Eugène Féral, Paris (until 1901; his sale, Hôtel Drouot, Paris, April 22, 1901, no. 113, as Umbrian School, 15th century); marquis d'Aoust, Paris; Eugène Kraemer, Paris (until 1913; his estate sale, Galerie Georges Petit, Paris, June 2, 1913, no. 34, as Umbrian School, 15th century, but with a note that it was once attributed to Antonio da Viterbo, for Fr 10,200 to Kleinberger); [Kleinberger, Paris and New York, 1913–16; sold for $5,500 to Friedsam]; Michael Friedsam, New York (1916–d. 1931)
New York. F. Kleinberger Galleries. "Italian Primitives," November 12–30, 1917, no. 81 (as by Antonio da Viterbo, lent by Michael Friedsam).
New York. The Metropolitan Museum of Art. "The Michael Friedsam Collection," November 15, 1932–April 9, 1933, no catalogue.
Bernard Berenson. "Un Botticelli dimenticato." Dedalo 5 (1924), pp. 25–26, ill. p. 29.
Bernard Berenson in The Michael Friedsam Collection. [completed 1928], pp. 100–101, attributes it to Antonio da Viterbo and dates it about 1500.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 31.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 15, The Renaissance Painters of Central and Southern Italy. The Hague, 1934, p. 326, fig. 199, attributes it to Antonio da Viterbo, noting the influence of Pinturicchio.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 27.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 113–14, ill.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 321.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 12, 327, 397, 407, 607.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, p. 5, pl. 72, suggest sources in the work of Perugino for the motif of the two saints standing behind the Madonna and for the positions of the Madonna and Child; note a similar panel formerly in the collection of Giuseppe di Gentile, Paris, and a tondo formerly in the Serristori collection, Florence; mention a painting from Antonio da Viterbo's workshop that depicts the same Madonna against a landscape background (formerly art market, Florence).
Filippo Todini. La pittura umbra dal Duecento al primo Cinquecento. Milan, 1989, vol. 1, p. 298, attributes it to a follower of Pinturicchio and calls it a replica of the painting formerly in the Gentile collection that he ascribes to "Rocco Zoppo" [see Ref. Zeri and Gardner 1980], possibly based on a design by Perugino.
Old Master Pictures. Christie's, London. April 9, 1990, p. 99, under no. 64, relates it to the picture formerly in the Gentile collection [see Refs. Zeri and Gardner 1980 and Todini 1989] and to no. 64, noting that although all three are usually considered to be by Antonio da Viterbo, Todini has attributed the latter two to Rocco Zoppo (Giovan Maria di Bartolomeo Bacci di Belforte; Florentine, active 1496–1508).
Related works include two paintings depicting the same four figures, but with a standing Child and without the saints' attributes. One was formerly in the collection of Giuseppe di Gentile (or M. F. Gentili), Paris, and is reproduced in Berenson 1968, pl. 1116. The other was sold at Christie's, London, on April 9, 1990, no. 64, ill. These two pictures are usually attributed to Antonio da Viterbo, but Todini (1989) ascribes them to Giovan Maria di Bartolomeo Bacci di Belforte (Florentine, active 1496–1508), called Rocco Zoppo.
A similar Madonna and Child appear in a painting that was in the collection of Mrs. W. H. Cross, Sidney, British Columbia, in 1959.
Additional related works are discussed in Zeri and Gardner 1980.