Collection Dr. Stanislas Gilibert. Ch. Gachod, Lyons. March 11, 1872, p. 41, no. 90, attribute it to the School of Dürer.
Raoul de Cazenove. Les tableaux d'Albert Dürer au Musée de Lyon. Lyons, 1883, pp. 28–30, rejects the attribution to the School of Albrecht Dürer and proposes Jan Gossart as the artist; provides extensive provenance.
Alfred Darcel. "La collection de M. Ernest Odiot." Gazette des beaux-arts, 3rd ser., 1 (1889), pp. 253, 257–58, ill. (reproductive engraving by Ch. Kreutzberger), doubts the attribution to Jan Gossart, observing that it is not by Bernaert Van Orley either, suggests one look among their contemporaries.
Objets d'art et de haute curiosité tableaux anciens composant la précieuse collection de M. Ernest Odiot. Hôtel Drouot, Paris. April 26–27, 1889, p. 24, no. 6, ill., as by Mabuse (Gossart).
Gustav Glück. "Kinderbildnisse aus der Sammlung Margaretens von Österreich." Jahrbuch der kunsthistorischen Sammlungen in Wien 25 (1905), pp. 227–28 n. 3, mentions it as presumably by the Master of the Death of the Virgin.
[E.] Firmenich–Richartz in Allgemeines Lexikon der bildenden Künstler. 3, Leipzig, 1909, p. 217, dates the painting to Joos's middle period; lists it in the collection of Countess Miranda–Nielssen [Paris].
Alfred von Wurzbach. Niederländisches Künstler-Lexikon. 2, Vienna, 1910, p. 609, lists it under Jan van Scorel [then regarded by some as a candidate for identification with the Master of the Death of the Virgin, now recognized by almost all to be Joos van Cleve] as a forgery along with most other similar half–length compositions in the group.
Martin Conway. The Van Eycks and Their Followers. London, 1921, pp. 402, 404, as by Joos; dates it slightly later than 1510; notes that the Virgin's facial type resembles that in Rogier van der Weyden's drawing in the Louvre (inv. no. 20.664) and states that "it must in any case be copied from some Rogier, for the type does not recur in the work of Joos".
Friedrich Winkler. Die altniederländische Malerei: Die Malerei in Belgien und Holland von 1400–1600. Berlin, 1924, pp. 249–50, as by Joos, shortly after 1515.
Ludwig von Baldass. Joos van Cleve, der Meister des Todes Mariä. Vienna, 1925, p. 7 n. 72, pp. 24, 26, 31, no. 51, fig. 46b, as by Joos; dates it about 1520 in the text, but about 1525 in the catalogue; observes clear parallels with the Madonna pictures of Jan Gossart.
The Encyclopædia Britannica. 13, 14th ed. London, 1929, p. 147.
Max J. Friedländer. "Joos van Cleve, Jan Provost, Joachim Patenier." Die altniederländische Malerei. 9, Berlin, 1931, p. 136, no. 57, as an original by Joos, from about 1525, mentions an old copy on the art market in Paris (55 x 40 cm).
Fritz Neugass. "Abschluss einer Epoche: Versteigerung der Sammlung Berwind." Weltkunst 32 (August 1, 1962), p. 13, ill.
Max J. Friedländer et al. "Joos van Cleve, Jan Provost, Joachim Patenier." Early Netherlandish Painting. 9, part 1, New York, 1972, p. 62, no. 57, pl. 72.
John Oliver Hand. "Joos van Cleve: The Early and Mature Works." PhD diss., Princeton University, 1978, p. 310, no. 83, fig. 95, lists it among works known only through copies; rejects the attribution of the figures or the landscape to Joos's hand; suggests that the picture may echo a lost original.
John Oliver Hand. Letter to Guy Bauman and Maryan Ainswoth. July 26, 1983, attributes it to Joos and his workshop, about 1525; suggests that the underdrawing is by Joos while the paint layer is probably by a different hand; observes that the facial type of the Virgin is atypical for Joos and the still-life elements more heavily painted than his; considers the landscape to be the work of a specialist in Joos's shop.
Lorne Campbell. The Early Flemish Pictures in the Collection of Her Majesty the Queen. Cambridge, 1985, p. 32, notes a resemblance, in reverse, to a painting by a follower of Joos in the Royal Collection (Hampton Court), London, and one attributed to Joos in the Fitzwilliam Museum, Cambridge.
Guy C. Bauman. "The Jack and Belle Linsky Collection in the Metropolitan Museum of Art: Addenda to the Catalogue." Metropolitan Museum Journal 21 (1986), pp. 154–59, no. A.1, ill. (color, overall and details), as by Joos and a collaborator, about 1525; notes that the landscape in the Crucifixion triptych (MMA 41.190.20a–c) is very similarly painted, also without underdrawing, and may be the work of the same specialist; observes that the background scenes suggest that the subject in the foreground is meant to be the Rest on the Flight into Egypt; suggests that the infant Christ asleep against his mother's breast is an allusion to the Lamentation when she will hold her dead son; indicates that the still-life elements in the painting relate symbolically to the theme of mankind's salvation and elaborates on their iconography; identifies the inscription on the recto page of the open book as the opening words of the De Profundis (Psalm 130:1–2), followed by the Gloria Patri, and the text on the verso page as the closing words of the Magnificat (Luke 1:54–55)
Elisa Bermejo Martinez. "Una virgen con el niño, de Joos van Cleve, monogramada y noticias sobre una adoración." Archivo español de arte 64 (July–September 1991), pp. 350–51, fig. 3, compares our picture to a version now in a Spanish private collection, claiming that the latter work is monogrammed by Joos.
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, p. 343, no. 288, ill.
Jochen Sander. Niederländische Gemälde im Städel, 1400–1550. Mainz, 1993, pp. 220–21, ill., discusses it in connection with a related work by an "Antwerp (?) Master about 1525" in the Städel.
Reindert L. Falkenburg. The Fruit of Devotion: Mysticism and the Imagery of Love in Flemish Paintings of the Virgin and Child, 1450-1550. Philadelphia, 1994, pp. 14–15, 85–86, ill., mentions it as an early example in the Southern Netherlands of the Italian convention of the Virgin sitting in front of a stone ballustrade or table on which fruit is displayed; notes that this motif, which goes back to the mid-15th century, was adopted by Northern artists through the works of Andrea Mantegna and Giovanni Bellini; observes that Northern artists modified the pictorial type by portraying the Virgin with a prayerbook in her hand next to foods and various objects of consumption, thus giving the table the character of a 'prie-dieu' and adding a sensual dimension to the believer's meditation.
Maryan W. Ainsworth. "A Meeting of Sacred and Secular Worlds." From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 36, 59, 73–74, 209, 211, 268, 326, 360–64, no. 96, ill. (color, overall and details), ascribes it to Joos van Cleve and a collaborator, about 1525, the period of Joos's maturity; attributes the Patinir-inspired landscape, which became so popular from the mid-1520s, to a specialist, as it shows no underdrawing and is more loosely painted than the figures.
Dagmar Eichberger. Leben mit Kunst, Wirken durch Kunst: Sammelwesen und Hofkunst unter Margarete von Österreich, Regentin der Niederlande. Turnhout, Belgium, 2002, p. 216, ill.
John Oliver Hand. Joos van Cleve: The Complete Paintings. New Haven, 2004, pp. 132, 149, no. 59, fig. 138, dates it about 1525.
Micha Leeflang in Joos van Cleve, Leonardo des Nordens. Exh. cat., Suermondt-Ludwig-Museum, Aachen. Stuttgart, 2011, pp. 143–44, fig. 119 (color).
Peter van den Brink in Joos van Cleve, Leonardo des Nordens. Exh. cat., Suermondt-Ludwig-Museum, Aachen. Stuttgart, 2011, p. 174.