Engraving
Height: Height: 83 millimetres
Width: Width: 49 millimetres
Inscription content: Signed on plate with a monogram "MAF" at lower right]]>
https://www.britishmuseum.org/collection/object/P_H-1-123
acquired 1837]]>
Delaborde 1888 / Marc-Antoine Raimondi: Etude Historique et Critique suivie d'un catalogue raisonné des oeuvres du maitre (128.72)]]>
Etching and engraving
Height: Height: 64 millimetres
Width: Width: 38 millimetres
Inscription content: Collector's initials 'JB' in pen and ink on verso (Lugt 1419)]]>
https://www.britishmuseum.org/collection/object/P_H-1-125
Bequeathed by: Clayton Mordaunt Cracherode (with Philipe's oval blindstamp with the initials CMC)
Previous owner/ex-collection: John Barnard (L.1420)
acquisitioned 1799]]>
Bartsch / Le Peintre graveur (XIV.142.170)
Delaborde 1888 / Marc-Antoine Raimondi: Etude Historique et Critique suivie d'un catalogue raisonné des oeuvres du maitre (128.72)]]>
"This small, half-length statuette depicts the early Christian saint Agatha gazing heavenward with her hands bound behind her back. According to legend, the Sicilian virgin-martyr died in the third century after a prolonged period of torture at the hand of the Roman prefect Quintianus. Among other ordeals, Agatha’s breasts were cut off with pincers; these body parts became the principal iconographic attribute of the saint in early modern representations (see, for example, Sebastiano del Piombo’s painting of 1520 in the Uffizi).
There are no other known casts of this model, which has not been discussed since 1910, when Wilhelm von Bode published it as “Italian, XVII century” in his catalogue of J. P. Morgan’s collection. The saint was indirectly cast in a high-copper alloy and shows traces of a previous black lacquer. Both breasts seem to have been prostheses, cast separately and soldered into place; only the right one remains.[1] This gruesome detail reflects the morbid seventeenth-century interest in the lives and deaths of early Christian martyrs. More specifically, the half-length composition, naturalistic details, and upturned eyes of our statuette align with contemporary paintings of female saints that were especially popular in Naples and produced by artists like Andrea Vaccaro.[2]
The bronze, which features a delicate floral patterning on Agatha’s dress, likely served a private, devotional purpose. A small hole at the back of the head suggests a missing halo. The probable date and place—Naples during the first half of the seicento—allows one to speculate that the bronze is linked to the renovation of the Palazzo di Sant’Agata by the powerful cardinal Cesare Firrao, who commissioned sculptors Bernardino Landini and Giulio Mencaglia to execute a series of statues for the facade (1637–44). Their figure of Magnanimity bears a resemblance to our bronze in its elegant elongated neck and elaboration of the coiffure.[3]
-JF"]]>
https://www.metmuseum.org/art/collection/search/197071
The Friedsam Collection, Bequest of Michael Friedsam, 1931
Charles Mannheim ; J. Pierpont Morgan ; Michael Friedsam (until 1931; bequeathed to MMA)]]>
1. See R. Stone/TR, April 27, 2011. The right breast is a similar alloy with the same pattern of impurities as the rest of the statuette, but with the addition of lead, which has resulted in its slightly lighter color.
2. See, for example, the painting of Saint Agatha attributed to Vaccaro in the Museo Civico Gaetano Filangieri (Palazzo Como di Napoli).
3. For Cardinal Firrao, his palazzo, and his chapel in the church of San Paolo Maggiore, which features a marble statue of the Madonna by Mencaglia, see Iorio 2012, pp. 320, 328, and throughout]]>
Sculpture-Bronze
Bronze, traces of black lacquer patina]]>
color lithograph
Sant'Agata. Vergine e martire. On verso, prayer in Italian.
1 print : lithograph, printed in colours ; image 11 x 9.4 cm]]>
]]>
https://wellcomecollection.org/works/h73q7j7w]]>
Dimensions
19.2 x 14 cm (7 9/16 x 5 1/2 in.)]]>
https://harvardartmuseums.org/collections/object/297272?position=2
[Steinmeyer] sold; to Paul J. Sachs, Cambridge, MA (by 1927), gift; to Fogg Art Museum, 1959]]>
Agnes Mongan and Paul J. Sachs, Drawings in the Fogg Museum of Art, Harvard University Press (Cambridge, 1940), no. 397, fig. 205
Allene Talmey, "The Fogg Art Museum at Harvard", Vogue, Conde Nast (New York, July 15, 1947), 15 July, pp. 44-49, 78-80, repr. p. 44
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), no. 260, p. 223, repr.
Penley Knipe, "Grounds on Paper: An Examination of Eight Early Drawings" (thesis (certificate in conservation), Straus Center for Conservation and Technical Studies, 1998), Unpublished, pp. 1-22 passim]]>
After Parmigianino, Italian (Parma, Italy 1503 - 1540 Casalmaggiore, Italy)]]>
https://hvrd.art/o/279188
Francis Calley Gray, bequest to nephew, 1856.
William Gray, gift to Harvard University, 1857.]]>
https://hvrd.art/o/252385
Philip Hofer, Cambridge, gift; to Fogg Art Museum, 1929]]>
German]]>
Rosenwald Collection
(William Schab, New York); purchased by Lessing J. Rosenwald [1891-1979], 1940; gift to NGA, 1943.]]>
Lehrs, Max. Geschichte und kritischer Katalog des deutschen, niederlandischen und franzosischen Kupferstichs im XV. Jahrhundert. 9 vols. and 1 plate vol. Vienna: Gesellschaft fur vervielfaltigende Kunst, 1908-1934.
1949
Hollstein, F.W.H. et al. German engravings, etchings and woodcuts ca. 1400-1700. 8 vols. Amsterdam: Menno Hertzberger, 1954-1868. Dutch and Flemish etchings, engravings and woodcuts, ca. 1450-1700. Vols. I-XV, XVIII, XIX. Amsterdam: Menno Hertzberge
1967
Shestack, Alan. Fifteenth Century Engravings of Northern Europe from the National Gallery of Art, Washington, D.C.. Exh. cat. Washington: National Gallery of Art, 1967: no. 156.]]>
SPECULUM PUDICITAE]]>
lower margin: Tormentis AGATHA .../ ... Relligione nequit.
After a lost drawing by Maarten de Vos.
plate mark: 174 x 128 mm]]>
Maarten de Vos]]>
Amsterdam
Antwerp SB
Berlin
Caen
Copenhagen
Dessau
Melbourne BL
Milan
Munich
New York MMA
Paris BN
Parma
Rotterdam
Turin BN
Uppsala
Vienna H
Vienna ST
Wolfegg]]>
Retrospective conversion of The Illustrated Bartsch (Abaris Books) by ARTstor Inc. and authorized contractors]]>
Spiegel van eerbaarheid (series title)]]>
Materialpaper
Techniqueengraving
Measurementsheight 176 mm × width 130 mm
the virgin martyr Agatha of Catania; possible attributes: breasts on dish, burning house, loaf, taper or candle, tongs]]>
after design by: Maerten de Vos (mentioned on object)
publisher: Johann Sadeler (I) (mentioned on object)]]>
http://hdl.handle.net/10934/RM0001.COLLECT.168517
Purchased with the support of the F.G. Waller-Fonds]]>
Maarten de Vos : plates, part II, p. 63 (afb.), cat.nr. 947
Aegidius Sadeler to Raphael Sadeler II : text, p. 141, cat.nr. 342]]>