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Shown from about the waist up, a woman stands on the far side of a stone ledge, supporting a nude baby boy on the sill in front of her with two more windows opening to distant landscapes behind them in this vertical painting. The bottom and side edges of the stone opening run close to and parallel to the bottom and side edges of the composition. The woman and the baby have pale skin with a yellowish cast, and both have faint gold halos. The woman’s body is angled slightly to our left, and her head tilts to our right as she looks down toward the baby with pale brown eyes. She has a straight nose, smooth cheeks, and her pale, heart-shaped lips are closed. Her blond, curly hair is parted down the middle and hangs to her sloping shoulders. Her mauve-pink dress is gathered at her breast with a midnight-blue jewel, and a lapis-blue cloak with kelly-green lining drapes over her shoulders and across the stone ledge in front of her. Barely noticeable against the deep pink dress, she holds an open pomegranate with ruby-red seeds in her left hand, to our right. With her other hand, she supports the baby behind his legs and backside. His nude, pudgy body is angled to our right as he tilts his head back to look up at the woman with light brown eyes. He has short blond hair and a rounded nose, full cheeks, and his lips are slightly downturned. With his right hand, closer to us, he holds a few pomegranate seeds up near the woman’s face. His other hand rests on the fruit by the woman’s torso. The child stands with one foot in front of the other on the cloak draped over the gray stone sill. Two rectangular windows pierce the back wall of the shallow, shadowed room behind the pair, with one over each of the woman’s shoulders. Grassy fields are dotted with trees, flowers, and bushes, and lead back to powder-blue hills in the deep distance. The light blue sky fades to pale yellow along the horizon.

Lorenzo di Credi

Madonna and Child with a Pomegranate, 1475/1480

Not on View

Medium

oil on poplar panel

Dimensions

overall: 16.5 x 13.4 cm (6 1/2 x 5 1/4 in.)

framed: 44.1 x 24.5 x 3.8 cm (17 3/8 x 9 5/8 x 1 1/2 in.)

Credit Line

Samuel H. Kress Collection

Accession Number

1952.5.65

Artists / Makers

Lorenzo di Credi (painter) Florentine, c. 1457/1459 - 1536

Image Use

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

Provenance

Purchased in England by Gustave Dreyfus [1837-1914], Paris;[1] his heirs; purchased 1930 with the entire Dreyfus collection by (Duveen Brothers, Inc., London, New York, and Paris); sold September 1951 to the Samuel H. Kress Foundation, New York;[2] gift 1952 to NGA.

[1] Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:532, follows William Suida, Paintings and Sculptures from the Kress Collection Acquired by the Samuel H. Kress Foundation 1951-56, Washington, D.C., 1956: 200, no. 79, in claiming that the NGA painting was cited in the sale catalogue of the John Watkins Brett collection (Christie, Manson & Woods, London, 5 April 1864, no. 832) as by Leonardo. But the entry in question states that in that work the Virgin held the Child in her arms. Another Madonna (no. 839) in the same collection, also attributed to Leonardo, showed the figures against a landscape background. While either entry might theoretically refer to the NGA painting (no dimensions are given in the sale catalogue), it is unlikely that, before any of Leonardo's early works were rediscovered, his hand would have been recognized in a picture as Verrocchiesque as this one. The two Leonardo Madonnas in the Brett Collection were more probably Leonardesque productions of the type then commonly given to the master.

Suida and Shapley further stated that the picture was in the collection of Charles Timbal in Paris and that it was sold by Timbal's heirs to Gustave Dreyfus in 1872. However, an inventory of the pictures Timbal's heirs sold to Dreyfus, a transcript of which is in NGA curatorial files, does not include a work corresponding to the NGA painting, unless it was then attributed to Lippi or Botticelli. The claim that the picture was sold to Dreyfus as early as 1872 is contradicted, moreover, by Jean Guiffrey's explicit statement, in "La collection de M. Gustave Dreyfus II--La peinture," Les Arts 73 (January 1908): 10, repro., that Dreyfus had only recently acquired it in England.

[2] Duveen Brothers Records, accession number 960015, Getty Research Institute, Research Library, Los Angeles: reel 114, box 259, folder 14; reel 331, box 476, folder 2; copies in NGA curatorial files. The painting is variously attributed to Leonardo da Vinci and Verrocchio in the Duveen files. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1358.

Associated Names

Dreyfus, Gustave
Duveen Brothers, Inc.
Kress Foundation, Samuel H.

Exhibition History

1932: Exhibition of Italian Renaissance Art, Wadsworth Atheneum and Morgan Memorial, Hartford, 1932, no. 7, as Madonna and Child by Andrea del Verrocchio.

1939: Mostra di Leonardo da Vinci, Palazzo dell'Arte, Milan, 1939, unnumbered catalogue, as Attributed to Leonardo da Vinci or by Lorenzo di Credi.

1949: Leonardo da Vinci Exhibition, Los Angeles County Museum, 1949, no. 15, as Madonna of the Pomegranate by Leonardo da Vinci.

2006: Leonardo da Vinci. Die Madonna mit der Nelke, Alte Pinakothek, Munich, 2006, no. 8, repro.

2015: Leonardo da Vince, 1452-1519: The Design of the World, Palazzo Reale, Milan, 2015, no. I.7, repro., as by Leonardo da Vinci.

2019: Verrocchio: Master of Leonardo, Florence, Palazzo Strozzi and the Museo Nazionale del Bargello, Florence, 2019, no. 8.12, repro., as by Lorenzo di Credi (?).

2019: Verrocchio. Sculptor and Painter of Renaissance Florence, National Gallery of Art, 2019-2020, no. 31, repro.

Bibliography

1901: Venturi, Adolfo. Storia dell’arte italiana. 11 vols. Milan, 1901-1940: 7(1911): 783-784, as Workshop of Andrea del Verrocchio.

1903: Berenson, Bernard. The Drawings of the Florentine Painters. 2 vols. London, 1903: 1:42-43.

1903: Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. A History of Painting in Italy. 6 vols. Ed. Robert Langton Douglas (vols. 1-4) and Tancred Borenius (vols. 5-6). London, 1903-1914: 6:42 n.

1905: Reinach, Salomon. Répertoire de peintures du moyen âge et de la Renaissance (1280-1580). 6 vols. Paris, 1905-1923: 4:305.

1907: Gronau, Georg. “Credi.” and Dussler, Luitpold. “Verrocchio.” In Ulrich Thieme and Felix Becker, eds. Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. 37 vols. Leipzig, 1907-1950: 8(1913):75, as by Lorenzo di Credi; 34(1940):296, as Workshop of Andrea del Verrocchio.

1908: Guiffrey, Jean. “La collection de M. Gustave Dreyfus. II. La peinture.” Les Artes, no. 73 (January 1908): 10, repro.

1909: Berenson, Bernard. The Florentine Painters of the Renaissance, 3rd ed. London, 1909: 132.

1923: Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 11(1929): 546-547, as by Andrea del Verrocchio; 13(1931):315, 320, as by Lorenzo di Credi under Verrocchio's influence.

1925: Vaudoyer, Jean-Louis. “La Collection Gustave Dreyfus.” L’Amour de l’Art 6 (1925): 259.

1928: Hevesy, André de. “Ein unbekanntes Bild aus Verrochios Werkstatt.” Pantheon 1, no. 1 (1928): 28, repro., as Workshop of Andrea del Verrocchio.

1928: Sirén, Osvald. Léonard de Vinci, l’artiste et l’homme. 2 vols. Paris and Brussels, 1928: 1:21; 2:pl. 21A.

1929: Suida, Wilhelm. Leonardo und sein Kreis. Munich, 1929: 15-17, as by Leonardo da Vinci.

1929: Trombetti, Anna Maria. “Un nuovo disegno di Lorenzo di Credi per la Pala della Cappella Pappagalli nel Duomo di Pistoia.” Rivista d’Arte 11, no. 1 (1929): 210-211, fig. 4.

1930: Valentiner, Wilhelm R. “Leonardo as Verrocchio’s Coworker.” The Art Bulletin 26, no. 1 (1930): 53-54, as "closely related to Leonardo."

1931: Suida, Wilhelm. “Entgegnung.” Belvedere 10, nos. 7-8 (1931): 38.

1932: Degenhart, Bernhard. “Di alcuni problemi di sviluppo della pittura nella bottega di Verrocchio, di Leonardo e di Lorenzo di Credi.” Rassegna d’arte 14, no. 3 (1932): 273-276, 290, fig. 8 (part 1); 14, no. 4 (1932): 404-405, 430-434 (part 2), as by Leonardo da Vinci (?).

1933: Berenson, Bernard. “Verrocchio and Leonardo, Leonardo and Credi-II.” Bollettino d’arte 27, no. 6 (December 1933): 260-263, fig. 23.

1933: Douglas, Robert Langton. Leonardo da Vinci. His “San Donato of Arezzo and the Tax Collector.” London, 1933: 8, 36, as by Leonardo da Vinci.

1933: Venturi, Lionello. Italian Paintings in America. 3 vols. New York and Milan, 1933: 2:pl.239.

1935: Bertini, Aldo. “L’Arte del Verrocchio.” L’Arte 38, no. 6 (November 1935): 470 n. 1.

1937: Möller, Emil. “Leonardos Madonna mit der Nelke in der Älteren Pinakothek.” München Jahrbuch der bildinden Künste 12, nos. 1-2 (1937-1938): 27, fig. 19.

1938: Berenson, Bernard. The Drawings of the Florentine Painters. 3 vols. Chicago, 1938: 1:66-68, 73.

1939: “America as a Collector Nation Dramatized by Rich Da Vinci Loans.” Art Digest 13, no. 15 (1 May 1939): 12, repro.

1939: Frankfurter, Alfred M. “European Postscript 1939.” Art News 38, no. 1 (7 October 1939): 8, repro.

1942: Douglas, Robert Langton. “Leonardo and His Critics-I.” The Burlington Magazine 81, no. 475 (October 1942): 242-247, pl. IIA, as by Leonardo da Vinci.

1943: Douglas, Robert Langton. “‘Leonardo and His Critics.’ To the Editor of the Burlington Magazine.” The Burlington Magazine 82, no. 478 (January 1943): 21, as by Leonardo da Vinci.

1943: Suida, Wilhelm. “Leonardo’s Madonna of the Pomegranate.” The Burlington Magazine 82, no. 483 (June 1943): 155-156, as by Leonardo da Vinci.

1944: Douglas, Robert Langton. Leonardo da Vinci. His Life and His Pictures. Chicago, 1944: 50-56, pls. IX-XII, as by Leonardo da Vinci.

1944: Douglas, Robert Langton. “Leonardo’s Childhood.” The Burlington Magazine 85, no. 500 (1944): 265-266, fig. B, as by Leonardo da Vinci.

1949: Valentiner, Wilhelm R. “Leonardo’s Early Life.” In Leonardo da Vinci. Loan Exhibition. Exh. cat., Los Angeles County Museum, Los Angeles, 1949: 56.

1949: Valentiner, Wilhelm R. “Outlines of the Exhibition.” In Leonardo da Vinci. Loan Exhibition. Exh. cat., Los Angeles County Museum, Los Angeles, 1949: 16-17.

1950: Valentiner, Wilhelm R. “On Leonardo’s Relation to Verrocchio. Part Two.” In Wilhelm R. Valentiner, ed. Studies in Renaissance Sculptures. London, 1950: 146-149, as begun by Leonardo da Vinci and finished by Lorenzo di Credi.

1952: Castelfranco, Giorgio, ed. Mostra didattica leonardesca. Exh. cat., Ministero Pubblica Istruzione, Rome 1952: 157, no. 1, as by Lorenzo di Credi (?).

1954: Heyendreich, Ludwig H. Leonardo da Vinci. 2 vols. New York and Basel, 1954: 1:31, 181; 2:iv, pl. 30, as possibly partly by Leonardo da Vinci.

1954: Ragghianti, Carlo L. “Inizio di Leonardo. 3.” Critica d’arte, no. 4 (July 1954): 312, as by Leonardo da Vinci.

1956: Frankfurter, Alfred. "Crystal Anniversary in the Capital." Art News 55, no. 1 (March 1956): 24, repro.

1956: Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1951-56. Introduction by John Walker, text by William E. Suida and Fern Rusk Shapley. National Gallery of Art. Washington, 1956: 198-201, no. 79, repro., as Circle of Verrocchio (Possibly Leonardo).

1956: Walker, John. "The Nation's Newest Old Masters." The National Geographic Magazine 110, no. 5 (November 1956): 644, color repro. 649.

1957: Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 14.

1959: Clark, Kenneth. Leonardo da Vinci. An Account of His Development as an Artist. Rev. ed. Baltimore, 1959: 30.

1959: Goldscheider, Ludwig. Leonardo da Vinci, Life and Work, Paintings and Drawings. London, 1959: 185, pl. 1a.

1959: Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 65, repro., as Circle of Verrocchio (Possibly Leonardo).

1960: Martini, Alberto. “Ipotesi leonardesca per la ‘Madonna’ Ruskin.” Arte Figurativa 8 (1960): 37.

1961: Berenson, Bernard. I disegni dei pittori fiorentini, 3 vols. Milan, 1961: 1:112-115.

1961: Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 40, color repro., as Circle of Verrocchio (Possibly Leonardo).

1962: Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 20, color repro., as Circle of Verrocchio (Possibly Leonardo).

1962: Mack Bongiorno, Laurine. “A Fifteenth-Century Stucco and the Style of Verrocchio.” Allen Memorial Art Museum Bulletin 19, no. 3 (1962): 135.

1963: Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:212. 2:pl.934, as Workshop of Andrea del Verrocchio.

1963: Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 300, repro., as Circle of Verrocchio (Possibly Leonardo)

1965: Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 136, as Circle of Andrea del Verrocchio (Possibly Leonardo).

1966: Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:56, color repro.

1966: Dalli Regoli, Gigetta. Lorenzo di Credi. Milan, 1966: 113, 117, 197, as by Leonardo da Vinci.

1967: Ottino della Chiesa, Angela. L’opera completa di Leonardo pittore. Milan, 1967: 90, cat. 8, as by Leonardo da Vinci.

1967: Passavant, Günter. “Die Courtauld Institute Galleries.” Kunstchronik 20, no. 10 (October 1967): 318-319.

1967: Shearman, John. “A Suggestion for the Early Style of Verrocchio.” The Burlington Magazine 109, no. 768 (March 1967): 127, fig. 17, as by Andrea del Verrocchio.

1968: Grossman, Sheldon. “The Madonna and Child with a Pomegranate and Some New Paintings from the Circle of Verrocchio.” Report and Studies in the History of Art 2 (1968): 46-69, fig. 1, as Circle of Verrocchio (possibly Leonardo).

1968: National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 123, repro., as Circle of Andrea del Verrocchio (Possibly Leonardo).

1968: Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 113-114, fig. 280.

1968: Stites, Raymond S. “La Madonna del Melograno di Leonardo da Vinci.” Critica d’Arte 15, no. 93 (March 1968): 59-73, figs. 1-3, 5, 8 (part 1); 15, no. 97 (September 1968): 55-74, figs. 17, 34 (part 2), as by Leonardo da Vinci.

1969: Grossman, Sheldon. "The Madonna and Child with a Pomegranate and Some New Paintings from the Circle of Verrocchio." Studies in the History of Art (1968-69):46-69, repro.

1969: Passavant, Günter. Verrocchio. Sculptures, Paintings and Drawings. London, 1969: 210, cat. app. 42, as Workshop of Andrea del Verrocchio.

1969: Zeri, Federico. “The Second Volume of the Kress Catalogue.” The Burlington Magazine 111, no. 796 (July 1969): 455, as "so close to Leonardo [that] only a final hesitation on the brink of such an exalted name prevents us from assigning [it] to him in person."

1970: Stites, Raymond S., with M. Elizabeth Stites and Pierina Castiglione. The Sublimations of Leonardo da Vinci with a Translation of the Codex Trivulzianus. Washington, DC, 1970: 33, 53-55, fig. 26, as by Leonardo da Vinci.

1972: Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 104, 322, 647, as by Leonardo da Vinci.

1973: Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 392, as Attributed to Leonardo da Vinci.

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.

1975: European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 366, repro., as Circle of Andrea del Verrocchio (Possibly Leonardo).

1975: Ragghianti, Carlo L., and Gigetta Dalli Regoli. Firenze 1470-1480. Disegni dal modello. Pollaiolo, Leonardo, Botticelli, Filippino. Pisa, 1975: 15, 315, as by Leonardo da Vinci.

1975: Wasserman, Jack. Leonardo. New York, 1975: 162, pl. 43, as Follower of Lorenzo di Credi.

1977: Rosci, Marco. The Hidden Leonardo. Chicago, New York, and San Francisco, 1977: 29, 34, 180, fig. 10.

1979: Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:531-534; 2:pl. 371.

1979: Sutton, Denys. "Robert Langton Douglas. Part IV." Apollo 110 (July 1979): 45 [237], pl. XV, 46 [238], as School of Leonardo da Vinci.

1979: Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 25, pl. 8.

1980: Shore, Leslie, ed. Small Paintings of the Masters. New York, 1980: cat. 84.

1983: Cadogan, Jean K. “Verrocchio’s Drawings Reconsidered.” Zeitschrfit für Kunstgeschichte 46, Bd., H. 4 (1983): 384-385.

1984: Dalli Regoli, Gigetta. La preveggenza della vergine. Struttura, stile, iconografia nelle Madonna del Cinquecento. Pisa, 1984: 8, fig. 1, as by Leonardo da Vinci.

1984: Scarpellini, Pietro. Perugino. Milan, 1984: 20, 59, 70, 306, fig. 9c.

1984: Suida, Wilhelm. “Leonardo’s Activity as a Painter. A Sketch.” In A. Marazza, ed. Leonardo: Saggi e Ricerche. Rome, 1954: 316.

1984: Vezzosi, Alessandro. Toscana di Leonardo. Florence, 1984: 22, fig. 16a.

1984: Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 100, no. 66, color repro.

1985: European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 424, repro.

1985: Marani, Pietro C. ”Altre opere attribuite e derivazioni.” In Leonardo. La pittura. Florence, 1985: 222, as by Leonardo da Vinci.

1986: Frulli, Cristina. "Leonardo da Vinci.” In Federico Zeri, ed. Pittura in Italia. 2 vols. Milan, 1986: 2:662-663, as by Leonardo da Vinci.

1988: Clark, Kenneth. Leonardo da Vinci. An Account of His Development as an Artist. Rev. ed. with Intro. by Martin Kemp. London, 1988: 62.

1988: Kecks, Ronald G. Madonna und Kind. Das häusliche Andachtsbild im Florenz des 15. Jahrhunderts. Berlin, 1988: 123, fig. 71, as Workshop of Andrea del Verrocchio.

1989: Marani, Pietro C. Leonardo. Catalogo completo. Florence, 1989: 28-29, 39-40, as by Leonardo da Vinci.

1990: Joannides, Paul. “Leonardo and Tradition.” In Francis Ames Lewis, ed. Nine Lectures on Leonardo da Vinci. London, 1990: 27, as by Andrea del Verrocchio.

1991: Adorno, Piero. Il Verrocchio. Nuove proposte nella civilità artistica del tempo di Lorenzo il Magnifico. Florence, 1991: 257, as Workshop of Andrea del Verrocchio.

1992: Marani, Pietro C. “Leonardo in Venice and the Veneto. Documents and Evidence.” In Leonardo and Venice. Exh. cat. Palazzo Grassi, Venice, 1992: 29, 34, as by Leonardo da Vinci.

1992: Marani, Pietro C. “Tracce ed elementi verrocchieschi nella tarda produzione grafica e pittorico di Leonardo.” In Stephen Bule, et. al., eds. Verrocchio and Late Quattrocento Italian Sculpture. Florence, 1992: 142, as by Leonardo da Vinci.

1992: Padoa Rizzo, Anna. “Il tironcinio dell’artista: la bottega come luogo di formazione.” In Mina Gregori, Antonio Paolucci and Cristina Acidini Luchinat, eds. Maestri e botteghe: pittura a Firenze alla fine del Quattrocento. Exh. cat. Palazzo Strozzi, Florence, 1992: 56, 71, as by Leonardo da Vinci.

1992: Shell, Janice. Leonardo. London, 1992: 14, 17, fig. 7, as by Leonardo da Vinci.

1992: Venturini, Lisa. “Modelli fortunati e produzioni di serie.” In Mina Gregori, Antonio Paolucci and Cristina Acidini Luchinat, eds. Maestri e botteghe: pittura a Firenze alla fine del Quattrocento. Exh. cat. Palazzo Strozzi, Florence, 1992: 148, as by Leonardo da Vinci.

1993: Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: 625, fig. 787, as by Leonardo da Vinci.

1993: Nuttall, Paula. “‘Fecero al Cardinale di Portogallo una tavola a olio’: Netherlandish influence in Antonio and Piero Pollaiuolo’s San Miniato altarpiece.” Nederlands Kunsthistorisch Jaarboek / Netherlands Yearbook for History of Art 44 (1993): 122, as by Andrea del Verrocchio.

1994: Marani, Pietro C. Leonardo. Milan, 1994: 10, 12-13, 26, 146, cat. 1, as by Leonardo da Vinci.

1994: Venturini, Lisa. Francesco Botticini. Florence, 1994: 42, as by Leonardo da Vinci.

1995: Weber, Gregor J. M. “Ein Gemälde Leonardos für Dresden? Der Ankauf eines Madonnenbildes von Lorenzo di Credi im Jahr 1860.” Dresdener Kunstblätter 39, no. 6 (1995): 170-171, repro., as Workshop of Andrea dei Verrocchio (maybe Leonardo da Vinci)

1996: Vezzosi, Alessandro. Leonardo da Vinci: Arte e scienza dell’universo. Milan, 1996: 27, repro., as by Leonardo da Vinci.

1996: Wiemers, Michael. Bildform und Werkgenese. Studien zur zeichnerischen Bildvorbereitung in der italienischen Malerei zwischen 1450 und 1490. Munich and Berlin, 1996: 152-153, fig. 138.

1997: Arasse, Daniel. Léonard de Vinci. Le rythme du monde. Paris, 1997: 334-336, as by Leonardo da Vinci.

1997: Butterfield, Andrew. The Sculptures of Andrea del Verrocchio. New Haven and London, 1997: 196-197, fig. 269.

1998: Bartoli, Roberta. “La palestra del Verrocchio.” In Antonio Natali, ed. Lo sguardo degli angeli: Verrocchio, Leonardo e il “Battesimo di Cristo”. Florence, 1998: 26.

1998: Brown, David Alan. Leonardo da Vinci: Origins of a Genius. New Haven and London, 1998: 157-160.

1998: Hohenstatt, Peter. Leonardo da Vinci. Germany, 1998: figs. 18, 21, as by Leonardo da Vinci (?).

1998: Vecce, Carlo. Leonardo. Rome, 1998: 49, pl. 9, as by Leonardo da Vinci (?).

1999: Freedman, Luba. “The Madonna’s Brooch as an Allusion to Verrocchio’s Name.” Studies in Art History 4 (1999): 148, fig. 6, as Workshop of Andrea del Verrocchio

1999: Marani, Pietro C. Leonardo: una carriera di pittore. Milan, 1999: 18-22, 88, cat. 1, as by Leonardo da Vinci.

2000: Cadogan, Jean. Domenico Ghirlandaio: Artist and Artisan. New Haven and London, 2000: 60-61, 247, fig. 57.

2001: Fornasari, Liletta. "Andrea del Verrocchio e le botteghe toscane: l'atelier del Rinascimento." In Liletta Fornasari, ed. Leonardo e dintorni: il Maestro, le botteghe, il territorio. Exh. cat. Palazzo del Comune, Arezzo, 2001: 44, as by Leonardo da Vinci.

2001: Starnazzi, Carlo. "Naturalismo e simbolismo nei paesaggi di Leonardo: dai capolavori di bottega alla Gioconda." In Liletta Fornasari, ed. Leonardo e dintorni: il Maestro, le botteghe, il territorio. Exh. cat. Palazzo del Comune, Arezzo, 2001: 121, 122 repro., as by Leonardo da Vinci.

2003: Boskovits, Miklós, David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, 2003: 422-427, color repro.

2003: Dalli Regoli, Gigetta. L’attribuzione dell’opera d’arte. Itinerari di ricerca fra dubbi e certezze. Pisa, 2003: 18, 37 n. 27, as by Leonardo da Vinci.

2004: Nuttall, Paula. From Flanders to Florence: The Impact of Netherlandish Painting, 1400-1500. New Haven and London, 2004: 234, fig. 258, as Workshop of Andrea del Verrocchio (Lorenzo di Credi?).

2005: Tambini, Anna. “Osservazioni sulla ‘Madonna del sangue’ di Portico di Romagna e sul Maestro di Marradi.” Romagna Arte e Storia 25 (2005): 7-9, 12, 14-15, fig. 2, as Workshop of Andrea del Verrocchio (Leonardo or Lorenzo di Credi).

2006: Fahy, Everett. "Early Italian paintings in Washington and Philadelphia." The Burlington Magazine 148, no. 1241 (August 2006): 539-540, as "probably Leonardo's earliest surviving painting."

2009: Schumacher, Andreas, et al. Botticelli: Likeness, Myth, Devotion. Exh. cat. Städel Museum, Frankfurt am Main, 2009: 276, fig. 146.

2010: Dunkerton, Jill, and Luke Syson. “In Search of Verrocchio the Painter: The Cleaning and Examination of ‘The Virgin and Child with Two Angels’.” National Gallery Technical Bulletin 31 (2010): 40 n. 96.

2011: Dunkerton, Jill. “Leonardo in Verrocchio’s Workshop: Re-examining the Technical Evidence.” National Gallery Technical Bulletin 32 (2011): 20.

2018: Schumacher, Andreas, ed. Florence and its Painters: From Giotto to Leonardo da Vinci. Exh. cat. Alte Pinakothek, Munich, 2018: 256.

2018: Valagussa, Giovanni, ed. Accademia Carrara, Bergamo. Dipinti italiani del Trecento e del Quattrocento: Catalogo completo. Milan, 2018: 66, fig. 1.

2019: Dalli Regoli, Gigetta. “Verrocchio, il maestro di Leonardo.” Critica d’Arte 77, no. 1-2 (2019): 133, as by Leonardo da Vinci.

2019: De Marchi, Andrea. "Le geometrie luminose di Verrocchio pittore e le loro diffrazioni a Firenze sul 1470, tra Leonardo, Ghirlandaio e Perugino." In Francesco Caglioti and Andrea De Marchi, eds. Verrocchio, il maestro di Leonardo . Exh. cat. Palazzo Strozzi and Museo Nazionale del Bargello, Florence, 2019: 58.

2019: Vignon, Charlotte. Duveen Brothers and the Market for Decorative Arts, 1880-1940. New York, 2019: 243.

2020: Ito, Takuma. “Ghirlandaio brothers reconsidered: The Master of the Saint Louis Madonna as the young Benedetto Ghirlandaio.” Journal of the Warburg and Courtauld Institutes 83 (2020): 95, fig. 8, as by Lorenzo di Credi (?).

2021: Dalli Regoli, Gigetta. "Codicillo vinciano. A Leonardo quel che è di Leonardo..." Finestre sull'Arte. Rivista online d'arte antica e contemporanea (30 January 2021): fig. 3, as by Leonardo da Vinci.