Roberto Longhi. "Qualità e industria in Taddeo Gaddi, I." Paragone 9 (January 1959), pp. 37–40, pl. 15, as in a private collection; attributes it to Taddeo Gaddi and dates it 1334–40 based on stylistic similarities with the work of Maso di Banco; calls it part of an altarpiece, tentatively suggesting a connection to a lost work by Taddeo recorded by Ghiberti and Vasari in the church of Santissima Annunziata, Florence (formerly Santa Maria dei Servi).
Alessandro Parronchi. Studi su la dolce prospettiva. Milan, 1964, pp. 137–38, suggests that it formed a pinnacle of Taddeo's lost altarpiece from the church of Santissima Annunziata (formerly Santa Maria dei Servi), dating this work about 1332.
Pier Paolo Donati. Taddeo Gaddi. Florence, 1966, p. 31.
Alessandro Conti. "Pittori in Santa Croce: 1295–1341." Annali della Scuola Normale Superiore di Pisa, 3rd ser., 2, no.1 (1972), p. 260.
Massimo Ferretti. "Una croce a Lucca, Taddeo Gaddi, un nodo di tradizione giottesca." Paragone 27 (July–September 1976), p. 26, dates it 1340s.
Antonella Nesi. "San Lorenzo a Montegufoni, San Domenico a Prato e un'asta londinese: proposte e novità per Taddeo Gaddi." Paragone 32, no. 373 (March 1981), p. 52.
Andrew Ladis. Taddeo Gaddi: Critical Reappraisal and Catalogue Raisonné. Columbia, Mo., 1982, pp. 220, no. 49, fig. 49–1, dates it about 1345; lists it with works largely by the shop of Taddeo Gaddi, but attributes the design and some of the painting to Taddeo himself.
Magnolia Scudieri in Il Museo Bandini a Fiesole. Florence, 1993, p. 82, identifies the Annunciation in Fiesole as coming from the church of the Compagnia di Santa Maria della Croce al Tempio in Florence based on the medallions in the upper left and right corners and on Richa's mention of "una Nunziata assai antica" on the high altar of that church ("Notizie istoriche delle chiese fiorentine divise ne' suoi quartieri," Florence, vol. 2, 1755, p. 132).
Erling S. Skaug. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting. Oslo, 1994, vol. 1, p. 93; vol. 2, punch chart 5.2, as location unknown; relates it to the Saint Anthony Abbot in the collection of Alexander Rudigier, Munich; lists it with works by Taddeo and identifies punch marks that it possibly shares with works by the Master of the Dominican Effigies, the Master of San Lucchese, and Agnolo Gaddi.
Keith Christiansen in "Recent Acquisitions, A Selection: 1996–1997." Metropolitan Museum of Art Bulletin 55 (Fall 1997), p. 24, ill. (color), calls it the cut-down lateral panel of an altarpiece from which no other fragments are known; dates it early 1340s and considers it contemporary with the altarpiece by Taddeo also in the MMA (10.97).
Miklós Boskovits. Letter to Everett Fahy. March 5, 2001, identifies its "companion piece" as a Saint Anthony Abbot (Rudigier collection, Munich); notes that this relationship was known to Offner.
Angelo Tartuferi in Dagli eredi di Giotto al primo Cinquecento. Florence, 2007, pp. 18, 20, 23 n. 2, pp. 24, 26–27 n. 2, figs. 1, 3 (reconstruction), publishes a reconstruction of the altarpiece, with the Annunciation in the Museo Bandini, Fiesole, flanked by Saints Julian and Anthony Abbot, noting that Scudieri [see Ref. 1993] has shown that the Annunciation comes from the church of the Compagnia di Santa Maria della Croce al Tempio, founded in 1343.
Erling Skaug. "The Santa Felicita Altarpiece and Some Observations on Taddeo Gaddi's Punchwork and Halo Style c. 1345–1355." Il polittico di Taddeo Gaddi in Santa Felicita a Firenze: restauro, studi e ricerche. Florence, 2008, pp. 53–54, dates it 1345–50, noting the undulating vine motif of the border, and wonders whether it, the Saint Anthony Abbot, and the Annunciation in Fiesole might have belonged together.
Angelo Tartuferi in L'eredità di Giotto: arte a Firenze 1340–1375. Exh. cat., Galleria degli Uffizi. Florence, 2008, pp. 120, 122, no. 14c, fig. 1 (color, reconstruction).
Norman E. Land. "Artistic Errors in a Tale about the 'Piovano' Arlotto." Source: Notes in the History of Art 29 (Winter 2010), p. 3, fig. 1.