Bernhard Berenson. The Florentine Painters of the Renaissance. 3rd ed. New York, 1909, p. 139, lists it as by Ridolfo Ghirlandaio, in the collection of Comm. Benigno Crespi, Milan.
Marcel Nicolle. Catalogue des tableaux anciens des écoles italienne, espagnole, allemande, flamande et hollandaise composant la Galerie Crespi de Milan. Galerie Georges Petit, Paris. June 4, 1914, pp. 30–31, no. 24, ill., as by Ridolfo Ghirlandaio, formerly attributed to Albertinelli, and from the Genolini collection, Milan.
Adolfo Venturi. "La pittura del cinquecento." Storia dell'arte italiana. 9, part 1, Milan, 1925, p. 512 n. 1, lists it as by Ridolfo Ghirlandaio.
Bernard Berenson in The Michael Friedsam Collection. [completed 1928], pp. 75–76, dates it soon after 1514, and notes the influence of Fra Bartolomeo.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 227.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 38, no. 65.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 195.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 64–65, ill., finds it similar to Ridolfo's decorations in the Cappella dei Priori, Palazzo Vecchio, Florence, of 1514.
S[ydney]. J. Freedberg. Painting of the High Renaissance in Rome and Florence. Cambridge, Mass., 1961, vol. 1, p. 210; vol. 2, pl. 280 [rev. ed., New York, 1985, vol. 1, p. 210; vol. 2, pl. 280], dates it between 1512 and 1515 and notes the influence of Fra Bartolomeo and Albertinelli.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 78; vol. 2, pl. 1286.
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. 192–93, ill., note that the central panel is very similar to an Adoration of the Shepherds attributed to Ridolfo formerly in the collection of Henry Harris, London (Snite Museum of Art, Notre Dame University, Indiana); add that while the central panel reveals the influence of Fra Bartolomeo and Albertinelli, the wings are closer to the work of Francesco Granacci; suggest that the tops of the wings (now replaced with added strips) may originally have shown the arms of the donors.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 83, 269, 366, 378, 392, 419, 439, 443, 453, 537, 607.
Annarosa Garzelli. "Le immagini, gli autori, i destinatari." Miniatura fiorentina del rinascimento, 1440–1525: un primo censimento. 1985, vol. 1, pp. 262–63, relates it to a miniature (Biblioteca Vaticana, Vatican City; ross. 1192, f. 25) attributed to Fra Bartolomeo, with a composition very similar to the central panel of this triptych, and also including a view of Saint Joseph and a shepherd in the background.
Charles S. Ellis. "Fra Bartolommeo, a Problematic Landscape Drawing, and the Repetition of the Painted Landscape Image." Paragone 46 (January 1995), pp. 5, 12 n. 18, pl. 4, includes it in a group with the Notre Dame Adoration and a tondo of the Madonna and Child attributed to Bugiardini (National Gallery of Ireland, Dublin), relating all three to a drawing from the workshop of Ridolfo Ghirlandaio (Nationalmuseum, Stockholm), which is a study for the Vatican miniature, proposing that the Stockholm sheet is a copy after a lost or unidentified drawing by Fra Bartolomeo.
Charlotte Hale. Memo to the files. July 11, 2000, details the circumstances leading to the tentative identification of two grisaille panels depicting the Annunciation (Agnes Etherington Art Center, Queens University, Kingston, Ontario) as the separated outer wings of the MMA triptych.
David G. Wilkins. "Opening the Doors to Devotion: Trecento Triptychs and Suggestions Concerning Images and Domestic Practice in Florence." Italian Panel Painting of the Duecento and Trecento. Washington, 2002, p. 383, includes it among triptychs made for unidentified patrons during the period 1495–1510.
David McTavish in Leonardo da Vinci, Michelangelo, and the Renaissance in Florence. Exh. cat., National Gallery of Canada. Ottawa, 2005, pp. 112–14, 338, no. 23, ill. (color), dates it about 1509–15; presents the grisaille panels of the Annunciation (no. 24) as the outer wings of the triptych; notes that the presence of Saint Benedict in the left wing and of another Benedictine figure in the central panel indicate that the work may have been commissioned by a member of that order.
Rick Scorza. "The Iconography of Ridolfo Ghirlandaio's 'Altarino'." Metropolitan Museum Journal 46 (2011), pp. 153, 155–57, 159 n. 3, fig. 1 (color), accepts the two panels in Kingston as the exterior wings of the altarpiece; identifies the black-habited figure in the center panel as Beato Filippo Benizi, a Servite, and believes that the work was probably commissioned by a high-ranking member of that order; suggests that the two female saints, usually identified as Christine and Dorothy, could equally well represent Ursula and Elizabeth of Hungary.
Matteo Gianeselli. "Ridolfo del Ghirlandaio (1483–1561) et son atelier: entre ancrage traditionnel et tentation anticlassique." Revue des Musées de France no. 5 (December 2013), pp. 29–30, 36 n. 29, relates the wings to two panels by Ridolfo depicting Saints Jerome and Francis in niches (church of Saint-Louis-en-l'Île, Paris); attributes the Dublin Madonna and Child (Ellis 1995) to Ridolfo and dates it about ten years before the MMA work.