[1] The image of the young woman with a 16th-century cap and ruff is contained on the verso of the original title page in the Colgate collection's copy of the Third Folio (1663) of Shakespeare's works.

1850", and he wrote as marginalia on the second flyleaf: As interesting is Curzon’s first attempt at penciling an explanatory note on the first blank recto, presumably made prior to the existing description above.

[7] The volume in question is in a nineteenth-century binding with the baronial seal of Robert Curzon, 14th Baron Zouche of Harringworth, stamped in the center of its front cover.

[9] In this Third Folio on the initial flyleaf, under Robert Curzon's printed name, someone - a bookseller or Colgate - wrote in pencil several paragraphs about the volume's provenance and its unique contents, noting, "The portrait is also signed and dated 1708, but it is quite obvious that it is copied from some Elizabethan or Jacobean painting or drawing that is now unknown to exist.

One hopes that what was at work was a genuine curiosity and an amateur’s disinterested wish to preserve a human image.”[13] However, the fact that the lines accompanying it are a pastiche of Jonson's lines on Shakespeare led the Shakespeare scholar Samuel Schoenbaum to conclude that the drawing was probably a playful attempt to create a parallel image to that of the poet himself, though since it was almost certainly a copy of an authentic Elizabethan portrait, the "exciting" possibly that the original actually depicted Hathaway could not be ruled out.

[14] Schoenbaum states: Did Curzon copy a portrait - long since vanished - of a young, soberly attractive woman of times past, and playfully offer it as an imago vero of Shakespeare's wife?

Park Honan also takes the view that the drawing "is less likely to be an authentic portrait than a playful sketch of Anne Shakespeare in her Elizabethan cap and ruff.