J[ohann]. A[nton]. Ramboux. Katalog der Gemälde alter italienischer Meister (1221–1640) in der Sammlung des Conservator J. A. Ramboux. Cologne, 1862, p. 65, no. 382, lists it in a supplement composed of unattributed works of the sixteenth and seventeenth centuries.
B[ryson]. B[urroughs]. "Principal Accessions: A Cassone Front." Metropolitan Museum of Art Bulletin 3 (October 1908), p. 191, ill. p. 189, attributes it to an unknown Umbrian painter and dates it about 1500; compares it with panels depicting the life of Saint Bernardino by Fiorenzo di Lorenzo (Galleria Nazionale dell'Umbria, Perugia).
Joseph Breck. "Sammlungen: Die Neuerwerbungen des Metropolitan Museum in New York." Der Cicerone 1 (1909), p. 292.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 107–8, attributes it to an unknown Umbrian painter and dates it to the beginning of the sixteenth century.
Gertrude Coor. "Quattrocento-Gemälde aus der Sammlung Ramboux." Wallraf-Richartz-Jahrbuch 21 (1959), pp. 94–95, fig. 40, attributes it to an unknown Umbrian painter and dates it about 1500.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 240, 263, 605, as by an unknown Sienese painter of the fifteenth century.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, p. 100, pls. 108–9 (overall and detail), tentatively attribute it to an unknown Sienese painter and date it to the early sixteenth century; mention that it shows Umbrian influence.
George Bisacca and Laurence B. Kanter. Italian Renaissance Frames. Exh. cat., The Metropolitan Museum of Art. New York, 1990, p. 24, fig. 19, attribute it to an unknown central Italian painter and date it to the early sixteenth century.
Cecilia Filippini. "Il re Nabucodonosor e il profeta Daniele: una storia biblica illustrata dal Maestro di Marradi." Paragone 43 (January 1992), pp. 34, 37 n. 25, pl. 51, attributes it to a Florentine painter and dates it to the last decade of the fifteenth century; labels it location unknown, stating that it is known to her only through a photograph.
Andrea De Marchi in Oro. maestri gotici e Lucio Fontana. Exh. cat., Compagnia di Belle Arti. Milan, 1998, pp. 79, 81 n. 20, finds Keith Christiansen's unpublished attribution to Nicola di Maestro Antonio da Ancona to be persuasive.
"Corpus-Band zu Kölner Gemäldesammlungen 1800–1860." Lust und Verlust. Exh. cat., Wallraf-Richartz-Museum. 2, Cologne, 1998, p. 594, no. 382, ill., attribute it to a central Italian painter and date it to the fourth quarter of the fifteenth century.
Jerzy Miziolek. Mity, legendy, exempla: Wloskie malarstwo swieckie epoki Renesansu ze zbiorow Karola Lanckoronskiego. Warsaw, 2003, pp. 252, 372 n. 19, fig. 33.
Matteo Mazzalupi in Pittori ad Ancona nel Quattrocento. Milan, 2008, pp. 250, 268 n. 31, pp. 293–94, no. 19, ill. (color, overall and details), supports the attribution to Nicola di Maestro Antonio and dates the work about 1490.