James Pulham Sr. Letter to John Constable. April 30, 1818, acknowledges receipt of this portrait [see Ref. Beckett 1966].
The George A. Hearn Gift to The Metropolitan Museum of Art in the City of New York in the Year MCMVI. New York, 1906, pp. xii, 150, ill. opp. p. 150, as Constable, Mrs. Pulham, noting that the artist used the palette knife freely.
"Recent Changes in the Galleries." Metropolitan Museum of Art Bulletin 1 (May 1906), p. 87.
Masters in Art: Constable 7 (1906), p. 41.
Elizabeth Luther Cary. "The Hearn Pictures in the Metropolitan Museum." International Studio 34 (April 1908), p. 68, "the brush work is broad [with] something of that breeziness which the painter achieved in his skies having entered into his portraiture".
P[ercy]. M[oore]. Turner. "Pictures of the English School in New York." Burlington Magazine 22 (February 1913), p. 270, mentions the portrait as on loan [sic] from Hearn.
C. H. Collins Baker. British Painting. London, 1933, p. 277.
C[harles]. R[obert]. Leslie. Memoirs of the Life of John Constable, R.A. London, 1937, pp. lxxxii, 438, Shirley dates it about 1830 and identifies the sitter as the wife of Mr. Pulham of Woodbridge, a "Suffolk friend . . . for whom he painted several landscapes".
Andrew Shirley. "Constable as a Portrait Painter." Burlington Magazine 70 (June 1937), p. 273, pl. 2-D, dates it to the late 1820s or early 1830s.
W. G. Constable and H. P. Rossiter. An Exhibition of Paintings, Drawings, and Prints by J. M. W. Turner, John Constable, and R. P. Bonington. Exh. cat., Museum of Fine Arts, Boston. Boston, 1946, p. 49, no. 142, note that Shirley dates it about 1830, but feel it "may well be a few years earlier".
Elsie G. Redstone. Letter to Josephine L. Allen. December 26, 1949, is inclined to think it represents Mrs. James Pulham Sr. rather than her daughter-in-law, Mrs. James Brook Pulham; notes that the latter, upon her death in 1868, bequeathed a portrait of Mrs. Pulham Sr. to Rolla Rouse of Melton (died 1887).
W. G. Constable. Letter to Josephine L. Allen. January 9, 1950, observes that it is close to Constable's portrait of Dr. Wingfield, which is signed and dated 1818, but dates it in the early 1820s because it is more loosely painted.
Mabel I. Redstone. Letter to Josephine L. Allen. September 8, 1954, encloses a transcript of the 1818 letter from James Pulham to Constable, acknowledging receipt of his wife's portrait.
"Patrons, Dealers, and Fellow Artists." John Constable's Correspondence. 4, London, 1966, pp. 88–89, 94, ill. (frontispiece), as c. 1821 [sic]; publishes the 1818 letter, identifies the portrait referred to as ours, and supplies biographical information about the Pulhams.
Leslie Parris, Ian Fleming-Williams, and Conal Shields. Constable: Paintings, Watercolours & Drawings. Exh. cat., Tate Gallery. London, 1976, p. 105, no. 158, ill. p. 106, date it 1818.
Robert Hoozee. L'opera completa di Constable. Milan, 1979, p. 111, no. 250, ill.
Leslie Parris. The Tate Gallery Constable Collection: A Catalogue. London, 1981, p. 78, mentions it in connection with the portrait of Mrs. James Andrew of 1818.
Graham Reynolds. The Later Paintings and Drawings of John Constable. New Haven, 1984, vol. 1, p. 17, no. 18.8; vol. 2, colorpl. 35, dates it 1818 and calls it "one of Constable's most successful portraits".
Malcolm Cormack. Constable. Cambridge, 1986, p. 37, mentions its "direct liveliness and honest look," suggesting that the "sparkle of surface" may have been learned from Lawrence.
Anne Lyles in Constable: Le choix de Lucien Freud. Exh. cat., Grand Palais. Paris, 2002, pp. 132–33, no. 66, ill. (color).
Martin Gayford and Anne Lyles. Constable Portraits: The Painter and His Circle. Exh. cat., National Portrait Gallery. London, 2009, pp. 27, 29, 48, 52, 122, no. 32, ill. pp. 102, 123 (color, overall and detail), suggest that Constable may have painted a pendant portrait of the sitter's husband (present location unknown).
Hugh Belsey. "Constable Portraits." Burlington Magazine 151 (May 2009), pp. 331–32 n. 4, fig. 55 (color), calls it "Portrait of Mrs. James Pulham" and remarks that "judging from the pentimenti, it was a painting (or a sitter) that caused [Constable] difficulties and he went out of his way to satisfy".
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 240–41, no. 116, ill. (color).