Saint Catherine of Siena

• Edward W. Gregory, “Earl Brownlow’s Collection of Pictures at Ashridge Park,” Connoisseur 13, 53 (1906), pp. 4–7, ill.
• Bernard Berenson, The Central Italian Painters of the Renaissance, 2d ed. (New York and London, 1909), p. 253.
• Phillips, Daily Telegraph (December 7, 1909).
• Umberto Gnoli, “La pittura Umbra alla Mostra di Burlington Club,” Rassegna d’arte umbra 1 (1910), pp. 52–53.
• E. Harter, “Sei quadri dello Spagna,” Rassegna d’arte 14 (1914), pp. 59–60, ill.
• H. G. T. Cannons, ed., Art Prices Current: 1922–1923 (London, 1923), p. 205, no. 4422.
• Umberto Gnoli, Pittori e miniatori nell’Umbria (Spoleto, 1923), pp. 165–66.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 160, no. 2077.
• Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 544.
• William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, (unpub. MS, 1932, Archives, The Art Institute of Chicago), n. p.
• Raimond van Marle, The Development of the Italian Schools of Painting, vol. 14 (The Hague, 1933), pp. 458–60, fig. 297, p. 463.
• Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 467.
• F. Mason Perkins in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 31 (Leipzig, 1937), p. 323.
• Kate Lancaster Brewster, “The Ryerson Gift to The Art Institute of Chicago,” Magazine of Art 31, 2 (1938), p. 97.
• “Exhibition of the Ryerson Gift,” Art Institute of Chicago Bulletin 32 (1938), p. 3, ill.
• Emmanuel Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs de tous les temps et de tous les pays, 2d ed., vol. 8 (Paris, 1960), p. 41.
• Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 422.
• Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 517.
• Bernard Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools, vol. 1 (London, 1968), p. 412.
• John Maxon, The Art Institute of Chicago (New York, 1970), pp. 253, 283, ill.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 191, 386, 571.
• Dizionario enciclopedio Bolaffi dei pittori e degli incisori italiani, dall’XI al XX secolo vol. 10 (Turin, 1975), p. 386.
• Emmanuel Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs, et graveurs de tous les temps et de tous les pays, 3d ed., vol. 9 (Paris, 1976), p. 732.
• M. Levi d’Ancona, The Garden of the Renaissance: Botanical Symbolism in Italian Painting (Florence, 1977), p. 129, under no. 90.
• John Fleming, “Art Dealing in the Risorgimento, III,” Burlington Magazine 121 (1979), p. 500 n. 57.
• Fausta Gualdi Sabatini, Giovanni di Pietro detto Lo Spagna (Spoleto, 1984), vol. 1, pp. 57, 168, 193–94, no. 39, p. 195, under no. 41, vol. 2, pl. 73.
• Lidia Bianchi and Diega Giunta, Iconografia di S. Caterina da Siena (Rome, 1988), pp. 380–81, no. 354.
• Filippo Todini, La pittura umbra dal duecento al primo cinquecento vol. 1 (Milan, 1989), p. 313.
• Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 219–21, ill.
• Joseph Antenucci Becherer, Pietro Perugino: Master of the Italian Renaissance, exh. cat. (New York, 1997), p. 118.

• London, Burlington Fine Arts Club, A Collection of Pictures of the Umbrian School, 1910, no. 38.
• Art Institute of Chicago, A Century of Progress, 1933, no. 119.

Possibly William Blundell Spence, Florence, in 1857 and possibly sold by him to Lady Marianne Margaret Compton, Viscountess Alford (d. 1888), 1857 [Ellis Waterhouse suggested that it could have been the “St. Catherine by Pinturicchio” sold by Spence to Lady Marianne Margaret Compton and mentioned in a letter from Spence to Lady Waldegrave dated April 14, 1857, Strachie MSS DD/SH 285 WW 52/1, Somerset Record Office, Taunton, according to Fleming 1979]. Adelbert Wellington Brownlow Cust, third Earl Brownlow (d. 1921), Ashridge Park, Berkhamsted [he may have inherited it from his mother, Lady Marianne Margaret Compton, Viscountess Alford if it was the picture referred to above; it was certainly in Brownlow’s possession by 1906, see Gregory 1906]; sold by his executors, Christie’s, London, May 4, 1923, no. 50 (ill.), to Agnew’s for ₤924 [according to Cannons 1923]; sold by Agnew’s, London, to Martin A. Ryerson (d. 1932), Chicago, 1923 [according to Agnew’s invoice, Art Institute archives]; intermittently on loan to the Art Institute from 1924; by descent to his wife Carrie Hutchinson Ryerson (1859–1937), Chicago, 1932 [Last Will and Testament of Martin A. Ryerson, Died August 11, 1932, copy in Institutional Archives, Art Institute of Chicago]; bequeathed to the Art Institute of Chicago, 1937.