Max J. Friedländer in The Michael Friedsam Collection. [completed 1928], p. 147, as "Portrait of a Noble Lady. Half Figure," formerly in the Munich and Paris art trade; calls it "one of the earliest and best works" of Bruyn the Younger.
Dr. Baumeister. Letter to Margaretta Salinger. January 7, 1933, identifies the coat of arms in this portrait as that of the Slosgin (Schlössgen) family, Cologne merchants whose ancestor, Johann, came from Nymegen, Holland, in 1415; believes the sitter must be from the fifth generation of the family, and is possibly Katharina Slosgin, daughter of Peter Slosgin and Margaretha van Bergen, and wife of Heinrich Kannegiesser, who became mayor of Cologne.
Margaretta M. Salinger. Letter to Edward S. King. January 4, 1943, reports Baumeister's [Ref. 1933] association of the coat of arms with the Slosgin family, but notes that the three brushes on the shield have been difficult to identify and have been called "Feuerwedels" by one author; reports that a memo handwritten by [Harry B.] Wehle identifies the brushes as "three harrows of gold, and as belonging to the Bazeilles family of Luxembourg".
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 231–32, ill., call it "Portrait of a Lady"; incorrectly state that this portrait was painted the year that Bruyn the Elder died , after which Bruyn the Younger began to paint independently, "which probably accounts for the stiffness in posture and design and the formality of dress and décor that contrast so sharply with the freer, more Italianate portraits he painted later in his career"; state that the coat of arms is not yet identified [see Ref. Baumeister 1933].
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, pp. 408–9, no. 1088, ill., calls this painting "Lady of the Schlossgen Family of Cologne"; notes that the bell shape of the sitter's ermine sleeves was "persistent in Cologne" although out of fashion elsewhere; observes that she holds a "pear-shaped pomander".
Julius S. Held. "Book Reviews: Harry B. Wehle and Margaretta M. Salinger . . ., 1947." Art Bulletin 31 (June 1949), p. 140, remarks that if the coat of arms in this portrait were described, it could aid in identifying the sitter.
Horst-Johannes Tümmers. "Bartholomäus Bruyn der Jüngere." Wallraf-Richartz-Jahrbuch 32 (1970), pp. 116, 120, no. 2, pl. 83, calls it "Portrait of a Woman" and comments on the influence of Bruyn the Elder based on comparison with the latter's only signed and dated portrait, of Petrus Ulner (1560; Rheinisches Landesmuseum, Bonn); finds the attribution to Bruyn the Younger plausible.
J. G. Links. Letter to Katharine Baetjer. September 13, 1993, finds the fur depicted in this portrait "of great interest because the tails are raised from their background. I know of no other artist who painted ermine tails in this way except Cigoli and his are much larger and different. This point might be useful in attributing (or de-attributing) other works to Bruyn".
Annekatrein Löw. Bartholomäus Bruyn: Die Sammlung im Städtischen Museum Wesel. Wesel, 2002, p. 119.
Burton L. Dunbar. The Collections of the Nelson-Atkins Museum of Art: German and Netherlandish Paintings, 1450–1600. Kansas City, Mo., 2005, pp. 103–4, fig. 6–7f, notes that based on stylistic comparison with the Ulner diptych in Bonn [see Ref. Tümmer 1970], Bruyn the Younger's only documented work, it is possible to safely assign only three other portraits, including the present one, to the artist.
Karen E. Thomas in German Paintings in The Metropolitan Museum of Art, 1350–1600. New Haven, 2013, p. 10.
Joshua Waterman in German Paintings in The Metropolitan Museum of Art, 1350–1600. New Haven, 2013, pp. 40–43, 283–84, no. 7, ill. (color) and fig. 36 (x-radiograph).