[Volterra, Florence, ?by 1925–at least 1928]; private collection, Florence (in 1926) or [art dealer, Florence, by 1925–at least 1928]; Mrs. Ben Ali Haggin, Florence, later Tuxedo Park, N.Y. (until 1949; sold to Duveen); [Duveen, New York, 1949–62; sold to Klopfer]; Mr. and Mrs. Donald Klopfer, New York and Bedford, N.Y. (1962–her d. 1979); Donald S. Klopfer, New York (1979–82)
Raimond van Marle. "Una Madonna di Filippino Lippi." Vita artistica 1 (February 1926), pp. 28–29, ill. (framed), as in a private gallery, Florence; attributes it to Filippino and calls it a late work, dating it between 1498 and 1501.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 12, The Renaissance Painters of Florence in the 15th Century: The Third Generation. The Hague, 1931, pp. 336–37, fig. 217, notes that he saw it some years ago in a private collection in Florence; calls it "probably a fragment of an Adoration of the Child" in the text, but "Madonna of the Annunciation" in the caption.
Katharine B. Neilson. Filippino Lippi: A Critical Study. Cambridge, Mass., 1938, pp. 215–16, rejects the attribution to Filippino and calls the picture a repetition of a Holy Family type, citing an example from the school of Filippino Lippi in the Accademia, Venice.
Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1982–1983. New York, 1983, p. 38, ill., calls it a fragment of a painting by Filippino, of which a version attributed to the School of Filippino is in the Musée du Petit Palais, Avignon (formerly Musée des Beaux-Arts, Lille).
Michel Laclotte and Élisabeth Mognetti. Avignon, musée du Petit Palais: Peinture italienne. 3rd ed. Paris, 1987, p. 125, under no. 112.
Marilena Tamassia. Collezioni d'arte tra Ottocento e Novecento: Jacquier fotografi a Firenze 1870–1935. Naples, 1995, pp. 162–63, 276, no. 56601, ill., attributes it to Filippino's workshop on p. 162 and to a follower of Filippino on p. 276; dates it 1480–85; relates it to two versions of "The Adoration of the Child" (Uffizi, Florence, inv. no. 3249; National Gallery of Art, Washington, inv. no. 1937.1.18); notes the influence of Botticelli; states that the Jacquier photograph was taken while the picture was in the Volterra collection, Florence.
Jonathan Katz Nelson and Louis A. Waldman. "La questione dei dipinti postumi di Filippino Lippi: Fra Girolamo da Brescia, il Maestro di Memphis e la pala d'altare a Fabbrica di Peccioli." Filippino Lippi e Pietro Perugino: la "Deposizione" della Santissima Annunziata e il suo restauro. Ed. Franca Falletti and Jonathan Katz Nelson. Livorno, 2004, pp. 142, 147 n. 11, attribute it to Filippino's workshop.
Michel Laclotte and Esther Moench. Peinture italienne: musée du Petit Palais Avignon. new ed. Paris, 2005, p. 140, under no. 159.