Art Institute of ChicagoPublic domain

Saints John the Baptist and Catherine of Alexandria

Workshop of Paolo Veneziano · c. 1350

Analyst brief

What the record supports

The painting, "Saints John the Baptist and Catherine of Alexandria," is attributed to the Workshop of Paolo Veneziano and dated to circa 1350. It is a tempera on panel measuring 77 × 49.7 cm (30 1/4 × 19 5/8 in.), with a framed dimension of 101.6 × 59.7 cm (40 × 23 1/2 in.). The work originates from Venice and is classified under tempera in the Painting and Sculpture of Europe department.

The provenance includes Grimaldi, Venice, followed by the Roerich Museum, New York, where it was sold in 1930 to Robert B. Harshe, acting on behalf of Charles H. Worcester. Charles H. Worcester owned the painting from 1930 to 1947, loaning it to the Art Institute of Chicago from 1933. It was given to the Art Institute in 1947 as part of the Charles H. and Mary F. S. Worcester Collection.

The artwork has been exhibited at the Art Institute of Chicago in 1933, 1934, and from 2006 to 2007. It has been referenced in several publications from 1930 onwards, including works by Frank Jewett Mather, Daniel Catton Rich, Evelyn Sandberg-Vavalà, and Bernard Berenson. No artist authority record or auction prices are provided in the catalogue data.

Generated from the catalogue fields shown on this page. Nartmad does not assert attributions, valuations or prices that no cited source supports.

Provenance

Ownership history

Grimaldi, Venice (according to the Roerich Museum sale catalogue); The Roerich Museum, New York; sold American Art Association, New York, March 28, 1930, no. 150 (ill.), as Lorenzo Veneziano, to Robert B. Harshe acting on behalf of Charles H. Worcester (Harshe was listed as the buyer in the published results of the Roerich sale); Charles H. Worcester, Chicago, 1930–47; on loan to the Art Institute from 1933 (according to a document in curatorial files dated October 11, 1945, indicates that this panel was owned by his wife, Mary F. S. Worcester); given to the Art Institute, 1947.

Recorded by Art Institute of Chicago.

Exhibitions

Exhibition history

The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1 to November 1, 1933, no. 87, as School of Lorenzo Veneziano.
The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1 to November 1, 1934, no. 35, as School of Lorenzo Veneziano.
Art Institute of Chicago, The Silk Road and Beyond: Travel Trade and Transformation, September 30, 2006-April 22, 2007, no cat.

Literature

Published references

Frank Jewett Mather, Jr., “Roerich Museum to Sell Many Old Masters,” Art News 28, 20 (1930), p. 3.
“Roerich Museum Is to Sell Its Old Masters,” Art Digest 4, 11 (1930), p. 15 (ill.).
Daniel Catton Rich, “Two Trecento Venetian Panels,” Bulletin of the Art Institute of Chicago 24 (1930), pp. 86–89 (ill.).
Evelyn Sandberg-Vavalà, “Maestro Paolo Veneziano,” Burlington Magazine 57 (1930), pp. 171, 177.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 192.
Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 418.
Bernard Berenson, Pitture italiane del Rinascimento, Milan, 1936, p. 359.
Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, 2 vols., London, 1957, vol. 1, p. 127.
Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculture, and Drawings, Chicago, 1938, p. 5, no. 1 (ill.).
Evelyn Sandberg-Vavalà, “Maestro Paolo Veneziano: His Paintings in America and Elsewhere,” (1939) in Michelangelo Muraro, Paolo da Venezia, University Park, Pennsylvania, and London, 1970, pp. 97, 98 n. 7.
“Chicago Gets Handsome Gift,” Pictures on Exhibit 9 (April 1947), p. 14.
Rodolfo Pallucchini, La pittura veneziana del trecento, Lezioni tenute alla Facoltà di Lettere dell’Università di Bologna, Bologna, 1955, p. 131.

Comparables