Robert Dell. Letter to Bryson Burroughs. June 4, 1909, provides provenance information.
R[oger]. E. F[ry]. "A Tondo by Lorenzo di Credi." Metropolitan Museum of Art Bulletin 4 (October 1909), pp. 186–88, ill., attributes it to Lorenzo di Credi and dates it between similar compositions in the Staatliche Kunsthalle, Karlsruhe, and the Gemäldegalerie, Berlin; considers it the original from which a version in the Alte Pinakothek, Munich, was copied.
Morton H. Bernath. New York und Boston. Leipzig, 1912, p. 72, fig. 73, attributes it to Lorenzo di Credi.
Bryson Burroughs. Catalogue of Paintings. 1st ed. New York, 1914, p. 53, attributes it to Lorenzo di Credi.
Raimond van Marle. "The Renaissance Painters of Florence in the 15th Century: The Third Generation." The Development of the Italian Schools of Painting. 13, The Hague, 1931, pp. 294–95, fig. 203, attributes it to Lorenzo di Credi and dates it before 1510.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 297, lists it as a work painted in great part by Lorenzo di Credi.
Bernhard Degenhart. "Die Schüler des Lorenzo di Credi." Münchner Jahrbuch der bildenden Kunst, n.s., 9 (1932), pp. 131, 160, lists as a late work by Lorenzo di Credi, dating it in the sixteenth century.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 255.
Moritz Hauptmann. Der Tondo: Ursprung, Bedeutung und Geschichte des italienischen Rundbildes in Relief und Malerei. Frankfurt, 1936, p. 206, calls it a later variation of the Karlsruhe tondo, and believes it may be by Credi's own hand except for the oversimplified background; dates it about 1490 and refers to a Dürer drawing of 1495 that shows the Child in the same pose.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 55, ill., as "Madonna Adoring the Child with the Infant Saint John the Baptist and an Angel".
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 116.
Gigetta Dalli Regoli. Lorenzo di Credi. Milan, 1966, pp. 62–63, 159–60, no. 127, fig. 167, attributes it to Lorenzo di Credi, suggesting that it may be the earliest version from a group of Adoration tondi (Alte Pinakothek, Munich; Galleria Borghese, Rome; Galleria degli Uffizi and Fondazione Horne, Florence).
Everett Fahy. "The Earliest Works of Fra Bartolommeo." Art Bulletin 51 (June 1969), p. 144, n. 9, suggests that it may be the prototype for a tondo (Alte Pinakothek, Munich) that he attributes to the early period of Fra Bartolomeo, showing the same composition in reverse.
Anabel Humphreys. "Credi, Tommaso and a York Tondo." Preview 22 (April 1969), pp. 787–88, lists eight works attributed to Lorenzo di Credi, his school, or "Tommaso" (a personality identified by Berenson and listed in Refs. Berenson 1932 and 1963) that she believes depend closely on the MMA tondo.
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, pp. 157–58, ill., note that the theme was often repeated in the workshop of Lorenzo di Credi; attribute it in great part to Credi himself with some details possibly executed by helpers.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 110, 344, 606.
John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. London, 1984, p. 234.
Emmanuel Starcky in Dessins de Dürer et de la Renaissance germanique dans les collections publiques parisiennes. Exh. cat., Musée du Louvre. Paris, 1991, p. 46, under no. 32.
Everett Fahy in L'età di Savonarola: Fra Bartolomeo e la scuola di San Marco. Exh. cat., Palazzo Pitti, Florence. Venice, 1996, p. 6, fig. 2.
Hélène Grollemund in Dürer e l'Italia. Exh. cat., Scuderie del Quirinale, Rome. Milan, 2007, p. 223, under no. IV.2.