Collection de M. Benito Garriga de Madrid: Tableaux anciens. Hôtel Drouot, Paris. March 24, 1890, p. 19, no. 18, notes that this panel has been attributed to various artists, including Simon Marmion and Albrecht Dürer or his school; sees German influence in the style of the architecture; notes that it was formerly owned by Ramon Gil de la Cuadra, director of the "musée de Madrid".
[Max J.] Friedländer. "Die Leihausstellung der New Gallery in London, Januar–März 1900.—Hauptsächlich niederländische Gemälde des XV. und XVI. Jahrhunderts." Repertorium für Kunstwissenschaft 23 (1900), pp. 255–56, as from about 1520, reminiscent of Mabuse's [Gossart's] early work.
"Aus der Sammlerwelt und vom Kunsthandel." Der Cicerone 4 (1912), p. 246, notes that it was sold by Fischer Galleries, New York, to George Blumenthal.
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, pl. 47, as Flemish School of Brussels, about 1520.
Dorothy Miller. Letter to Margaretta Salinger. November 8, 1941, suggests the artist was from the school of Antwerp rather than Brussels, and dates these scenes 1520 at the earliest, and possibly as late as 1530.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 145–46, ill., as by a Follower of Bernaert van Orley, perhaps a miniaturist; date it about 1520.
Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 95–96.
Colin Eisler. "Erik Larsen, Les primitifs flamands au Musée Metropolitain de New York, 1960." Art Bulletin 46 (March 1964), p. 104, notes that Otto Pächt suggested to him several years ago that this "very fine small panel" might well be a work by Dieric Vellert; believes it was part of a larger devotional ensemble.
David Farmer. Rediscovering Cornelis van Coninxloo. 1967 [manuscript in EPD archives, submitted for publication in MMA Journal] pp. 6–7, ascribes to the same hand a Noli Me Tangere (private collection, Switzerland), calling it "a fragment of a companion piece" to our scenes, "probably the upper right corner of another group of four scenes"; ascribes these fragments to Cornelis van Coninxloo the Elder and attributes other works to the artist.
John David Farmer. "Bernard van Orley of Brussels." PhD diss., Princeton University, 1981, pp. 226–32, connects it with the Noli Me Tangere formerly in the collection of Heinz Kisters, Kreuzlingen, and attributes these panels and a group of other works to Cornelis van Coninxloo.
Gemälde und Zeichnungen, 1490–1918. Exh. cat., Galerie Arnoldi-Livie. Munich, 1987, pp. 6–7, ill., mentions our scenes as from the same hand as catalogue no. 3, "Four Scenes from the Passion" attributed to the workshop of van Orley, about 1520 [the subjects are identical to ours, except that the Resurrection is substituted for the Bearing of the Cross].
Maryan W. Ainsworth. "A Meeting of Sacred and Secular Worlds." From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Ed. Maryan W. Ainsworth and Keith Christiansen. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 322, 344–46, no. 90, ill. (color), catalogues the panel as by a follower of Bernaert van Orley and, following Farmer [Refs. 1967 and 1981] suggests that it was part of an ensemble including a Noli Me Tangere with the same decorative framing (private collection, Switzerland); attributes four scenes that were in the De Boer collection, Amsterdam, in 1971 [and with Galerie Arnoldi-Livie in 1987, see Refs.] to the same workshop, but not to the same artist; notes the influence of Dürer and places the scenes in the early 1520s after Dürer's 1520–21 trip to the Netherlands; sees stylistic similarities, as Farmer has noted [see Refs. 1976 and 1981], to Cornelis van Coninxloo, in particular his "Parents of the Virgin" (Musées Royaux des Beaux-Arts de Belgique, Brussels).
Violette Doclo. Letter. March 21, 2001, identifies as part of the same altarpiece a panel with an identical border representing Saints Dominic and Peter of Verona in a landscape (art market, Claude Vittet, Paris, 2001), as well as two panels in a private collection, Switzerland; ascribes these panels to the "Master of the Blumenthal Passion," active in Brussels in the first half of the 16th century.