Oswald Sirén. "Pictures in America by Bernardo Daddi, Taddeo Gaddi, Andrea Orcagna and His Brothers: I." Art in America 2 (June 1914), p. 264, as in the collection of George Blumenthal, New York; attributes it to Bernardo Daddi.
Osvald Sirén. Letter to George Blumenthal. February 20, 1916, states that it is probably by Daddi.
Osvald Sirén. Giotto and Some of His Followers. Cambridge, Mass., 1917, vol. 1, pp. 168, 271; vol. 2, pl. 148, mentions it among similar Crucifixion scenes assigned to Daddi.
Margaret E. Gilman. "A Triptych by Bernardo Daddi." Art in America 6 (August 1918), pp. 213–14, mentions it among similar Crucifixion scenes assigned to Daddi.
Collection of Mediaeval and Renaissance Paintings. Cambridge, Mass., 1919, p. 37, compares it to a Crucifixion triptych tentatively attributed to Daddi in the Fogg Art Museum, Cambridge, Mass.
Raimond van Marle. "The Florentine School of the 14th Century." The Development of the Italian Schools of Painting. 3, The Hague, 1924, pp. 365–66, 368, attributes it to Daddi and tentatively dates it earlier than the artist's triptych of 1333 in the Museo del Bigallo, Florence; calls the composition identical to the Crucifixion on the right wing of a triptych now in the MMA (32.100.70).
Stella Rubinstein-Bloch. "Paintings—Early Schools." Catalogue of the Collection of George and Florence Blumenthal. 1, Paris, 1926, unpaginated, pl. III, as by Daddi; says it probably formed part of a triptych or polyptych.
Helen Comstock. "The Bernardo Daddis in the United States—Part I." International Studio 89 (February 1928), p. 94, attributes it to Daddi.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. 3, section 3, New York, 1930, pp. 9, 90, includes it among pictures attributed to Daddi.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 167, as by Daddi.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. 4, section 3, New York, 1934, pp. IX, 13, 18, 212, pl. VIII, attributes it to a close follower of Daddi and includes it in a group of small paintings derived from a signed Daddi panel in the Galleria dell'Accademia, Florence; calls it the central part of a tabernacle.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 144.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. 8, section 3, New York, 1958, pp. 81, 203.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 56, lists it as by Daddi.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, p. 30, ill., consider the execution mostly that of pupils and assistants, with some parts possibly painted by Daddi.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 62, 289, 608.
Miklós Boskovits in Richard Offner et al. "The Fourteenth Century: The Works of Bernardo Daddi." A Critical and Historical Corpus of Florentine Painting. 3, section 3, new ed. Florence, 1989, pp. 71, 386, attributes it to Daddi and erroneously gives accession number as 41.100.12.
Miklós Boskovits in Richard Offner et al. "The Fourteenth Century: Bernardo Daddi, His Shop and Following." A Critical and Historical Corpus of Florentine Painting. 4, section 3, new ed. Florence, 1991, pp. 18, 64, 82–83, 510, pl. VIII.
Erling S. Skaug. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting. Oslo, 1994, vol 1, p. 99; vol. 2, punch chart 5.3, lists it with works by Daddi and identifies a punch mark that it shares with works by Jacopo del Casentino.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 298, 458, ill. (detail of punch mark), classifies the punch marks appearing in this painting.