About This Artwork

Gherardo di Jacopo, called Starnina
Italian, fl. before 1387-c. 1413

The Dormition of the Virgin, 1401/05

Tempera on panel (poplar)
43.6 x 67.6 cm (17 1/8 x 26 5/8 in.); painted surface: 40.4 x 64 cm (15 15/16 x 25 1/4 in.)

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1017

Exhibition, Publication and Ownership Histories

Exhibition History

Copenhagen, Statens Museum for Kunst, A Collection of Paintings: Exhibited in the Danish Museum of Fine Art, 1920, no. 4.

The Art Institute of Chicago, A Century of Progress, June 1 to November 1, 1933, no. 90.

Publication History

“The Dollfus Sale,” American Art News 10, 26 (1912), p. 10.

Bernard Berenson, Catalogue of a Collection of Paintings and Some Art Objects: Italian Paintings, Philadelphia, 1913, vol. 1, p. 10, no. 13.

Salomon Reinach, Répertoire de peintures du moyen age et de la renaissance (1280–1580), vol. 5, Paris, 1922, p. 442 (ill.)

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 160, no. 2052.

Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpublished manuscript, Ryerson Library, The Art Institute of Chicago, 1926, pp. 13–15.

Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols., The Hague, 1923–38, vol. 9, 1927, pp. 199–200 n.1.

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, p. 181, no. 168.23.

Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 339.

Bernard Berenson, Pitture italiane del Rinascimento, Milan, 1936, p. 277.

Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, 2 vols., London, 1963, vol. 1, p. 139.

William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpublished manuscript, Archives, The Art Institute of Chicago [1932], unpaginated.

The Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1935, p. 20.

Georg Pudelko, “The Maestro del Bambino Vispo,” Art in America 26 (1938), p. 54, fig. 4.

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

Martin Davies, National Gallery Catalogues: The Early Italian Schools, London, 1951, p. 281, under no. 3926.

Martin Davies, National Gallery Catalogues: The Early Italian Schools, 2d ed., London, 1961, pp. 362–63, under no. 3926.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 298.

Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae, Munich, 1961, p. 516.

Luciano Bellosi, La pittura tardogotica in Toscana, I Maestri del Colore 239, Milan, 1966, [p. 5] n. pag.

Bernhard Degenhart and Annegrit Schmitt, Corpus der italienischen Zeichnungen, 1300–1450, pt. 1, vol. 2, Berlin, 1968, pp. 296–97, no. 195, fig. 400.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Massachusetts, 1972, pp. 125, 307, 571.

Carlo Volpe, “Per il completamento dell’altare di San Lorenzo del Maestro del Bambino Vispo,” Mitteilungen des Kunsthistorischen Institutes in Florenz 17 (1973), p. 351.

Jeanne van Waadenoijen, “A Proposal for Starnina: Exit the Maestro del Bambino Vispo?” Burlington Magazine 116 (1974), p. 90.

Richard Fremantle, Florentine Gothic Painters from Giotto to Masaccio, London, 1975, p. 445 (ill.).

Fiorella Sricchia Santoro, “Sul soggiorno spagnolo di Gherardo Starnina e sull’identità del ‘Maestro del Bambino Vispo,’” Prospettiva 6 (1976), pp. 14, 19, fig. 10.

Cornelia Syre, Studien zum “Maestro del Bambino Vispo” und Starnina, Ph.D. dissertation, Bonn, 1979, pp. 113–14, fig. 124.

Jeanne van Waadenoijen, Starnina e il gotico internazionale a Firenze, Florence, 1983, pp. 45, 60, 67–68, pl. 54.

Christopher Lloyd, with contributions by Margherita Andreotti, Larry J. Feinberg, and Martha Wolff, Italian Paintings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection, Chicago, 1993, pp. 226–30 (ill. in color and an x-radiograph).

Ownership History

D. P. Sellar, London; sold Galerie Georges Petit, Paris, June 6, 1889, no. 18, for 300 francs (for the price, see annotated copy of 1889 sale catalogue, Fine Arts Division, Topeka Public Library, Topeka, Kansas, and annotated copy of 1914 Sambon Collection sale catalogue, The Thomas J. Watson Library, The Metropolitan Museum of Art, New York); Jean Dollfus, Paris; sold Galerie Georges Petit, Paris, pt. 3, April 1–2, 1912, no. 51, p. 19 (ill.), as Florentine School, to Sambon for 20,000 francs (for buyer, see annotated copy of 1912 Dollfus Collection sale catalogue, Ryerson Library, The Art Institute of Chicago and, for price, see annotated copy of 1914 Sambon Collection sale catalogue, The Thomas J. Watson Library, The Metropolitan Museum of Art, New York); Arthur Sambon, Paris, 1912–14; sold Galerie Georges Petit, Paris, May 25–28, 1914, no. 213 (ill.), as Florentine School, to Trotti for 9000 francs (for price and buyer, see annotated copy of 1914 Sambon Collection sale catalogue, The Thomas J. Watson Library, The Metropolitan Museum of Art, New York); Marcel Nicolle, Paris; sold by Nicolle to Hermann Heilbuth, Copenhagen, by 1920 (see exhibition catalogue, Copenhagen, Statens Museum for Kunst, A Collection of Paintings: Exhibited in the Danish Museum of Fine Art, 1920, no. 4); Ehrich Galleries, New York; sold by the Ehrich Galleries to Martin A. Ryerson (d. 1932), Chicago, 1923 (according to invoice dated February 1, 1923, in curatorial files); on loan to the Art Institute from 1923; bequeathed to the Art Institute, 1933.




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