P. Rosa. Classificazione per epoca dei pittori di cui le opere nella Galleria Borghese. [ca. 1837] [Galleria Borghese, Rome; see Ref. Zeri and Gardner 1971], attributes this painting and the panel in the J. Paul Getty Museum, Los Angeles [see Notes], to Pinturicchio.
P. Rosa. Catalogo della Galleria Borghese. [ca. 1854–59], no. 51 [Vatican archives; see Ref. Fredericksen 1972], attributes the MMA and Getty panels to Pinturicchio.
J[oseph]. A[rcher]. Crowe, and G[iovanni]. B[attista]. Cavalcaselle. A History of Painting in Italy from the Second to the Fourteenth Century. 3, London, 1866, p. 295, as in the Galleria Borghese, Rome; describes the MMA and Getty panels as "part of a 'cassone,' hastily handled in the manner of Pinturicchio".
Ivan Lermolieff [Giovanni Morelli]. "Die Galerien Borghese und Doria Panfili in Rom." Kunstkritische Studien über italienische Malerei. 1, Leipzig, 1890, p. 142 [English ed., London, 1900, p. 113–14], attributes MMA and Getty panels to the workshop of Pinturicchio, inferring that the artist may have been from Abruzzi.
Arsène Alexandre. "La collection de M. Jean Dollfus." Les arts 3 (January and February 1904), ill. p. 8, calls it a Florentine work of the fifteenth century.
Henri Frantz. "La curiosité: collections Jean Dollfus (tableaux anciens, objets d'art)." L'art décoratif 27 (May 5, 1912), p. 291, ill. p. 289, assigns it to the Florentine school and reports that it sold for 41,500 francs in the Dollfus sale.
S[amuel]. Rocheblave. Un grand collectionneur alsacien, Jean Dollfus (1823 à 1911). Strasbourg, 1912, p. 21, ill. p. 11.
Paul Schubring. Cassoni: Truhen und Truhenbilder der italienischen Frührenaissance. Leipzig, 1915, text vol., p. 302, no. 354; plate vol., pl. LXXIX, considers it a Florentine-Umbrian work of about 1480.
Bernard Berenson in The Michael Friedsam Collection. [completed 1928], pp. 82–83, attributes it to Utili da Faenza (Biagio d'Antonio), dates it soon after his work in the Sistine Chapel in the Vatican (1482), and notes the influence of Perugino; ascribes to the same hand a painting of Jason and Medea in the Musée des Arts Décoratifs, Paris, and two more of the Story of Lucretia in the Ca' d'Oro, Venice.
Raimond van Marle. "The Renaissance Painters of Florence in the 15th Century: The Third Generation." The Development of the Italian Schools of Painting. 13, The Hague, 1931, p. 180, fig. 118, attributes it to Utili.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 585, lists it as a work by Utili.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), pp. 36–37, no. 60
, attribute it to Utili.
Bernardo Berenson. "Tre disegni di Giovan Battista Utili da Faenza." Rivista d'arte 15 (1933), p. 29 n. 1, observes the similarity of the galloping horse to a drawing by the sculptor Francesco di Simone Ferrucci in the Nationalmuseum, Stockholm, suggesting that Utili and Francesco used the same material.
Lionello Venturi. "Fifteenth Century Renaissance." Italian Paintings in America. 2, New York, 1933, unpaginated, under pl. 273, attributes the MMA and Getty panels to Benedetto Ghirlandaio.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 504.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 57, ill., calls it a cassone panel and tentatively attributes it Utili da Faenza, remarking that "he has possibly been confused with another painter, Biagio d'Antonio".
Hans-Werner Grohn. "Zwei Cassoni mit Darstellungen aus der Erzählung von Amor und Psyche." Staatliche Museen zu Berlin: Forschungen und Berichte 1 (1957), p. 94, erroneously as still in the Friedsam collection; rejects the attribution to Utili, ascribing it to the artist in the workshop of the Ghirlandaio brothers who painted the Story of Lucretia in the Ca' d'Oro, Venice.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, pp. 211–12; vol. 2, pl. 1027 (detail), lists it with the works of "'Utili' (Biagio di Antonio?)".
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 146–48, ill., attribute it to Biagio d'Antonio; date it about 1482, when Biagio worked in the Sistine Chapel in the company of Perugino and other Umbrian artists whose influence can be seen in this work.
Burton B. Fredericksen. Catalogue of the Paintings in the J. Paul Getty Museum. [Malibu], 1972, pp. 18–19 nn. 4–5, under no. 21, states that although the MMA and Getty panels form a compositional unity, they must have been separate, either as two sides of the same cassone or on two different but companion chests.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 28, 257, 607.
Everett Fahy Harvard University. Some Followers of Domenico Ghirlandajo. New York, 1976, p. 207, calls it a cassone front.
Annarosa Garzelli. La Bibbia di Federico da Montefeltro: un'officina libraria fiorentina, 1476-1478. Rome, 1977, p. 105.
J. Russell Sale University of Pennsylvania. Filippino Lippi's Strozzi Chapel in Santa Maria Novella. New York, 1979, p. 292 n. 80.
John Pope-Hennessy and Keith Christiansen. "Secular Painting in 15th-Century Tuscany: Birth Trays, Cassone Panels, and Portraits." Metropolitan Museum of Art Bulletin 38 (Summer 1980), pp. 16–17, 38, 40, figs. 34 (color), 35–36 (details), ill. opp. title page (color detail), consider it probable that the MMA and Getty panels "formed the decoration of a room above a wainscotting with a thin molding between them"; discuss Biagio's depiction of architecture.
Anne Brickey Barriault. "Florentine Paintings for Spalliere." PhD diss., University of Virginia, 1985, pp. 79–81, 266–67, no. 4, fig. 16, discusses the MMA and Getty panels as spalliere, noting that "their measurements, date, treatment of space and narrative argue" against the identification of them as cassoni; attributes them to Biagio and dates them after 1482 and discusses the influence of Ghiberti's bronze panels for the doors of the Florence baptistery.
Everett Fahy. "The Argonaut Master." Gazette des beaux-arts, 6th ser., 114 (December 1989), pp. 286–87, calls it a wainscot panel.
Anne B. Barriault. "Spalliera" Paintings of Renaissance Tuscany: Fables of Poets for Patrician Homes. University Park, Pa., 1994, pp. 64, 74, 121, 142, no. 2.2, fig. 2.2, find that the MMA and Getty panels "share conventions of format, scale and narrative type with images for 'spalliere'"; dates them after 1482, observing the influence of artists active with Biagio in the Sistine Chapel, particularly Perugino; notes that the continuity between the two works suggests that the narrative may have been painted on one long panel, perhaps set over a long credenza or lettuccio; reads the Joseph story as signifying the "triumphant perpetuation of the family," with a "special meaning for the decoration of a nuptial chamber and marriage bed".
Marilena Caciorgna. "Da Eunosto di Tanagra a Giuseppe Ebreo: un dipinto del ciclo 'Piccolomini' a Washington." La Diana 1 (1995), pp. 246–47, pl. 79.
Roberto Longhi. Il palazzo non finito: saggi inediti, 1910-1926. Milan, 1995, pp. 271, 285, 293, 295 n. 37, p. 562, fig. 103, attributes it to Utili and dates it toward the last decade of the fifteenth century.
Graham Hughes. Renaissance Cassoni, Masterpieces of Early Italian Art: Painted Marriage Chests 1400–1550. Alfriston, England, 1997, pp. 165, 176, 231–32, calls it a cassone panel.
Roberta Bartoli. Biagio d'Antonio. Milan, 1999, pp. 163, 224–25, no. 107, ill. pp. 166–67 (color, overall and detail), calls it a spalliera panel and suggests dating it in the 1490s.
Andrea Bayer in Art and Love in Renaissance Italy. Exh. cat., The Metropolitan Museum of Art. New York, 2008, p. 232.
Deborah L. Krohn in Art and Love in Renaissance Italy. Exh. cat., The Metropolitan Museum of Art. New York, 2008, pp. 65, 293, 298–99, no. 138, ill. (color).
James Grantham Turner in Art and Love in Renaissance Italy. Exh. cat., The Metropolitan Museum of Art. New York, 2008, p. 181.
Nicoletta Pons in Virtù d'amore: pittura nuziale nel Quattrocento fiorentino. Exh. cat., Galleria dell'Accademia. Florence, 2010, pp. 128–29.