Panels from the Altarpiece of The Assumption of the Virgin with Saints: Bishop Saint

• American Art Sales, 6, 6 (Washington, D.C., 1926), p. 18, no. 59.
• Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), pp. 29, 637.
• L. Serra, “Antonio da Fabriano,” Bollettino d’Arte 26, 1 (1933), pp. 374, 377, ill.
• Raimond van Marle, The Development of the Italian Schools of Painting, vol. 15 (The Hague, 1934), p. 605.
• George Kaftal, Saints in Italian Art: Iconography of the Saints in Central and South Italian Schools of Painting (Florence, 1965), no. 265a.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 246, 307, 456, 572.
• Anna Tambini, “Ricerche in Romagna: il Maestro di San Pier Damiano,” Paragone 31, 367 (September 1980), p. 53.
• Sotheby’s, New York, Important Old Master Paintings, sale cat. (Sotheby’s, January 17, 1985), under lot 32.
• Walter Angelelli and Andrea G. de Marchi, Pittura dal Duecento al primo Cinquecento nelle fotografie di Girolamo Bombelli (Milan, 1991), p. 207, no. 408, fig. 408a.
• Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 274–278, ill.
• Carl Brandon Strehlke, review of Christopher Lloyd, “Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection,” Burlington Magazine 136 (1994), p. 626.
• Andrea De Marchi, “Centralità di Padova: Alcuni esempi di interferenza tra scultura e pittura nell’area adriatica alla metà del Quattrocento,” in Charles Dempsey, ed., Quattrocento Adriatico: Fifteenth-Century Art of the Adriatic Rim (Bologna, 1996), pp. 62–63 n. 26.
• Federico Zeri, “Anonimo padovano,” in Federico Zeri and Andrea G. De Marchi, Dipinit: La Spezia, Museo civico Amedeo Lia (Milan and La Spezia, 1997), pp. 386–87, under no. 181.
• Mauro Minardi, “Sulle tracce di Ansuino da Forlì,” Arte Cristiana 86, 785 (1998), pp. 97–98, 100–01, 108 n. 33, 109 n. 38–39, 110 n. 44, 54, figs. 2, 5.
• Andrea De Marchi, “Problemi aperti su Squarcione pittore e sui romagnoli a Padova,” in Francesco Squarcione: “Pictorum symnasiarcha singularis” (Padua, 1999), pp. 124–25 n. 38–40, 126, figs. 98–99.
• Anna Tambini, “Maestro di San Pier Damiano (Guglielmo di Guido del Peruccino?,” in Nadia Ceroni, Pinacoteca comunale di Ravenna: Museo d’arte della città (Ravenna, 2001), p. 32.
• Cristina Bragaglia, in Valentino Pace and Roberto Tollo, San Nicola da Tolentino nell’arte: Corpus iconografico, vol. 1 (Tolentino, 2005), pp. 288–89, no. 107; as Venetian painter.
• Simone Facchinetti, Mantegna e il Rinascimento in Valpadana (Florence, 2007), p. 96.
• Stefano Tumidei, “Romagnoli in Veneto: congiunture figurative e viaggi d’artisti tra Quattro e Cinquecentro,” in La pittura emiliana nel Veneto (Verona and Modena, 1999), pp. 65, 84 n. 18.
• Anna Tambini, Storia delle arti figurative a Faenza, vol. 3 (Faenza, 2009), pp. 20–23, 80–81 n. 7–8, figs. 14a, b.
• Alice Turchi, “In Maestro di San Pier Damiano: profilo di un pittore faentino del primo Quattrocento,” Arte Cristiana 97, 850 (2009), pp. 14, 18 n. 45; as Ansuino da Forlì.
• Mauro Minardi, “Studi sulla collezione Nevin: i dipinti veneti del XIV e XV secolo,” Saggie e memorie di storia dell’arte 36 (2012), pp. 332–35, 347 n. 103–05, 348 n. 111, figs. 33, 37.

Robert Jenkins Nevin (died 1906), Rome, by 1906; his estate sale, Galleria Sangiorgi, Rome, April 22, 1907, no. 41, as school of Vivarini, with 1984.24a, c–g to Frascione, Florence [according to a letter from F. Mason Perkins to Bernard Berenson dated November 15, 1907, Biblioteca Berenson, Villa I Tatti, Fiesole, copy in curatorial file]; probably sold to Achille Chiesa (died 1921), Milan; his son Achillito Chiesa, Milan, by 1926; his sale, American Art Association, New York, pt. 2, April 16, 1926, no. 59, as Workshop of the Vivarini, for $6,300 to Clapp & Graham, with 1984.24a, c–g [price and buyer according to American Art Sales 1925]; Kaftal 1965 states that it was on the Milan market in 1930, but an annotated photograph in the Fototeca I Tatti, under Antonio da Fabriano states the polyptych was with the Florentine dealer Luigi Albrighi in 1930 [see Kaftal 1965 and the annotated photograph, Villa I Tatti, Fiesole, copy in curatorial file]; possibly Dan Fellows Platt, Englewood, New Jersey, by 1932, as Antonio da Fabriano [according to Berenson 1932, but the annotated photograph at I Tatti cited above lists Platt but adds in parenthesis “Perkins says no”]. George F. Harding, Jr. (died 1939), Chicago; bequeathed to The George F. Harding Museum, Chicago; offered for sale along with 1984.24b–g, Sotheby’s, New York, December 2, 1976, no. 180, withdrawn; transferred to the Art Institute, 1984.