The Presentation in the Temple
- 108
Golden Gate International Exposition, San Francisco, CA, 1939-1940, no. 229, as by Giovanni Antonio Amadeo.
The Sforza Court: Milan in the Renaissance 1450-1535, Archer M. Huntington Art Gallery, Austin, TX, October 27-December 18, 1988; University Art Museum, Berkeley, CA, January 18-March 12, 1989; Yale University Art Gallery, New Haven, CT, April 16-June 4, 1989, no cat.
Santa Maria del Carmine, Milan, after 1484 [1];
Vercellino Visconti, Milan [2];
Prince Belgioioso, Milan;
Prince Luigi Alberico Trivulzio (1868-1938), Milan, by 1937;
With Jacob Hirsch, New York, stock no. 359, as by Giovanni Antonio Amadeo, by March 24, 1937-1951 [3];
Purchased from Hirsch by The Nelson-Atkins Museum of Art, Kansas City, MO, 1951.
NOTES:
[1] From the tomb of Pier Francesco Visconti, Count of Saliceto (d. 1484). This relief, and The Annunciation (51-29/1), are part of a group of five with the same provenance: two others are in the National Gallery of Art, Washington, DC (nos. 1952.5.91 and 1952.5.92); and one is in the Cleveland Museum of Art (no. 1928.863). The provenance of these reliefs is described in detail in Ulrich Middeldorf, Sculptures from the Samuel H. Kress Collection: European Schools, XIV-XIX Century (London: Phaidon Press, 1976), 55-57.
[2] For the descent of the reliefs through the Visconti, Belgioioso and Trivulzio families, Middeldorf cites Diego Sant’Ambrogio, “Dello stemma sopravanzato nel Palazzo del Broletto del conte Francesco Bussone da Carmagnola,” Archivio Storico Lombardo 18 (June 30, 1891), 403 n.1 as giving “a plausible account of the descent of the reliefs through these families by inheritance, without giving genealogical details.”
[3] According to a letter from Jacob Hirsch to Bernard Berenson, March 24, 1937, Berenson Library Photo Archive, Villa I Tatti, Florence, copy in NAMA curatorial files.
Art: Official Catalog, Golden Gate International Exposition, exh. cat. (San Francisco, CA: Recorder Printing & Publishing Co., 1940), 17.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts , 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 64, (repro.).
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri , vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 85, (repro.), as Presentation in the Temple.
Ulrich Middeldorf, Sculptures from the Samuel H. Kress Collection: European Schools XIV-XIX Century (London: Phaidon, 1976), 54, as Presentation in the Temple.
Ellen Longsworth, “Benedetto da Briosco, Tommaso Cazzaniga, and the Visconti di Saliceto Monument,” Studies in Late Quattrocento Sculpture, vol. 2 (Provo, UT: Brigham Young University, 1992).
Ellen L. Longsworth, “The so-called ‘Monumento to Camillo Borromeo’,”Arte Lombarda, no. 100 (1992): 65, 68n15, (repro.), as Presentation in the Temple.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 147, (repro.), as The Presentation in the Temple.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 55, (repro.), as The Presentation in the Temple.
