F. Mason Perkins. "Quattro tavole inedite del Sassetta." Rassegna d'arte 7 (March 1907), p. 46, attributes it to Sassetta, mentioning that it has recently been discovered in a private collection.
F. Mason Perkins. "Alcune opere d'arte ignorate." Rassegna d'arte 18 (1918), pp. 112–13, ill. p. 108, as in the Hendecourt collection, Paris; compares it with the artist's Madonna and Child in the Gemäldegalerie, Berlin, suggesting that both works derive from the same sketch.
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. XXV.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 9, Late Gothic Painting in Tuscany. The Hague, 1927, pp. 342–43, 346, groups it with the Berlin picture and a third Madonna in the Pinacoteca Nazionale, Siena, dating all three pictures prior to 1436 and discussing the influence of Giovanni di Paolo.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 512.
[F. Mason] Perkins in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 29, Leipzig, 1935, p. 482.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 441.
John Pope-Hennessy. Sassetta. London, 1939, pp. 69, 91 n. 33, pp. 113–14, 208, pl. XVI A, dates it 1436.
Cesare Brandi. Giovanni di Paolo. Florence, 1947, p. 73 n. 34.
Cesare Brandi. Quattrocentisti senesi. Milan, 1949, p. 190 n. 32, calls it close to Sassetta but of inferior quality.
Enzo Carli. Sassetta e il Maestro dell'Osservanza. Milan, 1957, pp. 38, 40, 127, discusses it in relation to similar compositions attributed to Sassetta, including the Madonna in Berlin, and additional works in the Strossmayer Gallery, Zagreb, the National Gallery of Art, Washington, and a private collection, Florence (now Pinacoteca Vaticana, Vatican City); finds the MMA picture to be superior to those in Berlin and Zagreb, and the one in the private collection to be the best of the series.
Guy-Philippe de Montebello. "Four Prophets by Lorenzo Monaco." Metropolitan Museum of Art Bulletin 25 (December 1966), p. 166, fig. 15.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 386.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 183, 331, 608.
Piero Torriti. La Pinacoteca Nazionale di Siena: I dipinti dal XII al XV secolo. Genoa, 1977, p. 246, under no. 325, lists it, together with the works in Washington, Berlin, Zagreb, and Vatican City, as an inferior version of the painting in Siena and probably executed in part by assistants.
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. 84–85, pl. 47, call it perhaps the latest of Sassetta's paintings of this subject, dating it after about 1444; consider the version in Zagreb to be stylistically closest to the MMA painting.
Vinko Zlamalik. Strossmayerova Galerija Starih Majstora Jugoslavenske Akademije Znanosti i Umjetnosti. Zagreb, 1982, p. 40, under no. 8.
Keith Christiansen in Painting in Renaissance Siena: 1420–1500. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 86–88, no. 4, ill. (color), discusses Sassetta's depictions of the Madonna of Humility, adding to the group a picture in the Frick Art Museum, Pittsburgh; dates the MMA panel to the end of the artist's career.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 81, 287, 352, 440, ill. p. 352 (detail of punch mark), classifies the punch marks appearing in this painting.
Matteo Mazzalupi in Pittura di luce: la "Madonna col Bambino" del Maestro di Pratovecchio. Exh. cat., Pinacoteca di Brera. Milan, 2011, pp. 43–44 n. 3, records his discovery of the red wax seal on the back of this painting, identifying it as the seal of the Manifattura Tabacchi di Roma and noting that the significance of the seal is not clear; lists four more paintings on which the seal is found.
Old Master & British Paintings. Christie's, London. July 3, 2012, p. 120, under no. 30.