London and its Environs Described. London, 1761, vol. 1, p. 322, lists "A Schoolmaster," by Dou, 14 x 11 inches, in the collection of Sir Gregory Page, possibly this picture.
C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 1, London, 1907, p. 416, no. 208, as in the sale of Sir George [sic] Page and others, Paris, 1786.
W[ilhelm]. Martin. Gerard Dou, des Meisters Gemälde in 247 Abbildungen. Stuttgart, 1913, ill. p. 174, dates it about 1660–65.
H[ermann]. W. W[illiams]. Jr. "Dou's Evening School." Metropolitan Museum of Art Bulletin 35 (October 1940), p. 206, notes two larger paintings by Dou of the same subject in the Rijksmuseum, Amsterdam, and the Uffizi, Florence.
Alfred Werner. "Between Darkness and Light." Arts Magazine 43 (March 1969), p. 53, ill. p. 52.
Mary Frances Durantini University of California, Berkeley. The Child in Seventeenth-Century Dutch Painting. Ann Arbor, Mich., 1983, p. 154, fig. 78.
Werner Sumowski. "J. A. Backer–A. van Dijck." Gemälde der Rembrandt-Schüler. 1, Landau/Pfalz, 1983–[94?], p. 534, under no. 289.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 187.
Marco Chiarini. I dipinti olandesi del Seicento e del Settecento. Rome, 1989, p. 107, under no. 20.52.
Ronni Baer. "The Paintings of Gerrit Dou (1613–1675)." PhD diss., New York University, 1990, vol. 2, unpaginated, no. 68, and under nos. 66, 81, and 123; vol. 3, ill., dates it about 1655–57; compares it with "Old Woman Cutting Bread" (no. 66; private collection, Essen); discusses the subject.
Walter Liedtke in "Paintings, Drawings, and Prints: Art-Historical Perspectives." Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. 2, New York, , p. 142, no. 44, ill., dates it about 1655–60.
Ronni Baer. "A Dou for Boston." Collected Opinions: Essays on Netherlandish Art in Honour of Alfred Bader. London, 2004, p. 21, fig. 3.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 156–58, no. 36, colorpl. 36, states that it was probably painted by Dou about 1655–57, as suggested by Baer [see Ref. 1990], or within the next couple of years.