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Biagio d'Antonio

Portrait of a Boy, c. 1476/1480

Not on View

Medium

oil and tempera on poplar panel

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.)

Credit Line

Samuel H. Kress Collection

Accession Number

1939.1.179

Artists / Makers

Biagio d'Antonio (painter) Florentine, c. 1446 - 1516

Image Use

This image is in the public domain.
Read our full Open Access policy for images .

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

Contini Bonacossi, Alessandro, Count
Kleinberger Gallery
Kress Foundation, Samuel H.
Schnackenberg, Walter

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.

2011: 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.