Martin Conway. "Albert van Ouwater." Burlington Magazine 40 (March 1922), p. 120, ill. (frontispiece).
B[ryson]. B[urroughs]. "A Fifteenth-century Madonna." Metropolitan Museum of Art Bulletin 17 (August 1922), p. 176, ill. p. 177.
Otto Pächt. "Forschungen: Ein neuer Ouwater?" Kunstchronik und Kunstmarkt, n.s., 33 (September 1922), pp. 820–21.
Max J. Friedländer. Die altniederländische Malerei. Vol. 3, Dierick Bouts und Joos van Gent. Berlin, 1925, pp. 61, 112, no. 36, pl. XLIX.
Friedrich Winkler. "Der Meister der Habsburger: Ein unbeachteter alpenländischer Maler um 1500." Belvedere 9–10 (1926), pp. 49–50, pl. 5.
Franz Dülberg. Niederländische Malerei der Spätgotik und Renaissance. Potsdam, 1929, p. 76.
Ludwig von Baldass. "Die Entwicklung des Dirk Bouts." Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 6 (1932), pp. 80–81, 114.
Wolfgang Schöne. Dieric Bouts und seine Schule. Berlin, 1938, pp. 6–7, 23, 25, 30, 136–38, no. 22a, pl. 50b, considers it a copy after Dieric Bouts.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 52–53, ill.
Julius S. Held. "Book Reviews: Harry B. Wehle and Margaretta M. Salinger . . ., 1947." Art Bulletin 31 (June 1949), p. 142.
H[orst]. Gerson. De Nederlandse schilderkunst. Vol. 1, Van Geertgen tot Frans Hals. Amsterdam, , p. 14, pl. 16.
Hans Kauffmann. "Wolfgang Schöne, Dieric Bouts und seine Schule." Zeitschrift für Kunstgeschichte (1950), p. 131.
Erwin Panofsky. Early Netherlandish Painting: Its Origins and Character. Cambridge, Mass., 1953, vol. 1, p. 494 n. 3 (to p. 321), as probably by a follower of Ouwater and Bouts.
Middeleeuwse kunst der noordelijke Nederlanden. Exh. cat., Rijksmuseum. [Amsterdam], , p. 45, no. 11, comments on the South German character of the landscape, unusual in Netherlandish painting.
Albert Châtelet. "Albert van Ouwater." Gazette des beaux-arts, 6th ser., 55 (February 1960), pp. 66, 77, 78 n. 3, rejects the attribution of this panel to Ouwater, finding it closer to the early works of Dieric Bouts.
James E. Snyder. "The Early Haarlem School of Painting, I. Ouwater and the Master of the Tiburtine Sibyl." Art Bulletin 42 (1960), pp. 43–44, fig. 4.
Max J. Friedländer et al. Early Netherlandish Painting. Vol. 3, Dieric Bouts and Joos van Gent. New York, 1968, pp. 36, 64, no. 36, pl. 53, calls it the work of an unknown follower of Dieric Bouts.
Charles Talbot. Letter to Mary Sprinson. March 9, 1979, notes that aspects of the execution can be associated with Strigel and other Swabian and Upper Rhenish painters of around 1500, in particular the draftsman's or engraver's conventions in the painting; notes that the highlighted strands of hair are accentuated by line in a way uncommon to Bouts and the crosshatching on the drapery at the bottom does not seem Netherlandish.
Albert Châtelet. Early Dutch Painting: Painting in the Northern Netherlands in the Fifteenth Century. English ed. [French ed. 1980]. New York, 1981, pp. 78, 212, no. 54, agrees with Winkler [see Ref. 1926] that this is a copy of a lost early work by Dieric Bouts.
James Snyder. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. New York, 1985, p. 145, calls it a weak copy of this type of Bouts's Madonna and Child works.
Jeffrey Jennings. "Infrared Visibility of Underdrawing Techniques and Media." Le dessin sous-jacent dans la peinture. Ed. Roger van Schoute and Hélène Verougstraete-Marcq. Colloque 9, Louvain-la-Neuve, 1993, p. 242, pl. 99 (detail of reflectogram assembly), believes that the underdrawing began with a pricked design, which was "dutifully followed with a permanent medium".
James Snyder in The Dictionary of Art. Ed. Jane Turner. Vol. 4, New York, 1996, p. 590.
Mary Sprinson de Jesús 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. 232–33, no. 53, ill. (color), ascribes it to a German follower of Dieric Bouts, about 1500, noting that it cannot have been produced in Bouts's workshop as the support is pearwood, with a gesso preparation.
Annette LeZotte. The Home Setting in Early Netherlandish Paintings: A Statistical and Iconographical Analysis of Fifteenth- and Early Sixteenth-Century Domestic Imagery. Lewiston, N.Y., 2008, pp. 138–42.
Guido Messling in Van Eyck to Dürer: Early Netherlandish Painting & Central Europe, 1430–1530. Exh. cat., Groeningemuseum, Bruges. Tielt, Belgium, 2010, pp. 411–12, no. 226, ill. (color), attributes it to the workshop or circle of Hans Traut.