The Resurrection from The Allegory of the Redemption of Man

1. Jacobo Luis Stuart Fitz-James (died 1881), 8th Duke of Berwick, 15th Duke of Alba de Tormes (1821-1881), Madrid, Spain, by 1877; sold Hotel Drouot, Paris, Duke of Berwick and Alba sale, April 7-20, 1877, lot 12; Baron Frederic Emile D’Erlanger (d. 1894), by 1880; Duveen Brothers, to 1922; sold to William Randolph Hearst (1863-1951), 1922, for $75,000; ownership transferred International Studios Art Corporation (Hearst holding company) [offered to the Art Institute who declined purchase, 1940]; offered for sale by International Studio Art Corporation at Gimbel Brothers Department Store, New York, 1941; sold P. W. French and Co., New York, 1943, for $13,800; sold to the Art Institute, 1946.

Recorded by Art Institute of Chicago.

• Brussels, Exposition Nationale Belge, 1880, cat.
• New York, Gimble Brothers Department Store, 1941, cat. 183-6.
• Art Institute of Chicago, Masterpieces of Western Textiles, Jan. 25–Mar. 2, 1969, cat.
• Fine Arts Museum of San Francisco, Five Centuries of Tapestry, 1978, cat.
• Art Institute of Chicago, Regenstein Hall, The Divine Art: Four Centuries of European Tapestry, Nov 1, 2008–Jan. 4, 2009.

• H.-F. Keuller and A.-J. Wauters, Les tapisseries historiees a L'Exposition nationale belge de 1880 (F. Hayez, 1881).
• D.T.B. Wood, "Tapestries of The Seven Deadly Sins, I," The Burlingon Magazine, XX, no. 106 (Jan. 1912): 216-217 (ill.).
• D.T.B. Wood, "Tapestries of The Seven Deadly Sins, II," The Burlingon Magazine, XX, no. 107 (Feb. 1912): 277-289 (ill.).
• Art Institute of Chicago Bulletin XLII, no. 2 (Feb. 1948): cover (detail ill.).
• Adolph S. Cavallo, "The Redemption of Man: A Christian Allegroy Tapestry," Bulletin of the Museum of Fine Arts, Boston LVI, no. 56 (Winter 1958), 147-148.
• Christa Charlotte Mayer, Masterpieces of Western Textiles from The Art Institute of Chicago, exh. cat. (Chicago: Art Institute of Chicago, 1969), 25-26, plate 10 (ill.).
• Sophie Schneebalg-Perelman, "Un nouveau regard sur les origins et la developpement de la tapisserie bruxelloise du XIVe siecle a la pre-Renaissance." In Tapisseries bruxelloises de la pre-Renaissance, edited by Guy Delmarcel, exh. cat. (Musees Royaux d'Art et d'Historie/Koninklijke Musea voor Kunst en Geschiedenis/Mercator Press, 1976), 185.
• Christa C. Mayer Thurman, "Tapestry: The Purposes, Form, and Function of the Medium from Its Inception until Today." In Acts of the Tapestry Symposium, November 1976, edited by Anna Grey Bennett (San Francisco: Fine Arts Museums of San Francisco, 1979), 11-13, fig. 12 (ill.).
• Anna Gray Bennett, Five Centuries of Tapestry from the Fine Arts Museums of San Francisco, rev. ed. (San Francisco: Fine Arts Museums of San Francisco, 1992), 54, 55, 73, fig. 44 (detail only).
• Adolfo S. Cavallo, Medieval Tapestries in the Metropolitan Museum of Art (New York: The Metropolitan Museum of Art, 1993), 443.
• Christa C. Mayer Thurman and Koenraad Brosens, "Flemish Tapestries in the Collection of The Art Institute of Chicago." In Flemish Tapestry in European and American Collections: Studies in Honour of Guy Delmarcel, ed. Koenraad Brosens (Brepols Publishers, 2003), 171-184.
• Elisabeth Antoine, La tapisserie du Jugement Dernier. Collection Solo 36 (Reunion des Musees Nationaux/Musee du Louvre, 2007), 23, 52, 53.