Roberto Longhi. Letter to Knoedler. [1952?], calls it a mature work by Paolo Uccello; identifies the saint on the left wing as Margaret, and the small kneeling figure in the Crucifixion as a patron abbess.
Alessandro Parronchi. "Due note para-uccellesche." Arte antica e moderna 30 (April–June 1965), p. 178, fig. 67a, attributes it to Paolo Uccello's daughter Antonia, a Carmelite nun; identifies Saint Bridget on the left wing, and states incorrectly that the Christ Child on the right is held by a female saint, not the Madonna.
Alessandro Parronchi. Paolo Uccello. Bologna, 1974, p. 66, fig. 24a, repeats the attribution to Uccello's daughter Antonia, and tentatively identifies the figure holding the Christ Child as Saint Francesca Romana [see Ref. Parronchi 1965].
Miklós Boskovits and Serena Padovani. The Thyssen-Bornemisza Collection: Early Italian Painting, 1290–1470. London, 1990, p. 178, fig. 3, as whereabouts unknown; attribute it to Uccello and consider it the artist's last known depiction of this subject.
Anna Padoa Rizzo. Paolo Uccello: catalogo completo dei dipinti. Florence, 1991, pp. 128, 132, apparently attributes it to one of Uccello's children, either Donato or Antonia, mentioning it as a work that reuses motifs from a Crucifixion in the Museo Thyssen-Bornemisza, Madrid, which she calls a late work by Uccello and collaborators (probably identifiable as one of these children).
Keith Christiansen in "Recent Acquisitions, A Selection: 1996–1997." Metropolitan Museum of Art Bulletin 55 (Fall 1997), p. 26, ill. (color), attributes it to Paolo Uccello and believes it was probably painted in the mid-1430s, possibly for the convent of Santa Maria del Paradiso near Florence; identifies Saint Bridget of Sweden on the left wing and the Virgin and Child on the right; notes the inscription identifying the small Brigitine nun kneeling in the Crucifixion as Suor Felicità.
Laurence B. Kanter. "The 'cose piccole' of Paolo Uccello." Apollo 152 (August 2000), pp. 17, 20 n. 28, fig. 13, accepts the attribution to Uccello.
Victor M. Schmidt. Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250–1400. Florence, 2005, pp. 120–21, 138 n. 45, p. 218, fig. 75, believes that the inscription identifying the kneeling nun as Sister Felicità was added after her death, hypothesizing that "after the death of the nun, the triptych remained in the convent, most likely Santa Maria del Paradiso just outside the walls of Florence, and her name was added to ensure that she continued to be remembered in her fellow nuns' prayers".
Miklós Boskovits. "Preghiere dipinte." Arte cristiana 94 (March–April 2006), pp. 82–83, fig. 3.
Hugh Hudson. Paolo Uccello: Artist of the Florentine Renaissance Republic. Saarbrücken, Germany, 2008, pp. 190–92, 200, 218 n. 6, p. 305, no. 35, attributes the design to Uccello and the execution to a workshop assistant, dating it to the late 1440s or early 1450s.
Aldo Galli in "Italian Paintings fro the 13th to 15th Century." The Alana Collection. 1, Florence, 2009, p. 134, discusses it in connection with a triptych of 1462 by Neri di Bicci also made for a nun of the Brigitine convent of Santa Maria del Paradiso near Florence.