Antoniazzo Romano (Antonio di Benedetto Aquilio) (Italian, Roman, active by 1452–died by 1512)
Tempera on wood, gold ground
Overall 14 7/8 x 10 3/4 in. (37.8 x 27.3 cm); painted surface 14 1/8 x 10 1/8 in. (35.9 x 25.7 cm)
Bequest of George Blumenthal, 1941
Not on view
?[Luigi Grassi, Florence, in or before 1911]; George Blumenthal, New York (bought through F. Mason Perkins for Fr 15,000; 1911–d. 1941; cat., vol. 1, 1926, pl. XXXV).
Baltimore. Walters Art Gallery. "Loan Exhibition," 1935, no. 27 (lent by George Blumenthal).
Pasadena Art Institute. November 20, 1947–January 20, 1948, no catalogue [probably the second venue of the exhibition "Italian Art: Loss and Survival" from the Virginia Museum of Fine Arts].
F. Mason Perkins. "Tre dipinti di Antoniazzo Romano." Rassegna d'arte umbra 2 (1911), pp. 36–37, ill., attributes this painting to Antoniazzo Romano.
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century. Ed. Tancred Borenius. Vol. 5, Umbrian and Sienese Masters of the Fifteenth Century. London, 1914, pp. 280–81 n. 1.
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. XXXV.
Roberto Longhi. "In favore di Antoniazzo Romano." Vita artistica 2 (November–December 1927), pp. 232–33, pl. 2, as by Antoniazzo.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 27.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 15, The Renaissance Painters of Central and Southern Italy. The Hague, 1934, p. 258 n. 5, dates it about 1480; compares it with a Madonna and Child in the Percy Strauss collection, New York [now Museum of Fine Arts, Houston], and comments on the influence of Benozzo Gozzoli and Melozzo da Forlì.
Francesco Negri Arnoldi. "Madonne giovanili di Antoniazzo Romano." Commentari 15 (July–December 1964), pp. 210, 212 n. 23, considers it an early work and dates it about 1476, based on a Madonna and Child by the artist in the church of S. Maria del Bonaiuto, Rome.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 16.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 11, 347, 608.
Gisela Doerk Noehles. "Antoniazzo Romano: Studien zur Quattrocentomalerei in Rom." PhD diss., Westfälischen Wilhelms-Universität zu Münster, 1973, pp. 65–67, 187, 317–18, no. 33, figs. 29A, 32, compares it to the Madonna and Child in the Gallery in Perugia (no. 109) and the altarpiece at Fondi; dates it about 1480, before Antoniazzo was influenced by the frescoes in the Sistine Chapel.
Federico Zeri. Italian Paintings in the Walters Art Gallery. Baltimore, 1976, vol. 1, p. 165.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, p. 3, pl. 61, date this panel around 1480–85.
Gregory Hedberg. "Antoniazzo Romano and His School." PhD diss., New York University, 1980, vol. 1, p. 171, no. 23; vol. 2, fig. 25, dates it about 1475–80 and comments that the condition of the picture "prevents a sure attribution".
Anna Cavallaro. Antoniazzo Romano e gli Antoniazzeschi: una generazione di pittori nella Roma del Quattrocento. Udine, 1992, pp. 187, 223, no. 10, ill. p. 311, notes that it is the prototype for a Madonna and Child in the Burnath collection, Florence, and also for the Madonna and Child in the Walters Art Gallery, Baltimore; discusses the picture's physical state.
Antonio Paolucci. Antoniazzo Romano: catalogo completo dei dipinti. Florence, 1992, p. 52, no. 10, ill., dates it to the late 1470s and sees its linearity and formal lucidity as related to Tuscan art, particularly that of Ghirlandaio.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 171–72, classifies the punch marks appearing in this painting.
Fausto Nicolai. "More than an Expatriate Scholar: Frederick Mason Perkins as Art Adviser, Agent and Intermediary for American Collectors of the Twentieth Century." Journal of the History of Collections (Advance Access published November 16, 2015), pp. 4, 12 n. 22, fig. 2 [doi:10.1093/jhc/fhv034], cites a letter of January 30, 1911, in the Frederick Mason Perkins Archive, Assisi, in which Blumenthal sends Perkins a check for 15,000 francs "in payment of the picture by Antoniazzo," instructs him to have it shipped to the Seligmann Gallery, Paris, and asks if he would like a separate payment for his commission for the transaction.