Philip Hendy. The Isabella Stewart Gardner Museum: Catalogue of the Exhibited Paintings and Drawings. Boston, 1931, p. 174, identifies it as probably from the same predella as the Gardner's "The Child Jesus Disputing in the Temple," which he dates to the artist's last years.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 249, as in the Auspitz collection, Vienna.
L[ili]. Fröhlich-Bum. "Die Sammlung Auspitz-Wien." Pantheon 10 (1932), p. 400.
John Pope-Hennessy. Giovanni di Paolo, 1403–1483. London, 1937, pp. 90–91, 111 nn. 79, 80, 82, p. 177, as in the Oscar Bondy collection, Vienna; accepts Hendy's [see Ref. 1931] identification of the MMA and Gardner panels as part of the same predella, and adds a third scene: a "Nativity" then in the Winthrop collection, New York (now Fogg Art Museum, Cambridge, Mass.); dates the three works about 1460; suggests a fourth panel which would have occupied the center of the predella: a "Baptism of Christ" in the Ashmolean Museum, Oxford.
Cesare Brandi. "Giovanni di Paolo, II." Le arti 3 (June–July 1941), p. 321 n. 58, p. 337 n. 82, as in the Bondy collection, Vienna; concurs that the MMA, Gardner, and Fogg panels come from the same predella, but rejects the inclusion of the Oxford "Baptism of Christ"; dates the three panels after 1463 in n. 58 and about 1460 in n. 82.
Henry Sayles Francis. "A New Giovanni di Paolo." Art Quarterly 5 (1942), p. 322, fig. 8, as in the Oscar Bondy collection, Vienna.
Cesare Brandi. Giovanni di Paolo. Florence, 1947, p. 79 n. 58, p. 91 n. 82, p. 122 [same text as Ref. Brandi 1941].
Rollin Hadley. "Giovanni di Paolo." Fenway Court 1 (October 1967), pp. 49, 54–56, ill. p. 51, agrees that the Gardner, Fogg, and MMA panels all come from the same predella, but is less certain about the Ashmolean work.
The Italian Heritage. Exh. cat., Wildenstein & Co., Inc. New York, 1967, unpaginated, no. 4, ill., dates it about 1460; accepts the MMA, Fogg, Gardner, and Ashmolean panels as part of the same predella.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, pp. 175–76, 179, accepts the MMA, Gardner, Fogg, and Ashmolean panels as from the same predella.
Marjan Reinders et al. in Sienese Paintings in Holland. Exh. cat., Museum voor Stad en Lande. Groningen, 1969, unpaginated, under no. 11.
Philip Hendy. European and American Paintings in the Isabella Stewart Gardner Museum. Boston, 1974, p. 107, finds that the MMA and Fogg panels may date from an earlier period than the Gardner picture, which he dates to the artist's last years; also expresses uncertainty that the Ashmolean panel comes from the same predella.
Christopher Lloyd. A Catalogue of the Earlier Italian Paintings in the Ashmolean Museum. Oxford, 1977, p. 85, under no. A333.
Keith Christiansen in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 26–29, no. 4, ill. (color), discusses its relationship to other depictions of the subject by the artist; mentions its dependence on Gentile da Fabriano's Strozzi altarpiece of the same subject of 1423 (Uffizi, Florence); mentions that the unusual gesture of the youngest magus, who embraces Joseph, has a precedent in the work of Fra Angelico, and postulates a common literary source; accepts the MMA, Fogg, and Gardner panels as parts of the same predella, and does not rule out the inclusion of the Ashmolean picture as well; suggests dating the series prior to 1463.
Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, pp. 45–46, ill. (color), suggests a "Presentation in the Temple" (formerly Conservatorio di S. Pietro, Colle di Val d'Elsa; now Pinacoteca Nazionale, Siena, no. I.B.S. n. 9) as the central panel of the altarpiece.
John Pope-Hennessy. "Giovanni di Paolo." Metropolitan Museum of Art Bulletin 46 (Fall 1988), pp. 7, 22, 29, 31, figs. 3 (color detail), 38 (color overall), lists the Fogg and Gardner panels, as well as a "Crucifixion" at Christ Church, Oxford, as parts of the same altarpiece, but does not mention the "Baptism of Christ" at the Ashmolean.
Carl Brandon Strehlke in Painting in Renaissance Siena: 1420–1500. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 208–10, no. 35, ill. (color), rejects the Ashmolean panel as part of the same predella as the Fogg, Gardner, and MMA pictures; reports a verbal communication from Keith Christiansen suggesting that a "Crucifixion" at Christ Church, Oxford, was the center of the predella; believes the "Presentation in the Temple" from Colle di Val D'Elsa (now Pinacoteca Nazionale, Siena) was probably the main panel of the altarpiece.
Andrea De Marchi. Gentile da Fabriano: Un viaggio nella pittura italiana alla fine del gotico. Milan, 1992, p. 211 n. 33.
Andrew Ladis. "Sources and Resources: The Lost Sketchbooks of Giovanni di Paolo." The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop. Athens, Ga., 1995, pp. 62–63, 69, 84 n. 27, fig. 15.
Carolyn C. Wilson. St. Joseph in Italian Renaissance Society and Art. Philadelphia, 2001, p. 221 n. 171.
Miklós Boskovits in Italian Paintings of the Fifteenth Century. Washington, 2003, pp. 334, 336 n. 16, dates it to the late 1450s.
Sophie Lillie. Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens. Vienna, 2003, p. 218.
Dóra Sallay. "Early Sienese Paintings in Hungarian Collections, 1420–1520." PhD diss., Central European University, Budapest, 2008, p. 106, fig. 11/11 (color).