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upper center in Virgin's halo: AVE*GRATIA*PLENA*DO[MINUS TECUM] (Hail, full of grace, the Lord is with thee), from Luke 1:28


Family chapel of a country house at Larniano, near San Gimignano,[1] by about 1900. Count Silvio Piccolomini Clementini della Triana [1878-1962], Siena, in the 1920s and early 1930s.[2] (Count Alessandro Contini Bonacossi, Florence); sold June 1937 to the Samuel H. Kress Foundation, New York;[3] gift 1939 to NGA.


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Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 177, no. 385.
Book of Illustrations. National Gallery of Art, Washington, 1942: 247, repro. 183.
Friedmann, Herbert. The Symbolic Goldfinch. Its History and Significance in European Devotional Art. Washington, DC, 1946: 154, 241, pl. 83.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 120.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 146, fig. 392.
Bereson, Bernard. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. 3 vols. London, 1968:1:383.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 107, repro.
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 182, 646.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 318, repro.
Levi d'Ancona, Mirella. The Garden of the Renaissance: Botanical Symbolism in Italian Painting. Florence, 1977: 114.
Torriti, Piero. La Pinacoteca Nazionale di Siena. I Dipinti dal XII al XV secolo. Genoa, 1977: 287.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:413-414, 2:pl. 294.
Shearman, John. The Early Italian Pictures in the Collection of Her Majesty the Queen. Cambridge, 1983: 220.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 366, repro.
Pope-Hennessy, John, and Laurence B. Kanter. The Robert Lehman Collection. Vol. 1, Italian Paintings. New York, 1987: 220.
Lloyd, Christopher. Italian Paintings before 1600 in the Art Institute of Chicago. Princeton, 1993: 214.
Frinta, Mojmír S. Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998: 328.
Knauf, Marion. "Sano di Pietro's Madonna Panels: A Survey and Catalogue Raisonne of his Madonna and Child Pictures for Private Devotion." Ph.D. diss., Indiana University, Bloomington, 1998: 47, 78, 241, 316, 325-326, cat. A66.
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: 617-621, color repro.
Freuler, Gaudenz. "Sano di Pietro, la sua fortuna critica e il "problema" del Maestro dell'Osservanza." In Gabriele Fattorini et. al., eds. Sano di Pietro: Qualità, devozione e pratica nella pittura senese del Quattrocento. Giornate di studio nel sesto centenario della nascita. Siena 5 dicembre 2005 – Asciano 6 dicembre 2005. Milan, 2012: 29, fig. 2.
Harris, Neil. Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience. Chicago and London, 2013: 235, 246, 248, 250.
Sallay, Dóra. Corpus of Sienese Paintings in Hungary 1420-1510. Florence, 2015: 104-105, fig. 6.

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