Susanna and the Elders in the Garden, and the Trial of Susanna before the Elders

René Brimo, Art et goût: L’Evolution du goût aux Etats-Unis d’après l’histoire des collections (Paris, 1938), p. 92.

Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 452.

bequeathed to the Art Institute, 1933.

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

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 182.

Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 525.

Raimond Van Marle, The Development of the Italian Schools of Painting, (The Hague, 1931), vol. 12, p. 409, vol. 13, p. 234.

Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpub. MS, 1926 Ryerson Library, The Art Institute of Chicago, pp. 20–22.

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 160, nos. 2072–73.

The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago, 1923), p. 73.

Gustave Emile Kaltenbach, “Cassoni,” American Magazine of Art 14, 10 (October 1923), pp. 598, ills, 599.

The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, May 1922), p. 73.

The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, August 1920), p.64.

The Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture, and Architecture (Chicago, August 1917), p. 166.

on loan to the Art Institute of Chicago from 1917

sold by the Ehrich Galleries, New York, to Martin A. Ryerson (d. 1932), Chicago, 1917 [entry in Ryerson’s notebook, April 24, 1917, see Ryerson Papers, Archives, The Art Institute of Chicago

American Art News 15, 33 (1917), p. 7, ills.

receipt of payment dated May 8, 1917 in curatorial file]

Paul Erich Küppers, Die Tafelbilder des Domenico Ghirlandajo (Strasbourg, 1916), p. 85.

Trotti and Company, Paris, by 1915 [see Paul Schubring, 1915, p. 301]

Paul Schubring, Cassoni: Truhen und Truhenbilder der italienischen Frührenaissance (Leipzig, 1915), vol. 1, pp. 301–02, nos. 351 and 352, vol. 2, pl. 83, nos. 351 and 352.

Giovanni Sarti, Trente-trois primitifs italiens de 1310 à 1500: du sacré au profane (Paris, 1998), p. 212.

Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp.142–145, ills.

Peter Thornton, The Italian Renaissance Interior, 1400–1600 (London, 1991), pp. 148–9, pl. 163 (detail).

Ellen Callmann, “The Growing Threat to Marital Bliss as Seen in Fifteenth-Century Florentine Paintings,” Studies in Iconography 5 (1979), pp. 86–87, figs. 16–17, p. 91 n. 30.

Walker Art Gallery, Liverpool: Foreign Catalogue (Liverpool, 1977), p. 118.

Everett Fahy, Some Followers of Domenico Ghirlandajo (New York and London, 1976), pp. 11–20 bis, 105, nos. 7–8.

Federico Zeri, Italian Paintings in the Walters Art Gallery, vol. 1 (Baltimore, 1976), p. 104.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 124, 266–67, 571.

Charles Seymour, Early Italian Paintings in the Yale University Art Gallery (New Haven and London, 1970), p. 17.

Everett Fahy, “The ‘Master of Apollo and Daphne,’” The Art Institute of Chicago Museum Studies 3 (1968), pp. 21–34, 36, nos. 7–8, figs. 1, 4, 7.

Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1 (London 1963), p. 197.