Stella Rubinstein-Bloch. "Paintings—Early Schools." Catalogue of the Collection of George and Florence Blumenthal. 1, Paris, 1926, unpaginated, pl. XX, as attributed to Lippo Memmi.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 41, tentatively lists it as by Barna da Siena.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 35.
Federico Zeri. Letter. March 15, 1958, attributes it to Andrea di Bartolo; states that it was formerly in the Lelli collection in Florence with a companion panel depicting Saint John the Baptist which reappeared on the art market in Florence in about 1943.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 26, tentatively attributes it to Barna da Siena and calls it the right panel of a polyptych.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 240, 437, 608, as by an unknown Sienese painter of the fourteenth century.
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. 13–14, pl. 21, attribute it to Francesco di Vannuccio, tentatively dating it to the 1370s.
Miklòs Boskovits. "Il gotico senese rivisitato: proposte e commenti su una mostra." Arte cristiana 71 (September–October 1983), p. 274 n. 36, attributes it to Niccolò di Buonaccorso.
Gaudenz Freuler. Letter to Keith Christiansen. October 10, 1990, attributes it to Niccolò di Buonaccorso.
Gaudenz Freuler. "Manifestatori delle cose miracolose": Arte italiana del '300 e '400 da collezioni in Svizzera e nel Liechtenstein. Exh. cat., Fondazione Thyssen-Bornemisza. Lugano, 1991, p. 70, under no. 19, attributes it to Niccolò di Buonaccorso.
Important Old Master Pictures. Christie's, London. April 23, 1993, p. 60, under no. 37.
Pia Palladino. Art and Devotion in Siena after 1350: Luca di Tommè and Niccolò di Buonaccorso. Exh. cat., Timken Museum of Art. San Diego, 1997, pp. 60, 77 n. 119, fig. 60, dates it to about the same time as Niccolò's Costalpino altarpiece of 1387 (formerly Heinz Kisters collection, Kreuzlingen; sold, Christie's, London, April 23, 1993, no. 37); calls it the sole surviving panel of a large-scale polyptych, but adds that the head of a Madonna in the Städelsches Kunstinstitut, Frankfurt, may come from the same altarpiece.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 109, 232, ill. p. 109 (detail of punch mark), as by Francesco di Vannuccio; classifies the punch marks appearing in this painting.
Andrea De Marchi in La collezione Salini: Dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV. Florence, 2009, vol. 1, p. 191, attributes it to Niccolò di Buonaccorso.