A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill., as "A Portrait of a Lady," by Dürer.
"Bache Buys Dürer Portrait From Duveen." Art News 27 (June 15, 1929), p. 1, ill., notes that it is with Bache in New York, but that Duveen denies its sale.
August L. Mayer. "Zwei venezianische Frauenbildnisse Dürers." Pantheon 3 (June 1929), p. 249, ill. opp. p. 249 (color), as by Dürer, painted in Venice in 1506; notes that the condition is somewhat impaired; states that for a long time it was owned by a German princely family.
August L. Mayer. "Die Sammlung Jules Bache in New-York." Pantheon 6 (December 1930), p. 542, as by Dürer, but poorly preserved and restored to its disadvantage.
H. E. Wortham. "The Bache Collection." Apollo 11 (May 1930), p. 354.
Royal Cortissoz. "The Jules S. Bache Collection." American Magazine of Art 21 (May 1930), pp. 259–60, ill. p. 250.
H[ans]. Tietze. "Dürerliteratur und Dürerprobleme im Jubiläumsjahr." Wiener Jahrbuch für Kunstgeschichte 7 (1930), pp. 239–40, ill., publishes an engraving (Hind E III 16) as by an anonymous Northern Italian artist that closely corresponds with the MMA work; having seen only a photograph of the painting, believes it possible that it is an Italian copy after the etching.
Hans Tietze. "Dürer in Amerika." Anzeiger des germanischen Nationalmuseums (1932–33), pp. 95, 99–100, fig. 63 [reprinted in English in Art Bulletin 15 (September 1933), pp. 267–68, fig. 22], having seen the painting, states that his doubts about the attribution [see Ref. Tietze 1930] are unresolved.
"Dürer in Amerika." Weltkunst 7 (September 10, 1933), p. 3.
[Alfred] Scharf in Gustav Glück. Aus drei Jahrhunderten europäischer Malerei. Ed. Ludwig Burchard and Robert Eigenberger. Vienna, 1933, p. 337.
Max J. Friedländer. "Dürer's Connection with Italy, and the Portrait of a Woman in the Bache Collection." Art in America 23 (March 1935), pp. 45–46, ill. p. 40.
Max J. Friedlaender. "The Literature of Art: A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, by Charles L. Kuhn ." Burlington Magazine 69 (July 1936), p. 44, notes that Charles Kuhn omits it from "A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections," Cambridge, 1936.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 28, ill.
"Bache, Following American Tradition, Gives Collection to Public." Art Digest 11 (May 15, 1937), p. 7.
Helen Comstock. "The Connoisseur in America." Connoisseur 100 (July 1937), p. 33.
"Bache Collection Opened to the Public." Art Digest 12 (December 1, 1937), p. 29.
Hans Tietze and E. Tietze-Conrat. Kritisches Verzeichnis der Werke Albrecht Dürers. part 2, Vol. 2, Basel, 1938, p. 78, no. A194, ill. p. 218, reject the attribution to Dürer.
James W. Lane. "Notes from New York." Apollo 27 (January 1938), p. 39, calls it "an indifferent Dürer".
Ella S. Siple. "Art in America: Mid-Winter Notes." Burlington Magazine 72 (February 1938), pp. 93–94.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 217, ill.
Regina Shoolman and Charles E. Slatkin. The Enjoyment of Art in America. Philadelphia, 1942, p. 505, pl. 460.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 288.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 27, ill.
Erwin Panofsky. Albrecht Dürer. Princeton, 1943, p. 20, no. 104, as a crude forgery.
A[lfred]. D[avidson]. "Bache Collection Installed in Metropolitan Museum for the Summer." Art Digest 17 (July 1, 1943), p. 7.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 182–84, ill., state that "its poor quality and the false signature tempt one to [the] conclusion" that it is a forgery.
Angela Ottino della Chiesa. The Complete Paintings of Dürer. New York, 1968, p. 106, no. 127, ill., notes that the attribution to Dürer is not generally accepted.
Colin Simpson. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986, pp. 214–15, 294 [excerpt published in Connoisseur 216 (October 1986), p. 130, ill.; British ed., "The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987], claims that Duveen bought it from August Mayer for $25,000 and sold it to Bache for $95,000; states that Mayer probably fabricated the royal provenance.
Meryle Secrest. Duveen: A Life in Art. New York, 2004, pp. 256–60, 429–30, ill., discusses the provenance and notes that Wilhelm Herzog von Urach, Graf von Württemberg stated at one point that the picture never belonged to him or to his family, but that he sold it to Duveen on behalf of a friend; notes that Wilhelm later claimed to have owned the painting after all.