Тогда при подготовке к аукциону 2012 года эту картину сравнивали с "Дамой в мехах" Эль Греко.
The model for La femme à l’hermine was at first identified by Cézanne’s son as his aunt, Marie Cézanne, but the composition itself is directly related to El Greco's Lady in a Fur Wrap from the 1570s. Cézanne never saw this painting in person, but he would have seen at least one of two illustrations of prints done after the El Greco picture in contemporary publications. <...> The influence of Spanish masters on the evolution of French modernism dates to the first half of the nineteenth century. The striking image of El Greco’s Lady in a Fur Wrap was exhibited in Paris at the Galerie Espagnole in the Louvre from 1836-48.
Не знаю, что из этой информации верно на сегодняшний день, поскольку картина из музея Глазго уже точно не принадлежит Эль Греко. Специалисты, долго изучавшие эту работу, пишут так
One of the main differences is that El Greco typically primed his gessoed canvases with a layer of brownish-red. This distinctive layer tended to include precious pigments of many different colors, suggesting he used scrapings from his paint palette for this initial layer. The priming layer in the Lady does not correspond with this, instead it features a light grey layer. <...>
Head of Spanish Renaissance Painting, Museo Nacional del Prado, Dr. Leticia Ruiz Gómez, said; "A conclusion has been reached that the "Lady in a Fur Wrap" is neither the work of El Greco, nor by Sofonisba Anguissola, but by Alonso Sánchez Coello. I think this is a splendid Sánchez Coello."