Sylvie Béguin. "Pieter Codde et Jacob Duck." Oud-Holland 67 (1952), pp. 114–115 n. 18, as "La Bohémienne disant la bonne avonture" [sic]; compares it with paintings by Duck dating from about 1630–35.
Gamla Holländare I Skånska Hem. Exh. cat., Skånska Konstmuseum. Lund, 1953, p. 18, no. 18, gives the apparently mistaken information that E. Lundström bought the painting on November 18, 1933, from the Galerie Sanct Lucas, Vienna.
John Walsh Jr. Letter to Mr. and Mrs. Levy. June 6, 1971, states, "the old woman seems to be a gypsy palm-reader (that doesn't rule out her being a procuress, too!)".
John Walsh Jr. "New Dutch Paintings at The Metropolitan Museum." Apollo 99 (May 1974), pp. 344, 346, 349 n. 11, fig. 8, calls it "Couple with a Gypsy Woman" and dates it to the early 1630s; discusses the subject, noting "the old gypsy woman seems to be telling the girl's fortune . . . although she may be a procuress," and interpreting the fireplace as a reference to love; compares it to a drawing of a gypsy woman by Duck in the Mussen für Kunst und Kulturgeschichte, Lübeck.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 187, fig. 265, questions the identification of the old woman as a procuress, suggesting instead that she is a gypsy and stating, "the gentleman client would hardly look so bored if the transaction were of a prurient sort".
Daniëlle O. Kisluk-Grosheide. "Dutch Tobacco Boxes in The Metropolitan Museum of Art: A Catalogue." Metropolitan Museum Journal 23 (1988), pp. 201, 207 n. 7, figs. 2–3 (overall and detail), suggests that the open tobacco box, clay pipe, and folded paper containing tobacco on the floor to the lower right may be symbolic since tobacco was considered an aphrodisiac.
Nanette Salomon. Jacob Duck and the Gentrification of Dutch Genre Painting. Doornspijk, The Netherlands, 1998, pp. 128–29, 147, no. 27, fig. 118, colorpl. VII
, as "Gypsy Fortune Teller (The Procuress)"; calls it Duck's earliest treatment of a gypsy subject, and considers it close to his bordello scenes of the early 1630s in which the "contrast of physiognomic types is strongly reminiscent of the Utrecht Caravaggisti"; relates it to the Lübeck drawing [see Ref. Walsh 1974] and the engraving by Patour [see Notes].
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. x, 182–84, no. 41, colorpl. 41, dates it about 1632–33.