Gustav Wilhelm. Letter to Margaretta Salinger. September 26, 1973, describes markings on the front and back of the picture, identifying the seal in the lower-right corner as the Liechtenstein coat of arms of 1733; gives provenance information.
John Rupert Martin and Gail Feigenbaum. Van Dyck as Religious Artist. Exh. cat., Art Museum, Princeton University. Princeton, 1979, p. 54, fig. 11, notes that it is sometimes incorrectly called a Magdalen.
Erik Larsen. L'opera completa di Van Dyck. Milan, 1980, vol. 1, pp. 86–87, no. 22, ill., dates it about 1614–15.
Margaret Roland. Letter to Walter Liedtke. October 18, 1981, dates it to the first Antwerp period.
Christopher Norris. Letter to Walter Liedtke. June 2, 1982, observes similarities with the "Lamentation" in Munich; believes the handwriting on the paper is closer to Van Dyck's than to Rubens's.
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 77–79; vol. 2, pl. 32, calls it "characteristic of the first years of Van Dyck's maturity"; suggests that the writing on the paper might be Rubens's, consistent with a dating of the sketch to the years in which Van Dyck worked in his shop.
Walter A. Liedtke. "Flemish Paintings in the Metropolitan Museum—II: Van Dyck, Jordaens, Brouwer, and Others." Tableau 6 (February 15, 1984), pp. 30–31, 33 n. 15.
Walter A. Liedtke. "Anthony van Dyck." Metropolitan Museum of Art Bulletin 42 (Winter 1984/85), pp. 16, 18, 32, fig. 13 (color).
Erik Larsen. The Paintings of Anthony van Dyck. Freren, Germany, 1988, vol. 1, p. 436, 466, fig. 475; vol. 2, p. 21, no. 28, places it among works of about 1614–15.
Julius S. Held in Anthony van Dyck. Exh. cat., National Gallery of Art. Washington, 1990, pp. 332, 347–48, no. 95, ill. (color), dates it about 1630 and calls it a study for Van Dyck's "Mystic Marriage of Saint Catherine" (Royal Collection, London).
Arthur K. Wheelock Jr. in Anthony van Dyck. Exh. cat., National Gallery of Art. Washington, 1990, p. 226.
Michael Jaffé. "Washington: Van Dyck at the National Gallery of Art." Burlington Magazine 133 (February 1991), p. 144, rejects Held's association of the sketch with the "Mystic Marriage of Saint Catherine" (Royal Collection, London) [see Ref. Held 1990], dating it not later than about 1625.
Introduction by Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, p. 332, no. 212, ill.
Nancy T. Minty. In the Eye of the Beholder: Northern Baroque Paintings from the Collection of Henry H. Weldon. Exh. cat., New Orleans Museum of Art. New Orleans, 1997, p. 41, under no. 16.
Andrea Kirsh and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000, pp. 65, 67, fig. 71.
Walter Liedtke. "Toward a New Edition of Flemish Paintings in the Metropolitan Museum of Art." Munuscula Amicorum: Contributions on Rubens and His Colleagues in Honour of Hans Vlieghe. 2, Turnhout, 2006, p. 678 n. 25.