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Master of the Washington Coronation
The Coronation of the Virgin

tempera on poplar panel
painted surface (score lines to score lines): 99.3 × 77.4 cm (39 1/8 × 30 1/2 in)
Paolo Veneziano, active 1333-1358
Antonio Dal Zotto [1841–1918], Venice. [1] Dr. J. Carl [or Carlo?] Broglio, Paris; [2] purchased jointly 27 July 1950 by (Thos. Agnew and Sons, Ltd., London) and (Rudolf Heinemann, New York); Agnew share sold to (Rudolf Heinemann, New York); (M. Knoedler and Co., New York); [3] purchased February 1952 as by Paolo Veneziano by the Samuel H. Kress Foundation, New York; [4] gift 1952 to NGA.

[1] On the life and career of the sculptor Dal Zotto see Livia Alberton Vinco da Sesso, "Antonio dal Zotto," in Dizionario Biografico degli Italiani, 77 vols., Rome, 1960-: 32(1986): 285–287. In 1889 Dal Zotto married Ida Lessjak, widow of the photographer Carlo Naya, and after her death in 1893 Dal Zotto became owner of Naya’s successful firm specializing in views of Venice and reproductions of works of art. According to Alberton Vinco da Sesso, Naya had also amassed a collection of ancient statuary, and it cannot be excluded that the Gallery’s painting actually came from the photographer’s collection. Nonetheless, the catalogue of the sculptor’s estate sale, Collezione del fu Comm. Antonio del Zotto e già Giuseppe Piccoli (Geri-Salvadori, Venice, 1-16 September 1919), does not cite the painting, which perhaps had already been sold.
[2] Michelangelo Muraro, Paolo da Venezia, Milano, 1969: 157, transmits the reported provenance of the painting from the Broglio collection, annotated on a photograph in the photographic archive of the Biblioteca Berenson at the Villa I Tatti, Florence. The Agnew stockbooks record the painting as no. J0332 and identify the Broglio family member from whom it was purchased.
[3] The Agnew records (kindly confirmed by Venetia Constantine of Agnew’s, e-mail, 28 June 2010, in NGA curatorial files) give details about the joint purchase and indicate that Agnew’s share in the painting was sold to Heinemann on 16 June 1952, several months after the February date of the Knoedler bill of sale to the Kress Foundation (see note 4). Constantine speculates that Agnew might have recorded the date when payment for their share was actually received from Heinemann, rather than the date when they made the decision to sell their share. Heinemann often worked in tandem with Knoedler’s, for whom he was at one time managing partner, and may have done so in this instance.
[4] The bill of sale from Knoedler’s to the Kress Foundation for twelve paintings, including this one, is dated 6 February 1952; payment was made in three installments, the final one on 5 September 1952. See also M. Knoedler and Co. Records, accession number 2012.M.54, Getty Research Institute, Los Angeles: Series II, Box 76 (Sales Book No. 16, Paintings, 1945-1953). Copies of the Knoedler bill and sale record are in NGA curatorial files.
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