Karl Woermann. Katalog der Königlichen Gemäldegalerie zu Dresden. Dresden, 1887, p. 317, under no. 971, cites it as better, according to Max Rooses, than the portrait in Dresden.
Max Rooses. L'Oeuvre de P. P. Rubens. 4, Antwerp, 1890, pp. 162–63, no. 938, as in the collection of baron Gaston [sic] de Rothschild; identifies the sitter as Helena Fourment, calls it entirely by Rubens, dates it about 1635, and gives provenance information.
Karl Woermann. Katalog der Königlichen Gemäldegalerie zu Dresden. 2nd ed. Dresden, 1892, p. 319, under no. 971, calls it an autograph work of which the Dresden portrait is a repetition.
W[oldemar]. v[on]. Seidlitz. "Review of Woermann 1892." Repertorium für Kunstwissenschaft 16 (1893), p. 375, rejects an identification of the sitter as Helena Fourment [see Ref. Rooses 1890].
Max Rooses. Rubens. London, 1904, vol. 2, p. 606 [French ed., "Rubens, sa vie et ses oeuvres," (1900–1903)], as a portrait of Helena Fourment wearing "a mantilla with a gold border, Spanish-fashion".
Adolf Rosenberg. P. P. Rubens, des Meisters Gemälde. 1st ed. Stuttgart, 1905, p. 482, ill. p. 331 [4th ed. by Rudolf Oldenbourg, 1921, p. 491, ill. p. 58], rejects Rooses's [see Refs. 1890 and 1904] identification of the sitter as Helena Fourment; dates it about 1630–35.
Emil Schaeffer. Van Dyck, des Meisters Gemälde. 1st ed. Stuttgart, 1909, p. 518, as a portrait of Helena Fourment by Rubens.
Edward Dillon. Rubens. London, , p. 223, pl. 294, attributes it entirely to Rubens, dates it 1620–30, and calls it "Portrait of a Lady".
Rudolf Oldenbourg. P. P. Rubens, des Meisters Gemälde. 4th ed. [1st ed. 1905]. Stuttgart, 1921, p. 491, ill. p. 58 [1st ed. by Adolf Rosenberg, 1905, p. 482, ill. p. 331], dates it about 1612 and calls it "Portrait of a Lady".
Rudolf Oldenbourg. Peter Paul Rubens. Munich, 1922, pp. 142, 144, rejects the identification as Helena Fourment and suggests a date of about 1614.
August L. Mayer. "The Portrait of Helene Fourment in a Black Mantilla by Rubens." Burlington Magazine 67 (November 1935), p. 224, publishes a replica (private collection, France) that "betrays in every way its superiority to the Rothschild [MMA] panel"; states that Ludwig Burchard believes that the MMA work, while inferior to this replica, may also be genuine, "although its present condition does not permit a definite judgment".
Jacob Burckhardt. Rubens. Vienna, 1938, p. 201 n. 90, p. 436, ill. p. 174, calls it "Woman with a Pearl Necklace" and dates it about 1612.
Julius S. Held. Letter to Anne Poulet. November 28, 1967, believes it to represent Susanna Fourment and dates it to the early 1620s; proposes that the veil is a sign of mourning, as Susanna's first husband died before 1621.
Michael Jaffé. Letter to Theodore Rousseau. January 25, 1968, states that it surely does not represent Helena Fourment and that it is possible, though not entirely convincing, that the sitter is Susanna Fourment; from reproductions, suggests a date in the mid-1630s.
Stella Mary Newton. Letter to Anne Poulet. April 5, 1968, states that the sitter's veil is Indian in type, and certainly does not indicate mourning; on the basis of costume tentatively dates it about 1620 but suggests that it was started during one period and finished at another.
Stella Mary Newton. Letter to Anne Poulet. June 5, 1968, responding to changes revealed by x-ray photographs, suggests that the picture was left unfinished by Rubens and taken up later by another hand; states that the veil and hairdressing seem "against the taste of the seventeenth century".
Denys Sutton. "Pleasure for the Aesthete." Apollo 90 (September 1969), pp. 230, 232, fig. 5.
Everett Fahy in "Paintings, Drawings." The Wrightsman Collection. 5, [New York], 1973, pp. 195–204, no. 21, ill. p. 197 (color), figs. 1–3 (details), 5 (x-radiograph detail), identifies the sitter as probably Susanna Fourment, dates it about 1620, and suggests that a drawing of the same sitter in the Albertina, Vienna, may be a study for the picture.
Katharine Baetjer in The Metropolitan Museum of Art: Notable Acquisitions, 1975–1979. New York, 1979, p. 50, ill.
Walter A. Liedtke. "Flemish Paintings in The Metropolitan Museum—I: Rubens." Tableau 6 (November/December 1983), pp. 85–87, fig. 7.
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 172–76; vol. 2, colorpl. XII, pl. 65, observes that elegant black dress of this kind was common in countries under Spanish domination or influence, and does not imply mourning, as has been suggested [see Ref. Held 1967]; adds that the absence of a wedding or engagement ring can also not be used to date the portrait, as "the wearing of rings, whether wedding rings or not, was the exception rather than the rule"; on the basis of costume, the sitter's appearance, and the style of the picture, suggests a date of about 1625–26, when Rubens was especially active as a portraitist, particularly of his family and friends.
Michael Jaffé. Rubens: catalogo completo. Milan, 1989, p. 297, no. 867, ill., dates it 1625–28.
Introduction by Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, pp. 26, 362, no. 416, ill.
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 114–17, no. 33, ill. (color) and fig. 1 (radiograph detail).