Maurice W. Brockwell in A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., visconde de Monserrate. 3, London, 1915, p. 42, no. 423, ill. p. 40, attributes this picture to the "Early French School" and suggests it is a sixteenth-century archaizing version of an earlier work; admits, however, that it is difficult to establish a certain geographic origin for it; notes that it was brought from France by its previous owner and sold to Cook in 1901.
Chandler Rathfon Post. "The Catalan School in the Late Middle Ages." A History of Spanish Painting. 7, Cambridge, Mass., 1938, part 1, p. 170, fig. 40A, illustrates this panel as "Jaime Huguet (?)" and notes that, "patently belonging to the Catalan school of the middle of the Quattrocento, it displays to us types directly prophetic of those of Huguet's maturity"; also finds counterparts in the figures of the soldiers here to many figures of the Saint Bartholemew retable [see Ref. Cornudella i Carré 2008]; remarks that "the landscape and especially the trees suggest the influence of Huguet's probable early companion, the Sant Quirse Master".
Juan Antonio Gaya Nuño. La pintura española fuera de España. Madrid, 1958, p. 212, no. 1490, as from the school of Huguet.
Guy C. Bauman in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 112–13, no. 41, ill., catalogues it as the work of an unknown French or German painter, and places it in the late 15th century; notes that the stylized tree forms are found in pictures of this period from eastern Germany, but the closest analogies to its technique are paintings from eastern France.
Rafael Cornudella i Carré. E-mail to Carl Strehlke. April 28, 2008, notes that he saw this painting on a visit to the Museum and that in his opinion it is the work of an Aragonese painter, related to a group of works that Gudiol and others attribute to Huguet; sees a particular affinity with panels of a dispersed altarpiece with the life of Saint Bartholomew, four scenes of which are in the Museo de Bellas Artes, Bilbao, and two formerly in the Torelló collection (see photographs in Paintings Department archives); notes that although it is on exhibition, it is not an exceptional work.
Rafael Cornudella i Carré. E-mail to Mary Sprinson de Jesús. May 26, 2008, suggests dating it about 1440–60, or from the mid-fifteenth century.
Guadaira Macías Prieto. "Noves aportacions al catàleg de dos mestres aragonesos anònims, el Mestre de Sant Jordi i la princesa i el Mestre de Sant Bartomeu." Butlletí del Museu Nacional d'Art de Catalunya 11 (2010), pp. 50–51, 53–54, 60 nn. 46, 52, 53, p. 61 nn. 46, 52, 53, fig. 12 (color), attributes it to the Aragonese Master of Saint Bartholomew.