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Giuseppe Toscanelli [1828-1891], Pontedera and Pisa;[1] (Toscanelli sale, Sambon, Florence, 23 April 1883, no. 137, as by Gentile da Fabriano); Sir William Neville Abdy, 2nd bt. [1844-1910], The Elms, Newdigate, Dorking; by inheritance to his daughter, Florence, Lady Abdy [d. 1922], Dorking and London; (her sale, Christie, Manson & Woods, London, 5 May 1911, no. 139, as by Gentile da Fabriano); (Wallis & Son, London).[2] (Charles Sedelmeyer, Paris), by 1913;[3] sold August 1919 to (Duveen Brothers, Inc., London and New York);[4] on approval to Carl W. Hamilton [1886-1967], New York, by 1920, and returned 1921;[5] purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[6] gift 1937 to NGA.

Exhibition History

Exposition de tableaux, statues et objets d'art au profit de l'oeuvre des Orphelins d'Alsace-Lorraine, Salle des Etats du Louvre, Paris, 1885, no. 180, as by Gentile da Fabriano.
Exhibition of Italian Renaissance Art, Wadsworth Atheneum and Morgan Memorial, Hartford, 1932, no. 15.
Italian Paintings of the XIV to XVI Century, Detroit Institute of Arts, 1933, no. 59, as by Matteo di Giovanni, repro.


Lefort, Louis. Chronique des Arts (13 June 1885): 182, as by Gentile da Fabriano.
Reinach, Salomon. Répertoire de peintures du moyen âge et de la Renaissance (1280-1580). 6 vols. Paris, 1905-1923: 1(1905):72, repro., as by Gentile da Fabriano; 4(1918): 93, repro.
“Cronaca: Estero.” Rassegna d’Arte 11, no. 5 (1911): i, as by Gentile da Fabriano.
F. Der Cicerone 3 (1911): 401, as by Gentile da Fabriano
“In the Sale Room.” Connoisseur 30, no. 119 (1911): 200, as by Gentile da Fabriano.
Perkins, Frederick Mason. “Due dipinti senesi della Pietà.” Rassegna d’Arte Senese 7, no. 3 (1911): 67 n. 2.
Illustrated Catalogue of the Twelfth Series of 100 Paintings by Old Masters of the Dtuch, Flemish, Italian and English Schools, being a Portion of the Sedelmeyer Gallery. Paris, 1913: 60, no. 138, as by Gentile da Fabriano.
Perkins, Frederick Mason. “Dipinti senesi sconosciuti o inediti.” Rassegna d’Arte 1 (1914): 102.
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 16(1937):326, as by Matteo di Giovanni.
Singleton, Esther. Old World Masters in New World Collections. New York, 1929: 12, repro.
Valentiner, Wilhelm R. "Die Leihausstellung frühitalienischer Malerei in Detroit." Pantheon 12 (1933): 238, as by Matteo di Giovanni.
Venturi, Lionello. Italian Paintings in America. Translated by Countess Vanden Heuvel and Charles Marriott. 3 vols. New York and Milan, 1933: 2:pl. 291, repro., as by Matteo di Giovanni.
Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 13, as by Matteo di Giovanni.
Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 95, repro., as by Matteo di Giovanni.
Frankfurter, Alfred M. "On the Italian Renaissance Painters in the National Gallery: An Editorial." Art News 40, no. 3 (1941): 26, repro.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 24, no. 10.
Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 72.
Pope-Hennessy, John. Sienese Quattrocento Painting. Oxford and London, 1947: 30, fig. 69.
Brandi, Cesare. Quattrocentisti senesi. Milan, 1949: 266, fig. 202.
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 17, repro.
Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 29.
DeWald, Ernest T. Italian Painting 1200-1600. New York, 1961: 344-345, repro.
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 300, repro.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 14.
Fredericksen, Burton B., and Darrell Davisson. Benvenuto di Giovanni, Girolamo di Benvenuto, their altarpieces in the J. Paul Getty Museum. Malibu, CA, 1966: 28-29, fig. 87.
Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:42.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 7, repro.
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 26.
Sterling, Charles. “Fighting Animals in the Adoration of the Magi.” The Bulletin of the Cleveland Museum of Art 61 (1974): 358 n. 5.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 26, repro.
Bandera, Maria Cristina. “Variazioni ai cataloghi berensoniani di Benvenuto di Giovanni.” In Maria Grazia Ciardi Duprè Dal Poggetto and Paolo Dal Poggetto, eds. Scritti di storia dell’arte in onore di Ugo Procacci. 2 vols. Milan, 1977: 1:314.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:64-65; 2:pl. 38.
Schmeckbier, Laurence Eli. A New Handbook of Italian Renaissance Painting. New York, 1981: 252.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 82, no. 36, color repro.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 45, repro.
Simpson, Colin. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986: 196.
Bellosi, Luciano, ed. Francesco di Giorgio e il Rinascimento a Siena 1450-1500. Exh. cat. Chiesa di Sant’Agostino, Siena 1993: 266, fig. 1.
Harpring, Patricia. The Sienese Trecento Painter Bartolo di Fredi. Rutherford, NJ, 1993: 141, 146, repro.
Coté, Cynthia. "Benvenuto di Giovanni." In Jane Turner, ed. The Dictionary of Art. 34 vols. New York and London, 1996: 3:751.
Bandera, Maria Cristina. Benvenuto di Giovanni. Milan, 1999: 46-51, 80, 219-220, cat. 16.
Alessi, Cecilia. La Confraternita ritrovata: Benvenuto di Giovanni e Girolamo di Benvenuto nello Spedale Vecchio di Siena. Asciano (Siena), 2003: 103.
Boskovits, Miklós, David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, 2003: 107-111, color repro.

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