Otto Mündler. Journal entry. May 9–10, 1858, p. 80r [published in Carol Togneri Dowd, ed. "The Travel Diaries of Otto Mündler, 1855–1858," Walpole Society 51 (1985), p. 233], notes seeing this picture, which he attributes to Vittore Crivelli, at the dealer Pietro Vallati in Rome; compares it with a work seen a few days earlier in the Palazzo Vinci, Fermo.
Catalogue de tableaux anciens & modernes . . . provenant de la succession de M. le Marquis du Blaisel. Hôtel Drouot, Paris. May 9–10, 1873, p. 7, no. 13, calls it the central panel of a triptych whose wings are in the National Gallery, London, and the Musées Royaux des Beaux-Arts, Brussels.
Henri Frantz. "La curiosité: collections Jean Dollfus (tableaux anciens, objets d'art)." L'art décoratif 27 (May 5, 1912), p. 290, ill.
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. XLII, attributes it to Vittore Crivelli, dates it about 1490–95, and compares it with several other works by Vittore.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 164, lists it as by Vittore.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 141.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 18, The Renaissance Painters of Venice. The Hague, 1936, p. 84 n. 1.
Hildegard Schneider. "On the Pomegranate." Metropolitan Museum of Art Bulletin 4 (December 1945), p. 117, ill.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 72.
Federico Zeri. "Appunti nell'Ermitage e nel Museo Pusckin." Bollettino d'arte 46 (July–September 1961), p. 235, fig. 28 [reprinted in Federico Zeri, "Giorno per giorno nella pittura," (vol. 3), Turin, 1992, p. 176, fig. 284], calls it closely related to the Wilstach polyptych of 1481 (Philadelphia Museum of Art; made for the church of San Francesco, Fermo), and to Madonnas in the Szépmüvészeti Museum, Budapest, and formerly in the Benson collection (now MMA, 1982.60.6).
Germain Seligman. Merchants of Art: 1880–1960, Eighty Years of Professional Collecting. New York, 1961, p. 120.
Federico Zeri with the assistance of Elizabeth E. Gardner. Unpublished manuscript for catalogue of Venetian paintings in The Metropolitan Museum of Art. 1967, call it the central panel of a large altarpiece of which no other parts are known today, and date it between 1480 and 1485.
Sandra di Provvido. La pittura di Vittore Crivelli. L'Aquila, 1972, pp. 100, 102, pl. 20.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 60, 329, 536, 608.
Sandra di Provvido in Vittore Crivelli e la pittura del suo tempo nel Fermano. Ed. Stefano Papetti. Milan, 1997, pp. 207–8, 211, no. 12, ill. p. 207 and colorpl. XIV, tentatively connects it with a work described by conte Eufemio Vinci, suggesting that the figure of the donor may represent Ludovico Vinci and that the picture may come from the church of San Martino in Varano, Fermo.
Costanza Costanzi in Le Marche disperse: repertorio di opere d'arte dalle Marche al mondo. Ed. Costanza Costanzi. Cinisello Balsamo, Milan, 2005, p. 148, no. 128, ill.