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falsely dated, on base, across front: T[for I]OANNA ALBIZA MCCC C[L or I]X


Acquired from the artist c. 1865 by (Francesco Simonelli, Florence);[1] purchased 1865 by Louis-Charles Timbal [1821-1880], Paris; sold 1872 with his collection to Gustave Dreyfus [1837-1914], Paris; (his sale, Hôtel Drouot, Paris, 21-22 February 1873, 1st day, no. 63, bought in);[2] his estate; purchased 1930 with the entire Dreyfus collection by (Duveen Brothers, Inc. London, New York, and Paris); purchased May 1933 by the Toledo (Ohio) Museum of Art, and subsequently returned to (Duveen Brothers, Inc.);[3] purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[4] gift 1937 to NGA.

Exhibition History

Sculpture and Medals of the Renaissance from the Dreyfus Collection, Fogg Art Museum, Cambridge, Massachusetts, 1932, as by Desiderio da Settignano.


Foresi, Alexandre. Tour de Babel: ou objet d'Art faux pris pour vrais et vice versa. Paris, Florence, 1868: 40-42.
Hôtel Drouot. Objets d'art et de curiosité de la Renaissance: Tableaux anciens des écoles italienne et holondaise. Paris, 1873: 14.
Eudel, Paul. Le truquage. Le contrafaçons dévoillées. Paris, 1884: 388.
Vitry, Paul. "La collection de M. Gustave Dreyfus: I. - La Sculpture." Les Arts 72 (December 1907): repro. 21, 27.
Foresi, Mario. "Di un valoroso scultore: E della vicende delle sue opere celebri." Rassegna Nazionale 180 (1 August 1911): 397-414.
Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 25.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 223, no. A-18, as Bust of a Lady by Florentine School, XV Century.
Book of Illustrations. National Gallery of Art, Washington, 1942: 253, repro. 227, as Bust of a Lady by Florentine School, XV Century.
Swarzenski, Georg. "Some Aspects of Italian Quattrocento Sculpture in the National Gallery." Gazette des Beaux-Arts 6th series, 24 (November 1943): 289, repro.
Duveen Brothers, Inc. Duveen Sculpture in Public Collections of America: A Catalog Raisonné with illustrations of Italian Renaissance Sculptures by the Great Masters which have passed through the House of Duveen. New York, 1944: figs. 65-66, as A Florentine Lady, by Desiderio da Settignano.
Galassi, Guiseppe. La scultura fiorentina del quattrocento. Milan, 1949: 171-172, 187.
Cardellini, Ida. Desiderio da Settignano. Milan, 1962: 88.
Sani, Bernardina. "Le vrai et le faux dans l'oeuvre de Bastianini." Revue de l'Art 21 (1973): 102-107.
Pope-Hennessy, John. "The Forging of Italian Renaissance Sculpture." Apollo 99 (April 1974): 260, 267, repro. no. 60.
Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1994: 27, repro.
Damianaki, Chrysa. The female portrait busts of Francesco Laurana. Rome, 2000: 99-100, 105, 181 n. 101, pl. 159.
Moskowitz, Anita F. "The Case of Giovanni Bastianini: A Fair and Balanced View." Artibus et Historiae 25, no. 50 (2004): 157-185, repro.
Warren, Jeremy. "Forgery in Risorgimento Florence: Bastianini's 'Giovanni delle Bande Nere' in the Wallace Collection." The Burlington Magazine 147 (November 2005): 739.
Desiderio da Settignano: Sculptor of Renaissance Florence. Exh. cat. Musée du Louvre, Paris; Museo Nazionale del Bargello, Florence; National Gallery of Art, Washington, D.C. Milan, 2007: 154, fig. 98.
Moskowitz, Anita F. "'Dell'Anima Trasmigrata': Giovanni Bastianini and Desiderio da Settignano." In Connors, Joseph, Alessandro Nova, Beatrice Paolozzi Strozzi and Gerhard Wolf, eds. Papers from a colloquium held at the Kunsthistorisches Institut in Florence, Max-Planck-Institut, and at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence, May 9-12, 2007 on occasion of the exhibition in Florence dedicated to Desiderio da Settignano. Venice, 2011: 269-270, repro. 274.
Moskowitz, Anita F. Forging Authenticity: Bastianini and the Neo-Renaissance in Nineteenth-Century Florence. Florence, 2013: 58-62, n. 112, 115, 127-29, n. 134, figs. 34-39, 41.
Warren, Jeremy. "From Florence to Paris: new evidence for Giovanni Bastianini and his work." The Burlington Magazine 163 (March 2021): 223-235, esp. 234, fig. 12, n. 97.

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