"Judith and Holofernes, by Cranach." Metropolitan Museum of Art Bulletin 6 (May 1911), p. 124, ill. p. 122, dates this painting probably later than the version at the Kunsthistorisches Museum, Vienna, noting that the signature of both works, with a winged serpent, means they must date after the artist was granted this crest in 1508; notes that areas of overpainting have been removed, particularly on the head and neck of Holofernes.
Catalogue of the Paintings in The Metropolitan Museum of Art. New York, 1911 [under Addenda to the 1905 Catalogue, May–June 1911, n.p.].
Robert Allerton Parker. "The Revaluation of Lucas Cranach." International Studio 87 (June 1927), pp. 17, 24, ill. p. 25, notes that it "remains predominantly a portrait" and calls it a replica devoid of emotional expression.
Giuseppe di Lentaglio. "La 'Giuditta' biblica nell'arte." Emporium 74 (September 9, 1931), p. 140, ill. p. 132, notes that Judith is portrayed here as a gentlewoman in contemporary dress.
Max J. Friedländer and Jakob Rosenberg. Die Gemälde von Lucas Cranach. Berlin, 1932, p. 65, no. 190e, list this painting as a version of the Judith picture at the Staatsgalerie Stuttgart, which they date about 1530; broadly date the variants between 1526 and 1537.
Charles L. Kuhn. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936, p. 38, no. 100, pl. 20, dates it about 1530–35.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 202–3, ill., note that Cranach painted many pictures of Judith and date the Vienna and Stuttgart versions to about 1530.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 392, no. 1042, ill., dates this picture about 1525 and illustrates it alongside Cranach's portraits of three similarly dressed women in the Kunsthistorisches Museum, Vienna; notes that the large plumed hat went out of fashion by the second third of the 16th century.
Charles D. Cuttler. Northern Painting from Pucelle to Bruegel. New York, 1968, p. 377, fig. 493, dates it about 1530 and comments on its "clarity of form that is neither entirely plastic nor pictorial".
Constance Loewenthal in 100 Paintings from the Metropolitan Museum [in Russian]. Exh. cat., State Hermitage Museum, Leningrad. Moscow, 1975, pp. 45–46, no. 14, ill., finds our painting closely related to the Judiths in Vienna and Stuttgart, and dates it probably to the early 1530s; lists two other paintings of Judith from 1530 (formerly Chillingworth collection; Jagdschloss Grünewald, Berlin), and one from 1531 (Suermondt-Ludwig-Museum, Aachen; now SMPK, Berlin); notes that this compositional type with Judith shown standing half-length behind a balustrade apparently originated with Vincenzo Catena in Venice and was taken up in Germany by Cranach and Georg Pencz in about 1530; remarks that Cranach shows Judith as a blond, 16th-century lady of the Saxon court thus obscuring the boundary between the sacred subject and the worldy image.
Max J. Friedländer and Jakob Rosenberg. The Paintings of Lucas Cranach. rev. ed. Ithaca, N.Y., 1978, p. 115, no. 230E.
Adelheid Straten. Das Judith-Thema in Deutschland im 16.Jahrhundert: Studien zur Ikonographie-Materialien und Beiträge. PhD diss.Munich, 1983, p. 64, no. 24.
Patricia Campbell Warner. "Fetters of Gold: The Jewelry of Renaissance Saxony in the Portraits of Cranach the Elder." Dress 16 (1990), pp. 23–24, 27 n. 14, fig. 5, notes that "Judith's neck is encased from collar bone to jaw in two massive and heavily jeweled Saxon collars"; comments on the popular fashion for slashing gloves to display rings.
Sophie McConnell. Metropolitan Jewelry. New York, 1991, pp. 74–75, ill. (color), describes Judith's jewels, noting that massive gold chains were popular in Flanders and Germany during the 1530s.