Osvald Sirén. Letter to Kleinberger. November 28, 1917, attributes this painting to Bernardo Daddi and dates it about 1335 or a little earlier.
Osvald Sirén. Giotto and Some of His Followers. Cambridge, Mass., 1917, vol. 1, pp. 166, 272; vol. 2, pl. 143, as in a private collection, Stockholm; attributes it to Daddi.
Margaret E. Gilman. "A Triptych by Bernardo Daddi." Art in America 6 (August 1918), p. 213, mentions it among a series of works attributed to Daddi.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 3, The Florentine School of the 14th Century. 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.
Bernard Berenson in The Michael Friedsam Collection. [completed 1928], pp. 49–50, calls it characteristic of Daddi's middle years.
Helen Comstock. "The Bernardo Daddis in the United States—Part I." International Studio 89 (February 1928), p. 26.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, New York, 1930, p. 10, includes it among the pictures attributed to Daddi.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 167, as by Daddi.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 31, no. 46, as by Daddi.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, New York, 1934, pp. IX, 13, 20, 212, pl. IX, 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
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 144.
H. D. Gronau. Andrea Orcagna und Nardo di Cione. Berlin, 1937, p. 71, ascribes it to a follower of Daddi.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 12, ill., attributes it to the workshop of Daddi.
Edward B. Garrison Jr. "A New Devotional Panel Type in Fourteenth-Century Italy." Marsyas 3 (1946), pp. 37, 65 n. 84, fig. 19, attributes it to a follower of Daddi, dating it 1330–35; discusses the iconography.
Dorothy C. Shorr. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954, p. 33, ill. p. 36 (detail), based on information provided by Offner, attributes it to a follower of Daddi; notes that the gesture of the Madonna follows a Ducciesque tradition.
Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 8, section 3, New York, 1958, pp. 79, 223.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 56, lists it as by Daddi.
Brigitte Klesse. Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts. Bern, 1967, p. 454, no. 471a, as by a follower of Daddi; erroneously as still in the Friedsam collection, New York; dates it between 1330 and 1340 on the basis of the textile above the Virgin's throne.
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, pp. 30–32, ill., attribute the design to Daddi but the execution to his assistants; date it towards the end of the 1330s.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 62, 289, 302, 313, 377, 399, 455, 533, 607.
Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, The Fourteenth Century: The Works of Bernardo Daddi. new ed. Florence, 1989, p. 49 n. 68, pp. 71, 168, 169 n. 1, p. 386.
Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, The Fourteenth Century: Bernardo Daddi, His Shop and Following. new ed. Florence, 1991, pp. 18, 71, 84–86, 93, 425, 510, pl. IX.
Erling S. Skaug. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting. Oslo, 1994, vol. 1, pp. 100, 111 n. 176, 114 n. 186, 115 n. 194; vol. 2, punch chart 5.3, fig. 55 (detail of punch marks), lists it with works by Daddi; discusses the tooling and identifies punch marks that it shares with works by the Master of San Martino alla Palma.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 280, 364, classifies the punch marks appearing in this painting; attributes it to the shop of Bernardo Daddi on p. 280, and to Daddi himself on p. 364.