The Crucifixion by Taddeo di Bartolo
Art Institute of ChicagoPublic domain

The Crucifixion

Taddeo di Bartolo · 1401–04

Provenance

Ownership history

  1. John Rushout, second Baron Northwick, Thirlestane House, Cheltenham, by 1857 (according to the 1857 Manchester exhibition catalogue); sold Phillips at Thirlestane House, August 18, 1859, no. 1467, as Giotto, to Cox, Berners Street, for 13 guineas (according to 1859 Northwick collection catalogue, p. 20); Canon A. F. Sutton, Brant Broughton, by 1909 (according to Bernard Berenson, The Central Italian Painters of the Renaissance, 2d ed., New York and London, 1909, p. 256); sold Sotheby’s, London, June 25, 1924, no. 33 (ill.), as Giotto, to Oliver for £460 (according to annotated sales catalogue in the Thomas J. Watson Library, The Metropolitan Museum of Art, New York); Robert Langton Douglas, London, 1924; sold by Langton Douglas to Martin A. Ryerson (d. 1932), Chicago, 1924 (according to a letter from Robert Langton Douglas to Martin A. Ryerson of November 11, 1924, and a receipt dated November 18, 1924, in the Ryerson papers, Archives, The Art Institute of Chicago); on loan to the Art Institute from 1924; bequeathed to the Art Institute, 1933.

Recorded by Art Institute of Chicago.

Exhibitions

Exhibition history

  • Manchester, Art Treasures of the United Kingdom, 1857, no. 26, as Giotto.
  • The Art Institute of Chicago, A Century in Progress Exhibition of Paintings and Sculpture, June 1 to November 1, 1933, no. 98.
  • Atlanta, GA, High Museum of Art, The “Gates of Paradise”: Lorenzo Ghiberti’s Renaissance Masterpiece, April 28-July 15, 2007; Art Institute of Chicago, July 28-October 13, 2007; Metropolitan Museum of Art, October 30, 2007-January 13, 2008 [Chicago Only].

Literature

Published references

  • A Handbook to the Paintings by Ancient Masters in the Art Treasures Exhibition, being a reprint of critical notices originally published in "The Manchester Guardian," London, 1857, p. 12.
  • Catalogue of the Extensive and Magnificent Collection of Paintings, Miniatures, Enamels, Bronzes, Sculpture, and other Choice Works of Art: with the Furniture, Plate and Effects at Thirlestane House, Cheltenham; The Property of John Rushout, Baron Northwick, Deceased; with the Purchasers’ Names and Prices, London, 1859, p. 20.
  • W. Bürger [Théophile Thoré], Trésors d’art en Angleterre, 3d ed., Paris, 1865, pp. 22–23.
  • Joseph Archer Crowe and Giovanni Battista Cavalcaselle, A History of Paintings in Italy, 2d ed., vol. 2, ed. by Robert Langton Douglas, London, 1903, p. 112 (Lord Northwick collection misprinted as “Laci Nouhurik”).
  • Bernard Berenson, The Central Italian Painters of the Renaissance, 2d ed., New York and London, 1909, p. 256.
  • The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 160, no. 2080.
  • Rose Mary Fischkin, “A Crucifixion by Taddeo di Bartolo,” Bulletin of the Art Institute of Chicago 20 (1926), pp. 17–19 (ill.).
  • Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpublished manuscript, Ryerson Library, The Art Institute of Chicago, 1926, pp. 27–29.
  • The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 183, no. 2923.24.
  • Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 551
  • “Ryerson Makes Princely Bequest to The Art Institute of Chicago,” Art Digest 6 (1932), no. 20, p. 4 (ill.).
  • William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpublished manuscript, Archives, The Art Institute of Chicago [1932], unpaginated.

Comparables

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