Portrait of a Boy

c. 1476/1480

Biagio d'Antonio

Painter, Florentine, c. 1446 - 1516

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Artwork overview

  • Medium

    oil and tempera on poplar panel

  • Credit Line

    Samuel H. Kress Collection

  • Dimensions

    overall: 41.9 x 35.9 cm (16 1/2 x 14 1/8 in.)
    framed: 57.5 x 52.1 x 6.2 cm (22 5/8 x 20 1/2 x 2 7/16 in.)

  • Accession

    1939.1.179

Artwork history & notes

Provenance

(Walter Schnackenberg, Munich), by April 1925.[1] (F. Kleinberger, Paris and New York), by 1927.[2] Private collection, New York.[3] (Count Alessandro Contini Bonacossi, Florence), by 1929;[4] sold 26 June 1935 to the Samuel H. Kress Foundation, New York;[5] gift 1939 to NGA.
[1] According to a hand-written notes by Bernard Berenson on the back of a photograph of the painting in the I Tatti archive in Florence (copy in NGA curatorial files).
[2] Kleinberger lent the painting to a 1927 exhibition at The Lotos Club.
[3] Raimond Van Marle, The Development of the Italian Schools of Painting, The Hague, 1931: 13:180, fig. 119, relates that he saw the painting "in a private collection in New York," but does not specify when.
[4] An opinion written by Roberto Longhi and dated October 1929 was addressed to Contini Bonacossi (copy and translation in NGA curatorial files).
[5] The bill of sale was for seven paintings and a number of decorative art objects; NGA 1939.1.179 was identified as "Florentine about 1475" (copy in NGA curatorial files). See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1662.

Associated Names

Exhibition History

1927

  • Loan Exhibition of Primitives, Lotus Club, New York, 1927, no. 13, as by Utili.

Bibliography

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 13(1931): 180, 183, fig. 119, as by Giovanni Battista Utili.

1938

  • Becherucci, Luisa and Roberto Longhi. "Supposto G. B. Utili (Biagio d'Antonio da Firenze?)." In Cesare Gnudi and Luisa Becherucci, eds. Mostra di Melozzo e del Quattrocento Romagnolo. Exh. cat., Palazzo dei Musei, Forlì, 1938: 87.

1941

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 202, no. 290, as by Giovanni Battista Utili.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 245, repro. 202, as by Giovanni Battista Utili.

1959

  • Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 79, repro., as by Giovanni Battista Utili.

1963

  • Berenson, Bernard. Italian Pictures of the Renaissance: Florentine School. 2 vols. London, 1963: 1:212, as by Giovanni Battista Utili.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 15.

1966

  • Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 132, fig. 362.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 8, repro.

1971

  • Zeri, Federico, with Elizabeth Gardner. Italian Paintings. A Catalogue of the Collection of the Metropolitan Museum of Art. Florentine School. New York, 1971: 146.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 28.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 30, repro.

1976

  • Fahy, Everett. Some Followers of Domenico Ghirlandajo. New York, 1976: 209.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:73; 2:pl. 47.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 48, repro.

1986

  • Corbara, Antonio. “Le due pietà di Biagio d’Antonio e le loro vicende critiche.” In _Gli artisti, la città. Studi sull’arte faentina di Antonio Corboara. Bologna, 1986: 77. Originally published in Il Piccolo (Faenza), June-July 1968.

1992

  • Montuschi Simboli, Bice. “Biagio d’Antonio Tucci.” In Saur. Allgemeines Künstler-Lexikon. Die Bildenden Künstler aller Zeiten und Völker. Munich and Leipzig, 119 vols. Munich and Leipzig, 1992-2023: 10(1995):393-394.

1994

  • Bartoli, Roberta. “Corbara e Biagio d’Antonio: conferme e novità.” In Convegno di Studio in onore dello Storico e Critico d’Arte dott. Antonio Corbara nel X anniversario della morte. Faenza, 1994: 104.

1996

  • Wilson, Carolyn C. Italian Paintings XIV-XVI Centuries in the Museum of Fine Arts, Houston. Houston, 1996: 148.

1999

  • Bartoli, Roberta. Biagio d’Antonio. Milan, 1999: 68-69, 91, 191, 201, 202-203, cat. 51.

2003

  • 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: 130-133, color repro.

2011

  • Boskovits, Miklós, ed. The Alana Collection, Newark, Delaware, USA. Vol. II: Italian Paintings and Sculptures from the Fourteenth to Sixteenth Century. Florence, 2011: 84, 88 n. 11, fig. 3.

  • 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: 134.

Wikidata ID

Q20174241

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