Liberale da Verona

Alexander Barker (c. 1797–1874), Piccadilly, London;

His sale, London, Christie’s, 6 June 1874, lot 24 (as early Italian School), for 69 guineas, to

Samuel Jones Loyd, later 1st Baron Overstone (1796–1883);

Thence by inheritance to his son-in-law Brigadier-General Robert Loyd-Lindsay, 1st Baron Wantage, VC, KCB, VD (1832–1901), Lockinge House, Wantage, Oxfordshire;

Thence by descent at Lockinge House and after 1944 at Betterton House, near Wantage, Berkshire;

By whom sold (‘Property from the Loyd Collection’), London, Sotheby’s, 4 July 2018, lot 40, for £1,100,000 to the present owner.

G. Redford, Descriptive Catalogue of the Pictures at Lockinge House, 1875, pp. 15–16, no. 15 (as early Italian);

S. Colvin (ed.), A Florentine Picture Chronicle, London 1898, reproduced pls XVI–XVII;

P. Misciattelli, ‘La donna senese del Quattrocento nella vita privata’, in Bollettino senese di storia patria, 8, 1901 (according to Misciattelli 1929, p. 122);

A.G. Temple, A Catalogue of the Pictures Forming the Collection of Lord and Lady Wantage, 1902, pp. 57–58, no. 81, reproduced (as Florentine School);

A. Peraté, ‘L'exposition d'art sienois à Sienne et à Londres’, in Les Arts, 33, 1904, pp. 2–16 and Les Arts, 34, 1904, pp. 10–25 (according to Camporeale 2005, pp. 494, 512 n. 104);

A.G. Temple, A Catalogue of the Pictures Forming the Collection of Lord and Lady Wantage, 1905, p. 65, no. 81, reproduced (as Florentine School);

Prince d'Essling and E. Müntz, ‘Pétrarque, ses études d'art, son influence sur les artistes’, in Gazette des Beaux-Arts, Paris 1902, pp. 148, 273 (as Florentine School);

B. Berenson, The Central Italian Painters of the Renaissance, 2^nd ed., New York and London 1909, p. 171 (as Francesco di Giorgio);

P. Schubring, Cassoni, Leipzig 1915, vol. I, pp. 328–29, no. 464, vol. II, reproduced pl. CIX (as Francesco di Giorgio?);

A. McComb, ‘The Life and Works of Francesco di Giorgio’, in Art Studies, Princeton 1924, p. 24 (as Francesco di Giorgio);

Guide to the Pictures at Lockinge House (A.T. Loyd’s collection), 1928, p. 21 (as Francesco di Giorgio);

P. Misciattelli, ‘Cassoni Senesi’, in La Diana, iv, 1929, p. 122, reproduced pl. 15 (as Francesco di Giorgio);

P. Misciattelli, ‘Un ritratto di gentildonna senese del secolo XV’, in La Diana, v, 1930, pp. 236–37, reproduced pl. 2 (as Francesco di Giorgio);

B. Berenson, Italian Pictures of the Renaissance, Oxford 1932, p. 203 (as Francesco di Giorgio);

S. Brinton, Francesco di Giorgio Martini of Siena, London 1934, vol. I, pp. 33, 110 (as Francesco di Giorgio);

R. van Marle, The Development of the Italian Schools of Painting, vol. XVI, The Hague 1937 (reprinted New York 1970), p. 283 (as shop of Francesco di Giorgio);

A.S. Weller, Francesco di Giorgio, Chicago 1943, p. 311 (to a design by Francesco di Giorgio but not his execution);

The Illustrated London News, 30 June 1956;

G. Carandente, I trionfi nel primo Rinascimento, Moncalieri/ Turin 1963, pp. 67–68, 131 n. 155, reproduced p. 64, fig. 59 (as workshop of Francesco di Giorgio);

B.B. Frederiksen, 'The Earliest Painting by the ‘Stratonice Master’', in Paragone, no. 197, 17, July 1966, p. 55, n. 4 (as ‘closer to Francesco di Giorgio than the Ehrich replica’ [the Triumph of Chastity reproduced here as fig. 1]); 

L. Parris (ed.), The Loyd Collection of Paintings and Drawings at Betterton House, Lockinge near Wantage, Berkshire, London 1967, p. 20, no. 2 (as school of Francesco di Giorgio);

B. Berenson, Italian Pictures of the Renaissance. Central and North Italian Schools, London 1968, vol. I p. 140 (in greater part by Francesco di Giorgio);

B.B. Frederiksen, The cassone paintings of Francesco di Giorgio, J. Paul Getty Museum Publication no. 4, Los Angeles 1969, pp. 44–45, reproduced fig. 29 (as Liberale da Verona?);

R. Toledano, Francesco di Giorgio Martini. Pittore e scultore, Milan 1987, p. 154, no. A23 (as Pellegrino di Mariano?);

F. Russell, The Loyd Collection of Paintings, Drawings and Sculptures, 1991, p. 11, no. 27, reproduced pl. 2 (as circle of Francesco di Giorgio);

A. De Marchi in Francesco di Giorgio e il Rinascimento a Siena, 1450–1500, L. Bellosi (ed.), exh. cat., Siena, chiesa di Sant’Agostino, Milan 1993, p. 242, under no. 38 (as Liberale da Verona);

W. Einhorn, Spiritalis unicornis. Das Einhorn als Bedeutungsträger in Literatur und Kunst des Mittelalters, Munich 1998, p. 448 (as Francesco di Giorgio?);

E. Camporeale, ‘L'esposizione di arte senese del 1904 al Burlington Fine Arts Club di Londra’, in Il segreto della civiltà. La mostra dell'Antica Arte Senese del 1904 cento anni dopo, G. Cantelli, L.S. Pacchierotti, B. Pulcinelli (eds), Siena 2005, pp. 234, 494, 496–97, 512 n. 104 and 116, reproduced fig. 13 (as circle of Liberale da Verona);

H.-J. Eberhardt in Museo di Castelvecchio. Catalogo generale dei dipinti e delle miniature delle collezioni civiche veronesi, P. Marini, G. Peretti and F. Rossi (eds), Cinisello Balsamo 2010, p. 228, under no. 173 (as Liberale da Verona, Sienese period); 

M. Vinco in The Bernard and Mary Berenson Collection of European Paintings at I Tatti, C.B. Strehlke and M. Brüggen Israëls (eds), Milan 2015, p. 368, under pl. 51 (as Liberale da Verona, datable to his Sienese period); 

M. Vinco, Cassoni: Pittura profana del Rinascimento a Verona, Milan 2018, pp. 59, 74–75 under no. 7, 76–77, no. 8, pp. 89–90, under no. 14 and reproduced in colour p. 76 and as a detail p. 77 (as Liberale da Verona, c. 1467–68). 

London, New Gallery, Early Italian Art, 1893–94, no. 15 (as Florentine School);

London, Burlington Fine Arts Club, School of Siena, 1904, no. 40 (as follower of Francesco di Giorgio);

Oxford, Ashmolean Museum, Pictures from Lockinge House, Wantage, 1934, no. 19;

London, Thomas Agnew & Sons, Ltd, Summer Exhibition by Old Masters, Including a Group on Loan from The Lockinge Collection, 1956, no. 2;

Fermoy Art Gallery, King's Lynn, Renaissance Painting in Tuscany 1300–1500, 21 July – 4 August 1973, no. 25 (as Francesco di Giorgio);

Oxford, Ashmolean Museum, on long-term loan, from December 1997 until November 2017.