Max J. Friedländer. "Bildnisse von Quentin Massys." Pantheon 1 (February 1928), pp. 171–72, ill., attributes this portrait to Quentin Massys.
Max J. Friedländer. Die altniederländische Malerei. Vol. 7, Quentin Massys. Berlin, 1929, pp. 66, 122, no. 48, pl. 45, attributes it to Massys, probably after 1520, and comments on the unified lighting.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 28, no. 39.
Ludwig Baldass. "Gotik und Renaissance im Werke des Quinten Metsys." Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 7 (1933), p. 163, dates it before 1509 on the basis of costume.
Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 334, pl. 140 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 318, pl. 140], dates it between 1520 and 1530.
Max J. Friedländer. Die altniederländische Malerei. Vol. 14, Pieter Bruegel und Nachträge zu den früheren Bänden. Leiden, 1937, p. 109, lists a Portrait of a Man in the Bodmer Collection in Zurich [now Collection Mrs. H. von Schulthess-Bodmer, Schloss Au, Switzerland] as the pendant to our picture.
E. P. Richardson. "Quentin Massys." Art Quarterly 4 (1941), pp. 169–70, fig. 4, dates it about 1510 on the basis of costume and technique; asserts that Massys adopts the frame of porphyry columns and arch from his Madonna pictures as a tribute to the importance of the sitter.
K. G. Boon in "Bouts–David–Geertgen tot St Jans–Moro–Breugel." Palet-Serie: Een reeks monografieën over hollandse en vlaamse schilders. Amsterdam, , pp. 50, 52, 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. 107–8, ill., date it "at least as late as 1520," based on the framing architecture, the oblique disposition of the sitter and her challenging glance outwards.
Julius S. Held. "Book Reviews: Harry B. Wehle and Margaretta M. Salinger . . ., 1947." Art Bulletin 31 (June 1949), p. 140, notes that the picture is abraded.
Luigi Mallé. "Quinten Metsys." Commentari 6, no. 2 (April–June 1955), p. 101, ill.,
Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 86, 128, fig. 29.
Charles D. Cuttler. Northern Painting from Pucelle to Bruegel. New York, 1968, p. 422, ill.
Gert von der Osten and Horst Vey. Painting and Sculpture in Germany and the Netherlands 1500 to 1600. Baltimore, 1969, p. 151, mention it as a "very mature portrait of a woman looking out from between the columns of a church porch".
Max J. Friedländer et al. Early Netherlandish Painting. Vol. 7, Quentin Massys. New York, 1971, pp. 35, 65, 81, no. 48, pl. 49, locates the pendant in the collection of Mrs. H. von Schulthess-Bodmer, Schloss Au, Switzerland.
A. de Bosque. Quentin Metsys. Brussels, 1975, pp. 237, 383, fig. 303, dates it about 1520.
Lorne Campbell. Unpublished text for MMA Bulletin. 1981, dates it about 1510 and calls it an "experiement with arrested movement"; comments that the flower ornament in her book is early 16th-century in style.
Larry Silver. The Paintings of Quinten Massys with Catalogue Raisonné. Montclair, N.J., 1984, pp. 123, 164–65, 185, 237–39, no. 60A, pl. 140, dates it about 1519–20 and notes that it continues the brown tonalities and active movement of Massys's portraits of 1517; comments on the similar flesh tones and leafy decoration on the capitals in the Rem Altarpiece of the same date (Alte Pinakothek, Munich); suggests that Memling inspired Massy's use of pair portraits with columns; identifies the prayer book as one of the more expensive illuminated books of early 16th-century Bruges, part of the Ghent-Bruges school of illuminatin headed by Simon Bening; believes the marble columns suggest the exalted realm that will be the reward of the devout sitter.
Guy Bauman. "Early Flemish Portraits, 1425–1525." Metropolitan Museum of Art Bulletin 43 (Spring 1986), pp. 44–46, ill. in color (overall and detail inside front cover), sees Italianate influence in the architectural motif and acanthus-leaf arch; comments on the duality of motivation in the sitter's concern for recording her piety as well as her wealth and social position—as manifested in the precious prayerbook.
Lorne Campbell. Renaissance Portraits. New Haven, 1990, pp. 34, 36–37, 65, 109, 248 n. 58, fig. 44 (color), dates it 1510–20, based on the sitter's costume; suggests that our picture and its pendant may once have formed a double portrait on a single panel, noting that our panel retains its unpainted edge only on the lower margin and the other sides must have been sawn off.
Hans J. van Miegroet in Introduction by Walter A. Liedtke. Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, pp. 24, 100–101, no. 26, ill. (color), dates it shortly after 1520, noting that the woman's headdress confirms a date between 1515 and 1520 and the architectural framework indicates a period of origin around 1519–20.
Jochen Sander. Niederländische Gemälde im Städel, 1400–1550. Mainz, 1993, pp. 291–92, ill.
Véronique Sintobin in From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Ed. Maryan W. Ainsworth and Keith Christiansen. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. vii, 59, 69, 74, 143–44, 187, 189, no. 38, ill. (color), dates it about 1520.
John Oliver Hand. "New York. From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art." Burlington Magazine 140 (December 1998), p. 855.
Peter Wegmann in Sammlung Oskar Reinhart 'Am Römerholz,' Winterthur: Gesamtkatalog. Ed. Mariantonia Reinhard-Felice. Basel, 2003, p. 193.