Walter Armstrong. Lawrence. New York, 1913, p. 123, dates the portrait 1810–15.
H. Isherwood Kay in Unknown Masterpieces in Public and Private Collections. Ed. Wilhelm R. Valentiner. Vol. 1, London, 1930, unpaginated, no. 103, ill.
C. Reginald Grundy. "Georgian Art at 25, Park Lane." Connoisseur 87 (March 1931), p. 191.
Henri Marceau. "The Stotesbury Collection." Pennsylvania Museum Bulletin 28 (December 1932), p. 23, ill. opp. p. 23 (installation view).
C. H. Collins Baker. British Painting. London, 1933, p. 281.
A. Aspinall, ed. The Letters of King George IV: 1812–1830. Cambridge, 1938, vol. 3, p. 489, no. 1592, lists it, among pictures painted by Lawrence for the private collection of George IV, as a Kit cat portrait of the Lady Maria Conyngham, priced at £210.
Henry de Courcy May. "The Spirit of the Eighteenth Century." Art News 41 (December 15–31, 1942), ill. p. 14.
"Rooms Recreate Elegance of 18th Century." Art Digest 17 (December 15, 1942), p. 14, ill.
Kenneth Garlick. Sir Thomas Lawrence. London, 1954, p. 33, dates it about 1825.
Kenneth Garlick. "A Catalogue of the Paintings, Drawings, and Pastels of Sir Thomas Lawrence." Walpole Society 39 (1964), p. 59.
Oliver Millar. Letter to Elizabeth Gardner. January 29, 1968, notes that George IV paid for three portraits of the Conyngham ladies; that those of Lady Maria and her mother hung in his bedroom at St. James's Palace in 1826, went briefly to Windsor in 1828, and were returned to St. James's in April 1829; observes that "the king may always have intended that these portraits should ultimately belong to the Conynghams," doubting that they ever formed part of the royal collection.
Oliver Millar. The Later Georgian Pictures in the Collection of Her Majesty the Queen. London, 1969, vol. 1, p. xxxvi, fig. XXVII, as a "delightful example of Lawrence's gayest proto-Victorian manner".
Kenneth Garlick. Sir Thomas Lawrence: A Complete Catalogue of the Oil Paintings. Oxford, 1989, p. 172, no. 207, ill.
Katharine Baetjer. "British Portraits in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 57 (Summer 1999), pp. 68–70, ill. (color, overall and detail).
Michael Levey. Sir Thomas Lawrence. New Haven, 2005, pp. 241, 333 n. 31, calls it "an epitome of Lawrence's late style" and "a near variant, though far more relaxed in mood" of his portrait of Lady Blessington (Wallace Collection, London) of about 1821.
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 128–30, no. 22, ill. (color) [Catalan ed., Barcelona, 2006, pp. 74–75, no. 18, ill. (color)].
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 218–19, no. 107, ill. (color).
A. Cassandra Albinson in Thomas Lawrence: Regency Power & Brilliance. Ed. A. Cassandra Albinson et al. Exh. cat., National Portrait Gallery, London. New Haven, 2010, p. 272, cat. 50.2 (color).
William Laffan in Ireland: Crossroads of Art and Design, 1690–1840. Ed. William Laffan and Christopher Monkhouse. Exh. cat., Art Institute of Chicago. Chicago, 2015, p. 46, fig. 8 (color).
Ireland: Crossroads of Art and Design, 1690–1840. Ed. William Laffan and Christopher Monkhouse. Exh. cat., Art Institute of Chicago. Chicago, 2015, p. 230, no. 77.