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About This Artwork
The Crucifixion, c. 1370
Tempera on panel
72.7 x 50.3 cm (28 5/8 x 19 3/4 in.)
I N R I (at the top of the cross in white paint on red)
Mr. and Mrs. Martin A. Ryerson Collection, 1937.1006
Medieval to Modern European Painting and Sculpture
Not on Display
New York, F. Kleinberger Gallelries, Italian Primitives, 1917, no. 71, as Allegretto Nuzi.
Chicago, The Renaissance Society, The University of Chicago, Commemorative Exhibition from the Martin A. Ryerson Collection, 1932, no. 3, as Allegretto Nuzi.
The Art Institute of Chicago, A Century of Progress, 1933, no. 92, as Allegretto Nuzi
The Art Institute of Chicago, Masterpiece of the Month, March-April, 1956, as Allegretto Nuzi (no cat.)
Lionello Venturi, Pitture italiane in America, Milan, 1931, pl. XC.
Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 399.
Bernard Berenson, Pitture italiane de Rinascimento, Milan, 1936, p. 343
Bernard Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools, vol. 1, London, 1968, p. 302.
William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpublished manuscript , Archives, Art Institute of Chicago, n. pag.
Federico Zeri, “Note su quadri italiani all’estero,” Bolletino d’arte 43 (1949), pp. 21-30, ill. (reprinted in Federico Zeri: Diario Marchigino, 1948-1988, Turin, 2000, pp,. 56-59, ill.)
Art Institute of Chicago, Paintings in the Art Institute of Chicago. A Catalogue of the Collection, Chicago, 1961, p. 344.
Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection. Italian Schools XIII-XV Century, London, 1966, p. 76.
L. Vertova, “What Goes with What?” Burlington Magazine 109 (1967), p. 671.
Dizionario enciclopedico Bolaffi dei pittori e degli incisori italiani,dall’ XI al XX secolo, vol. 1, 1972, pp. 80, 82.
Federico Zeri, “Un ipotesi sui rapporti tra Allegretto Nuzi e Francescuccio Ghissi,” Antichità viva 14, no. 5 (1975), p. 6.
Federico Zeri with the assistance of Elizabeth E. Gardner, Italian Paintings. A Catalogue of the Collection of the Metropolitan Mueum of Art. Sienese and Central Italian Schools, New York, 1980, pp. 17-18.
Keith Christiansen, “Fourteenth-Century Altarpieces, Metropolitan Museum of Art Bulletin 40, no. 1 (1982), pp. 46-9, fig. 45.
John Pope-Hennessy with Laurence B. Kanter, The Robert Lehman Collection, vol. 1, Italian Paintings, New York, 1987, p. 60, under no. 28.
Pietro Zampetti and Giampiero Donnini, Gentile e il pittori di Fabriano, Florence, 1992, p. 24.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago. A Catalogue of the Collection, Chicago, 1993, pp. 107-110, ill.
Joan Isobel Friedman, “Nuzi, Allegretto” in Dictionary of Art, vol. 23, London, 1996, pp. 323-4.
Giampiero Donnini, “A proposito di Francescuccio Ghissi,” Arte cristiana, 84 (1996), p. 13.
Mojmír Frinta, Punched Decoration on Late Medieval Panel Painting and Miniature Painting, Part 1, Catalogue Raisonné of All Punch Shapes, Prague, 1998, pp. 294, no. Gg49; 377, no. Jb13b; 480, no. L29d.
Probably a member of the Altieri family, Rome [based on a seal on the back of the painting; see Lloyd 1993, p. 109, n. 2]. Philip Lehman, New York; sold by Lehman to Kleinberger, New York, 1916 [this and following information are from Kleinberger records, European Painting Department, Metropolitan Museum of Art]; sold American Art Association, New York, January 23, 1918, no. 41, ill., for $1,750 to S. Bourgeois, Paris, but returned it to Kleinberger, March 11, 1918; Kleinberger, New York and Paris, 1918-24; sold to Martin A. Ryerson (died 1932), Chicago, 1924 [letter of June 3, 1924 from Kleinberger to Ryerson in AIC archives]; by descent to his widow (died 1937); bequeathed to the Art Institute, 1937.