Henry Fuseli. Letter to William Roscoe. April 30, 1794 [published in Hugh Macandrew, "Selected Letters from the Correspondence of Henry Fuseli and William Roscoe of Liverpool," Gazette des beaux-arts 62, pér. 6 (October 1963), p. 212], as "Nighthag Visiting Lapland Witches"; lists it among pictures he has painted for the Milton Gallery.
Henry Fuseli. Letter to William Roscoe. August 9, 1796 [published in Hugh Macandrew, "Selected Letters from the Correspondence of Henry Fuseli and William Roscoe of Liverpool," Gazette des beaux-arts 62, pér. 6 (October 1963), pp. 214–15], as "Similes of the Nighthag visiting the Lapland witches".
Allan Cunningham. The Lives of the Most Eminent British Painters, Sculptors, and Architects. Vol. 2, 2nd ed. London, 1830, pp. 303–4, states that when Fuseli sold the picture to Knowles in 1808, the artist called it "one of my very best—yet no one has asked its price till now—it requires a poetic mind to feel and love such a work".
John Knowles. The Life and Writings of Henry Fuseli. Ed. John Knowles. London, 1831, vol. 1, pp. 208, 408, reprints the catalogue of the 1799 Milton Gallery exhibition; notes that the picture is now in his [Knowles's] possession.
G. Walter Thornbury. "Fuseli in Somerset House." Art-Journal 22 (May 1, 1860), pp. 135–36.
Laurence Binyon. Catalogue of Drawings by British Artists and Artists of Foreign Origin Working in Great Britain. Vol. 2, London, 1900, p. 172, catalogues a drawing as by Fuseli, calling it "The Night Hag" and noting that Fuseli painted the same subject (the MMA work) for his Milton Gallery.
Arnold Federmann. Johann Heinrich Füssli: Dichter und Maler, 1741–1825. Zürich, 1927, p. 171, as "Lapland Orgies, the hell-hounds round Sin".
Gert Schiff. Johann Heinrich Füsslis Milton-Galerie. Zürich, 1963, pp. 14, 18, 38, 144, 163, calls it lost.
Marcia R. Pointon. Milton & English Art. Toronto, 1970, pp. 110, 256, illustrates Fuseli's drawing "The Night Hag" (British Museum, London), suggesting that it was probably a study for the MMA picture [the drawing bears no resemblance to the MMA work, the composition of which was unknown at the time of Pointon's writing].
Gert Schiff. Johann Heinrich Füssli, 1741–1825. Zürich, 1973, vol. 1, pp. 649, 704, no. 35 under lost works.
Paola Viotto. L'opera completa di Füssli. Milan, 1977, p. 97, no. 127.
Seventeenth, Eighteenth, and Nineteenth Century British Paintings. Sotheby's, London. July 9, 1980, pp. 108–10, no. 79, ill. (color), as the property of a gentleman; states that "its appearance . . . at Penkill Castle must have been at the instigation of David Scott, who was influenced by Fuseli and who was a close friend of the Boyd family".
Lucy Oakley in The Metropolitan Museum of Art: Notable Acquisitions, 1980–1981. New York, 1981, p. 46, ill.
Lawrence Feingold. "Fuseli, Another Nightmare: 'The Night-Hag Visiting Lapland Witches'." Metropolitan Museum Journal 17 (1982), pp. 49–61, fig. 1.
Christoph Becker. Johann Heinrich Füssli: das verlorene Paradies. Exh. cat., Staatsgalerie Stuttgart. Stuttgart, 1997, pp. 22–23, 33–34, no. 33, ill. (color), dates it 1796; discusses contrasting views of the Night-Hag's character, noting that Milton views her as harmless, while popular folklore portrays her as dangerous, particularly at the time of the new moon.
Martin Myrone. Gothic Nightmares: Fuseli, Blake, and the Romantic Imagination. Exh. cat., Tate Britain. London, 2006, pp. 140–41, no. 91, ill. (color).