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About This Artwork
Bishop Saint Enthroned, 1360/70
Tempera on panel
118.8 x 65.7 cm (46 3/4 x 25 7/8 in.)
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1022
Medieval to Modern European Painting and Sculpture
Not on Display
Cambridge, Massachusetts, Fogg Art Museum, Loan Exhibition of Italian Paintings, 1915, no cat.
The Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, no. 91.
J. A. Crowe and G. B. Cavalcaselle, A History of Painting in Italy, rev. ed., ed. R. Langton Douglas, vol. 3 (London, 1908), p. 181 n. 1.
“Early Italian Paintings,” American Art News 13, 22 (1890), p. 3.
G. H. Edgell, “The Loan Exhibition of Italian Paintings in the Fogg Museum, Cambridge,” Art and Archaeology 2 (1915), pp. 17, ill., 19–20.
Chandler R. Post, “A Triptych by Allegretto Nuzi at Detroit,” Art In America 3 (1915), pp. 214, 222, fig, 2; reprinted in Bulletin of the Detroit Museum of Art 10, 2 (1915), pp. 2, 5, 8, fig. 2.
Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago, 1917), p. 164.
Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, 1920), p. 63.
Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago, 1922), p. 72.
Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago, 1923), p. 72.
Raimond van Marle, The Development of the Italian Schools of Painting, vol. 5 (The Hague, 1925), pp. 160, 163, fig. 101.
Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago (unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, 1926), pp. 44–45, no. 2465.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 182.
William R. Valentiner, Paintings in the Collection of Martin A. Ryerson (unpub. MS, 1932, Archives, The Art Institute of Chicago), n. p.
Alfred M. Frankfurter, “Art in the Century of Progress,” Fine Arts 20, 2 (1933), p. 9, ill.
Daniel Catton Rich, “The Paintings of Martin A. Ryerson,” Bulletin of The Art Institute of Chicago 27 (1933), p. 8.
Frederick A. Sweet, “La pittura italiana all’Art Institute di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), p. 692, ill.
“A New Setting for the Medieval Collection,” The Art Institute of Chicago Quarterly 53, 1 (1958), p. 8.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 344–45.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 516.
Bernard Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools, vol. 1 (London, 1968), p. 302.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 4, 455, 571.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 179–80, ill.
Roman art market [as described by Langton Douglas in the revised edition of Crowe and Cavalcaselle 1908, p. 181 n.1]. Horace Morison, Boston, by 1913 [according to a letter from Philip Gentner to Morison dated July 22, 1913, Archives, Art Institute]; sold by Morison to Martin A. Ryerson (died 1932), Chicago, 1916 [according to a letter from Morison to Ryerson dated February 16, 1916, Archives, Art Institute]; intermittently on loan to the Art Institute from 1916; bequeathed to the Art Institute, 1933.