Mortimer S. Brandt. Letter to Harry B. Wehle. December 10, 1934, attributes it to Giovanni Domenico Ferretti.
Rosamond Gilder. "The Mirror of the Theatre." Theatre Arts Monthly 21 (August 1937), ill. p. 628, as a sketch by Giovanni Ferretti.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 291–92, ill., attributes it to Ferretti.
Jirí Hilmera. Letter to Claus Virch. June 2, 1964, states that the paintings in the ballroom of Ceský Krumlov are signed "Jos.Lederer" and dated 1748, and are the only known works by the artist; believes that the quality of the present picture, which corresponds to the painting on one wall, is too high to be by Lederer; notes that if this is a model, by Ferretti or some other artist, it should be part of a set since the decoration is homogeneous.
Edward A. Maser. Letter to Theodore Rousseau. June 18, 1965, calls it a sketch by the Augsburg artist Johan Georg Lederer.
Jirí Hilmera. "Die Bühnenbildnerischen Beziehungen zwischen Böhmen und Österreich im 17. und 18. Jahrhundert." Maske und Kothurn 12 (1966), p. 164, pl. X, fig. 2, tentatively attributes it to the architect Andreas Altomonte, who may have been responsible for the design of both the ballroom and its decoration.
Bruno Bushart. Deutsche Malerei des Rokoko. Königstein, 1967, p. 24, ill. p. 48, attributes it to Josef Lederer.
Edward A. Maser. "A Masked Ball in Bohemia." Festschrift Ulrich Middeldorf. Ed. Antje Kosegarten and Peter Tigler. Berlin, 1968, text vol., pp. 506–9; plate vol., pl. CCXIX, fig. 1, attributes the painting and the frescoes at Ceský Krumlov to Johann Georg Lederer; cites a passage from Rainer Maria Rilke's "Die Geschwister" describing the frescoes.
Jaromír Neumann. Ceský Barok. Prague, 1974, pp. 278–79, under no. 348.
Edward A. Maser and Laura Nelke. German and Austrian Painting of the Eighteenth Century. Exh. cat., David and Alfred Smart Gallery, University of Chicago. Chicago, 1978, p. 28, no. 15, pl. 17.
Denis Gontard. "Scènes de fête en Bohême." Connaissance des arts no. 367 (September 1982), p. 88 n. 1, attributes the frescoes to the Viennese artist Josef Lederer.
Pavel Preiss. Dejiny Ceského Výtvarného Umení. Vol. 2, part 2, Malírství pozdního baroka a rokoka v Cechách. Prague, 1989, p. 752, attributes it to Josef Lederer.
Eleonora Luciano. The Mask of Comedy: The Art of Italian Commedia. Exh. cat., J. B. Speed Art Museum. Louisville, 1990, pp. 12, 79, no. 15, ill. p. 40 (color).
Vít Vlnas in The Glory of the Baroque in Bohemia: Art, Culture, and Society in the 17th and 18th Centuries. Ed. Vít Vlnas. Exh. cat., Art Gallery of Prague Castle et al. Prague, 2001, p. 99, no. I/2.104, agrees that the sketch is of higher quality than the finished paintings; adds that the influence of Tiepolo "is far more convincing in Lederer's sketch than in the definitive fresco".
Katharine Baetjer in Watteau, Music, and Theater. Ed. Katharine Baetjer. Exh. cat., The Metropolitan Museum of Art. New York, 2009, pp. 68–70, no. 23, ill. (color), catalogues the picture as "Attributed to Andreas Altomonte . . . or, possibly, to Josef Lederer (Czech, active in 1748)," but views the sketch as probably by Altomonte.