The Crucifixion

• A Handbook to the Paintings by Ancient Masters in the Art Treasures Exhibition, being a reprint of critical notices originally published in “The Manchester Guardian,” London, 1857, p. 12.
• Catalogue of the Extensive and Magnificent Collection of Paintings, Miniatures, Enamels, Bronzes, Sculpture, and other Choice Works of Art: with the Furniture, Plate and Effects at Thirlestane House, Cheltenham; The Property of John Rushout, Baron Northwick, Deceased; with the Purchasers’ Names and Prices, London, 1859, p. 20.
• W. Bürger [Théophile Thoré], Trésors d’art en Angleterre, 3d ed., Paris, 1865, pp. 22–23.
• Joseph Archer Crowe and Giovanni Battista Cavalcaselle, A History of Paintings in Italy, 2d ed., vol. 2, ed. by Robert Langton Douglas, London, 1903, p. 112 (Lord Northwick collection misprinted as “Laci Nouhurik”).
• Bernard Berenson, The Central Italian Painters of the Renaissance, 2d ed., New York and London, 1909, p. 256.
• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 160, no. 2080.
• Rose Mary Fischkin, “A Crucifixion by Taddeo di Bartolo,” Bulletin of the Art Institute of Chicago 20 (1926), pp. 17–19 (ill.).
• Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpublished manuscript, Ryerson Library, The Art Institute of Chicago, 1926, pp. 27–29.
• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 183, no. 2923.24.
• Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 551
• “Ryerson Makes Princely Bequest to The Art Institute of Chicago,” Art Digest 6 (1932), no. 20, p. 4 (ill.).
• William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpublished manuscript, Archives, The Art Institute of Chicago [1932], unpaginated.
• The Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1935, p. 20.
• Bernard Berenson, Pitture italiane del Rinascimento, Milan, 1936, p. 474.
• Frederick Mason Perkins in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, 37 vols., Leipzig, 1907–50, vol. 32, 1938, p. 396.
• Bernard Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools, 3 vols., London, 1968, vol. 1, p. 418.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 443–44.
• Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae, Munich, 1961, p. 517.
• Sibilla Symeonides, Taddeo di Bartolo, Siena, 1965, pp. 106–7, 222–23, 254 (ill.).
• Hendrik William van Os, Marias Demut und Verherrlichung in der sienesischen Malerei, 1300–1450, Kunsthistorische Studiën van het Nederlands Historisch Instituut te Rome 1, The Hague, 1969, p. 174 n. 78.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Massachusetts, 1972, pp. 194, 291, 571.
• Brigitte Klesse, Katalog der italienischen, französischen, und spanischen Gemälde bis 1800 im Wallraf-Richartz Museum, Cologne, 1973, pp. 122–23.
• Michel Laclotte and Élisabeth Mognetti, Inventaire des collections publiques françaises 21: Avignon, Musée du Petit Palais. Peinture italienne, Paris, 1976, no. 227.
• Mark J. Zucker, “The Polygonal Halo in Italian and Spanish Art,” Studies in Iconography 4 (1978), p. 73. App. 1C, pt. 3(d).
• Denis Sutton, “Robert Langton Douglas: Dramatic Days,” Apollo 109 (1979), p. 469, fig. 38.
• Giulietta Chelazzi Dini in Il gotico a Siena: Miniature, pitture, oreficerie, oggetti d’arte, exh. cat., Siena, Palazzo Pubblico, 1982, under no. 121.
• Jacqueline Mongellaz, L’art gothique siennois: enluminure, peinture, orfèvrerie, sculture, exh. cat., Avignon, Musée du Petit Palais, 1983, p. 307.
• Gail E. Solberg, Taddeo di Bartolo: His Life and Work, doctoral dissertation, New York University, The Institute of Fine Arts, 1991, pp. 1276–1281, 1514, 1595 (ill.).
• Christopher Lloyd, with contributions by Margherita Andreotti, Larry J. Feinberg, and Martha Wolff, Italian Paintings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection, Chicago, 1993, pp. 230–34 (ill. in color).
• Mojmír S. Frinta, Punched Decoration on Late Medieval Panel and Miniature Painting: Part I. Catalogue Raisonné of All Punch Shapes, Prague, 1998, p. 69.
• Michel Laclotte and Esther Moench, Peinture italienne. Musée du Petit Palais Avignon (Paris, 2005), pp. 194-95, under no. 261.

• Manchester, Art Treasures of the United Kingdom, 1857, no. 26, as Giotto.
• The Art Institute of Chicago, A Century in Progress Exhibition of Paintings and Sculpture, June 1 to November 1, 1933, no. 98.
• Atlanta, GA, High Museum of Art, The “Gates of Paradise”: Lorenzo Ghiberti’s Renaissance Masterpiece, April 28-July 15, 2007; Art Institute of Chicago, July 28-October 13, 2007; Metropolitan Museum of Art, October 30, 2007-January 13, 2008 [Chicago Only].

John Rushout, second Baron Northwick, Thirlestane House, Cheltenham, by 1857 (according to the 1857 Manchester exhibition catalogue); sold Phillips at Thirlestane House, August 18, 1859, no. 1467, as Giotto, to Cox, Berners Street, for 13 guineas (according to 1859 Northwick collection catalogue, p. 20); Canon A. F. Sutton, Brant Broughton, by 1909 (according to Bernard Berenson, The Central Italian Painters of the Renaissance, 2d ed., New York and London, 1909, p. 256); sold Sotheby’s, London, June 25, 1924, no. 33 (ill.), as Giotto, to Oliver for £460 (according to annotated sales catalogue in the Thomas J. Watson Library, The Metropolitan Museum of Art, New York); Robert Langton Douglas, London, 1924; sold by Langton Douglas to Martin A. Ryerson (d. 1932), Chicago, 1924 (according to a letter from Robert Langton Douglas to Martin A. Ryerson of November 11, 1924, and a receipt dated November 18, 1924, in the Ryerson papers, Archives, The Art Institute of Chicago); on loan to the Art Institute from 1924; bequeathed to the Art Institute, 1933.