Search Details

Creator Studio of Francis Harwood, 1726/7–1783, British, active in Italy
Formerly attributed to Francis Harwood, 1726/7–1783, British, active in Italy
Title Bust of a Man
Alternate Title(s) Bust reputedly of "Psyche," an athlete in the employ of the Duke of Northumberland
Bust of a Negro, reputedly 'Psyche', a black athlete in the employ of the Duke of Northumberland
The Blackamoor
Bust of a Black Man
Date ca. 1758
Medium Black limestone on a yellow marble socle
Dimensions Overall: 28 × 20 × 10 1/2 inches (71.1 × 50.8 × 26.7 cm) Base or socle: 8 1/2 inches (21.6 cm)
Credit Line Yale Center for British Art, Paul Mellon Collection
Accession Number B2006.14.11
Collection Paintings and Sculpture
Curatorial Comment This remarkable bust may be a portrait: details such as the small scar on the man’s forehead and the subtle depressions in the skin around his temples, nose, and eyes suggest close study of an individual sitter. However, the sculptor Francis Harwood, who was based in Italy, specialized in making copies of classical statues for sale to English Grand Tourists, and so it is also possible that this is a copy or adaptation of an Antique model. A third possibility is that the bust was made as an allegorical image of “Africa.” A passage from Joseph Baretti’s "Guide through the Royal Academy" (London, 1781) suggests that, by 1781, Harwood’s "Bust of a Man"—or something very similar—had entered the cast and sculpture collection of the Royal Academy. Though we cannot be sure that Baretti is referring to the sculpture on display here, his description suggests that works like it may have been difficult to categorize even in the eighteenth century: AFRICUS. For want of a better, I give this name to a Head of a Blackamoor, which is in the Niche of this Room. A Friend of mine would have it called Boccar, or Boccor, an African King named in one of Juvenal’s Satires. But, as it has no ensigns of Royalty about it, I imagine it to be a Portrait of some Slave, if not a fanciful performance intended to characterise the general Look of the African faces. Whatever it be, I think it a fine thing of the kind. In the nineteenth century, Harwood’s bust was mistakenly believed to be a portrait of an athlete named Psyche in the service of the first Duke of Northumberland. Another version of this sculpture, which bears Harwood’s signature and the date 1758, is now at the J. Paul Getty Museum.
     -- ,
Link to This Record http://collections.britishart.yale.edu/vufind/Record/1669707
Subject Terms African | athlete | boxer | man | portrait | scars
Publications

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) , Also available in online database (Herts [England] : The Henry Moore Foundation, 2010-) : see Orrbis record for link. to internet resource


The image of the Black in western art, from the " Age of Discovery" to the Age of Abolition The Eighteenth Century, vol. 3, part 3, Belknap Press of Harvard University Press, Cambridge, Mass. :, 2010, Vol. 3; pp. 40, 41, fig. 33, N8232 .I42 2010 Vol. 3,Part 3 + OVERSIZE (YCBA) , Citations are to Vol. 3, Part 3


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)


Roberta Cremonicini, Francis Harwood, scultore inglese a firenze nel settecento, 1990 1991, pp. 39-40, Nj18 H245652 C74 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)


Ken Gonzales-Day, Portraits at a Museum, An Artist's Project, Getty Research Journal, 2010, p. 213, Available online: JSTOR , http://www.centerforbritishart.org/slavery-and-portraiture/327/commentary-by-ken-gonzales-day


Prof. 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: JSTOR


Prof. David 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)


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)


Christie'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 locations


Figures of empire : slavery and portraiture in eighteenth-century Atlantic Britain, organized by the Yale Center for British Art and curated by Esther Chadwick and Meredith Gamer, PhD candidates in the History of Art at Yale University and Cyra Levenson,, Yale Center for British Art, New Haven, 2014, pp.19, 41, V 2556 (YCBA)


Ken Gonzales-Day, Commentary on a Bust of a Man by the Studio of Francis Harwood, [ Website ], Yale Center for British Art, Accessed on 11 24 15, 18.56 minutes, available online , http://interactive.britishart.yale.edu/slavery-and-portraiture/327/commentary-by-ken-gonzales-day


Tamera Sternberger, Commentary on Bust of a Man by the Studio of Francis Harwood, [ Website }, Yale Center for British Art, Accessed on 11 24 15, 1:24 minutes, Available Online , http://interactive.britishart.yale.edu/slavery-and-portraiture/337/commentary-by-tamera-sternberger


Chi-ming Yang, Commentary on a Bust of a Man by the Studio of Francis Harwood, [ Website ], Yale Center for British Art, Accessed on 11 24 15, 6:27 minutes, Available Online , http://interactive.britishart.yale.edu/slavery-and-portraiture/336/commentary-by-chi-ming-yang


Nell Painter, Commentary on a Bust of a Man by the Studio of Francis Harwood, [ Website ], Yale Center for British Art, Accessed 11 24 15, 22:38 minutes, Available Online , http://interactive.britishart.yale.edu/slavery-and-portraiture/328/commentary-by-nell-painter


Recent Sales : European Sculpture and Works of Art, Christie's international magazine, June-July 1987, p. 85, N8640 C53 C452 (LC)+ Oversize (LSF)


Cyra Levenson, Haptic Blackness : the Double Life of an 18th-century Bust one object, [ Electronic Resource }, British Art Studies, Issue 1, Autumn 2015, figs. 5, 10, 11, Available Online , http://www.britishartstudies.ac.uk/issues/issue-index/issue-1/bust-of-a-man


Malcolm Baker, Figured in marble : the making and viewing of eighteenth-century sculpture, London, 2000, p. 143, fig. 112, NB466 B35 2000 (YCBA)


Marjorie Trusted, The return of the gods : neoclassical sculpture in Britain, Tate Publishing, London, 2008, p. 27, no. 13, NB466 .T78 2008 OVERSIZE (YCBA)


Jane Bassett, Looking at European sculpture : a guide to technical terms, V&A Publications, London, 1997, p. 14, NB50 B37 1997 (YCBA)


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)


The J. Paul Getty Museum : handbook of the collection, Los Angeles, 2015, p. 296, N582.M25 A627 2015 (LC) (HAAS)

Citation Show | Text or SMS | Email
Export RDF |  XML
If you have information about this object that may be of assistance please contact us.