Master of Pratovecchio

Possibly commissioned by the Convent of Saint Bridget al Paradiso, Pian di Ripoli, either 1439 or after soon after 1451;

Professor Marcello Galli-Dunn, Castello di Badia, Poggibonsi, by 1901;

With Galleria Sangiorgi, Rome, by 1910 and until at least 1913 (as Alessio Baldovinetti);

Arthur Sambon (1867-1947), Paris, by 1914;

His sale, Paris, Galerie Georges Petit, 26 May 1914, lot 221 (as School of Andrea del Verrocchio);

Where acquired by Count René Trotti, Paris, for 15,550 ff.;

With Duveen Brothers, London, Paris, and New York, by 1914 and until at least 1961 (with Satinover Gallery, New York, associated with Duveen, 1920-1921);

Hugh Satterlee, New York, by 1963;

By whom sold (“The Property of a Gentleman”), London, Sotheby’s, 5 July 1967, lot 109 (as Master of Pratovecchio);

Where acquired by J. Paul Getty (1892-1976), New York;

By whom donated to the J. Paul Getty Museum, Los Angeles (inv. no. 67.PB.1; as Master of Pratovecchio);

By whom deaccessioned ("Sold by The J. Paul Getty Museum to Benefit Future Painting Acquisitions"), New York, Sotheby’s, 27 January 2011, lot 107;

Where acquired by the present collector.

C.A. Neri, Descrizione storico-artistica del Castello di Badia già di Marturi a Poggibonsi di proprietà del Prof. Marcello Galli-Dunn, Castelfiorentino 1901, p. 132;

Catalogue des Objets d'Art Ancien pour l'année 1910, Rome 1910, p. 4, reproduced (as Alessio Baldovinetti);

Catalogue des Objets d'Art Ancien pour l'année 1912, Venice 1912, no. 1 (as Baldovinetti);

R. Longhi, "Genio degli anonimi," in Critica d'Arte 4-5, no. 2 (1939-1940), p. 100 (as Florentine School);

G.M. Richter, "The Beginnings of Andrea dal Castagno," in Art in America 29 (October 1941) pp. 187-192, reproduced figs. 1, 7, 9, 13, 16, 17, 21-23 (as Andrea Castagno under strong Venetian influence, circa 1444);

G.M. Richter, Andrea del Castagno, Chicago 1943, pp. 11-12, reproduced pls. 11-15 (as Castagno);

R. Langton Douglas, "The Reconstruction of Dismembered Altarpieces: How far is it possible? How far desirable?" in Art Quarterly 8 (Autumn 1945) pp. 287-288, reproduced fig. 2 (as Castagno);

M. Brockwell, "The Brigittine Altarpiece by Andrea Del Castagno Erroneously Known as 'The Poggibonsi Altarpiece,'" in Connoisseur 128, no. 522 (September 1951) pp. 6-9, 56, reproduced (as Castagno);

M. Davies, National Gallery Catalogues: The Earlier Italian Schools, London 1951, p. 406, under cat. no. 584 (as Attributed to Castagno);

M. Salmi, "Postille alla Mostra di Arezzo," in Commentari 3-4 (July-December 1951), p. 195, reproduced fig. 236 (as Florentine School);

The Poggibonsi Altarpiece, exhibition catalogue, New York 1952 (as Castagno);

R. Longhi, "Il 'Maestro di Pratovecchio,'" in Paragone 35 (November 1952) pp. 28-29, 37 note 21 (as Master of Pratovecchio);

M. Salmi, "Fuochi d'artificio o della pseudo-critica," in Commentari 5, no. 1 (January-March 1954), p. 72 (as Master of Pratovecchio);

The Human Image, A Commemorative Catalogue for the Opening of Cullinan Hall, exhibition catalogue, Houston 1958, n.p., cat. no. 22, reproduced (as Castagno);

F. Hartt, "The Earliest Works of Andrea del Castagno: Part Two," in Art Bulletin 41 (September 1959), p. 234 note 67 (as Master of Pratovecchio);

M. Davies, National Gallery Catalogues: The Earlier Italian Schools, London 1961, pp. 523, 524 note 8, under cat. no. 583 (as Master of Pratovecchio);

M. Salmi, Andrea del Castagno, Novara 1961, p. 59 (as Master of Pratovecchio);

F. Zeri, Due dipinti, la filologia e un nome: Il Maestro delle Tavole Barberini, Turin 1961, p. 45 (as Master of Pratovecchio);

B. Berenson, Italian Pictures of the Renaissance: Florentine School, New York and London 1963, vol. I, p. 88; vol. II, reproduced pl. 691 (as Giovanni di Francesco?);

The Art of Tuscany: Exhibition of Paintings and Sculpture, exhibition catalogue, New York 1963, unpag., cat. no. 15, reproduced in two details (as Castagno);

A. Paolucci, Il diffondersi della visione prospettica, Milan 1966, n.p. (under the discussion of the Master of Pratevecchio);

B. Fredericksen, Catalogue of the Paintings in the J. Paul Getty Museum, Malibu 1972, pp. 11-13, cat. no. 14 (as Master of Pratovecchio, identified as Giovanni di Francesco di Cervilliera);

B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge 1972, p. 135 (as Master of Pratovecchio, identified as Giovanni di Francesco di Cervelliera);

B. Fredericksen, Giovanni di Francesco and the Master of Pratovecchio, Los Angeles 1974, pp. 5-38, reproduced figs. 1- 11 (as Master of Pratovecchio, identified as Giovanni di Francesco di Cervilliera);

B. Fredericksen, The J. Paul Getty Museum, London 1975, p. 78, reproduced (as Giovanni di Francesco);

E. Fowles, Memories of Duveen Brothers, New York 1976, p. 184;

M. Horster, Andrea del Castagno: Complete Edition with a Critical Catalogue, Oxford 1980, pp. 194-195 (under “Paintings Wrongly Attributed to Castagno");

G. Bacarelli, "Le commissioni artistiche attraverso i documenti: novità per il maestro del 1399 ovvero Giovanni di Tano Fei e per Giovanni Antonio Sogliani," in Il 'Paradiso' in Pian di Ripoli, Studi e ricerche su un antico monastero, M. Gregori and G. Rocchi (eds.), Florence 1985, pp. 99-100, reproduced fig. 88 (as Florentine School, first half of the 15th century);

L. Bellosi, in Pittura di luce: Giovanni di Francesco e l'arte fiorentina di metà Quattrocento, exhibition catalogue, L. Bellosi (ed.), Milan 1990, pp. 28-31, reproduced fig. 19 (as Master of Pratovecchio);

C. Ginzburg, "Ancora su Piero della Francesca e Giovanni di Francesco," in Paragone 29, no. 499 (September 1991), pp. 26-28 (as Master of Pratovecchio, identified as Giovanni di Francesco da Rovezzano, alias Cervelliera);

A. Padoa Rizzo, "Ristudiando i documenti: Proposte per il "Maestro di Pratovecchio" e la sua tavola eponima," in Studi di storia dell'arte sul Medioevo e il Rinascimento, Florence 1993, vol. II, pp. 579-590, reproduced fig. 2 (as Master of Pratovecchio, identified as Jacopo di Antonio)

A. Padoa Rizzo in The Dictionary of Art, J. Turner (ed.), vol. XX, London 1996, p. 748 (under Master of Pratovecchio, identified as Jacopo di Antonio);

D. Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Los Angeles 1997, p. 51, reproduced (as Master of Pratovecchio, identified as Giovanni di Francesco);

D. Gordon, National Gallery Catalogues: The Fifteenth Century Italian Paintings, London 2003, vol. I, p. 122, under cat. no. 584 (as Master of Pratovecchio, identified as Jacopo di Antonio);

T. Ito, "L'identità di Giovanni di Francesco," in Ricerche di Storia dell'Arte 84 (2004), pp. 51-52, reproduced fig. 1 (as Master of Pratovecchio, identified as Giovanni di Francesco di Cervelliera);

K. Christiansen, “The Pratovecchio Master,” in From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master, exhibition catalogue, K. Christiansen (ed.), New York 2005, p. 287 (as Master of Pratovecchio);

M. Mazzalupi, in Brera mai vista: Pittura di luce, La Madonna col Bambino del Maestro di Pratovecchio, exhibition catalogue, Milan 2011, pp. 37-41 (as Master of Pratovecchio);

A. Angelini, Piero della Francesca, Milan 2014, p. 225 note 95;

A. Galli, "Il Maestro di Pratovecchio: caso chiuso?" in Il Mestiere del conoscitore, Roberto Longhi, A.M.A. Massari, A. Bacchi, D. Benati, and A. Galli (eds.), Bologna 2017, pp. 126-137, reproduced fig. 9 (as Master of Pratovecchio);

T. Ito, in La Collection Alana, Chefs-d’œuvre de la peinture italienne, exhibition catalogue, P. Curie and C. Falciani (eds.), Paris 2019, pp. 116-117, cat. no. 30, reproduced (as Master of Pratovecchio).

Houston, Museum of Fine Arts, The Human Image, 10 October - 23 November 1958, no. 22, (as Andrea Castagno);

Paris, Musée Jacquemart-André, La Collection Alana, Chefs’d’œuvre de la peinture italienne, 13 September 2019 - 20 January 2020, no. 30.