The Death of the Virgin

• “The Dollfus Sale,” American Art News 10, 26 (1912), p. 10.
• Bernard Berenson, Catalogue of a Collection of Paintings and Some Art Objects: Italian Paintings, Philadelphia, 1913, vol. 1, p. 10, no. 13.
• Salomon Reinach, Répertoire de peintures du moyen age et de la renaissance (1280–1580), vol. 5, Paris, 1922, p. 442 (ill.)
• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, Chicago, 1925, p. 160, no. 2052.
• Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpublished manuscript, Ryerson Library, The Art Institute of Chicago, 1926, pp. 13–15.
• Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols., The Hague, 1923–38, vol. 9, 1927, pp. 199–200 n.1.
• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, Chicago, 1932, p. 181, no. 168.23.
• Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 339; revised editions, Pitture italiane del Rinascimento, Milan, 1936, p. 277; Italian Pictures of the Renaissance: Florentine School, 2 vols., London, 1963, vol. 1, p. 139.
• William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpublished manuscript, Archives, The Art Institute of Chicago [1932], unpaginated.
• The Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1935, p. 20.
• Georg Pudelko, “The Maestro del Bambino Vispo,” Art in America 26 (1938), p. 54, fig. 4.
• Chandler Rathfon Post, A History of Spanish Painting, vol. 8, part 2, Cambridge, Mass., p. 648.
• The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, Chicago, 1948, p. 25.
• Martin Davies, National Gallery Catalogues: The Early Italian Schools, London, 1951, p. 281, under no. 3926.
• Martin Davies, National Gallery Catalogues: The Early Italian Schools, 2d ed., London, 1961, pp. 362–63, under no. 3926.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 298.
• Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae, Munich, 1961, p. 516.
• Luciano Bellosi, La pittura tardogotica in Toscana, I Maestri del Colore 239, Milan, 1966, [p. 5] n. pag.
• Bernhard Degenhart and Annegrit Schmitt, Corpus der italienischen Zeichnungen, 1300–1450, pt. 1, vol. 2, Berlin, 1968, pp. 296–97, no. 195, fig. 400.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Massachusetts, 1972, pp. 125, 307, 571.
• Carlo Volpe, “Per il completamento dell’altare di San Lorenzo del Maestro del Bambino Vispo,” Mitteilungen des Kunsthistorischen Institutes in Florenz 17 (1973), p. 351.
• Jeanne van Waadenoijen, “A Proposal for Starnina: Exit the Maestro del Bambino Vispo?” Burlington Magazine 116 (1974), p. 90.
• Richard Fremantle, Florentine Gothic Painters from Giotto to Masaccio, London, 1975, p. 445 (ill.).
• Fiorella Sricchia Santoro, “Sul soggiorno spagnolo di Gherardo Starnina e sull’identità del ‘Maestro del Bambino Vispo,’” Prospettiva 6 (1976), pp. 14, 19, fig. 10.
• Cornelia Syre, Studien zum “Maestro del Bambino Vispo” und Starnina, Ph.D. dissertation, Bonn, 1979, pp. 113–14, fig. 124.
• Jeanne van Waadenoijen, Starnina e il gotico internazionale a Firenze, Florence, 1983, pp. 45, 60, 67–68, pl. 54.
• Christopher Lloyd, with contributions by Margherita Andreotti, Larry J. Feinberg, and Martha Wolff, Italian Paintings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection, Chicago, 1993, pp. 226–30 (ill. in color and an x-radiograph).
• John Shearman, “The Internationalism of Florentine Gothic Art” in L’Europa e l’arte italiana. Per i cento anni dalla fondazione del Kunsthistorisches Institut in Florenz, ed. Max Seidel, Venice, 2000, pp. 148-51, 55 n. 33, fig. 7.
• M[ilvia] B[ollati] in El Renacimiento Mediterráneo. Viajes de artistas e itinerarios de obras entre Italia, Francia y España en el siglo XV, exhib. cat., Madrid Museo Thyssen-Bornemisza and Valencia, Museu de Belles Arts de València, 2001, p. 175, under no. 7.
• Dillian Gordon, National Gallery Catalogues. The Fifteenth Century Italian Paintings, vol. 1 (London, 2003), pp. 368, 370, 375 n. 29, figs. 4 and 5.
• Laurence Kanter, “The National Gallery’s New Catalogue of Fifteenth-Century Italian Paintings,” Burlington Magazine 146 (2004), pp. 107-8.
• Carl Brandon Strehlke, Italian Paintings 1250-1450 in the John G. Johnson Collection and the Philadelphia Museum of Art (Philadelphia, 2004), pp. 395, 396 n. 7.
• Michel Laclotte and Esther Moench, Peinture italienne. Musée du Petit Palais Avignon (Paris, 2005), pp. 191, 248, ill.
• Anneke de Vries, “Opere e giorni: alcune considerazioni sulla produzione e sul funzionamento della bottega di Gherardo Starnina” in Intorno a Lorenzo Monaco: nuovi studi sulla pittura tardogotica (Atti del Convegno. Intorno a Gentile da Fabriano e a Lorenzo Monaco. Nuovi studi sulla pittura tardogotica Fabriano, Foligno and Firenze, 2006), ed. Daniela Parenti and Angelo Tartuferi (Livorno, 2007), p. 59, 65 n. 25, fig 6.
• Michel Laclotte, “Autour de Starnina, de Lucques à Valence” in Intorno a Lorenzo Monaco: nuovi studi sulla pittura tardogotica (Atti del Convegno. Intorno a Gentile da Fabriano e a Lorenzo Monaco. Nuovi studi sulla pittura tardogotica Fabriano, Foligno and Firenze, 2006), ed. Daniela Parenti and Angelo Tartuferi (Livorno, 2007), pp. 67-68, fig. 3.
• Emanuele Zappasodi in Giovanni dal Ponte: protagonista dell’Umanesimo tardogotico fiorentino, exh. cat., Florence, Galleria dell’Accademia, 2016, pp. 73, 168-69, ill.

• Copenhagen, Statens Museum for Kunst, A Collection of Paintings: Exhibited in the Danish Museum of Fine Art, 1920, no. 4.
• The Art Institute of Chicago, A Century of Progress, June 1 to November 1, 1933, no. 90.
• Atlanta, GA, High Museum of Art, The “Gates of Paradise”: Lorenzo Ghiberti’s Renaissance Masterpiece, April 28-July 15, 2007; Art Institute of Chicago, July 28-October 13, 2007; Metropolitan Museum of Art, October 30, 2007-January 13, 2008 [Chicago Only].

D. P. Sellar, London; sold Galerie Georges Petit, Paris, June 6, 1889, no. 18, for 300 francs (for the price, see annotated copy of this sale catalogue, Topeka Public Library, Topeka, Kansas, and annotated copy of 1914 Sambon Collection sale catalogue, Thomas J. Watson Library, The Metropolitan Museum of Art, New York); Jean Dollfus, Paris; sold Galerie Georges Petit, Paris, pt. 3, April 1–2, 1912, no. 51, p. 19 (ill.), as Florentine School, to Sambon for 20,000 francs (for buyer, see annotated copy of sale catalogue, Ryerson Library, The Art Institute of Chicago and, for price, see annotated copy of 1914 Sambon Collection sale catalogue, at Metropolitan Museum of Art, New York, as cited above); Arthur Sambon, Paris, 1912–14; sold Galerie Georges Petit, Paris, May 25–28, 1914, no. 213 (ill.), as Florentine School, to Trotti for 9000 francs (for price and buyer, see annotated copy of sale catalogue, Thomas J. Watson Library, Metropolitan Museum of Art, New York, as cited above). Marcel Nicolle, Paris; sold to Hermann Heilbuth, Copenhagen, by 1920 (see exhibition catalogue, Copenhagen 1920, no. 4). Ehrich Galleries, New York; sold to Martin A. Ryerson (d. 1932), Chicago, 1923 (invoice dated February 1, 1923, copy in curatorial files); on loan to the Art Institute from 1923; bequeathed to the Art Institute, 1933.