Theodor Frimmel. Kleine Galeriestudien. 1, Bamberg, 1892, p. 120 n. 2, notes that he saw this picture quite recently at H. O. Miethke, Vienna.
[Theodor von] Fr[immel]. "Neuerwerbungen der Sammlung Matsvanszky in Wien." Blätter für Gemäldekunde 5 (May 1909), p. 67 n. **, states that it was with Miethke twenty years ago and is probably the work that was sold in an auction in Vienna in December 1872.
Gustav Delbanco. Der Maler Abraham Bloemaert (1564–1651). Strasbourg, 1928, pp. 24–25, 74, no. 8, fig. VIII 1, as in the collection of Prof. C. Glaser, Berlin.
Catharinus Marius Anne Alettus Lindeman Rijksuniversiteit te Utrecht. De Oorsprong, Ontwikkeling en Beteekenis van het Romanisme in de Nederlandsche Schilderkunst. Utrecht, 1928, p. 233, mentions a drawing in the Louvre which she calls a study for the MMA painting.
C. M. A. A. Lindeman. Joachim Anthonisz Wtewael. Utrecht, 1929, pp. 120, 233.
Frits Lugt. Inventaire général des dessins des écoles du nord: école hollandaise. 1, [Paris], 1929, p. 13, under no. 86, mentions it under the entry for the drawing, which he accepts as a study in spite of some weaknesses.
Marilyn Aronberg Lavin. "An Attribution to Abraham Bloemaert." Oud Holland 80, no. 2 (1965), p. 125, relates the male figure in the foreground at left to similar figures in the artist's "Apollo and Daphne" (Busch-Reisinger Museum, Cambridge, Mass.) and "Feast of the Gods" (Alte Pinakothek, Munich).
Marcel Röthlisberger in 14. Ausstellung. Exh. cat., Galerie Friederike Pallamar. Vienna, 1967, pp. 20–21.
Mary Lee Bennett and Agnes Mongan. Loan Exhibition: Selections from the Drawing Collection of David Daniels. Exh. cat., Minneapolis Institute of Arts. [Cambridge, Mass.?], 1968, unpaginated, under no. 5.
Lillian Hill in Dutch Mannerism: Apogee and Epilogue. Exh. cat., Vassar College Art Gallery. Poughkeepsie, 1970, pp. 18–19, no. 3, pl. 38, sees the influence of Spranger, Goltzius, and Cornelis van Haarlem; suggests that the standing female figure in the foreground symbolizes salvation through water; calls the Louvre drawing either a study for or a copy after the MMA painting.
Leonard J. Slatkes. "Dutch Mannerism." Art Quarterly 33, no. 4 (1970), p. 432, suggests that "it is an autograph replica, perhaps with some studio participation, of a now lost prime version" and adds that the Louvre drawing may be a copy after a lost drawing of the lost original painting; notes that Bloemaert is known to have painted this subject in 1591.
Marcel Röthlisberger. Letter. June 12, 1972, considers Slatkes's [see Ref. 1970] suggestion that the painting may be a replica unfounded.
John Walsh Jr. "New Dutch Paintings at The Metropolitan Museum." Apollo 99 (May 1974), pp. 340–41, 349 nn. 1–2, fig. 1, illustrates a drawing by Bloemaert of the same subject (Schlossmuseum, Weimar), possibly earlier; calls the Louvre drawing "surely a copy of a lost Bloemaert drawing" but rejects Slatkes's [see Ref. 1970] suggestion that the lost drawing was intended for another lost painting as well as his idea that the MMA painting is a replica of this lost painting.
Anne Walter Lowenthal. "Wtewael's 'Moses' and Dutch Mannerism." Studies in the History of Art 6 (1974), pp. 128, 130 n. 13, p. 131, 133, fig. 5.
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 92, ill.
Anne Walter Lowenthal. "The Paintings of Joachim Anthonisz. Wtewael (1566–1638)." PhD diss., Columbia University, New York, 1975, pp. 69, 74, fig. 11.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 276, 278, fig. 498 (color), as "possibly an autograph replica of a lost painting".
Larry Nichols. "Abraham Bloemaert's 'Christ and the Samaritan Woman'." Pharos 17, no. 1 (1980), p. 6, fig. 1, states that the central female figure "symbolizes salvation through living water since the Old Testament story . . . was understood as a prototype of New Testament baptism".
Anne W. Lowenthal. Joachim Wtewael and Dutch Mannerism. Doornspijk, The Netherlands, 1986, pp. 69–70, fig. 34, discusses this painting as an example of Bloemaert's style during the 1590s, when there was a close relationship between Bloemaert and Wtewael.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, pp. 179–80, fig. 254.
Peter C. Sutton in Ben Broos. "Recent Patterns of Public and Private Collecting of Dutch Art." Great Dutch Paintings from America. Exh. cat., Mauritshuis. The Hague, 1990, p. 104.
Ben Broos. Great Dutch Paintings from America. Exh. cat., Mauritshuis. The Hague, 1990, pp. 165–68, no. 8, fig. 1 (detail), ill. p. 164 (color), suggests that the subject is actually Aqua, with the central female figure personifying water; relates a drawing by Bloemaert in the Graphische Sammlung Albertina, Vienna, to the standing male figure at right.
William W. Robinson. Seventeenth-Century Dutch Drawings: A Selection from the Maida and George Abrams Collection. Exh. cat., Rijksprentenkabinet, Rijksmuseum, Amsterdam. Lynn, Mass., 1991, p. 20 n. 3, under no. 1.
Walter Liedtke in Masterworks from the Musée des Beaux-Arts, Lille. Exh. cat., The Metropolitan Museum of Art. New York, 1992, p. 95, under no. 11.
Marcel G. Roethlisberger. Abraham Bloemaert and His Sons: Paintings and Prints. Doornspijk, The Netherlands, 1993, vol. 1, pp. 22, 92–93, no. 46; vol. 2, colorpl. IV, figs. 81–85 (overall and details), lists three lost paintings of this subject by Bloemaert.
C. J. A. Wansink in The Dictionary of Art. 4, New York, 1996, p. 150.
Joaneath A. Spicer in Masters of Light: Dutch Painters in Utrecht During the Golden Age. Exh. cat., Fine Arts Museums of San Francisco. Baltimore, 1997, p. 24.
Christopher Brown. Utrecht Painters of the Dutch Golden Age. Exh. cat., Fine Arts Museums of San Francisco. London, 1997, pp. 22–23, 70, fig. 6 (color) and frontispiece (color detail).
Gero Seelig in Masters of Light: Dutch Painters in Utrecht During the Golden Age. Exh. cat., Fine Arts Museums of San Francisco. Baltimore, 1997, pp. 132–35, 271–72, 408, no. 1, ill. (color), relates the kneeling figure seen from the back at left, versions of which also occur in paintings by Cornelis van Haarlem, to one in Michelangelo's "Battle of Cascina"; also discusses derivations from ancient sculpture; rejects Broos's [see Ref. 1990] argument that the subject is actually an allegorical representation of water.
Peter C. Sutton in Dutch Classicism in Seventeenth-Century Painting. Exh. cat., Museum Boijmans Van Beuningen. Rotterdam, 1999, p. 124, under no. 15.
Marcel G. Roethlisberger. "Abraham Bloemaert: Recent Additions to His Paintings." Artibus et Historiae no. 41 (2000), pp. 160–61, fig. 11.
Marcel G. Roethlisberger and Sally Metzler et al. Abraham Bloemaert (1566–1651) and His Time. Exh. cat., Museum of Fine Arts, St. Petersburg, Fla. St. Petersburg, Fla., 2001, pp. 14, 16–17, 19, 30–31, 33, 53, 56, no. 3, ill. p. 38 (color).
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 59, 67, fig. 68 (color).
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. x, 42–44, no. 9, colorpl. 9.
Jaap Bolten. Abraham Bloemaert, c. 1565–1651: The Drawings. [The Netherlands], 2007, vol. 1, pp. 29, 31.
Gero Seelig in The Bloemaert Effect: Colour and Composition in the Golden Age. Exh. cat., Centraal Museum. Petersberg, Germany, 2011, pp. 86, 94, 100, no. 17, ill. p. 87 (color) [Dutch and German eds., 2011].
Liesbeth M. Helmus in The Bloemaert Effect: Colour and Composition in the Golden Age. Exh. cat., Centraal Museum. Petersberg, Germany, 2011, p. 10 [Dutch and German eds., 2011].