Long thought to have come from the old collection of Electors of Brandenburg, the so-called Kunstkammer, this plaquette was indeed exchanged – willingly or not – with another one acquired by Wilhelm von Bode for the Museum of Strasbourg. Published as Donatello's work in pre-war literature, the plaquette is iconographically and formally associated with two works of Donatello’s immediate circle: an autograph terracotta relief from the Victoria and Albert Museum (called the Forzori Altar) and a drawing from the Galleria degli Uffizi, Florence (sometimes attributed to the young Giovanni Bellini). Horst Janson (1957) rejected the attribution to Donatello, seeing however a profound influence of the late Donatello style of the Paduan period, and dating the work in the 1460s. The two other versions of the plaquette, the cited one in Strasbourg and another one in the Musée du Louvre, Paris, have some differences in style and raise the question of the comparative dating of these objects.
In the mid-1950s, the plaquette was cleaned. In 2019, the lost fragment was attached, the surface was patinated and conserved.