Gothic and Renaissance Italian Works of Art: The Collection of Professor Comm. Elia Volpi. American Art Association, New York. March 31–April 2, 1927, pp. 210–11, no. 374, ill., as by Margaritone d'Arezzo.
An Important Collection of Rare and Valuable Antiquities . . . Gathered from Famous European Collections by the Late Ercole Canessa. American Art Association, New York. March 29, 1930, unpaginated, second page of foreward, no. 90, ill., as by Margaritone d'Arezzo.
Edward B. Garrison. Italian Romanesque Panel Painting. Florence, 1949, p. 44, no. 22, ill., attributes it to the Florentine school of 1280–90, and observes considerable damage and repainting.
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. 7–9, ill., attribute it to an unknown Florentine painter of the last quarter of the thirteenth century; compare it to the later works of the Master of the Magdalen, and suggest that the throne derives from woks by Cimabue and his immediate followers.
Angelo Tartuferi. La pittura a Firenze nel Duecento. Florence, 1990, p. 35 n. 36, relates it to a Madonna and Child in the Pinacoteca Nazionale, Siena (no. 17).
Roberta Ferrazza. Palazzo Davanzati e le collezioni di Elia Volpi. Florence, 1993, pp. 128–29, fig. 130, mentions it among the works formerly in the Volpi collection, Florence.
Miklós Boskovits. A Critical and Historical Corpus of Florentine Painting. Vol. 1, section 1, The Origins of Florentine Painting: 1100–1270. new ed. Florence, 1993, pp. 135, 616, 668, pl. LXI, ascribes it to the milieu of Meliore, noting that its condition makes judgment difficult.