Stella Rubinstein-Bloch. "Paintings—Early Schools." Catalogue of the Collection of George and Florence Blumenthal. 1, Paris, 1926, unpaginated, pl. XXIII bis, as by Paolo di Giovanni Fei.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 183.
[F. Mason] Perkins in Allgemeines Lexikon der bildenden Künstler. 26, Leipzig, 1932, p. 211.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 158.
Dorothy C. Shorr. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954, pp. 68, 73, 191, ill. p. 82, states that the motif of the suckling Child who grabs his foot first appears in a panel by a Paduan follower of Lorenzetti (Museo Civico, Padua), and that Fei depicts the motif a second time in a picture formerly in the Platt collection, Englewood, New Jersey.
Colin Eisler. "Verre Églomisé and Paolo di Giovanni Fei." Journal of Glass Studies 3 (1961), pp. 30–37, ill. (overall and details of medallions), discusses the technique of "verre églomisé" used to create the medallions on the engaged frame and the Virgin's cloak, suggesting that they may have been done by Fei himself; identifies the heads on the medallions in the frame as (from top left to bottom right): the Archangel Gabriel and the Virgin Annunciate, Saints Paul and Peter, Saints John the Baptist and Matthew, and Saints John the Evangelist and (tentatively) Catherine of Alexandria; identifies the head on the Virgin's cloak as Christ; suggests that the lost medallion at the top center of the frame may have depicted the dove of the Holy Spirit.
Michael Mallory. "Toward a Chronology for Paolo di Giovanni Fei." Art Bulletin 46 (December 1964), p. 530, calls it an early work.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 129.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 69, 346, 608.
Simona Grazzini in Jacopo della Quercia nell'arte del suo tempo. Exh. cat., Palazzo Pubblico, Siena. Florence, 1975, p. 18, fig. I.2.
Michael Mallory Columbia University. The Sienese Painter Paolo di Giovanni Fei (c. 1345–1411). New York, 1976, pp. 32–38, 41–55, 225, 227–28, no. 2, pl. 5, discusses the artist's sources for the composition, including two works by Ambrogio Lorenzetti (San Francesco, Siena, and Vico l'Abate) and one attributed to Ceccarelli (formerly San Martino, Siena); relates it to a similar work by Fei then with Wildenstein, London (formerly Platt collection, Englewood, New Jersey), cataloguing both paintings as Fei's earliest works, from about 1380.
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. 58–59, pl. 32, state that although the work cannot be securely dated, the fact that the composition is based on a much earlier Simonesque prototype may indicate that it was made early in the artist's career; relate it to the Madonna by Ceccarelli (San Martino, Siena); depart slightly from Eisler's [see Ref. 1961] identification of the saints in the medallions, tentatively placing John the Evangelist opposite Saint John the Baptist and calling the head at the bottom left unidentified.
Keith Christiansen. "Fourteenth-Century Italian Altarpieces." Metropolitan Museum of Art Bulletin 40 (Summer 1982), pp. 10, 12, fig. 13 (color), believes that the composition is probably based on a lost work by Ambrogio Lorenzetti; dates it about 1380, early in Fei's career when he was most influenced by Ambrogio.
David Alan Brown. Andrea Solario. Milan, 1987, p. 202 n. 152, fig. 152.
Adam S. Labuda in Opus Sacrum. Exh. cat., Royal Castle, Warsaw. Vienna, 1990, pp. 43–44, fig. 2.
Timothy J. Newbery and Laurence B. Kanter in Italian Renaissance Frames. Exh. cat., The Metropolitan Museum of Art. New York, 1990, pp. 34–35, no. 3, ill. (color), describe the frame, dating it about 1390.
Erling S. Skaug. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting. Oslo, 1994, vol. 1, p. 56 n. 54.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 219, 318, classifies the punch marks appearing in this painting.