Mary Magdalene

• [L. Chizzola and G. B. Carboni], Le pitture e sculture di Brescia che sono esposte al pubblico con un’appendice di alcune private gallerie (Brescia, 1760), p. 179.
• Filippo Baldinucci, Notizie de’ professori del disegno, vol. 6 (Turin, 1820), p. 135.
• Galleria di quadri esistenti in casa Fenaroli in Brescia (Brescia, 1820), p. 13, no. 162.
• Federico Odorici, Guida di Brescia (Brescia, 1853), p. 192.
• J. A. Crowe and G. B. Cavalcaselle, A History of Painting in North Italy (London, 1871), p. 401; 2d ed., ed. by Tancred Borenius, vol. 3 (London, 1912), p. 291.
• S. Fenaroli, Alessandro Bonvicino soprannominato: il Moretto, pittore bresciano (Brescia, 1875), p. 48.
• Paolo da Ponte, L’opera del Moretto (Brescia, 1898), p. 50.
• F. Mason Perkins, “Miscellanea,” Rassegna d’arte 15 (1915), p. 123, ill.
• Giorgio Nicodemi, Gerolamo Romanino (Brescia, 1925), pp. 130, 132, ill.
• Roberto Longhi, “Recensioni: Di un libro sul Romanino,” L’arte 29 (1926), p. 146; reprinted in Opere complete di Roberto Longhi, vol. 2 (Florence, 1967), p. 104.
• Adolfo Venturi, Storia dell’arte italiana, vol. 9, pt. 4 (Milan, 1929), p. 203.
• Georg Gronau, “Moretto, Alessandro,” in Thieme-Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 25 (Leipzig, 1931), p. 141.
• György Gombosi, Moretto da Brescia (Basel, 1943), p. 111, no. 161.
• Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 339–40.
• John Maxon, The Art Institute of Chicago (New York, 1970), p. 254, ill.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 144, 430, 571.
• Alessandro Bonvicino, il Moretto, exh. cat. (Brescia, Monastero di S. Giulia, 1988), pp. 47, 166, under no. 84, ill.
• Pier Virgilio Begni Redona, Alessandro Bonvicino, il Moretto da Brescia (Brescia, 1988), pp. 446, 447, no. 115, ill.
• Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 162–64, ill.
• Isabella Lechi, “La collezione Avogadro di Brescia,” Arte lombarda nos. 2–4 (1995), pp. 176, 179 n. 19.
• Isabelle Renaud-Chamska, Marie Madeleine en tous ses états: typologie d’une figure dans les arts et les littérature (Paris, 2008), pp. 200–01, ill.

Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, no. 130.

Avogadro family, Brescia, by 1760, inventory after 1760, no. 82 [according to Chizzola and Carboni 1760, p. 179; and MS inventory, L.II.6 m.3, in the Biblioteca Queriniana, Brescia]; by descent to the Fenaroli family, Brescia, Palazzo Fenaroli-Avogadro, by 1820, [see catalogue of Fenaroli collection, 1820]; for relationship between the Avogadro and Fenaroli families, see Lechi, Fedrigolli, and Lechi 2010]; Bartolomeo Fenaroli (died 1869), Brescia, Palazzo Fenaroli-Avogadro, by 1869 [according to Lechi, Fedrigolli, and Lechi 2010, who cite the 1870 inventory of paintings owned by Bartolomeo made upon his death in 1869, l’Archivio Bettoni Cazzago, Brescia]; by descent to his son Gerolamo Fenaroli (died 1880), Brescia, Palazzo Fenaroli-Avogadro, from 1869 [according to Lechi, Fedrigolli, and Lechi 2010, who cite an inventory of paintings owned by Gerolamo made upon his death in 1880]; sold by his heirs in the auction of the Fenaroli collection, Brescia, April 16–19, 1882, either no. 3657 or no. 3661 [the auction catalogue is reproduced in Lechi, Fedrigolli, and Lechi 2010, pp. 66–71]. P. Scalvini Antiquario, Brescia, by 1898 [see da Ponte, 1898]. Thomas Humphry Ward, London [seller’s name given in an annotated copy of the 1904 sale catalogue at Christie’s, London referenced below]; sold Christie’s, London, May 14, 1904, no. 54, to Farrer for 100 gns [according to the annotated sale catalogued referenced above]; Sir William James Farrer (died 1911), Sandhurst Lodge, Wokingham, from 1904; sold Christie’s, London, March 23, 1912, no. 33, to Agnew for 200 gns [according to annotated copies of the sale catalogue at Christie’s, London]; sold by Agnew, London, to Charles Fairfax Murray, 1912 [information recorded in the ledger of Thomas Agnew and Sons, Ltd.]. F. Mason Perkins, Florence, by 1912 [according to a letter from F. Mason Perkins to T. J. Blakeslee dated December 5, 1912, in curatorial file]; sold by Perkins to T. J. Blakeslee (died 1914), New York, by February 23, 1914 [see letter cited above and Gombosi 1943, p. 111.]; sold to Vose Galleries, Boston, February 23, 1914 [according to Vose Galleries ledger, inventory no. 3611, Boston]; sold by Vose Galleries to William Owen Goodman, Chicago, February 5, 1917 [see letter from Robert C. Vose, Jr., to Margherita Andreotti dated May 12, 1988, in curatorial file; also Vose Galleries ledger cited above]; on loan to the Art Institute from 1928; given to the Art Institute, 1935.