The Children of Jacob H. Schiff

1884–85, carved 1906–7
On view at The Met Fifth Avenue in Gallery 700
Saint-Gaudens excelled at the art of relief sculpture—modeled forms raised in varying degrees from a two-dimensional background. In this ambitious double portrait of Mortimer Leo (1877–1931) and Frieda Fanny (1876–1958) Schiff, the artist’s technical command is evident, from the delicate, sketchy treatment of the Scottish deerhound’s wiry fur to Mortimer’s fully rounded foot extending over the edge of the plinth into the viewer’s space. The three-dimensional illusion is further enhanced by the architectural structure within which the children are framed. Their father, Jacob H. Schiff, was a prominent New York banker and philanthropist, who paid for the carving of this replica for the Metropolitan Museum in 1905.

Artwork Details

Object Information
  • Title:
    The Children of Jacob H. Schiff
  • Artist:
    Augustus Saint-Gaudens (American, Dublin 1848–1907 Cornish, New Hampshire)
  • Carver:
    Carved by Piccirilli Brothers Marble Carving Studio (active 1893–1946)
  • Date:
    1884–85, carved 1906–7
  • Culture:
    American
  • Medium:
    Marble
  • Dimensions:
    68 7/8 x 51 in. (174.9 x 129.5 cm. )
  • Credit Line:
    Gift of Jacob H. Schiff, 1905
  • Object Number:
    05.15.3
  • Curatorial Department: The American Wing

Audio

Cover Image for 4511. The Children of Jacob H. Schiff

4511. The Children of Jacob H. Schiff

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MORRISON HECKSCHER: This charming portrait by Augustus Saint-Gaudens depicts the Schiff children. Their father was Jacob Schiff, a New York banker and philanthropist. Here, eight-year-old Frieda Fanny leads seven-year-old Mortimer Leo by the hand, beneath a floral garland. The marble relief was made specially for The Met. And its easy elegance belies Saint-Gaudens’s prolonged creative process. Curator Thayer Tolles.

THAYER TOLLES: Saint Gaudens went to great lengths to figure out what was the best way to portray the children. In a number of clay sketches that he did, we see the children are posed frontally; they're posed sitting; they're posed standing; they’re looking to their right or to their left . . . . until finally he hit upon an innovative solution.

MORRISON HECKSCHER: And that was to have them lead a lanky Scottish deerhound.

THAYER TOLLES: This dog was the Saint-Gaudens’s family pet.

MORRISON HECKSCHER: The cherished pet unites the entire relief, stretching the width of the composition. Saint-Gaudens was America’s undisputed innovator in relief sculpture that projects out from a two-dimensional background. Here, in a work that is only about three inches deep, his technique is virtuoso—from the dog’s wiry fur to the deep undercuts of Frieda’s pleated dress.

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