Authenticated by the artist's adopted daughter and niece Ragnhild Kelekhoff on the stretcher (in Danish): “Painted by Sofie Holten, which is certified by Ragnhild M. G. Kelekhoff, née Holten”.

Sofie (Sophie) Holten, along with Elise Konstantin-Hansen (1858–1946), was privately educated by Christen Dalsgaard (1824–1907) in Sorø and later by Carl Thomsen (1847–1912) in Copenhagen. Holten distinguished herself through her strong commitment to the women's movement and social work and she supported the rational dress movement, which advocated for a more loose-fitting dress without corset for women. In addition, in the late 1880s she wrote reviews of female artists for the Danish Women's Society's (Dansk Kvindesamfund) magazine “Kvinden og Samfundet”. In 1895, she was a co-organiser of the The Women's Exhibition from the Past and Present (Kvindernes Udstilling fra Fortid og Nutid) and together with Emma Gad (1952–1921), the exhibition's vice president, she got the idea for a Women's Building, to which the exhibition's profits were donated. The building was later realised in 1936.

Elise Konstantin-Hansen was part of Sofie Holten's close circle for many years and they also lived together when they both studied in Paris. In her memoirs ”Små kapitler af et langt liv” (1935), Konstantin-Hansen vividly describes Holten's strong personality and her great abilities as a friend and colleague (in Danish): “Sofie meant a lot to her friends - and therefore her studio was a highly attractive place. She had seen so much, she knew and understood more than most, much more than me. She could give good criticism, and she had this nimbleness, something electrifying in her being, like an excess of inner power and energy. She wasn't one of those people who sit and wait to see what fate decides for you. (...) her studio in Ravnsborggade - the lovely mess and hospitable gathering place, it provided room and opportunity for many an enjoyable conversation, cheerful chatter and stimulating discussions. We had a good time! You would roll yourself a cigarette, you would found a seat, you would look warmly at the hostess‘ fresh face.” (Elise Konstantin-Hansen, “Små kapitler i et langt liv”, p. 48).

In this present portrait of Konstantin-Hansen painted by Holten, we see Konstantin-Hansen sitting in a dark armchair. The painting is undated, but it could very well have been painted in Holten's abovementioned studio.