Franz Kugler. Kleine Schriften und Studien zur Kunstgeschichte. 2, Stuttgart, 1854, p. 321.
Katalog der Gemäldesammlung des verstorbenen Herrn Franz Anton Zanoli, jetzt im Besitz dessen Schwiegersohnes Max Clavé von Bouhaben. 1858 [see Refs. Parthey 1864 and Zeri and Gardner 1971].
G. Parthey. "L–Z." Deutscher Bildersaal. 2, Berlin, 1864, p. 45, no. 9, lists it as by Filippo Lippi, in the Clavé von Bouhaben collection, Cologne.
M[ax]. J. F[riedländer]. "Versteigerung der Sammlung von Clavé-Bouhaben." Repertorium für Kunstwissenschaft 17 (1894), p. 328, attributes it to Lippi's workshop, rather than to the master himself.
A Collection of Ancient Paintings, Objects of Art and Modern Paintings. New York, 1925, unpaginated, unnumbered, ill., as by Lippi.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill.
[Georg] Gronau in Allgemeines Lexikon der bildenden Künstler. 23, Leipzig, 1929, pp. 272–73, dates it after 1435 and connects it to the two panels representing four Fathers of the Church in the Accademia Albertina delle Belle Arti, Turin [see Notes]; mentions the influence of Masaccio.
Walter Heil. "The Jules Bache Collection." Art News 27 (April 27, 1929), p. 3, ill. p. 31, dates it to Lippi's late period.
August L. Mayer. "Die Sammlung Jules Bache in New-York." Pantheon 6 (December 1930), p. 541, ill. p. 540, dates it about 1440.
Otto H. Förster. Kölner Kunstsammler. Berlin, 1931, p. 99, lists it as from the collection of Johann Baptist Ciolina-Zanoli, Cologne (d. 1837).
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CLXXX, compares it to the altarpiece from the church of Santo Spirito (1437–38), now in the Musée du Louvre, Paris.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 288, lists it as by Lippi.
Bernardo Berenson. "Fra Angelico, Fra Filippo, e la cronologia." Bollettino d'arte 26 (July 1932), p. 21–22, fig. 16, dates it to the time of the Santo Spirito altarpiece (Musée du Louvre, Paris), near 1437, and dates the Turin panels a little later; observes the Byzantine and late Gothic style of the throne.
Giorgio Castelfranco. "Opere d'arte inedite alla mostra del tesoro di Firenze Sacra." Rivista d'arte 15 (1933), p. 88.
Lionello Venturi. "Fifteenth Century Renaissance." Italian Paintings in America. 2, New York, 1933, unpaginated, pl. 208.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 247, lists it as an early work by Lippi.
Georg Pudelko. "Per la datazione delle opere di Fra Filippo Lippi." Rivista d'arte 18 (1936), p. 58, connects it to the Turin panels and dates it between 1437 and 1441.
Mario Salmi. "La giovinezza di Fra Filippo Lippi." Rivista d'arte 18 (1936), p. 21 n. 1, calls it the central part of a triptych that had the Turin panels as wings, and dates it about 1440.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 10, ill.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 46, ill., dates it about 1440.
Robert Oertel. Fra Filippo Lippi. Vienna, 1942, pp. 22, 66, pl. 54, considers it the center of a triptych that had the Turin panels as wings; dates it about the time of Lippi's Tarquinia Madonna of 1437 in the Palazzo Barberini, Rome, and Annunciation in the church of San Lorenzo, Florence.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 9, ill.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 285.
Mary Pittaluga. Filippo Lippi. Florence, 1949, pp. 47, 210–11, fig. 17, notes the connection to the Turin panels, finding it close in date and style to the Tarquinia Madonna of 1437.
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 224, no. 76, colorpl. 76.
A[ndreina]. Griseri. "Una revisione nella galleria dell'Accademia Albertina in Torino." Bollettino d'arte 43 (1958), p. 69.
Eduard Trautscholdt. "Zur Vor- und Nachgeschichte einer Kölner Gemäldeversteigerung 1894." Mouseion: Studien aus Kunst und Geschichte für Otto H. Förster. Cologne, 1960, pp. 303, 305 nn. 18, 34–36, fig. 115, traces the history of the Zanoli collectin.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, pp. 113–14, as the companion to the Turin panels.
Bernard Berenson. Homeless Paintings of the Renaissance. Bloomington, 1970, pp. 215–16, 227, 229, 253, pl. 386 [similar text as Ref. Berenson (Bollettino d'arte) 1932].
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 83–85, ill., date it shortly after Lippi's stay in Padua, between the Tarquinia Madonna and the Santo Spirito altarpiece; note that the rose held by the Madonna may be an allusion to a verse from the Song of Solomon (2:1).
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 107, 327, 608.
Giuseppe Marchini. Filippo Lippi. Milan, 1975, pp. 26, 95, 97, 164, 200, 205, no. 10, fig. 15, identifies it as the center of a triptych but rejects the connection with the Turin panels; dates it between the Tarquinia Madonna and the Barbadori altarpiece, a Madonna and Child with saints and angels in the Musée du Louvre, Paris.
Edward Fowles. Memories of Duveen Brothers. London, 1976, p. 145, states that Duveen acquired it from Adolf Schaeffer's collection in 1921.
Mirella Levi d'Ancona. The Garden of the Renaissance: Botanical Symbolism in Italian Painting. Florence, 1977, p. 541, fig. 134, discusses the symbolism of the rose.
Francis Ames-Lewis. "Fra Filippo Lippi and Flanders." Zeitschrift für Kunstgeschichte 42 (1979), p. 269, dates it to the late 1430s and notes a relation to Flemish painting, suggesting that Lippi could have had "direct contact with the workshops of Tournai".
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 226, 232, fig. 402 (color).
Laurie Fusco. "An Unpublished 'Madonna and Child' by Fra Filippo Lippi." J. Paul Getty Museum Journal 10 (1982), pp. 1–9, fig. 3, dates it about 1437–38 and compares it to a Madonna and Child by Lippi in the Utah Museum of Fine Arts, Salt Lake City.
Pierluigi Gaglia in L'Accademia Albertina di Torino. Turin, 1982, pp. 138–39, dates the triptych to the end of the 1430s.
Jeffrey Ruda Harvard University. Filippo Lippi Studies: Naturalism, Style and Iconography in Early Renaissance Art. New York, 1982, p. 70 n. 22, p. 129 n. 21, p. 155, mentions it with other works by Lippi that date to the late 1430s, including the Tarquinia Madonna and the Barbadori altarpiece.
Eliot Wooldridge Rowlands. "Filippo Lippi's Stay in Padua and its Impact on his Art." PhD diss., Rutgers University, New Brunswick, N.J., 1983, pp. ix, 16–17, 38–42, 55, 90, 96–98, 114, 132, 158 n. 137, p. 159 n. 146, pp. 193–94 n. 353, fig. 5, dates it 1442–45, suggesting Lippi received the commission during his stay in Padua and completed it years later in Florence; discusses the influence of Flemish painting and states that the Christ Child derives from a prototype by Robert Campin; attributes the attendant angels to assistants.
Miklòs Boskovits. "Fra Filippo Lippi, i carmelitani e il Rinascimento." Arte cristiana 74 (July–August 1986), p. 249 n. 41.
Elisabeth de Boissard in Chantilly, musée Condé: Peintures de l'Ecole italienne. Paris, 1988, p. 117, under no. 60.
Miklós Boskovits in Opus Sacrum. Exh. cat., Royal Castle, Warsaw. Vienna, 1990, p. 71 n. 20.
Francis Ames-Lewis. "Painters in Padua and Netherlandish Art, 1435–1455." Italienische Frührenaissance und nordeuropäisches Spätmittelalter: Kunst der frühen Neuzeit im europäischen Zusammenhang. Munich, 1993, pp. 179, 184, 186–87, fig. 5.
G[iovanni]. Romano in Accademia Albertina: Opere scelte della Pinacoteca. Exh. cat.Turin, 1993, p. 34.
Jeffrey Ruda. Fra Filippo Lippi: Life and Work, with a Complete Catalogue. London, 1993, pp. 71, 84–85, 88, 374, 387–89, 405–6, no. 17a, colorpl. 44, pls. 218–20 (overall and details), dates it about 1435–37 and accepts the connection to the Turin panels; believes it was begun by Lippi before the Tarquinia Madonna and the Barbadori altarpiece.
Peter Humfrey. "The Bellini, the Vivarini, and the Beginnings of the Renaissance Altarpiece in Venice." Italian Altarpieces, 1250–1550: Function and Design. Oxford, 1994, pp. 146–47, pl. 97, suggests that the triptych was a source of inspiration for Carità altarpiece (Gallerie dell'Accademia, Venice), executed by Antonio and Giovanni Bellini in the mid-1440s.
Andrea De Marchi. "Un raggio di luce su Filippo Lippi a Padova." Nuovi studi 1 (1996), pp. 7, 15 n. 2.
Livia Carloni. "La Madonna di Filippo Lippi di Tarquinia." I Vitelleschi: fonti, realtà e mito. Civitavecchia, 1998, pp. 207, 211 [see Ref. Christiansen 2004].
Margaret L. Koster in Till-Holger Borchert. The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting, 1430–1530. Exh. cat., Groeningemuseum, Bruges. Ghent, 2002, fig. 106 (color reconstruction).
Keith Christiansen in Filippo Lippi: un trittico ricongiunto. Exh. cat., Pinacoteca dell'Accademia Albertina. Turin, 2004, pp. 12–14, 16, 26–28, no. 1, ill. pp. 17–19 (color, overall and details), fig. 3 (color, with Turin panels).
Dorothy Mahon in Filippo Lippi: un trittico ricongiunto. Exh. cat., Pinacoteca dell'Accademia Albertina. Turin, 2004, pp. 29–30, 32, fig. 6 (before restoration of 1979), describes in detail the conservation treatment of the painting carried out in 1950 and in 1979; adds that recent scientific analysis has determined the presence of both a proteinaceous binder (probably egg tempera) and oil in separate areas of the painting.
Daniele Sanguineti in Filippo Lippi: un trittico ricongiunto. Exh. cat., Pinacoteca dell'Accademia Albertina. Turin, 2004, pp. 33, 35, 38–40 n. 31, suggests that the altarpiece may originally have included a predella and additional panels, noting the Madonna's gaze and gesture of offering a flower.
Meryle Secrest. Duveen: A Life in Art. New York, 2004, p. 457.
Keith Christiansen in From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master. Exh. cat., The Metropolitan Museum of Art. New York, 2005, pp. 52–53, 138, 143, no. 1B, ill. pp. 20 (color detail), 139 (color, with Turin panels), 140 (color) [Italian ed., "Fra Carnevale . . . ," Milan, 2004, pp. 53, 138, 143, no. 1a, ill. pp. XIV (color detail), 139 (color, with Turin panels), 140 (color)], believes that it was painted in Florence, where it influenced Pesellino, and that it was begun in the late 1430s and completed in about 1440; suggests that it was painted for the Gesuati or the Augustinians, or for a foundation outside Florence.
Andrea De Marchi in Da Allegretto Nuzi a Pietro Perugino. Exh. cat., Moretti. Florence, 2005, pp. 104, 107, 109–10, states that it "can be placed exactly between the 'Madonna and Child' painted for Cardinal Giovanni Vitelleschi (Rome, Galleria Nazionale d'Arte Antica), dated 1437, and the Barbadori altarpiece for Santo Spirito in Florence, now in the Louvre, commissioned shortly before 8 March 1437 and in course of execution in 1438".
Andrea Di Lorenzo in From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master. Exh. cat., The Metropolitan Museum of Art. New York, 2005, p. 144 [Italian ed., "Fra Carnevale: un artista rinascimentale da Filippo Lippi a Piero della Francesca," Milan, 2004].
Vincenzo Gheroldi in Marco Palmezzano: il rinascimento nelle Romagne. Exh. cat., Musei San Domenico, Forlì. Milan, 2005, p. 129.
Luke Syson. "Fra Carnevale." Burlington Magazine 147 (February 2005), p. 137.
Doris Carl. Benedetto da Maiano: A Florentine Sculptor at the Threshold of the High Renaissance. Turnhout, Belgium, 2006, vol. 1, p. 102; vol. 2, fig. 42, relates the motif of the kicking child to that seen in works by Luca della Robbia such as his Madonna and Child in the Museo di San Marco, Florence.
Andrea De Marchi in Mantegna: La prédelle de San Zeno de Vérone, 1457–1459. Exh. cat., Musée des Beaux-Arts de Tours. Cinisello Balsamo, Milan, 2009, p. 20 n. 8.
Andrea De Marchi in Da Donatello a Lippi: officina pratese. Exh. cat., Museo di Palazzo Pretorio, Prato. Milan, 2013, p. 154, under no. 4.3, dates the triptych about 1437–38, comparing elements of the composition with a small altarpiece for private devotion (private collection).