Catalogue of the Paintings in the Metropolitan Museum of Art. New York, 1905, p. 59, no. 27, attributes it to Domenico Ghirlandaio.
Bryson Burroughs. Catalogue of Paintings. 1st ed. New York, 1914, p. 131, calls it Florentine and dates it fifteenth century.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 37, attributes it to Alesso Baldovinetti and calls it a fragment.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 32.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 43, attributes it to an unknown Florentine painter and dates it to the third quarter of the fifteenth century.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 22.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, p. 142, ill., as "apparently by a follower of Domenico Ghirlandaio," resembling the work of Bartolomeo di Giovanni; date it to the fourth quarter of the fifteenth century and state that it may have come from a street tabernacle.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 83, 372, 545, 605, as from the "school, shop, or studio" of Domenico Ghirlandaio.