G. F. Waagen. Die vornehmsten Kunstdenkmäler in Wien. part 1, Vienna, 1866, pp. 336–37, as in the collection of Count Kasimir Lanckoronski; not having seen the picture himself, reports the remarks of Alfred Woltmann, who attributes it to Holbein and dates it to his later English period, noting that the face has suffered from overcleaning but that the hands are in excellent condition.
Alfred Woltmann. Holbein and his Time. London, 1872, p. 400, as in the collection of Count Kasimir Lanckoronski, Vienna; discusses it among English female portraits.
Alfred Woltmann. "Des Kunstlers Familie, Leben und Schaffen." Holbein und seine Zeit. , 2nd rev. ed. Leipzig, 1874, p. 424, as in the collection of Count Lanckoronski, Vienna; states that it seems to be by Holbein, although the face has suffered.
Alfred Woltmann. "Excurse, Beilagen, Verzeichnisse der Werke von Hans Holbein d. Ä., Ambrosius Holbein, Hans Holbein d. J." Holbein und seine Zeit. 2, 2nd rev. ed. Leipzig, 1876, p. 154, no. 260, as probably by Holbein.
Palais Lanckoronski. Vienna, 1903, p. 6, lists a small portrait by Holbein the Younger in the "Altdeutsches Cabinet".
Paul Ganz. Hans Holbein d. J.: Des Meisters Gemälde. Stuttgart, 1912, p. 245, ill. p. 144, as "Portrait of an English Lady," by Holbein, in the collection of Count Lanckoronski, Vienna; dates it about 1540 and states that it was recognized as genuine at the Dresden exhibition of 1871.
Arthur B. Chamberlain. Hans Holbein the Younger. London, 1913, vol. 2, pp. 211–12, 349, attributes it to Holbein; calls it similar in style to and of about the same date as the small "Portrait of an Unknown Lady" in the Kunsthistorisches Museum, Vienna.
Theodor von Frimmel. Lexikon der Wiener Gemäldesammlungen. 2, Munich, 1914, pp. 487–88, 494, states that the former attribution to Holbein is now questioned; provides provenance information on the Lanckoronski collection.
Salomon Reinach. Répertoire de peintures du moyen age et de la renaissance (1280–1580). 4, Paris, 1918, p. 10, no. 3, ill. (engraving), as a portrait of a young English woman by Holbein.
Max J. Friedländer. Letter to Mr. Lowengard [Duveen Bros.]. April 21, 1927, calls it undoubtedly genuine.
Max J. Friedländer. Letter to Mr. Loebl [Duveen Bros.]. January 24, 1927, calls this work, then in the Lanckoronski collection, a genuine Holbein.
Walter Heil. "The Jules Bache Collection." Art News 27 (April 27, 1929), p. 4, ill. p. 9, as "A Lady of the English Court," by Holbein.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill., as "A Lady of the Court of Henry VIII," by Holbein; dates it between 1536 and 1543.
Wilhelm Stein. Holbein. Berlin, 1929, p. 302, as by Holbein, from the time of Jane Seymour [1536–37].
August L. Mayer. "Die Sammlung Jules Bache in New-York." Pantheon 6 (December 1930), p. 542, as by Holbein.
H. E. Wortham. "The Bache Collection." Apollo 11 (May 1930), p. 354, fig. V, as in Holbein's latest manner; mistakenly gives the sitter's age as sixteen.
Royal Cortissoz. "The Jules S. Bache Collection." American Magazine of Art 21 (May 1930), p. 260, finds it to be the weakest of the four Holbeins in the Bache collection.
Charles L. Kuhn. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936, p. 84, no. 376, as by Holbein; dates it about 1540.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 31, ill.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 222, ill., dates it between 1536 and 1543, but also states that the costume indicates that it was painted during the time of Catherine Howard [1540–42].
Regina Shoolman and Charles E. Slatkin. The Enjoyment of Art in America. Philadelphia, 1942, p. 508, pl. 466.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 288.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 30, ill.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 220–21, ill., date it about 1540 based on the costume; call the Vienna portrait the closest parallel.
Julius S. Held. "Book Reviews: Harry B. Wehle and Margaretta M. Salinger . . ., 1947." Art Bulletin 31 (June 1949), p. 140.
Paul Ganz. The Paintings of Hans Holbein. London, 1950, p. 253, no. 110, pl. 149, attributes it to Holbein and dates it 1540–43; suggests that both the locket and the gold setting for the cameo were designed by Holbein.
Roy Strong. Letter to Elizabeth Gardner. June 16, 1965, tentatively suggests that it is French and "fits rather nicely into the Clouet ambience".
Hans Werner Grohn in L'opera pittorica completa di Holbein il Giovane. Milan, 1971, p. 107, no. 126, ill., as generally attributed to Holbein; dates it about 1540.
John Rowlands. Holbein: The Paintings of Hans Holbein the Younger. Oxford, 1985, p. 238, no. R. 45, pl. 252, rejects the attribution to Holbein, calling it a pastiche adapted from the Vienna portrait; states that the pendant seems to be adapted from a design by Holbein in the British Museum, London.
Maryan Ainsworth. "'Paternes for phiosioneamyes': Holbein's Portraiture Reconsidered." Burlington Magazine 132 (March 1990), p. 185, includes it among pictures attributed to "the putative workshop of Holbein, dating from the 1530s and 1540s," stating that these works "all show mechanical-looking underdrawings in the contours of the face, and more lively, free-hand brushstrokes for the underdrawing elsewhere, particularly in the hands" and that "in accordance with Holbein's method, there is no interior modelling in the faces".
Susan E. James and Jamie S. Franco. "Susanna Horenbout, Levina Teerlinc and the Mask of Royalty." Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen (2000), p. 124, fig. 22, attribute it to Holbein or his workshop and date it about 1540–45; state that it seems to depict the same sitter as a miniature at the Yale Center for British Art, New Haven (fig. 10; Attributed to Lavinia Teerlinc, about 1545–47), whom they identify as Catherine Howard.
Meryle Secrest. Duveen: A Life in Art. New York, 2004, p. 448.
Peter Klein. Letter to The Metropolitan Museum of Art. July 14, 2006, identifies the wood from which the panel is made as oak from the western Germany/Netherlandish region; writes that dendrochronological analysis reveals that the earliest felling date for the tree from which this panel is made is 1520, adding that a minimum of two years for seasoning means that the earliest possible execution date for the painting is 1522.