V. Dirksen, 'Die Sammlung Wedells in Hamburg', Kunstchronik und Kunstmarkt, XXXIII, 1922, p. 757, as Circle of Bernardo Daddi.
A. Rohde, 'Die Galerie Wedells in Hamburg', Der Cicerone, XIV, no. 12, 1922, p. 506.
B. Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 166, as Daddi.
R. Van Marle, 'La Collezione del Haus Wedells di Amburgo', Dedalo, XIII, 1933, p. 244, illustrated pp. 245 and 246 (detail of donor), as Daddi.
R. Offner, A Critical and Historical Corpus of Florentine Painting, III, IV, Bernardo Daddi, His Shop and Following, New York, 1934, pp. 121-2, 133, pls. XLVIII, XLVIII1 (detail of Madonna and Child), XLVIII2 (detail of Mary Magdalen), XLVIII3 (detail of donor), as close following of Daddi.
B. Berenson, Pitture italiane del rinascimento, Milan, 1936, p. 142, as Daddi.
D.C. Shorr, The Christ Child in devotional images in Italy during the XIV century, New York, 1954, pp. 183-4, illustrated, as follower of Daddi.
B. Berenson, Italian pictures of the Renaissance: Florentine School, London and New York, 1963, I, p. 54, as Daddi.
B. Klesse, Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts, Bern, 1967, p. 192, no. 51d, as follower of Daddi.
M. Boskovits, in R. Offner, A critical and historical corpus of Florentine painting, III, IX, The painters of the miniaturist tendency, Florence, 1984, p. 32, note 98, as Daddi.
R. Offner, A critical and historical corpus of Florentine painting, III, III, The works of Bernardo Daddi (revised ed. by M. Boskovits), Florence, 1989, pp. 46 and 85, note 56, as close following of Daddi.
M. Boskovits, The Thyssen-Bornemisza Collection: Early Italian Painting, 1290-1470, London, 1990, p. 64, note 1.
R. Offner, A Critical and Historical Corpus of Florentine Painting, III, IV, Bernardo Daddi, His Shop and Following (revised ed. by M. Boskovits), Florence, 1991, pp. 23, 363-4, pls. XLVIII (prior to cleaning), XLVIII (detail of donors) (recording Klara Steinweg's manuscript opinion that painting, following its cleaning, is by Daddi himself), p. 389 (with Offner's attribution to the close following of Daddi), pp. 508, 511 (attributed by Boskovits to Daddi himself).
Hamburg, Kunsthalle, exhibition of Wedells collection, 1935.