Curt H. Weigelt. Duccio di Buoninsegna. Leipzig, 1911, pp. 193–94, 261, pl. 60 (with 41.190.31bc), with 41.190.31bc, as in the Perkins collection, Assisi; attributes it to a follower of Duccio close to Niccolò di Segna, and notes the connection of the scenes of the life of the Virgin to those in Duccio's Maestà.
V. Lusini. "Catalogo dei dipinti." Rassegna d'arte senese 8 (1912), p. 149, no. 64, with 41.190.31bc, as by Segna di Buonaventura, in a private collection, Florence; lists it among paintings of which photographs were included in the Duccio exhibition held in Siena in 1912.
Osvald Sirén. A Descriptive Catalogue of the Pictures in the Jarves Collection, Belonging to Yale University. New Haven, 1916, pp. 32–33, with 41.190.31bc, attributes it to the same follower of Duccio who painted a triptych in the Pinacoteca Nazionale, Siena (no. 35), and a small diptych of the Madonna and Child and the Crucifixion in the Jarves Collection at the Yale University Art Gallery.
F. Mason Perkins. "Some Sienese Paintings in American Collections: Part One." Art in America 8 (August 1920), p. 199.
Raimond van Marle. "The Sienese School of the 14th Century." The Development of the Italian Schools of Painting. 2, The Hague, 1924, p. 90, fig. 55, with 41.190.31bc, as School of Duccio; tentatively attributes this work and a Crucifixion in the collection of Prince Gagarin, Petrograd [St. Petersburg], to the same artist as the triptych in the Siena museum [see Ref. Sirén 1916]; rejects the connection with Niccolò di Segna [see Ref. Weigelt 1911].
Stella Rubinstein-Bloch. "Paintings—Early Schools." Catalogue of the Collection of George and Florence Blumenthal. 1, Paris, 1926, unpaginated, pl. XVI, with 41.190.31bc, as School of Duccio.
Curt H. Weigelt. Sienese Painting of the Trecento. Florence, 1930, p. 70 n. 28, p. 100 [Italian ed., Bologna, 1930, p. 65 n. 28, p. 95], with 41.190.31bc, attributes it to a follower of Duccio, close to his workshop, by whom no other works are known.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. XXI, with 41.190.31bc, as arte duccesca; rejects the attribution to Segna di Buonaventura [see Ref. Lusini 1912].
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 583, with 41.190.31bc, lists it as from the studio of Ugolino da Siena.
Lionello Venturi. "Romanesque and Gothic." Italian Paintings in America. 1, New York, 1933, unpaginated, pl. 26.
Raimond van Marle. "La scuola senese del XIV secolo." Le scuole della pittura italiana. 2, The Hague, 1934, p. 94, fig. 60.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 501.
Edward B. Garrison Jr. "The Oxford Christ Church Library Panel and the Milan Sessa Collection Shutters: A Tentative Reconstruction of a Tabernacle and a Group of Romanizing Florentine Panels." Gazette des beaux-arts, 6th ser., 29 (June 1946), p. 330 n. 15, mentions the incised haloes.
Esther Rezek Mendelsohn. "The Maestro di Monte Oliveto." Master's thesis, New York University, 1950, pp. 31–32, 37–40, 65–67 nn. 73, 75, 77, 80, attributes only the wings of the triptych to the Master of Monte Oliveto; does not provide an attribution for the central panel, but finds that it is more closely related to Simone Martini and that, although it may date from about the same time as the wings, it is by an artist who was more influenced by later artistic trends than the Master of Monte Oliveto.
Cesare Brandi. Duccio. Florence, 1951, p. 156 n. 34, with 41.190.31bc, attributes it to a follower of Ugolino, perhaps the same artist who painted the Saint Michael in the museum at Grosseto.
Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), ill. p. 9, with 41.190.31bc, as Workshop of Duccio.
Gertrude Coor-Achenbach. "Contributions to the Study of Ugolino di Nerio's Art." Art Bulletin 37 (September 1955), p. 163 n. 52, tentatively attributes it to the same follower of Ugolino who painted the "Saint John the Baptist Preaching" (Szépmuvészeti Múzeum, Budapest) and the figures of the Virgin, Saint John the Evangelist, and Saint Francis in Ugolino's "Crucifixion" (Pinacoteca Nazionale, Siena; no. 34), tentatively suggesting that this artist, who assisted Ugolino during the 1320s, might be his brother Guido or Minuccio.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 438.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 207, 291, 388, 396, 608, attribute it to the "school, shop, or studio" of Ugolino; question the identification of the female saint as Clare.
James H. Stubblebine. Letter to Katharine Baetjer. August 14, 1978, writes that in his forthcoming book [see Ref. 1979], he attributes it to a follower of Ugolino that he calls the Polyptych No. 39 Master [after a painting in the Pinacoteca Nazionale, Siena], who collaborated with the Master of Monte Oliveto in the 1320s.
James H. Stubblebine. Duccio di Buoninsegna and His School. Princeton, 1979, vol. 1, pp. 92, 100–101, 176, 178–79; vol. 2, figs. 228 (with 41.190.31bc), 442, accepts it as forming a triptych with 41.190.31bc, calling the work a collaboration between the Polyptych 39 Master (central panel) and the Master of Monte Oliveto (wings) and dating it about 1325; states that the presence of Saints Francis and Clare indicates that the work is of Franciscan origin.
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. 46–47, pl. 11 (with 41.190.31bc), attribute the wings to the Master of Monte Oliveto and the central panel to an assistant or follower of Ugolino da Siena; date the wings to about 1315–20 and the central panel perhaps somewhat later, discussing the possibility that the triptych might be the result of a later reconstruction rather than the product of a collaboration between two artists.