Ann Jensen Adams. Dutch and Flemish Paintings from New York Private Collections. Exh. cat., National Academy of Design. New York, 1988, p. 77, no. 28, ill. p. 61 (color), attributes it to Thomas de Keyser and dates it about 1634; notes that although the cropped balance is unusual, examination of the panel indicates that it has not been cut down; compares this cropped element to one in a portrait of Loef Vredericx as an Ensign (1626; Mauritshuis, The Hague) and adds that such an approach to imagery indicates that the object is playing a metaphorical rather than a descriptive role; suggests that the balance may refer to "the ideals of restraint by which the young woman leads—or would like the viewer to believe she leads—her life".
Peter C. Sutton in Prized Possessions: European Paintings from Private Collections of Friends of the Museum of Fine Arts, Boston. Exh. cat., Museum of Fine Arts, Boston. Boston, 1992, p. 169, no. 76, colorpl. 25, concurs with Adams [see Ref. 1988] on the attribution and dating, and on her interpretation of the scales as a symbol of temperance.
Inaugural Exhibition of Old Master Paintings. Exh. cat., Otto Naumann. New York, 1995, unpaginated, ill. (color), includes it among pictures sold by him in 1988 and identifies it as the pendant of the "Portrait of a Man with a Shell" (MMA, 2005.331.5).
Old Master Paintings. Sotheby's, London. July 5, 1995, p. 252, under no. 295, mentions it as in a private collection under the entry for the pair of pendants now in a private collection, Switzerland.
Walter Liedtke in "Recent Acquisitions, A Selection: 2005–2006." Metropolitan Museum of Art Bulletin 64 (Fall 2006), p. 36.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. x, 394–400, no. 99, colorpl. 99, fig. 96, dates it and its pendant about 1625–26.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 65, 67.