A[dolfo]. Venturi. Storia dell'arte italiana. Vol. 9, part 6, La pittura del Cinquecento. Milan, 1933, p. 917, fig. 565, as in a private collection, Berlin; notes a relation to the work of Campi's student Sofonisba Anguissola and to Moroni.
[Claus Virch]. Paintings in the Collection of Charles and Edith Neuman de Végvár. [New York], , p. 4.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 41, 531, 609.
Robert Miller in I Campi e la cultura artistica cremonese del Cinquecento. Exh. cat., Museo Civico, Cremona Santa Maria della Pietà, Vecchio Ospedale. Milan, 1985, pp. 161–62, no. 1.15.8, ill., compares the composition to a type created by Titian.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, p. 7, pl. 72, date it after 1556, perhaps to the late 1560s based on the costume; relate it in style to the work of Sofonisba Anguissola.
Old Master Paintings. Sotheby's, New York. January 11, 1990, unpaginated, under no. 32.
Angela Ghirardi. "Per Bernardino Campi ritrattista." Quaderni di Palazzo Te, n.s., 1 (1994), pp. 79–80, fig. 3, calls it one of three portraits securely attributed to Campi.
Nicholas Penny. The Sixteenth Century Italian Paintings. Vol. 1, Paintings from Bergamo, Brescia and Cremona. London, 2004, p. 32.
Renaissance. Christie's, New York. January 28, 2015, p. 100, under no. 130.