Walter Cohen in Allgemeines Lexikon der bildenden Künstler. 7, Leipzig, 1912, p. 172, as certainly by Coffermans.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, p. 154, ill., note that Coffermans uses the same elements as Van der Goes and Gerard David, but in a "decidedly old-fashioned" manner for a work dated about 1550; observe that the signature "MARCEL HELMON. FEC." suggests that "Coffermans came originally from the small town of Helmont near the southern border of the present-day Netherlands".
Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 93–94.
R. H. Wilenski. Flemish Painters, 1430–1830. New York, 1960, vol. 1, pp. 126, 313, vol. 2, pl. 401, does not connect the "Marcel Helmon" of the inscription with Coffermans; says the picture may have been painted in Antwerp about 1550.
Friedrich Winkler. Das Werk des Hugo van der Goes. Berlin, 1964, p. 172 n. 2, compares the group of angels in this panel with that in Provost's "Virgin and Child" (now MMA 1976.201.17) and in the central panel of the altarpiece by the Master of Evora in the Museu Regional, Evora, Portugal; notes that the latter two compositions are based on a lost work of Hugo van der Goes.
Edward Morris and Martin Hopkinson. Walker Art Gallery, Liverpool: Foreign Catalogue. [Liverpool], 1977, text vol., p. 146, ascribe a "Nativity" in the Walker Art Gallery (no. 1993) to Coffermans on the basis of our signed picture of the same subject.
Matías Díaz Padrón. "Identificación de algunas pinturas de Marcelus Coffermans." Musées Royaux des Beaux-Arts de Belgique Bulletin 1–3 (1981–84), p. 49, fig. 11, says this belongs to Coffermans's style, and shows the obvious influence of Hugo van der Goes and Gerard David; mentions a signed replica in a private collection in Madrid, and another version on the art market in Madrid.
Walter S. Gibson. "Mirror of the Earth": The World Landscape in Sixteenth-century Flemish Painting. Princeton, 1989, p. 95 n. 9, states [erroneously] that Coffermans signed his name as "Lucas Helmon".
D. Beaujean in Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. 20, Munich, 1998, p. 142, lists it among accepted works of the artist.