Virgin and Child

• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 160, no. 2049.
• R. M. F[ischkin], “Two Thirteenth-Century Italian Paintings,” Bulletin of the Art Institute of Chicago 20 (1926), pp. 77-80, ill.
• Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago,” (unpub. MS, Ryerson Library, The Art Institute of Chicago, 1926), pp. 5–6.
• Curt H. Weigelt, “Über die ‘Mütterliche’ Madonna in der italienischen Malerei des 13. Jahrhunderts,” Art Studies 6 (1928), p. 215.
• Evelyn Sandberg-Vavalà, La croce dipinta italiana e l’iconografia della passione (Verona, 1929), p. 708, no. 39.
• Lionello Venturi, Pitture italiane in America (Milan, 1931), pl. 111.
• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1931), p. 183.
• Raimond van Marle, Le scuole della pittura italiana, rev. ed. of English text, vol. 1 (The Hague and Milan, 1932), p. 213.
• C. J. Bulliet, Art Masterpieces in a Century of Progress: Fine Arts Exhibition at The Art Institute of Chicago, vol. 1 (Chicago, 1933), no. 27.
• Alfred M. Frankfurter, “A Century of Progress,” Fine Arts 20, 2 (1933), p. 9, 59-60, ill.
• R. Offner, “The Mostra del Tesoro di Firenze Sacra-I,” Burlington Magazine 63 (1933), p. 80.
• Daniel Catton Rich, “The Paintings of Martin A. Ryerson,” Bulletin of the Art Institute of Chicago 27 (1933), p. 3.
• Art Institute of Chicago, A Brief Illustrated Guide to the Collection (Chicago, 1935), p. 20, ill.
• Luigi Coletti, I primitivi, vol. 1 (Novara, 1941), p. XXXIII.
• Giulia Sinibaldi and Giulia Brunetti, Pittura italiana del duecento e trecento: Catalogo della Mostra Giottesca di Firenze del 1937 (Florence, 1943), p. 61, under no. 18, p. 175, under no. 54, p. 213, under no. 64, pp. 217-218, under no. 65.
• Edward B. Garrison, Jr., “Post-War Discoveries: Early Italian Paintings—I,” Burlington Magazine 89 (1947), p. 152.
• Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago, 1948), p. 25.
• Roberto Longhi, “Guidizio sul duecento,” Proporzioni 2 (1948), p. 43, under M.64; reprinted in Opere complete di Roberto Longhi, vol. 7 (Florence, 1974), p. 40, under M. 64.
• Edward B. Garrison, Italian Romanesque Panel Painting: An Illustrated Index (Florence, 1949), pp. 23, 89, no. 213, ill.
• Frederick A. Sweet, “La pittura italiana all’Art Institute di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 689, 691, 708, ill.
• Victor Lasareff, “Un nuovo capolavoro della pittura fiorentina duecentesca,” Rivista d’arte 30 (1955), pp. 49 n. 104, 52, 53, n. 118.
• Carlo Ludovico Ragghianti, Pittura del dugento a Firenze, Sele arte monografie, vol. 1 (Florence, 1955), p. 99, fig. 141.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 34, ill.
• Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 516.
• Art Institute of Chicago, Grands Musées 2 (Paris, 1968), pp. 19, 67.
• John Maxon, The Art Institute of Chicago (New York, 1970), p. 22, ill.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 140, 310, 571.
• Angelo Tartuferi, “Pittura fiorentina del duecento,” in La pittura in Italia: Il duecento e il trecento, vol. 1 (Milan, 1986), p. 275.
• Alessandro Bencistà, Arte nel contado: Itinerari nel Chianti fiorentino all scoperta dei maestri minori (Radda in Chianti, 1987), p. 90.
• Luiz C. Marques, La Peinture du duecento en Italie centrale (Paris, 1987), pp. 74, 85, 242 n. 130, 291.
• Marco Ciatti, in La pieve di San Leolino a Panzano: Restauro e restituzione dei dipinti recuperati, Il Chianti, storia, arte, cultura, territorio, vol. 8 (Radda in Chianti, 1988), pp. 47–50.
• Angelo Tartuferi, La pittura a Firenze nel duecento (Florence, 1990), pp. 38, 52 n. 9, 85, 86, under Panzano, Pieve di San Leolino, fig. 109.
• Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 89–93, ill.
• Miklós Boskovits, The Origins of Florentine Painting, 1100-1270. A Critical and Historical Corpus of Florentine Painting, section 1, volume 1 (Florence, 1993), pp. 616, 629-30, pl. 55.
• Christina M. Nielsen, ed. Devotion and Splendor: Medieval Art at the Art Institute of Chicago, Museum Studies 30, 2 (2004), p. 39, cat. 19.

• The Art Institute of Chicago, A Century of Progress, 1933, no. 99.
• The Art Institute of Chicago, Masterpiece of the Month, December 1951, no cat.

Bromhead, London [according to Garrison 1949]. Sold by Achille de Clemente, possibly through the agency of Paolo Monari Rocca, Florence, to Martin A. Ryerson (d. 1932), Chicago, 1924 [according to note dated April 12, 1924 signed by Paolo Monari Rocca in Ryerson Papers, AIC Archives]; on loan to AIC from 1924 [according to Registrar’s file]; bequeathed to the museum in 1933.