Biagio was born in Florence.
For much of the last quarter of the 15th century he was active in Faenza, but his style continued to reflect Florentine innovations. His paintings also demonstrate influences—particularly in the decorative elements—from early Netherlandish painting.
The painter sometimes collaborated with other artists. In 1481–1482, he assisted Cosimo Rosselli on frescoes in the Sistine Chapel, including the Last Supper and probably the Crossing of the Red Sea. He helped Pietro Perugino in painting in the Palazzo della Signoria. His other works include the Temperani predella at Cortona and a Madonna between St Francis and Mary Magdalene at San Casciano in Val di Pesa.
He also frequently painted cassone panels.
- Madonna and Child, Angels and Saints Dominic, Andrew, John the Evangelist and Thomas Aquinas. Pinacoteca Comunale, Faenza.
- Madonna and Child, Two Angels and Saints John the Evangelist and Anthony of Padua. Pinacoteca Comunale, Faenza.
- St. Peter. Pinacoteca Comunale, Faenza.
- Annunciation. Pinacoteca Comunale, Faenza.
- Portrait of a Young Man, c. 1470. Metropolitan Museum of Art, New York.
- The Triumph of Camillus, c. 1470/1475. National Gallery of Art, Washington, D.C.
- Madonna Worshipping the Child and an Angel, c. 1475. São Paulo Museum of Art, São Paulo.
- Portrait of a Boy, c. 1476–1480. National Gallery of Art, Washington, D.C.
- Madonna and Child with Saint John the Baptist, Musée des Beaux-Arts de Lyon
- Virgin and Child with St John the Baptist, St Peter and Two Musician Angels, c. 1465 Museum voor Schone Kunsten, Ghent 
- Bartoli, Roberta. "Biagio d'Antonio (Tucci)". Grove Art Online. Oxford University Press.
- Bryan, Michael (1889). Walter Armstrong & Robert Edmund Graves (ed.). Dictionary of Painters and Engravers, Biographical and Critical (Volume II L-Z). York St. #4, Covent Garden, London; Original from Fogg Library, Digitized May 18, 2007: George Bell and Sons. p. 590.CS1 maint: location (link)
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- Italian Paintings: Florentine School, a collection catalog containing information about d'Antonio and his works (see pages: 142-148).