Adolfo Venturi. "La quadreria Sterbini in Roma." L'arte 8 (1905), p. 432, attributes it to Neroccio de' Landi.
Adolfo Venturi. La galleria Sterbini in Roma. Rome, 1906, pp. 78, 83, no. 19, fig. 29, attributes it to Neroccio and dates it about 1475.
Francesco Sapori. "Una Madonna di Neroccio Landi di Bartolommeo alla Galleria Sterbini in Roma." Rassegna d'arte senese 5, no. 3 (1909), pp. 84–86, disagrees with Venturi's [see Ref. 1906] dating of the painting, ascribing it to the artist's late period.
F. Mason Perkins. "Alcuni dipinti senesi." Rassegna d'arte senese 7, nos. 1–2 (1911), pp. 18–19, ill. between pp. 18 and 19, as having recently entered the collection of George Blumenthal, New York; attributes it to Pietro di Domenico.
Stella Rubinstein-Bloch. "Paintings—Early Schools." Catalogue of the Collection of George and Florence Blumenthal. 1, Paris, 1926, unpaginated, pl. XXXIII, as by Pietro di Domenico.
Piero Misciattelli. "La donna senese del Rinascimento." La Diana 2, no. 4 (1927), ill. p. 233, as by Pietro di Domenico.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 456, lists it as by Pietro di Domenico.
[F. Mason] Perkins in Allgemeines Lexikon der bildenden Künstler. 27, Leipzig, 1933, p. 18, lists it as a work by Pietro di Domenico.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 392.
Raimond van Marle. The Development of the Italian Schools of Painting. 16, The Hague, 1937, pp. 312–13 n. 3, pp. 459–60, describes it as an isolated example in Pietro's oeuvre of the combined influence of Neroccio and Matteo di Giovanni; calls it an early work.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 343.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 165, 347, 608.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, pp. 64–65, pl. 73, call it one of Pietro's earliest known works.
Keith Christiansen et al. Painting in Renaissance Siena: 1420–1500. Exh. cat., The Metropolitan Museum of Art. New York, 1988, p. 345, gives it as an example of one of Pietro's earliest works, showing the combined influence of Benvenuto di Giovanni, Francesco di Giorgio, and Matteo di Giovanni.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, p. 473, classifies a punch mark appearing in this painting; lists it as by "Pietro di Domenico?".