The purpose of this paper is to shed light on the provenance of fourteen cuttings preserved in the Museo Correr in Venice. All those illuminations come from a Gradual and sister miniatures can be found in the Biblioteca Civica of Padua, the Staatliche Graphische Sammlung in Munich and the Free Library of Philadelphia. From a stylistic point of view, in those cuttings it can be noticed a remarkable similarity both with the paintings by Vitale da Bologna and with the illuminations decorating an important set of liturgical manuscripts, the Gradual of the Chapter of Udine; those choir books have been decorated by artists linked to Vitale, who stayed in Udine, from 1348 to 1349, to fresco the apse and the Saint Nicholas chapel in the city cathedral. Furthermore, three of the initials in the Museo Correr seem to replicate the letters in the Gradual of the Chapter of Udine. Both the analysis of the style and the historical context suggest that the Gradual of the Chapter of Udine was decorated for the city cathedral by Bolognese illuminators gravitating towards Vitale's workshop; therefore, the cuttings preserved in the Museo Correr, given the several elements in common with those choir books, might have originally been part of a Gradual produced for a church around Udine, perhaps San Francesco, as in two cuttings in the Biblioteca Civica of Padua are depicted Franciscan friars. The uneven quality of the cuttings leads us to suppose that the decoration was begun by Vitale's workshop and has been completed by local illuminators, who took the Gradual of the Chapter of Udine as a model.