J. B. Descamps. La Vie des peintres flamands, allemands et hollandois. 2, Paris, 1754, p. 23, refers to a painting, probably our picture, in the Church of the Récollets, Antwerp.
Description des principaux ouvrages de peinture et sculpture . . . de la ville d'Anvers. 4th ed. Antwerp, 1763, p. 63, no. 9, locates a picture, probably ours, in the Church of the Récollets, Antwerp.
G[uillaume]. P[ierre]. Mensaert. Le Peintre amateur et curieux . . . Brussels, 1763, vol. 1, p. 205, as in the Church of the Récollets, Antwerp, and engraved by Schelte à Bolswert.
J. de Wit. Beschryvinge van alle de Kerken van Antwerpen. 2, Antwerp, 1774, p. 75 [published as "De Kerken van Antwerpen," Antwerp and The Hague, 1910; see Ref. Liedtke 1984], as in the Church of the Récollets and engraved by S. à Bolswert.
John Young. A Catalogue of the Pictures at Grosvenor House, London. London, 1821, p. 34, no. 96, pl. 34, as "The Marriage of St. Catherine," from the Agar collection.
John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. 3, London, 1831, p. 3, no. 3, as "The Marriage of St. Catherine," formerly in the Church of the Récollets, Antwerp; notes that it is probably the same picture as the one from the Agar and Grosvenor collections.
G[ustav]. F[riedrich]. Waagen. Works of Art and Artists in England. London, 1838, vol. 2, p. 305, as in the Grosvenor Gallery, and engraved by Abraham Blooteling.
G[ustav]. F[riedrich]. Waagen. "Kunstwerke und Künstler in England." Kunstwerke und Künstler in England und Paris. 2, Berlin, 1838, p. 117.
Georg Rathgeber. Annalen der Niederländischen Malerei, Formschneide und Kupferstecherkunst. Gotha, 1844, part 4, col. 96, as in the Grosvenor Gallery.
[Gustav Friedrich] Waagen. Treasures of Art in Great Britain. London, 1854, vol. 2, p. 165.
Percy Rendell Head. Van Dyck. London, 1879, pp. 32, 82, ill. opp. p. 34 (engraving), as the "Marriage of Saint Catherine," from the Church of the Récollets; dates it to the second Antwerp period.
Jules Guiffrey. Antoine van Dyck, sa vie et son oeuvre. Paris, 1882, p. 245, no. 57, p. 246, no. 79, lists no. 57 as "La Vierge et L'Enfant Jésus adoré par sainte Catherine tenant une palme, ou Mariage mystique de sainte Catherine," formerly in the collection of W. Agar Ellis [sic]; lists no. 79 as "La Vierge et L'Enfant Jésus adoré par un ange tenant une palme," in the Grosvenor Gallery.
Claude Phillips. "Correspondance d'Angleterre." Gazette des beaux-arts, 2nd ser., 35 (1887), p. 261.
Mario Menotti. "Van Dyck a Genova—Capitolo IV." Archivio storico dell'arte, 2nd ser., 3, no. 5 (1897), p. 394, mistakenly assumes that our picture, formerly in the Agar collection and then in the Grosvenor collection, was two different repetitions of the version now in Chicago.
Jean Durand. L'Exposition Van Dyck à Anvers. Paris, 1899, p. 38, ill. p. 39, as "Mariage mystique de sainte Catherine".
P[aul]. Buschmann. Exposition de l'oeuvre de Antoine van Dyck. Paris, 1900, p. 29, no. 7, as painted in 1631.
Lionel Cust. Anthony van Dyck, An Historical Study of His Life and Works. London, 1900, pp. 46, 164, 201, 208, 219, 249, no. 48, ill. opp. p. 200, tentatively dates it 1631, and associates it with the picture in the Church of the Récollets.
Ernest Law. "The Van Dyck Exhibition at the Royal Academy—I." Magazine of Art 24 (1900), p. 175.
Max Rooses. Fifty Masterpieces of Anthony van Dyck in Photogravure: Selected from the Pictures Exhibited at Antwerp in 1899. London, 1900, pp. 111–12, ill. [French ed. 1902], dates it to the second Antwerp period.
Lionel Cust. Anthony van Dyck. part 2, London, 1903, p. 23 [see Ref. Liedtke 1984], suggests that it was possibly painted in Genoa.
Kenyon Cox in Noteworthy Paintings in American Private Collections. New York, 1907, vol. 2, pp. 475–76.
Gustav Glück in Noteworthy Paintings in American Private Collections. New York, 1907, vol. 2, pp. 489–90.
Jules Guiffrey in Noteworthy Paintings in American Private Collections. New York, 1907, vol. 2, pp. 482–83.
Mario Menotti in Noteworthy Paintings in American Private Collections. New York, 1907, vol. 2, p. 488, as a replica of the Sprague picture.
Emil Schaeffer. Van Dyck, des Meisters Gemälde. 1st ed. Stuttgart, 1909, pp. 498–99, ill. p. 81 [2nd ed. by Gustav Glück, 1931, pp. XXXIX, 543, ill. p. 229], as sent to England by Gerbier in 1631; calls it a free repetition of the Chicago picture.
Lionel Cust. Anthony van Dyck, A Further Study. London, 1911, p. 48, no. 7, ill.
"Gift of Mrs. A. A. Sprague." Bulletin of the Art Institute of Chicago 9 (March 1, 1915), p. 34, as a version of the Chicago painting.
Walter Heil. "Die Van Dyck-Ausstellung in Detroit." Pantheon 4 (July–December 1929), p. 304, dates it to the Italian period.
Wilhelm R. Valentiner. A Loan Exhibition of Fifty Paintings by Van Dyck. Exh. cat., Detroit Institute of Arts. Detroit, 1929, unpaginated, no. 19, ill., as brought to London in 1631 by Balthasar Gerbier; dates it 1627.
Wilhelm R. Valentiner. "Die Van Dyck-Ausstellung in Detroit." Zeitschrift für bildende Kunst 63 (1929–30), p. 108, ill. p. 107 (detail).
Gustav Glück. Van Dyck, des Meisters Gemälde. 2nd ed. [1st ed. 1909]. Stuttgart, 1931, pp. XXXIX, 543, ill. p. 229 [1st ed. by Emil Schaeffer, 1909, pp. 498–99, ill. p. 81], as unquestionably autograph; calls the Chicago and Dortmund versions workshop repetitions.
Maurice Delacre. Le Dessin dans l'oeuvre de Van Dyck. [Brussels], , p. 179.
Paul Wescher. "Unbekannte Varianten bei Van Dyck." Pantheon 31 (1943), p. 95.
Frank van den Wijngaert. Antoon van Dyck. Antwerp, 1943, p. 88.
Van Dyck. Monaco, , pp. xxviii, 102, pl. 75.
Ludwig Burchard. Letter to Joseph Camhi. 1950 [see Ref. Liedtke 1984], describes the Chicago and Camhi pictures as contemporary copies of the MMA work.
Guy-Philippe de Montebello. "Van Dyck, Painter of the Counter Reformation." Metropolitan Museum of Art Bulletin 22 (December 1963), pp. 138–42, figs. 7–9 (overall and details).
John Rupert Martin and Gail Feigenbaum. Van Dyck as Religious Artist. Exh. cat., Art Museum, Princeton University. Princeton, 1979, pp. 30, 85, 144, 147, no. 39, ill. pp. 145–46 (overall and detail).
J. Douglas Stewart. "'Van Dyck as Religious Artist' at the Art Museum, Princeton University." Burlington Magazine 121 (July 1979), p. 467, suggests that it may predate the second Antwerp period.
Erik Larsen. L'opera completa di Van Dyck. Milan, 1980, vol. 2, p. 100, no. 670, ill., describes it as autograph, calling the Chicago picture a workshop replica; dates it about 1630.
Christopher Brown. Van Dyck. Ithaca, N.Y., 1982, pp. 125–26, pl. 119.
Walter A. Liedtke. "Flemish Paintings in the Metropolitan Museum—II: Van Dyck, Jordaens, Brouwer, and Others." Tableau 6 (February 15, 1984), pp. 31, 34, fig. 13 (color).
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 79–84; vol. 2, colorpl. VIII (overall), pls. 33–34 (overall and detail), observes that the picture can be placed among similar subjects executed by Van Dyck about 1630.
Walter A. Liedtke. "Anthony van Dyck." Metropolitan Museum of Art Bulletin 42 (Winter 1984/85), pp. 30, 32, figs. 28, 30 (color, overall and detail).
Maria Carmen Lacarra Ducay. "Identificacion de una obra de Antonio van Dyck en Pedrola (Zaragoza)." Boletin del Museo e Instituto "Camón Aznar" 20 (1985), pp. 5–6, 10–11, fig. 2.
Erik Larsen. The Paintings of Anthony van Dyck. Freren, Germany, 1988, vol. 1, pp. 434, 461 n. 39, fig. 472; vol. 2, pp. 261–62, no. 640.
Susan J. Barnes in Anthony van Dyck. Exh. cat., National Gallery of Art. Washington, 1990, p. 23.
Arthur K. Wheelock Jr. in Anthony van Dyck. Exh. cat., National Gallery of Art. Washington, 1990, p. 224 n. 4, under no. 55.
Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. New York, 1992, p. 131.
Introduction by Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, pp. 11, 332, no. 213, ill.
Carolyn Diskant Muir. "Art and Religion in Seventeenth-century Antwerp: Van Dyck's 'Mystic Marriage of the Blessed Hermann-Joseph'." Simiolus 28, no. 1/2 (2000–2001), p. 68, fig. 12.
Fiona Healy. "Images of the 'Madonna and Child' and 'The Holy Family' in Van Dyck's Oeuvre." Van Dyck 1599–1999: Conjectures and Refutations. Turnhout, Belgium, 2001, pp. 101, 111 n. 47, fig. 12.
Walter Liedtke et al. Vermeer and the Delft School. Exh. cat., The Metropolitan Museum of Art. New York, 2001, p. 363, fig. 278, under no. 65.
Luciano Arcangeli in Anton van Dyck: Riflessi italiani. Exh. cat., Palazzo Reale. Milan, 2004, p. 39.
Maria Grazia Bernardini in Anton van Dyck: Riflessi italiani. Exh. cat., Palazzo Reale. Milan, 2004, pp. 167–68, no. 27, ill. pp. 143 (color), 167.
Walter Liedtke. Vermeer: The Complete Paintings. Antwerp, 2008, p. 61, fig. 2b.