C. C. Cunningham. "Jacob Pynas—Adoration of the Magi." Wadsworth Atheneum Bulletin (Winter 1959), p. 11 n. 8, fig. 7, accepts the Lastman signature as genuine but calls the painting "extremely close to Jacob Pynas"; reads the final digit of an inscribed date as "7".
Otto Benesch. Letter to Emile E. Wolf. January 10, 1961, attributes it to Jacob Pynas and suggests that the signature was originally that of Pynas and was changed at a later date to that of Lastman.
John Walsh Jr. "New Dutch Paintings at The Metropolitan Museum." Apollo 99 (May 1974), pp. 342–44, 349 n. 6, figs. 5, 6 (overall and detail), dates it to about the 1620s; discusses and illustrates the alteration of the signature [see Notes].
Astrid Tümpel in The Pre-Rembrandtists. Exh. cat., E. B. Crocker Art Gallery. Sacramento, 1974, pp. 29, 70–72, no. 10, ill. (color), dates it to the 1620s; calls Lastman's 1614 painting of the subject (whereabouts unknown) the model for this picture.
Christian Tümpel in The Pre-Rembrandtists. Exh. cat., E. B. Crocker Art Gallery. Sacramento, 1974, p. 149 n. 74.
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 92, ill.
Albert Blankert. Amsterdams Historisch Museum: Schilderijen daterend van voor 1800, voorlopige catalogus. Amsterdam, 1975/1979, p. 171, under no. 222, under the entry for Lastman's painting of this subject in the Amsterdams Historisch Museum, notes that the attribution of the MMA picture has recently been correctly changed from Lastman to Pynas.
Bob Haak. The Golden Age: Dutch Painters of the Seventeenth Century. New York, 1984, p. 193, fig. 395, relates its composition and subject matter to Lastman.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 180, states that it is "based on a lost composition by Pieter Lastman".
Astrid Tümpel in Pieter Lastman: The Man Who Taught Rembrandt. Exh. cat., Museum Het Rembrandthuis, Amsterdam. Zwolle, The Netherlands, 1991, pp. 20–21, 23, pl. 6, dates it 1617; notes the unmistakable influence of Lastman, comparing the various versions of this subject by Pynas and Lastman.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 536–38, no. 138, colorpl. 138.
Elmer Kolfin in The Image of the Black in Western Art. Ed. David Bindman and Henry Louis Gates Jr. Vol. 3, part 1, From the "Age of Discovery" to the Age of Abolition: Artists of the Renaissance and Baroque. Cambridge, Mass., 2010, p. 380 n. 49.