Ernst Emmerling, Pompeo Batoni: sein Leben und Werk (Darmstadt: Gesellschaft Hessischer Bücherfreunde, 1932), p. 106, no. 43.
Art Institute of Chicago Annual Report 1974-75 (Chicago, 1975), pp. 11 (ill.), 12, 31.
John Maxon, The Art Institute of Chicago, rev. ed (Thames and Hudson, 1977), p. 64 (ill.).
Anthony M. Clark, Pompeo Batoni: A Complete Catalogue of His Work with an Introductory Text, ed. by Edgar Peters Bowron (Phaidon, 1985), p. 340, no. 394, pl. 354.
Paul Mitchell and Lynn Roberts, Frameworks: Form, Function and Ornament in European Portrait Frames (London: Merrell Holberton, 1996), p. 268 (ill.).
Edgar Peters Bowron, Pompeo Batoni: Complete Catalogue of his Paintings, vol. 2 (New Haven and London: Yale University Press, 2016), pp. 511-13, ill., no. 403.
Art Institute of Chicago, European Portraits 1600-1900 in The Art Institute of Chicago, 1978, cat. 10 (ill.).
Art Institute of Chicago, The Art of the Edge: European Frames 1300-1900, 1986, cat. 22 (frame ill., painting mentioned).
Yale Center for British Art, New Haven, The English Prize: The Capture of the Westmorland, and Episode of the Grand Tour, October 4, 2012-January 13, 2013, cat. 6 (ill.).
Possibly Princess Giuliana Santacroce, Rome [acc. to Clark 1985]; Santacroce family, Rome by the early nineteenth century [the painting appears in an undated, early-nineteenth-century manuscript inventory, Quadri della Galleria del Principe D. Antonio Santacroce, no. 51, as Ritratto del marchese Florido Blanco del Battoni; the original inventory previously in the possession of the Rangoni family, copy in curatorial file]; by descent to Princess Luisa Pubblicola Santacroce, who married Marquess Aldobrandino Rangoni (1846–1928) in 1869 in Macerata, Marche, Italy; by descent to the Rangoni family, Macerata [seen by Carlo Sestieri in the villa of Forano near Macerata, no date provided, see letter from Sestieri, dated December 10, 1977, in curatorial file]. Roman art market, 1968-73 [acc. to Clark 1985]; Marcello and Carlo Sestieri, Rome, by late 1973 [see letter from Sestieri, December 1977, in curatorial file]. Heim Gallery, London, 1974; sold to the Art Institute, 1974.
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