Master of the Spinola Annunciation

Adolphe Stoclet (1871-1949), Palais Stoclet, Brussels, by 1930;
Thence by descent to his daughter, Raymonde Feron-Stoclet (1897-1963), Brussels, until at least 1956 (both the above as Giotto);
Anonymous sale, Zurich, Galerie Koller, 26 March 2004, lot 3009 (as Master of the Spinola Annunciation);
With Fabrizio Moretti, by March 2004 (as Master of the Spinola Annunciation);
From whom acquired by the present collector, by 2011 (2011.14) (as Master of the Spinola Annunciation).

P. Bautier, “I primitivi italiani della collezione Stoclet a Bruxelles,” in Cronache d’arte 4 (1927), p. 313 (as Giotto);
Exhibition of Italian Art 1200-1900, exhibition catalogue, London 1930, p. 39, cat. no. 14 (as attributed to Giotto);
W. G. Constable, “Quelques aperçus suggérés par l’Exposition Italienne de Londres,” in Gazette des Beaux-Arts 72, no. 1 (1930), p. 283, reproduced fig. 4 (as Giotto (?));
E.F. Edwards, "Primitives at Burlington House," in Art in America 18 (1930), pp. 239-241, reproduced fig. 3 (as attributed to Giotto);
R. Fry, “Notes on the Italian Exhibition at Burlington House—I,” in Burlington Magazine 56, no. 323 (February 1930), pp. 78, 83, reproduced plate 3A (as ascribed to Giotto);
H. Mackowsky, “Ausstellung italienischer Kunst in London,” in Der Cicerone 22, no. 4 (1930), p. 97 (as follower of Giotto);
B. Berenson, “Quadri senza casa, Il Trecento fiorentino, I” in Dedalo 4, no. 11 (1930), pp. 963-964, reproduced p. 959 (as painter close to Giotto);
B. Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works, With an Index of Places, Oxford 1932, p. 236 (as anonymous contemporary of Giotto);
E. Cecchi, Giotto, Milan 1937, p. 124 (as anonymous contemporary of Giotto);
Mostra giottesca, exhibition catalogue, Bergamo 1937, p. 45, under cat. no. 117 (as follower of Giotto);
G. Sinibaldi and G. Brunetti, Pittura italiana del duecento e trecento, catalogo della Mostra Giottesca di Firenze del 1937, exhibition catalogue, Florence 1943, p. 369, under cat. no. 113 (as Florentine School);
E. B. Garrison Jr., "A New Devotional Panel Type," in Marsyas 3 (1943-1944), p. 68 note 101 (as Giottesque);
R. Longhi, “Giudizio sul Duecento, 1939,” in Proporzioni 2 (1948), p. 52, under cat. no. 113 (as Florentine School, probably an early work by Stefano Fiorentino);
R. Longhi, “Stefano Fiorentino, 1943,” in Paragone 2, no. 13 (January 1951), p. 25 (as Stefano Fiorentino, circa 1310s);
P. Toesca, Il Trecento, Turin 1951, p. 610 note 133 (as workshop of Giotto);
R. Salvini, Tutta la pittura di Giotto, Milan 1952, pp. 51, 54 (as attributed to Giotto);
La Madone dans l’Art, exhibition catalogue, Antwerp 1954, cat. no. 37;
Adolphe Stoclet Collection, Selection of the Works Belonging to Madame Feron-Stoclet, Brussels 1956, p. 36, reproduced in color (as Giotto);
F. Russoli, La Raccolta Berenson, Milan 1962, p. 43 (as Giottesque Master);
W. Kermer, “Studien zum Diptychon in der sakralen Malerei,” PhD dissertation, University of Tübingen 1967, p. 45, cat. no. 38, reproduced fig. 50 (as Florentine follower of Giotto, circa 1330-1340);
M. Boskovits, “La scuola di Giotto,” in Maestri del colore 248 (1968), p. 248;
P. Scarpellini, “Di alcuni pittori giotteschi nella città e nel territorio di Assisi,” in Giotto e i Giotteschi in Assisi, Rome 1969, p. 245 note 39 (as Stefano Fiorentino);
G. Vigorelli and E. Baccheschi, L'opera completa di Giotto, Turin 1970, p. 171, cat. no. 167, reproduced (as immediate follower of Giotto);
M. Boskovits, “Puccio Capanna,” in Dizionario biografico degli italiani, vol. XVIII, Rome 1975, p. 386 (as Stefano Fiorentino);
G. Bolaffi, Dizionario enciclopedico Bolaffi dei pittori e degli incisori italiani dall'XI al XX secolo, vol. X, Turin 1975, p. 427 (as Puccio Capanna);
M. Boskovits, A Critical and Historical Corpus of Florentine Painting, section III, vol. IX, The Painters of the Miniaturist Tendency, Florence 1984, pp. 58, 297-298, reproduced plate 126b (as early work by Jacopo del Casentino, circa 1310);
L. Bellosi, in Umbri e Toscani tra due e trecento, exhibition catalogue, Turin 1988, pp. 62, 64, reproduced fig. 1 (as Master of the Spinola Annunciation) [reprinted, "Il 'Maestro dell'Annunciazione Spinola,'" in Prospettiva nos. 121-124 (January-October 2006), p. 329, reproduced in color fig. 2];
V. Schmidt, “Portable Polyptychs with Narrative Scenes: Fourteenth-Century De luxe Objects between Italian Panel Painting and French Arts somptuaires,” in Italian Panel Painting of the Duecento and Trecento, V. Schmidt (ed.), London and New Haven 2002, pp. 396-398, reproduced fig. 8 (as Master of the Spinola Annunciation);
G. Freuler, “Maestro dell’Annunciazione Spinola,” in Gemälde alter Meister und des 19. Jahrhunderts, Zurich 2004 (as Master of the Spinola Annunciation);
L. Bellosi, in Da Allegretto Nuzi a Pietro Perugino, Florence 2005, pp. 8-19, reproduced in color, pp. 9, 13 (as Master of the Spinola Annunciation);
V. Schmidt, Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250-1400, Florence 2005, pp. 283, 286-287, reproduced fig. 196 (as Master of the Spinola Annunciation);
C.W. Platts, in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300-1350, exhibition catalogue, C. Sciacca (ed.), Los Angeles 2012, pp. 186-188, cat. no. 35, reproduced in color (as Master of the Spinola Annunciation);
L. Bellosi, in The Bernard and Mary Berenson Collection of European Paintings at I Tatti, Florence 2015, pp. 420-425 (as Master of the Spinola Annunciation);
C.B. Strehlke, in La collection Alana: Chefs-d’oeuvre de la peinture italienne, exhibition catalogue, Paris 2019, p. 66, cat. no. 5, reproduced in color (as Master of the Spinola Annunciation).