LOT DETAILS
Materials:
stone
Size Notes:
the figure
Description:
SIGN UP or
LOG IN
Markings:
her right foot on a stack of three further books signed 'HYER./ CAMP./ AGNA.' and with a fourth book by her right foot inscribed 'FECIT.'
Condition:
some weathering, minor chips and losses
Literature:
COMPARATIVE LITERATURE:. F. Sansovino and G. Stringa, Venetia città nobilissima, et singolare [..], Venice, 1604, pp. 186r, 427v. W. Timofiewitsch, Girolamo Campagna: Studien zur venezianischen Plastik um das Jahr 1600, Munich, 1972. J. Simane, Grabmonumente der Dogen. Venezianische Sepulkralplastik im Cinquecento, Sigmaringen, 1993, pp. 82-95. Trent, Castello del Buonconsiglio, 25 June - 26 September 1999, 'La bellissima maniera': Alessandro Vittoria e la scultura veneta del Cinquecento, A. Bacchi, L. Camerlengo, M. Leithe-Jasper, eds., no. 57, pp. 296-7. Vicenza, Museo Palladio, Palazzo Barbaran da Porto, Vincenzo Scamozzi, 1548-1616, 7 Sep. 2003 - 11 Jan. 2004, F. Barbieri and G. Beltramini, eds., nos. 17, 17a-c, pp. 242-245 (entries by C. Davis). C. Davis, 'Vincenzo Scamozzi progettista di monumenti commemorativi?', in Vicenza 2003 (above), pp. 88-109. P. Modesti, Il convento della Carità e Andrea Palladio, Sommacampagna, 2005, pp. 80-81. D. Howard, Venice Disputed: Marc'Antonio Barbaro and Venetian Architecture, New Haven and London, 2011, pp. 122-131.
Provenance:
Almost certainly from the monument to Doge Nicolò Da Ponte (1491-1585), Church of Santa Maria della Carità, Venice, until circa 1807. Possibly brought to Belgium by Marquis Pietro Massoni who married Maria-Luisa Errera (b. circa 1898). Marquis Jean-Louis Massoni (1953-2011), Brussels.