Arsène Alexandre. "La collection de M. Jean Dollfus." Les arts 3 (January and February 1904), ill. pp. 7, 9, attributes it to Dello Delli and identifies the subject as the Marriage of Esther and Ahasuerus.
Henri Frantz. "La curiosité: collections Jean Dollfus (tableaux anciens, objets d'art)." L'art décoratif 27 (May 5, 1912), p. 291, assigns it to the Florentine school and calls it the Marriage of Esther and Ahasuerus; reports that it sold for 32,000 francs in the Dollfus sale.
S[amuel]. Rocheblave. Un grand collectionneur alsacien, Jean Dollfus (1823 à 1911). Strasbourg, 1912, p. 21, ill. p. 11, as the Marriage of Esther and Ahasuerus.
Paul Schubring. Cassoni: Truhen und Truhenbilder der italienischen Frührenaissance. Leipzig, 1915, text vol., p. 266, no. 191; plate vol., pl. XLI, attributes it to the Cassone Master and suggests that the subject is Aeneas and Dido.
Osvald Sirén and Maurice W. Brockwell. Catalogue of a Loan Exhibition of Italian Primitives. Exh. cat., F. Kleinberger Galleries, Inc. New York, 1917, pp. 65–67, no. 23, ill., attribute it to the Cassone Master, date it about 1450, and believe it may show the arrival of Aeneas at Dido's palace; observe that the loggia and palace are drawn from the Palazzo Medici, and that the church may be a free representation of San Piero Scheraggio, Florence, now destroyed.
B[ryson]. B[urroughs]. "Sienese and Florentine Paintings." Metropolitan Museum of Art Bulletin 14 (January 1919), pp. 6–8, ill., as Florentine, about 1450; states that the inscription identifying Esther was put there by a previous owner, and considers the subject unknown.
Bryson Burroughs. The Metropolitan Museum of Art: Catalogue of Paintings. 6th ed. New York, 1922, pp. 150–51, believes the Medici palace and the cathedral and campanile of Florence are represented.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 41–42, ill., calls it the Story of Esther and identifies the scenes depicted: the coming of the princes to the king's feast, Esther and her maidens feasting in the house of the women, Mordecai listening at the king's gate, and the marriage of Esther and Ahasuerus; attributes it to the unknown Florentine painter called the Cassone Master or the Virgil Master, after the Virgil Codex in the Biblioteca Riccardiana, Florence, and dates it to the third quarter of the fifteenth century; notes that there was probably a companion cassone with other episodes from the life of Esther.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 261, no. 732, ill. p. 262.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 101–2, ill., attribute it to Marco del Buono and Apollonio di Giovanni, identified as the artists in charge of the shop that produced works earlier attributed to the Cassone Master or Virgil Master; note the influence of Pesellino and Domenico Veneziano.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 12, 262, 606.
Ellen Callmann. Apollonio di Giovanni. Oxford, 1974, pp. 42, 66, no. 31, pls. 161, 245, 254 (overall and details), calls it "one of the shop's finest works but not by Apollonio"; believes that it depicts the feast prepared by Esther for Haman and Ahasuerus rather than Esther feasting in the house of women [see Ref. Wehle 1940].
John Pope-Hennessy and Keith Christiansen. "Secular Painting in 15th-Century Tuscany: Birth Trays, Cassone Panels, and Portraits." Metropolitan Museum of Art Bulletin 38 (Summer 1980), pp. 13, 16, 24–27, 64, ill. inside front and back covers (color details), figs. 18–20 (overall and color details), date it about 1460–70; state that it shows episodes from Esther 2:17–18 and note that the buildings resemble the architecture of Michelozzo, comparing the palace to the Palazzo Medici and the church to the Santissima Annunziata.
Bruce Cole. The Renaissance Artist at Work: From Pisano to Titian. New York, 1983, p. 160, fig. 83, attributes it to the shop of Apollonio di Giovanni and dates it about 1460.
Brenda Preyer. "The 'chasa overo palagio' of Alberto di Zanobi: A Florentine Palace of About 1400 and Its Later Remodeling." Art Bulletin 65 (September 1983), p. 392, fig. 10.
Maria Sframeli in Le tems revient, 'l tempo si rinuova: feste e spettacoli nella Firenze di Lorenzo il Magnifico. Exh. cat., Palazzo Medici Riccardi, Florence. [Milan], 1992, p. 165, no. 219, ill. (color).
Maria Sframeli in Maestri e botteghe: pittura a Firenze alla fine del Quattrocento. Exh. cat., Palazzo Strozzi, Florence. Milan, 1992, p. 90, as probably from the same workshop as a drawing (Biblioteca Marucelliana, Florence) and a cassone (in the annulled sale of Palazzo Serristori, Florence, announced by Sotheby Park Bernet Italia s.r.l., May 9, 1977, lot 21, considered a fake by Everett Fahy) showing the Story of Griselda from the "Decameron"; erroneously states that it illustrates the same story and refers to it as formerly with Wildenstein, Paris, not realizing that it belongs to the MMA.
Graham Hughes. Renaissance Cassoni, Masterpieces of Early Italian Art: Painted Marriage Chests 1400–1550. Alfriston, England, 1997, pp. 225, 232, ill. p. 57 (color detail).
Deborah L. Krohn in Art and Love in Renaissance Italy. Exh. cat., The Metropolitan Museum of Art. New York, 2008, pp. 12, 63, 109, 129, 133–34, 298, no. 57, fig. 2 (color detail), ill. pp. 134–35 (color), dates it 1460–70; likens the spatial organization to that of illustrations in the printed texts of mystery plays, adding that the story of Esther is one of the few Old Testament subjects known to have been performed.
Caroline Campbell. Love and Marriage in Renaissance Florence: The Courtauld Wedding Chests. Exh. cat., Courtauld Gallery. London, 2009, p. 24, fig. 8 (color).
Renaissance. Christie's, New York. January 30, 2013, p. 86, under no. 127.