Edward Davies, ed. The Life of Bartolomé E. Murillo, Compiled from the Writings of Various Authors. London, 1819, pp. xciv, lxxxiv, reports that the painting cited by Ponz as "un crucifixo en pequeño" in Sebastián Martínez's collection, Madrid, "came to England", possibly this picture.
Catalogue of Important Paintings by Old Masters. Christie's, London. May 24, 1963, p. 30, no. 52, ill., from the collection of Lord Hastings, Melton Constable, Norfolk; as a reduced version of the modello for the Prado Crucifixion.
700 Years of Spanish Art: Commemorating the St. Augustine Quadricentennial. Exh. cat., Cummer Gallery of Art. Jacksonville, Fla., 1965, p. 19, no. 38.
Jonathan Brown. Murillo & His Drawings. Exh. cat., Art Museum, Princeton University. Princeton, 1976, p. 189, no. 14, calls it an oil sketch for the painting in the Prado; erroneously cites it as Ref. Curtis 1883, no. 218.
Diego Angulo Íñiguez. Letter. January 14, 1976, supposes that it should be considered a workshop replica of the Crucifixion in the Prado.
Marcus B. Burke in Spain and New Spain: Mexican Colonial Arts in their European Context. Exh. cat., Art Museum of South Texas. Corpus Christi, Tex., 1979, pp. 67–69, no. 4, ill., dates it about 1670–82; considers it an autograph oil study for the Prado painting which he believes includes workshop participation; cites a version on copper in the Meadows Museum.
Katharine Baetjer in The Metropolitan Museum of Art: Notable Acquisitions, 1975–1979. New York, 1979, p. 52, ill., cites a similar study in the Cook collection, Richmond.
Eric Young. Bartolomé Murillo: Werkverzeichnis. Frankfurt am Main, 1980, p. 88, no. 278, ill., dates it to about 1675–80.
Diego Angulo Íñiguez. Murillo. Madrid, 1981, vol. 2, pp. 224–25; vol. 3, pl. 397, as a possible workshop replica of the Prado Crucifixion; cites other versions in Buenos Aires, Malaga, Richmond, and Seville.
Enrique Valdivieso. Murillo: Sombras de la tierra, luces del cielo. Madrid, 1990, p. 142.
Alfonso E. Pérez Sánchez in De pintura y pintores: La configuración de los modelos visuales en la pintura española. Madrid, 1993, p. 142, cites influence of Van Dyck; notes painting was unique in Seville for showing Crucifixion with three nails.
Suzanne L. Stratton-Pruitt in Bartolomé Esteban Murillo (1617–1682): Paintings from North American Collections. Exh. cat., Kimbell Art Museum. New York, 2002, pp. 129, 170–71, no. 26, ill. (color), observes that "artist's replicas were finished works intended to duplicate admired paintings in their degree of finish, if not in scale," and considers this picture a sketch following the artist's larger version in the Prado, Madrid; agrees with Angulo that Van Dyck's Crucifixion in Dendermonde was probably not the model for this work, noting it is closer to Alonso Cano's version of the subject (Academia de Bellas Artes, Granada); suggests the painting may once have belonged to Sebastián Martínez in the late eighteenth century.