Wilhelm von Bode. The Collection of Pictures of the late Herr A. de Ridder in his Villa at Schönberg near Cronberg in the Taunus. Berlin, 1913, p. 9, pl. 27 [catalogue section unpaginated], calls it "The Interrupted Music-lesson" in text and "A Young Couple, Taking Wine Together" in catalogue; dates it to the artist's later period and calls it one of his best works, very close to Metsu; notes that the landscape on the back wall seems to be by Everdingen; adds that the work is signed with a monogram.
Wilhelm R. Valentiner in The Michael Friedsam Collection. [completed 1928], p. 16, as "The Entertaining Suitor".
"Friedsam Bequest to be Exhibited Next November." Art News 30 (January 2, 1932), p. 13.
Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 626, no. 1665, ill. (cropped).
Wolfgang Stechow. "Landscape Paintings in Dutch Seventeenth Century Interiors." Nederlands Kunsthistorisch Jaarboek 11 (1960), p. 177 n. 27, notes that a version of the same landscape is included in Brekelenkam's "Proposal" (Suermondt Museum, Aachen).
Horst Vey. "Johann Peter Weyer, seine Gemäldesammlung und seine Kunstliebe." Wallraf-Richartz-Jahrbuch 28 (1966), p. 234, no. 188, ill. (engraving), as in the collection of Johann Peter Weyer, Cologne, in 1852, as by Metsu.
Ralph T. Coe. Paintings of 17th Century Dutch Interiors. Exh. cat., Nelson Gallery of Art and Atkins Museum. Kansas City, Mo., 1967, pp. 12, 20–21, no. 2, ill., notes the influence of Vermeer and Dou.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 187.
Walter Liedtke. "Dutch Paintings in America: The Collectors and Their Ideals." Great Dutch Paintings from America. Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, p. 52.
Walter Liedtke. "Vermeer sin egen läromästare." Rembrandt och hans Tid: Människan i Centrum. Exh. cat., Nationalmuseum. Stockholm, 1992, p. 104 n. 12 [reprinted in Wayne E. Franits, ed., "The Cambridge Companion to Vermeer," Cambridge, 2001, p. 189 n. 12], compares the man's pose to that of the male figure in Vermeer's "Cavalier and Young Woman" (Frick Collection, New York).
Angelika Lasius. Quiringh van Brekelenkam. Doornspijk, The Netherlands, 1992, pp. 47, 50, 64, 133, 144, no. 223, colorpl. XI, calls it "Gallant Conversation" and dates it about 1663; identifies the male figure as a young officer and states that "in the seventeenth century the violin was used only for popular entertainment and thus suggested moral laxity"; notes that Brekelenkam included variations of the landscape painting seen here in many paintings of the 1660s.
Wayne Franits. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, 2004, pp. 132, 134, 281 n. 123, fig. 119 (color).
Thomas Fusenig with the assistance of Christine Vogt. Bestandskatalog der Gemäldegalerie: Niederlande von 1550 bis 1800. Munich, 2006, p. 50, note a similar landscape painting in the background of a genre scene by Brekelenkam in Aachen.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. x, 101, 104–7, no. 24, colorpl. 24; vol. 2, p. 743, dates it to the early 1660s.
Alexandra B. Libby in Human Connections in the Age of Vermeer. Exh. cat., Kyoto Municipal Museum of Art. Tokyo, 2011, pp. 57–59, no. 9, ill. (color).
Arthur K. Wheelock Jr. Human Connections in the Age of Vermeer. Exh. cat., Kyoto Municipal Museum of Art. Tokyo, 2011, p. 20, fig. 9 (color).
Daniëlle H. A. C. Lokin in Human Connections in the Age of Vermeer. Exh. cat., Kyoto Municipal Museum of Art. Tokyo, 2011, p. 28.
Walter Liedtke in Vermeer: il secolo d'oro dell'arte olandese. Exh. cat., Scuderie del Quirinale. Milan, 2012, pp. 74.