Four Angels (right panel)
Framed: 62 1/16 × 19 × 3 3/4 inches (157.63 × 48.26 × 9.53 cm)
- 105
Exhibition History
Ausstellung altdeutscher und altniederländischer Gemälde, Kunsthandlung Hugo Perls, Berlin, January- February 1928, no.10.
Loan to Washburn University, Fine Arts Center, Topeka, KS, September 1958, no cat.
Limburg Stirum collection, Breslau (Wrocław), Poland;
Purchased from the Limburg Stirum collection by an unknown collector [1];
Purchased from the unknown collector by Hugo Perls, Paris, as by French School, possibly School of Avignon, by 1928-1935 [2];
Purchased from Perls, through Jacques Seligmann and Co., Paris and New York, stock nos. P13899 and NY5668, as by French School, possibly School of Avignon, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1935.
NOTES:
[1] According to Hugo Perls, in a letter to Germain Seligmann, early 1935, NAMA curatorial files.
[2] This painting was placed on consignment with Jacques Seligmann and Co. by Hugo Perls on February 13, 1934. Archives of American Art, Washington, DC, Jacques Seligmann and Co. Records, box 299, folder 8, Consular Invoices 1934.
Ausstellung altdeutscher und altniederländischer Gemälde, exh. cat. (Berlin: Hugo Perls, January-February 1928), 6, 13, 20, (repro.), as by anonymous French master.
Paul Jamot, "French Painting-I," The Burlington Magazine 59, no. 345 (December 1931): 274, as by School of Avignon.
Paul Jamot, La peinture en France (Paris: Plon, 1934), 36-37, 35, (repro.), as by School of Avignon.
Georg Pudelko, "The Minor Masters of the Chiostro Verde," The Art Bulletin 17, no. 1 (March 1935): 79.
Letters from Osvald Sirén to Laurence Sickman, March 10, 1936 and July 1947, NAMA curatorial files, as by an anonymous Florentine master, active 1430-70, who painted a Madonna and Child with Saints Peter Martyr and Francis in the Fogg Art Museum and a Coronation of the Virgin in the gallery of the Ospedale degli Innocenti, Florence.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and
Mary Atkins Museum of Fine Arts, 1941), 40, 43, 167, (repro.), as by School of Avignon.
Letter from Federico Zeri, January 9, 1947, NAMA curatorial files, as by Master of the Bargello Tondo whom he equates with Cecchino da Verona.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and
Mary Atkins Museum of Fine Arts, 1949), 39, (repro.) as by the School of Avignon.
Undated memorandum by Harold Woodbury Parsons, c. 1950, NAMA curatorial files.
Federico Zeri, "Inediti del supposto ‘Cecchino da Verona’," Paragone 2, no. 17 (1951): 32 [repr. in Giorno per giorno nella pittura: Scritti sull'arte toscana dal trecento al primo cinquecento, 2nd ed. (Turin: Allemandi, 1991): 124-25, 232, (repro.)].
Lionello Puppi, "Cecchino da Verona e il ‘Maestro del Giudizio di Paride al Bargello’," Cultura Atestina 12 (1958): 4-5.
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), 62, 262, (repro.), as attributed to Cecchino da Verona.
Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1 (London & New York: Phaidon, 1963), 63, as by workshop of Francesco di Antonio.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge: Harvard University Press, 1972), 126, 353, 589.
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), 79, (repro.), as attributed to Cecchino da Verona.
Enrica Neri Lusanna, “Aspetti della cultura tardo-gotica a Firenze: II 'Maestro del Giudizio di Paride’,” Arte Cristiana 77 (1989): 418, 419, 426n48, 426n52, (repro.).
Paul Johannides, Masaccio and Masolino: A Complete Catalogue (London: Phaidon, 1993), 421.
Important and Fine Old Master Pictures (London: Christie’s, Manson and Woods, July 8, 1994), 30.
Eliot W. Rowlands, The Collections of the Nelson-Atkins Museum of Art: Italian Paintings 1300-1800, (Kansas City, MO: Nelson-Atkins Museum of Art, 1996): 26, 94-98, (repro.).
