Charles H. Caffin. "Pictures at the Metropolitan Museum." Harper's Monthly Magazine 104 (January 1902), p. 274, calls it a portrait of the artist's wife.
Wilhelm R. Valentiner. The Hudson-Fulton Celebration: Catalogue of an Exhibition Held in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1909, vol. 1, p. 41, no. 40, ill. opp. p. 41, states that it is erroneously called a portrait of the artist's wife.
E[rnst]. W[ilhelm]. Moes. Frans Hals, sa vie et son œuvre. Brussels, 1909, p. 109, no. 205.
Cornelis Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Ed. Edward G. Hawke. Vol. 3, London, 1910, p. 112, no. 387, concurs that the identification as the artist's wife is incorrect.
Joseph Breck. "L'art hollandais à l'exposition Hudson-Fulton à New York." L'art flamand & hollandais 13, no. 2 (1910), p. 50 [published in Dutch in Onze Kunst 17 (January 1910), p. 7], calls it a pendant to the "Portrait of a Man" (MMA, 91.26.9).
E[mil]. Waldmann. "Die Ausstellung Holländischer Gemälde des 17. Jahrhunderts in New York." Zeitschrift für bildende Kunst, n.s., 21, no. 4 (1910), p. 78.
Kenyon Cox. "Dutch Pictures in The Hudson-Fulton Exhibition—II." Burlington Magazine 16 (January 1910), p. 245, dates it before 1650.
Joséphin Péladan. Frans Hals, 1580(?)–1666. Paris, 1912, ill. opp. p. 68.
Wilhelm von Bode, ed. Frans Hals, His Life and Work. Berlin, 1914, vol. 2, p. 9, no. 175, pl. 107.
Wilhelm R. Valentiner. Frans Hals, des meisters Gemälde. 2nd ed. Stuttgart, 1923, pp. XII–XIII, 314–15, ill. p. 127, dates it about 1635 and calls it a portrait of the artist's wife, a pendant to the portrait of an artist in the Frick Collection, New York, presumably a self-portrait; notes that the background treatment is derived from Flemish painting, particularly Van Dyck.
W. R. Valentiner. "The Self Portraits of Frans Hals." Art in America 13 (April 1925), pp. 153–54, again calls it the pendant to the Frick portrait and identifies the sitters as Hals and his wife, but dates the two works about 1645.
Franz Dülberg. Frans Hals: Ein Leben und ein Werk. Stuttgart, 1930, p. 117, pl. 45, calls it a pendant to the Frick painting and tentatively identifies the sitter as Hals's wife; dates it about 1635.
W. R. Valentiner. "New Additions to the Work of Frans Hals." Art in America 23 (June 1935), p. 95.
W. R. Valentiner. Frans Hals Paintings in America. Westport, Conn., 1936, no. 84, ill. [cat. section unpaginated], calls it "Lisbeth Reyniers, the Wife of the Artist" and dates it about 1645.
N. S. Trivas. The Paintings of Frans Hals. New York, 1941, pp. 56–57, no. 98, pl. 129, dates it about 1650; calls it a pendant to the Frick picture and tentatively identifies the sitters as Hals and his wife.
Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 618, no. 1642, ill.
Dirk Vis. Rembrandt en Geertje Dircx. Haarlem, 1965, pp. 9, 11, 82–91, 107–10, pl. 3, calls it the pendant to the Frick portrait and identifies the sitters of the two works as Rembrandt and Geertje Dircx, who lived together as husband and wife during the 1640s; dates the two pictures 1643.
R. W. Scheller. "Review of Vis 1965." Oud Holland 81, no. 2 (1966), pp. 117–18, rejects the identification of the sitter as Geertje Dircx.
Bernice Davidson. The Frick Collection: An Illustrated Catalogue. Vol. 1, Paintings: American, British, Dutch, Flemish and German. New York, 1968, pp. 215–16, finds the identification of the sitter as either Lysbeth Reyniers or Geertje Dircx unconvincing, and rejects the idea that the MMA and Frick paintings are pendants.
Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, pp. 74, 172 [rev., enl. ed., 1989].
Seymour Slive. Frans Hals. Vol. 1, Text. London, 1970, pp. 159, 184–85, calls it the pendant to the Frick painting and refers to the background as an "architectural mishmash . . . added by another hand".
Seymour Slive. Frans Hals. Vol. 2, Plates. London, 1970, pls. 289, 296 (detail).
Denys Sutton, ed. Letters of Roger Fry. New York, 1972, vol. 1, p. 255 n. 1 to letter no. 177 (March 2, 1906), lists it among works included in the 1906 exhibition.
Claus Grimm. Frans Hals: Entwicklung, Werkanalyse, Gesamtkatalog. Berlin, 1972, pp. 26–28, 109, 205, no. 141, fig. 154, dates it 1648–50.
Seymour Slive. Frans Hals. Vol. 3, Catalogue. London, 1974, p. 97, no. 187, dates it about 1650–52 and considers it possibly the pendant to the Frick painting; rejects the identification of the sitter as either Lysbeth Reyniers or Geertje Dircx.
E. C. Montagni in L'opera completa di Frans Hals. Milan, 1974, p. 106, no. 179, ill. p. 105, dates it about 1650.
Claus Grimm. Frans Hals: The Complete Work. New York, 1990, p. 292 [German ed., "Frans Hals: Das Gesamtwerk," Stuttgart, 1989, p. 285], calls it a product of Hals's workshop, "stylistically close to the anonymous Master of the Fisherboy".
S. A. C. Dudok van Heel in "Rembrandt: His Life, His Wife, the Nursemaid and the Servant." Rembrandt's Women. Exh. cat., National Gallery of Scotland. Edinburgh, 2001, p. 246 n. 47.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 12, 14, 28, 70, fig. 10 (print of Marquand gallery).
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. ix, 295–98, no. 68, colorpl. 68, fig. 80.