J[ohann]. E[ckart]. v[on]. Borries, ed. Meisterwerke aus baden-württembergischem Privatbesitz. Exh. cat., Staatsgalerie Stuttgart. [Stuttgart], [1958?], p. 78, nos. 182 (a), 183 (b), attributes them to a follower of Martin Schongauer; calls them panels from a small winged altarpiece; notes that E. Buchner assigns them to a Swabian artist probably from Ulm and dates them to the end of the fifteenth century.
Bruno Bushart. "Studien zur altschwabischen Malerei: Ergänzungen und Berichtigungen zu Alfred Stanges 'Deutsche Malerei der Gotik,' VIII. Band, 'Schwaben in der Zeit von 1450 bis 1500'." Zeitschrift für Kunstgeschichte 22, no. 2 (1959), pp. 140–41, figs. 10 (a), 11 (b), attributes them to Ludwig Schongauer or an assistant; associates them with a panel in Schloss Salem depicting the Flagellation on one side and Christ Carrying the Cross on the other, stating that the four scenes formed a small Passion altarpiece which he dates several years after the "Schongaueraltärchen" in the Ulm cathedral, supposedly given in 1484 [see also Ref. Moraht-Fromm 2001].
Alfred Stange. Kritisches Verzeichnis der deutschen Tafelbilder vor Dürer. Ed. Norbert Lieb. Vol. 2, Oberrhein, Bodensee, Schweiz, Mittelrhein, Ulm, Augsburg, Allgäu, Nördlingen, von der Donau zum Neckar. Munich, 1970, p. 131, no. 603, lists them as by Ludwig Schongauer; erroneously as still in a private collection, Stuttgart.
Karl-Heinz Mehnert in Kataloge der Graphischen Sammlung. Vol. 1, Altdeutsche Zeichnungen. Leipzig, [1972?], p. 107, relates them to eight drawings by Ludwig Schongauer depicting the Passion of Christ (four in the Graphische Sammlung, Museum der bildenden Künste, Leipzig, and four in the Dresdener Kupferstichkabinett), noting that some of the motifs in the drawings are borrowed from Martin Schongauer's Passion series.
Martha Wolff. Letter to Guy Bauman. July 19, 1983, sees several similarities between these two paintings and engravings by Master B+R [see Max Lehrs, "Geschichte und kritischer Katalog des deutschen, niederländischen und französischen Kupferstichs im XV. Jahrhundert," vol. 6, Vienna, 1927, nos. 1, 9, and 16, under Master B+R].
Guy C. Bauman in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 98–100, nos. 34 (a), 35 (b), ill. (a and b, color), states that the two works originally formed the obverse and reverse of a single panel that was sawed in half; supports an attribution to Ludwig Schongauer, noting correspondences to three of Ludwig's signed engravings; agrees that the MMA and Schloss Salem [see Ref. Bushart 1959] panels formed the wings of a small Passion triptych and suggests that they flanked a painted or carved Crucifixion, with the Flagellation and Christ before Pilate on the outside and Christ Carrying the Cross and the Resurrection on the inside.
Fritz Koreny. "Martin Schongauer as a Draftsman: A Reassessment." Master Drawings 34 (Summer 1996), p. 145, figs. 39 (a), 40 (b), favors an attribution to Ludwig Schongauer, mentioning similarities to drawings and prints attributed to him.
Christian Heck in The Dictionary of Art. Ed. Jane Turner. Vol. 28, New York, 1996, p. 154, rejects the attribution to Ludwig Schongauer, stating that they are probably by a follower of Martin Schongauer.
Anna Moraht-Fromm in Spätmittelalter am Oberrhein: Maler und Werkstätten: 1450–1525. Exh. cat., Staatliche Kunsthalle Karlsruhe. Stuttgart, 2001, pp. 36, 39 n. 45, figs. 9 (a), 10 (b), states that the altarpiece comprising the MMA and Salem panels comes from a monastery in Salem; calls this altarpiece similar in type and function to one in the Historisches Museum Basel, Barfüsserkirche (no. 201; Upper Rhine [?] Workshop, 1484) and to the "Schongaueraltärchen" in the Ulm cathedral (no. 199; Follower of Martin Schongauer, about 1480–1500).
Old Master Pictures. Christie's, London. December 10, 2003, p. 83, under no. 41, mentions them under the entry for the recently discovered panel depicting the Arrest of Christ on one side and the Entombment of Christ on the other; follows Ludwig Meyer's [see Ref. 2003] attribution, dating, and reconstruction.
Ludwig Meyer. Reconstruction. July 29, 2003, pp. 1–3, proposes a reconstruction of the altarpiece to which the MMA pictures belonged, calling it a small domestic altarpiece that he attributes to Ludwig Schongauer; believes that the centerpiece was a carved Crucifixion and that it was flanked by four double-sided panels [see Notes]; dates it 1479–86, when the artist was in Ulm, relating it to the "Schongaueraltärchen" in the Ulm cathedral.
Peter Klein. Letter to The Metropolitan Museum of Art. April 28, 2006, identifies the wood from which the panel is made as fir; writes that dendrochronological analysis reveals that the earliest felling date for the tree from which this panel is made is 1475, adding that a minimum of two years for seasoning means that the earliest possible execution date for the painting is 1477.