Portrait of a Musician

it does not appear in the 1873 edition of Fürstlich Liechtensteinischen Gemäldegalerie]

Fürstlich Liechtensteinischen Gemäldegalerie, Katalog der Fürstlich Liechtensteinischen Bilder-Galerie im Gartenpalais der Rossau zu Wien (Vienna, 1885), no. 223, p. 32.

probably by descent to Prince Franz Josef II, Liechtenstein

Wilhelm Bode, Die Fürstlich Liechtenstein’sche Galerie in Wien (Vienna, 1896), p. 80.

Probably Prince Johann II (died 1929), Liechtenstein, Vienna and Vaduz, acquired between 1873 and 1880 [according to an email to Margaret Crosland of September 12, 2013, from Arthur Stögmann, archivist of the Liechtenstein Princely Collections, who explains that the painting was acquired before 1880, based on a note in an inventory of 1900

Paolo Delorenzi, “Alessandro Longhi, pittore e incisore del Settecento veneziano” (PhD diss., Università Ca’ Foscari di Venezia, 2011), pp. 55-56, 126-127, 156, 177, 180-181, 187, 414, fig. 83.

Karoline Czerwenka-Papadopoulos, Typologie des Musikerporträts in Malerei und Graphik: Das Bildnis des Musikers ab der Renaissance bis zum Klassizismus, vol. 1 (Vienna, 2007), p. 86.

Andreina Griseri, “Longhi, Alessandro” Grande dizionario enciclopedico, vol. 7 (Turin: Unione Tipografico-Editrice Torinese, 1958), p. 1082.

Carlo Donzelli, I pittori veneti del Settecento (Florence, 1957), p. 132.

Giuseppe Maria Pilo, “Per la datazione di tre ritratti di Alessandro Longhi,” Paragone, no. 91 (1957), p. 46.

Kunsthaus Zürich, Schönheit des 18. Jahrhunderts: Malerei, Plastik, Porzellan, Zeichnung (Zurich, 1955), pp. 43-44, fig. 191.

Antonio Morassi, “Una mostra del Settecento a Zurigo,” Arte Veneta 9 (1955), p. 277.

Friedrich Blume, Die Musik in Geschichte und Gegenwart, vol. 2 (Kassel and Basel, 1952), pl. 45, ill.

Lionello Venturi, Lezioni di Storia dell’Arte Moderna: La pittura del Settecento (Rome, 1952-1953), p. 208.

Vincenzo Golzio, Storia dell’arte classica e italiana: Il Seicento e il Settecento, vol. 4 (Turin, 1950), pp. 840-1, fig. 885.

Odoardo H. Giglioli, “Four Unknown Portraits,” Burlington Magazine 92 (1950), p. 270.

Comitato Nazionale per le Celebrazioni Cimarosiana, Per il bicentenario della nascita di Domenico Cimarosa 1749 – 1949 (Aversa, 1949), n. p., ill.

Lucerne, Kunstmuseum, Meisterwerke aus den Sammlungen des Fürsten von Liechtenstein, June 5 - October 31, 1948, no. 46, as a portrait of Domenico Cimarosa, attributed to Alessandro Longhi.

Giuseppe De Logu, “I capolavori del Liechtenstein a Lucerna,” Emporium 108 (1948), p. 125.

Rodolfo Pallucchini, “Disegni veneziani del Settecento in America,” Arte Veneta 2 (1948), p. 167.

Novara, Instituto Geografico de Agostini, La pittura italiano del settecento, 1942, no. 75, as a portrait of Domenico Cimarosa, attributed to Alessandro Longhi.

Giulio Lorenzetti, La pittura italiana del Settecento (Novara, 1942), pl. 75.

Alfred Stix and Erich V. Strohmer, Die Fürstlich Liechtensteinische Gemäldegalerie in Wien (Vienna, 1938), p. 94, fig. 24.

Vittorio Moschini, “Per lo studio di Alessandro Longhi,” L’Arte n.s. 3 (1932), pp. 118-119.

Vittorio Moschini, La pittura italiana del Settecento (Florence, 1931), p. 53, fig. 61.

L. Brosch, “Longhi, Alessandro” in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 23 (Leipzig, 1929), 355-356.

Luigi Parigi, “La musica figurate. VII. Allegorie, nature morte, ritratti,” La Rassegna Musicale 1 (1928), p. 486.

Gino Damerini, I pittori veneziani del ‘700 (Bologna, 1928), pp. 104, 111, 114-115.

Rodolfo Pallucchini, La pittura nel Veneto: Il Settecento, vol. 2 (Milan, 1996), pp. 437, 441, fig. 695.

Milwaukee, University of Wisconsin at Milwaukee Art Museum, A Medley of Images: Art in the Age of Mozart, October 18 – November 20, 1991, no cat. no., as a portrait of a musician, attributed to Jacopo Amigoni.

Pierre Dantraique, La peinture venitienne (Neuchâtel, 1989), p. 304.

Chicago, Art Institute of Chicago, European Portraits 1600-1900 in the Art Institute of Chicago, July 8 – September 11, 1978, no. 7, as an unknown sitter, attributed to Jacopo Amigoni.

sold to Wildenstein and Co., New York, in 1961 [according to a letter of August 4, 1977, to Susan Wise from Reinhold Baumstark, then director of the Liechtenstein collection, copy in curatorial file]

Giuseppe De Logu and Guido Marinelli, Il ritratto nella pittura italiana, vol. 2 (Bergamo, 1976), p. 185.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, 1972), p. 108, 521, 571.

Italo Faldi, “Painting in the Eighteenth Century: Rococo to Romanticism,” Burlington Magazine, 113 (1971), p. 564.

Chicago, Art Institute of Chicago, Painting in Italy in the Eighteenth Century: Rococo to Romanticism, September 19 – November 8, 1970, no. 26, as a portrait of a musician, attributed to Alessandro Longhi; traveled to Minneapolis, Minneapolis Institute of Art, December 3, 1970 - January 10, 1971; Toledo, Toledo Museum of Art, February 7 – March 21, 1971.

Rodolfo Pallucchini, “La Pittura Veneta del Settecento alla mostra itinerante di Chicago-Minneapolis-Toledo,” Arte Veneta 24 (1970), p. 291.

Rosita Levi Pisetzky, Storia del costume in Italia, vol. 4 (Milan, 1967), pl. 100.

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), p. 207, pl. 7.

Ferruccia Cappi Bentivegna, ed., Abbigliamento e costume nella pittura italiana: Barocco e Impero, vol. 2 (Rome, 1964), p. 322, fig. 435, Appendix, pp. 77-78.

Hans Lenneberg, “A Negative Contribution to Haydn Iconography: The Longhi Portrait,” The Haydn Yearbook/Das Haydn Jahrbuch 2 (1963/4), pp. 66-67, 71, ill.

Georges Wildenstein, “La Chronique des Arts,” Supplément à la Gazette des Beaux-Arts 61 (February 1963), p. 35, fig. 134.

John Maxon, “Three Baroque Portraits,” The Art Institute of Chicago Quarterly 57, 1 (1963), p. 7.

Alberto Riccoboni, “Opere giovanili di Alessandro Longhi,” Emporium 137 (1963), p. 11.

“Accessions of American and Canadian Museums: January-March 1962,” The Art Quarterly 25, 2 (1962), p. 178.

sold on February 5, 1962, to the Art Institute of Chicago for $99,500.

Art Institute of Chicago, Annual Report 1961-1962 (Chicago, 1962), cover, ill., p. 13.

Vincenzo Golzio, Seicento e Settecento, vol. 2 (Turin, 1960), p. 1229, fig. 968.