Berliner Tageblatt (September 21, 1927) [see Ref. Bache 1929].
Comœdia (October 4, 1927) [see Ref. Bache 1929].
Excelsior (October 4, 1927) [see Ref. Bache 1929].
Vitale Bloch. "Die 'Kleine Briefleserin' des Vermeer." Der Cicerone 20 (June 1928), pp. 357–60, ill.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill., as by Vermeer.
Cornelis Hofstede de Groot. Jan Vermeer von Delft und Carel Fabritius [second supplement]. Amsterdam, [1929?], pp. 5–6, pl. 52.
Royal Cortissoz. "The Jules S. Bache Collection." American Magazine of Art 21 (May 1930), p. 259.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 41, ill.
Philip L. Hale. Vermeer. Boston, 1937, pp. 130–31, pl. 20, as "attributed by some critics to Jan Vermeer of Delft".
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 40, ill.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), pp. 288, 290.
Piero Bianconi in L'opera completa di Vermeer. Milan, 1967, p. 99, no. 68, ill. [English ed., 1970], lists it among works attributed to Vermeer that have been rejected by most recent critics.
Fakes and Forgeries. Exh. cat., Minneapolis Institute of Arts. Minneapolis, 1973, unpaginated, no. 81, ill., calls it a pastiche, stating that the head and attitude are derived from the "Lady Reading a letter" (Gemäldegalerie, Dresden) and the painting in the background from the "Love Letter" (Rijksmuseum, Amsterdam).
H[orst]. Gerson. "Recent Literature on Vermeer [review of Blankert et al. 1975]." Burlington Magazine 119 (April 1977), p. 289.
Erik Larsen. Jan Vermeer: Catalogo completo. Florence, 1996, p. 126, no. A21, ill. p. 128, catalogues it with works erroneously attributed to Vermeer, noting that it was rejected by Hale [see Ref. 1937] and is now ignored by critics.
Frank Wynne. I Was Vermeer: The Rise and Fall of the Twentieth Century's Greatest Forger. New York, 2006, pp. 245, 261, in text, calls it a forgery, possibly by Han van Meegeren; in appendix, erroneously lists it as by Vermeer.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, p. x; vol. 2, pp. 902–6, no. 207, colorpl. 207, calls it "a forgery painted in the Netherlands about 1925–27".
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 42, 47–48, fig. 56 (color).
Jonathan Lopez. The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han van Meegeren. Orlando, Fla., 2008, pp. 55–56, 114, 265–66 nn., ill.