Art/ Collection/ Art Object

Ferdinando II de' Medici (1610–1670) as a Boy

Artist:
Copy after Justus Sustermans (Flemish, 17th century)
Medium:
Oil on canvas
Dimensions:
51 7/8 x 40 1/2 in. (131.8 x 102.9 cm)
Classification:
Paintings
Credit Line:
Bequest of Helen Hay Whitney, 1944
Accession Number:
45.128.13
Not on view
Helen Hay (Mrs. Payne) Whitney, New York (by 1933–d. 1944; as school of Velazquez)
Nashville. Fisk University. "[title not known]," April 20–August 15, 1951, no catalogue.

Atlanta University. "[title not known]," September 1, 1951–January 30, 1952, no catalogue.

New Orleans. Dillard University. "[title not known]," February 1–April 30, 1952, no catalogue.

Scottsdale. Arizona Art Association. "Paintings from the Collection of The Metropolitan Museum of Art," February 22–March 21, 1954, no catalogue.

New Paltz, N.Y. State Teachers College. April 19–24, 1954, no catalogue?

Southampton, N.Y. Parrish Art Museum. "Paintings from the Collection of The Metropolitan Museum of Art," July 22–August 18, 1954, unnumbered cat.

New York. American Federation of the Arts. "European Portraiture from the 17th to 19th Century (circulating exhibition)," September 1954–September 1957, no catalogue?

Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, p. 254; vol. 2, pl. 96, notes that "the standard of execution hardly can be associated with that of Sustermans's studio, let alone with that of the artist, himself".

Howard L. Blackmore. "The Blackamoor Swords." Royal Armouries Yearbook 3 (1998), p. 70, fig. 6, as by the workshop of Sustermans, about 1622–25; identifies Ferdinando's weapon as a type of blackamoor sword, or rapier, whose hilt is decorated with the heads of crowned African men.



Ferdinando II de' Medici (1610–1670), Grand Duke of Tuscany, was the son of Cosimo II (see MMA, 22.150) and Maria Maddalena of Austria. He assumed the role of grand duke in 1627 although he shared authority with his brothers and with the regents—his mother and grandmother.

A full-length version of this portrait (sold Christie's, London, July 26, 1935, no. 74; at French & Co., New York, in 1946) has been described convincingly as a copy or replica of a lost portrait by Sustermans. The lost original and the full-length portrait would date from about 1621–22, about the time of the death of Cosimo II.
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