Oswald Sirén. Toskanische Maler im XIII. Jahrhundert. Berlin, 1922, p. 271, as in the Alphonse Kann collection, Paris, in 1920; calls it a fragment of a large Madonna picture and attributes it to the Master of the Magdalen, the name given here to an anonymous painter of the second half of the thirteenth century [see notes].
The Alphonse Kann Collection. American Art Association, New York. 2, 1927, unpaginated, no. 45, ill., as "The Virgin," by Cimabue, from the Dollfus collection; erroneously states that it was in one of the Dollfus sales in Paris in 1912.
Benjamin Rowland Jr. "Notes on the Magdalen Master." Art in America 19 (1931), p. 127–28, fig. 5, attributes it to the Master of the Magdalen, comparing it to a panel in the Acton collection, Florence, a Madonna and Child in the Fogg Art Museum, Cambridge, Mass., and a triptych then in the Blumenthal collection, New York, now in the Metropolitan Museum (41.100.8).
Raimond van Marle. "Dal VI alla fine del XIII secolo." Le scuole della pittura italiana. 1, The Hague, 1932, p. 347, accepts the attribution to the Master of the Magdalen.
Pittura italiana del duecento e trecento: Catalogo della mostra giottesca di Firenze del 1937. Exh. cat., Galleria degli Uffizi. Florence, 1943, p. 237, no. 73, ill. p. 236, as in the Straus collection, New York; attribute it to the workshop of the Master of the Magdalen.
Gertrude Coor-Achenbach. "A Neglected Work by the Magdalen Master." Burlington Magazine 89 (1947), p. 120 n. 12, attributes it to the Master of the Magdallen.
Roberto Longhi. "Giudizio sul Duecento." Proporzioni 2 (1948), p. 44, cites Sinibaldi and Brunetti [see Ref. 1943] as attributing it to the workshop of the Master of the Magdalen.
Edward B. Garrison. Italian Romanesque Panel Painting. Florence, 1949, p. 231, no. 640, ill., attributes it to the Master of the Magdalen, dating it about 1270–80; suggests the traces of cloth behind the Madonna could indicate that she was enthroned.
Dorothy C. Shorr. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954, p. 111, mentions it in connection with the Acton Madonna and Child, noting that the formal gesture of the Child's hand raised in blessing seen in the MMA picture has, in the Acton work, been "humanized" and transformed into the Child reaching for the flower held by His mother; adds that this may be the earliest instance of this gesture.
Carlo Lodovico Ragghianti. Pittura del Dugento a Firenze. Florence, 1955, p. 102 [see Ref. Zeri and Gardner 1971], accepts the attribution to the Master of the Magdalen and calls it an early work.
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, p. 5–7, ill., consider it a fragment cut from a large altarpiece of the Madonna and Child enthroned; attribute it to the Master of the Magdalen himself, date it about 1280, and note the influence of Meliore Toscano.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 131, 545, 609.
Keith Christiansen. "Fourteenth-Century Italian Altarpieces." Metropolitan Museum of Art Bulletin 40 (Summer 1982), p. 19, fig. 17 (color), suggests dating it to the very end of the thirteenth century based on similarities with the Madonna and Child in the church of Santa Maria dei Servi in Bologna, attributed to Cimabue
Angelo Tartuferi. La pittura a Firenze nel Duecento. Florence, 1990, pp. 44, 93, fig. 161, considers it a late work of the Master of the Magdalen, and dates it about 1285–90.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, p. 436, classifies a punch mark appearing in this painting.
Victor M. Schmidt. Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250–1400. Florence, 2005, pp. 183, 202 n. 63, fig. 124.