Art Institute of ChicagoPublic domain

Hercules and Antaeus

Pietro Tacca · 1600–1625

Provenance

Ownership history

Eduard Simon, Berlin, by 1907 [see Bode 1907]; his sale, Cassirer and Helbing, Berlin, October 11, 1929, lot 52. Max and Leola Epstein, Chicago, by 1930 [according to registrar’s record and letter from Max Epstein, April 21, 1930, copy in curatorial file; see also Williams 1930]; by descent to their daughter, Mrs. Frank (Jay) Selz, New York, by 1961 [lent by her to Chicago 1961]; sold to the Art Institute, 1968.

Recorded by Art Institute of Chicago.

Exhibitions

Exhibition history

Berlin, Königlichen Akademie der Künste, Ausstellung von Werken alter Kunst aus dem Privatbesitz von Mitgliedern des Kaiser Friedrich-Museums-Vereins, May 1914, no. 285.
Monaco, Hôtel de Sagan, Exposition d’objets d’art du moyen âge et de la renaissance, May – June 1914, no. 26.
Art Institute of Chicago, Summer Loan Exhibition, 1930, no cat. no.
Art Institute of Chicago, Treasures of Chicago Collectors, 15 April – 5 May 1961 [no cat.].
Art Institute of Chicago, Small Bronzes from Chicago Collections, 22 July – 8 October 1972 [no cat.].
Edinburgh, Royal Scottish Museum, Giambologna, 1529–1608: Sculptor to the Medici, 19 August – 10 September 1978, Victoria & Albert Museum, London, 5 October – 16 November 1978, and Kunsthistorisches Museum, Vienna, 2 December 1978 – 28 January 1979, no. 88.

Literature

Published references

Wilhelm von Bode, Die italianischen Bronzestatuetten der Renaissance (Berlin, 1907), p. 5, pl. 196.
Marguerite B. Williams, “Showing a Famous Collection,” Chicago Daily News (August 20, 1930).
John Maxon, “Painting and Sculpture,” Art Institute of Chicago Annual Report 1968-69, pp. 16–17, ill. opp. inside cover.
Joseph Rishel, “Two Bronzes by Giovanni da Bologna,” Calendar of the Art Institute of Chicago 63, 5 (1969), fig. 1.
Jennifer Montagu, “The Giambologna Exhibition (Edinburgh, London & Vienna) & ‘Sculpture and Designs for Sculpture’ at the Royal Scottish Museum,” Burlington Magazine 120 (1978), p. 693.
L[inda] K[linger] in Irving Lavin, Drawings by Gianlorenzo Bernini from the Museum der Bildenden Künste Leipzig, German Democratic Republic, exh. cat., Princeton University Art Museum, 1981, pp. 57, 59 n. 7, fig. 38.
C. Willemijn Fock, “The Original Silver Casts of Giambologna’s Labours of Hercules,” Studien zum europäischen Kunsthandwerk, Festschrift Yvonne Hackenbroch, edited by Jörg Rasmussen (Munich, 1983), p. 143, fig. 2.
Christian Theuerkauff, “Fragen zur Ulmer Kleinplastik im 17./18. Jahrhundert–I. David Heschler (1611–1667) und sein Kreis,” Alte und moderne Kunst 28, 190/191 (1983), p. 27, fig. 13.
Charles Avery, Bernini. Genius of the Baroque (Boston, New York, Toronto and London, 1997), pp. 48-49, fig. 50.
Matthias Winner in Bernini scultore: La nascita del barocco in Casa Borghese, Anna Coliva and Sebastian Schütze, eds., exh. cat., Rome, Galleria Borghese, 1998, pp. 191, 203 n. 23, fig. 2.
C.D. Dickerson III, “Bernini at the Beginning: The Formation of a Master Modeler” in Bernini, Sculpting in Clay, exh. cat., New York, Metropolitan Museum of Art and Fort Worth, Kimbell Art Museum, 2012, pp. 19, 373 n. 64, fig. 15

Comparables