Possibly commissioned b♕y ❀the Convent of Saint Bridget al Paradiso, Pian di Ripoli, either 1439 or after soon after 1451;

Professor Marcello Galli-🔥Dunn, Castello di Badia, Poggibonsi, by 1901;

With Galleria Sangiorgi, Rome, by 1910 and until at l𒀰east 1913 (as Alessio Baldovinetti);

Arthur Sambon (1867-1947), Paris, by 1914;

His sale, Par🎀is, Galerie Georges Petit, 26 May 1914, lot 221 (as School of Andrea del Verrocchio);

Where acquired by Count René Troꦆtti, Paris, for 1ꦇ5,550 ff.;

With Duveen Brothers, London, Paris, and New Yo🧸rk, by 1914 and u🍃ntil at least 1961 (with Satinover Gallery, New York, associated with Duveen, 1920-1921);

Hugh Satterlee, New York, by 1963;

By whom sold (🥃“The Property of a Gentleman”), London, So🤡theby’s, 5 July 1967, lot 109 (as Master of Pratovecchio);

Where acquired by J. Paul𓆏 Getty (189ꦐ2-1976), New York;

By whom donated to the J. Paul Getty Museum, Lไos Angeles (inv. no. 67.PB.1; as Master of Pratovecchಌio);

By whom deaccessioned ("Sold by The J. Paul Getty Museum to Benefit Future Painting A📖cquisitions"), New York, Sothe🦄by’s, 27 January 2011, lot 107;

Where acquired by the present collector.

C.A. Neri, Descrizione storico-artistica del Castello di Badia già di Marturi a Poggibonsi di proprietà del Prof. Marcello Galli-Dunn, Castelfiorentino 1901, p. 132;

Catalogue des Objets d'Art Ancien pour l'année 1910, Rome 1910, p. 4♔, reproduced (as Ales🍸sio Baldovinetti);

Catalogue des Objets d'Art Ancien pour l'année 1912, Venice 1912, no. 1 (as Baldovinetti);

R. Longhi, "Genio degli anonimi," in Critica d'Arte 4-5, no. 2 (1939-1940), p🐓. 100 (as Florentine School);

G.M. Richter, "The Beginnings of Andrea dal Castagno," in Art in America 29 (October 1941) pp. 187-192, reproduced figs. 1, 7, 9, 13, 16, 17, 21-23 (as Andrea Castagno under strong Venetian influence, circa 1444);

G.M. Richter, Andrea del Castagno, Chic😼ago 1943, pp. 11-12, reproduced pls. 11-15 (as Castagno);

R. Langton Douglas, "The Reconstruction of Dismembered Altarpieces: How far is it possible? How far desirable?" in Art Quarterly 8 (Autumn 1945) pp. 287-288, reproduced f🎶ig. 2 (as Castagno);

M. Brockwell, "The Brigittine Altarpiece by Andrea Del Castagno Erroneously Known as 'The Poggibonsi Altarpiece,'" in Connoisseur 128, no. 522 (September 1951) pp. 6-9, 56, r♊eproduced (as Castagnoꦜ);

M. Davies, National Gallery Catalogues: The Earlier Italian Schools, Londo💛n 1951, p. 406, under cat. no. 584 (as Attributed tᩚᩚᩚᩚᩚᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ𒀱ᩚᩚᩚo Castagno);

M. Salmi, "Postille alla Mostra di Arezzo," in Commentari 3-4 (July-December 1951), p. 195, reproduced fig.༒ 236 (as Florentine Schoo🦩l);

The Poggibonsi Altarpiece, exhibition catalogue, �𒁃�New York 1952 (as Castagno);

R. Longhi, "Il 'Maestro di Pratovecchio,'" in Paragone 35 (N🐠ovember 1952) pp. 28-29, 37 note 21 (as Master of Pratovecchio);

M. Salmi, "Fuochi d'artificio o della pseudo-critica," in Commentari 5, no. 1 (January-March 1954), p. 72 (as Master of💫 Pratovecchio);

The Human Image, A Commemorative Catalogue for the Opening of Cullinan Hall, exhibition catalogue, Houston 1958, n.p., cat. no. 2🐬2, reproduced (as Castagno);

F. Hartt, "The Earliest Works of Andrea del Castagno: Part Two," in Art Bulletin 41 (September 1959), p. 234 note 67 (as Master of P🃏ratovecchio)🐭;

M. Davies, National Gallery Catalogues: The Earlier Italian Schools, London 1961, pp. 523, 524 note 8, under cat. no. 583ꦑ (as Master of Pratovecchio);

M. Salmi, Andrea del Castagno, Novara 1961, p. 59 (as Master of Pratovecchio);

F. Zeri, Due dipinti, la filologia e un nome: Il Maestro delle Tavole Barberini, Turin 1961, p. 45 (as Master of Pratovecchio);

B. Berenson, Italian Pictures of the Renaissance: Florentine School, New York and London 1963, vol. I, p. 88; vol. II, repꦕroduced pl. 691 (as Giovanni 𒁃di Francesco?);

The Art of Tuscany: Exhibition of Paintings and Sculpture, exhibition catalogue, New York 1963, unpag., cat. no. 15, reproduced ꦏin𒈔 two details (as Castagno);

A. Paolucci, Il diffondersi della visione prospettica, Milan 1966, n.p. (under the discussion of the Master of 🐻Pratevecchio);

B. Fredericksen, Catalogue of the Paintings in the J. Paul Getty Museum, Malibu 1972, pp. 11-13, cat. no. 14 (as Master of Pratovecchio, identified as G🦄iovanni di Francesco di Cervilliera);

B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge 1972🍒, p. 135 (as Maste♛r of Pratovecchio, identified as Giovanni di Francesco di Cervelliera);

B. Fredericksen, Giovanni di Francesco and the Master of Pratovecchio, Los Angeles ꧑1974, pp. 5-38, reproduced figs. 1- 11 (as Master of Pratovecchio, identified as Giovanni di Francesco di Cervilliera);

B. Fredericksen, The J. Paul Getty Museum, London 19ꩲ75, p. 78, reprodu𝓰ced (as Giovanni di Francesco);

E. Fowles, Memories of Duveen Brothers, New York 1976, p. 184;

M. Horster, Andrea del Castagno: Complete Edition with a Critical Catalogue, Oxford 1980, pp. 1🐓94-195 (under “Paintings Wrongly Attributed to Castagno");

G. Bacarelli, "Le commissioni artistiche attraverso i documenti: novità per il maestro del 1399 ovvero Giovanni di Tano Fei e per Giovanni Antonio Sogliani," in Il 'Paradiso' in Pian di Ripoli, Studi e ricerche su un antico monastero, M. Gregori and G. Rocchi (eds.), Florence 1985, pp. 99-100, reproducꦜed fig. 88 (as Florentine School, first h꧂alf of the 15th century);

L. Bellosi, in Pittura di luce: Giovanni di Francesco e l'arte fiorentina di metà Quattrocento, exhibition catalogue, L. Bellosi (ed.), Milan 1990, pp. 28-31, reproduced fig. 19 (as Mast📖er of Pratovecchio);

C. Ginzburg, "Ancora su Piero della Francesca e Giovanni di Francesco," in Paragone 29, no. 499 (Sꦫeptember 1991), pp. 26-28🥃 (as Master of Pratovecchio, identified as Giovanni di Francesco da Rovezzano, alias Cervelliera);

A. Padoa Rizzo, "Ristudiando i documenti: Proposte per il "Maestro di Pratovecchio" e la sua tavola eponima," in Studi di storia dell'arte sul Medioevo e il Rinascimento, Flore🌠🐲nce 1993, vol. II, pp. 579-590, reproduced fig. 2 (as Master of Pratovecchio, identified as Jacopo di Antonio)

A. Padoa Rizzo in The Dictionary of Art, J🧸. Turner (ed.), vol. XX, London 1996, p. 748 (under Master♒ of Pratovecchio, identified as Jacopo di Antonio);

D. Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Los Angeles 1997, p. 5🦋1, reproduced (as Master of Pratovecchio,🎐 identified as Giovanni di Francesco);

D. Gordon, National Gallery Catalogues: The Fifteenth Century Italian Paintings, London 2003, vol. I, p. 122, under cat. no. 584 (as Master of Pratovecc𝕴hio, identified as Jacopo di🍰 Antonio);

T. Ito, "L'identità di Giovanni di Francesco," in Ricerche di Storia dell'Arte 84 (2004), pp. 51-52, reproduced fig. 1 (as Master of Pratovecchio, identified as Giovanni diꦉ Francesco di Cervelliera);

K. Christiansen, “The Pratovecchio Master,” in From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master, exhibition catalogue, K. Chri🍸stiansen (ed.), New York 2005, p. 287 (as Master of Pratovecchio);

M. Mazzalupi, in Brera mai vista: Pittura di luce, La Madonna col Bambino del Maestro di Pratovecchio, exhibition catalogue, Milan 2011, pp. 37-41 (as Master of Pratoveꦦcchio);

A. Angelini, Piero della Francesca, Milan 2014, p. 225 note 95;

A. Galli, "Il Maestro di Pratovecchio: caso chiuso?" in Il Mestiere del conoscitore, Roberto Longhi, A.M.A. Massari, A. Bacchi, D. Benati, and A. Galli (eds.), Bologna 2017, pp. 126-13ꦺ7, reproduced fig. 9 (as Master of Pratovecchio);

T. Ito, in La Collection Alana, Chefs-d’œuvre de la peinture italienne, exhibition catalogue, P. Curie and C. Falciani (eds.), Paris 2019, pp. 1ꦡ16-117, cat.♕ no. 30, reproduced (as Master of Pratovecchio).

Houston, Museum of Fine Arts, The Human Image, 10 October - 2🍨3 November 1958, no. 22, (a🐈s Andrea Castagno);

Paris, Musée Jacquemart-André, La Collection Alana, Chefs’d’œuvre de la peinture italienne, 13 September 2019 - 20 January 2020, no. 30.