Inventario dei quadri di Solderio Patrizi. 1614 [A.S.C., Archivio Urbano, Sez. V, prot. 1, cc. 936r–938v; published in Anna Maria Pedrocchi, "Le stanze del tesoriere," Milan, (2000), p. 386], as "Un quadro d'una Madonna con S. Giuseppe e con un Cristarello con cornice dorata," without attribution, possibly this work.
Inventario dei quadri di Costanzo Patrizi. 1624, c. 105r [Archivio di Stato di Venezia, Archivio Patrizi Montoro, B 77, cc. 95v–105v; published in Anna Maria Pedrocchi, "Le stanze del tesoriere," Milan, (2000), p. 389], as "Un quadro d'una Madonna con Christarello et San Giovanni et San Giuseppe in tavola mano di Pierino del vago con cornice tutta indorata scudi 120," possibly this picture.
Inventario dei quadri di Mariano Patrizi. 1654, c. 50r [Archivio di Stato di Roma, 30 Notai Capitolini, Ufficio 10, not. Lucas Michelangelus, vol. 212, cc. 32r–78r; published in Anna Maria Pedrocchi, "Le stanze del tesoriere," Milan, (2000), p. 390], as "Un quadro in tavola di una Madonna Cristarello, San Giovanni e S. Giuseppe con cornice tocca d'oro," without attribution, possibly this picture.
Linda Wolk-Simon. "A New Painting by Perino del Vaga for the Metropolitan Museum of Art, New York." Burlington Magazine 153 (October 2011), pp. 644–49, fig. 1 (color), dates it to the mid-1520s by comparison with other works by Perino from that period; finds that it is inspired by various Florentine sources, especially the figure of Saint John the Baptist depicted with the attributes of Bacchus (a crown of vine leaves and a leopard-skin robe), "a distinctly Florentine iconographic convention current in the early decades of the sixteenth century," and suggests that the picture may have been painted for a Florentine patron.
Michael Gallagher. "A New Painting by Perino del Vaga: Recent Cleaning and Technical Observations." Burlington Magazine 153 (October 2011), pp. 650–52, figs. 10 (color, before treatment), 11 (color, during cleaning), 12 (x-radiograph), 13 (infrared reflectogram, color, and x-radiograph details), discusses the removal of the blue overpaint on the Madonna's mantle to reveal the original aqua color; notes that x-radiography and infrared reflectography show that Perino made almost no changes to the composition during the course of painting; states that technical analysis also detected tiny paint losses—related to the use of a pricked cartoon—that do not go all the way down to the gesso layer but only to what seems to be a layer of monochrome undermodelling, making it difficult to explain the artist's working method.
Andrea J. Bayer in "Recent Acquisitions, A Selection: 2010–2012." Metropolitan Museum of Art Bulletin 70 (Fall 2012), p. 25, ill. (color).