M.D.XVI.ADI.XX/ IIII OTVBRIO/IHERONIMO.DA.SATA + (lower right on the step of the throne)
86.9 × 44.7 cm (34 1/4 × 17 5/8 in.)
Mr. and Mrs. Martin A. Ryerson Collection
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Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 159, no. 2025.
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), pp. 53–55.
W. H., “Some Recently Acquired Pictures of the Venetian School,” Bulletin of The Detroit Institute of Art 8, 5 (1927), p. 51.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 180.
Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 507.
William R. Valentiner, “Paintings in the Collection of Martin A. Ryerson” (unpub. MS , Archives, The Art Institute of Chicago), n. p.
G. Gombosi, “Santacroce, Girolamo,” in Thieme-Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 29 (Leipzig, 1935), p. 423.
Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 436.
Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, vol. 1 (London, 1957), p. 154, pl. 574.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 410.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 517.
Fritz Heinemann, Giovanni Bellini e i belliniani (Venice, 1962), vol. 1, pp. 39, 161, no. 136 (l); vol. 2, fig. 647.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 93, 336, 571.
Bruno Della Chiesa and Edi Baccheschi,” “I pittori da Santa Croce,” in I pittori bergamaschi dal XIII al XIX secolo: Il cinquecento, vol. 2 (Bergamo, 1976), p. 29, no. 10, p. 58, fig. 3.
Ellis Waterhouse, “Earlier Paintings in the Earlier Years of the Art Institute: The Role of the Private Collectors,” The Art Institute of Chicago Museum Studies 10 (1983), p. 89.
Bert W. Meijer, The Famous Italian Drawings at the Teyler Museum in Haarlem (Milan, 1984), p. 104.
Terisio Pignatti, Five Centuries of Italian Painting, 1300–1800: From the Collection of the Sarah Campbell Blaffer Foundation (Houston, 1985), p. 83.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 128–130, ill.
Giovanni Godi and Corrado Mingardi, Le collezioni d’arte della Cassa di risparmio di Parma e Piacenza (Parma, 1994), p. 35, under no. 20.
Mauro Lucco, La pittura nel Veneto (Milan, 1996), p. 127 n. 293.
Maria Elisa Avagnina, Margaret Binotto, and Giovanni Carlo Federico Villa, Pinacoteca civica di Vicenza: catalogo scientifico delle collezioni, vol. 1 (Milan, Silvana, Vicenza, 2003), p. 239, under no. 87.
Chicago, South Side Community Art Center, Exhibition of Religious Art, April 1942, no. 1.
James Kerr-Lawson, Florence, by 1910; sold by Kerr-Lawson to Martin A. Ryerson (died 1932), Chicago, 1910 [see letter from Kerr-Lawson to Ryerson dated May 10, 1910 and invoice dated June 14, 1910, in curatorial files]; on loan to the Art Institute from 1923 [according to registrar’s records]; bequeathed to the Art Institute, 1933.
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