Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
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Leo Planiscig, Venezianische Bildhauer der Renaissance (Vienna, 1921), pp. 478–79, figs. 503–06.
Art Institute of Chicago, “New Acquisitions,” Art Institute of Chicago Quarterly 47, 4 (1953), pp. 70–71.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” Miscellanea bibliothecae hertzianae, edited by Leo Bruhns, Franz Graf, Wolff Metternich, and Ludwig Schudt, Römische Forschungen der Bibliotheca Hertziana 16 (1961), p. 518.
New York, Parke-Bernet Galleries, Inc., The Elms (June 27, 1962), p. 39, no. 189.
Georges S. Salmann, “First Stages in Starting a Collection of Bronzes,” Connoisseur 160, 643 (1965), p. 20, fig. 6.
John Maxon, The Art Institute of Chicago (London, 1970), p. 225.
Anne Michael, Four Terracotta Statuettes Attributed to Alessandro Vittoria in the Art Institute of Chicago, master’s thesis (University of Chicago, 1977), figs. 1–8, 30.
Thomas E. Norton, 100 Years of Collecting in America: The Story of Sotheby Parke Bernet (New York, 1984), p. 172 (ill.).
Claudia Kryza-Gersch, “New Light on Nicolò Roccatagliata and His Son Sebastian Nicolini,” Nuovi Studi 5 (1998), p. 120, fig. 224.
Trent, Castello del Buonconsiglio, “La bellissima maniera, Alessandro Vittoria e la scultura del Cinquecento,” 25 June – 26 September 1999, no. 82.
Adolph Loewi, Venice, by 1939 [according to Kay Robertson, daughter of Adolph Loewi, telephone conversation, November 22, 2002, notes in curatorial file]; Adolph Loewi, Inc., Los Angeles, 1939 [according to Robertson conversation cited above]; sold to the Art Institute, 1953.
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