[Adolph Donath?]. "Der neuentdeckte Hieronymus Bosch." Kunstwanderer (May 1926), pp. 378–79, ill., publishes it as a work by Hieronymus Bosch.
Max J. Friedländer. Die altniederländische Malerei. Vol. 5, Geertgen van Haarlem und Hieronymus Bosch. Berlin, 1927, p. 149, no. 88.
Bryson Burroughs. "The Descent of Christ into Hell by Hieronymus Bosch." Metropolitan Museum of Art Bulletin 22 (November 1927), pp. 272–74, ill., as by Bosch, painted later than our Adoration of the Magi (acc. no. 13.26).
Charles de Tolnay. Hieronymus Bosch. Basel, 1937, p. 105, no. 58, ists it with disputed works of Bosch; dates it about 1540–50.
Sam A. Lewisohn. Painters and Personality: A Collector's View of Modern Art. [New York], 1937, p. 185, pl. 85.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 123–24, ill.
Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 98–99.
S. Bergmans in Le Siècle de Bruegel: la peinture en Belgique au XVIe siècle. Exh. cat., Musées Royaux des Beaux-Arts de Belgique. Brussels, 1963, pp. 136–37, attributes a nearly identical version (private collection, Brussels; formerly Mangilli-Valmarana collection, Venice) to Gillis Mostaert (1528-60), observing that the figure of Diogenes holding the lantern does not appear in the north before 1559, when Vascosan published a French translation of Plutarch's Lives.
Charles de Tolnay. Hieronymus Bosch. reprint of 1965 ed. [New York], 1966, p. 385, no. 58, pl. 54, lists it among disputed works; dates it about 1530–50.
Max J. Friedländer et al. Early Netherlandish Painting. Vol. 5, Geertgen tot Sint Jans and Jerome Bosch. New York, 1969, p. 85, no. 88, pl. 74, gives it to Bosch.
Nancy A. Corwin. "The Fire Landscape: Its Sources and Its Development from Bosch through Jan Brueghel I, with Special Emphasis on the Mid-Sixteenth Century Bosch "Revival"." PhD diss., University of Washington, Seattle, 1976, pp. 406–08, no. 144, pl. 173, calls it "Christ in Limbo" and ascribes it to a follower of Bosch; observes that although Gillis Mostaert is documented as having painted many versions of this subject, it does not resemble any known works of his.
Gerd Unverfehrt. Hieronymus Bosch: Die Rezeption seiner Kunst im frühen 16. Jahrhundert. Berlin, 1980, p. 289, no. 158, fig. 185.
Véronique Sintobin in From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Ed. Maryan W. Ainsworth and Keith Christiansen. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 36, 254–56, no. 64, ill. (color), dates it about 1550–60 and notes that a detail suggesting a date in the 1550s or later is the conspicuous sinking house in the form of a gigantic head, a motif that appears in Bruegel's drawing of the Temptation of Saint Anthony, dated 1559 (Ashmolean Museum, Oxford).
Mund et al. The Mayer van den Bergh Museum, Antwerp. Brussels, 2003, p. 401 n. 25.