Henri Sauval. Histoire et recherches des antiquités de la ville de Paris. Paris, 1724, vol. 2, p. 169, states that the oratory of the Queen's apartment in the Palais Royal is surrounded with paintings of the life and attributes of the Virgin and that these were produced by Champaigne, Vouet, Bourdon, and other contemporary artists working in competition which each other.
Liste des tableaux destinés à la vente en Angleterre. March 1788 [published in Victor Champier and G.-Roger Sandoz, "Le Palais-Royal d'après des documents inédits (1629–1900)," Paris, 1900, p. 521], lists a Marriage of the Virgin and an Annunciation, both by Philippe de Champaigne and neither followed by a sale date or sale price.
Casimir Stryienski. La Galerie du Régent Philippe, duc d'Orléans. Paris, 1913, pp. 99, 179, tentatively suggests that the Annunciation and the Marriage of the Virgin by Philippe de Champaigne listed in the 1788 inventory [see Ref. Palais Royal 1788] may be the works by Champaigne representing these subjects in the Wallace Collection, London.
Tony Sauvel. "L'appartement de la reine au Palais-Royal." Bulletin de la Société de l'Histoire de l'Art Français, année 1968, (1970), p. 67, states that the pictures that decorated Anne of Austria's oratory at the Palais Royal were moved in 1651 to her apartment at Fontainebleau; notes that copies took their place.
Bernard Dorival. "Les oeuvres de Philippe de Champaigne sur le subjet de l'Annonciation." Bulletin de la Société de l'Histoire de l'Art Français, année 1970, (1972), pp. 50–51, ill. (engraving by Klauber based on 1812 drawing after this picture by Michailoff; reproduced from 1846 Duval sale catalogue), lists the paintings of this subject by Philippe de Champaigne in seventeenth- and eighteenth-century inventories and sale catalogues; mentions examples in the Le Bas and Duval sales of approximately the same dimensions, but does not connect them.
Bernard Dorival. Philippe de Champaigne, 1602–1674: La vie, l'œuvre, et le catalogue raisonné de l'œuvre. Paris, 1976, vol. 2, pp. 17, 140, no. 255, pl. 255 (Klauber engraving), dates the Marriage of the Virgin and an Annunciation [the Wallace Collection painting and present picture] which Champaigne produced for the Queen's oratory to about 1644, as she was widowed in 1643 and moved to the Palais Royal with her sons in the following year; offers as further evidence for this date the presence at the extreme right of the Marriage of the Virgin of a likeness of the painter's daughter Catherine as she would have appeared in about 1644, judging from her appearance in a 1647 drawing (Dorival no. 326); identifies the Annunciation by Philippe de Champaigne, sold as no. 33 in the Le Bas sale of 1793, with that sold in 1846 in the Duval sale [see ex. coll.]; states that the present location of this picture is unknown, but tentatively [and erroneously] identifies it with one of the scenes from the Life of the Virgin painted for the carmelite convent of Faubourg Saint-Jacques, or with one that hung in the church of Notre-Dame in Paris.
Mary Allden and Richard Beresford. "Two Altar-pieces by Philippe de Champaigne: Their History and Technique." Burlington Magazine 131 (June 1989), pp. 395–96, fig. 10 (Klauber engraving), publish a 1745 architectural drawing of the Palais Royal and suggest that a small oval room at the north-west corner of the building, marked "cabinet," and the rectangular "antichambre" to which it was connected comprised the oratory of Anne of Austria; conclude that the oratory measured no more than 7.3 x 5.85 meters in total; note that apart from the large Vouet on the main altar, the four works which can reasonably be assumed to have been part of its decoration are all painted on panel and comparatively small; conclude that the Annunciation in the Wallace Collection is too large to be the one mentioned in the 1788 inventory and suggest instead that the lost Annunciation by Champaigne from the 1846 Duval sale [the MMA picture] is the one in question.
John Ingamells. "French before 1815." The Wallace Collection: Catalogue of Pictures. 3, London, 1989, pp. 94–95 n. 9, pp. 110, 112 n. 16, mentions the "lost" Annunciation from the 1846 Duval sale [the present work] in his discussion of Champaigne's Marriage of the Virgin (P119), also from the oratory of Anne of Austria; notes that the "simple classical pedestal" in the lost work "would be consistent with a date in the mid-1640s".
Jacques Thuillier Musée Fabre, Montpellier. Sébastien Bourdon, 1616–1671: Catalogue critique et chronologique de l'oeuvre complet. Paris, 2000, p. 233, mentions the "lost" Annunciation by Champaigne from the oratory of Anne of Austria.
Victor Franco de Baux. Letter to Derek Johns. January 29, 2004, identifies the arms of the Henri family of Germany on one of the wax seals on the reverse: "Sable, on a mount of three peaks argent, a demi-griffon Or, Crest: A demi griffon Or".
Victor Franco de Baux. Letter to Derek Johns. January 13, 2004, states that the arms on one of the wax seals on the reverse of this picture appear to be those of the Khiening family of Carinthia, Austria; describes the crest on this seal as "a demi-man, holding in his right hand three arrows," but finds it difficult to see.
Richard Beresford. "Philippe de Champaigne, 'Philippe, homme sage et vertueux': Essai sur l'art et l'oeuvre de Philippe de Champaigne (1602–1674) . . . , by Lorenzo Pericolo, 2002." Burlington Magazine 146 (April 2004), p. 268, ill. p. 295.
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 151–55, no. 42, ill. (color), lists six related compositions.
Lorenzo Pericolo. "Two Paintings for Anne of Austria's Oratory at the Palais Royal, Paris: Philippe de Champaigne's 'Annunciation' and Jacques Stella's 'Birth of the Virgin'." Burlington Magazine 147 (April 2005), pp. 244–48, ill. (color), believes that a recently discovered panel, the Birth of the Virgin in the Musée des Beaux-Arts, Lille, is almost certainly part of the same cyle as the MMA panel; comments on the wax seals on the reverse of this picture, stating that "one of them [presumably with the large script "D"] confirms that it belonged to Duval," but provides no source for this information.
Nicolas Sainte Fare Garnot in Philippe de Champaigne (1602–1674): Entre politique et dévotion. Exh. cat., Palais des Beaux-Arts de Lille. Paris, 2007, p. 130, ill. (color), mentions it in relation to Champaigne's closely related Annunciation in the collégiale Saint-Jean-Baptiste, Montresor (215 x 170 cm), which he believes was made for the oratory or private chapel of Léon Bouthillier in Paris.
Keith Christiansen in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008. New York, 2009, p. 34.