Phoebe Hoppner. Letter to Sarah Bache. January 1, 1795 [American Philosophical Society, Philadelphia; Sarah Franklin Bache Papers B/B1245; the letter is dated January 1, 1794, but this is old style and actually refers to January 1, 1795], mentions her husband's satisfaction in knowing that the portraits were well received by members of the Bache family.
Rembrandt Peale. Letter to Professor Charles Hodge. July 19, 1847 [published in L. B. Miller, ed. "The Collected Papers of Charles Willson Peale and His Family," 1980, microfiche edition, series VI A, card 10, row E, frames 6–10], describes how he came to paint the "Portraits of old Mr. and Mrs. Bache which had been painted by Hopner [sic]".
Letters to Benjamin Franklin, from His Family and Friends: 1751–1790. New York, 1859, p. 3, ill. opp. p. 57 (lithograph by Peter Krämer) [reprint, 1970, p. 3, ill. opp. p. 84], mentions the likeness as from the portrait painted during the sitter's 1792 visit to England.
James Parton. Life and Times of Benjamin Franklin. New York, 1864, vol. 2, ill. after title page (engraving).
Paul Leicester Ford. "The Many-Sided Franklin: Franklin's Family Relations." Century Illustrated Monthly Magazine 57 (November 1898), p. 37, ill. (engraving), as painted in 1792, in the collection of Mrs. Duncan S. Walker, Washington, D.C.
Sydney George Fisher. The True Benjamin Franklin. Philadelphia, 1899, pp. 15, 119, ill. (engraving), observes that none of the reproductions are faithful to the original.
Mrs. E. D. Gillespie. A Book of Remembrance. Philadelphia, 1901, pp. 27–28, calls the portrait of Sarah, her grandmother, an excellent likeness, even though the sitter "had a strong objection to having her likeness taken"; states that the original and the Thomas Sully copies remain in the family's possession.
W. Stanton Howard. "Portrait of Sarah Bache." Harper's Monthly Magazine 106 (1903), pp. 796–97, ill. (engraving on wood by Henry Wolf), relates that Hoppner made a gift of this portrait while Franklin commissioned that of Richard Bache, and opines that the treatment of the scarf and headdress lack the fluency of some later portraits.
William McKay and W[illiam]. Roberts. John Hoppner, R.A. London, 1909, pp. 9–10.
Charles Henry Hart. A Register of Portraits Painted by Thomas Sully 1801–1871. Philadelphia, 1909, p. 23, lists nos. 59 and 60 as copies after this portrait.
Edward Biddle and Mantle Fielding. The Life and Works of Thomas Sully. Philadelphia, 1921, pp. 90–91, lists nos. 64 and 65 as copies after this portrait.
Walter Rowlands and Brad Stephens. The Pictorial Life of Benjamin Franklin Printer. Philadelphia, 1923, unpaginated, ill.
C. H. Collins Baker. British Painting. London, 1933, p. 280.
Thomas Fleming. The Man Who Dared Lightning: A New Look at Benjamin Franklin. New York, 1971, opp. p. 180, ill.
Notable American Women 1607–1950. Cambridge, Mass., 1971, vol. 1, p. 76, dates it 1792, when the Baches visited England.
The Founding Fathers: Benjamin Franklin A Biography in His Own Words. New York, 1972, ill. p. 213.
Claude-Anne Lopez and Eugenia W. Herbert. The Private Franklin: The Man and His Family. New York, 1975, pp. 140, 307, ill., mention that the Baches' trip to England was financed by the sale of the diamonds surrounding the miniature given to Benjamin Franklin by Louis XVI, date this portrait to the winter of 1792, and describe elements of the costume as a "fichu Marie-Antoinette" and a Phrygian cap, fashionable during the French Revolution.
Linda Grant De Pauw and Conover Hunt. Remember the Ladies: Women in America 1750–1815. Exh. cat., Pilgrim Society, Plymouth, Mass. New York, 1976, pp. 92–93, ill. (color).
Monroe H. Fabian. Mr. Sully, Portrait Painter: The Works of Thomas Sully (1783–1872). Exh. cat., National Portrait Gallery. Washington, 1983, p. 121, no. 80, ill., dates it to 1793 in his discussion of the two copies by Sully.
Lillian B. Miller. In Pursuit of Fame: Rembrandt Peale 1778–1860. Exh. cat., National Portrait Gallery. Washington, 1992, p. 58, mentions Peale's 1812 copy.
John Human Wilson. "The Life and Work of John Hoppner (1758–1810)." PhD diss., Courtauld Institute of Art, London, 1992, vol. 1, pp. 173–76; vol. 2, fig. 39, considers the picture a good example of Hoppner's honesty in psychological portrayal, calls the portrait type Venetian and admires the subtle sfumato technique.
Paintings from Europe and the Americas in the Philadelphia Museum of Art: A Concise Catalogue. Philadelphia, 1994, p. 301, lists Sully's 1834 copy.
John Wilson in The Dictionary of Art. 14, New York, 1996, p. 754, ill.
Katharine Baetjer. "Benjamin Franklin's Daughter." Metropolitan Museum Journal 38 (2003), pp. 169–81, colorpl. 5, ill. p. 173, discusses the historical and family events leading to the execution of the companion portraits, probably in 1793; compares the copies by Rembrandt Peale and by the Sullys; suggests that given Sarah Bache's position, this portrait "must have been among the most influential English portraits in Philadelphia, and quite possibly in the United States, during the first half of the nineteenth century".
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 182–84, 186, 188, no. 90, ill. (color).