Sheet of Studies for the Blinding of Elymas, Sacrifice at Lystra, and a Holy Family

CC0 Public Domain Designation

Prints and Drawings

c. 1558

Taddeo Zuccaro
Italian, 1529-1566

Status: Currently Off View
Department: Prints and Drawings

Artist: Taddeo Zuccaro
Title: Sheet of Studies for the Blinding of Elymas, Sacrifice at Lystra, and a Holy Family
Place: Italy (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1556–1560
Medium: Pen and brown ink, and brush and red chalk and brown wash, on ivory laid paper
Inscriptions: Inscribed verso, upper left, in pen and brown ink: "favi-4"
Dimensions: 38.6 × 27.4 cm (15 1/4 × 10 13/16 in.)
Credit Line: Gift of Robert B. Harshe
Reference Number: 1928.196R
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/113058/manifest.json

John A. Gere, Taddeo Zuccaro: His Development Studied in his Drawings (Chicago, 1969), pp. 73-74, 76-77, and 138, no. 22, pls. 94 (recto) and 95 (verso).
John Gere, Il manierismo a Roma (Milan, c. 1971), pp. 17 and 83, pl. 17 (recto, as Foglio di Studi).
Harold Joachim, Italian drawings of the 15th, 16th, and 17th centuries (Chicago and London, 1979), p. 79, nos. 3A1-3A2 (ill. microfiche).
Harold Joachim and Suzanne Folds McCullagh, Italian Drawings in The Art Institute of Chicago (Chicago, 1979), pp. 36-37, no. 28, pls. 36-37.
John A. Gere, Some Observations on the Practical Utility of Connoisseurship, in Drawings Defined, edited by Walter Strauss and Tracie Felker (New York, 1987), p. 301, fig. 10 (recto).
Suzanne Folds McCullagh and Laura M. Giles, Italian Drawings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1997), pp. 268-70, no. 350 (ill.), and pl. 27.
Cristina Acidini Luchinat, Taddeo e Federico Zuccari, fratelli pittori del Cinquecento (Milan, 1998), vol. I, pp. 70-72, fig. 16.

Regina, Norman Mackenzie Art Gallery, “A Selection of Italian Drawings from North American Collections,” January 16-February 15, 1970, p. 20, cat. 10 (ill.) (as Sheet of Studies); traveled to Montreal, Museum of Fine Arts, March 5-April 3, 1970.
St. Louis Art Museum, Mo., “Italian Drawings Selected from Mid-Western Collections, February 25-April 16, 1972, n.p., cat. 12 (ill. recto) (cat. by Nancy Ward Nielson).
Los Angeles County Museum of Art, “Old Master Drawings From American Collections,” April 29-June 13, 1976, p. 94, cat. 113 (ill.) (cat. by Ebria Feinblatt).
The Cleveland Museum of Art, “The Draftsman’s Eye: Late Italian Renaissance Schools and Styles,” March 6-April 22, 1979, p. 105, cat. 82 (ill.) (cat. by Edward J. Olszewski, with the assistance of Jane Glaubinger).
The Art Institute of Chicago, “Italian Drawings at The Art Institute of Chicago,” cat. by Harold Joachim and Suzanne Folds McCullagh; also traveled to Washington, National Gallery of Art, 1979-80.
Notre Dame, Ind., University of Notre Dame, “Religious Narrative in Sixteenth Century Rome,” September 11-October 23, 1983, pp. 75-76, cat. 50 (ill.) (cat. by Richard-Raymond Alasko).
“Oltre Raffaello: aspetti della cultura figurativa del cinquecento romano,” 1984, pp. 113-14 (cat. by Stefania Macioce), hors cat.
Milwaukee Art Museum, “Renaissance into Baroque: Italian Master Drawings by the Zuccari, 1550-1600,” November 17, 1989-January 14, 1990, pp. 88-91, cat. 15, pl. 14 (cat. by E. James Mundy, et al.); traveled to New York, National Academy of Design, March 13-April 29, 1990.
The Art Institute of Chicago, “Drawings Rediscovered: Italian Drawings before 1600 in The Art Institute of Chicago,” April 10-July 22, 1997.

Possibly William Young Ottley (1771-1836), London (Lugt 2663); possibly his sale, T. Philipe, London, June 20, 1814, lot 1492 (as Taddeo Zuccaro); Sir Thomas Lawrence (1769-1830), London, embossed stamp (Lugt 2445) recto, lower left; Samuel Woodburn (1786-1853), London (Lugt 2584); his sale of Sir Thomas Lawrence collection, Christie’s, London, June 4, 1860, lot 108 (as Michelangelo). Robert B. Harshe (1879-1938, Director of the Art Institute from 1911 to 1928) Chicago; given to the Art Institute, 1928.

McCullagh & Giles 350

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.

Currently Off View

Status

Department

Artist

Title

Place

Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.

Explore Further

Suggested Terms

Sheet of Studies for the Blinding of Elymas, Sacrifice at Lystra, and a Holy Family

Currently Off View

Date:

Artist:

About this artwork

Status

Department

Artist

Title

Place

Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

Extended information about this artwork

Publication History

Exhibition History

Provenance

Catalogues Raisonnés

Share

Explore Further

Sign up for our enewsletter to receive updates.

Gallery actions

Image actions

Share

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.