Paul Bottenwieser, Berlin, Germany in 1927.  (Ludwig Furst, New York); sold to the Samuel H. Kress Foundation on 6 April 1949; gift to the Museum of Art and Archaeology, University of Missouri in 1961, n. 61.84.  Mentioned and reproduced as from Bottenwieser in Tancred Borenius, "Two Predella Pictures by Bartolomeo Montagna," Apollo V (1927): 109+.
The Temptation of St. Anthony
Columbia, Mo., University of Missouri, Study Collection (61.84), since 1961. Wood. 9 1/2 x 13 5/8 in. (24.3 x 34.8 cm.). Fair condition; slightly abraded throughout. With its richly detailed landscape setting and freely drawn figures, K1638 recalls the frescoes in the Chapel of San Biagio, Santi Nazzaro e Celso, Verona. Like the frescoes, K1638 belongs to Montagna's late period; it may be as late as 1517, for it has been plausibly suggested that, together with a possible companion panel, St. Anthony and the Centaur, Lanckoronski Collection, Vienna, K1638 may have been a predella panel for the Breganze altarpiece, now lost but formerly in the Museo Civico at Vicenza, in which St. Anthony figured prominently.(1) Provenance: Paul Bottenwieser's, Berlin (1927). Ludwig Furst, New York (1949). Kress acquisition, 1949.
(1) T. Borenius (in Apollo, vol. V, 1927, pp. 109 ff.), who publishes K1638 as a late work by Montagna, makes this suggestion and reproduces the Lanckoronski panel. L. Puppi (Bartolomeo Montagna, 1962, p. 162, confusing the measurements and the provenance) agrees with Borenius as to date and possible derivation from the Breganze altarpiece. In Emporium, vol. CXXXIX, 1964, pp. 202, 204 n. 29, he corrects the error in the measurement but not that in the provenance. The altarpiece is described by Crowe and Cavalcaselle (History of Painting in North Italy, vol. I, 1871, p. 434 n. 1; see also 1912 ed., vol. II, p. 135 n. 12). B. Berenson (Italian Pictures ... Venetian School, vol. I, 1957, p. 118) lists the Lanckoronski panel as an early Montagna; he seems to have overlooked K1638.