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Onnes van Nijenrode, Château de Nijenrode, The Netherlands; (his sale, Frederick Muller, Amsterdam, 10 July 1923, no. 20, as by Pintoricchio). (Duveen Brothers, Inc., London and New York), by 1925.[1] Ernst Rosenfeld, New York, by 1929 until at least 1936.[2] (Duveen Brothers, Inc., London and New York); sold 1938 to the Samuel H. Kress Foundation, New York;[3] gift 1939 to NGA.

Exhibition History

[Loan exhibition of three masterpieces by Rembrandt, Hobbema, and Pinturrichio (Courtesy of Sir Jo. Duveen)], Art Gallery of Toronto [now Art Gallery of Ontario], 1926, no cat., as by Pinturrichio.
Loan Exhibition of Primitives, M. Knoedler & Co., New York, 1929, no. 17, as by Pinturicchio.


Friedländer, Max J. “Die Primitiven von Schloss Nijnrode.” In Primitifs néerlandais et maîtres des XVIe et XVIIe siècles: Collection du château de Nijenrode. Sal cat. Maison Frederik Muller & Cie. Amsterdam, 10 July 1923: 6:10, no. 20, as by Pintoricchio.
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 14(1933):247, 248, pl. 161, as by Pintoricchio.
Venturi, Adolfo. “Ancora della biblioteca di Sir Robert Witt.” L’Arte 31, no. 25 (1928):204-205, fig. 11, captioned as by Pintoricchio but described as by Perugino.
Berenson, Bernard. Italian Pictures of the Renaissance. Oxford, 1932: 460, as by Pintoricchio.
Venturi, Lionello. Italian Paintings in America. New York and Milan, 1933: 2:pl.332, as by Pintoricchio.
Berenson, Bernard. Pitture italiane del rinascimento. Milan, 1936: 395, as by Pintoricchio.
Hentzen, A. “Neu erworbene und aus Provinzmuseen zurückgezogene Gemälde.” Berliner Museen. Berichte aus den Preussischen Kunstsammlungen. Beiblatt zum Jahrbuch der Preussischen Kunstsammlungen 61, no. 3 (1940): 30, as by Pintoricchio.
Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 119, repro., as by Pintoricchio.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 155-156, no. 405, as by Pintoricchio.
Book of Illustrations. National Gallery of Art, Washington, 1942: 247, repro. 169, as by Pintoricchio.
Shoolman, Regina, and Charles E. Slatkin. Enjoyment of Art in America: A Survey of the Permanent Collections of Paintings, Sculpture, Ceramics & Decorative Arts in American and Canadian Museums: Being an Introduction to the Masterpieces of Art from Prehistoric to Modern Times. Philadelphia and New York, 1942: 297, pl. 288, as by Pintoricchio.
Frankfurter, Alfred M. The Kress Collection in the National Gallery. New York, 1944: 35, repro.
Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 67, repro., as by Pintoricchio.
Berenson, Bernard. Italian Painters of the Renaissance. London, 1952: pl. 303, as by Pintoricchio.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 97, repro., as by Pintoricchio.
Carli, Enzo. Il Pintoricchio. Milan, 1960: 18, as by Pintoricchio.
Zeri, Federico. “Eccentrici fiorentini – parte I.” Bollettino d’arte 4 (1962): 236 n. 2.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 103, as by Pintoricchio.
Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:348, as by Pintoricchio, Bust of young man.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 91, repro., as by Pintoricchio.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 116, fig. 284.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 226, repro.
Fahy, Everett. Some Followers of Domenico Ghirlandajo. New York, 1976: 194.
Ragghianti, Carlo L. “Lorenzo di Credi non Pinturicchio”. Critica d’Arte 42, nos. 154-156 (July – December 1977): 91-97, figs. 3, 4, as by Lorenzo di Credi.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:325-326; 2:pl. 236.
Ragghianti, Carlo L. “Galleria di Washington.” Critica d’Arte 45, nos. 154-156 (1980): 219, as by Lorenzo di Credi.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 259, repro.
Deimling, Barbara. “Provenienz und Auftraggeber eienes Gemäldes von der hand des Meisters von Santo Spirito.” Mitteilungen des Kunsthistorisches Institutes in Florenz 36, Bd., H. 3 (1992): 399, fig. 3.
Monbeig Goguel, Catherine. “A propos des dessins du ‘Maître de la femme voilée assise du Louvre.” Réflexion méthodologique en faveur du ‘Maître de Santo Spirito’ (Agnolo et/ou Donnino di Domenico del Mazziere?).” In Elizabeth Cropper, ed. Florentine Drawings at the Time of Lorenzo the Magnificent. Papers from a Colloquium held at the Villa Spelman, Florence, 1992. Bologna, 1994: 123, 127, fig. 13.
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: 521-525, color repro.
Brown, David Alan. "Looking Backward; Americans Collect Italian Renaissance Art." In Inge Reist, ed. A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America (The Frick Collection Studies in the History of Art Collecting in America, 2). University Park, PA, 2015: 7.
Monbeig Goguel, Catherine. “For Agnolo di Donnino del Mazziere, the Maestro di Santo Spirito.” In Una Roman d’Elia, ed. Rethinking Renaissance Drawings: Essays in Honor of David McTavish. Montreal and Kingston, ON, 2015: 64, fig. 4.2.
Sarti, G., ed. Italian Masterpieces 14th and 15th centuries. Exh. cat., Galerie G. Sarti, Paris, 2015: 148.
Nesi, Alessandro. Precisazioni, conferme e proposte per Donnino e Agnolo del Mazziere. Florence, 2022: 5.

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