Academy

Identification and Creation

Object Number

1926.33.41

People

Charles Herbert Moore, American (New York, NY 1840 - 1930 Harley Witney, Hampshire, England)
After Fra Angelico, Italian (nr. Vecchio, Italy c. 1400 - 1455 Rome, Italy)

Title

Fac-simile of a Portion of an Altar-Picture Representing the Madonna Enthroned, Surrounded by Saints and Angels, by Fra Angelico, in the Florence Academy

Other Titles

Former Title: St. John and St. Mark from the "Madonna Enthroned," after Fra Angelico

Classification

Drawings

Work Type

drawing

Date

1878

Culture

American

Persistent Link

https://hvrd.art/o/306281

Physical Descriptions

Medium

Watercolor, gouache, ink, gold leaf, and graphite, with incising and punchwork, on off-white wove watercolor paper

Dimensions

61.2 x 52.6 cm (24 1/8 x 20 11/16 in.)

Provenance

Recorded Ownership History

Fine Arts Department, Harvard University, Cambridge, MA; transferred to Fogg Art Museum, 1926.

Acquisition and Rights

Credit Line

Harvard Art Museums/Fogg Museum, Transfer from the Fine Arts Department, Harvard University

Accession Year

1926

Object Number

1926.33.41

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.

Descriptions

Description

The original work by Fra Angelico, called the San Marco Altarpiece, is in the Academy, Florence. It dates to 1438-1440.

Publication History

• Charles Herbert Moore, Catalogue, with Notes, of Studies and Fac-similes from Examples of the Works of Florence and Venice; and of Fac-similes and Original Works to be Used as Exercises in Drawing, Belonging to the Fine Arts Department of Harvard University, exh. cat. (Cambridge, MA, 1878), p. 7-8, cat. 1
• Royal W. Leith, Ruskin and his American Followers in Tuscany: A Historical Study, Brentham Press (St. Albans,UK, 1994), p. 4, pl. 2
• Royal W. Leith, A Quiet Devotion: The Life and Work of Henry Roderick Newman, exh. cat., Jordan-Volpe Gallery, Inc. (New York, NY, 1996), p. 22, reproduced in b/w as fig. 20
• Theodore E. Stebbins, Jr., Virginia Anderson, Melissa Renn, and Susan C. Ricci, The Last Ruskinians: Charles Eliot Norton, Charles Herbert Moore, and Their Circle, exh. cat., Harvard University Art Museums (Cambridge, MA, 2007), pp. 49, 69, 94, pl. 23
• Theodore E. Stebbins, Jr., Virginia Anderson, and Kimberly Orcutt, ed., American Paintings at Harvard, Volume Two, Paintings, Drawings, Pastels and Stained Glass by Artists Born 1826-1856, Harvard Art Museums and Yale University Press (U.S.) (Cambridge, MA and New Haven, CT, 2008), p. 250, cat. 242
• Francesca Bewer, A Laboratory for Art: Harvard's Fogg Museum and the Emergence of Conservation in America, 1900-1950, Harvard Art Museum and Yale University Press (U.S.) (Cambridge, MA, 2010), p. 30, fig. 1.2
• Melissa Renn, "Deep Seers: John Ruskin, Charles Herbert Moore and the Teaching of Art at Harvard", Persistent Ruskin: Studies in Influence, Assimilation and Effect, ed. Keith Hanley and Brian Maidment, Ashgate Publishing (Surrey, England, 2013), pp. 137-155, pp. 147-148, fig. 9.2

Exhibition History

• Studies and Fac-similes from Examples of the Works of Florence and Venice..., Harvard Art Club, Cambridge, 12/01/1878 - 12/31/1878
• The Last Ruskinians: Charles Eliot Norton, Charles Herbert Moore, and Their Circle, Harvard University Art Museums, Fogg Art Museum, Cambridge, 04/07/2007 - 07/08/2007

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