New York. The Metropolitan Museum of Art. "Florentine Paintings in the Metropolitan Museum," June 15–August 15, 1971, no catalogue.

New York. The Metropolitan Museum of Art. "Art and Love in Renaissance Italy," November 11, 2008–February 16, 2009, no. 59a.

Fort Worth. Kimbell Art Museum. "Art and Love in Renaissance Italy," March 15–June 14, 2009, no. 59a.

Mary Logan. "Compagno di Pesellino et quelques peintures de l'école (2e article)." Gazette des beaux-arts, 3rd ser., 26 (October 1901), pp. 334–35, calls them cassone panels and tentatively ascribes them to Jacopo del Sellaio.

Werner Weisbach. Francesco Pesellino und die Romantik der Renaissance. Berlin, 1901, pp. 120, 122–25, ill., calls this painting and its companion (MMA 09.136.1) cassone panels, and groups them with battle scenes that he attributes to a follower of Pesellino.

Attilio Schiaparelli. La casa fiorentina e i suoi arredi nei secoli XIV e XV. 1983 ed. Florence, 1908, vol. 1, p. 285; vol. 2, p. 83 n. 250.

B[ryson]. B[urroughs]. "Principal Accessions: Cassone Panels by Pesellino." Metropolitan Museum of Art Bulletin 4 (December 1909), pp. 224–25, ill. p. 223, as cassone panels by the a pupil of Pesellino; dates them to the second half of the fifteenth century.

Morton H. Bernath. New York und Boston. Leipzig, 1912, pp. 71–72, fig. 70, calls them good workshop pieces very close to Pesellino.

Bryson Burroughs. Catalogue of Paintings. 1st ed. New York, 1914, p. 206, states that "these two panels formed part of a chest" and attributes them to the school of Pesellino.

Paul Schubring. Cassoni: Truhen und Truhenbilder der italienischen Frührenaissance. Leipzig, 1915, text vol., pp. 116, 286, nos. 296 and 297; plate vol., pl. LXXI, attributes them to a follower of Pesellino and dates them about 1470.

Osvald Sirén. A Descriptive Catalogue of the Pictures in the Jarves Collection, Belonging to Yale University. New Haven, 1916, pp. 125–28, ascribes them to the immediate follower of Pesellino who painted a cassone in the Ashmolean Museum, Oxford, and the Virgin Adoring the Christ Child in the Yale University Art Gallery, New Haven.

Osvald Sirén. "Early Italian Pictures at Cambridge." Burlington Magazine 37 (December 1920), pp. 300, 303, as by a follower of Pesellino, active about 1460–70, who also painted two cassoni panels with scenes of the Trojan War in the Fitzwilliam Museum, Cambridge.

Paul Schubring. Cassoni: Supplement. Leipzig, 1923, p. 4, calls the artist the "Meister der Argonautenbilder" after the MMA paintings, attributing to him the two panels in the Fitzwilliam Museum, and, tentatively, another two in the Franchetti collection, Venice.

Paul Schubring. "Cassone Pictures in America: Part One." Art in America 11 (August 1923), pp. 242–43, fig. 7, as by a pupil of Pesellino, active about 1470.

Raimond van Marle. "The Renaissance Painters of Florence in the 15th Century." The Development of the Italian Schools of Painting. 10, The Hague, 1928, pp. 566–67, fig. 340, ascribes them to the school of Pesellino and accepts Schubring's [see Ref. 1915] dating.

Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 585, lists them as cassone panels by Utili da Faenza.

Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 503.

Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 35–37, ill., calls them cassone panels by "two different followers, perhaps studio helpers, of Pesellino," observing that 09.136.1 is the more finished of the two.

Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 261, no. 731, ill. p. 262.

Allgemeines Lexikon der bildenden Künstler. 37, Leipzig, 1950, p. 24, mentions them as the eponymous works of the Master of the Argonaut Panels.

Hans-Werner Grohn. "Zwei Cassoni mit Darstellungen aus der Erzählung von Amor und Psyche." Staatliche Museen zu Berlin: Forschungen und Berichte 1 (1957), pp. 94, 97, 99, fig. 3, attributes them to the Master of the Argonaut Panels.

Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 211, lists them 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. 143–45, ill., give 09.136.1 to Biagio d'Antonio and this panel to an assistant in his shop working from designs by the master; suggest a date about 1465 and call them decorations for two companion marriage chests.

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 28, 472, 606, as by the "school, shop, or studio" of Biagio d'Antonio.

Everett Fahy Harvard University. Some Followers of Domenico Ghirlandajo. New York, 1976, p. 207, calls them cassone fronts.

Annarosa Garzelli. La Bibbia di Federico da Montefeltro: un'officina libraria fiorentina, 1476-1478. Rome, 1977, p. 105.

Edward Morris and Martin Hopkinson. Walker Art Gallery, Liverpool: Foreign Catalogue. [Liverpool], 1977, text vol., p. 70, under no. 2809, notes that in a letter of July 28, 1967 Everett Fahy attributes this and a panel showing the Adventures of Odysseus in Liverpool to an artist Offner called the Master of the Porta Romana Lunette, but finds that the condition of the Liverpool panel precludes any positive identification.

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, 29, 31, figs. 21–26 (color, overall and details), state that they were designed by Biagio d'Antonio about 1465, and are "probably from the backrest (spalliera) of a cassone rather than its front"; note that the architectural organization in both derives from that in Ghiberti's Story of Isaac relief on the doors of the Florence Baptistry.

Attilio Schiaparelli. La casa fiorentina e i suoi arredi nei secoli XIV e XV. Florence, 1983, vol. 2, p. 83 n. 250.

Cristina De Benedictis in Il Museo Bardini a Firenze. Milan, 1984, vol. 1, p. 122, lists them both as by Biagio d'Antonio.

Everett Fahy. "The Tornabuoni-Albizzi Panels." Scritti di storia dell'arte in onore di Federico Zeri. Milan, 1984, pp. 236, 241, 244, fig. 240 (detail), ascribes this panel to an assistant of Biagio d'Antonio and calls the pair cassone fronts dating from about 1465.

Everett Fahy. "The Argonaut Master." Gazette des beaux-arts, 6th ser., 114 (December 1989), pp. 285–87, 289–92, 297 nn. 1, 9–10, figs. 1 and 3 (overall and detail), attributes this panel to the Argonaut Master and 09.136.1 to Biagio d'Antonio, dating them about 1465; believes "they probably were engaged in the wainscoting of a room, or they could have been the 'spalliere,' backrests, of two cassoni"; reconsiders the attributions of panels formerly ascribed to the Argonaut Master, giving many of them to Biagio d'Antonio and citing Konrad Oberhuber's tentative identification of the anonymous artist with Cosimo Roselli's brother, Francesco.

Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. New York, 1992, p. 131.

Anne B. Barriault. "Spalliera" Paintings of Renaissance Tuscany: Fables of Poets for Patrician Homes. University Park, Pa., 1994, pp. xi, 69, 71, fig. 23.1, illustrates this panel as "design given to Biagio di Antonio," and 09.136.1 as "design and painting given to Biagio di Antonio," dating them about 1465; observes that the size of the panels and the "visualization of the story share the hallmarks of cassone paintings produced by Apollonio di Giovanni in the 1460s"; doubts that they were spalliere for cassoni [see Ref. Pope-Hennessy and Christiansen 1980], stating instead that their scale and formal elements are closer to those of cassone paintings.

Roberto Longhi. Il palazzo non finito: saggi inediti, 1910-1926. Milan, 1995, pp. 257, 268–72, 285, 291–92, 294 n. 3, p. 562, fig. 101, attributes them to Utili [see Ref. Longhi 1937], and dates them after 1470.

Roberta Bartoli. Biagio d'Antonio. Milan, 1999, p. 19 n. 25, pp. 147–48, 155, 161, 173–75 nn. 28, 41, 52, pp. 182–85, 230, 235–36, no. 11a, ill. (color), attributes it to the Master of the Argonauts, identifed here as Bernardo di Stefano Rosselli (1450–1526), noting that the design may have come from Biagio d'Antonio; attributes 09.136.1 to Biagio, calls them "spalliera" paintings, and dates them to the end of the 1460s.

Fonds d'or et fonds peints italiens (1300–1560). Exh. cat., G. Sarti. Paris, 2002, pp. 121, 127, attributes this panel to Bernardo di Stefano Rosselli and 09.136.1 to Biagio d'Antonio, dating them about 1470.

Caroline Campbell. "Lorenzo Tornabuoni's 'History of Jason and Medea' series: Chivalry and Classicism in 1480s Florence." Renaissance Studies 21 (February 2007), pp. 5–6, fig. 4, states that the pair of panels probably dates to the 1470s and adds that the narrative is clearly based on versions of the story of Jason and Medea by Apollonius of Rhodes and Valerius Flaccus.

Andrea Bayer in Art and Love in Renaissance Italy. Exh. cat., The Metropolitan Museum of Art. New York, 2008, p. 305.

Deborah L. Krohn in Art and Love in Renaissance Italy. Exh. cat., The Metropolitan Museum of Art. New York, 2008, pp. 109, 137–38, 293, no. 59a, ill. (color), dates the two panels about 1465, but also calls them "roughly contemporary with" Jacopo del Sellaio's panel with the story of Cupid and Psyche (private collection, New York) of 1475.

James Grantham Turner in Art and Love in Renaissance Italy. Exh. cat., The Metropolitan Museum of Art. New York, 2008, p. 181.