E. Plietzsch. "Ausstellung von Werken alter Kunst aus Berliner Privatbesitz." Cicerone 7 (1915), p. 214, calls these panels splendid examples of Bruyn's high art of portraiture and his cultivated ability as a painter.
"Kappel and Castiglioni Lots: Treasures to be Sold in Berlin." Illustrated London News (November 15, 1930), p. 887, ill.
Gemälde und Kunstgegenstände aus der Ehemaligen Sammlung Marcus Kappel, Berlin. Paul Cassirer and Hugo Helbing, Berlin. November 25, 1930, no. 3, pl. 3, as the companion to no. 2, a portrait of a man (62.267.1); note that Max. J. Friedländer attributes it to Bruyn the Elder.
Barthel Bruyn, 1493–1555. Exh. cat., Wallraf-Richartz-Museum. Cologne, 1955, pp. 17–18, no. 20 [not in exhibition].
Hildegard Westhoff-Krummacher Universität Bonn. Barthel Bruyn der Ältere als Bildnismaler. [Munich], 1965, pp. 25, 66, 115, no. 26, ill. p. 118, as in an unknown collection; lists it among Bruyn's female portraits with planar features, reminiscent of the female faces painted by Geertgen tot sint Jans and his circle; comments that Bruyn painted many women holding a carnation, which may be a symbol of marriage or engagement, or even the Passion of Christ.
Joshua Waterman in German Paintings in The Metropolitan Museum of Art, 1350–1600. New Haven, 2013, pp. 37–39, 283, no. 6B, ill. (color).