Max J. Friedländer. Die altniederländische Malerei. Vol. 10, Lucas van Leyden und andere Holländische Meister seiner Zeit. Berlin, 1932, p. 130, no. 76, suggests that they are altarpiece wings from Engebrechtsz's workshop.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 24–25, ill., catalogue them as comparatively early works by Engebrechtsz.
Colin Eisler. "Erik Larsen, Les primitifs flamands au Musée Metropolitain de New York, 1960." Art Bulletin 46 (March 1964), p. 104.
Max J. Friedländer et al. Early Netherlandish Painting. Vol. 10, Lucas van Leyden and other Dutch Masters of his Time. New York, 1973, p. 78, no. 70, pl. 58.
Walter S. Gibson. The Paintings of Cornelis Engebrechtsz. PhD diss., Harvard University. New York, 1977, pp. 166–67, 246–47, nos. 31–32, fig. 41 (The Disrobing of Christ), as by an anonymous imitator, "Hand A," from Engebrechtsz's workshop; ascribes to the same hand as a small Crucifixion (Rijksmuseum, Amsterdam) and perhaps the Descent from the Cross, formerly in the Petri collection, Antwerp; observes similarities to Engebrechtsz's work of about 1505–10; notes that the dry surfaces, the flat, rather coarsely painted background, the heavy, simply arranged folds and the flabby appearance of the figures identify it as the work of a less able imitator.
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, p. 405, ill.