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Bernhard Berenson, The Central Italian Painters of the Renaissance, 2nd ed., New York and London, 1909, p. 239.
“Next Weeks [sic] Picture Sales: The Ferdinand Hermann Pictures,” American Art News 16, 14 (1918), p. 1.
“Hermann Picture Sale,” American Art News 16, 15 (1918), p. 7.
Salomon Reinach, Répertoire de peintures du moyen age et de la renaissance (1280-1580), vol. 5, Paris, 1922, p. 383, ill.
Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, Chicago, 1923, p. 73.
E. Gaillard, Un peintre siennois au XVe siècle: Sano di Pietro, Chambéry, 1923, p. 204, ill. frontispiece.
“Sano di Pietro,” Bulletin of the Art Institute of Chicago 17 (1923), p. 5, cover ill.
Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to the Art Institute of Chicago, unpub. MS . Ryerson Library, The Art Institute of Chicago, pp. 35-6.
Raimond van Marle, The Development of the Italian Schools of Painting, The Hague, 1927, vol. 9, p, 494.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, Chicago, 1932, p. 182.
William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS , Archives, The Art Institute of Chicago, n. pag.
Bernard Berenson, Italian Pictures of the Renaissance. A List of the Principal Artists and their Works with an Index of Places, Oxford, 1932, p. 498.
Daniel Catton Rich, “The Paintings of Martin A. Ryerson,” Bulletin of the Art Institute of Chicago 27 (1933), p. 8.
Mario Salmi, “Dipinti senese nella raccolta Chigi-Saracini,” La Diana 8,2 (1933), p. 82.
Art Institute of Chicago, A Brief Illustrated Guide to the Collections, Chicago, 1935, p. 20.
F. Mason Perkins in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 29, Leipzig, 1935, p. 415.
R. Shoolman and C. Slatkin, The Enjoyment of Art in America, Philadelphia and New York, 1942, p. 284.
Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago, Chicago, 1948, p. 25.
Helen Parker, The Christmas Story Illustrated from the Collection of The Art Institute of Chicago, Chicago, 1949, ill., n. pag.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, Chicago, 1961, p. 410.
E. T. De Wald, Italian Painting, 1200-1600, New York, 1961, p. 340.
Bernard Berenson, Italian Pictures of the Renaissance. A List of the Principal Artists and their Works with an Index of Places. Central Italian and North Italian Schools, London, 1968, vol. 1, p. 374.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Mass., 1972, pp. 181, 320, 571.
John Pope Hennessy with Larry Kanter, The Robert Lehman Collection, vol. 1, Italian Paintings, New York, 1987, p. 146, under no. 61.
Christopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago; A Catalogue of the Collection, Chicago, 1993, pp. 212-215, ill.
Mojmír S. Frinta, Punched Decoration on Late Medieval Panela and Miniature Painting, Part I, Prague, 1998, pp. 194, 261, 317.
New York, F. Kleinberger Galleries, Italian Primitives, 1917, no. 62.
Northampton, Mass., Smith College, Hillyer Art Gallery, 1922, no cat.
Art Institute of Chicago, A Century of Progress, 1933, no. 93
Art Institute of Chicago, A Century of Progress, 1934, no. 34.
Possibly private collection, London; sold Hôtel Drouot, Paris, February 27, 1882, La Collection de M. M. de Londres, either no. 71, Vierge avec gloire d’anges, for Fr 675, or no. 74, La Vierge et l’Enfant, for Fr 410 [the catalogue of the Dollfus sale stated that the painting was no. 72 in the 1882 sale, though that number is a Visitation]; Jean Dollfus, Paris; sold Galerie Georges Petit, Paris, pt. 3, April 1-2, 1912, no. 76, ill., to Kleinberger for Fr 15,600 [according to annotated catalogue at Getty Center, Los Angeles]; sold by Kleinberger to Ferdinand Hermann, New York [according to Hermann sale catalogue]; sold American Art Association, New York, January 15, 1918, no. 46, ill. to R. Ederheimer for $2,100 [price and buyer in annotated sale catalogue in Art Institute Library and American Art New 1918]. Private collection, New York, possibly that of Ederheimer; sold Anderson Galleries, New York, February 18, 1921, no. 107 to Kleinberger, New York [the consignor described as a “New York gentleman”, price and buyer in Kleinberger records, Department of European Paintings, The Metropolitan Museum of Art]; sold by Kleinberger to Martin A. Ryerson (died 1932), Chicago, 1922 [Kleinberger records cited above and invoice in curatorial file]; bequeathed to the Art Institute, 1933.
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