Léon Palustre. Album de l'exposition rétrospective de Tours (1890). Tours, 1891, pl. 6, identifies the sitter as Claude de France, painted about 1520; believes it is more likely to be the work of Jean Clouet than of François Clouet, as claimed in the Pourtalès sale.
F. Kenner. Jahrbuch der kunsthistorischen Sammlungen in Wien 19 (1898), pp. 70–71, discusses the portraits of Anne de Pisseleu.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 60–61, ill., as "Portrait of a Lady" by Corneille de Lyon, also attributed to Jean Clouet.
Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, pp. 34–36, ill., ascribes it to Corneille de Lyon and notes that the costume is of the period about 1540.
Anne de Groër. "Nouvelles recherches sur Corneille, à la lumière du Portrait de Pierre Aymeric." Revue du Louvre et des musées de France 28, no. 1 (1978), p. 42 n. 32, regards it as superior to the version known by Dimier [Dubois de Groër 1996, no. 28 A].
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 263, 339 n. 393.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 237, 285.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 306, no. A96, ill., erroneously lists it in the French Primitives exhibition held in Paris in 1904.
Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, pp. 131–33, no. 28, ill., considers this the more animated of Corneille's two known portraits of the Duchesse d'Étampes (the other, 28A, was in the Montbrison collection in 1904 and is now in a private collection); finds the costume consistent with a date between 1535 and 1540; notes that the court made numerous trips to Lyon between 1536-37 and supposes this likeness was made during one of these visits
Yassana C. Croizat. "'Living Dolls': François Ier Dresses His Women." Renaissance Quarterly 60 (Spring 2007), p. 120, fig. 8, publishes a payment record in the the account books of Francis I for purple and crimson velvet for the wardrobes of his ladies, including the sitter here; notes that the King saw a court embellished by beautiful and elegantly dressed women as a means to command the respect of both his allies and enemies.
Robert J. Knecht. The French Renaissance Court, 1483–1589. New Haven, 2008, p. 191, fig. 37.