"Fine Pictures for Museum." American Art News 16 (December 29, 1917), pp. 1, 3, ill., writes that it is "said to be the finest woman's portrait the Swedish modern master ever produced" and dates it 1897; notes other portraits of the sitter by Zorn, Sargent, Carriere-Belleuse, and Ramon Casas.
James B. Townsend and W. Stanton Howard. Memorial Catalogue of Paintings By Old and Modern Masters Collected by Edward R. Bacon. New York, 1919, pp. xi, 72, no. 83, ill.
Karl Asplund. Anders Zorn: His Life and Work. London, 1921, p. 44.
Douglas K. S. Hyland. Zorn: Paintings, Graphics, and Sculpture. Exh. cat., Birmingham Museum of Art. Birmingham, Ala., 1986, pp. 32–33, 82, no. 13, colorpl. VI, writes of a supposed private competition held by Zorn and Sargent in which this portrait took first prize.
Joaquín Sorolla y Bastida. Från två hav Zorn och Sorolla. Exh. cat., Nationalmuseum. Stockholm, 1991, p. 31, ill.
Hans Henrik Brummer. Till ögats fröjd och nationens förgyllning: Anders Zorn. Stockholm, 1994, pp. 203–4, 216, 299, 329 n.14, discusses the supposed private competition held by Zorn and Sargent in which this picture won first prize and argues that with it, Zorn emerged as a true rival of Sargent in the field of society portraiture; quotes a letter to Zorn from the sitter's brother-in-law and commissioner of the portrait, Edward Bacon, on the reception of it and Zorn's portrait of himself (MMA 19.112) at the 1897 Salon.
William Hagans and Willow Hagans. Zorn in America: A Swedish Impressionist of the Gilded Age. Chicago, 2009, pp. 116–17, 354 n. 10, details the circumstances surrounding the commission, Zorn's rivalry with Sargent over depicting the sitter, and translates a letter from the sitter's brother-in-law regarding the picture's reception at the 1897 Salon.
Carlos Reyero in Joaquín Sorolla, 1863–1923. Exh. cat., Museo Nacional del Prado. Madrid, 2009, p. 169.