[Ugo Jandolo, Rome, early 20th century]. [1]

Max Bondi (1881–1928), Rome, until 1928;

His sale, Galleria Lurati, Milan, September 9, 1929, lot 44. [2]

[Countess Giustiniani, Genoa, 1929]; [3]

[Count Alessandro Contini Bonacossi (1878–1955), Florence, c. 1929–1930];

Sold to Samuel H. Kress (1863–1955), New York, July 15, 1930; [4]

Gift to the National Gallery of Art, Washington, D. C., June 29, 1939;

Returned to the Samuel H. Kress Foundation, October 15, 1952;

Gift to the M. H. de Young Memorial Museum, San Francisco, December 9, 1961;

Administrative transfer to the Fine Arts Museums of San Francisco, 1972. 

[1] From a handwritten opinion by art historian F. F. Mason Perkins, preserved in the Samuel H. Kress Foundation Archive, provided to Kress prior to his purchase of the painting,: “Formerly in the possession of … Ugo Jandolo and later in the Bondi collection of Rome.” The painting was at this time attributed to Taddeo Gaddi. From Galleria Lurati 1929, p. 23: “Qui il gentile pittore fiorentino manifesta apertamente la sua discendenza del [Taddeo] Gaddi, a cui il dipinto è stato erroneamente attribuito.”

[2] Galleria Lurati 1929, p. 23, pl. 15 reproduces the painting and attributes it to Bernardo Daddi.

[3] Bill of sale, Samuel H. Kress Foundation Archive, describes the painting as “From the Collection of Countess Giustiniani, Genoa.” From Boskovits and Brown, Italian Paintings of the Fifteenth Century, p. 616, fn. 3: “Of the members of various branches of the Giustiniani family in Genoa in 1930, Vincenzo, Paolo, and Giovanni Battista are recorded as having the title of conte (see Spreti, Enciclopedia, 3 [1930]: 497). Presumably the collection we are concerned with here belonged to one of them and was a recently formed one.” It is not certain that Countess Giustiniani was a collector. Of the nine paintings previously in her collection in the Kress bill of sale, almost all of them were on the art market shortly before 1930. Per Boskovits, Miklós and Jason Di Resta, eds., Italian Thirteenth and Fourteenth Century Paintings, cat. (Washington, D. C.: National Gallery of Art Online Editions, 2016), p. 56–57, it is more likely that she was a dealer or an agent than a collector.

[4] Bill of sale, Samuel H. Kress Foundation. Here the attribution to Giottino is crossed out and replaced with an attribution to Jacobo di Cione.

“La Raccolta Max Bondi Alla Galleria Lurati di Milano,” L’Illistrazione Italiana 56, no. 46 (November 17, 1929), p. 798, repr.

Galleria Lurati, Raccolta Max Bondi, Auction catalog, Milan: Galleria Lurati, December 9–20, p. 23, repr. pl. 15, lot 44.

“Vendite Italiane,” L’Antiquario: Rivista d’Arte 17, no. 1 (January–February 1930), pp. 76–77.

L’Arte 33 (1930), p. 118.

Venturi, Lionello, Italian Paintings in America, cat. (New York: E. Wyhe, 1933), v. 1, no. 57, repr. pl. 57.

Berenson, Bernard “Quadri Senza Casa – Il Trecento Fiorentino, II,” Dedalo 11, no. 15 (August 1931), p. 1040, repr. p. 1041.

Preliminary Catalogue of Paintings and Sculpture, cat. (Washington, D. C.: National Gallery of Art, 1941), no. 149, p. 102.

Book of Illustrations, cat. (Washington, D. C.: National Gallery of Art, 1941), no. 149, repr. p. 126.

Shorr, Dorothy C., The Christ Child in Devotional Images in Italy During the XIV Century (New York: George Wittenborn, 1954), p. 108, repr. p. 107, fig. 16 Florence 2.

Suida, William E., The Samuel H. Kress Collection: M. H. de Young Memorial Museum, San Francisco, cat. (San Francisco: M. H. de Young Memorial Museum, 1955), p. 30, repr.

Fried, Alexander, “Great Kress Collection Goes on View Saturday,” The San Francisco Examiner, February 13, 1955, p. 192.

Fried, Alexander, “Kress Gift Enriches Local Art Tradition,” The San Francisco Examiner, February 20, 1955, p. 176.

Larsen, Erik, “The Samuel H. Kress Collection at the M. H. De Young Memorial Museum, San Francisco,” Apollo 61, no. 364 (June 1955), p. 174.

Neumeyer, Alfred, “The Samuel H. Kress Collection of the M. H. de Young Museum in San Francisco,” The Art Quarterly 18, no. 3 (Autumn 1955), p. 274.

Rusk Shapley, Fern, Paintings from the Samuel H. Kress Collection: Italian Schools, cat. (London: Phaidon, 1966), vol. 1, p. 33, repr. fig. 82.

European Works of Art in the M. H. de Young Memorial Museum, cat. (Berkeley: Diablo Press, 1966), p. 19, repr.

Berenson, Bernard, Italian Pictures of the Renaissance: A List of the Principal Artists and their Works With an Index of Places, Florentine School, cat. (London: Phaidon, 1968), vol. 1, p. 106.

Old Masters from the City of Birmingham, exh. cat. (London: Wildenstein & co., 1970), p. 2.

Berenson, Bernard, Homeless Paintings of the Renaissance, cat. (Bloomington: Indiana University Press, 1970), pp. 96, 99, repr. p. 97, fig. 145.

Fredericksen, Burton B., and Federico Zeri, Census of pre-nineteenth-century Italian paintings in North American Public Collections, cat. (Cambridge: Harvard University press, 1972), pp. 102, 316, 411, 441, 425, 455, 463, 633.

Boskovits, Miklòs, Pittura Fiorentina alla Vigilia del Rinascimento, 1370–1400, cat. (Florence: Edam, 1975), pp. 30, 200, fn. 87, repr. fig. 21.

Skaug, Erling S., Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting: With Particular Consideration to Florence, c. 1330-1430 (Oslo: ICC Nordic Group, 1994), vol. 1, p. 156; vol. 2, section 6.6, p. 114, pl. 338ii, repr., pl. 578i, repr.

Gardner, Elizabeth E., A Bibliographical Repertory of Italian Private Collections (Vicenza: Neri Pozza Editore, 1998), vol. 1, p. 128; vol. 2, p. 183.

Tartuferi, Angelo ed., Giotto: Bilancio Critico di Sessant’anni di studi e Ricerche, exh. cat. (Florence: Giunti, 2000), pp. 175, 211, repr.

Gagliardi, Jacques, La Conquête de la Peinture: A l’Aube de la Renaissance du XIIIe au XVe Siècle (Paris: Flammarion, 2001), p. 56.

Bellosi, Luciano, “Giottino e la Pittura di Filiazione Giottesca Intorno alla Metà del Trecento,” Prospettiva, no. 101 (January 2001) p. 35.

Boskovits, Miklós and David Alan Brown, eds., Italian Paintings of the Fifteenth Century, cat. (Washington, D. C.: The National Gallery of Art, 2003), p. 616, fn. 3.

Casu, Stefano G., ed., The Pittas Collection: Early Italian Paintings (1200–1530), cat. (Florence: Mandragora, 2011), pp. 139–140, 141, repr., fig. 30.2

Boskovits, Miklòs, ed., The Alana Collection: Italian Paintings from the 13th to 15th Century, cat. (Florence: Polistampa, 2019), p. 110.