Lucrezia di Lippo di Iacopo Guidi

1. Probably incorporated into the Gambassi altarpiece, Church of Santi Lorenzo e Onofrio, Benedictine Convent of the Romite, Gambassi (near Volterra), by 1525/28 to no later than 1637 [see Lloyd 1993]. Probably Medici Collection, Palazzo Pitti, Florence, by 1637 [see Conti 1983–84, pp. 162–63]. Possibly Leopold de’Medici (died 1675), Villa del Poggio Imperiale, Florence, by 1655 [Trkulja 1976, p. 12 suggested that they could be identified with entries in the inventories of 1655 and 1692: Due quadretti in tavola, alti s. 7 lari 1/4 dipintovj in tondo di mano d’Andrea del Sarto, in uno il Suo rit., e nell’altro il ritr. della Sua Moglie” (Two small pictures on panel, 7 soldi high by 1/4 [braccio] wide painted in roundels by Andrea del Sarto, in one His portrait, and in the other portrait of His Wife); the measurements (approx. 8 x 6 inches) correspond closely; that the portraits were, by the seventeenth century, thought to be del Sarto and his wife does not necessarily invalidate the argument for their inclusion in the Gambassi altarpiece]. New York art market, 1963; Mrs. Murray S. Danforth, Providence, Rhode Island, 1963–64 [according to Freedberg 1966, p. 35, n. 1]; given to Art Institute, 1964.

Recorded by Art Institute of Chicago.

• Florence, Palazzo Vecchio, Palazzo Vecchio: Committenza e collezionismo medicei, 1980, nos. 360–61.

• S. J. Freedberg, “Andrea and Lucrezia: Two New Documents in Paint for Their Biography,” The Art Institute of Chicago Museum Studies 1 (1966), pp. 15–27 (ill.).
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 8, 510, 515, 571.
• Silvia Meloni Trkulja, Omaggio a Leopoldo de’Medici, pt. 2, Ritrattini, exh. cat., Florence Uffizi, 1976, p. 12.
• Hugh Brigstocke, Italian and Spanish Paintings in the National Gallery of Scotland, Edinburgh, 1978, p. 128, under no. 75, fig. 26.
• Everett Fahy, The Legacy of Leonardo: Italian Renaissance Paintings from Leningrad, exh. cat., Washington D.C., National Gallery of Art, 1979, p. 57, figs. 37–38.
• Giorgio Vasari, exh. cat., Arezzo, Casa Vasari, 1981, sec. VIII, p. 270, under no. 27.
• Raffaele Monti, Andrea del Sarto, 2d ed., Milan, 1981, p. 8.
• Alessandro Conti, “Andrea del Sarto e Becuccio bicchieraio,” Prospettiva 33–36 (1983–84), pp. 161–65 (ill.).
• Andrea del Sarto, 1486–1530: Dipinti e disegni a Firenze, exh. cat., Florence, Palazzo Piti, 1986, pp. 18, 134, 149.
• Serena Padovani, Andrea del Sarto, Florence, 1986, p. 59.
• Antonio Natale and Alessandro Cecchi, Andrea del Sarto: Catalogo completo dei dipinti, Florence, 1989, pp. 112–113, no. 52, p. 123.
• Christopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago (Chicago, 1993), pp. 215–219, ill.

The Holy Family with the Young Saint John the Baptist

The Metropolitan Museum of Art

Portrait of a Man

The Metropolitan Museum of Art

The Holy Family with the Infant Saint John the Baptist

The Metropolitan Museum of Art

Studies of a Head and a Hand

The Metropolitan Museum of Art

Studies of Hands

The Metropolitan Museum of Art

Study for the Head of Julius Caesar

The Metropolitan Museum of Art

Madonna and Child

The Metropolitan Museum of Art

The Baptism of Christ

The Metropolitan Museum of Art

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