Otto Benesch. "Der Meister des Krainburger Altars." Wiener Jahrbuch für Kunstgeschichte 8 (1932), p. 27, attributes to a student of the Master of Herzogenburg whom he identifies as the Master of Eggenburg an altarpiece dedicated to Saint Wenceslas and comprising eight panels (according to a communication from Prof. Matejcek): "Saint Wenceslas before the Emperor" and "Rescuing the Body of Saint Wenceslas" in the Rudolfinum, Prague (both sold, Galerie Sanct Lucas, Vienna, March 3–4, 1921, no. 7), two panels in the collection of Bishop Podlaha, and four more in private collections [see Refs. Benesch 1945 and 1972; all six panels not in the MMA are now in the Národní Galerie, Prague (see Notes)].
Otto Benesch. Letter to Margaretta M. Salinger. February 15, 1945, attributes the two MMA panels to the Master of Eggenburg, noting that he was active in the last decade of the fifteenth century; suggests that the story depicted might be that of Saint Wenceslas, but does not specifically connect them with the eight panels from the Saint Wenceslas altarpiece [see Ref. Benesch 1932].
Betty Kurth. Letter to Margaretta M. Salinger. March 4, 1945, attributes them to the Master of Eggenburg and identifies them with two of the eight panels of the altarpiece mentioned by Benesch [see Ref. 1932]; identifies the scene as the Burial of Saint Wenceslas, suggesting that the three figures in the background may represent Saints Vitus, Modestus, and Crescentia.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 168–69, ill., accept the attribution to the Master of Eggenburg and the connection with the altarpiece dedicated to Saint Wenceslas.
Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 37, Leipzig, 1950, p. 85.
Michael Compton. Letter to Theodore Rousseau. December 11, 1957, notes a resemblance between the two MMA panels and a "Presentation in the Temple" in the Walker Art Gallery, Liverpool [see William H. Gerdts Jr., "The Sword of Sorrow," Art Quarterly 17 (Autumn 1954), p. 224, fig. 12, as Flemish school, fifteenth century].
Alfred Stange. Deutsche Malerei der Gotik. Vol. 11, Österreich und der ostdeutsche Siedlungsraum von Danzig bis Siebenbürgen in der Zeit von 1400 bis 1500. Munich, 1961, p. 56, attributes them to the Master of Eggenburg and associates them with the panels comprising the Saint Wenceslas altarpiece; refers to the artist as a contemporary or collaborator of the Master of Herzogenburg rather than as his student.
Foreign Schools Catalogue. Vol. 1, Text. Liverpool, 1963, p. 11, under no. 1229, calls the style of Liverpool's "Presentation in the Temple" [see Ref. Compton 1957], attributed to the Austrian School and dated about 1480, close to that of the Master of Eggenburg, giving the two MMA panels as examples of that master's work.
Eva Benesch, ed. Collected Writings. By Otto Benesch. Vol. 3, London, 1972, p. 209, fig. 232, identifies the MMA panels with two of those mentioned by Otto Benesch in 1932 [see Ref.] as belonging to the Saint Wenceslas altarpiece by the Master of Eggenburg.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue. New York, 1995, pp. 214–15, ill., states that the two pictures were originally probably the obverse and reverse of a single panel; adds that three additional scenes from the same altarpiece are known: one in the Národní Galerie, Prague, and the two formerly in the Rudolfinum, Prague.
Martin Schawe. Staatsgalerie Augsburg: Altdeutsche Malerei in der Katharinenkirche. [Munich], , p. 91, relates the pattern of the gold ground of a panel depicting "The Capture of Saint Barbara," attributed to the Swabian School and dated about 1480, to the panels of the Saint Wenceslas altarpiece, mistakenly referring to both MMA panels as having a gold ground.
Bodo Brinkmann in Deutsche Gemälde im Städel, 1300–1500. Mainz, 2002, pp. 280–81 n. 17, lists six panels in the Národní Galerie, Prague, from the same altarpiece as the two in the MMA [see Notes], attributing them all the Master of Eggenburg; refers to 44.147.1 as the detached reverse of 44.147.2.
Maryan W. Ainsworth in German Paintings in The Metropolitan Museum of Art, 1350–1600. New Haven, 2013, pp. 201–5, 314, no. 48B, ill. (color) and figs. 165–66 (infrared reflectogram and color details).