G[ustav]. F[riedrich]. Waagen. "Kunstwerke und Künstler in England." Kunstwerke und Künstler in England und Paris. 2, Berlin, 1838, p. 328.
G[ustav]. F[riedrich]. Waagen. Works of Art and Artists in England. London, 1838, vol. 3, p. 118, as in the collection of William Beckford, Lansdown Tower, Bath; attributes it to Cordelle Agi (Andrea Previtali).
Bernhard Berenson. The Venetian Painters of the Renaissance. 3rd ed. New York, 1894, p. 82, as in the collection of Sir Michael Shaw-Stewart, London; attributes it to Marco Basaiti.
Salomon Reinach. Répertoire de peintures du moyen age et de la renaissance (1280–1580). 1, Paris, 1905, p. 114, ill. (engraving).
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill.
Walter Heil. "The Jules Bache Collection." Art News 27 (April 27, 1929), p. 3, ill. p. 9.
Georg Gronau. Giovanni Bellini: Des Meisters Gemälde. Stuttgart, 1930, p. 216, ill. p. 168, attributes it to Giovanni Bellini; compares the landscape with one in a Madonna (Pinacoteca di Brera, Milan) that he dates 1510; states that there is an old copy in the Ca' d'Oro, Venice.
August L. Mayer. "Die Sammlung Jules Bache in New-York." Pantheon 6 (December 1930), p. 541, attributes it to Giovanni Bellini.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 71, lists it as a late work by Giovanni Bellini.
Luitpold Dussler. Giovanni Bellini. Frankfurt, 1935, pp. 148–49, attributes it to the shop of Giovanni Bellini, dating it after 1510; notes the similarity of the castle in the background to that in the "Madonna of the Meadow" (National Gallery, London).
Raimond van Marle. "The Renaissance Painters of Venice." The Development of the Italian Schools of Painting. 17, The Hague, 1935, p. 330, attributes it to Giovanni Bellini and dates it between 1510 and 1516.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 62.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 2, ill.
Carlo Gamba. Giovanni Bellini. Milan, 1937, p. 160, fig. 175, attributes it to Giovanni Bellini, placing it between works he dates 1505 and 1507; calls the picture in the Ca' d'Oro a studio work.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 92, ill., as by Giovanni Bellini; dates it about 1510.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 2, ill.
Walter Heil. "The Bache Paintings at the Metropolitan." Art News 42 (June–July 1943), p. 15.
Vittorio Moschini. Giambellino. Bergamo, 1943, p. 33, calls it a work by Bellini in collaboration with his workshop.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 285, calls it a late work by Bellini.
Herbert Friedmann. The Symbolic Goldfinch: Its History and Significance in European Devotional Art. Washington, 1946, p. 83, attributes it to Bellini and notes that the Christ Child is holding a swallow.
Luitpold Dussler. Giovanni Bellini. Vienna, 1949, p. 101, pl. 140, calls it a late workshop product, executed after a drawing by Bellini; observes that the Child is similar to the one in a Madonna and Child in the Detroit Institute of Arts.
Martin Davies. The Earlier Italian Schools. London, 1951, p. 45, mentions it as one of several paintings with a castle similar to that appearing in the National Gallery picture.
Edoardo Arslan. Letter. April 21, 1952, calls it a school work, perhaps by a Veronese pupil.
Albert Ten Eyck Gardner. "Beckford's Gothic Wests." Metropolitan Museum of Art Bulletin 13 (October 1954), p. 48, ill. p. 45, notes that it was in the William Beckford collection, and that it was then attributed to Cima.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 32, pl. 245.
Rodolfo Pallucchini. Giovanni Bellini. Milan, 1959, pp. 105, 155, fig. 210 [English ed., London, (1962), pp. 109, 160, fig. 210], tentatively agrees with Dussler's [see Ref. 1949] suggestion that it is "a workshop product based on an authentic cartoon"; discusses it with works from about 1506–9.
Fritz Heinemann. Giovanni Bellini e i Belliniani. Venice, , vol. 1, p. 21, no. 64b; vol. 2, fig. 230, calls it a copy of a lost original dating from about 1510; considers it totally repainted and perhaps a forgery.
Stefano Bottari. Tutta la pittura di Giovanni Bellini. Milan, 1963, vol. 2, p. 40, pl. 168, lists it among attributed works, and considers it a school product, based on a model by Bellini that Pietro de Saliba also used.
Terisio Pignatti in L'opera completa di Giovanni Bellini. Milan, 1969, p. 108, no. 198, ill. p. 109.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 22, 327, 608, as by a follower of Giovanni Bellini.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 7–8, pl. 8, attribute it to Bellini's workshop and date it about 1510.
Federico Zeri. Italian Paintings in the Walters Art Gallery. Baltimore, 1976, vol. 1, p. 252, suggests that this picture and one in the Walters (37.1039) depend from a lost prototype by Bellini.
Colin Simpson. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986, p. 292 [British ed., "The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987].
Jean Paris. L'atelier Bellini. Paris, 1995, pp. 194, 209, dates it 1510.
Peter Humfrey in The Age of Titian: Venetian Renaissance Art from Scottish Collections. Exh. cat., Royal Scottish Academy Building. Edinburgh, 2004, pp. 66–67, 428, no. 5, ill. (color), attributes it to a follower of Giovanni Bellini, "probably a former pupil," and dates it about 1510.
Antonio Mazzotta. E-mail to Everett Fahy. April 23, 2009, writes that "judging from a photograph, . . . [this picture] seems to me very close to Previtali's style of the first decade of the sixteenth century".
Old Master & 19th Century Paintings, Drawings & Watercolours: Evening Sale. Christie's, London. July 6, 2010, p. 103, under no. 36, as "by a close follower of the artist".
Antonio Mazzotta. Giovanni Bellini's Dudley Madonna. London, 2012, pp. 26, 44, 46, 90 n. 70, fig. 25 (color), proposes that it is an early work by Previtali of about 1500.