P. C[halfin]. "Pictures in the Fourth Gallery." Museum of Fine Arts Bulletin 1 (November 1903), p. 30, notes its "strikingly Tuscan quality".
Joseph Breck. "Dipinti italiani nella raccolta del Signor Teodoro Davis." Rassegna d'arte 11 (July 1911), p. 114, ill. opp. p. 111, attributes it to Masolino and dates it about 1435, comparing it to the frescoes in the baptistery of Castiglione Olona.
Raimond van Marle. "Late Gothic Painting in Tuscany." The Development of the Italian Schools of Painting. 9, The Hague, 1927, pp. 274–75, fig. 178, hesitantly accepts the attriubtion to Masolino and notes the influence of Fra Angelico.
Roberto Longhi. "Ricerche su Giovanni di Francesco." Pinacotheca 1 (July–August 1928), p. 35, calls it a late work by the painter of the tondo of the Judgment of Paris in the Museo Nazionale del Bargello, Florence, and notes the influence of Domenico Veneziano.
Mario Salmi. "Gli affreschi nella collegiata di Castiglione Olona—II." Dedalo 9 (1928), p. 13, attributes it to the painter of an Annunciation then in the Lanckoronski collection, Vienna, now in the M. H. de Young Memorial Museum, San Francisco [see Notes].
Bryson Burroughs. "The Theodore M. Davis Bequest: The Paintings." Metropolitan Museum of Art Bulletin 26, section 2 (March 1931), p. 14, 16, attributes it to a follower of Fra Angelico and dates it to the second quarter of the fifteenth century.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CLXXXVII, tentatively attributes it to Pietro di Lorenzo and mentions similar works in the Dresden Gemäldegalerie and the Pallavicini collection, Rome.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 196, lists it as by the painter of the Lanckoronski Annunciation, a Florentine between Fra Angelico and Domenico Veneziano; dates it 1420–65.
Lionello Venturi. "Fifteenth Century Renaissance." Italian Paintings in America. 2, New York, 1933, unpaginated, pl. 229.
Georg Pudelko. "The Minor Masters of the Chiostro Verde." Art Bulletin 17 (March 1935), pp. 76–77 n. 11, finds "some justification" in Salmi's [see Ref. 1928] attribution of the MMA picture to the painter of the Lanckoronski Annunciation.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 25–26, ill., attributes it to an unknown Florentine painter and dates it to the middle of the fifteenth century.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, pp. 219–20; vol. 2, pl. 818.
Alfred Neumeyer. "The 'Lanckoronski Annunciation' in the M. H. De Young Memorial Museum." Art Quarterly 28 (1965), pp. 7–8, 15 nn. 9, 10, fig. 4, accepts Salmi's [see Ref. 1928] attribution to the Master of the Lanckoronski Annunciation; discusses stylistic influences and dates it 1440–45.
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. 94–95, ill., attribute it to an unknown Florentine painter, possibly a follower of Filippo Lippi, accepting the Lanckoronski Annunciation as by the same hand and tentatively adding a third work, a Madonna and Child in the Musée Condé, Chantilly; date it towards the end of the 1430s.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 221, 321, 607.
Rona Goffen. "Icon and Vision: Giovanni Bellini's Half-Length Madonnas." Art Bulletin 57 (December 1975), p. 500 n. 74, as by an anonymous Florentine.
James David Draper in From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master. Exh. cat., The Metropolitan Museum of Art. New York, 2005, p. 196 [Italian ed., "Fra Carnevale: un artista rinascimentale da Filippo Lippi a Piero della Francesca," Milan, 2004], mentions it as an example of a type of depiction of the Madonna promulgated by Luca della Robbia.
Laurence Kanter in Fra Angelico. Exh. cat., The Metropolitan Museum of Art. New York, 2005, pp. 276–77, no. 53, ill. (color), attributes this picture, and the Lanckoronski "Annunciation" itself, to Pesellino; discusses the origin of the compositional type.