49 × 27.7 cm (19 5/16 × 10 15/16 in. ); painted surface: 48.2 × 26.8 cm (19 × 10 9/16 in.)
Mr. and Mrs. Martin A. Ryerson Collection
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José Gudiol, Pintura medieval en Aragón, Saragossa, 1971, p. 62.
Eric Young, Bartolomé Bermejo: The Great HispanoFlemish Master, London, 1975, pp. 46–49, 64, 74, 133–34, pl. 24.
Fabián Mañas Ballestín, Pintura gótica aragonesa, Saragossa, 1979, p. 170.
Gianni Rebora et al., Bartolomé Bermejo e il trittico di Acqui, Acqui Terme, 1987, p. 69, fig. 37.
Judith Berg Sobre, Behind the Altar Table: The Development of the Painted Retable in Spain, 1350–1500, Columbia, Mo., 1989, p. 51 n. 7.
Judith Berg Sobré, Bartolomé de Cárdenas, “El Bermejo”: Itinerant Painter in the Crown of Aragon, Bethesda, Md., 1997, pp. 64, 169–72, 176, 260–64.
Judith Berg Sobré in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago (Chicago, 2008), pp. 44-8, ill.
Edited by Figueras, Joan Molina, Bartolomé Bermejo, Exh. cat. (Spain, 2018) pp. 19, 45-46, 174-178, 201, cat. 9.
Judith Berg Sobré, Bartolomé Bermejo and the Painting Business in the Crown of Aragon in Late Gothic Painting in the Crown of Aragon and the Hispanic Kingdoms, edited by Alberto Velasco and Francesc Fité, Brill, Leiden and Boston, 2018, p. 168, n.76.
Bruges, Groeningemuseum, The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting, 1430–1530, 2002, cat. 109.
Barcelona, Museu Nacional d’Art de Catalunya, and Museo de Bellas Artes de Bilbao, La pintura gótica flamenco: Bartolomé Bermejo y su época, 2003, cat. 4.
Madrid, Museo Nacional Del Prado, Bartolomé Bermejo, October 9, 2018 - January 27 2019, cat. 9; Barcelona, Museu Nacional D’Art De Catalunya, February 14 - May 19, 2019.
Private collection, Spain, before 1931 [letter from Abris Silberman to Daniel Catton Rich, March 31, 1947, Art Institute Archives]; E. and A. Silberman Galleries, Vienna, as Saint Augustine by Simon Marmion, by January 1931 [note by Max Friedländer on the reverse of a photograph in the Friedländer Archive, Rijksbureau voor Kunsthistorische Documentatie, The Hague]. New York art market, 1934 [according to Angulo 1935, p. 302; this was probably Silberman’s New York gallery]. Dr. Oscar Bondy (died 1944), Vienna and New York ; his widow, Elisabeth Soinig Bondy, until 1947 [the painting was not among the objects sealed in Bondy’s Vienna apartment in 1938; for this list see Sophie Lillie, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens, Vienna, 2003, pp. 218-44; the letter from Silberman to Rich cited above indicates that the dealer had recently acquired the painting from Mrs. Bondy]; sold by E. and A. Silberman, New York, to the Art Institute, 1947 [purchased with deaccession funds].
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