Madonna of Humility

• Art News 27, 10 (December 8, 1928), p. 1, ill.
• “Famous Art Works Exhibited in Clubhouse,” Art in the Union League Club of Chicago: Union League Club Bulletin (January 1929), p. 7, ill.
• Pantheon 3 (1929), pp. 102, ill, 104.
• Daniel Catton Rich, “Two Trecento Venetian Panels,” Art Institute of Chicago Bulletin 24, 7 (1930), pp. 88–89, cover ill.
• The University of Chicago, The Renaissance Society, Catalogue of a Loan Exhibition of Religious Art from the Fourth Century to the Present Time (1930), no. 33.
• The University of Chicago, The Renaissance Society, Anniversary Bulletin (Autumn – Winter 1930), cover ill.
• Lionello Venturi, Pitture italiane in America (Milan, 1931), pl. CIV.
• William Suida, review of Pitture italiane in America by L. Venturi, in Belvedere 10 (1931), p. 191, pl. 104.
• Millard Meiss, “The Madonna of Humility,” Art Bulletin 18 (1936), p. 441, n. 23; reprinted in Millard Meiss, Painting in Florence and Siena after the Black Death (Princeton, 1951), p. 137 n. 20.
• “The Christmas Story in Art,” Art Institute of Chicago Bulletin 32, 7 (1938), p. 105.
• Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings (Chicago, 1938), pp. viii, 6, no. 2, pl. II.
• Luigi Coletti, I primitivi: I padani, vol. 3 (Novara, 1947), pp. XXXIV–XXXVI, LXXIII, pl. 66.
• “The Magnificent Worcester Gift,” Art Institute of Chicago Bulletin 42 (1948), p. 5, ill.
• Luigi Coletti, “Sulla Mostra della Pittura Bolognese del Trecento: Con una Coda Polemica,” Emporium 112 (1950), pp. 252–54.
• William Suida, “Some Bolognese Trecento Paintings in America,” Critica d’arte 9, 1 (1950), p. 58, fig. 62.
• Pietro Toesca, Il trecento (Turin, 1951), p. 751 n. 276.
• Dorothy C. Shorr, The Christ Child in Devotional Images in Italy during the XIV Century (New York, 1954), pp. 61, 65, fig. 9.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 225.
• Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 516, fig. 380.
• Ferdinando Bologna, I Pittori alla Corte Angioina di Napoli, 1266–1414, e un Riesame dell’arte nell’età Fidericiana (Rome, 1969), pp. 348–349, pl. VIII-19, fig. 18.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 216, 346, 571.
• Isle. Hecht, “Madonna of Humility,” Art Institute of Chicago Bulletin 70 (1976), pp. 10–13, fig. 2.
• 
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 34–37, ill.
• Carl Brandon Strehlke, book review of “Italian Paintings before 1600 in the Art Institute of Chicago. A Catalogue of the Collection,” Burlington Magazine 136 (1994), pp. 625–26, ill, as Carlo da Camerino.
• Mojír S. Frinta, Punched Decoration on Late Medieval Panel and Miniature Painting, (Prague, 1998), pp. 132, 212, no. Fd49, as Genoese(?) and Camarinese (Carlo da Camerino(?)).
• Alessandro Marchi, “Olivuccio di Ciccarello,” in Pittori a Camerino nel Quattrocento, Andrea De Marchi, ed., (Milan, 2002), pp. 104, 120, 132–33, no. 6, ill, as Olivuccio di Ciccarello.
• Francesca Pasut, in The Alana Collection: Newark, Delaware, USA, Italian Paintings from the 13th to 15th Century, Miklós Boskovits et al., vol. 1 (Florence, 2009), pp. 154, 156, n. 4, as Olivuccio di Ciccarello.

• Chicago, The Union League Club, 1928 (no cat.).
• The University of Chicago, The Renaissance Society, Religious Art from the Fourth Century to the Present Time, 1930, no. 33, as Jacobello di Bonomo.
• The Art Institute of Chicago, A Century of Progress, 1933, no. 86, as Jacobello di Bonomo (?).
• The Art Institute of Chicago, The Christmas Story in Art, 1938–39 (no cat.).

Count Ambroz-Migazzy, Sarvar, Hungary [according to Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings, 1938]. E. and A. Silberman Galleries, New York [according to receipt dated November 21, 1928, in curatorial files]; Sold by Silberman to Charles H. Worcester, Chicago, 1928, [according to receipt dated November 21, 1928, in curatorial files]; given to the Art Institute, 1947.