Abraham Bredius. "Onbekende Rembrandts in Polen, Galicie en Rusland." De Nederlandsche Spectator no. 25 (June 19, 1897), p. 197 [see email in archive file], reports seeing it in the Lachnicki collection, Warsaw.
Wilhelm [von] Bode with the assistance of C. Hofstede de Groot. The Complete Work of Rembrandt. 8, Paris, 1906, pp. 36-37, 84, no. 561, pl. 561, as "Portrait of a Woman with a White Cap and a Gauffered Ruff," by Rembrandt, in the collection of His Excellency von Lachnicki, Warsaw.
Adolf Rosenberg. Rembrandt, des Meisters Gemälde. 3rd ed. Stuttgart, 1909, p. 552, ill. p. 98.
Handbook of the Benjamin Altman Collection. New York, 1914, p. 19, no. 11, states that it "was in the collection of the Princess [sic?] Radziwill at the Castle of Nieswiz in Lithuania, and of von Lachnicki in Paris and Warsaw".
C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 6, London, 1916, pp. 397–98, no. 867.
Wilhelm R. Valentiner. Rembrandt wiedergefundene Gemälde. Stuttgart, 1921, p. 124.
Alan Burroughs. "Rembrandts in the Metropolitan Museum." The Arts 4 (November 1923), p. 272.
John C. van Dyke. Rembrandt and His School. New York, 1923, p. 47, pl. V, attributes it to Backer.
François Monod. "La Galerie Altman au Metropolitan Museum de New-York (2e article)." Gazette des beaux-arts, 5th ser., 8 (November 1923), pp. 302–3.
Wilhelm R. Valentiner. Rembrandt Paintings in America. New York, 1931, unpaginated, no. 36, pl. 36, calls it perhaps the pendant to the male portrait in the Ellsworth collection (MMA 64.126); states that the model could be the wife of a preacher, which the Ellsworth man seems to be, and that the dating of the female portrait a year later than the male portrait is not unusual for Rembrandt
A[braham]. Bredius. Rembrandt Gemälde. Vienna, 1935, pp. 7, 14, no. 335, pl. 335.
Kurt Bauch. Rembrandt Gemälde. Berlin, 1966, pp. 19, 24, pl. 462.
Horst Gerson. Rembrandt Paintings. Amsterdam, 1968, p. 494, no. 123, ill. p. 265, notes that the execution is weaker than that of the "Portrait of a Man" (64.126), and states that "the attribution to Rembrandt is not wholly convincing".
A[braham]. Bredius. Rembrandt: The Complete Edition of the Paintings. 3rd ed. London, 1969, pp. 560, 576, no. 335, ill. p. 265.
Paolo Lecaldano in L'opera pittorica completa di Rembrandt. Milan, 1969, p. 99, no. 101, ill.
J. Bolten and H. Bolten-Rempt. The Hidden Rembrandt. Milan, 1977, p. 180, no. 154, ill.
Walter L. Strauss and Marjon van der Meulen. The Rembrandt Documents. New York, 1979, p. 95.
Gary Schwartz. Rembrandt, His Life, His Paintings. New York, 1985, p. 155, fig. 147 (color), illustrates it with the "Portrait of a Man" (MMA 64.126), but states that "something in the way they interact tells me that they are not companion pieces".
J[osua]. Bruyn et al. "1631–1634." A Corpus of Rembrandt Paintings. 2, The Hague, 1986, pp. 6, 242, 413–17, 861, 865, no. A83, ill. (overall, x-ray, and details), as a "locally not too well preserved painting"; accept it as by Rembrandt, but reject a connection with MMA 64.126; state that "it is uncertain whether the panel was originally oval or rectangular".
English and Continental Paintings. Lawrence Fine Art of Crewkerne. October 30, 1986, p. 54, under no. 134.
Christian Tümpel. Rembrandt: Mythos und Methode. Königstein, 1986, p. 431, no. A105, ill. p. 89, as by a pupil of Rembrandt.
Walter Liedtke. "Dutch Paintings in America: The Collectors and Their Ideals." Great Dutch Paintings from America. Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, fig. 36 (Altman gallery installation).
Leonard J. Slatkes. Rembrandt: Catalogo completo dei dipinti. Florence, 1992, p. 282, no. 183, ill. (color).
William Grimes. "An Enigma Sometimes Wrapped in a Fake." New York Times (October 1, 1995), p. H34.
Walter Liedtke in "Paintings, Drawings, and Prints: Art-Historical Perspectives." Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. 2, New York, , pp. 50–52, 126, no. 5, ill. (color), as attributed to Rembrandt.
Hubert von Sonnenburg. "Paintings: Problems and Issues." Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. 1, New York, 1995, pp. 6, 42–43, 88–91, no. 5, ill. (color) and figs. 36 (color detail), 37 (x-radiograph detail), 111–12 (color details), 113
, as a copy after Rembrandt.
Herbert Lank. "Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship." Studies in Conservation 41, no. 2 (1996), p. 123.
Jaap van der Veen. "Onbekende opdrachtgevers van Rembrandt (3)." Kroniek van het Rembrandthuis nos. 1–2 (2003), pp. 55, 58–59 n. 52, fig. 4, rejects the notion that this work and MMA 64.126 might be pendants.
Catherine B. Scallen. Rembrandt, Reputation, and the Practice of Connoisseurship. Amsterdam, 2004, pp. 131, 350 n. 9, p. 356 n. 118, p. 375 n. 49.
Peter Klein in "The Self-portraits." A Corpus of Rembrandt Paintings. 4, Dordrecht, 2005, p. 650, reports that the panel cannot be dated by dendrochronology.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, p. ix; vol. 2, pp. 552, 585–88, no. 145, colorpl. 145.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 31–32, 35, 38, 70, figs. 32 (Altman gallery photograph), 40 (color, MMA Altman gallery photograph).