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    Museum collections / Art Institute of Chicago
    Saint Romanus of Antioch and Saint Barulas
    Francisco de Zurbarán. Saint Romanus of Antioch and Saint Barulas, 1638. The Art Institute of Chicago. Public domain (CC0).
    AT-00001130

    Public data from the Art Institute of Chicago. Learn more

    Saint Romanus of Antioch and Saint Barulas

    by Francisco de Zurbarán

    Inscriptions

    Inscribed lower right: 1638

    Provenance

    Church of San Roman, Seville, until at least 1800 [Cean Bermudez 1800]; removed by government decree and deposited in the Alcazar, Seville, 1810 [lmaz 1896, no. 11]; taken by Marshal Jean-de-Dieu Soult (1769-1851), 1st Duke of Dalmatia, Paris, by 1812 [see the Getty Provenance Index database, F-23, which lists the painting in Sault's estate inventory of February 5, 1852, as no. 150; date of acquisition according to Delenda 2009]; sale of his estate, Galerie Lebrun, Paris, May 19-22, 1852, lot no. 28, presumably bought in [according to an annotated copy of the sale catalogue, Rijksbureau voor Kunsthistorische Documentatie, The Hague; copies in curatorial file, and Baticle 1999]; by descent to his son, Napoleon-Hector Soult (1802-1857), 2nd Duke of Dalmatia, Paris [according to a postmortem inventory of his collection, dated January 18, 1858; Getty Provenance Index database, F-197, no. 9]; by descent; sold, collection of Marshal Soult, Hotel Drouot, Paris, April 17, 1867, lot no. 6, for 5,330 francs [according to an annotated copy of the sale catalogue, Rijksbureau voor Kunsthistorische Documentatie, The Hague; copy in curatorial file]. Sergei Ivanovich Stchoukine, Paris and Moscow, until 1910 [this and the following according to London 1913; date according to Delenda 2009]. Joachim Caravallo, Château de Villandry, France, from 1910 to 1914. Grafton Galleries, London, from 1914 to 1918 [Kehrer 1918; date according to Delenda 2009]. Charles Deering (1852-1927), Chicago and Miami, by 1918 [Arroyo 1918]; by descent to his daughters, Mrs. Chauncey McCormick (née Marion Deering) and Mrs. Richard Ely Danielson (née Barbara Deering); given to the Art Institute of Chicago, 1947.

    Exhibition history

    London, Grafton Galleries, Exhibition of Spanish Old Masters in support of National Gallery funds and for the benefit of the Sociedad de Amigos def Arte Espanola, October 1913-January 1914, cat. 98. Art Institute of Chicago, A Century of Progress: Loan Exhibition of Paintings and Sculpture, June I-November 1, 1933, cat. 186. Art Institute of Chicago, A Century of Progress: Loan Exhibition of Paintings and Sculpture, June I-November 1, 1934, cat. 84. Art Institute of Chicago, Masterpiece of the Month, October 1948. London, National Gallery, Zurbarán, Oct. 1, 2026–Jan. 31, 2027, no cat. no, fig. 13; Paris, Musée du Louvre, Feb. 25–June 17, 2027; Art Institute of Chicago, Zurbarán: Divine Light, Feb. 28–June 17, 2027 [Paris and Chicago only].

    Publications

    Juan Agustin Cean Bermudez, Diccionario historico de las mas ilustres profesores de las be/las artes en Espana vol. 6 (Madrid: Imprenta de la Viuda de Ibarra, 1800), 48. Paris, Galerie Lebrun, Vente de la Magnifique Galerie de Tableaux de Feu M. le Marechal-general Soult…, May 19, 1852, lot 28. Paris, Hotel Drouot, Catalogue des Tableaux provenant de la Galerie de Feu M. le Marechal General Soult, Duc de Dalmatie…, April 17, 1867, 9 lot 6. Charles Blanc, Histoire des peintres de toutes les écoles: école espagnole, vol. 4 (Paris: Libraire Renouard, 1869), 8. Justino Matute y Gaviria, "Adiciones y correcciones al tomo IX del 'Viaje de Espana' de D. Antonio Ponz. Carta III," Archivo Hispalense: revista historica, literariay artistica 3 (Seville: [Sociedad del Archivo Hispalense], 1887), 318. Manuel Gomez lmaz, Inventario de las Cuadros Sustraídos par el Gobierno Intruso en Sevilla el año de 1810 (Seville: E. Rasco, 1896), 61 no. 11. H[ippolyte] Mireur, Dictionnaire des ventes d'art faites en France et a l'etranqer pendant les XVIII et XIX siècles (Paris: Maison d'éditions d'œuvres artistiques, 1912), 597. August L. Mayer, "Die Ausstellung Alterer Spanischer meister in den Grafton Galleries zu London," Zeitschrift fiir bildende Kunst 25 (1914): 72, 74, fig. 8. Hugo Kehrer, Francisco de Zurbarán (Munich: Hugo Schmidt, 1918), 82, 138, 145, fig. 40. Jose Martino Arroyo, Marycel (Barcelona: Revista de arquitectura, 1918), [40-1 ], 44, 54 (ill.). "Zurbaran's Saint Roman, the Martyr," Bulletin of the Art Institute of Chicago 16, no. 4 (1922): 58-9 (ill.). August L. Mayer, Geschichte der Spanischen Malerei (Leipzig: Klinkhardt and Biermann, 1922), 318, fig. 235. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute, 1925), 171, no. 2357. Catalogue of a Century of Progress Exhibition of Paintings and Sculpture: Lent from American Collections (Chicago: Art Institute, 1933), 16 cat. 84. Catalogue of a Century of Progress Exhibition of Paintings and Sculpture 1934 (Chicago: Art Institute, 1934), 29 cat. 186. Martin S. Soria, "Francisco de Zurbaran: A Study of His Style," Gazette des Beaux-Arts 6, no. 25 (1944): 155, fig, 1. Paul Guinard, "Los Conjuntos disperses o desaparecidos de Zurbaran: Anotaciones a Cean Bermudez," Archivo Espanol de Arte 19, no. 76 (1946): 263. Art Institute of Chicago, "Exhibitions," Bulletin of the Art Institute of Chicago 42, no. 5 (1948): 73. “Chicago’s Fabulous Collectors,” Life, October 27, 1952, np (ill). Martin S. Soria, The Paintings of Zurbarán (London: Phaidon Press, 1955), 169-70, cat. 148, pl. 77. Paul Guinard, Zurbarán et les peintres espagnols de la vie monastique (Paris: Editions du Temps, 1960), 50, 82, 198, 234, fig. 228. Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), 101, 489-90 (ill.). Ramon Torres Martin, Zurbarán: el Pintor Gótico del Siglo XVII (Seville: Gráficas del Sur, 1963), 17 4, 208, no. 186a. John Maxon, The Art Institute of Chicago (New York: Harry N. Abrams, 1970), 50, 51, 288 (ill.). Katharine Kuh, "These are a few of my favorite things," Chicago Tribune Magazine, April 23, 1972, 33. Mina Gregori and Tiziana Frati, L'opera compteta di Zurbarán (Milan: Rizzoli, 1973), 102, 103, no. 227, pl. XLVII. Julian Gallego and Jose Gudiol, Zurbarán, 1598-1664 (New York: Rizzoli, 1977), 48, 85,195, cat. 120, fig.125. Jeannine Baticle, "Zurbarán: Panorama de su vida y de su obra" in Zurbarán exh. cat. (Spain: Ministerio de Cultura, Banco Bilbao Vizcaya, 1988), 94, 294 (ill.). María Luisa Caturla, Francisco de Zurbarán (Paris: Wildenstein Institute, 1994), 176, 205n30, 213, 214, 239n46, 364. Andre Mandouze and Francesco Chiovaro, eds., Histoire des saints et de la saintete chretienne vol. 2, La semence des martyrs: 33-313 (Paris: Hachette, 1995), 249 (ill.). Claudie Ressort, "Francisco de Zurbaran," in Jane Turner, ed., Dictionary of Art, vol. 33 (New York: Grove's Dictionaries, 1996), 731 . Arsenio Moreno, Zurbarán (Madrid: Electa, 1998), 32, 131. Odile Delenda, "Biografla ilustrada de Francisco de Zurbaran, Nuevos dates," in Alfonso E. Perez Sanchez, Zurbarán ante su centenario (1598-1998) (Valladolid: Universidad de Valladolid; Soria: Fundación Duques de Soria, 1999), 83, 89, pl. 14. Jeannine Baticle, "Zurbaran y Francia," in Alfonso E. Perez Sanchez, Zurbarán ante su centenario (1598-1998) (Valladolid: Universidad de Valladolid; Soria: Fundación Duques de Soria, 1999), 183. Odile Delenda and Wildenstein Institute, Francisco de Zurbaran, 1598-1664: Catalago razonado y critico, vol. 1 (Madrid: Fundaci6n Arte Hispanico, 2009), 62, 382-4, no. 120 (ill.). Bonaventura Bassegoda and Ignasi Domenech, "Charles Deering y el Palacio Maricel de Sitges (Barcelona)," in Fernando Perez Mulet and Immaculada Sodas Batet, eds., La dispersion de objetos de arte fuera de Espana en las siqto: XIX y XX (Barcelona: Universidad de Barcelona, 2011), 41, 52, fig. 5. Beat Wismer, Odile Delenda and Mar Borobia, Zurbarán: A New Perspective, exh. cat. (Madrid: Fundación Colección-Thyssen Bornemisza, 2015), 41 fig. 18. Francesca Whitlum-Cooper, Daniel Sobrino Ralston, Imogen Tedbury and Rebecca Long, eds., Zurbarán, exh. cat. (London: National Gallery, 2026), 46, 47 (ill.), 190, fig. 13.

    Quick Overview

    Artist
    Francisco de Zurbarán (Spanish, 1598–1664)
    Date
    1638
    Medium
    Oil on canvas
    Dimensions
    246.5 × 185.4 cm (97 1/16 × 73 in.)
    Type
    Painting
    Classification
    oil on canvas
    Style
    17th Century
    Place
    Spain
    Department
    Painting and Sculpture of Europe
    Credit line
    Gift of Mrs. Chauncey McCormick and Mrs. Richard E. Danielson
    Accession no.
    1947.793

    More by Francisco de Zurbarán in museum collections

    • The Crucifixion

      Francisco de Zurbarán

      1627 · Painting

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    • Christ and the Virgin in the House at Nazareth

      Francisco de Zurbarán

      c. 1640 · Painting

      Public collection via the Cleveland Museum of ArtAT-00009150
    • Battle between Christians and Muslims at El Sotillo

      Francisco de Zurbarán

      ca. 1637–39 · Painting

      Public collection via the Metropolitan Museum of ArtAT-00015957
    • Saint Benedict

      Francisco de Zurbarán

      ca. 1640–45 · Painting

      Public collection via the Metropolitan Museum of ArtAT-00015958

    Open-access museum data

    This record comes from the open-access collection data that the Art Institute of Chicago publishes for unrestricted use (Creative Commons Zero). Art Trackers shows a selection of the museum's published fields. The Art Institute of Chicago is not an Art Trackers client and has not reviewed or endorsed this page; the museum's own website is the authoritative record.

    • View this work at the Art Institute of Chicago
    • The Art Institute of Chicago: open-access terms

    Data retrieved from the Art Institute of Chicago on October 8, 2026. The museum may have updated its record since.

    Open-access museum record · AT-00001130

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