Pictures and Books, 1795, D. Parker and J. T. n.d. [manuscript at New-York Historical Society; see transcript in archive file and Ref. Liedtke 1984], as one of seven pictures charged to Trumbull's own account at the sale of 1799.
W[illiam]. Buchanan. Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution. London, 1824, vol. 1, p. 265, as from the collections of Collet and Des Touches [Destouches], and as purchased by Nixon for £25.4 at the Trumbull sale of 1797.
John Trumbull. Letter to Robert Gilmor Jr. October 25, 1825 [letter no. 60, Trumbull Papers, New-York Historical Society; see transcript in archive file and Ref. Liedtke 1984], states that he sold it to Nixon, who found it unsalable because it evoked thoughts of the guillotine and returned it.
William Dunlap. History of the Rise and Progress of the Arts of Design in the United States. New York, 1834, vol. 2, p. 460, as brought from Paris to London by Trumbull.
Gouverneur Kemble. Letter to Frederick Rhinelander. March 2, 1872 [Kensett Papers, 1951, Archives of American Art; see transcript in archive file], mentions his purchase of the picture from the heir of Robert Gilmor Jr., and its previous sale, for $500, by Trumbull to Gilmor.
Mary Bartlett Cowdrey. American Academy of Fine Arts and American Art-Union. New York, 1953, vol. 2, p. 347, as no. 49 in Exh. New York 1816.
Irma B. Jaffe. John Trumbull: Patriot-Artist of the American Revolution. Boston, 1975, p. 174, as bought in at the 1799 sale for £22.3.6.
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 258–59; vol. 2, pl. 98, observes that "Anna Brueghel, the artist's wife, may have been the model for Judith, but, while Holofernes' head is portrait-like in character, it is not a likeness of Teniers himself"; notes similarities to Rubens's canvas, of about 1625, of the same subject (Palazzo Vecchio, Florence) and to Teniers's "Salome" of about 1656–58 (exhibited at Galerie St. Lucas, Vienna, in winter 1977–78); dates the MMA picture probably during the 1650s.
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, p. 17, fig. 6.
Art and the Empire City: New York, 1825–1861. Exh. cat., The Metropolitan Museum of Art. New York, 2000, p. 577, no. 43, ill. p. 403 (color).