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Eric MacLagan and Margaret H. Longhurst, Victoria and Albert Museum. Department of Architecture and Sculpture, Catalogue of Italian Sculpture, vol. 1 (London, 1932), p. 94, under no. A5-1924
W.R. Valentiner, Italian Gothic and Early Renaissance Sculptures, exh. cat., Detroit Institute of Arts, Detroit, 1938, [p. 3, 5], no. 75, ill.
Allen Stuart Weller, Francesco di Giorgio 1439-1501 (Chicago, 1943), p. 97, fig. 30.
John Pope-Hennessy, “A Cartapesta Mirror Frame,” Burlington Magazine 92 (1950), pp. 288-91.
Gertrude Coor, Neroccio de’ Landi 1447-1500 (Princeton, 1961), pp. 7, 56-7, 62-3, 67, 79, 95-6, n. 335, 105, 164, no. 9, fig. 38
John Pope-Hennessy and Ronald Lightbown, Catalogue of Italian Sculpture in the Victoria and Albert Museum. Eighth to Fifteenth Century (London, 1964), p. 289, under no. 298.
Enzo Carli, “Two Stucco Reliefs by Neroccio di Bartolomeo” in Wendy Stedman Sheard and John T. Paoletti, eds., Collaboration in Italian Renaissance Art, (New Haven and London, 1978), p. 25, n. 5.
Laurence Kanter in Keith Christiansen et al., Painting in Renaissance Siena 1420-1500, exh. cat., The Metropolitan Museum of Art, New York, 1988, pp. 330-32, no. 70, ill.
The Detroit Institute of Arts, Italian Gothic and Renaissance Sculture, January 7–February 20, 1938, cat. 75; ill. pp. 3, 5 of introduction z9.
The Metropolitan Museum of Art, Painting in Renaissance Siena, 1420–1500, December 20, 1988–March 19, 1989, cat. 70.
Stefano Bardini, Florence, by 1914; sold to Martin A. Ryerson (died 1932), Chicago [Ryerson’s notebook of his purchases records a Neroccio bought of Bardini in Florence on April 25, 1914 along with two other sculptures, Art Institute Archives, copy in curatorial file]; bequeathed to the Art Institute, 1933.
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