Francesco de' Medici

Painting and Sculpture of Europe

c. 1560

Attributed to Alessandro Allori (Italian, 1535–1607)

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Alessandro Allori
Title: Francesco de' Medici
Place: Italy (Artist's nationality:)
Date 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.: 1555–1565
Medium: Oil on panel
Dimensions: 97.9 × 76.4 cm (38 1/2 × 30 1/8 in.); Framed: 117.7 × 96.9 × 10.2 cm (46 3/8 × 38 1/8 × 4 in.)
Credit Line: Gift of Edgar Kaufmann, Jr.
Reference Number: 1965.1179
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/24684/manifest.json

James B. Townsend and W. Stanton Howard, Memorial Catalogue of Paintings by Old and Modern Masters Collected by Edward R. Bacon (New York, 1919), p. 224, n. 282.
Arthur McComb, Agnolo Bronzino: His Life and Works (Cambridge, Massachusetts, 1928), p. 73.  Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 116.
Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 100.
Andrea Emiliani, Il Bronzino (Milan, 1960), pp. 70, 336.
Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1 (London, 1963), p. 43.
John Maxon, “Some Recent Acquisitions,” Apollo 84 (1966), p. 221, fig. 2.
Luciano Berti, Il principe dello studiolo: Francesco I dei Medici e la fine del Rinascimento fiorentino (Florence, 1967; new ed. Pistoia, 2002), p. 33, fig. 20.
John Maxon, The Art Institute of Chicago (New York, 1970), pp. 254, ill., 278.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 36, 515, 571.
Edi Baccheschi, L’opera completa del Bronzino, Classici dell’arte 70 (Milan, 1973), p. 106, no. 130, ill.
Christie’s, New York, Important Paintings by Old Masters, sale cat. (Christie’s, January 12, 1978), p. 102, under lot 86.
Karla Langedijk, The Portraits of the Medici, 15th – 18th Centuries, vol. 2 (Florence, 1983), p. 858, no. 42.13b.
Gabrielle Langdon, “A Reattribution: Alessandro Allori’s Lady with a Cameo,” Zeitschrift für Kunstgeschichte 52 (1989), p. 31 n. 25.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 2–5, ill.
Everett Fahy, Dipinti, desegni, miniature, stampe, Archivio storico fotografico di Stefano Bardini (Florence, 2000), p. 45, no. 371, fig. 371.
Ian Wardropper, “Between Art and Nature: Jewelry in the Renaissance,” Art Institute of Chicago Museum Studies 25, 2 (2000), p. 10, fig. 6.

Probably Prince Anatole Demidoff, Villa San Donato, Florence (d. 1870) [see McComb 1928; the painting may be the “Portrait de Come di Médicis” attributed to Bronzino that was sold in the March 15, 1880 sale of the contents of the Villa San Donato as lot 1387]. Sulley and Co., London [according to Townsend and Howard 1919]; sold by Sulley and Co. to Edward R. Bacon (d. 1915), New York and Netherdale House, Turriff, Aberdeenshire [according to Townsend and Howard 1919]; at his death to his sister-in-law, Virginia Purdy Bacon; sold Christie’s, London, December 12, 1919, no. 69, as Bronzino, Portrait of a Youth, for ₤620 [according to an annotated sale catalogue in the Getty Research Institute, Los Angeles]. Duveen Brothers, New York, by 1925 [according to McComb 1928 and information on the mount of a photograph of this picture in the Witt Library, London]. Edgar Kaufmann, Jr., Pittsburgh, by 1932 [according to Berenson 1932]; given to the Art Institute, 1965.

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Date 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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Date 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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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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