About This Artwork

Butinone, Bernardino
Italian, c. 1450-before November 1510

The Flight into Egypt, c. 1485

Tempera on panel (poplar)
Panel: 25.6 x 22 cm (10 1/8 x 8 11/16 in.); Painted Surface: 25.2 x 21.8 cm (9 15/16 x 8 1/2 in.); With Frame: 30.5 x 25.4 cm (12 x 10 in.)

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1003

Exhibition, Publication and Ownership Histories

Exhibition History

New York, Lotos Club, 1927, no cat.

Art Institute of Chicago, A Century of Progress, 1933, no. 82.

Art Institute of Chicago, A Century of Progress, 1934, no. 26.

Art Institute of Chicago, Glad Tidings of Great Joy, 1994–1995, no cat.

Publication History

D. C. Rich, “Three Paintings of the Quattrocentro,” Bulletin of The Art Institute of Chicago 21 (1921), pp. 86-88, ill.

E. S. Siple, “Art in America: The Art Institute of Chicago − The Ryerson Collection,” Burlington Magazine 51 (1927), pp. 240-241, pl. I.

Mario Salmi, “Bernardino Butinone ― I,” Dedalo 10 (1929), pp. 347, ill., 351.

Lionello Venturi, Pitture italiane in America, 1931, pls. CCCXXV–CCCXXVI.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 179, nos. 803.27, 804.27.

Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 121.

William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS [1932], Archives, The Art Institute of Chicago, n. pag.

Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 105.

Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 25.

Martin Davies, National Gallery Catalogues: The Earlier Italian Schools (London, 1951), p. 102, under no. 3336; rev. ed. 1961, p. 132, under no. 3336.

C. Baroni and S. Samek Ludovici, La pittura lombarda del quattrocento (Messina and Florence, 1952), pp. 235, 238-39.

Federico Zeri, “Two Contributions to Lombard Quattrocento Painting,” Burlington Magazine 97 (1955), p. 77 n 4.

Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 63-64.

Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 517.

Elvira Cassa Salvi, Butinone e Zenale (Maestri del colore 230) (Milan, 1966), n. p.

Bernard Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools (London, 1968), vol. 1, p. 69.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 38, 275, 295, 571.

John Maxon, The Art Institute of Chicago, rev. ed. (London, 1977), p. 30.

Hugh Brigstocke, Italian and Spanish Paintings in the National Gallery of Scotland (Edinburgh, 1978), pp. 25-26.

Mauro Natale in Mina Gregori, ed., Pittura tra Adda e Serio: Lodi, Treviglio, Caravaggio, Crema (Milan, 1987), p. 165.

A[ngelo] O[ttolini], “Butinone, Bernardino” in Federico Zeri, ed., La pittura in Italia: Il quattrocento, Milan, 1987, p. 594.

Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago. A Catalogue of the Collection (Chicago, 1993), pp. 53-58, ill.

Art Institute of Chicago, Glad Tidings of Great Joy – Christmas at the Art Institute of Chicago (Chicago, 1993), pp. 35, ill., 39.

Christie’s, New York, Important and Fine Old Master Paintings, May 19, 1993, under no. 30.

Andrea Bacchi in Pittura Lombarda 1450–1650, ed. Alessandro Morandotti, exh. cat., Campagnia di Belle Arti (Milan, 1994), pp. 16–25, fig. 5.

Francesco Rossi, “Bernardino Butinone. La Critica,” in J. Shell, F. Rossi and P. De Vecchi, Butinone e Zenale [extract from I Pittori Bergamaschi] (Bergamo, 1994), pp. 184–85, 189, 219, no. 6, ill., pp. 204, 251, 252.

Paolo Galli, “A proposito di Bernardino Butinone miniatore,” Arte Lombarda, no. 137 (2003), pp. 20, 22 n. 16, 23 n. 30.

Ownership History

Count de Malherbe, Paris, by 1921 [Kleinberger stock card, Department of European Paintings, Metropolitan Museum of Art]; sold to Kleinberger, Paris and New York, 1921 [according to Kleinberger stock card cited above]; sold by Kleinberger to Martin A. Ryerson (d. 1932), Chicago, 1927; on loan to the Art Institute from 1927; bequeathed to the Art Institute, 1933.

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