Arthur Weese. "Skulptur und Malerei in Frankreich im XV. und XVI. Jahrhundert." Handbuch der Kunstwissenschaft. Berlin, 1917, pp. 107, 110, ill., lists these panels, then in the Alte Pinakothek, Munich, as northern French, calling them part of the altarpiece of 1451 (MMA 32.100.108–11).
August L. Mayer. Unpublished opinion. June 1, 1929, notes that these panels came from the Alte Pinakothek in Munich where they were inventoried as French works of the 15th century.
Katharine Grant Sterne. "The French Primitives in the Friedsam Collection." Parnassus 4 (January 1932), p. 9, considers these panels more likely to by a Flemish than a French painter.
August L. Mayer. "Panneaux français inconnus." Gazette des beaux-arts, 6th ser., 15 or 16 (1936), pp. 279–81, ill., as from the same workshop as the northern French panels of 1451 [MMA 32.100.108–11]: comments on a [Dieric and Aelbert?] Bouts influence in the Resurrection and Crucifixion scenes.
Charles Sterling. La peinture française: Les peintres du moyen age. Paris, 1942, p. 52 (of Répertoire), no. 132, dates them about 1455 and attributes them to a Northern French artist under the direct influence of the Master of 1451, no doubt one of his pupils.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 8–9, ill. (Saint Francis and the Resurrection), ascribes them to a northern French artist, about 1460, and—based on the shared feature of a red background with gold stars—suggests these panels and the altarpiece of 1451 (MMA 32.100.108–11) may have come from related workshops; connects them stylistically with a group of paintings that includes the antependium of the church of Saint Wulfram in Abbeville, the altarpiece from Thuison-lès-Abbeville (Ryerson collection, Art Institute of Chicago), and the Mass of Saint Gregory (Louvre, Paris); also sees a link to paintings by Bouts of about 1460 and to works by his followers.