Gerard Hoet. Catalogus of Naamlyst van Schilderyen, met derzelver pryzen, zedert een langen reeks van Jaaren zoo in Holland als op andere Plaatzen in het openbaar verkogt. 1, The Hague, 1752, p. 358, no. 83, p. 459, no. 10, as by Ter Borch, in the 1730 Van Belle and 1736 de Neufville sales.
Wilhelm von Bode. The Collection of Pictures of the late Herr A. de Ridder in his Villa at Schönberg near Cronberg in the Taunus. Berlin, 1913, p. ?, pl. 20 [catalogue section unpaginated], as by Ter Borch; gives provenance and exhibitions.
C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 5, London, 1913, p. 40, no. 103, as "The Interrupted Reading," by Ter Borch, with extensive provenance.
Wilhelm R. Valentiner in The Michael Friedsam Collection. [completed 1928], p. 15, as "The Reader," by Ter Borch; gives provenance, references, and exhibitions.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 48, no. 83, as by Ter Borch.
S[turla]. J. Gudlaugsson. Gerard ter Borch. The Hague, 1959–60, vol. 1, p. 304, fig. 147b; vol. 2, p. 161, no. 147b, rejects the monogram, considers the execution decisively typical of Eglon van der Neer, and dismisses the idea that it could come from Ter Borch's studio on the basis of motifs.
W[alter]. L[iedtke]. in Liechtenstein: The Princely Collections. Exh. cat., The Metropolitan Museum of Art. New York, 1985, p. 272, under no. 174, defends the attribution to Van der Neer, but considers it a copy of a lost painting by Ter Borch.
David R. Smith. "Irony and Civility: Notes on the Convergence of Genre and Portraiture in Seventeenth-Century Dutch Painting." Art Bulletin 69 (September 1987), p. 418 n. 45.
Peter Hecht in De Hollandse Fijnschilders: Van Gerard Dou tot Adriaen van der Werff. Exh. cat., Rijksmuseum. Amsterdam, 1989, p. 130, under no. 25, fig. 25c, relates the picture, which he considers "anonymous," to the Liechtenstein panel.
Maria A. Schenkeveld. Dutch Literature in the Age of Rembrandt. Amsterdam, 1991, p. iv, ill., and ill. on cover.
John Ingamells. "Dutch and Flemish." The Wallace Collection: Catalogue of Pictures. 4, London, 1992, p. 237, under no. P243, compares it to "A Lady Drawing" by Eglon van der Neer in the Wallace Collection; mistakenly states that the MMA work is dated 1665.
Bettina Werche in Leselust: Niederländische Malerei von Rembrandt bis Vermeer. Exh. cat., Schirn Kunsthalle Frankfurt. Frankfurt, 1993, pp. 256–57, no. 60, ill., suggests that the book is an emblem book; compares works by Ter Borch, and dates it about 1665.
Marjorie E. Wieseman in The Dictionary of Art. 22, New York, 1996, p. 721.
Ger Luijten in Mirror of Everyday Life: Genreprints in the Netherlands 1550–1700. Exh. cat., Rijksmuseum. Amsterdam, 1997, p. 304, fig. 6, as an "anonymous canvas" attributed to Eglon van der Neer; cites it as a rare example of a Dutch painting depicting someone reading for pleasure.
Wayne Franits. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, 2004, p. 300 n. 39, as possibly a copy by Eglon van der Neer after a painting by Gerard ter Borch.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 513–16, no. 132, colorpl. 132.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), p. 39, fig. 49 (color).
Walter Liedtke. Vermeer: The Complete Paintings. Antwerp, 2008, p. 174.
Eddy Schavemaker. Eglon van der Neer (1635/36–1703): His Life and His Work. Doornspijk, The Netherlands, 2010, pp. 45, 459–60, no. 22, fig. 21 of chapter 2, pl. 22, suggests it may be identical with a work listed in the 1691 inventory of Margaretha van der Hem, widow of Jacob de Goyer, Amsterdam, and with a work in an Amsterdam sale of 1707 [see Ref. Gudlaugsson 1959–60, nos. 147d and 147e].
Marjorie E. Wieseman. Vermeer's Women: Secrets and Silence. Exh. cat., Fitzwilliam Museum, Cambridge. New Haven, 2011, pp. v, 54, 194–95, no. 21, ill. (color, overall and details) and colorpl. 27 (detail).