Allegory of Venus and Cupid

J. A Crowe and G. B. Cavalcaselle, Titian: His Life and Times, London, 1877, vol. 2, p. 468; 2nd ed., London, 1881, vol. 2, p. 468.

see Lisa Dunn’s note of telephone conversation cited above]

London, British Institution, 1858, no. 40, as Titian, Venus, Cupid, and Psyche.

Francis, eighth Earl of Wemyss (died 1853), Gosford House, Longniddry, East Lothian, Scotland, by 1835 [lent by him to London, 1835

Edinburgh, Royal Scottish Academy, Works of Old Masters and Scottish National Portraits, 1883, no. 336, as Titian, Venus, Cupid, etc.

by descent to Hugo Richard, eleventh Earl of Wemyss

London, British Institution, 1835, no. 116, as Titian, An Allegory (unfinished).”

Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, London, 1957, vol. 1, p. 184.

P. della Pergola, Galleria Borghese: I dipinti, Rome, 1955, vol. 1, pp. 131–32, under no. 235.

Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1948, p. 26.

R. P[allucchini], “Dipinti veneziani a Chicago, Detroit, Toledo e Hartford,” Arte veneta 1 (1947), pp. 147–48.

“Art Institute Monument to City’s Culture,” Chicago Sunday Tribune, February 3, 1946, pp. 1, 16.

E. Tietze-Conrat, “The Wemyss ‘Allegory’ in The Art Institute of Chicago,” Art Bulletin 27 (1945), pp. 269–71, fig. 1.

F. A. Sweet, “The Education of Cupid by Titian,” Bulletin of the Art Institute of Chicago 37 (1943), pp. 66–68 (ill. cover).

given to the Art Institute, 1943.

Chicago, Art Institute, Masterpieces of the Month, May 1943 (no cat.), as Titian, The Education of Cupid.

E. Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance, New York, 1939, p. 165 n. 127.

Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings, 1938, pp. 16–17, no. 12, frontispiece ill.

“A Great Titian,” Bulletin of the Art Institute of Chicago 31 (1937), p. 8.

the identity of the owner is given in a letter of February 3, 1937 from Felix Wildenstein to Daniel Catton Rich in curatorial file]

“Rare Titian Composition Now Part of Chicago Collection,” New York American, October 30, 1936, p. 23.

The Cleveland Museum of Art, Twentieth Anniversary Exhibition, 1936, no. 181, as Titian, Education of Cupid.

“Worcesters Lend Great Titian to Chicago,” Art Digest 11, 3 (1936), p. 15 (ill.).

“A Great Titian Goes to Chicago,” Art News 35, 5 (1936), p.15 (ill.).

H. Tietze, Tizian: Leben und Werk, Vienna, 1936, vol. 1, p. 242, vol. 2, p. 304.

“Buyers in Chicago Get Titian Canvas,” New York Times, October 30, 1936, p. 25.

sold by Wildenstein to Charles H. Worcester, Chicago, 1936 [according to correspondence from Felix Wildenstein to Robert B. Harshe of June 8, 1936, and from Charles H. Worcester to Felix Wildenstein of November 21, 1936, in curatorial file]

W. M. Milliken, “The Twentieth Anniversary Exhibition of the Cleveland Museum of Art,” Art News 34, 37 (1936), pp. 8–9 (ill.).

“Titian, Long Hidden in Britain, Is Sold Here to Chicago Couple,” New York Herald Tribune, October 30, 1936, p. 25.

“Famed Titian Work Acquired by Chicagoans,” Chicago Tribune, October 20, 1936, p. 28.

on loan to the Art Institute from 1936

Wildenstein, Paris and New York, by 1935 [Ay-Whang Hsia interpreted the Wildenstein stock books as indicating that the purchaser of the painting – i.e. Thyssen, though no name is given–returned the paintings to Wildenstein in the mid 1930s

E[lisabette S[accomani], “Sustris, Lambdert,” in La pittura nel Veneto: Il Cinquecento 3 (Milan, 1999), p. 1324.

J[aynie] A[nderson] in Tiziano, Amor Sacro e Amor Profano, exh. cat., Palazzo delle esposizioni, Rome,1995, pp. 435–36, under no. 149.

Kristina Hermann-Fiore, “’L’Allegoria coniugale’ di Tiziano del Louvre e le derivazioni, connesse con ‘Venere che bende Amore’” in Tiziano, Amor Sacro e Amor Profano, exh. cat., Palazzo delle esposizioni, Rome,1995, pp. 412, 414, 417, 420, fig. 187.

Christopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago (Chicago, 1993), pp. 248–53, ill.

sold by him to Wildenstein, Paris, 1927 [according to Ay-Whang Hsia, Wildenstein, New York, in conversation with Lisa Dunn, October 11, 1991]

E[lisabette S[accomani], “Sustris, Lambert,” in La pittura in Italia: Il Cinquecento, vol. 2 (Milan, 1988), p. 848.

V. Sgarbi, “Giovanni de Mio, Bonifacio de’ Pitati, Lamberto Sustris: Indicazioni sul primo tempo del manierismo nel Veneto,” Arte veneta 35 (1981), p. 60.

H. Potterton, Venetian Seventeenth-Century Painting, exh. cat., London, The National Gallery, 1979, p. 32.

H. E. Wethey, The Paintings of Titian: Complete Edition, vol. 3, The Mythological and Historical Paintings, London, 1975, p. 207, no. X-3.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 140, 201, 476, 571.

R. Kultzen and P. Eikemeier, Venezianische Gemälde des 15. und 16. Jahrhunderts, Munich, 1971, vol. 1, p. 190, under no. 484.

R. Pallucchini, Tiziano, vol. 1, Florence, 1969, pp. 217, 265.

A. Ballarin, “Osservazioni sui dipinti veneziani del cinquecento nella Galleria del Castello di Praga,” Arte veneta 19 (1965), p. 71 (detail ill.).

A. Ballarin, “Profilo di Lamberto d’Amsterdam (Lamberto Sustris),” Arte veneta 16 (1962), pp. 76–77, 81 n. 38, fig. 90.

A. Ballarin, “Lamberto d’Amsterdam (Lamberto Sustris): Le fonti e la critica,” Atti dell’Istituto Veneto di Scienze, Lettere ed Arti: Classe di scienze morali, lettere ed arti 121 (1962–1963), p. 364.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) p. 307.

Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae, Munich, 1961, p. 517.