Raimond van Marle. Le scuole della pittura italiana. Vol. 2, La scuola senese del XIV secolo. The Hague, 1934, p. 106 n. 1 (continued from pp. 104–5), lists it among Ducciesque works; as in the collection of A. Lehman, New York.
Claus Virch. The Adele and Arthur Lehman Collection. New York, 1965, p. 14, ill., as attributed to Duccio, mentioning that Zeri has suggested an attribution to Segna [see Ref. 1963]; notes that the subject and composition indicate that the panel may originally have formed the central pinnacle of an altarpiece of the Madonna and Child with saints; gives provenance information.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 393, lists it as by Segna.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 186, 355, 609.
James H. Stubblebine. Letter to Katharine Baetjer. August 14, 1978, writes that in his forthcoming book [see Ref. 1979], he lists this picture as by Niccolò di Segna, states that it comes from a polyptych, and dates it about 1335.
James H. Stubblebine. Duccio di Buoninsegna and His School. Princeton, 1979, vol. 1, p. 154; vol. 2, fig. 476, lists it as by Niccolò di Segna, dates it about 1335, and states that it comes from a polyptych.
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, p. 90, pl. 3, suggest that it may have been the central pinnacle of a polyptych; date it to Segna's late period.