Charles L. Kuhn. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936, p. 36, no. 83, as by Lucas Cranach the Elder, in the collection of Henry Schniewind, New York; calls it the companion to "Christ and the Adulteress" (MMA 1982.60.35), which he dates about 1520, reading the wings of the dragon emblem as extended.
Christiane D. Andersson. "Religiöse Bilder Cranachs im Dienste der Reformation." Humanismus und Reformation als Kulturelle Kräfte in der Deutschen Geschichte: Ein Tagungsbericht. Ed. Lewis W. Spitz. Berlin, 1981, p. 59 n. 57, lists it, erroneously as still in the collection of Henry Schniewind, among versions of this subject by Cranach or his workshop.
Guy C. Bauman in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 101–4, no. 37, ill. (color), states that the agreement in style and format indicates that the two MMA panels must have been conceived together and dates them to the mid-1640s, noting that it is especially difficult to distinguish between the work of Lucas Cranach the Elder and the Younger in paintings of this period; mentions that Lucas the Younger's painting "Saint John the Baptist Preaching" (Herzog Anton Ulrich-Museum, Braunschweig), dated 1549, is very close in style to the two MMA panels, and that the probable participation of Lucas the Younger in this panel is also indicated by the similar conception of his drawing of the same subject (Museum der bildenden Künste, Leipzig) and by the sweet expressions on the faces; mistakenly identifies the two MMA pictures with two copies after them in Gotha [see Notes]; states that Cranach the Elder was apparently the first artist to make panel paintings of this subject, adding that at least sixteen versions by him and his workshop survive; notes that the compositions of both MMA panels are unique among the surviving versions.
Guy Bauman in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, pp. 57–58, ill., states that these two panels exemplify the influence of the Lutheran Reformation on Cranach's imagery.
Peter Klein. Letter to The Metropolitan Museum of Art. April 3, 2006, identifies the wood of the panel as beech, adding that it is cut tangentially with an insufficient number of growth rings for dendrochronological analysis.
Ewa Wilkojc. "Christ Blessing the Children" by Lucas Cranach the Elder in the Collection of the Wawel Royal Castle: Study and Conservation. Kraków, 2012.