Inscription: Inscribed in Greek: The Koimesis - HKOIMHCIC; "The falling-asleep" (of the Virgin).

[ Arnold Seligmann, Paris (sold 1910)]; J. Pierpont Morgan (American), London and New York (1910–1913)

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Goldschmidt, Adolph. "Elfenbeinfälschungen." Mitteilungen des Museen-Verbandes 55 (February 1935). pp. 25–27, fig. 3.

Bonicatti, Maurizio. "Considerazioni su alcuni affreschi medioevali della Campania." Bollettino d'Arte, 4th ser., 43 (January–March 1958). pp. 19, 23 n. 9, fig. 9.

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Connor, Carolyn L. The Color of Ivory: Polychromy on Byzantine Ivories. Princeton, N.J.: Princeton University Press, 1998. pp. 21, 76, 84, fig. 11.

Koenen, Ulrike. "Faksimile und Fälschung: Von der Wertschätzung byzantinischer Kleinkunst in Mittelalter und Neuzeit." Mitteilungen zur spätantiken Archäologie und byzantinischen Kunstgeschichte 2 (2000). pp. 112–13, fig. 4.

Evans, Helen C., Melanie Holcomb, and Robert Hallman. "The Arts of Byzantium." The Metropolitan Museum of Art Bulletin, n.s., 58, no. 4 (Spring 2001). p. 48.

Gaborit-Chopin, Danielle. Ivoires Médiévaux, Ve-XVe siècle. Paris: Musée du Louvre, 2003. pp. 99, 109.

Ní Riordáin, Michelle, ed. Muire na mBard: Móradh na Maighdine. Dublin: Foilseacháin Ábhair Spioradálta, 2016. p. 8.

Squizzato, Alessandra Dr., and Francesca Tasso. Gli avori Trivulzio: arte, studio e collezionismo antiquario a Milano fra XVIII e XX secolo. Trivulziana, Vol. 15. Padua: Il Poligrafo, 2017. no. 15, pp. 203–204, fig. 50.