Portrait of a Lady

1. Elia Volpi, Florence, by 1910; sold in his sale, Jandolo and Tavazzi, Florence, April 25, 1910, no. 64, as Ridolfo Ghirlandajo. Sedelmeyer Gallery, Paris, by 1913, as Bronzino [see Galerie Sedelmeyer 1913; this location does not necessarily precede its presence in Eugène Fischhof’s possession]. Eugène Fischhof, Paris, by 1913; sold in his sale, Galerie George Petit, Paris, June 14, 1913, no. 69, as Bronzino, for Fr 11,000 [according to an annotated sale catalogue in The Ryerson Library, Art Institute]. Van Diemen Galleries, New York, by 1926; sold by Van Diemen to Charles H. Worcester, Chicago, 1926, as Bronzino [according to a letter from Van Diemen to Worcester dated November 8, 1926, in curatorial file]; intermittently on loan to the Art Institute from 1926; given to the Art Institute, 1937.

Recorded by Art Institute of Chicago.

• The Art Institute of Chicago, Summer Exhibition, 1920, no cat.
• The Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, no. 127, as by Bronzino.

• Galerie Sedelmeyer, Illustrated Catalogue of the Twelfth Series of 100 Paintings by Old Masters of the Dutch, Flemish, Italian, French, and English Schools, Being a Portion of the Sedelmeyer Gallery (Paris, 1913), p. 54, no. 32, pl. 32.
• Frederick Mortimer Clapp, Jacopo Carucci da Pontormo: His Life and Work (New Haven, 1916), p. 101.
• Arthur McComb, Agnolo Bronzino: His Life and Works (Cambridge, Massachusetts, 1928), pp. 142–43.
• Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture and Drawings (Chicago, 1938), pp. 11–12, no. 7, pl. VI.
• Charles Fabens Kelley, “Chicago: Record Years,” Art News 51, 4 (1952), p. 59, ill.
• Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 226, 246.
• Iris Hofmeister Cheney, “Francesco Salviati (1510–1563)” (Ph.D. diss., New York University, 1963), p. 481.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 204, 530, 571.
• Fern Rusk Shapley, National Gallery of Art: Catalogue of Italian Paintings, vol. 1 (Washington, D.C., 1979), p. 334.
• Luisa Mortari, Francesco Salviati (Rome, 1992), p. 154, no. 141, fig. 141.
• Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 253–55, ill.
• Roberta Ferrazza, Palazzo Davanzati e le collezioni di Elia Volpi (Florence, 1994), p. 104, fig. 99.

The Storm

Art Institute of Chicago

The Church of Santa Maria della Salute, Venice

Art Institute of Chicago

The Baptism of Christ (verso); The Circumcision of Christ (recto), pages 34 and 33, from the Treasury (Schatzbehalter)

Art Institute of Chicago

Image of Death (Imago Mortis), from the Nuremberg Chronicle

Art Institute of Chicago

Portrait of a Gentleman

Art Institute of Chicago

Morion for the Bodyguard of the Elector of Saxony

Art Institute of Chicago

Christ Presented to the People, page 73 from the Treasury (Schatzbehalter)

Art Institute of Chicago

The Fall of Lucifer and the Rebel Angels (verso); The Gathering of the Angels (recto), pages three and two from the Treasury (Schatzbehalter)

Art Institute of Chicago

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