Saint John the Evangelist
No known exhibition history at this time.
Mrs. Ovenstone, Duntrune House, North Dundee, Angusshire, Scotland, by 1937 [1];
With Koetser Gallery, London, by August 13, 1937;
With Wildenstein and Co., New York, 1937-1939 [2];
Purchased from Wildenstein by The Nelson-Atkins Museum of Art, Kansas City, MO, 1939.
NOTES:
[1] This may be Agnes Marie Rose Ovenstone, third wife and widow of William Ovenstone (b. ca. 1890). According to Jack Barrie, owner of Duntrune House, in an email to MacKenzie Mallon, Specialist, Provenance, October 22, 2015, NAMA curatorial files, Agnes Marie Rose Ovenstone was the tenant of Duntrune House in 1938-39, when the house was under the ownership of her husband William Ovenstone’s trustees.
[2] According to Eliot Rowlands, Wildenstein and Co., in an email to MacKenzie Mallon, June 16, 2015, NAMA curatorial files.
“Bernardo Daddi: “St. John the Evangelist”, an important fourteenth-century panel just purchased for Kansas City,” Art News 38, no. 9 (December 2, 1939): 6, (repro.), as by Daddi.
Carol Rothschild, “Recent Museum Acquisitions,” Parnassus 11, no. 8 (December 1939): 38, (repro.), as by Daddi.
Helen Comstock, “The Connoisseur in America: A Trecento St. John,” Connoisseur 105 (January-July 1940): 30, (repro.), as by Daddi.
Paul Gardner, “Panel of St. John by Daddi Is Masterpiece at Gallery,” December 1940, clipping, NAMA curatorial files.
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), 26, as by Daddi.
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), 38, (repro.), as by Daddi.
Richard Offner, A Critical and Historical Corpus of Florentine Painting, sec. 3, vol. 8, The Fourteenth Century: Workshop of Bernardo Daddi (Glückstadt, 1958), 98, (repro.), as by “Following of Daddi.”
Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1 (London: Phaidon, 1963), 55, 57, (repro.), as by Daddi.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge: Harvard University Press, 1972), 61, 418, 589, as by Daddi.
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), 77, (repro.), as by Daddi.
Richard Offner and Miklós Boskovits, A Critical and Historical Corpus of Florentine Painting, sec. 3, vol. 9, The Fourteenth Century: The Painters of the Miniaturist Tendency (Florence: Giunti, 1984), 73n279.
Richard Offner and Miklós Boskovits, A Critical and Historical Corpus of Florentine Painting, sec. 3, vol. 4, The Fourteenth Century: Bernardo Daddi, His Shop and Following (Florence: Giunti, 1990), 351-54, 356, 401, 508, (repro.), as “Close Following” of Daddi.
Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 52.
Eliot W. Rowlands, The Collection of the Nelson-Atkins Museum of Art: Italian Paintings 1300-1800, (Kansas City, MO: The Nelson-Atkins Museum of Art, 1996), 55-58, (repro.), as by workshop of Bernardo Daddi.
