By descent at Palazzo Mocenigo, Venice, to Conte Andrea Robilant;
By whom sold, London, Christie’s, 29 June 1962, lot 68, for 1,900 guineas to Chance (as Perugino);
Anonymous sale ('The Property of a Lady'), London, Christie's, 10 July 1987, lot 103 (as Giovan Battista Caporali).
F. Todini, La Pittura Umbra: dal duecento al primo cinquecento, Milan 1989, vol. I, p. 79 (as Giannicola di Paolo).
Evidence of pouncing in the execution of some paintings, such as the Annunciation attributed to Giannicola in the National Gallery, London (inv. no. NG1104), suggest that Perugino’s cartoons were freely accessible to him.2 However, rather than directly copying Perugino’s paintings, the artist likely made his own drawings from his master’s modelli while working in his studio. For example, the design of Giannicola’s impressive Ognissanti altarpiece of 1506, now in the Galleria Nazionale dell’Umbria, Perugia (inv. no. 323), derives from Perugino’s San Pietro Ascension composition, though the figures are different, suggesting they are of his own invention.
We are grateful to Professor Filippo Todini for re-endorsing the attribution on the basis of digital images.
1 C. Higgitt, M. Spring, A. Reeve and L. Syson, 'Working with Perugino: The Technique of an Annunciation attributed to Giannicola di Paolo,' in National Gallery Technical Bulletin, Renaissance Siena and Perugia 1490–1510, vol. 27, 2006, p. 99.
2 Higgitt, Spring, Reeve and Syson 2006, p. 99.
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