Louise Adele Gould 1904 Augustus Saint-Gaudens American In his final of three portraits of Louise Adele Gould (1856-1883), Saint-Gaudens extended the sitter’s shoulders and terminated the bust with a horizontal line in the manner of quattrocento portraits by the likes of Francesco Laurana and Mino da Fiesole. The bust is mounted on a variegated yellow marble base of Italian origin. Gould believed this likeness of his late wife was "the most beautiful of the three designs," and lent it to the Saint-Gaudens memorial exhibition held at the Metropolitan in 1908 (he served on the exhibition organiz
Louise Adele Gould 1904 Augustus Saint-Gaudens American In his final of three portraits of Louise Adele Gould (1856-1883), Saint-Gaudens extended the sitter’s shoulders and terminated the bust with a horizontal line in the manner of quattrocento portraits by the likes of Francesco Laurana and Mino da Fiesole. The bust is mounted on a variegated yellow marble base of Italian origin. Gould believed this likeness of his late wife was "the most beautiful of the three designs," and lent it to the Saint-Gaudens memorial exhibition held at the Metropolitan in 1908 (he served on the exhibition organizing committee). When Gould became a trustee of the Museum in 1915, he donated the other two marble portraits of Louise Gould (; ), but retained this one until his death in Louise Adele Gould 12011
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