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Paul Schubring, Cassoni: Truhen und Truhenbilder der italienischen Frührenaissance (Leipzig, 1915), vol. 1, pp. 301–02, nos. 351 and 352, vol. 2, pl. 83, nos. 351 and 352.
Paul Erich Küppers, Die Tafelbilder des Domenico Ghirlandajo (Strasbourg, 1916), p. 85.
American Art News 15, 33 (1917), p. 7, ills.
The Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture, and Architecture (Chicago, August 1917), p. 166.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, August 1920), p.64.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, May 1922), p. 73.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago, 1923), p. 73.
Gustave Emile Kaltenbach, “Cassoni,” American Magazine of Art 14, 10 (October 1923), pp. 598, ills, 599.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 160, nos. 2072–73.
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. 20–22.
Raimond Van Marle, The Development of the Italian Schools of Painting, (The Hague, 1931), vol. 12, p. 409, vol. 13, p. 234.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 182.
Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 525.
William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS , Archives, The Art Institute of Chicago, n. pag.
Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 452.
René Brimo, Art et goût: L’Evolution du goût aux Etats-Unis d’après l’histoire des collections (Paris, 1938), p. 92.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 414.
Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1 (London 1963), p. 197.
Everett Fahy, “The ‘Master of Apollo and Daphne,’” The Art Institute of Chicago Museum Studies 3 (1968), pp. 21–34, 36, nos. 7–8, figs. 1, 4, 7.
Charles Seymour, Early Italian Paintings in the Yale University Art Gallery (New Haven and London, 1970), p. 17.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 124, 266–67, 571.
Everett Fahy, Some Followers of Domenico Ghirlandajo (New York and London, 1976), pp. 11–20 bis, 105, nos. 7–8.
Federico Zeri, Italian Paintings in the Walters Art Gallery, vol. 1 (Baltimore, 1976), p. 104.
Walker Art Gallery, Liverpool: Foreign Catalogue (Liverpool, 1977), p. 118.
Ellen Callmann, “The Growing Threat to Marital Bliss as Seen in Fifteenth-Century Florentine Paintings,” Studies in Iconography 5 (1979), pp. 86–87, figs. 16–17, p. 91 n. 30.
Peter Thornton, The Italian Renaissance Interior, 1400–1600 (London, 1991), pp. 148–9, pl. 163 (detail).
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp.142–145, ills.
Giovanni Sarti, Trente-trois primitifs italiens de 1310 à 1500: du sacré au profane (Paris, 1998), p. 212.
Trotti and Company, Paris, by 1915 [see Paul Schubring, 1915, p. 301]; sold by the Ehrich Galleries, New York, to Martin A. Ryerson (d. 1932), Chicago, 1917 [entry in Ryerson’s notebook, April 24, 1917, see Ryerson Papers, Archives, The Art Institute of Chicago; receipt of payment dated May 8, 1917 in curatorial file]; on loan to the Art Institute of Chicago from 1917; bequeathed to the Art Institute, 1933.
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