Paul Ganz et al. L'oeuvre d'un amateur d'art: La collection de Monsieur F. Engel-Gros. Geneva, 1925, vol. 1, pp. 113–14; vol. 2, pl. 61b, attributes it to the workshop of Piero Pollaiuolo, and dates it late fifteenth century; compares the three medallions to scenes of Hercules in the Palazzo Venezia, Rome, and the Galleria degli Uffizi, Florence, attributed to the same painter.
Licia Ragghianti Collobi. Lorenzo il Magnifico e le arti. Exh. cat., Palazzo Strozzi. Florence, 1949, pp. 34–35, no. 3, attributes it to a Florentine painter and dates it to the first half of the fifteenth century; identifies the figures on the far left and right as symbols of Strength and Temperance.
Edward Fowles. Letter to Creighton Gilbert. March 4, 1960, identifies the arms as those of the Ginazzi and Boni families; states that Bernard Berenson considered it close to Domenico Veneziano.
Creighton Gilbert. Letter to Duveen. February 29, 1960, believes it "looks very much like Bartolomeo di Giovanni".
John Pope-Hennessy and Keith Christiansen. "Secular Painting in 15th-Century Tuscany: Birth Trays, Cassone Panels, and Portraits." Metropolitan Museum of Art Bulletin 38 (Summer 1980), pp. 12–14, figs. 8–10 (color, overall and details), discuss the significance of Hercules in Florentine culture and note the influence of ancient sarcophagi and coins depicting his exploits; compare it to works by Paolo Uccello and Lorenzo Ghiberti.
Miklós Boskovits. Letter to Keith Christiansen. February 11, 1989, considers it Sienese, attributing it to the Master of Sant'Ansano and comparing it to works assigned to that painter.
Graham Hughes. Renaissance Cassoni, Masterpieces of Early Italian Art: Painted Marriage Chests 1400–1550. Alfriston, England, 1997, p. 232.