Madonna and Child Enthroned with Saints

Baron Sulzbach, Paris (by 1908–at least 1924); [Seligman, Rey & Co., New York, until 1926; sold to Blumenthal]; George Blumenthal, New York (1926–41)

Westport, Conn. Westport Community Art Association. February 12–24, 1955, no catalogue?

New York. The Metropolitan Museum of Art. "Florentine Paintings in the Metropolitan Museum," June 15–August 15, 1971, no catalogue.

Osvald Sirén. "Art in America: Trecento Pictures in American Collections—II." Burlington Magazine 14 (December 1908), p. 188, as in the Sulzbach collection, Paris; attributes it to Daddi and dates it at end of the 1320s or the beginning of the 1330s.

Osvald Sirén. Giotto and Some of His Followers. Cambridge, Mass., 1917, vol. 1, p. 271; vol. 2, pl. 154, as by Daddi.

Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 3, The Florentine School of the 14th Century. The Hague, 1924, p. 378, attributes it to Daddi.

Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, New York, 1930, pp. 11, 90, erroneously as still in the Sulzbach collection, Paris; includes it among pictures attributed to Daddi and mistakenly calls it "Madonna and Child with Eight Angels".

Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, New York, 1934, pp. XII, 212, erroneously as still in the Sulzbach collection, Paris; attributes it to a close follower of Daddi and says it is probably the left shutter of a diptych.

Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 5, section 3, New York, 1947, pp. 8, 286, calls it Daddesque.

Dorothy C. Shorr. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954, p. 105, ill. p. 107 (detail), based on information provided by Offner, attributes it to a close follower of Daddi.

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 26.

Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 8, section 3, New York, 1958, pp. XXIV, 69–70, 79, 223, pl. XIII, attributes it to a follower of Daddi and dates it to the mid-1330s; calls it the left shutter of a diptych and says the Evangelist in the right foreground is probably Matthew; provides provenance information.

Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 56, lists it as a product of Daddi's workshop.

Brigitte Klesse. Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts. Bern, 1967, p. 185, no. 40a, dates it mid-1330s on the basis of the textile on the Virgin's throne.

Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 32–33, ill., call it the left shutter of a small diptych that also included a Crucifixion sold at Sotheby's on June 30, 1965; attribute the design to Daddi but the execution to his workshop; date it about the mid-1330s.

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 62, 318, 367, 373, 382, 392, 395, 411, 423, 432, 608.

Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 9, section 3, The Fourteenth Century: The Painters of the Miniaturist Tendency. new ed. Florence, 1984, pp. 358, 611, says it is the companion panel of a Crucifixion (location unknown) bought in 1965 by Julius Weitzner, London .

Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, The Fourteenth Century: The Works of Bernardo Daddi. new ed. Florence, 1989, pp. 73, 386.

Erling S. Skaug. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting. Oslo, 1994, vol. 1, pp. 100, 111 n. 176, p. 114 n. 186; vol. 2, punch chart 5.3, lists it with works by Daddi; discusses the tooling and identifies punch marks that it shares with works by the Master of San Martino alla Palma.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 7, ill.

Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, p. 364, classifies a punch mark appearing in this painting and attributes it to Bernardo Daddi.

This painting is the left wing of a diptych and was paired with a Crucifixion bought in 1965 by Julius Weitzner, London (see Boskovits 1984). The saints surrounding the Madonna and Child are: (left foreground) John the Baptist and Francis, (left background) Louis of Toulouse and Catherine of Alexandria, (right foreground) Anthony of Padua and an Evangelist, (right background) Agnes and Elizabeth of Hungary.