S/AGV/STI/NV/S (to the left of Saint Augustine, in red pigment), S/PET/RVS (to the left of Saint Peter, in red pigment)
77.4 × 49.5 cm (30 1/2 × 19 1/2 in.)
Gift of Mrs. Charles V. Hickox
Extended information about this artwork
Frank Jewett Mather, Jr., “Roerich Museum to Sell Many Old Masters,” Art News 28, 20 (1930), p. 3.
“Roerich Museum Is to Sell Its Old Masters,” Art Digest 4, 11 (1930), p. 15.
Daniel Catton Rich, “Two Trecento Venetian Panels,” Bulletin of the Art Institute of Chicago 24 (1930), pp. 86–89 (ill.).
Evelyn Sandberg-Vavalà, “Maestro Paolo Veneziano,” Burlington Magazine 57 (1930), pp. 171, 177.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 192.
Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, 2 vols., London, 1957, vol. 1, p. 127.
Evelyn Sandberg-Vavalà, “Maestro Paolo Veneziano: His Paintings in America and Elsewhere,” (1939) in Michelangelo Muraro, Paolo da Venezia, University Park, Pennsylvania, and London, 1970, pp. 97, 98 n. 7.
Sergio Bettini, Pitture cretesi-veneziane, slave e italiane del Museo Nazionale di Ravenna, Ravenna, 1940, p. 100 n. 1.
Rodolfo Pallucchini, La pittura veneziana del trecento, Lezioni tenute alla Facoltà di Lettere dell’Università di Bologna, Bologna, 1955, p. 131.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 350.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae, Munich, 1961, p. 516.
Rodolfo Pallucchini, La pittura veneziana del trecento, Venice and Rome, 1964, p. 51, fig. 172.
Brigitte Klesse, Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts, Bern, 1967, p. 446, no. 460c.
John Maxon, The Art Institute of Chicago, 1970, pp. 23, 288.
Michelangelo Muraro, Paolo da Venezia, University Park, Pennsylvania, and London, 1970, pp. 55, 73 n. 47, 103–4, 106, fig. 19.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Massachusetts, 1972, pp. 158, 375, 441, 571.
Grgo Gamulin, “La pittura su tavola nel tardo medioevo sulla costa orientale dell’Adriatico” in Venezia e il Levante fino al secolo XV, ed. Agostino Pertusi (Florence, 1974), p. 204 n. 1.
Christopher Lloyd, with contributions by Margherita Andreotti, Larry J. Feinberg, and Martha Wolff, Italian Paintings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection, Chicago, 1993, pp. 185–89, ill.
Robert Gibbs, “Paolo Veneziano (Paolo da Venezia)” in The Dictionary of Art, vol. 24, London, 1996, pp. 32-33.
Mojmír S. Frinta, Punched Decoration on Late Medieval Panel and Miniature Painting, Part I, Prague, 1998, p. 130.
Filippo Pedrocco, Paolo Veneziano, Milan, 2003, pp. 111, 116, 130, 192–93, no. 24, ill.
The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1 to November 1, 1933, no. 88, as School of Lorenzo Veneziano.
The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1 to November 1, 1934, no. 36, as School of Lorenzo Veneziano.
Grimaldi, Venice (according to the Roerich Museum sale catalogue); The Roerich Museum, New York; sold American Art Association, New York, March 28, 1930, no. 151 (ill.), as Lorenzo Veneziano, to Robert B. Harshe acting on behalf of Catherine Barker Spaulding Hickox (Harshe was listed as the buyer in the published results of the Roerich sale); Catherine Barker Spaulding Hickox, Michigan City, Indiana, and New York, 1930–58; on loan to the Art Institute from 1932; given to the Art Institute, 1958.
Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email .