Allegory of Venus and Cupid

1. Francis, eighth Earl of Wemyss (died 1853), Gosford House, Longniddry, East Lothian, Scotland, by 1835 [lent by him to London, 1835; see A. Graves, A Century of Loan Exhibition, 1813–1912, New York [1968], vol. 3, pp. 1318–19]; by descent to Hugo Richard, eleventh Earl of Wemyss; sold by him to Wildenstein, Paris, 1927 [according to Ay-Whang Hsia, Wildenstein, New York, in conversation with Lisa Dunn, October 11, 1991]; Baron Heinrich Thyssen-Bornemisza, by 1930 [Valentiner 1930; the identity of the owner is given in a letter of February 3, 1937 from Felix Wildenstein to Daniel Catton Rich in curatorial file]; Wildenstein, Paris and New York, by 1935 [Ay-Whang Hsia interpreted the Wildenstein stock books as indicating that the purchaser of the painting – i.e. Thyssen, though no name is given–returned the paintings to Wildenstein in the mid 1930s; see Lisa Dunn’s note of telephone conversation cited above]; sold by Wildenstein to Charles H. Worcester, Chicago, 1936 [according to correspondence from Felix Wildenstein to Robert B. Harshe of June 8, 1936, and from Charles H. Worcester to Felix Wildenstein of November 21, 1936, in curatorial file]; on loan to the Art Institute from 1936; given to the Art Institute, 1943.

Recorded by Art Institute of Chicago.

• London, British Institution, 1835, no. 116, as Titian, An Allegory (unfinished).”
• London, British Institution, 1858, no. 40, as Titian, Venus, Cupid, and Psyche.
• Edinburgh, Royal Scottish Academy, Works of Old Masters and Scottish National Portraits, 1883, no. 336, as Titian, Venus, Cupid, etc.
• The Cleveland Museum of Art, Twentieth Anniversary Exhibition, 1936, no. 181, as Titian, Education of Cupid.
• Chicago, Art Institute, Masterpieces of the Month, May 1943 (no cat.), as Titian, The Education of Cupid.

• J. A Crowe and G. B. Cavalcaselle, Titian: His Life and Times, London, 1877, vol. 2, p. 468; 2nd ed., London, 1881, vol. 2, p. 468.
• W. R. Valentiner, Das unbekannte Meisterwerk in öffentlichen und privaten Sammlungen, vol. 1, Berlin, 1930, no. 25 (ill.).
• L. Venturi, “Contributi a Tiziano,” L’arte 35 (1932), pp. 489–91, fig. 5.
• “Buyers in Chicago Get Titian Canvas,” New York Times, October 30, 1936, p. 25.
• “Famed Titian Work Acquired by Chicagoans,” Chicago Tribune, October 20, 1936, p. 28.
• “A Great Titian Goes to Chicago,” Art News 35, 5 (1936), p.15 (ill.).
• W. M. Milliken, “The Twentieth Anniversary Exhibition of the Cleveland Museum of Art,” Art News 34, 37 (1936), pp. 8–9 (ill.).
• “Rare Titian Composition Now Part of Chicago Collection,” New York American, October 30, 1936, p. 23.
• H. Tietze, Tizian: Leben und Werk, Vienna, 1936, vol. 1, p. 242, vol. 2, p. 304.
• “Titian, Long Hidden in Britain, Is Sold Here to Chicago Couple,” New York Herald Tribune, October 30, 1936, p. 25.
• “Worcesters Lend Great Titian to Chicago,” Art Digest 11, 3 (1936), p. 15 (ill.).
• “A Great Titian,” Bulletin of the Art Institute of Chicago 31 (1937), p. 8.

Portrait of a Lady

Art Institute of Chicago

Massacre of the Innocents

Art Institute of Chicago

Portrait of Titian

Art Institute of Chicago

Portrait of Titian

Art Institute of Chicago

Écorché before Landscape (recto); Sketches of Standing Male Nude, Seated Child, Stooping Woman (verso)

Art Institute of Chicago

The Couple

Art Institute of Chicago

Tobias and the Angel

Art Institute of Chicago

The Submersion of Pharaoh's Army in the Red Sea

Art Institute of Chicago

Museum holdings, not sale records. Auction results are only shown when a licensed price source is connected.