"New Acquisitions of Pictures." Metropolitan Museum of Art Bulletin 9 (March 1914), pp. 75–77, ill., calls it one of a series of nine pictures said to have been in the collection of the Miari family since the eighteenth century; notes that the figure of the old woman is repeated in "The Temptation" (MMA 17.190.12).
Ancient Italian Art Treasures of Extraordinary Artistic and Historical Interest. American Art Galleries, New York. December 17–19, 1917, unpaginated, under nos. 441–46, identifies the four MMA paintings, as well as pictures in the National Gallery, London, the Pinacoteca di Brera, Milan, and six works included in this sale catalogue, as from a series of twenty works painted for the Gambardi family of Florence; gives provenance information for the series.
Aldo Ravà. Pietro Longhi. Florence, 1923, ill. p. 98.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, under pl. CCCCXXXI.
Lionello Venturi. Italian Paintings in America. Vol. 3, Sixteenth to Eighteenth Century. New York, 1933, unpaginated, under pl. 602.
Margaret D. Sloane. "A Genre Scene by Longhi." Metropolitan Museum of Art Bulletin 31 (March 1936), p. 52, repeats the provenance information given in Ref. Volpi 1917.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 293–95, ill., repeats the provenance information given in Ref. Volpi 1917.
Marian Davis. "Two Eighteenth Century Paintings: A Fete Galante by Pater and a Scene from Everyday Life by Longhi." Worcester Art Museum Annual 5 (1946), pp. 60–61, fig. 12, accepts the Gambardi provenance and the connection with the London, Milan, and ex-Volpi pictures; dates the series to the artist's middle or late period, 1750–70.
Antonio Morassi. "Una mostra del Settecento veneziano a Detroit." Arte veneta 7 (1953), p. 55.
Michael Levey. The Eighteenth Century Italian Schools. London, 1956, p. 72 nn. 7, 10, notes that there is no evidence to confirm the provenance given in Ref. Volpi 1917.
Vittorio Moschini. Pietro Longhi. Milan, 1956, pl. 64.
Francesco Valcanover. "Affreschi sconosciuti di Pietro Longhi." Paragone 7 (January 1956), p. 25 n. 1, lists the "bellissima" series at the MMA, noting that there are preparatory drawings in the Museo Correr, Venice.
Carlo Donzelli. I pittori veneti del Settecento. Florence, 1957, p. 135.
Rodolfo Pallucchini. La pittura veneziana del Settecento. Venice, 1960, p. 181.
Terisio Pignatti. Pietro Longhi. Venice, 1968, pp. 24, 88, 92–93, pl. 103 [English ed., "Pietro Longhi: Paintings and Drawings," London: Phaidon, 1969, pp. 12, 76, 80–82, pl. 103], calls it "La crestaia" ("The Milliner") and gives the provenance as the Gambardi collection, Florence; assigns it to the "Temptation" series and dates it slightly before the other three MMA pictures of about 1746; publishes a second version of the composition (pl. 105; Brinsley Ford, London), dating it several years after the MMA painting; reproduces an engraving of the work by Cattini (pl. 103a).
Michael Levey. The Seventeenth and Eighteenth Century Italian Schools. London, 1971, p. 154 nn. 9, 14.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 108, 500, 606.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 38–39, pl. 40.
Fern Rusk Shapley. Paintings from the Samuel H. Kress Collection. Vol. 3, Italian Schools: XVI–XVIII Century. London, 1973, pp. 136–37, under no. K393, dates all four pictures 1746, finding them "completely homogenous in style".
Julián Gállego and Frédéric Mégret. La grande histoire de la peinture. Vol. 11, Le XVIIIe siècle en France et en Italie. [Geneva], 1973, ill. p. 57 (color).
Terisio Pignatti. L'opera completa di Pietro Longhi. Milan, 1974, pp. 88–89, 92, 94, no. 46, ill. p. 89 and colorpl. XXI.
Ronald Paulson. Emblem and Expression: Meaning in English Art of the Eighteenth Century. Cambridge, Mass., 1975, pp. 108–9, fig. 62, suggests that "the left-to-right reading structure" of this picture, which he calls "The Milliner," was influenced by Hogarth's prints.
Rolf Bagemihl. "Pietro Longhi and Venetian Life." Metropolitan Museum Journal 23 (1988), pp. 233, 242–43, fig. 15, discusses the subject matter, the roles of the various figures, and the significance of the setting.
Filippo Pedrocco. "Iconografia delle cortigiane di Venezia." Il gioco dell'amore: le cortigiane di Venezia dal Trecento al Settecento. Exh. cat., Casinò Municipale, Venice. Milan, 1990, p. 92.
Giorgio Fossaluzza et al. in Pietro Longhi. Exh. cat., Museo Correr, Venice. Milan, 1993, pp. 20, 43, 112, 114, 116–17, 130, no. 56, ill. (color, overall and detail), accepts the Gambardi provenance; incorrectly states that it belonged to J. Pierpont Morgan and came to the Museum in 1917.
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 52–54, 56, no. 7, ill. (color) [Catalan ed., Barcelona, 2006, pp. 36–38, no. 5, ill. (color)].
Old Master Paintings: Part I. Christie's, New York. January 28, 2015, p. 132, under no. 48.