Osvald Sirén and Maurice W. Brockwell. Catalogue of a Loan Exhibition of Italian Primitives. Exh. cat., F. Kleinberger Galleries, Inc. New York, 1917, pp. 32–33, no. 9, ill., as "An Allegory: A Votive Picture," by Agnolo Gaddi, lent by Otto H. Kahn; identify the seated female figure as a kind of Caritas, the two male figures on the right as Saints Cosmo and Damian, and the kneeling donors on the left as members of some religious organization devoted to hospital work
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 3, The Florentine School of the 14th Century. The Hague, 1924, p. 557 n. 1 (continued from p. 556), as "Charity, SS. Cosme and Damian and two donors," by Agnolo Gaddi.
William B. M'Cormick. "Otto H. Kahn Collection." International Studio 80 (January 1925), p. 282, attributes it to Agnolo Gaddi and incorrectly describes it as a Virgin Enthroned with two angels and two kneeling figures in the costumes of nuns.
Bernardo Berenson. "Due illustratori italiani dello Speculum Humanae Salvationis." Bollettino d'arte 5 (1925–26), p. 308, fig. 22, identifies the subject as Saint Catherine disputing and calls it one of the last works of Giovanni del Biondo.
Bernhard Berenson. Studies in Medieval Painting. New Haven, 1930, p. 116, fig. 114 [repr. of Ref. Berenson 1925–26].
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. LIII, attributes it to Giovanni del Biondo and identifies the two standing male figures as Saints Cosmas and Damian.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 242, tentatively lists it as by Giovanni del Biondo, and calls it "Catherine disputing with the Doctors, and Nun and Boy as Donors".
Lionello Venturi. Italian Paintings in America. Vol. 1, Romanesque and Gothic. New York, 1933, unpaginated, pl. 64, attributes it to Giovanni del Biondo and identifies the two standing male figures as Saints Cosmas and Damian.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 208.
Frederick Antal. Florentine Painting and its Social Background. London, 1948, p. 206, pl. 69, notes the attribution to Giovanni del Biondo, but considers it closer to Cenni di Francesco.
George Kaftal. Iconography of the Saints in Tuscan Painting. Florence, 1952, col. 225, attributes it to Giovanni del Biondo.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 216, pl. 299, attributes it to a Florentine painter close to Giovanni del Biondo whom he calls the Master of the Kahn Saint Catherine, also assigning to this artist a Madonna Madre di Virtù (Pinacoteca Vaticana, Vatican City), a Madonna of Humility with Angels and the Twelve Apostles (Thyssen-Bornemisza Collection, Lugano-Castagnola), and a portable triptych (Portland Art Museum, Portland, Ore.).
Federico Zeri. "La Mostra 'Arte in Valdelsa' a Certaldo." Bollettino d'arte, 4th ser., 48 (July–September 1963), p. 255 n. 5, suggests that Cenni di Francesco may have painted the various works attributed to the Master of the Kahn Saint Catherine.
Fern Rusk Shapley. Paintings from the Samuel H. Kress Collection. Vol. 1, Italian Schools: XIII–XV Century. London, 1966, p. 28, under no. K1925, notes Berenson's attribution [see Ref. 1963] to the Master of the Kahn Saint Catherine.
Miklòs Boskovits. "Ein Vorläufer der spätgotischen Malerei in Florenz: Cenni di Francesco di ser Cenni." Zeitschrift für Kunstgeschichte 31 (1968), pp. 273, 275, 290 n. 4, p. 291 n. 6, attributes it to Cenni di Francesco.
Rudolf J. Heinemann in Sammlung Thyssen-Bornemisza. Castagnola, Switzerland, 1971, p. 77, notes the opinions of Berenson [see Ref. 1963] and Zeri [see Ref. 1963] and ascribes the Thyssen-Bornemisza picture to Cenni di Francesco.
Miklòs Boskovits. Pittura fiorentina alla vigilia del Rinascimento, 1370–1400. Florence, 1975, pp. 127, 291, fig. 307, attributes it to Cenni di Francesco and dates it about 1380 or a little earlier on p. 127 and 1380–85 on p. 291.
Bruce Cole. Agnolo Gaddi. Oxford, 1977, p. 73, lists it as "Charity with Saints Cosmos and Damian and Two Donors," and attributes it to the Master of the Kahn Saint Catherine.
A[nna]. Padoa Rizzo in Dizionario biografico degli italiani. Vol. 23, Rome, 1979, p. 536, doubts the attribution to Cenni di Francesco [see Refs. Zeri 1963 and Boskovits 1968].
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Ed. Hayden B. J. Maginnis. supplement, A Legacy of Attributions. New York, 1981, p. 52, fig. 117, lists it as by the Rohoncz Master, the name given to the artist of the Thyssen-Bornemisza Madonna.
Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1981–1982. New York, , pp. 37–38, ill. (color), as by the Master of the Kahn Saint Catherine; dates it about 1380; notes that the kneeling donors wear the habits of Franciscan tertiaries and that the panel was probably cropped at the top.
Miklós Boskovits and Serena Padovani. The Thyssen-Bornemisza Collection: Early Italian Painting, 1290–1470. London, 1990, p. 56–57.
Laurence B. Kanter in Painting and Illumination in Early Renaissance Florence: 1300–1450. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 183–86, no. 19, ill. (color), dates it between the latter half of the 1370s and 1383; suggests that the kneeling donors may be nuns from the Order of the Humiliati who founded a convent at Santa Marta a Montughi in 1341, noting that the elder of the two donors could possibly represent Suor Caterina di Jacopo Guiderelli, one of the first nuns to enter the convent; considers it unclear whether it was originally an independent devotional image or part of a larger work.
Dillian Gordon. "Renaissance Painting and Illumination at the Metropolitan." Apollo 140 (February 1995), p. 50, colorpl. 1, notes that the spokes in the roundels of the throne allude to the wheel of Saint Catherine's martyrdom; says the two kneeling donors are probably members of a confraternity.