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Probably Austrian 16th Century (Innsbruck), after a model by Leone Leoni

Emperor Charles V, 1550/1600

West Building, Main Floor — West Sculpture Hall

Medium

bronze

Dimensions

overall: 109 x 56 x 42.1 cm (42 15/16 x 22 1/16 x 16 9/16 in.)

Credit Line

Samuel H. Kress Collection

Accession Number

1952.5.104

Artists / Makers

Austrian 16th Century (founder)

Leone Leoni (artist after) Milanese, c. 1509 - 1590

Image Use

This image is in the public domain.
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Inscription

on base, front: KAROLVS QINTVS / IMPERATOR SEMPER / AVGVSTVS

Provenance

Imperial Palace, Vienna, from before 1874; Kunsthistorisches Museum, Vienna, from 1920;[1] sold February 1952 to the Samuel H. Kress Foundation, New York; gift 1952 to NGA.

[1] See affidavit dated 21 October 1953 from the Director of the Kunsthistorisches Museum, Vienna (copy in NGA curatorial files). The sculpture "belonged from times immemorial to the imperial property and was adjudged to the complex of 'state property serving for purposes of the Court' ('hofärarischer Besitz') in 1874." It was placed on "permanent loan" to the Kunsthistorisches Museum in 1920, and an order from the Austrian Federal Ministry of Education on 13 December 1937 transferred the sculpture permanently to the museum.

Associated Names

Kress Foundation, Samuel H.
Kunsthistorisches Museum Wien

Exhibition History

2008: El retrato del Renacimiento [Madrid title], Renaissance Faces: Van Eyck to Titian [London title], Museo Nacional del Prado, Madrid; National Gallery, London, 2008-2009, no. 90, repro. (shown only in London).

Bibliography

1924: Planiscig, Leo. Die Bronzeplastiken, Kunsthistorisches Museum in Wien. Vienna, 1928: 129, repro. abb. 223.

1956: Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1951-56. Introduction by John Walker, text by William E. Suida and Fern Rusk Shapley. National Gallery of Art. Washington, 1956: 242, no. 98, repro.

1957: Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): 32, fig. 15.

1959: Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 430, repro.

1965: Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 161.

1968: Larsson, Lars Olaf. "Adrian de Fries V Praze." Umeni 16 (May 1968): 294.

1968: National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 142, repro.

1973: Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 90.

1975: Middeldorf, Ulrich. "On Some Portrait Busts Attributed to Leone Leoni." The Burlington Magazine 117 (February 1975): 84-90, repro. no. 29.

1976: Middeldorf, Ulrich. Sculptures from the Samuel H. Kress Collection: European Schools XIV-XIX Century. London, 1976: 73.

1982: Alsop, Joseph. The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared. Bollingen series 35, no. 27. New York, 1982: fig. 86.

1993: Boogert, Bob van den, and Jacqueline Kerkhoff. Maria van Hongarije, 1505-1558: Koningin tussen keizers en kunstenaars. Zwolle, Netherlands, 1993: repro. 346, no. 245.

1994: Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1994: 133, repro.

1998: Coppel Aréizaga, Rosario. Catálogo de la escultura de época moderna: siglos XVI-XVIII. Madrid, 1998: 77.

2012: Schröder, Stephan F., ed. Leone & Pompeo Leoni: actas del congreso internacional = proceedings of the international symposium. Madrid, 2012: 52, 55 n. 26.

2014: Cupperi, Walter. “’You Could Have Cast Two Hundred of Them’ Multiple Portrait Busts and Reliefs at the Court of Charles V of Habsburg.” In Walter Cupperi, ed., Multiples in Pre-Modern Art. Zurich and Berlin, 2014:173-199, esp. 178 n. 12.

2019: Smith, Dylan, and Wendy Sepponen. " 'Comparable to the Very Tips of Their Spades': Technical and Political Connections among Serial Busts of Charels V." Facture: conservation, science, art history 4 (2019): 34-65, 35 unnumbered fig. (detail), figs. 1, details: figs. 9, 12, 13, 21