Robert Lehman. The Philip Lehman Collection, New York: Paintings. Paris, 1928, unpaginated, pl. II, attributes it to the Florentine school of about 1285.
Evelyn Sandberg Vavalà. L'iconografia della Madonna col Bambino nella pittura italiana del dugento. Siena, 1934, pp. 66, no. 195, observes its close relationship to the Madonna and Child in the church of Santa Maria dei Servi, Bologna, attributed here to Cimabue.
Roberto Longhi. "Giudizio sul Duecento." Proporzioni 2 (1948), p. 48, fig. 35, attributes it to the Master of Varlungo whom he considers a student of Cimabue.
Edward B. Garrison. Italian Romanesque Panel Painting. Florence, 1949, pp. 32, 44, no. 24, ill., attributes it to the Master of Varlungo, dating it 1285–90; observes considerable damage and retouching throughout.
Dorothy C. Shorr. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954, p. 118, ill. p. 124, attributes it to the Master of Varlungo and says that the tunic slipping off the Child's shoulder is a motif borrowed from Duccio.
Carlo Lodovico Ragghianti. Pittura del Dugento a Firenze. Florence, 1955, p. 127 [see Ref. Zeri and Gardner 1971], accepts the attribution to the Master of Varlungo, dating his activity between 1290 and 1310.
Ferdinando Bologna. La pittura italiana delle origini. Rome, 1962, p. 130 [English ed., 1964, p. 105], erroneously as still in the Lehman collection, New York; attributes it to the Master of Varlungo, observing the combined influence of Cimabue and Duccio.
Giovanni Previtali. Giotto e la sua bottega. Milan, 1967, pp. 30, 136 n. 104, calls it a work by the Master of Varlungo, and rejects Garrison's dating [see Ref. 1949]; notes a similarity in the Child to a Madonna and Child in the Contini Bonacossi collection, Florence.
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. 11–12, ill., attribute it to the Master of Varlungo and date it about 1290; discuss the artist's dependence on Cimabue and suggest the influence of the young Giotto.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 137, 311, 608, as by the Master of Varlungo.
Anna Maria Maetzke, ed. Arte nell'Aretino: recuperi e restauri dal 1968 al 1974. Exh. cat., church of San Francesco, Arezzo. Florence, 1974, pp. 34–36, mentions it in relation to a Madonna and Child from the church of Santa Maria in Stia, and accepts the attribution to the Master of Varlungo.
Luiz C. Marques. La peinture du Duecento en Italie centrale. Paris, 1987, pp. 195–96, 287, fig. 243, attributes it to the Master of Varlungo and dates it early 1280s.
Angelo Tartuferi. "Dipinti del Due e Trecento all mostra 'Capolavori & Restauri'." Paragone 38 (March 1987), pp. 51–52, 58–59 n. 23, pl. 59, rejects the attribution to the Master of Varlungo; discusses the Giottesque qualities that it shares with an altarpiece with Saint Michael the Archangel formerly in the Fiammingo collection, Rome, and a Madonna and Child in the Yale University Art Gallery, New Haven; suggests calling the artist of these three works the Pseudo-Master of Varlungo, active at the end of the thirteenth century, and notes Filippo Todini's agreement with this change in attribution.
Angelo Tartuferi. La pittura a Firenze nel Duecento. Florence, 1990, pp. 64–65, 113, fig. 231 [similar text as Ref. Tartuferi 1987], attributes it to the Pseudo-Master of Varlungo, an anonymous painter of the last decade of the thirteenth century
Daniela Parenti et al. in L'arte a Firenze nell'età di Dante (1250–1300). Ed. Angelo Tartuferi and Mario Scalini. Exh. cat., Galleria dell'Accademia. Florence, 2004, pp. 8, 63, 118, 120–21, no. 20, ill., attribute it to the Master of Varlungo and date it about 1285–95; state that it was with the dealer Paolo Paolini in Florence between 1916 and 1919; note that a photograph in Berenson's collection (Villa I Tatti, Florence) is inscribed "Ex S. Miniato?".
Angelo Tartuferi in Giotto e il Trecento: "Il più Sovrano Maestro stato in dipintura". Ed. Alessandro Tomei. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2009, p. 75, assigns it to the late period of the Master of Varlungo, along with the Madonna and Child at Yale and the work formerly in the Fiammingo collection, Rome [see Ref. Tartuferi 1987].
Angelo Tartuferi in Arte a Figline: dal Maestro della Maddalena a Masaccio. Ed. Angelo Tartuferi. Exh. cat., Palazzo Pretorio, Figline Valdarno. Florence, 2010, p. 105.