Maurice Joyant. "Peintre." Henri de Toulouse-Lautrec, 1864–1901. 1, Paris, 1926, p. 292, as in the collection of Marcel Guérin.
Jacques Lassaigne. Toulouse-Lautrec. London, 1939, p. 167, ill. p. 117, as Madame Missia [sic] Natanson, in the collection of Marcel Guérin.
Gerstle Mack. Letter to Mrs. Richard Rodgers. December 20, 1950, discusses this work, as well as a lithograph for which it is a study.
Misia Sert. Two or Three Muses: The Memoirs of Misia Sert. London, 1953, p. 62, remarks that she prefered it to all other portraits of herself Toulouse-Lautrec painted.
Lawrence Hanson and Elisabeth Hanson. The Tragic Life of Toulouse-Lautrec, 1864–1901. London, 1956, p. 158, remark that the subject was one of the few women of his own class with whom Lautrec could interact, and thus he expressed his devotion with this and numerous other portraits.
Henri Perruchot. T-Lautrec. [Paris], 1958, p. 243 [English ed., 1960, p. 203].
James Laver. "Fashion, Art, and Beauty." Metropolitan Museum of Art Bulletin 26 (November 1967), p. 127, ill. (detail).
Charles Sterling and Margaretta M. Salinger. "XIX–XX Centuries." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 3, New York, 1967, pp. 205–6, ill. (detail).
M. G. Dortu. Toulouse-Lautrec et son œuvre. New York, 1971, vol. 3, pp. 368–69, no. P.599, ill., adds the sitter and Vollard to the provenance of this picture.
G. M. Sugana in The Complete Paintings of Toulouse-Lautrec. London, 1973, p. 113, no. 413.
Götz Adriani. Toulouse-Lautrec: Das gesamte graphische Werk. Cologne, 1976, p. 263.
Arthur Gold and Robert Fizdale. Misia: The Life of Misia Sert. New York, 1980, p. 41, ill. opp. p. 114 (color detail).
Tom Prideaux. "Misia, a free spirit, knew (and loved) just about everyone." Smithsonian 10 (February 1980), p. 94, ill. on cover (color detail).
Götz Adriani. Toulouse-Lautrec: Das gesamte graphische Werk. Cologne, 1986, p. 181.
Gary Tinterow in "Recent Acquisitions, A Selection: 1992–1993." Metropolitan Museum of Art Bulletin 51 (Fall 1993), p. 52, ill. (color), remarks that this is a study for the cover of the final issue of "L'estampe originale," for which Lautrec had also provided the first cover illustration, noting the appropriateness of the curtain being rung down; identifies the plaster elephant as one used previously as an illustration for a Hindustani play, "The Terracotta Chariot"; states that although the work had been sliced into two pieces, it has recently been skillfully pieced together.
Colta Ives. Toulouse-Lautrec in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 45, 61, fig. 45, suggests that the ornamental elephant may have been inspired by the animal rides of the Bois de Boulogne or the papier-maché model at the Moulin Rouge.