About This Artwork

Bartolomé Bermejo (Bartolomé de Cárdenas)
Spanish, active 1468–1495

Saint Augustine, 1477/85

Oil on panel
49 x 27.7 cm (19 5/16 x 10 15/16 in. ); painted surface: 48.2 x 26.8 cm (19 x 10 9/16 in.)

Mr. and Mrs. Martin A. Ryerson Collection, 1947.393

Exhibition, Publication and Ownership Histories

Exhibition History

Bruges, Groeningemuseum, The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting, 1430–1530, 2002, cat. 109.

Barcelona, Museu Nacional d’Art de Catalunya, and Museo de Bellas Artes de Bilbao, La pintura gótica flamenco: Bartolomé Bermejo y su época, 2003, cat. 4.

Publication History

Diego Angulo Iñíguez, “Una nueva obra de Bartolomé Bermejo,” Revista española de arte 12 (1934/35), pp. 302, 326 (ill.).

Chandler Rathfon Post, A History of Spanish Painting, vol. 7, pt. 2, Cambridge, Mass., 1938, pp. 874–75; vol. 10, 1950, pp. 352–54, fig. 143.

José Gudiol Ricart, Pintura gótica, Ars hispaniae 9, Madrid, 1955, p. 266. Juan Antonio Gaya Nuño, La pintura española afuera de España, Madrid, 1958, pp. 46, 111, no. 329.

Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, Chicago, 1961, p. 23.

José Camón Aznar, Pintura medieval española, Summa artis 22, Madrid, 1966, pp. 487, 493.

Herbert Friedmann, Bartolomé Bermejo’s “Episcopal Saint”: A Study in Medieval Spanish Symbolism, Smithsonian Miscellaneous Collections 149, no. 8, Washington, D.C., 1966, pp. 1–21, figs. 1, 4, 8, 11.

Judith Florence Berg, “Bartolomé Bermejo,” Ph.D. diss., Harvard University, 1969, pp. 103–04, 305–06, no. 12.

José Gudiol, Pintura medieval en Aragón, Saragossa, 1971, p. 62.

Eric Young, Bartolomé Bermejo: The Great HispanoFlemish Master, London, 1975, pp. 46–49, 64, 74, 133–34, pl. 24.

Fabián Mañas Ballestín, Pintura gótica aragonesa, Saragossa, 1979, p. 170.

Gianni Rebora et al., Bartolomé Bermejo e il trittico di Acqui, Acqui Terme, 1987, p. 69, fig. 37.

Judith Berg Sobre, Behind the Altar Table: The Development of the Painted Retable in Spain, 1350–1500, Columbia, Mo., 1989, p. 51 n. 7.

Judith Berg Sobré, Bartolomé de Cárdenas, “El Bermejo”: Itinerant Painter in the Crown of Aragon, Bethesda, Md., 1997, pp. 64, 169–72, 176, 260–64.

Judith Berg Sobré in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago (Chicago, 2008), pp. 44-8, ill.

Ownership History

Private collection, Spain, before 1931 [letter from Abris Silberman to Daniel Catton Rich, March 31, 1947, Art Institute Archives]; E. and A. Silberman Galleries, Vienna, as Saint Augustine by Simon Marmion, by January 1931 [note by Max Friedländer on the reverse of a photograph in the Friedländer Archive, Rijksbureau voor Kunsthistorische Documentatie, The Hague]. New York art market, 1934 [according to Angulo 1935, p. 302; this was probably Silberman’s New York gallery]. Dr. Oscar Bondy (died 1944), Vienna and New York ; his widow, Elisabeth Soinig Bondy, until 1947 [the painting was not among the objects sealed in Bondy’s Vienna apartment in 1938; for this list see Sophie Lillie, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens, Vienna, 2003, pp. 218-44; the letter from Silberman to Rich cited above indicates that the dealer had recently acquired the painting from Mrs. Bondy]; sold by E. and A. Silberman, New York, to the Art Institute, 1947 [purchased with deaccession funds].

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