B[ernard]. Berenson. Letter to Mr. Paff. February 6, 1921, attributes it to Lippo Vanni.
B[ernard]. Berenson. "Un antiphonaire avec miniatures, par Lippo Vanni." Gazette des beaux-arts, 5th ser., 9 (May 1924), p. 282, ill. p. 283, dates it close in time to Vanni's triptych of 1358 in the convent of Santi Domenico e Sisto in Rome.
Bernard Berenson in The Michael Friedsam Collection. [completed 1928], p. 84.
Bernhard Berenson. Studies in Medieval Painting. New Haven, 1930, p. 59, fig. 50 [repr. of Ref. Berenson 1924].
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 588.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 31, no. 47.
Raimond van Marle. Le scuole della pittura italiana. Vol. 2, La scuola senese del XIV secolo. The Hague, 1934, p. 502 n. 2, erroneously as still in the Freedsam [sic] collection; lists it among paintings by Vanni.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 506.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 80, ill.
Mario Salmi. Miniatura e pittura durante il periodo gotico in Italia. Rome, , p. 71, mistakenly locates it in the Fogg Art Museum, Cambridge, Massachusetts; sees the influence of Memmi and notes that the checked design in the background reveals the influence of miniature painting.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 443.
Luciano Bellosi in Arte in Valdichiana dal XIII al XVIII secolo. Exh. cat., Fortezza del Girifalco. Cortona, 1970, p. 13, under no. 15, compares it with paintings in the Museo Civico, Lucignano, and the Walters Art Gallery, Baltimore, dating all three works early in Vanni's career.
Luisa Vertova. "Lippo Vanni Versus Lippo Memmi." Burlington Magazine 112 (July 1970), p. 441.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 208, 317, 438, 441, 607.
Carlo Volpe. "Su Lippo Vanni da miniatore a pittore." Paragone 27 (November 1976), p. 56, dates it after 1350.
Cristina De Benedictis. La pittura senese, 1330–1370. Florence, 1979, p. 99, as "Madonna col Bambino, due angeli e S. Agostino".
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. 98, pl. 20, call it a late work.
Sharon Dale. "Lippo Vanni: Style and Iconography." PhD diss., Rutgers University, New Brunswick, N.J., 1984, pp. 191–92, appendix II no. 18, fig. 192, attributes it to the Master of the Friedsam Madonna, an assistant in Lippo Vanni's workshop, along with five other works: two Madonnas (Städelsches Kunstinstitut und Städtische Galerie, Frankfurt; formerly Mario Pinci collection, Paris), Noli me tangere (Museo di Capodimonte, Naples), Dormition of the Virgin (formerly Staatliches Lindenau-Museum, Altenburg), and Crucifixion (University Museum, Göttingen).
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 202, 430, 438, ill. p. 202 (detail of punch mark), classifies the punch marks appearing in this painting.
Victor M. Schmidt. Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250–1400. Florence, 2005, pp. 210, 261 n. 20.
Renaissance. Christie's, New York. January 30, 2013, p. 26, under no. 102.