Posthumous inventory of Cardinal Fesch. 1839, fol. 454v, no. 15425 [Archivio di Stato, Rome, Not. Capitol., Ufficio 11, not. Augusto Appolloni, anno 1839, vol. 611, fol. 37r–503v; see Ref. Thiébaut 1987], as "Quadro in tavola alto piedi tre, largo piede uno, e un terzo rappnte Madonna in Trono con Bambino di Carlo Crivelli. Scudi cinquanta".
Catalogue des tableaux composant la galerie de feu son éminence le cardinal Fesch. Rome, 1841, p. 95, no. 2303, as "'La Vierge sur son trône'; elle tient l'enfant Jésus. La figure principale est revêtue d'une étoffe d'or brodée en fleurs. C'est un bon ouvrage de Carlo Crivelli," 3 pieds high by 1 pied 4 pouces wide.
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. A History of Painting in North Italy: Venice, Padua, Vicenza, Verona, Ferrara, Milan, Friuli, Brescia, from the Fourteenth to the Sixteenth Century. London, 1871, vol. 1, p. 86 n. 1.
Catalogue of Pictures, Ancient and Modern, 35 Grosvenor Place. 1882, no. 363 [see Ref. Garnett 1982].
George Redford. Art Sales. London, 1888, vol. 2, p. 227, lists it as having been bought in for £53.11 at the Morland sale of 1863, and sold for £131.5 to Colnaghi at the Graham sale of 1886.
Bernhard Berenson. The Venetian Painters of the Renaissance. 3rd ed. New York, 1894, p. 106 [1895 ed., p. 99].
G[eorg]. Gronau. "Correspondance d'Angleterre: l'art vénitien à Londres, à propos de l'exposition de la New Gallery." Gazette des beaux-arts, 3rd ser., 13 (February 1895), p. 165.
Bernhard Berenson. Venetian Painting, Chiefly Before Titian, at the Exhibition of Venetian Art. London, , p. 12 [reprinted in "The Study and Criticism of Italian Art," London, 1901, pp. 102–3], states that "the virgin's facing to the left, and the child's eager movement to the right indicate that this panel must have formed originally the middle of a polyptych, with saints on either side".
G. M'Neil Rushforth. Carlo Crivelli. reprint, 1908. London, 1900, pp. 46, 93–94, 119, ill. (frontispiece).
Lionello Venturi. Le origini della pittura veneziana, 1300–1500. Venice, 1907, pp. 195–97.
Lionel Cust. "La collection de M. R.-H. Benson." Les arts 6 (October 1907), p. 3, ill.
Roger E. Fry. "La mostra di antichi dipinti alle 'Grafton Galleries' di Londra." Rassegna d'arte 10 (March 1910), p. 36.
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. A History of Painting in North Italy: Venice, Padua, Vicenza, Verona, Ferrara, Milan, Friuli, Brescia, from the Fourteenth to the Sixteenth Century. 2nd ed. [1st ed. 1871]. London, 1912, vol. 1, p. 85 n., Borenius mentions it.
Tancred Borenius. "La mostra di dipinti veneziani primitivi al 'Burlington Fine Arts Club'." Rassegna d'arte 12 (June 1912), p. 88, ill.
B. Geiger in Allgemeines Lexikon der bildenden Künstler. 8, Leipzig, 1913, pp. 129–30.
A[dolfo]. Venturi. "La pittura del Quattrocento." Storia dell'arte italiana. 7, part 3, Milan, 1914, pp. 362, 364, 367, fig. 279.
Catalogue of Italian Pictures at 16, South Street, Park Lane, London and Buckhurst in Sussex collected by Robert and Evelyn Benson. London, 1914, pp. 137–38, no. 70, ill. opp. p. 137.
Laudedeo Testi. "Il divenire." La storia della pittura veneziana. 2, Bergamo, 1915, pp. 557, 611–12, 616–17, 673, ill.
Bernardo Berenson. "Nicola di Maestro Antonio di Ancona." Rassegna d'arte 15 (1915), p. 168.
Bernhard Berenson. "Venetian Paintings in the United States: Part Two." Art in America 3 (April 1915), p. 114 [reprinted in Bernard Berenson, "Venetian Painting in America: The Fifteenth Century," New York, 1916, p. 20].
Franz Drey. Carlo Crivelli und seine Schule. Munich, 1927, pp. 41, 54–55, 57, 63, 127, 150, pl. XXI.
"Duveen Buys the Famous Benson Collection." Art News 25 (July 16, 1927), pp. 1, 5, 8.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 162.
Lionello Venturi. "Fifteenth Century Renaissance." Italian Paintings in America. 2, New York, 1933, unpaginated, pl. 364, identifies the Saints George and Dominic (MMA, 05.41.1, .2) and the Saint James (Brooklyn Museum of Art) as three lateral panels from the same altarpiece as this work.
Luigi Serra. "Il periodo del rinascimento." L'arte nelle Marche. 2, Rome, 1934, p. 389.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 140.
Raimond van Marle. "The Renaissance Painters of Venice." The Development of the Italian Schools of Painting. 18, The Hague, 1936, pp. 6–10, fig. 4.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 178, identifies a Saint Nicholas (then lost, now Cleveland Museum of Art) as the fourth lateral panel of the polyptych of which this work was the centerpiece.
Henry S. Francis. "'St. Nicholas' by Carlo Crivelli." Bulletin of the Cleveland Museum of Art 39 (September 1952), p. 188, publishes the panel depicting Saint Nicholas of Bari and tentatively accepts the connection with the 1472 polyptych.
Pietro Zampetti. Carlo Crivelli nelle Marche. Urbino, 1952, pp. 22, 69, 77, no. 82.
Federico Zeri. "Il Maestro della Annunciazione Gardner." Bollettino d'arte 38 (July–September 1953), p. 241, accepts the reconstruction of the 1472 polyptych.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, pp. 69–70, pl. 137 (reconstruction), accepts the reconstruction of the 1472 polyptych.
Rodolfo Pallucchini. La pittura veneta del Quattrocento. 2, Padua, 1957–58, pp. 17–19, 21 [see Ref. Zampetti 1986].
Federico Zeri. "Cinque schede per Carlo Crivelli." Arte antica e moderna no. 13/16 (1961), p. 162.
Rodolfo Pallucchini. "Carlo Crivelli in Palazzo Ducale." Pantheon 19 (November–December 1961), p. 274.
Pietro Zampetti. Carlo Crivelli. Milan, 1961, pp. 16, 24, 75–77, 103, figs. 24 (reconstruction), 25, tentatively adds five predella panels and a Deposition (or Pietà; Johnson collection, Philadelphia Museum of Art) to the 1472 altarpiece [see Notes].
Anna Bovero. Tutta la pittura del Crivelli. Milan, 1961, pp. 23–24, 51, 59–60, pl. 27.
Pietro Zampetti. Carlo Crivelli e i crivelleschi. Exh. cat., Palazzo Ducale. Venice, 1961, p. XXXII.
M. L. D'Otrange Mastai. "New York News." Apollo 74 (November 1961), p. 151, ill.
André Pigler. "La mouche peinte: Un talisman." Bulletin du Musée Hongrois des Beaux-Arts no. 24 (1964), p. 50, no. 5, fig. 37.
Barbara Sweeny. John G. Johnson Collection: Catalogue of Italian Paintings. Philadelphia, 1966, pp. 25–26, under no. 158, accepts the expanded reconstruction of the 1472 polyptych, including the Philadelphia Pietà and the five predella panels; mistakenly cites Zeri [see Ref. 1961] as associating the Philadelphia Pietà with this polyptych.
René Gimpel. Diary of an Art Dealer. English ed. New York, 1966, p. 398, mistakenly states that Erickson bought it from Duveen for $350,000 (the actual price was $300,000).
Fern Rusk Shapley. "Italian Schools: XV–XVI Century." Paintings from the Samuel H. Kress Collection. 2, London, 1968, pp. 35–36, accepts the expanded reconstruction of the polyptych.
Charles Seymour Jr. Early Italian Paintings in the Yale University Art Gallery. New Haven, 1970, p. 240, under no. 180.
Pietro Zampetti. La pittura marchigiana da Gentile a Raffaello. [Milan], [1970?], pp. 180–82.
Gerald Reitlinger. "The Art Market in the 1960s." The Economics of Taste. 3, London, , p. 85, gives sale prices from 1845 through 1961.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 21–22.
Elizabeth Ourusoff De Fernandez-Gimenez in "European Paintings Before 1500." The Cleveland Museum of Art: Catalogue of Paintings. part 1, Cleveland, 1974, pp. 68–69, under no. 26, fig. 26a (reconstruction).
Anna Bovero. L'opera completa del Crivelli. Milan, 1975, pp. 83, 87–89, 95, no. 48, ill., states that the altarpiece must have been made for a Dominican church, and suggests the convent of San Domenico, Fermo, noting that a Madonna with two saints is recorded as having been sold from there shortly before 1834.
Oliver Garnett. Letter to Sir John Pope-Hennessy. September 27, 1982, notes that it is included in an unpublished inventory of the collection of William Graham of 1882 [see Ref.].
Everett Fahy. "Babbott's Choices." Apollo, n.s., 115 (April 1982), p. 240.
Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, pp. 46–47, ill. (color).
Keith Christiansen in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 29–32, no. 5, ill. (color), notes that the pentiment in the date, changed from 1473 to 1472, may have been due to Crivelli's confusion over differing regional calendars, and suggests the altarpiece was completed sometime between December 25, 1472, and March 25, 1473; calls the innovative compositional elements Paduan in origin; believes that neither the Philadelphia Pietà nor the five predella panels [see Notes] belong to the 1472 altarpiece; rejects the identification of the 1472 altarpiece with the one sold from San Domenico, Fermo [see Notes]; thinks the correct order of the four flanking panels is, left to right, Saints Nicholas, James, George, and Dominic.
Pietro Zampetti. Carlo Crivelli. Florence, 1986, pp. 16, 29–30, 39, 257–261, pl. 14 (reconstruction), colorpl. 15, ill. pp. 258 (reconstruction), 259, agrees with Bovero [see Ref. 1975] that the provenance could be San Domenico, Fermo.
Dominique Thiébaut. Ajaccio, musée Fesch: les primitifs italiens. Paris, 1987, p. 183, ill., quotes from the Fesch inventory of 1839 [see Ref.]; gives the purchase price at the Fesch sale of 1845 as 100 scudi.
Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. New York, 1992, p. 131.
Stefano Papetti in Vittore Crivelli e la pittura del suo tempo nel Fermano. Milan, 1997, pp. 56, 68 n. 11, identifies the 1472 polyptych with an altarpiece by Carlo Crivelli bought by Ignazio Cantalamessa from the Dominicans in Fermo on May 26, 1831 for 50 scudi.
Cecilia Prete in Pittura veneta nelle Marche. Cinisello Balsamo (Milan), 2000, pp. 343–44, 349 n. 152, tentatively agrees with Papetti [see Ref. 1997] in identifying the 1472 altarpiece with the work bought by Cantalamessa from the Dominican convent in Fermo.
Valter Curzi in Pittura veneta nelle Marche. Cinisello Balsamo (Milan), 2000, pp. 307, 320 n. 4.
Ronald Lightbown. Carlo Crivelli. New Haven, 2004, pp. 127–29, 131–32, 136, 149, 151, 205, pl. 32, states that the altarpiece to which the five panels belong was painted for San Domenico, Fermo, probably for a secondary altar; rejects the association with the Philadelphia Pietà.
Lisa Monnas. Merchants, Princes and Painters: Silk Fabrics in Italian and Northern Paintings, 1300–1550. New Haven, 2008, pp. 171, 359 n. 132.