Giulio Benedetto Emert, Fonti manoscritte inedite per la storia dell’arte nel Trentino (Florence, 1939), pp. 125, 138, 173.
Ercole Mazza, “Giambattista Moroni,” in G.B. Moroni pittore (Albino, 1939), pp. 19, 28.
“Un monumento a G. B. Moroni in Albino,” Bergomum 33 (1939), p. 120.
Walter Pach, Masterpieces of Art: Catalogue of European and American Paintings, 1500–1900, exh. cat. (New York, New World’s Fair, 1940), p. 9.
Frank Holland, “Superb Painting Chosen as Masterpiece of Month,” Chicago Sun, September 10, 1944.
Davide Cugini, “Nota su G. B. Moroni a Trento,” Bergomum 39 (1945), p. 45.
Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 26.
Piero Sannazzaro, “Madruzzo, Ludovico,” in Enciclopedia Cattolica (Rome, 1951), col. 1802, detail ill.
Frederick A. Sweet, “La pittura italiana all’ ‘Art Institute’ di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 699–701, ill.
Giovanni Morelli, Italienische Malerei der Renaissance im Briefwechsel von Giovanni Morelli und Jean Paul Richter, 1876–1891, ed. Irma Richter and Gisela Richter (Baden-Baden, 1960), p. 350.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 46, 340–41, ill.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 518.
Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), p. 203.
Bernard Berenson, Italian Pictures of the Renaissance (London, 1968), p. 285.
John Maxon, The Art Institute of Chicago (New York, 1970), p. 255, ill.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 145, 515, 570.
Mina Gregori, “Il ritratto di Alessandro Vittoria del Moroni a Vienna,” Paragone 27, 317–19 (1976), pp. 95, 99 n. 22.
Francesco Rossi, “Giovan Battista Moroni nel IV centenario della morte,” Notizie da Palazzo Albani 6, 2 (1977), p. 51.
Allan Braham, Giovanni Battista Moroni: 400th Anniversary Exhibition, exh. cat. (London, The National Gallery, 1978), p. 7.
D. Spinelli, “Trento lo scoprì prima di Bergamo,” L’eco di Bergamo, February 15, 1978, pp. 3, 7.
Mina Gregori, “Giovan Battista Moroni,” in I pittori bergamaschi dal XIII al XIX secolo, vol. 3, Il cinquecento (Bergamo, 1979), pp. 98–99, 144, 251–53, no. 92, p. 283 under no. 142, p. 295 under no. 173, p. 306 under no. 196, p. 307, under nos. 198–99, p. 311, under no. 208, p. 326, ill.
Sheldon Grossman, letter to the editor, “Titian and Moroni in Trent,” Apollo 109 (1979), p. 246.
Fern Rusk Shapley, Catalogue of the Italian Paintings, vol. 1 (London, 1979), pp. 340–41.
Mina Gregori in The Genius of Venice, 1500–1600, exh. cat. (London, Royal Academy of Arts, 1983–84), pp. 187–88, no. 61, under no. 62.
Artur Rosenauer, “Exhibition Reviews, London: Venice at The Royal Academy,” The Burlington Magazine 126 (1984), p. 305.
Ettore Camesasca, ed., Da Raffaello a Goya…da Van Gogh a Picasso: 50 dipinti dal Museu de Art di San Paolo del Brasile, exh. cat. (Milan, Palazzo Reale, 1987), p. 84.
Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 22, ill.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 165–71, ill.
Francesco Rossi, G. B. Moroni (Soncino, 1991), p. 44, under no. 6.
Silvana Milesi, Moroni e il primo Cinquecento bergamasco (Bergamo, 1991), pp. 56–57, ill.
Laura Dal Prà, I Madruzzo e l’Europa, 1539–1658: I principi vescovi di Trento tra Papato e Impero, exh. cat. (Trent, Castello del Buonconsiglio, 1993), pp. 163, no. 2, 163–64, under no. 3.
Erica E. Hirschler, “Helping ‘Fine Things Across the Atlantic’: Mary Cassatt and Art Collecting in the United States” in Mary Cassatt: Modern Woman, exh. cat. (Chicago, Art Institute of
Chicago, 1998), pp. 202-203, 210, fig. 30.
Art Institute of Chicago, Treasures from the Art Institute of Chicago (Chicago, 2000), p. 95, ill.
Nicholas Penny, The Sixteenth Century Italian Paintings, vol. 1 National Gallery Catalogues (London, 2004), pp. 194, 202–03, 206, ill.
Erika Billeter, Hunde und ihre Maler: Zwischen Tizians Aristokraten und Picassos Gauklern (Bern, 2005), pp. 29–30, ill.
Larry J. Feinberg, “A Brief History of the Old Masters in the Art Institute of Chicago,” Art Institute of Chicago Museum Studies 32 (2006), pp. 14, 90 n. 13.
Anna Rühl, Moretto da Brescia: Bildnisse, Studien zu Form, Wirkung und Funktion des Porträts in der italienischen Renaissance (Korb, Remstal, 2011), fig. 50.
Ng, Aimee, Simone Facchinetti, Arturo Galansino, “Moroni: The Riches of Renaissance Portraiture,” Exh. cat. (The Frick Collection/Scala Arts Publishers, 2019) pp. 162-167, 27
London, Royal Academy of Arts, The Genius of Venice, 1500–1600, November 25, 1983–March 11, 1984, no. 61.
Trent, Castello del Buon Consiglio, I Madruzzo e l’Europa, 1539–1658, July 10–October 31, 1993, no. 2.
Fort Worth, Texas, Kimbell Art Museum, Giovanni Battista Moroni: Renaissance Portraitist, February 26–May 28, 2000, no. 2.
New York, Metropolitan Museum of Art, Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy, May 27–August 15, 2005, no. 35.
New York, The Frick Collection, “The Portraits of Giovanni Battista Moroni,” 21 February - 2 June 2019, 27, pg. 162-167
Probably Madruzzo family, Castello del Buon Consiglio, Trent; by descent to Carlo Emanuele Madruzzo (died 1658) [the painting and its pendant, the portrait of his brother Gian Federico Madruzzo now in the National Gallery of Art, Washington D.C., have been identified as the “due quadri de ritratti de Madruzzi” recorded in an inventory of the Castello made between December 1658 and January 13, 1659, see Oberziner 1900 and Shapley, 1979]; possibly his cousin Charlotte de Lénoncourt [see Oberziner 1900]. Barons Roccabruna, Trent, by 1682; by descent to Giacomo Roccabruna (died 1735) [The picture and the portrait of Gian Federico Madruzzo, as well as the portrait of their uncle Cardinal Cristoforo Madruzzo by Titian, are presumably the “I tre quadri grandi di Madruzzi” mentioned in a 1682 Roccabruna inventory cited by Oberziner 1900]; by descent to his sister Anna Caterina, wife of Baron Antonio Gaudenti della Torre, Trent [according to Oberziner 1900]; Gaudenti family, Trent, until at least 1782 [Chiusole 1782 noted that “il Signor Gaudenti, fra altre cose degne, conserva tre ritratti di Tiziano”]; to the brothers Barons Isidoro and Valentino Salvadori, Trent, by 1833 [according to an 1833 manuscript by Benedetto Giovanelli published by Emert 1939 describing “Tre ritratti de’ Madruzzi”; see Emert 1939 for the relationship of the Guadenti and Salvadori families]; sold to Trotti and Co., Paris, and Knoedler, Paris, 1906 along with the portrait of Gian Federico Madruzzo and the portrait of Cardinal Cristoforo Madruzzo by Titian [see Trotti 1927 and Gregori 1979]; sold by Trotti and Knoedler to James Stillman (died 1918), Paris and New York, by 1907 along with the portraits of Gian Federico Madruzzo and Cardinal Cristoforo Madruzzo [Trotti 1927 and Berenson 1907]; by descent to his son Charles Chauncey Stillman (died 1927), New York, along with the portraits of Gian Federico Madruzzo and Cardinal Cristoforo Madruzzo; on loan to The Metropolitan Museum of Art, New York, 1921–26 [according to registrar’s records]; sold American Art Association, New York, February 3, 1927, no. 27 to Charles H. Worcester, Chicago [for buyer information, see Rich, Art News, 1930; the portrait of Gian Federico Madruzzo was sold as no. 28.]; on loan to the Art Institute from 1927; given to the Art Institute, 1929.