Gerard Hoet. Catalogus of Naamlyst van Schilderyen, met derzelver prysen, zedert den 22. Augusti 1752 tot den 21. November 1768. Ed. Pieter Terwesten. Vol. 3, The Hague, 1770, p. 399, no. 63, as sold for fl. 760 in the Rubembré sale of 1765.
John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. Vol. 2, London, 1830, pp. 22, 188, nos. 76, 662, as in the M. van Sasseghem collection; calls it a finished study by Rubens for the Antwerp altarpiece.
Max Rooses. L'Oeuvre de P. P. Rubens. Vol. 2, Antwerp, 1888, p. 353, as in the collection of the king of Belgium; calls it an old reduced copy of the Antwerp altarpiece, by an accomplished pupil of Rubens.
Georges Lafenestre and Eugène Richtenberger. La Peinture en Europe: La Belgique. Paris, , p. 134.
Émile Michel. Rubens: His Life, His Work, and His Time. London, 1899, vol. 2, p. 152, as a replica of the Antwerp altarpiece that "seems to us . . . wholly by Rubens".
Descriptive Catalogue. Vol. 1, Ancient Masters. Antwerp, 1905, p. 259, under no. 299, calls it an "ancient copy" of the Antwerp altarpiece.
B[ryson]. B[urroughs]. "Recent Loans." Metropolitan Museum of Art Bulletin 4 (September 1909), p. 154, as by Rubens; calls it either a sketch for, or a replica of, the Antwerp altarpiece.
W. Roberts. "The King of the Belgians' Collection of Old Masters." Connoisseur 24 (August 1909), p. 207, mistakenly identifies it with the original Antwerp altarpiece.
Wilhelm R. Valentiner. The Art of the Low Countries. English ed. Garden City, N.Y., 1914, p. 189 n., as a copy after the Antwerp altarpiece, not a study for it.
Rudolf Oldenbourg. P. P. Rubens, des Meisters Gemälde. 4th ed. [1st ed. 1905]. Stuttgart, 1921, p. 469, as a sketch for the Antwerp altarpiece.
Robert Eigenberger. Die Gemäldegalerie der Akademie der Bildenden Künste in Wien. Vienna, 1927, text vol., p. 343, under no. 649, as an old copy of the Antwerp altarpiece.
W. R. Valentiner. "Rubens' Paintings in America." Art Quarterly 9 (Spring 1946), p. 167, no. 115, as an excellent study by Rubens for the painting in Antwerp; dates it about 1630–33.
Jan-Albert Goris and Julius S. Held. Rubens in America. New York, 1947, p. 53, no. A73, Appendix pl. 3, as a reduced repetition, not by Rubens, of the Antwerp altarpiece.
Margaretta [M.] Salinger. "Representations of Saint Teresa." Metropolitan Museum of Art Bulletin 8 (November 1949), pp. 97–98, ill. p. 99, as a reduced workshop copy; identifies the subject as Saint Teresa saving Don Bernardino de Mendoza from purgatory.
Ludwig Burchard in A Loan Exhibition of Works by Peter Paul Rubens, Kt. Exh. cat.London, 1950, p. 7 [see Ref. Liedtke 1984], as a reduced copy of the Antwerp altarpiece.
Erik Larsen. P. P. Rubens. Antwerp, 1952, p. 218, no. 88, as an "excellent and absolutely authentic modello" for the Antwerp altarpiece; calls it a work of the 1630s.
Egbert Haverkamp-Begemann in Olieverfschetsen van Rubens. Exh. cat., Museum Boymans. Rotterdam, 1953, p. 92, under no. 84, as probably a reduced repetition of the Antwerp altarpiece.
Mirella Levi d'Ancona. The Iconography of the Immaculate Conception in the Middle Ages and Early Rennaissance. [New York], 1957, p. 18 n. 32, identifies the subject as Mary Mediatrix, or the Virgin freeing souls from hell or purgatory.
Clara Bille. De Tempel der Kunst of het Kabinet van den Heer Braamcamp. Amsterdam, 1961, vol. 1, p. 128; vol. 2, pp. 47, 116, no. 195, identifies the buyer at Braamcamp's sale of 1771 as J. van Sasichem, and the seller in 1851 as J. van Saceghem; attributes this painting to Rubens himself.
Erwin Panofsky. Problems in Titian, Mostly Iconographic. New York, 1969, p. 41 n. 30, as a reduced replica of the Antwerp picture.
Hans Vlieghe. Corpus Rubenianum Ludwig Burchard. pt. 8, vol. 2, Saints. London, , p. 166, under no. 155, as a copy of the Antwerp altarpiece.
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 216–20; vol. 2, pl. 82, observes that in spite of weaknesses, the copy is impressive, and must have been produced under Rubens's supervision and, perhaps, with his assistance.