Allegory of Venus and Cupid

• J. A Crowe and G. B. Cavalcaselle, Titian: His Life and Times, London, 1877, vol. 2, p. 468; 2nd ed., London, 1881, vol. 2, p. 468.
• W. R. Valentiner, Das unbekannte Meisterwerk in öffentlichen und privaten Sammlungen, vol. 1, Berlin, 1930, no. 25 (ill.).
• L. Venturi, “Contributi a Tiziano,” L’arte 35 (1932), pp. 489–91, fig. 5.
• “Buyers in Chicago Get Titian Canvas,” New York Times, October 30, 1936, p. 25.
• “Famed Titian Work Acquired by Chicagoans,” Chicago Tribune, October 20, 1936, p. 28.
• “A Great Titian Goes to Chicago,” Art News 35, 5 (1936), p.15 (ill.).
• W. M. Milliken, “The Twentieth Anniversary Exhibition of the Cleveland Museum of Art,” Art News 34, 37 (1936), pp. 8–9 (ill.).
• “Rare Titian Composition Now Part of Chicago Collection,” New York American, October 30, 1936, p. 23.
• H. Tietze, Tizian: Leben und Werk, Vienna, 1936, vol. 1, p. 242, vol. 2, p. 304.
• “Titian, Long Hidden in Britain, Is Sold Here to Chicago Couple,” New York Herald Tribune, October 30, 1936, p. 25.
• “Worcesters Lend Great Titian to Chicago,” Art Digest 11, 3 (1936), p. 15 (ill.).
• “A Great Titian,” Bulletin of the Art Institute of Chicago 31 (1937), p. 8.
• Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings, 1938, pp. 16–17, no. 12, frontispiece ill.
• E. Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance, New York, 1939, p. 165 n. 127.
• F. A. Sweet, “The Education of Cupid by Titian,” Bulletin of the Art Institute of Chicago 37 (1943), pp. 66–68 (ill. cover).
• E. Tietze-Conrat, “The Wemyss ‘Allegory’ in The Art Institute of Chicago,” Art Bulletin 27 (1945), pp. 269–71, fig. 1.
• “Art Institute Monument to City’s Culture,” Chicago Sunday Tribune, February 3, 1946, pp. 1, 16.
• R. P[allucchini], “Dipinti veneziani a Chicago, Detroit, Toledo e Hartford,” Arte veneta 1 (1947), pp. 147–48.
• Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1948, p. 26.
• P. della Pergola, Galleria Borghese: I dipinti, Rome, 1955, vol. 1, pp. 131–32, under no. 235.
• Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, London, 1957, vol. 1, p. 184.
• F. Valcanover, Tutta la pittura di Tiziano, vol. 2, 1545–1576, Milan, 1960, p. 70.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) p. 307.
• Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae, Munich, 1961, p. 517.
• A. Ballarin, “Profilo di Lamberto d’Amsterdam (Lamberto Sustris),” Arte veneta 16 (1962), pp. 76–77, 81 n. 38, fig. 90.
• A. Ballarin, “Lamberto d’Amsterdam (Lamberto Sustris): Le fonti e la critica,” Atti dell’Istituto Veneto di Scienze, Lettere ed Arti: Classe di scienze morali, lettere ed arti 121 (1962–1963), p. 364.
• A. Ballarin, “Osservazioni sui dipinti veneziani del cinquecento nella Galleria del Castello di Praga,” Arte veneta 19 (1965), p. 71 (detail ill.).
• R. Pallucchini, Tiziano, vol. 1, Florence, 1969, pp. 217, 265.
• R. Kultzen and P. Eikemeier, Venezianische Gemälde des 15. und 16. Jahrhunderts, Munich, 1971, vol. 1, p. 190, under no. 484.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 140, 201, 476, 571.
• H. E. Wethey, The Paintings of Titian: Complete Edition, vol. 3, The Mythological and Historical Paintings, London, 1975, p. 207, no. X-3.
• H. Potterton, Venetian Seventeenth-Century Painting, exh. cat., London, The National Gallery, 1979, p. 32.
• V. Sgarbi, “Giovanni de Mio, Bonifacio de’ Pitati, Lamberto Sustris: Indicazioni sul primo tempo del manierismo nel Veneto,” Arte veneta 35 (1981), p. 60.
• E[lisabette S[accomani], “Sustris, Lambert,” in La pittura in Italia: Il Cinquecento, vol. 2 (Milan, 1988), p. 848.
• Christopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago (Chicago, 1993), pp. 248–53, ill.
• Kristina Hermann-Fiore, “’L’Allegoria coniugale’ di Tiziano del Louvre e le derivazioni, connesse con ‘Venere che bende Amore’” in Tiziano, Amor Sacro e Amor Profano, exh. cat., Palazzo delle esposizioni, Rome,1995, pp. 412, 414, 417, 420, fig. 187.
• J[aynie] A[nderson] in Tiziano, Amor Sacro e Amor Profano, exh. cat., Palazzo delle esposizioni, Rome,1995, pp. 435–36, under no. 149.
• E[lisabette S[accomani], “Sustris, Lambdert,” in La pittura nel Veneto: Il Cinquecento 3 (Milan, 1999), p. 1324.

• London, British Institution, 1835, no. 116, as Titian, An Allegory (unfinished).”
• London, British Institution, 1858, no. 40, as Titian, Venus, Cupid, and Psyche.
• Edinburgh, Royal Scottish Academy, Works of Old Masters and Scottish National Portraits, 1883, no. 336, as Titian, Venus, Cupid, etc.
• The Cleveland Museum of Art, Twentieth Anniversary Exhibition, 1936, no. 181, as Titian, Education of Cupid.
• Chicago, Art Institute, Masterpieces of the Month, May 1943 (no cat.), as Titian, The Education of Cupid.

Francis, eighth Earl of Wemyss (died 1853), Gosford House, Longniddry, East Lothian, Scotland, by 1835 [lent by him to London, 1835; see A. Graves, A Century of Loan Exhibition, 1813–1912, New York [1968], vol. 3, pp. 1318–19]; by descent to Hugo Richard, eleventh Earl of Wemyss; sold by him to Wildenstein, Paris, 1927 [according to Ay-Whang Hsia, Wildenstein, New York, in conversation with Lisa Dunn, October 11, 1991]; Baron Heinrich Thyssen-Bornemisza, by 1930 [Valentiner 1930; the identity of the owner is given in a letter of February 3, 1937 from Felix Wildenstein to Daniel Catton Rich in curatorial file]; Wildenstein, Paris and New York, by 1935 [Ay-Whang Hsia interpreted the Wildenstein stock books as indicating that the purchaser of the painting – i.e. Thyssen, though no name is given–returned the paintings to Wildenstein in the mid 1930s; see Lisa Dunn’s note of telephone conversation cited above]; sold by Wildenstein to Charles H. Worcester, Chicago, 1936 [according to correspondence from Felix Wildenstein to Robert B. Harshe of June 8, 1936, and from Charles H. Worcester to Felix Wildenstein of November 21, 1936, in curatorial file]; on loan to the Art Institute from 1936; given to the Art Institute, 1943.