Catalogue of Pictures, Ancient and Modern, 35 Grosvenor Place. 1882, no. 369 [see letter of October 13, 1982 in archive file], as by Lanini.
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. XXXIX, as attributed to Bernardino Zaganelli.
Herbert Friedmann. The Symbolic Goldfinch: Its History and Significance in European Devotional Art. Washington, 1946, pp. 119, 163, pl. 132 (detail), attributes it to Bernardino Zaganelli.
Federico Zeri. Letter. October 13, 1949, rejects the attribution to Zaganelli, noting the influence of Andrea and Antonio Solario.
Federico Zeri. Letter to Elizabeth Gardner. October 2, 1955, suggests that the signature might read "Bernardinus Ianuensis", or Bernardino of Genoa, and identifies the artist with Bernardino Fasolo.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 27, 342, 608.
Alvar González-Palacios. "Avvio allo studio del mobile italiano." Storia dell'arte italiana. Vol. 11, pt. 3, v. 4, Turin, 1982, p. 619, fig. 593, notes the similarity in composition to an intarsia panel in the choir of the cathedral of Savona, commissioned by Cardinal Giuliano della Rovere in 1500 and made by Anselmo Fornari and Elia Rocchi; calls the author of our painting Bernardino Ianuensis.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, pp. 4–5, pl. 55, reject earlier attributions to Bernardino Lanino and Bernardino Zaganelli; associate it stylistically with the work of Lorenzo Fasolo and suggest that it may be an early work by his son Bernardino (1489–1526/27), adding that too little is known about him to be certain and that he usually signed his name "de Papia" ("of Pavia").
Mauro Natale in I piazza da Lodi: Una tradizione di pittori nel Cinquecento. Ed. Gianni Carlo Sciolla. Exh. cat., Museo Civico et al., Lodi. Milan, 1989, pp. 107, 111 n. 61, ill. p. 108, compares it with the early work of Martino Piazza (born ca. 1475–80, died ca. 1530).
Oliver Garnett. "The Letters and Collection of William Graham—Pre-Raphaelite Patron and Pre-Raphael Collector." Walpole Society 62 (2000), p. 307, no. d32, fig. 160, states that Agnew bought it at the 1886 Graham sale for 50 guineas, listing 3875 as the number in Agnew's stock book.