Robert Lehman. The Philip Lehman Collection, New York: Paintings. Paris, 1928, unpaginated, pl. III, as Florentine School, about 1290; remarks on the influence of the Saint Cecilia Master.
Ferdinando Bologna. I pittori alla corte Angioina di Napoli, 1266–1414. Rome, 1969, pp. 224, 233 n. 265, attributes it to an artist active in about 1330, to whom he also attributes a Crucifix (Allen Memorial Art Museum, Oberlin), a Saint John the Baptist (Christ Church, Oxford), a Coronation of the Virgin (Museo de Belles Artes, Valencia), and a Crucifixion (Museo Thyssen-Bornemisza, Madrid).
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. 16–17, ill., attribute it to a Florentine painter and date it to the second quarter of the fourteenth century; state that it was probably the center of a large altarpiece; remark on the stylistic similarity to the work of the Master of Saint Cecilia, Lippo di Benivieni, and the later Jacopo del Casentino; tentatively propose an attribution to the Master of the Fogg Pietà; suggest that the work may have been painted for the Franciscan order.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 128, 312, 608, as Attributed to the Master of the Fogg Pietà.
Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 1, section 3, The Fourteenth Century. new ed. Florence, 1986, p. 180 n. 1, attributes each of the works grouped by Bologna [see Ref. 1969] to a different painter, tentatively ascribing this work to the possibly Paduan Master of the Chapter Hall of Pomposa Abbey.
Miklós Boskovits and Serena Padovani. The Thyssen-Bornemisza Collection: Early Italian Painting, 1290–1470. London, 1990, pp. 154, 156, attribute it to the Master of the Pomposa Chapterhouse, who they identify as possibly Paduan, but not Florentine; date the picture between about 1306 and 1317/18, close to the date of the frescoes the artist painted in the chapterhouse of Pomposa.
Gaudenz Freuler. "Manifestatori delle cose miracolose": Arte italiana del '300 e '400 da collezioni in Svizzera e nel Liechtenstein. Exh. cat., Fondazione Thyssen-Bornemisza. Lugano, 1991, p. 120, under no. 42, of the works grouped together by Bologna [see Ref. 1969], finds that only the MMA picture has close stylistic similarities to the Thyssen-Bornemisza Crucifixion, which he attributes to a Paduan painter and dates about 1320–30.
Daniele Benati in Il Trecento riminese: maestri e botteghe tra Romagna e Marche. Ed. Daniele Benati. Exh. cat., Museo della Città, Rimini. Milan, 1995, pp. 158–60, no. 6, ill. (color), attributes it to the Master of the Pomposa Chapterhouse and dates it about 1310–15; believes the painter was Paduan.
Alessandro Volpe in Pomposa: storia, arte, architettura. Ed. Antonio Samaritani and Carla di Francesco. Ferrara, 1999, pp. 128–29, ill.
Andrea De Marchi in Trecento: pittori gotici a Bolzano. Ed. Andrea De Marchi et al. Exh. cat., Museo Civico, Bolzano. [Trent], 2000, p. 72 n. 37, notes that Bellosi attributes it to the same artist as an unpublished "Madonna and Child with Saints Paul, Peter Martyr, Peter, Dominic, and Two Angels" in a private collection, Turin.
Daniele Benati. "Ancora sul Maestro del Capitolo di Pomposa." Paragone 65 (March–May 2014), pp. 27–28, fig. 34, attributes both this picture and the Madonna and Child with saints in Turin (fig. 35) to the Master of the Pomposa Chapterhouse, whom he suggests may be identified with a "magistro Cheyo pictore de Florentia" recorded in a document of 1317 drawn up at Pomposa.
Selected Renaissance and Mannerist Works of Art Assembled by Fabrizio Moretti. Sotheby's, New York. January 29, 2015, p. 50, under no. 126, calls it tentatively attributed to the Master of the Pomposa Chapterhouse and dates it about 1310–15.