Édouard Fétis. Galerie du vte du Bus de Gisignies. Brussels, 1878, pp. 130–31, ill. opp. p. 130, as by Rubens.
Bulletin-Rubens 1 (1882), p. 155.
"Verkooping der schilderijenverzameling van burggraaf Bernard du Bus de Gisignies, te Brussel." De Vlaamsche School 28 (1882), p. 110.
Max Rooses. L'Oeuvre de P. P. Rubens. Vol. 1, Antwerp, 1886, p. 256, no. 189bis, as in the collection of Maurice Kann; identifies it as a repetition by Rubens of the Hermitage picture, dating it about 1615.
Illustrated Catalogue of 300 Paintings by Old Masters of the Dutch, Flemish, Italian, French, and English Schools. Paris, 1898, p. 186, no. 166, ill. p. 187.
Max Rooses. Rubens. London, 1904, vol. 1, pp. 184–85 [French ed., "Rubens, sa vie et ses oeuvres," (1900–1903)].
Edward Dillon. Rubens. London, , p. 222.
Wilhelm von Bode. La Collection Maurice Kann. Paris, 1911, pp. 24–25, identifies it as an entirely autograph work of about 1617 [but see Ref. Bode 1920].
Wilhelm von Bode. Letter to Kleinberger. January 28, 1920, dates it about 1615.
Rudolf Oldenbourg. P. P. Rubens, des Meisters Gemälde. 4th ed. [1st ed. 1905]. Stuttgart, 1921, p. 458, as an excellent replica of the Hermitage picture; erroneously as in the Goldmann collection.
Wilhelm R. Valentiner in The Michael Friedsam Collection. [completed 1928], p. 128.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 42.
W. R. Valentiner. "Rubens' Paintings in America." Art Quarterly 9 (Spring 1946), p. 159, no. 48, calls it an excellent original work of which the Hermitage picture is another version; dates it about 1615.
Wilhelm R. Valentiner. Loan Exhibition of Forty-three Paintings by Rubens and Twenty-five Paintings by Van Dyck. Exh. cat., Los Angeles County Museum. Los Angeles, 1946, unpaginated, no. 17.
Jan-Albert Goris and Julius S. Held. Rubens in America. New York, 1947, p. 49, no. A41, Appendix pl. 1, as a studio work "close in type and style to the Holy Family in the Palazzo Pitti, Florence".
Erik Larsen. P. P. Rubens. Antwerp, 1952, p. 216, no. 32, as by Rubens; dates it about 1613–14, and cites the Hermitage and Brussels pictures as replicas.
M[aria]. Varshavskaya. Rubens' Paintings in the Hermitage Museum. Leningrad [St. Petersburg], 1975, p. 96, under no. 10, as a version of the Hermitage picture.
Justus Müller Hofstede. Letter to Margaretta Salinger. May 30, 1975, calls it an original work by Rubens of the period between 1613 and 1616.
[Egbert Haverkamp-Begemann] and [Martha Wolff]. Unpublished catalogue entry. n.d., based in part on the observations of Margaretta Salinger [see unpublished catalogue entry in archive file], identify two types among surviving Virgin and Child compositions after Rubens, recorded in engravings by Schelte à Bolswert and Jonas Suyderhoef [published in C. G. Voorhelm Schneevoogt, "Catalogue des estampes gravées d'après Rubens," Haarlem, 1873, p. 81, no. 63, p. 82, no. 66]; associate the MMA work with Suyderhoef's engraving, in which the Virgin's hair is pulled straight back and the drapery of her garment is gathered closely around her arm; state that it follows Rubens's design and was painted in his workshop about 1613–15.
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 226–29; vol. 2, pl. 86, associates it with the engraving by Suyderhoef [see Ref. Haverkamp-Begemann and Wolff n.d.], but erroneously refers to the engraving as by Bolswert.