?marquis de Talleyrand; [A. Contini, Rome, until 1928; sold for $37,500 to Bache]; Jules S. Bache, New York (1928–d. 1944; his estate, 1944–49; cats., 1929, unnumbered; 1937, no. 9; 1943, no. 8)
New York. The Metropolitan Museum of Art. "The Bache Collection," June 16–September 30, 1943, no. 8.
New York. The Metropolitan Museum of Art. "Painting in Renaissance Siena: 1420–1500," December 20, 1988–March 19, 1989, no. 55.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill., dates it about 1480; as formerly in the collection of the marquis de Talleyrand.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 256.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 220.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 9, ill.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 8, ill.
Mirella Levi d'Ancona. The Wildenstein Collection of Illuminations: The Lombard School. Florence, 1970, p. 70.
Keith Christiansen inPainting in Renaissance Siena: 1420–1500. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 289–90, no. 55, ill., relates it to a breviary of about 1474–75 made for the hospital of Santa Nuova, Florence (now Museo Nazionale del Bargello, Florence; Codex 68), and to three fragments in the Lewis Collection (Free Library of Philadelphia), which, along with this work, might have been removed from the lost missal decorated by Girolamo in 1475–76 for Lucrezia de' Medici.
Kurt Barstow. Letter to Andrew Caputo. , suggests that it may be cut from the same manuscript as a miniature depicting the Pentecost (J. Paul Getty Museum, Los Angeles; Ms. 55); dates the two works to the 1460s, while Girolamo was in Mantua, and relates them to the work of Mantegna.