Georges H. de Loo Palais du Gouvernement, Bruges. Exposition de tableaux flamands des XIVe, XVe et XVIe siècles: catalogue critique précédé d'une introduction sur l'identité de certains maîtres anonymes. Ghent, 1902, p. 58, no. 215, ascribes this painting to the artist who painted the Virgin in the Northbrook collection, London (cat. no. 140 [now Lehman 1975.1.111]); suggests that he may have been Passchier van der Mersch, a pupil of Memling [n.b., the picture was published in the 1902 exhibition catalogue as the work of Hans Memling].
Max J. Friedländer. "Die Brügger Leihausstellung von 1902." Repertorium für Kunstwissenschaft 26 (1903), p. 84, no. 215, calls it the work of a skilled imitator, indirectly related to Memling and perhaps by the very same hand as the Virgin in the Northbrook collection [see Ref. Hulin de Loo 1902].
Martin Conway. The Van Eycks and Their Followers. London, 1921, p. 236, ascribes it to a pupil of Memling who also painted the Northbrook Virgin, calling both works imitations of the Virgin in Memling's Martin van Nieuwenhove diptych of 1487 [Memlingmuseum, Bruges].
Max J. Friedländer. "Memling und Gerard David." Die altniederländische Malerei. 6, Berlin, 1928, pp. 58, 135, no. 108, pl. 49, ascribes it to the same Memling pupil who painted the Northbrook Virgin.
Max J. Friedländer in The Michael Friedsam Collection. [completed 1928], p. 137.
H[ans]. V[ollmer]. in Allgemeines Lexikon der bildenden Künstler. 24, Leipzig, 1930, p. 375, lists it as an early work of Memling, still close to Rogier.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 20, no. 24, calls it "close to Memling in general style but heavier in color and harder in texture".
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, p. 74, ill., ascribe it to a "Follower of Memling, End of the XV Century".
Georges Marlier. Ambrosius Benson et la peinture à Bruges au temps de Charles-Quint. Damme, Belgium, 1957, p. 113.
Max J. Friedländer et al. "Hans Memlinc and Gerard David." Early Netherlandish Painting. 6, New York, 1971, part 1, pp. 37, 59, no. 108, pl. 131.
Maryan W. Ainsworth. "Hans Memling as a Draughtsman." Hans Memling: Essays. Ghent, 1994, pp. 84, 85 n. 19, reports that the underdrawing of this painting, which, along with two others attributed to followers of Memling, is "limited to the contours of form, suggesting that a workshop pattern provided a ready model from which these were taken".
Dirk De Vos. Hans Memling: The Complete Works. Ghent, 1994, pp. 395–97, fig. 179.
From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 234, 404, ill., as "Style of Hans Memling, late 15th–early 16th century".
Martha Wolff in "Fifteenth- to Eighteenth-Century European Paintings." The Robert Lehman Collection. 2, New York, 1998, pp. 85, 87.
Mund et al. The Mayer van den Bergh Museum, Antwerp. Brussels, 2003, p. 55 n. 10, question de Vos's [Ref. 1994] attribution of this picture, MMA 49.7.22, MMA 1975.1.111, and several other works to the same hand
Annette LeZotte. The Home Setting in Early Netherlandish Paintings: A Statistical and Iconographical Analysis of Fifteenth- and Early Sixteenth-Century Domestic Imagery. Lewiston, N.Y., 2008, pp. 143–47.