Beschreibung des Inhaltes der Sammlung von Gemälden älterer Meister des Herrn Johann Peter Weyer in Coeln. Cologne, 1852, p. 56, no. 180, as by an unknown painter.
F. A. Lehner. Fürstlich Hohenzollern'sches Museum zu Sigmaringen: Verzeichniss der Gemälde. Sigmaringen, 1871, p. 9, no. 29, as by Rogier van der Weyden.
Friedrich Winkler in "Vom neunten bis zum Ende des fünfzehnten Jahrhunderts." Belgische Kunstdenkmäler. 1, Munich, 1923, p. 254, as a characteristic work by Bouts.
Franz Rieffel. "Das Fürstlich Hohenzollernsche Museum zu Sigmaringen: Gemälde und Bildwerke." Städel-Jahrbuch 3–4 (1924), pl. 15, as by Bouts.
Max J. Friedländer. "Dierick Bouts und Joos van Gent." Die altniederländische Malerei. 3, Berlin, 1925, p. 127, no. 95a, lists this painting and one in the Albenas collection among the works of the followers and imitators of Bouts.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill.
Unknown Masterpieces in Public and Private Collections. 1, London, 1930, no. 36, ill.
Leo van Puyvelde. "Les primitifs flamands à l'exposition de Bruxelles." Revue belge d'archéologie et d'histoire de l'art 5 (1935), p. 314, calls it the work of a follower of Rogier van der Weyden.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 19, ill.
Max J. Friedländer. "Pieter Bruegel und Nachträge zu den früheren Bänden." Die altniederländische Malerei. 14, Leiden, 1937, p. 91, observes that it can be recognized since cleaning as an original work of Dieric Bouts and calls the Albenas example somewhat weaker.
Wolfgang Schöne. Dieric Bouts und seine Schule. Berlin, 1938, p. 215, no. 146.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 175, ill.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 18, ill.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 288.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 45–47, ill.
Erwin Panofsky. Early Netherlandish Painting: Its Origins and Character. Cambridge, Mass., 1953, vol. 1, p. 480 n. 2 (to p. 296), p. 492 n. 3 (to p. 317), states that it is erroneously ascribed to Bouts, and that it follows type of close-up Madonna portrayed by Saint Luke, listing examples of this type similar to ours; lists several Madonnas with neutral backgrounds as in ours, not attributable to Bouts.
Colin Eisler. "Erik Larsen, Les primitifs flamands au Musée Metropolitain de New York, 1960." Art Bulletin 46 (March 1964), p. 102.
Max J. Friedländer et al. "Dieric Bouts and Joos van Gent." Early Netherlandish Painting. 3, New York, 1968, pp. 73, 88–89 n. 75, no. 95a, pl. 98, calls it by a follower of Bouts (ed. since it has been cleaned it has been acknowledged to be an original Bouts).
Charles Sterling. Letter. February 20, 1971, states that it is by a follower of Bouts, and that the type of the Virgin, her hand, and the lyrical, slightly mannered feeling, are of the period of the Ursula Master, who worked after Bouts's death.
Important Old Master Pictures. Christie's, London. 1998, pp. 36–37, mention our picture in relation to the replica, formerly in the collection of Florence J. Gould, that was sold as lot 24.
Mary Sprinson de Jesús in From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 71, 74, 230–31, no. 52, ill. (color), places it in the last quarter of the 15th century.
Catheline Périer-d'Ieteren. Dieric Bouts: The Complete Works. Brussels, 2006, p. 161 n.1.
Lisa Monnas. Merchants, Princes and Painters: Silk Fabrics in Italian and Northern Paintings, 1300–1550. New Haven, 2008, p. 355 n. 83.