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on reverse, probably by later hand, three words: [?] Tornabuoni [?]


Possibly Palazzo Tornabuoni, Florence, until c. 1850.[1] William Graham [1817-1885], London; (his estate sale, Christie, Manson & Woods, London, 2-3 and 8-10 April 1886, 3rd day, no. 200, as Portrait of a Lady, bought in by Agnew's for executors of Graham estate); Kenneth Muir-MacKenzie, 1st baron Muir-Mackenzie [1845-1930], London;[2] by inheritance to his daughter, Dorothea Muir-Mackenzie Hambourg [Mrs. Mark Hambourg], London. (Frank T. Sabin, London), in 1937.[3] (Count Alessandro Contini Bonacossi, Florence); sold July 1950 to the Samuel H. Kress Foundation, New York;[4] gift 1952 to NGA.

Exhibition History

Gems of Painting, Sabin Galleries, London, 1937, unnumbered catalogue, repro.
Virtue and Beauty: Leonardo's 'Ginevra de' Benci' and Renaissance Portraits of Women, National Gallery of Art, Washington, D.C., 2001-2002, fig. 10.


Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 47 n.
Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1945-1951. Introduction by John Walker, text by William E. Suida. National Gallery of Art, Washington, 1951: 56, no. 16, repro., as Portrait of a Lady by Florentine School (Possibly Domenico Ghirlandaio).
Marchini, Giuseppe. “The Frescoes in the Choir of Santa Maria Novella.” The Burlington Magazine 95, no. 607 (October 1953): 320.
Pieraccini, Gaetano. “L’effige di Lucrezia Tornabuoni, madre di Lorenzo de’ Medici.” Rivista d’Arte 27, no. 2 (1953): 181-184, fig. 5.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 67, repro.
Cappi Bentivegna, Ferruccia. Abbigliamento e costuma nella pittura italiana rinascimentale. 2 vols. Rome, 1962-1964: 1(1962):116, fig. 161.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 57.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 125, fig. 334.
Bargellini, Piero. “Le donne di Lorenzo de’ Medici.” In Donne di casa Medici. Ciclo di conferenze tenuto al ‘Lyceum’ di Firenze. Florence, 1968: 20, repro.
Berenson, Bernard. Italian Pictures of the Renaissance: Central and North Italian Schools, 3 vols. London, 1968: 1:132, as Ferrarese before 1510, Close to Ercole de' Roberti.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 50, repro.
Mee, Charles. Lorenzo de’ Medici and the Renaissance. New York, 1969: 33, repro.
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 83, 518, 647, as by Domenico Ghirlandaio.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 152, repro.
Morris, Edward, and Martin Hopkinson. Walker Art Gallery, Liverpool. Foreign Catalogue. 2 vols. Liverpool, 1977: 1:87 n. 8.
Pezzarosa, Fulvio. I poemetti sacri di Lucrezia Tornabuoni. Florence, 1978: 11 n. 22.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:203-204; 2:pl. 140.
Anrep-Bjurling, Jan. “Domenico Ghirlandaio’s Portraits in the Tornabuoni Funeral Chapel, a Problem of Identification.” In Lars Olof Larsson and Götz Pochat, eds. Kunstgeschichtliche Studien zur florentiner Renaissance. Stockholm, 1980: 288.
Langedijk, Karla. The Portraits of the Medici: 15th-18th Centuries. 3 vols. Florence, 1981-1987: 2(1983):1210, no. 5.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 104, no. 73, color repro.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 174, repro.
Simons, Patricia. “Portraiture and Patronage in Quattrocento Florentine with Special Reference to the Tornaquinci and their Chapel in S. Maria Novella.” 2 vols. Ph.D. diss., University of Melbourne, 1985: 1:146, 2:121-122, pl. 46.
Simons, Patricia. “Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture.” History Workshop 25 (Spring 1988): 24. Reprinted in Norma Broude and Marry Garrard, eds. The Expanding Discourse: Feminism in Art History. New York, 1992: 52.
Fahy, Everett. Some Followers of Domenico Ghirlandajo. New York, 1976: 209. 23-24, no. 23.
Garrard, Mary. “Leonardo da Vinci: Female Portraits, Female Nature.” In Norma Broude and Marry Garrard, eds. The Expanding Discourse: Feminism in Art History. New York, 1992: 63.
Zuraw, Shelley. “The Sculpture of Mino da Fiesole.” Ph.D. diss., New York University, Institute of Fine Arts, 1993: 484.
Simons, Patricia. “Alert and Erect: Masculinity in Some Italian Renaissance Portraits of Fathers and Sons.” In Richard Trexler, ed. Gender Rhetorics: Postures of Dominance and Submission in History. London, 1994: 165 n. 6.
Craven, Jennifer. “A New Historical View of the Independent Female Portrait in Fifteenth-Century Florentine Painting.” Ph.D. diss., University of Pittsburgh, 1997: 197, 302-304, 321, no. 33.
Kent, Francis. “Sainted Mother, Magnificent Son: Lucrezia Tornabuoni and Lorenzo de’ Medici.” Italian History and Culture 3 (1997): 4-5, fig. 1.
Cadogan, Jean. Domenico Ghirlandaio: Artist and Artisan. New Haven and London, 2000: 242-243.
Kent, Dale. “Women in Renaissance Florence.” In David Alan Brown, ed. Virtue and Beauty: Leonardo’s Ginevra de’ Benci and Renaissance Portraits of Women. Exh. cat., National Gallery of Art, Washington, 2001: 38-39, fig. 10.
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: 303-307, color repro.
Musacchio, Jacqueline Marie. Art, Marriage & Family in the Florentine Renaissance Palace. New Haven, 2008: 248, fig. 259, as Workshop of Domenico Ghirlandaio.
DePrano, Maria. “At Home with the Dead: The Posthumous Remembrance of Women in the Domestic Interior in Renaissance Florence.” Source: Notes in the History of Art 29, no. 4 (2010): 22, 26, fig. 2.
Sman, Gert Jan van der. "El Retrato de Giovanna degli Albizzi Tornabuoni de Domenico Ghirlandaio." In Gert Jan van der Sman, ed. Ghirlandaio y el Renacimiento en Florencia. Exh. cat. Museo Thyssen Bornemisza, Madrid, 2010: 47-48, fig. 9.
Christiansen, Keith, and Stefan Wepplemann, eds. The Renaissance Portrait from Donatello to Bellini. Exh. cat. Metropolitan Museum of Art, New York, and Staatliche Museen zu Berlin, 2011: 115, as by Domenico Ghirlandaio.
Flanigan, Theresa. “Women’s Speech in the Tornabuoni Chapel.” Artibus et Historiae 38, no. 76 (2017): 207, fig. 2, as by Domenico Ghirlandaio.
Deprano, Maria. Art Patronage, Family, and Gender in Renaissance Florence: The Tornabuoni. Cambridge, 2018: 6, 22, 32-40, 143, 204, pl. I.
Kranz, Annette. “The Portrait in the Florentine Quattrocento.” In Andreas Schumacher, ed. Florence and its Painters: From Giotto to Leonardo da Vinci. Exh. cat. Alte Pinakothek, Munich, 2018: 83 n. 59, as by Domenico Ghirlandaio.

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