Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, 1920), p. 64.
Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago, May 1922), p. 74.
Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago, 1923), p. 74.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 181.
Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 320.
Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 275.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 264.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 232, 334, 571.
Everett Fahy, Some Followers of Domenico Ghirlandajo (New York and London, 1976), p. 174.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 158–61, ill.
Marion Wheeler, Her Face: Images of the Virgin Mary in Art (Cobb, California, 1998), p. 156, fig. 137.
Riccardo Massagli, “La bottega dei Ciampanti: il Maestro Stratonice e il Maestro di San Filippo,” Proporzioni, 2–3 (2003), pp. 89, 91–92.
Gigetta Dalli Regoli, “I pittori nella Lucca di Matteo Civitali, da Michele Ciampanti a Michele Angelo di Pietro,” in Dario Cimorelli, Matteo Civitali e il suo tempo: Pittori, scultori e orafi a Lucca nel tardo Quattrocento, exh. cat. (Museo Nazionale di Villa Guinigi, Lucca, 2004), pp. 122–23, fig. 37.
Maurizia Tazartes, Fucina lucchese: Maestri, botteghe, mercanti in una città del Quattrocento (Pisa, 2007), p. 111 n. 313, fig. 117.
Chicago, Service Men’s Center (176 W. Washington), 1942–43, no cat.
Elia Volpi, Florence, to 1910; sold in his sale, Jandolo and Tavazzi, Florence, April 28, 1910, no. 376, as Tuscan School, fifteenth century. Martin A. Ryerson (died 1932), Chicago, by 1914; intermittently on loan to the Art Institute from 1914; bequeathed to the Art Institute, 1933.
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