Sinan Reis and Hayreddin Barbarossa

Bronwen Wilson, “Turchi allo specchio: Ritratti dei Turchi nei libri veneziani alla fine del cinquecento,” in Mediterranoesis: Voci dal medioevo e rinascimento mediterraneo, ed. Roberta Morosini and Cristina Perissinotto (Rome, 2007), p. 111, fig. 6.

Rosamund E. Mack, Bazaar to Piazza: Islamic Trade and Italian Art, 1300–1600 (Berkeley and London, 2002), pp. 166, fig. 174.

Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, vol. 1 (London, 1957), p. 29.

Frederick A. Sweet, “La pittura italiana all’Art Institute di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 696–98, ill.

“To Dedicate Art at New Building: Old Master Collection Honors Art Patrons,” Lawrentian (May 26, 1950), p. 4.

Appleton, Wisconsin, The Worcester Fine Arts Center, Lawrence College, Exhibition, 1950, no cat.

Katharine Kuh, “The Worcester Gift,” Bulletin of The Art Institute of Chicago 41 (1947), pp. 59, 61, cover ill.

given to the Art Institute, 1947.

“Chicago Gets Handsome Gift,” Pictures on Exhibit 9, 7 (April 1947), p. 14.

The Toledo Museum of Art, Four Centuries of Venetian Painting, March 1940, no. 5.

Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings (Chicago, 1938), pp. 7–8, no. 4, pl. III.

Frank Jewett Mather, Jr., Venetian Painters (New York, 1936), p. 47, ill.

Raimond van Marle, The Development of the Italian Schools of Painting, vol. 17 (The Hague, 1935), pp. 154–55, ill.

Art Institute of Chicago, A Century of Progress, June–November 1, 1934, no. 43.

C. J. Bulliet, “Masterpieces in Official Fine Arts Show,” Chicago Daily News (October 28, 1933), p. 10, ill.

Alfred M. Frankfurter, “Art in the Century of Progress,” Fine Arts 20 (June 1933), p. 14, ill.

Art Institute of Chicago, A Century of Progress, June–November 1, 1933, no. 103.

sold by Foresti to Charles H. Worcester, Chicago, 1930 [according to document cited above]

Possibly Paolo Giovio (died 1552), Como [on the basis of a letter from Giovio to Rodolfo Pio dated August 20, 1535 that states, “…e io vi mandarò il bravo ritratto di Barbarossa, il quale ho qui…”, see Klinger and Raby 1989, p. 48]. Private collection, Treviso [according to registrar’s records]. Carlo Foresti, Milan, by 1930 [according to an undated document in curatorial files]

Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 174–78, ill.

J. M. Rogers, review of Arte veneziana e arte islamica: Atti del primo simposio internazionale sull’arte veneziana e l’arte islamica, in Burlington Magazine 132 (1990), p. 576.

Linda Klinger and Julian Raby, “Barbarossa and Sinan: A Portrait of Two Ottoman Corsairs from the Collection of Paolo Giovio,” in Arte veneziana e arte islamica: Atti del primo simposio internazionale sull’arte veneziana e l’arte islamica, ed. Ernst J. Grube (Venice, 1989), pp. 47–60, fig. 1.

Jürg Meyer zur Capellen, Gentile Bellini (Stuttgart, 1985), pp. 151–52, no. C6, fig. 96.

Y. Miller, “Medal by L. Neufahrer with a Portrait of Hayr-ed-din Barbarossa,” Bulletin of The Hermitage Museum, Leningrad 38 (1974), pp. 63–64; English summary pp. 76–77.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 22, 522, 571.

San Francisco, The California Palace of the Legion of Honor and The M. H. de Young Memorial Museum, Man–Glory, Jest, and Riddle: A Survey of the Human Form through the Ages, November 10, 1964–January 3, 1965, no. 95.

Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 21.