Alessandro di Mariano Filipepi, called Sandro Botticelli

Alexis-François Artaud de Montor (1772–1849), Paris, by circa 1808–11;

His deceased sale, Paris, Place de Bourse, 16–17 January 1851, lot 146 (as Ghirlandaio);

Georges Chalandon (d. 1916), Paris and Parcieux (as recorded by Herbert Horne);

With Wildenstein & Co., New York, by 1926, until at least 1974;

Anonymous sale, New York, Christie's, 24 January 2003, lot 75 (as the Master of Apollo and Daphne; with a saleroom notice stating that Mr Everett Fahy believes this is a late work by Botticelli, and presumably, his workshop, though he cannot point to any passage executed by an assistant; written communication, 19 December 2002);

Where acquired by the present owner. 

A.F. Artaud de Montor, Considérations sur l'état de la peinture en Italie, dans les quatre siècles qui ont précédé celui de Raphael; suivi du catalogue raisonné d'une collection de 150 tableaux, Paris 1811, p. 113, no. 146, (as Domenico Ghirlandaio);

P.M. Gault de Saint-Germain, Guide des amateurs de peinture: Ecôle italienne, Paris 1835, p. 65 (as Domenico Ghirlandaio);

A.F. Artaud de Montor, Peintres primitifs: Collection de tableaux rapportée d'Italie, Paris 1843, pp. 49 and 56. no. 146, engraved pl. 59 (as Domenico Ghirlandaio);

A. Schmarsow, ‘Maîtres italiens à la galerie d'Altenburg et dans la collection A. de Montor’, Gazette des Beaux-Arts, 3e phr., XX, no. 498, December 1898, pp. 509–10 n. 1 (as by a late imitator of Botticelli);

H. Mackowsky, ‘Jacopo del Sellaio’, Jahrbuch der Preußischen Kunstsammlungen, XX, 1899, p. 279 (as Jacopo del Sellaio);

B. Berenson, ‘Alunno di Domenico’, The Burlington Magazine, I, 1, March 1903, p. 17 n. 1 (as Bartolommeo di Giovanni);

R. Van Marle, The Development of Italian Schools of Painting, XII, The Hague 1931, pp. 409–10 and 413 (as Jacopo del Sellaio);

B. Berenson, The Drawings of the Florentine Painters, Chicago 1938, vol. I, p. 127 n. 1 (as Bartolommeo di Giovanni);

B. Berenson, Italian Pictures of the Renaissance: Florentine School, London 1963, vol. I, p. 26, vol. II, reproduced pl. 1130 (as Bartolommeo di Giovanni);

P. Bacci, Piero di Cosimo, Milan 1966, p. 132 (as erroneously attributed to Piero di Cosimo);

V.L. Ebersman, ‘Notes on the Dispersion and Attributes of Several Paintings in the 1843 Artaud de Montor catalogue raisonné’, in Artaud de Montor and the Italian Primitives, unpublished M.A. thesis, Institute of Fine Arts, New York University, New York, 1966, Book 2, Appendix A, p. 242;

E. Fahy, ‘The Master of Apollo and Daphne’, in The Art Institute of Chicago: Museum Studies, 1968, no. 3, pp. 31, 40, no. 22 (as the Master of the Apollo and Daphne);

E. Fahy, ‘Bartolommeo di Giovanni Reconsidered’, Apollo, XCVII, 135, May 1973, p. 469, Appendix B (as the Master of Apollo and Daphne);

E. Fahy, Some Followers of Domenico Ghirlandaio, New York and London 1976, pp. 19, 85 n. 56, 111, no. 24 (as the Master of Apollo and Daphne);

H.P. Horne, Alessandro Filipepi, commonly called Sandro Botticelli, painter of Florence, Florence 1987 (rev. ed., C. Caneva), Appendix III, ‘Catalogue of the works of Sandro Botticelli, and of his disciples and imitators [...], in the public and private collections of Europe and America’, p. 75 (as school of Botticelli);

G. Sarti, Trente-trois primitifs italiens de 1310 à 1500: du Sacré au Profane, Paris 1997–98, pp. 205 and 213, under no. 33 (as the Master of Apollo and Daphne; location unknown);

A. Mazzotta, in G. Agosti (ed.), Altri quaranta dipinti antichi della Collezione Saibene, Verona 2008, p. 147 ff., under no. 20, reproduced p. 148, fig. 30 (as Botticelli); 

A. Staderini, in The Alana Collection, Newark, Delaware, vol. III, Italian Paintings from the 14th to 16th Century, S. Chiodo and S. Padovani (eds), Florence 2014, pp. 14–18, no. 3, reproduced (as a late work by Botticelli);

C. Daly, in Chefs-d'œuvre de la peinture italienne: la collection Alana, exh. cat., Paris 2019, pp. 138–39, no. 45, reproduced (as Master of the Gothic Buildings, a collaborator of Botticelli).