Alessandro de' Medici

G. Frizzoni, La Gallerie Morelli in Bergamo, Bergamo, 1892, p. 19.

Probably Cosimo I de’ Medici (d. 1574), Florence [it is almost certainly identical with the study described in Le vite de’ più eccellenti pittori, scultori e architettori scritte da Giorgio Vasari, ed. Gaetano Milanesi, vol. 6, Florence, 1881, p. 278]. William Ward (d. 1885), 1st Earl of Dudley, London, by 1854 [described by Waagen 1854, as by Pontormo]

Gustav Waagen, Treasures of Art in Great Britain, vol. 2, London, 1854, p. 232.

Frankfurt, Städel Museum, Maniera: Pontormo, Bronzino and Medici Florence, 2016, no. 65.

Joaneath Spicer, "Free Men and Women of African Ancestry in Renaissance Europe" in Revealing the African Presence in Renaissance Europe, exh. cat. The Walters Art Museum, Baltimore, 2012, p. 96 n. 64.

Larry J. Feinberg, "A Brief History of the Old Masters in the Art Institute of Chicago," Museum Studies 32, 2 (2006), p. 8, fig. 3.

Janet Cox-Rearick, review of Philadelphia 2004 in Burlington Magazine 147 (2005), pp. 211-12.

Philadelphia Museum of Art, Pontormo, Bronzino and the Medici: The Transformation of the Renaissance Portrait in Florence, 2004, cat. 25.

Holland Cotter, "A Party of Renaissance Personalities," New York Times, November 26, 2004, pp. 37.

Florence, Palazzo Strozzi, L’Ombra del genio: Michelangelo e l’arte a Firenze, 1537-1631, 2002; traveled to Art Institute of Chicago and Detroit Institute of Arts as The Medici, Michelangelo, and the Art of Late Renaissance Florence, no. 34.

Elizabeth Pilliod, Pontormo, Bronzino, Allori: A Genealogy of Florentine Art, New Haven and London, 2001, p. 11, fig. 7.

Bernard Berenson, Pitture italiane de Rinascimento, Milan, 1936, p. 98.

bequeathed to the Art Institute, 1933.

Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 114.

Muskegon, Michigan, Hackley Art Gallery, Italian Paintings in the Loan Collection from Mr. Martin A. Ryerson, M. Knoedler and Company, E. and A. Silberman, 1932, no. 6, as Bronzino.

Martin A. Ryerson (d. 1932), Chicago, from 1892

William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS [1932], Archives, Art Institute of Chicago, n. pg.

Toronto, Art Gallery of Toronto, Italian Old Masters and German Primitives, 1931, no. 26, as Bronzino.

on loan to the Art Institute from 1930

A. McComb, Agnolo Bronzino: His Life and Works, Cambridge, Mass., 1928, pp, 44, 137.

The Art Institute of Chicago, Bill Viola: A 25-Year Survey, October 16, 1999 – January 9, 2000, included in the gallery that held Viola’s The Greeting for the Chicago venue.

Janet Cox-Rearick, review of Costamagna, Pontormo in Burlington Magazine 139 (1997), p. 128.

John E. Gedo, The Artist and Emotional World: Creativity and Personality, New York, 1996, p. 189, fig. 13.11.

Anna Forlani Tempesti, Alessandra Giovannetti, Pontormo, Florence, 1994, p. 137-8, no. 43, ill.

Philippe Costamagna, Pontormo, Milan, 1994, pp. 87, 221-3, no. 71, ill. p. 82.

Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago. A Catalogue of the Collection, Chicago, 1993, pp. 197-202, ill.

Milwaukee Art Museum, The Detective’s Eve: Investigating the Old Masters, January 19-March 19, 1989, no. 33.

Ellis Waterhouse, “Earlier Paintings in the Earlier Years of the Art Institute: The Role of the Private Collector,” Museum Studies 10 (1983), pp. 84-5.

Karla Langedijk, The Portraits of the Medici, 15th to 18th Centuries, vol. 1, Florence, 1981, pp. 84, 86.

Bernard Berenson, Italian Pictures of the Renaissance: Central and North Italian Schools, vol. 1, London, 1968, p. 41.

Art Institute of Chicago, Paintings in the Art Institute of Chicago. A Catalogue of the Picture Collection, Chicago, 1961, p. 226.