Saint Catherine of Siena

1. Possibly William Blundell Spence, Florence, in 1857 and possibly sold by him to Lady Marianne Margaret Compton, Viscountess Alford (d. 1888), 1857 [Ellis Waterhouse suggested that it could have been the “St. Catherine by Pinturicchio” sold by Spence to Lady Marianne Margaret Compton and mentioned in a letter from Spence to Lady Waldegrave dated April 14, 1857, Strachie MSS DD/SH 285 WW 52/1, Somerset Record Office, Taunton, according to Fleming 1979]. Adelbert Wellington Brownlow Cust, third Earl Brownlow (d. 1921), Ashridge Park, Berkhamsted [he may have inherited it from his mother, Lady Marianne Margaret Compton, Viscountess Alford if it was the picture referred to above; it was certainly in Brownlow’s possession by 1906, see Gregory 1906]; sold by his executors, Christie’s, London, May 4, 1923, no. 50 (ill.), to Agnew’s for ₤924 [according to Cannons 1923]; sold by Agnew’s, London, to Martin A. Ryerson (d. 1932), Chicago, 1923 [according to Agnew’s invoice, Art Institute archives]; intermittently on loan to the Art Institute from 1924; by descent to his wife Carrie Hutchinson Ryerson (1859–1937), Chicago, 1932 [Last Will and Testament of Martin A. Ryerson, Died August 11, 1932, copy in Institutional Archives, Art Institute of Chicago]; bequeathed to the Art Institute of Chicago, 1937.

Recorded by Art Institute of Chicago.

• London, Burlington Fine Arts Club, A Collection of Pictures of the Umbrian School, 1910, no. 38.
• Art Institute of Chicago, A Century of Progress, 1933, no. 119.

• Edward W. Gregory, “Earl Brownlow’s Collection of Pictures at Ashridge Park,” Connoisseur 13, 53 (1906), pp. 4–7, ill.
• Bernard Berenson, The Central Italian Painters of the Renaissance, 2d ed. (New York and London, 1909), p. 253.
• Phillips, Daily Telegraph (December 7, 1909).
• Umberto Gnoli, “La pittura Umbra alla Mostra di Burlington Club,” Rassegna d’arte umbra 1 (1910), pp. 52–53.
• E. Harter, “Sei quadri dello Spagna,” Rassegna d’arte 14 (1914), pp. 59–60, ill.
• H. G. T. Cannons, ed., Art Prices Current: 1922–1923 (London, 1923), p. 205, no. 4422.
• Umberto Gnoli, Pittori e miniatori nell’Umbria (Spoleto, 1923), pp. 165–66.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 160, no. 2077.
• Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 544.
• William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, (unpub. MS, 1932, Archives, The Art Institute of Chicago), n. p.
• Raimond van Marle, The Development of the Italian Schools of Painting, vol. 14 (The Hague, 1933), pp. 458–60, fig. 297, p. 463.
• Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 467.

American Collectors (Fred and Marcia Weisman)

Art Institute of Chicago

On the Loing

Art Institute of Chicago

Telephone Pole, Los Angeles, California

Art Institute of Chicago

A Corner of Moret-sur-Loing

Art Institute of Chicago

Blue and Green

Art Institute of Chicago

View of the Piazza di Spagna, from Views of Rome

Art Institute of Chicago

Los Caprichos: Se Repulen

Art Institute of Chicago

Los Angeles

Art Institute of Chicago

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