Robert Allerton Parker. "The Little Portraits of Corneille de Lyon." International Studio 88 (December 1927), p. 22, ill.
Louis Réau in The Michael Friedsam Collection. [completed 1928], p. 188, as "Portrait of a Woman" by Corneille de Lyon, but in the text notes that the sitter may be identified with Jacqueline de Rohan, Marquise of Rothelin; states that it comes from the Pelletier collection, Paris.
E. M. Sperling. Catalogue of a Loan Exhibition of Flemish Primitives. Exh. cat., F. Kleinberger Galleries, Inc., New York. New York, 1929, p. 152, no. 64, ill., as a portrait of Jacqueline de Rohan, Marquise of Rothelin, formerly in the Pelletier Collection, Paris.
Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 476, no. 1265, ill. p. 477.
Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, pp. 37–38, ill., as Workshop of Corneille de Lyon, "Portrait of a Widow," unconvincingly identified as Jacqueline de Rohan, Marquise of Rothelin; places the costume between 1540 and 1550; notes that the sitter is represented at an earlier age in a portrait from the workshop of Corneille in the Brooklyn Museum (32.788); calls the painting an exact replica of one in the Edwards collection, Cincinnati, which he considers the original.
Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, pp. 81, 224–25, no. 143B, ill., is convinced that a portrait from the Tellander collection (known from a photograph in the Lugt archives, Rijksbureau voor Kunsthistorische Documentatie, The Hague), rather than the example formerly in the E. W. Edwards collection, Cincinnati (now private collection), is the original on which our picture and the ex-Cincinnati panel are based; dates the Tellander original about 1565, noting that its quality is quite remarkable in comparison with the other two pictures, although they are not themselves without merit; rejects Charles Sterling's view that this woman, at a somewhat earlier age, is represented in a portrait in the Brooklyn Museum