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Sir Thomas Gage Saunders Sebright, 8th bt. [1802-1864], Beechwood Park, Hertfordshire, by 1856;[1] by descent to Sir Giles Edward Sebright, 13th bt. [1896-1954], Beechwood Park; (his sale, Christie, Manson & Woods, London, 2 July 1937, no. 139, as Venetian School); purchased by (Volterra, Florence) for (Count Alessandro Contini Bonacossi, Florence); sold October 1937 to the Samuel H. Kress Foundation, New York;[2] gift 1939 to NGA.

Exhibition History

Face to Face: Flanders, Florence, and Renaissance Painting, The Huntington Library, Art Collections, and Botanical Gardens, San Marino, 2013-2014, pl. 36.


Waagen, Gustav Friedrich. Galleries and Cabinets of Art in Great Britain. London, 1857: 327, as by Raphael (?).
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 149-150, no. 391, as by Pietro Perugino.
Book of Illustrations. National Gallery of Art, Washington, 1942: 247, repro. 164, as by Pietro Perugino.
Camesasca, Ettore. Tutta la pittura del Perugino. Milan, 1959: 55, pl. 38, as by Pietro Perugino.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 93, repro., as by Pietro Perugino.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 100, as by Pietro Perugino.
Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:333, as Workshop of Pietro Perugino.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 88, repro.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 99, fig. 238.
Camesasca, Ettore. L’opera completa del Perugino. Milan, 1969: 92, cat. 26, as by Pietro Perugino.
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 161, 646, as by Pietro Perugino.
Fahy, Everett. “Review. Paintings from the Samuel H. Kress Collection: Italian Schools XII-XV Century by Fern Rusk Shapley; Paintings from the Samuel H. Kress Collection: Italian Schools XV-XVI Century by Fern Rusk Shapley; Early Italian Paintings in the Yale University Art Gallery by Charles Seymour; Italian Primitives: The Case History of a Collection and its Conservation by Charles Seymour.” Art Bulletin, vol. 56, no. 2 (1974): 285, as by the Pisan Follower of Pinturicchio.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 262, repro., as by Pietro Perugino.
Fahy, Everett. Some Followers of Domenico Ghirlandajo. New York, 1976: 189, as by the Pisan Follower of Pinturicchio.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:363-364; 2:pl. 262, as by Studio of Pietro Perugino.
Ferino Pagden, Sylvia. “Gli affreschi della Madonnuccia in San Martino in Campo e l’enigma di Andrea d’Assisi detto l’Ingegno.” Esercizi 4 (1981): 73, 84, as by Andrea d’Assisi called l’Ingegno.
Rowlands, Eliot W. “Review of Fern Rusk Shapley. Catalogue of the Italian Paintings 1979.” Apollo 144, no. 237 (November 1981): 353.
Shearman, John. The Early Italian Pictures in the Collection of Her Majesty the Queen. Cambridge, 1983: 192.
Szabó, George. Masterpieces of Italian Drawing in the Robert Lehman Collection. The Metropolitan Museum of Art. New York, 1983: n.p., under cat. 19.
Aspetti dell’arte a Roma prima e dopo Raffaello. Exh. cat. Palazzo Venezia, Rome. 1984: 49-50.
Scarpellini, Pietro. Perugino. Milan, 1984: 30, 80, cat. 36, fig. 55, as Collaborator of Pietro Perugino ( Andrea d’Assisi called l’Ingegno?).
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 108, no. 78, color repro.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 303, repro.
Wood, Jeryldene Marie. “The Early Paintings of Perugino.” Ph.D. diss., University of Virginia, 1985: 285, cat. 26, fig. 61, as School of Perugino.
Perrig, Alexander. “Die theoriebedingten Landschaftsformen in der italienischen Malerei des 14. Und 15. Jahrhunderts.” In Wolfram Prinz and Andreas Beyer, eds. Die Kunst und das Studium der Natur vom 14. zum 16. Jahrhundert. Weinheim, 1987: 60 n. 47.
Todini, Filippo. La pittura umbra dal Duecento al primo Cinquecento. 2 vols. Milan, 1989: 1:273, as Workshop of Pietro Perugino.
Antenucci Becherer, Joseph. "Perugino in America: Masterpieces, Myths, and Mistaken Identities." In Joseph Antenucci Becherer, ed. Pietro Perugino: Master of the Italian Renaissance. Exh. cat., The Grand Rapids Art Museum, Grand Rapids, 1997: 116.
Nucciarelli, Franceso Ivan. Studi sul Pinturicchio. Dalle prime prove alla Cappella Sistina. Ellera Umbra (Perugia), 1998: 179, fig. 50.
Bellosi, Luciano. “The Landscape alla fiamminga.” In Victor M. Schmidt et. al., eds. Italy and the Low Countries—Artistic Relations. The Fifteenth Century. Proceedings of the Sympsoium Held at Museum Catharijneconvent, Utrecht, 14 March 1994. Florence, 1999: 98-100, fig. 1.
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: 565-568, color repro.
Fahy, Everett. "Early Italian paintings in Washington and Philadelphia." The Burlington Magazine 148, no. 1241 (August 2006): 539 n. 5, as by Andrea d'Assisi called Ingegno.
Danieli, Michele. "Un peruginesco in incognito: Amico Aspertini." Saggi e memorie di storia dell'arte 37 (2013): 37, 39, fig. 61, as Circle of Pietro Perugino.

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