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Provenance

Cathedral of Siena, in the early 1800s.[1] Private collection, Tuscany; Alexander Barker [c. 1797-1873], London and Florence;[2] Paul Pavlovich Demidoff [1839-1885], prince of San Donato, near Florence; (his sale, Florence, 15 March-10 April 1880, no. 368, as La Vierge aux Roses by Parri Spinelli). L. Ganetiez, Paris; (sale, Christie, Manson & Woods, London, 13 July 1889, no. 65, as The Madonna with the Infant Savior, with roses in the background by Parri Spinelli); (Ellis).[3] (Leo Nardus [1868-1955], Suresnes, France, and New York); sold 1898 to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[4] inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park; gift 1942 to NGA.

Exhibition History

2002
The Flowering of Florence, National Gallery of Art, Washington, D.C., 2002, no. 2, repro.

Bibliography

1874
Ménard, René. “Spinello Aretino.” Gazette des Beaux-Arts 9, no. 2 (1874): 118, repro., as by Spinello Aretino.
1900
Catalogue of Paintings Forming the Private Collection of P. A. B. Widener. Ashbourne, near Philadelphia. II: Early English and Ancient Paintings. Paris, 1900: cat. 255, repro., as by Spinello Aretino.
1902
“Tribune des Arts.” Les Arts 3 (April 1902): 34-35. Letter 1. Werner Weisbach, Les Arts 4 (May 1902): 44-45. Letter 2: Les Arts 4 (May 1902): 45. Letter 3: A. Twietmeyer. Les Arts 4 (May 1902): 45. Letter 4: J. L., Les Arts 5 (June 1902):34.
1906
Bode, Wilhelm von, ed. Beschreibendes Verzeichnis der Gemälde im Kaiser-Friedrich-Museum. Berlin, 1906: 136, as by Pier Francesco Fiorentino.
1909
Berenson, Bernard. The Florentine Painters of the Renaissance, 3rd ed. London, 1909: 170, as by Pier Francesco Fiorentino.
1913
Berenson, Bernard. Catalogue of a Collection of Paintings and Some Art Objects. I: Italian Paintings. Philadelphia, 1913: 26, as by Pier Francesco Fiorentino.
1916
Berenson, Bernard, and William Roberts. Pictures in the Collection of P.A.B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania: Early Italian and Spanish Schools. Philadelphia, 1916: unpaginated, repro., as by Pier Francesco Fiorentino.
1919
Collection of Medieval and Renaissance Paintings. Fogg Art Museum. Cambridge, MA, 1919: 72, as by Pier Francesco Fiorentino.
1923
Marle, Raimond van. The Development of the Italian Schools of Painting, 19 vols. The Hague, 1923-1938: 13(1931):446, as by Pier Francesco Fiorentino.
1923
Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1923: unpaginated, repro., as by Pier Francesco Fiorentino.
1931
Kunze, Irene, ed. Beschreibendes Verzeichnis der Gemälde im Kaiser-Friedrich-Museum, 9th ed. Berlin, 1931: 160, as by Pier Francesco Fiorentino.
1931
Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1931: 152, repro., as by Pier Francesco Fiorentino.
1932
Berenson, Bernard. Italian Pictures of the Renaissance. Oxford, 1932: 452.
1936
Berenson, Bernard. Pitture italiane del Rinascimento. Milan, 1936: 388.
1942
Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 6, as by Pier Francesco Fiorentino.
1948
Paintings and Sculpture from the Widener Collection. National Gallery of Art, Washington, 1948 (reprinted 1959): 6, repro., as by Pier Francesco Fiorentino.
1961
Davies, Martin. National Gallery Catalogues. The Earlier Ialian Schools. London, 1961: 186 n. 1.
1963
Berenson, Bernard. Italian Pictures of the Renaissance: Florentine School, 2 vols. London, 1963: 1:174.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 102.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 90, repro.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 135.
1973
Kauffmann, C. M. Victoria and Albert Museum. Catalogue of Foreign Paintings. I. Before 1800. London, 1973: 222.
1973
Zucker, Mark J. “Parri Spinelli: Aretine Painter of the Fifteenth Century.” Ph.D. diss., Columbia University, 1973: 391-392, cat. 27, fig. 179.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 268, repro.
1976
Zeri, Federico. Italian Paintings in the Walters Art Gallery, 2 vols. Baltimore, 1976: 1:83.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:266-267; 2:pl. 182, as Lippi-Pesellino Imitator.
1984
Scalia, Fiorenza and Cristina De Benedictis, eds. Il Museo Bardini a Firenze, 2 vols. Milan, 1984-1986: 1(1984): 235.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 311, repro.
1994
Kustodieva, Tatiana K. Italian Painting: Thirteenth to Sixteenth Centuries. Catalogue of Western European Painting / The Hermitage. Florence, 1994: 237.
2002
Quodbach, Esmée. “‘The Last of the American Versailles’: The Widener collection at Lynnewood Hall.” Simiolus 29, no. 1/2 (2002): 94.
2003
Boskovits, Miklós, and David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, D.C., 2003: 416-421, color repro.
2011
Kustodieva, Tat'jana. Museo Statale Ermitage: La pittura italiana dal XIII al XVI secolo. Milan, 2011: 237.
2013
Langhanke, Birgit. Die Madonnenreliefs im Werk von Antonio Rossellino. Ph.D. diss. Ludwig-Maximilians-Universität, Munich, 2013: 488 fig. 146.
2022
De Marchi, Andrea, and Davide Civettini. Pseudo Pier Francesco Fiorentino: Cristo di Dolori. Florence, 2022: 44.
2023
Llewellyn, Laura. “Pesellino’s legacy.” In Laura Llewellyn, ed. Pesellino: A Renaissance Master Revealed. Exh. cat. National Gallery, London, 2023: 39, fig. 28.

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