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.
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Donald F. Rowe, “A ‘George in Gold’ and Enamels in Chicago Collections,” Apollo 95 (1972), p. 475, no. 22.
Yvonne Hackenbroch, Renaissance Jewelry, London 1979, p. 155 (incorrectly cited as Waddeston Bequest).
Hugh Tait, Catalogue of the Waddeston Bequest in the British Museum, vol. 1: The Jewels, London, 1986, pp. 124-25.
Charles Truman, “Nineteenth-Century Renaissance-Revival Jewelry” in Ian Wardropper et al., Renaissance Jewelry in the Alsdorf Collection, Art Institute of Chicago Museum Studies 25, 2 (2000), pp. 87-88, ill., 98, 105, cat. 49.
Detroit Institute of the Arts, Decorative Arts of the Italian Renaissance, 1400-1600, November 18, 1958-January 4, 1959, no. 370.
The Baltimore Museum of Art, Renaissance Jewels and Jeweled Objects from the Melvin Gutman Collection, 1962-68, cat. 47.
Chicago, The Martin D’Arcy Gallery of Art, Enamels: The XII to the XVI Century, Feburary 2-March 2,1970, no. 38.
London, Wartski Ltd., A Thousand Years of Enamel, May 18-June 5, 1971, no. 25.
Chicago, The Martin D’Arcy Gallery of Art,The Art of Jewelry, Spring 1975, no. 28.
Melvin Gutman, New York, by 1962; his sale, New York, Parke-Bernet, April 24, 1969, no. 85; Marilynn B. Alsdorf, Chicago [according to Wardropper 2000, p. 4]; given to the Art Institute, 1992.
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