George Scharf. A Descriptive and Historical Catalogue of the Collection of Pictures at Woburn Abbey. [London], 1890, p. 5, under no. 5, identifies the sitter as Thomas Wriothesley, based on an anonymous portrait of him at Woburn Abbey.
Gerald S. Davies. Hans Holbein the Younger. London, 1903, p. 218.
George C. Williamson. The History of Portrait Miniatures. London, 1904, vol. 1, p. 11, mentions a miniature attributed to Holbein in the Cook collection, probably this work.
A. B. Skinner in Catalogue of the Art Collection, 8, Cadogan Square, S.W. Vol. 1, [London], 1904, pp. 110, 147, no. 665.
Dudley Heath. Miniatures. London, 1905, p. 96, mentions a miniature attributed to Holbein in the Cook collection, probably this work.
Richard W. Goulding. "Wriothesley Portraits: Authentic and Reputed." Walpole Society 8 (1919–20), p. 47, no. B.ii, pl. XIII, states that the attribution to Holbein is improbable, since Holbein died in 1543, and Wriothesley wears in this miniature the same ermine-lined mantle that he wears in the Woburn Abbey portrait, representing the sitter after his election in 1545 as a Knight of the Garter.
Bedford. "Bevorstehende Versteigerung der Sammlung Humphrey W. Cook, Esqu., bei Christie in London." Kunstchronik und Kunstmarkt, n.s., 35 (June 27, 1925), p. 241.
Bryson Burroughs. "A Miniature by Holbein." Metropolitan Museum of Art Bulletin 21 (April 1926), pp. 98–99, ill. on cover, attributes it to Holbein and gives provenance; comments that the miniature was probably originally circular, adding that the Louvre study was at one time trimmed close to the outline of the head; dates the MMA miniature between 1530 and 1540.
H. C. Marillier. "Christie's" 1766 to 1925. London, 1926, p. 228.
Basil S. Long. British Miniaturists. London, 1929, pp. 214–15, states that it "seems to be plausibly ascribed to Holbein," and notes that it was probably once circular.
Wilhelm Stein. Holbein. Berlin, 1929, p. 267.
Clare Stuart Wortley. "The Portrait of Thomas Wriothesley, Earl of Southampton, by Holbein." Burlington Magazine 57 (August 1930), pp. 82, 85–86, pl. A, finds Goulding's reasons for questioning the attribution to Holbein unconvincing, since the Garter does not appear in the miniature.
Charles L. Kuhn. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936, p. 84, no. 381, as by Holbein; dates it after 1537.
Paul Ganz. Die Handzeichnungen Hans Holbeins d.J.: Kritischer Katalog. Berlin, 1937, p. 20, under no. 87, calls it a repetition by Holbein of a lost oil painting based on the Louvre drawing.
Louis Demonts. Inventaire général des dessins des écoles du Nord: écoles allemande et suisse. Vol. 1, Paris, 1937, p. 46, attributes it to Holbein and dates the Louvre drawing 1534.
Carl Winter. "Holbein's Miniatures." Burlington Magazine 83 (November 1943), pp. 266, 269, observes that it "has very good claims to acceptance" as an original Holbein and states that it was cut to an oval shape.
Paul Ganz. The Paintings of Hans Holbein. London, 1950, p. 259, no. 138, pl. 177, as by Holbein; states that it was copied from a larger, now lost, portrait that was based on the Louvre drawing; tentatively dates it 1538.
Graham Reynolds. English Portrait Miniatures. London, 1952, p. 4, lists it with those accepted by Winter [see Ref. 1943] as by Holbein, and calls the group "almost certainly" by Holbein.
Torben Holck Colding. Aspects of Miniature Painting: Its Origins and Development. Copenhagen, 1953, p. 80, as by Holbein, and originally circular.
Daphne Foskett. British Portrait Miniatures. London, 1963, pp. 42–43.
Arlette Calvet in Le XVIe siècle européen, dessins du Louvre. Exh. cat., Musée du Louvre. Paris, 1965, p. 29, under no. 57, considers the Louvre drawing a study for this miniature rather than for a lost oil painting; dates the drawing possibly about 1534.
Roseline Bacou. Great Drawings of the Louvre Museum. Vol. 3, The German, Flemish, and Dutch Drawings. New York, 1968, unpaginated, under no. 26, as by Holbein.
Hans Werner Grohn in L'opera pittorica completa di Holbein il Giovane. Milan, 1971, p. 106, no. 114a, ill., agrees with Ganz [see Refs. 1937 and 1950] that it is based on a larger, lost painting by Holbein.
Daphne Foskett. A Dictionary of British Miniature Painters. New York, 1972, vol. 1, p. 332, as by Holbein.
Graham Reynolds. "Portrait Miniatures from Holbein to Augustin." Apollo, n.s., 104 (October 1976), p. 275.
Roy Strong. The English Renaissance Miniature. New York, 1983, p. 46, no. 3, fig. 38.
John Rowlands. Holbein: The Paintings of Hans Holbein the Younger. Oxford, 1985, p. 239, no. R.M. 1, pl. 258, catalogues it with rejected miniatures and observes that "although obviously of high quality and closely based on the portrait drawing in the Louvre . . . it is so akin to Hilliard's miniatures as to suggest it was executed in the second half of the sixteenth century".
Graham Reynolds. "Hans Holbein the Younger Re-Examined." Apollo, n.s., 123 (March 1986), p. 216, states that he would be inclined to remove it from Rowlands's list [see Ref. 1985] of rejected works.
Graham Reynolds. English Portrait Miniatures. rev. ed. [1st ed., 1952]. Cambridge, 1988, p. 6.
Graham Reynolds with the assistance of Katharine Baetjer. European Miniatures in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 12, 70–71, no. 6, colorpl. 6 and ill. p. 71.
Susan Foister. Holbein in England. Exh. cat., Tate Britain. London, 2006, p. 57, under no. 54, states that it is based on the Louvre drawing but is not by Holbein himself.