A triptych of The Madonna and Child with Saints and Angels; The Angel of the Annunciation, the Madonna della Cintola, and the Dormition of the Virgin on the left wing; The Virgin Annunciate and the Crucifixion on the right wing; Four male saints on the predella

The works of this painter were isolated in 1926 by Richard Offner who named him after an altarpiece dated 1416 in the Galleria dell'Accademia in Florence. In the 1960s Federico Zeri made further additions to the master's substantial body of work (in 'Appunti sul Lindenau-Museum di Altenburg', Bollettino d'arte, 49, January-March 1964, p. 48-49; and 'Sul catalogo dei toscani del secolo XV nelle gallerie di Firenze', Gazette des Beax-Arts, ser. 6, 71, no. 110, February 1968, pp. 65-70, 77, no. 5). In addition to small devotional works, of which this portable, gold-ground triptych is a fine example, the master painted some secular works such as the marriage salver of Ameto's Discovery of the Nymphs in the Metropolitan Museum of Art. On the basis of the master's affinity with the late Gothic Florentine painter Lorenzo di Niccolò, Stefan Weppelmann suggested that he may be identified with two relatives of Lorenzo di Niccolò's who shared a workshop: his nephew Bartolomeo di Piero (c. 1390-1427/31) and his son Piero di Lorenzo (1402-1451).

Everett Fahy attributed the present triptych to this master in the 1980s, when he saw it in the Rittenhouse Square residence of Henry McIlhenny, the Philadelphia collector of nineteenth-century French art. It was one of the few paintings that McIlhenny retained from the estate of his father, a former president of the board of trustees of the Philadelphia Art Museum.