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Provenance

William G. Coesvelt, London, in 1836;[1] (his sale, Christie & Manson, London, 13 June 1840, no. 37, as by Raphael); purchased by Farquhar.[2] Granville Edward Harcourt Vernon [1816-1861], Grove Hall, Nottinghamshire, England, by 1857; by inheritance to his wife, Lady Selina Vernon [later Lady Hervey], until at least 1894.[3] (Count Alessandro Contini Bonacossi, Florence and Rome); sold 1935 to the Samuel H. Kress Foundation, New York;[4] gift 1939 to NGA.

Exhibition History

1857
Art Treasures of the United Kingdom: Paintings by Ancient Masters, Art Treasures Palace, Manchester, 1857, no. 144, as by Raphael.
1883
Exhibition of Works by the Old Masters. Winter Exhibition, Royal Academy, London, 1883, no. 176, as by Raphael.
1893
Exhibition of Early Italian Art from 1300 to 1550, New Gallery, London, 1893-1894, no. 246, as by Raphael.
1979
Berenson and the Connoisseurship of Italian Painting, National Gallery of Art, Washington, D.C., 1979, no. 84, as by Perugino.
1983
Raphael and America, National Gallery of Art, Washington, D.C., 1983, no. 24, repro.
2023
Przebvszeni: Ruiny Antyku i Narodziny Włoskiego Renesansu [Awakened: The Ruins of Antiquity and the Birth of the Italian Renaissance], Warsaw Royal Castle, 2023, no. 56, repro.

Bibliography

1909
Berenson, Bernard. The Central Italian Painters of the Renaissance. New York, 1909: 193.
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 149, no. 266, as by Pietro Perugino.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 245, repro. 164, as by Pietro Perugino.
1944
Frankfurter, Alfred M. The Kress Collection in the National Gallery. New York, 1944: 39, repro., as by Perugino.
1945
Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 68, repro., as by Perugino.
1959
Camesasca, Ettore. Tutta la pittura del Perugino. Milan, 1959: 93, as by Pietro Perugino.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 94, repro., as by Pietro Perugino.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 100, as by Pietro Perugino.
1968
Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:333, as Workshop of Pietro Perugino, Angel and Virgin of Annunciation in roundels among Grotteschi.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 88, repro.
1968
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 103-104, fig. 254, as by Raphael.
1969
Camesasca, Ettore. L’opera completa del Perugino. Milan, 1969: 104-105, cat. 78, as by Pietro Perugino.
1971
Dussler, Luitpold. Raphael: A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries. London, 1971: 67, as not by Raphael.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 161, 645, as by Pietro Perugino.
1974
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 not by Raphael.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 262, repro.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:361-362; 2:pl. 260, as by Pietro Perugino.
1981
De Vecchi, Pierluigi. Raffaello, la pittura. Florence, 1981: 261, as among works attributed to Raphael.
1984
Scarpellini, Pietro. Perugino. Milan, 1984: 50, 112, cat. 138, fig. 231.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 108, no. 80, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 175, repro.
1989
Todini, Filippo. La pittura umbra dal Duecento al primo Cinquecento. 2 vols. Milan, 1989: 1:80, as by Giannicola di Paolo (?).
1997
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: 117.
2004
Gardner von Teuffel, Christa. “Carpenteria e machine d’altare. Per la storia della ricostruzione delle pale di San Pietro.” In Vittoria Garibaldi and Francesco Federico Mancini, eds. Perugino: il divin pittore. Exh. cat. Galleria Nazionale dell'Umbria, Perugia, 2004: 149, fig. 11.
2004
Gardner von Teuffel, Christa. “La pala d’altare maggiore di Perugino per San Pietro a Perugia: struttura, collocazione e programma.” In Laura Teza, ed. Pietro Vannuci il Perugino. Atti del Convegno Internazionale di studio, 25-28 ottobre 2000. Perugia, 2004: 352, fig. 12.
2006
Higgitt, Catherine et al. “Working with Perugino: The Technique of an Annunciation attributed to Giannicola di Paolo.” National Gallery Technical Bulletin 27 (2006): 100, 110 n. 75.
2011
Pergam, Elizabeth A. The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, Connoisseurs and the Public. Farnham and Burlington, 2011: 190 n. 57, 312.

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