[Gustav Friedrich] Waagen. Treasures of Art in Great Britain. London, 1854, vol. 3, p. 206.
J. A. Crowe and G. B. Cavalcaselle. The Early Flemish Painters. 2nd ed. London, 1872, p. 298.
A Catalogue of the Pictures, Works of Art, &c. at Northwick Park. repr., with additions [1st ed., 1864]. [London], 1908, p. 28.
Arundel Club. Publications 10 (1913), no. 9, ill., as by Gerard David.
Tancred Borenius. Catalogue of the Collection of Pictures at Northwick Park. London, 1921, p. 58, no. 121.
Max J. Friedländer. "Quentin Massys." Die altniederländische Malerei. 7, Berlin, 1929, p. 134, no. 111.
Ellis K. Waterhouse. "The Winter Exhibition at the Burlington Fine Arts Club." Burlington Magazine 70 (1937), p. 45.
F. Grossmann. "Flemish Paintings at Bruges." Burlington Magazine 99 (January 1957), p. 4.
Leo van Puyvelde. La peinture flamand au siècle de Bosch et Breughel. Paris, 1962, p. 365.
Patrick Lindsay in Great Private Collections. New York, 1963, p. 43, ill.
Max J. Friedländer et al. "Quentin Massys." Early Netherlandish Painting. 7, New York, 1971, p. 73, no. 111, pl. 86.
Guy C. Bauman in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 54–57, no. 17, ill. (color), catalogues it as "Attributed to Gerard David," but observes that "the depth of space here, and the style of architecture, which reveals an advanced awareness of recent architectural developments in Italy, surpass anything in David's oeuvre and argue for as late a date as possible"; suggests that it is based on a lost composition by Gerard David, perhaps a free copy after Hugo.
Guy Bauman in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, pp. 50–51, ill. (color).
Hans J. van Miegroet. Gerard David. Antwerp, 1989, p. 312, no. 51, ill., as probably by a follower of David, perhaps an Antwerp master.
Introduction by Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, p. 328, no. 184, ill.
Cécile Scailliérez. "Entre enluminure et peinture: À propos d'un 'Paysage avec Saint Jérôme Pénitent' de l'École Ganto-Brugeoise récemment acquis par le Louvre." Revue des musées de France: Revue du Louvre no. 2 (1992), p. 22.
Maryan W. Ainsworth. "A Meeting of Sacred and Secular Worlds." 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. 314–317, no. 84, ill. (color, overall and detail), ascribes it to the workshop of David, about 1520, noting that it ultimately derives from Hugo's Monteforte Altarpiece (Gemäldegalerie, Berlin) but is loosely associated with David's Adoration in the National Gallery, London; credits De Vos with the discovery, in a private collection, of the wings for our panel.
Maryan W. Ainsworth. Gerard David: Purity of Vision in an Age of Transition. New York, 1998, p. 203 n. 50.
Maryan W. Ainsworth. "Was Simon Bening a Panel Painter?" Corpus of Illuminated Manuscripts 11–12 (2002), p. 11.
Mund et al. The Mayer van den Bergh Museum, Antwerp. Brussels, 2003, pp. 100, 117–20, 301, ill., compare it with an Adoration of the Magi in the Mayer van den Bergh Museum attributed to the Master of Hoogstraten.