Antonio Palomino de Castro y Velasco. "El parnaso español pintoresco laureado." El museo pictórico y escala óptica. 3, Madrid, 1715, p. 421 [see Temple 1905, p. 107, no. 153], lists the painting with the works of Murillo, in the collection of the Marques de Santiago, Madrid.
Richard Cumberland. Anecdotes of Eminent Painters in Spain during the Sixteenth and Seventeenth Centuries. London, 1782, vol. 2, pp. 125–26, as a Madonna and Child by Murillo in the collection of the Marquis of Santiago; notes that "the Madonna appears to be a portrait and not a beautiful subject" and finds that "in this piece the art is much superior to the design"; claims to own an engraving after the picture.
Antonio Palomino. "El parnaso español pintoresco laureado." El museo pictórico y escala óptica. 3, 2nd ed. Madrid, 1796, p. 623, as in the collection of the Marques de Santiago.
W[illiam]. Buchanan. Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution. London, 1824, vol. 2, pp. 219–21, 228–29, 234, as purchased from the St. Jago [Santiago] collection, Madrid, for Buchanan by his agent, [George Augustus] Wallis, and sold by Buchanan to Lord Berwick for £2500 in 1809; notes that it was displayed on the principal altar in the chapel of the Santiago palace.
William Stirling[-Maxwell]. Annals of the Artists of Spain. London, 1848, vol. 3, p. 1422.
[Gustav Friedrich] Waagen. Galleries and Cabinets of Art in Great Britain. London, 1857, pp. 141–42, cites the painting in Lord Overstone's collection.
Handbook to the Gallery of British Paintings in the Art Treasures Exhibition: No. 1. London, 1857, pp. 57–58, no. 642, cites it in the collection of Lord Overstone.
W. Bürger [Théophile Thoré]. Trésors d'art en Angleterre. Brussels, 1860, pp. 127–28.
Francisco M.Tubino. Murillo, su época, su vida, sus cuadros. Seville, 1864, pp. 196–97.
William B. Scott. Murillo and the Spanish School of Painting. London, 1873, p. 103.
Ellen E. Minor. Murillo. London, 1882, p. 82, no. 642.
Charles B. Curtis. Velazquez and Murillo. London, 1883, pp. 154–55, no. 95.
Luis Alfonso. Murillo: El hombre, el artista, las obras. Barcelona, 1886, p. 191.
George Redford. Art Sales. London, 1888, vol. 2, p. 2002.
Carl Justi. "Murillo." Zeitschrift für bildende Kunst 2 (1891), p. 273.
Paul Lefort. Murillo et ses élèves. Paris, 1892, p. 75, no. 93.
Aureliano de Beruete. "Correspondance d'Angleterre: Exposition d'oeuvres de peintres espagnols au Guildhall de Londres." Gazette des beaux-arts 26 (1901), p. 258, as in the Wantage collection.
A[lfred]. G[eorge]. Temple et al. A Catalogue of Pictures Forming the Collection of Lord and Lady Wantage. London, 1905, pp. 107–8, no. 153.
August L. Mayer. Murillo: Des Meisters Gemälde. Stuttgart, 1913, pp. xviii, 65, 286, 292, ill., dates it about 1668–82.
August L. Mayer. Geschichte der spanischen Malerei. Leipzig, 1913, vol. 2, p. 97.
Illustrated Catalogue of the Exhibition of Spanish Old Masters. Exh. cat., Grafton Galleries. London, 1914, pp. 79–81, no. 76, pl. 35, states that the painting was detained in Antwerp due to the English siege between 1808 and 1809.
August L. Mayer. Geschichte der spanischen Malerei. Leipzig, 1922, p. 340.
August L. Mayer in Allgemeines Lexikon der bildenden Künstler. 25, Leipzig, 1931, p. 286.
August L. Mayer. "Murillo und seine italienischen Barockvorbilder." Critica d'arte 3 (June 1938), p. 120, dates it about 1669–72 and claims it is derived from Titian's Madonna and Child in Munich (formerly in the Escorial).
Louise Burroughs. "A Painting of the Virgin and Child by Murillo." Metropolitan Museum of Art Bulletin 1 (May 1943), pp. 261–65, ill. (overall and details), dates it about 1670–71.
Lorenzo Varela. Murillo. Buenos Aires, 1946, p. 87, pls. 41–42 (overall and detail).
Manuel Toussaint. Arte Colonial en México. Mexico City, 1948, p. 159, notes that he has seen in a Mexican private collection a superior replica of Murillo's Virgin and Child from the Santiago collection, London [the present work].
Emiliano M. Aguilera. Bartolomé Esteban Murillo. Barcelona, 1950, p. 19.
Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), pp. 4, 30, ill.
Juan Antonio Gaya Nuño. La pintura española fuera de España. Madrid, 1958, p. 247, no. 1914, dates it to about 1668–82.
Martin Soria in George Kubler and Martin Soria. Art and Architecture in Spain and Portugal and their American Dominions, 1500 to 1800. Baltimore, 1959, pp. 277, 311, pl. 148B, dates it to about 1670–75 and believes Murillo knew Titian's Madonna and Child [see Ref. Mayer 1938] only through a copy; notes that Cristóbal de Villalpando's "The Triumph of the Church" [sic, for "The Church Militant and Triumphant"] in Mexico Cathedral includes a Virgin and Child based on this composition.
Francisco de la Maza. "Pintura barroca mexicana (Cristóbal de Villalpando)." Archivo español de arte 36 (January–March 1963), p. 32, pl. 2, cites it as a source for the figure of Charity in Villalpando's "La Iglesia militante y triunfante" (see Ref. Soria 1959).
Jonathan Brown. "Painting in Seville from Pacheco to Murillo: A Study of Artistic Transition." PhD diss., Princeton University, 1964, pp. 251–52, fig. 42.
Francisco de la Maza. El pintor Cristóbal de Villalpando. Mexico City, 1964, pp. 64, 77, ill.
Louise S. Richards. "Bartolomé Esteban Murillo: A Drawing Study for a Virgin and Child." Bulletin of The Cleveland Museum of Art 15 (September 1968), pp. 235, 237, 239 n. 2, ill., publishes a drawing in Cleveland (fig. 1) as a preparatory study for our painting.
Jonathan Brown in Jonathan Brown and Robert Enggass. Italy and Spain, 1600–1750: Sources and Documents. Englewood Cliffs, N.J., 1970, p. 201.
Diego Angulo Íñiguez. "Algunos dibujos de Murillo." Archivo español de arte 47 (April–June 1974), p. 105, mentions the painting in relation to the Cleveland drawing, which he erroneously cites as also in the Metropolitan Museum of Art.
Gridley McKim-Smith. Spanish Baroque Drawings in North American Collections. Exh. cat., University of Kansas Museum of Art. Lawrence, Kans., 1974, pp. 49–50, ill., dates it to about 1670.
Jonathan Brown. Murillo & His Drawings. Exh. cat., Art Museum, Princeton University. Princeton, 1976, pp. 11, 31, 165–66, ill., catalogues and illustrates the Cleveland drawing.
Juan Antonio Gaya Nuño. L'opera completa di Murillo. Milan, 1978, pp. 105, 119, no. 217, ill., dates it about 1670.
Marcus B. Burke in Spain and New Spain: Mexican Colonial Arts in their European Context. Exh. cat., Art Museum of South Texas. Corpus Christi, Tex., 1979, p. 28.
Denys Sutton. "Robert Langton Douglas, Part IV, XX: New York." Apollo 110 (July 1979), p. 38, ill.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 331–32, fig. 597.
Eric Young. Bartolomé Murillo: Werkverzeichnis. Frankfurt am Main, 1980, p. 70, no. 222, ill., dates it to about 1670.
Mark M. Johnson. Idea to Image: Preparatory Studies from the Renaissance to Impressionism. Exh. cat.Cleveland, 1980, pp. 46–48, ill.
Diego Angulo Íñiguez. Murillo. Madrid, 1981, vol. 1, p. 432; vol. 2, pp. 159–60, no. 164, vol. 3, pl. 382, dates the painting about 1670–80; lists copies in Florence, Mexico, and Valencia, and observes that since Murillo has inverted Titian's composition [see Ref. Mayer 1936] he may only have known it through an engraving.
Manuela Mena Marqués Enrique Valdivieso in Bartolomé Estéban Murillo [1617-1682]. Exh. cat., Museo Nacional del Prado. Madrid, 1982, p. 292.
Juan Miguel Serrera. "Murillo y la pintura italiana de los siglos XVI y XVII: Nuevas relaciones y concomitancias." Goya (July–December 1982), p. 127.
Edward J. Sullivan Nina A. Mallory. Painting in Spain 1650–1700 from North American Collections. Exh. cat., Art Museum, Princeton University. Princeton, 1982, p. 168, ill. (not in exhibition).
Harold E. Wethey. "Spanish Painting of the Late Baroque." Art Journal 42 (Winter 1982), p. 334.
Claudie Ressort in Murillo dans les musées français. Exh. cat., Musée du Louvre. Paris, 1983, p. 24, no. 36, dates it about 1660–65, following Murillo's stay in Madrid, and sees in it the influence of Titian and Van Dyck.
Nina Ayala Mallory. Bartolomé Estebán Murillo. Madrid, 1983, pp. 33, 63, fig. 58, doubts that Murillo relied on a print rather than on Titian's original, as the treatment here is "completely Venetian," reflecting Titian's late style.
Nigel Glendinning. "A Footnote to Goya's "Portrait of the Marquesa de Santiago"." J. Paul Getty Museum Journal 14 (1986), p. 149, identifies it as the "Our Lady of the Milk with the Child" in the 1728 posthumous inventory of Don Francisco Estéban Rodríguez de los Ríos, the first holder of the Santiago title, although the dimensions are given as 167 x 84 cm.
Antonio Palomino. Lives of the Eminent Spanish Painters and Sculptors. Cambridge, 1987, pp. 282, 285 n. 7.
María de los Santos García Felguera. La fortuna de Murillo (1682–1900). Seville, 1989, p. 60.
Enrique Valdivieso. Murillo: Sombras de la tierra, luces del cielo. Madrid, 1990, pp. 193–94.
Jonathan Brown. The Golden Age of Painting in Spain. New Haven, 1991, pp. 282–83, ill., dates it about 1675–80.
Marcus B. Burke. Pintura y escultura en Nueva España: El barroco. Mexico, 1992, pp. 110–11, 158, ill. (color).
Edward J. Sullivan in Converging Cultures: Art and Identity in Spanish America. Exh. cat., Brooklyn Museum. New York, 1996, pp. 39–40, ill.
Juana Gutiérrez Haces et al. Cristóbal de Villalpando, ca. 1649–1714. Mexico City, 1997, pp. 204, 272, notes that Villalpando includes a figure of charity based on this composition in his paintings of "The Church Militant and Triumphant" in the cathedrals of Mexico City and Guadalajara; states that the work in Mexico City was completed in 1685.
Jonathan Brown. Painting in Spain, 1500–1700. New Haven, 1998, p. 231, ill.
Suzanne L. Stratton-Pruitt in Bartolomé Esteban Murillo (1617–1682): Paintings from North American Collections. Exh. cat., Kimbell Art Museum. New York, 2002, pp. 30–31, 44, 162–64, no. 23, ill. (color, overall and detail).
Marcus B. Burke. "Fort Worth and Los Angeles: Murillo in America." Burlington Magazine 144 (July 2002), p. 458, ill. (color).
Sofía Sanabrais. "The Influence of Murillo in New Spain." Burlington Magazine 147 (May 2005), p. 327, fig. 28, asserts that as "no reproductive print was made of the painting [MMA 43.13] before Villalpando's 'Church militant' was completed, it seems likely that the artist had access to a contemporary copy either by Murillo or by one of his followers"; states that a Murillo follower, Juan Simón Gutiérrez, is recorded in a document of 1678 as exporting a large shipment of devotional paintings to New Spain; suggests that he copied this Virgin and Child and exported the replica to Mexico City; wonders if the copy mentioned by Toussaint [Ref. 1948] as in a private collection in Mexico can be identified with one that appears in a photograph in the MMA archives.
Elizabeth A. Pergam. "From Manchester to Manhattan: The Transatlantic Art Trade After 1857." Bulletin of the John Rylands Library 87, no. 2 (2005), pp. 82, 86, 90.
Marcus Burke in The Arts in Latin America: 1492–1820. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2006, p. 84 n.31.