Images(6)

Daphne

Artist Harriet Goodhue Hosmer 1830–1908, active in Italy and Great Britain 1852–1900

DateModeled 1853, carved later

MediumMarble on integral socle

Dimensions28 ¼ x 19 ¾ x 12 ½ in. (71.7 x 52 x 31.8 cm)

ClassificationsSculpture

Credit LinePurchased with funds provided by the Calvin and Marisa Allen Foundation, Anne Allen Cheatham, and Eli Mathis Cheatham and Charlie McNairy on behalf of the Matrons of the Arts Initiative, and by the bequest of Carlyle Adams

Object number2017.10

On View

On view

ProvenanceJohn Chatley, Jr. (1910–1987), “Mayfair”, West Chester, PA; [Chatley estate sale, West Chester, PA, William H. Bunch Auctioneers, October 10, 1987]; sold to Thomas Folk and Angela Gross, Bernardsville, NJ; [Sale, New York, Christie’s, December 4, 2008, lot 183, illus. (color) (bought-in)]; sold to Conner·Rosenkranz, LLC, New York, NY, 2009; sold to Charles and Marjorie West, Atlanta, GA, 2012; to West estate, 2016; [Sale, Asheville, NC, Brunk Auctions, May 20, 2017, lot 4, illus. (color)]; sold to NCMA, 2017.
Published ReferencesCornelia Carr, ed., Harriet Hosmer, Letters and Memories (New York: Moffat, Yard and Co., 1912): 26–27, 30, 33.

William H. Gerdts, et al., The White, Marmorean Flock: Nineteenth Century American Women Neoclassical Sculptors, (exh. cat.) (Poughkeepsie, NY: Vassar College Art Gallery, 1972), no. 3 (Kemper example), illus. (b-w).

William H. Gerdts, American Neo-Classical Sculpture: The Marble Resurrection (New York: Viking Press, 1973), 92–93, illus. (b-w), fig. 79(Kemper example).

William H. Gerdts, “The Medusa of Harriet Hosmer,” Bulletin of the Detroit Institute of Arts vol. 56, no. 2 (1978), 96–107, illus. (b-w) fig. 3 (Kemper example).

Alicia Faxon, “Images of Women in the Sculpture of Harriet Hosmer,” Woman’s Art Journal, vol. 2 (Spring-Summer 1981), 26–27.

Jane Mayo Roos, “Another Look at Henry James and the ‘White, Marmorean Flock,’” Woman’s Art Journal, vol. 4 (Spring-Summer) 1983, 31–32, illus. (b-w), fig. 3 (Kemper example).

“Hosmer Bust among Bunch Sale Highlights,” Antiques and the Arts Weekly (Newtown, CT), October 2, 1987, illus. (b-w). Also illustrated in Chatley sale advertisement in same issue.

William L. Vance, America’s Rome, Vol. 1: Classical Rome (New Haven: Yale University Press, 1989), 260.

Joy S. Kasson, Marble Queens and Captives (New Haven: Yale University Press, 1990),146, 150.

Dolly Sherwood, Harriet Hosmer, American Sculptor, 1830–1908 (Columbia: University of Missouri Press, 1991), 81–88, illus. (b-w) 84 (Metropolitan Museum of Art example).

Lauretta Dimmick, catalogue entry for Daphne in American Sculpture in the Metropolitan Museum of Art, Vol. 1, ed. by Thayer Tolles (New York, Metropolitan Museum of Art, 1999), no. 53, illus. (b-w) 134.

Conner·Rosenkranz: American Sculpture, 1845–1945 (New York: Conner·Rosenkranz, 2001), 18, 56, illus. (b-w) 19 (example now in private collection, SC).

Melissa Dabakis, “‘The Eccentric Life of a Perfectly “Emancipated Female”’: Harriet Hosmer’s Early Years in Rome,” in Perspectives on American Sculpture before 1925, ed. Thayer Tolles (New York: Metropolitan Museum of Art, 2003), 24–44.

Kate Culkin, Harriet Hosmer: A Cultural Biography (Amherst: University of Massachusetts Press, 2010), 35–38, 41, 43, 46, 114, 179 n.51, illus. (b-w) fig. 6 (Kemper example).

Melissa Dabakis, A Sisterhood of Sculptors: American Artists in Nineteenth-Century Rome (University Park, Pennsylvania State University Press, 2014), 46–51, illus. (b-w) fig. 12 (Kemper example).

“Help Needed: Harriet Hosmer,” Maine Antiques Digest (August 2017) 9A, illus. (Request for information about work.)

Barbara Schaefer and Anita Hachmann, eds., Es war einmal in Amerika: 300 Jahre US-Amerikanische Kunst (exhibition catalogue) (Köln: Wallraf-Richartz-Museum & Fondation Courboud, 2018), cat. no. 38, discussed 346, illus. (color) 347.
Exhibition HistoryNew York, NY, “American Art Fair,” November 28–December 1, 2011.

Cologne, Germany, Wallraf-Richartz Museum, “Es war einmal in Amerika: 300 Jahre US-Amerikanische Kunst,” November 23, 2018–March 24, 2019, cat. no. 38, illus. (color).

Raleigh, NC, North Carolina Museum of Art, "Becoming the NCMA: 10 Decades of Collecting, 1924-2022," June 11-August 21, 2022.

Raleigh, NC, North Carolina Museum of Art, "The People's Collection, Reimagined," October 7, 2022–present. Object Rights Statement

The North Carolina Museum of Art (NCMA) makes images of its collection available online to support research and scholarship and to inform and educate the public. Certain works of art, as well as the photographs of those works of art, may be protected by copyright, trademark, or related interests not owned by the NCMA. The responsibility for ascertaining whether any such rights exist and for obtaining all other necessary permissions remains with the applicant. To request images and/or permissions from the NCMA, please complete our online request form.