Francis Harwood, 1726/7–1783, British, active in ItalyFormerly attributed to Studio of Francis Harwood, 1726/7–1783, British, active in ItalyFormerly attributed to Francis Harwood, 1726/7–1783, British, active in Italy
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B2006.14.11
Classification:
Sculptures
Collection:
Paintings and Sculpture
Subject Terms:
African | portrait | scars | man
Currently On View:
Not on view
Exhibition History:
Figures of Empire: Slavery and Portraiture in Eighteenth-Century Atlantic Britain (Yale Center for British Art, 2014-10-02 - 2014-12-14)
Publications:
Malcolm Baker, Figured in marble : the making and viewing of eighteenth-century sculpture, London, 2000, p. 143, fig. 112, NB466 B35 2000 (YCBA)Malcolm Baker, The making of portrait busts in the mid-eighteenth century, Roubiliac, Scheemakers and Trinity College, Dublin , Burlington Magazine, vol. 137, December 1995, p. 831, N1 B87 137:3 OVERSIZE (YCBA)Jane Bassett, Looking at European sculpture : a guide to technical terms, V&A Publications, London, 1997, p. 14, NB50 B37 1997 (YCBA)David Bindman, Ape to Apollo : and the idea of race in the 18th century, , Burlington Magazine, vol 145, February 2003, pp. 103-104, Available online: JSTORDavid Bindman, Ape to Apollo : and the idea of race in the 18th century, , Burlington Magazine, vol 145, February 2003, pp. 103-104, N1 B87 145:1 OVERSIZE (YCBA)David Bindman, The Image of the Black in Western Art : From the " Age of Discovery" to the Age of Abolition, , vol. 3, part 3, Belknap Press of Harvard University Press, Cambridge, Mass., 2010, Vol. 3; pp. 40, 41, fig. 33, N8217.B535 I42 2010+ (YCBA) Citations are to Vol. 3, Part 3Christie's Sales Catalogue : Important European sculpture and works of art : 9 April 1987, , Christie's, Christie's (UK), London, 9 April 1987, p. 43, lot 83, Note vaialble at Yale See WorldCat or Scipio for possible locationsRobert Colls, This sporting life : sport and liberty in England, 1760-1960, Oxford University Press, Oxford, U.K., 2020, pp. 87-8, 380, pl. 3.2, GV706.35 .C65 2020 (LC) YCBARoberta Cremonicini, Francis Harwood, scultore inglese a firenze nel settecento , 1990/1991, pp. 39-40, Nj18 H245652 C74 OVERSIZE (YCBA)Martina Droth, Britain in the world: Highlights from the Yale Center for British Art in honor of Amy Meyers, Yale University Press, New Haven, London, p. 49, p. 51 (detail), N6761 .Y33 2019 (LC) (YCBA)Jason Edwards, From the East India Company to the West Indies and Beyond, the World of British Sculpture , Visual Culture in Britain, vol 2, July 2010, p. 157, N6761 V57 (YCBA)Figures of Empire : Slavery and Portraiture in Eighteenth-Century Atlantic Britain, , Yale Center for British Art, New Haven, 2014, pp.19, 41, V 2556 (YCBA) Also available online: chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://britishart.yale.edu/sites/default/files/inline/Figures%20of%20Empire_booklet_FINAL.pdfKen Gonzales-Day, Commentary on a Bust of a Man by the Studio of Francis Harwood, , Yale Center for British Art, Accessed on 11/24/2015, 18.56 minutes, http://interactive.britishart.yale.edu/slavery-and-portraiture/327/commentary-by-ken-gonzales-dayKen Gonzales-Day, Portraits at a Museum, An Artist's Project , Getty Research Journal, 2010, p. 213, http://www.centerforbritishart.org/slavery-and-portraiture/327/commentary-by-ken-gonzales-dayMac Griswold, I'll build a stairway to paradise : a life of Bunny Mellon, Farrar, Straus and Giroux, New York, 2022, p. 230, CT275.M469122 G75 2022Cyra Levenson, Haptic Blackness : the Double Life of an 18th-century Bust, , British Art Studies, , Autumn 2015, figs. 5, 10, 11, http://www.britishartstudies.ac.uk/issues/issue-index/issue-1/bust-of-a-manNell Painter, Commentary on a Bust of a Man by the Studio of Francis Harwood, , Yale Center for British Art, Accessed 11/24/2015, 22:38 minutes, http://interactive.britishart.yale.edu/slavery-and-portraiture/328/commentary-by-nell-painterPictures and progress : early photography and the making of African American identity, Duke University Press, Durham, N.C., p. 33, TR23 .P53 2012 (BASS)Recent Sales : European Sculpture and Works of Art, Christie's international magazine, June-July 1987, p. 85, N8640 C53 C452 (LC)+ Oversize (LSF)Roberta Roani Villani, Il ' Busto di Negro ' di Francis Harwood del J. Paul Getty Museum di Malibu ", Paragone. Arte, Anno 42, July 1991, pp. 66-74, figs. 74, 75 and 76, N4 P37 (LC) (HAAS)Ingrid Roscoe, A biographical dictionary of sculptors in Britain, 1660-1851, Yale University Press, New Haven, CT, 2009, p. 585, no. 10, NB496 B56 2009 (YCBA) (Wall Shelf 3) Yale electronic resource also available online: OrbisSlavery and Portraiture in 18th-century Atlantic Britain, [Website] , Yale Center for British Art, New Haven, 2015, Available online https://interactive.britishart.yale.edu/slavery-and-portraiture/Tamera Sternberger, Commentary on Bust of a Man by the Studio of Francis Harwood, [ Website } , Yale Center for British Art, Accessed on 11/24/2015, 1:24 minutes, http://interactive.britishart.yale.edu/slavery-and-portraiture/337/commentary-by-tamera-sternbergerThe J. Paul Getty Museum : handbook of the collection, Los Angeles, 2015, p. 296, N582.M25 A627 2015 (LC) (HAAS)Marjorie Trusted, The return of the gods : neoclassical sculpture in Britain, Tate Publishing, London, 2008, p. 27, no. 13, NB466 .T78 2008 OVERSIZE (YCBA)John Walsh, Acquisitions 1988, The J Paul Getty Museum Journal, vol 17, 1989, p. 150, no. 90, Available online: JSTOR Hard copy also available: N582 M25 A25 (LC)+ Oversize (LSF)Chi-ming Yang, Commentary on a Bust of a Man by the Studio of Francis Harwood, , Yale Center for British Art, Accessed on 11/24/2015, 6:27 minutes, http://interactive.britishart.yale.edu/slavery-and-portraiture/336/commentary-by-chi-ming-yang
Gallery Label:
The use of dark stone to depict a figure of African heritage has precedents in architectural sculpture and decorative arts, but its use here, to create an autonomous portrait bust, is highly unusual for this period. Although it is not known whether this is a copy or an adaptation of an ancient bust, the closely observed scar at the man’s hairline suggests this likeness was observed from life. Yet the identity of this man is unknown. The bust was a product of Harwood’s studio in Florence, which met the demand from British travelers to Italy — known as Grand Tourists — for reproductions of famous sculptures from antiquity. The bust was bought by the Center’s benefactor Paul Mellon as a work by the Italian Renaissance sculptor Alessandro Vittoria (1525–1608). Another version of the bust, signed by Harwood, later helped establish this as a sculpture made in Harwood’s workshop. Gallery label for installation of YCBA collection, 2021