Théophile Silvestre. Histoire des artistes vivants: Français et étrangers. Paris, 1856, p. 82, lists among works of the artist a "Portrait de Mme Rr (1835)," probably this painting.
Adolphe Moreau. E. Delacroix et son œuvre. Paris, 1873, p. 236, claims it was painted during the summer of 1835 at the sitter's estate in Frépillon, where Delacroix was a frequent visitor.
Alfred Robaut. L'œuvre complet de Eugène Delacroix. Paris, 1885, p. 161, no. 606, ill. (engraving), dates it 1835.
Eugène Véron. Eugène Delacroix. Paris, 1887, p. 66, mentions it among works painted in 1835.
Étienne Moreau-Nélaton. Delacroix raconté par lui-même. Paris, 1916, vol. 1, pp. 155–56, fig. 126, lists the portrait in the collection of M. et Mme Léouzon Leduc [sic], and observes that the brushwork is very English in its handling.
Raymond Escholier. Delacroix: Peintre, graveur, écrivain. Vol. 2, Paris, 1927, pp. 214, 226, 230, ill. opp. p. 220, states incorrectly that it is signed and dated; calls the color very British, and compares the portrait's classical harmony to works by David and Ingres.
André Joubin in Exposition d'oeuvres d'Eugène Delacroix (1798–1863). Exh. cat., Paul Rosenberg. Paris, 1928, unpaginated [preface], no. 10.
Louis Hourticq. Delacroix: L'œuvre du maître. Paris, 1930, ill. p. 60.
André Joubin. Journal de Eugène Delacroix. Paris, 1932, vol. 1, p. 104 n. 2.
René Huyghe. Delacroix. New York, 1963, p. 32, pl. 26.
Maurice Sérullaz. Mémorial de l'Exposition Eugène Delacroix. Exh. cat., Musée du Louvre. Paris, 1963, p. 165, no. 219, ill., lists it in the Salavin collection, Paris, and dates it February 1835.
André Gavoty. "La 'Bonne tante' de Delacroix." Revue des deux mondes no. 10 (May 15, 1963), p. 258, notes [p. 248 n. 1] that while her parents and grandparents spelled their name "Longrois," Félicité and her sister used the form "Longroy".
Jean Cau et al. in Delacroix. [Paris], 1963, pp. 55, , fig. 59, states that it was painted in 1834, the same year that Delacroix executed the portrait of the sitter's son Léon Riesener.
Preface by Raymond Escholier in Léon Riesener, 1808–1878. Exh. cat., Pavillon des Arts. Paris, [1966?], unpaginated, lists it under 1835 in a chronology of Léon Riesener's life, stating that this portrait was painted in February of that year.
Luigina Rossi Bortolatto. L'opera pittorica completa di Delacroix. Milan, 1972, pp. 102–3, no. 275, ill., dates it February 1835.
Everett Fahy in The Wrightsman Collection. Vol. 5, Paintings, Drawings. [New York], 1973, pp. 63–71, no. 8, ill. p. 65 (color), figs. 1–2 (details), notes that almost all of Delacroix's few portraits are of close friends or family members; discusses the biography of the sitter and her family; dates the portrait to the summer of 1835, shortly after Delacroix painted Léon Riesener; misidentifies an entry in the artist's journal as referring to this painting, rather than to a portrait of Delacroix's great-aunt Anne Françoise Bornot [Robaut 1460 and Johnson 65].
R. A. Cecil. "The Wrightsman Collection." Burlington Magazine 118 (July 1976), p. 518.
Lee Johnson. The Paintings of Eugène Delacroix: A Critical Catalogue. Vol. 3, Oxford, 1986, pp. 44–45, no. 226, states that it can be dated 1835, if not certainly to that summer; compares it to David's portrait of his mother-in-law, Madame Pécoul (Musée du Louvre, Paris), calling this work more refined and more animated; discounts the possible influence of English painting.
Lee Johnson. The Paintings of Eugène Delacroix: A Critical Catalogue. Vol. 4, Oxford, 1986, pl. 47.
Carol Vogel. "Inside Art." New York Times (February 17, 1995), p. C26, ill.
Everett Fahy in "Recent Acquisitions, A Selection: 1994–1995." Metropolitan Museum of Art Bulletin 53 (Fall 1995), pp. 4, 43, ill. (color).
Everett Fahy. "'Mme Henri François Riesener' by Delacroix." Metropolitan Museum of Art Calendar (May–June 1995), unpaginated, ill. (color).
Alan Wintermute. The French Portrait, 1550–1850. Exh. cat., Colnaghi. New York, 1996, p. 82, fig. 55 (color), discusses Delacroix's depiction as full of the tender feelings he had for his aunt; calls Constable the "artistic godfather" of this portrait.
Lee Johnson. "Fourth Supplement and Reprint of Third Supplement." The Paintings of Eugène Delacroix: A Critical Catalogue. [3rd supplement, 1993]. Oxford, 2002, p. 330, no. 226.
Everett Fahy in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 338–41, no. 95, ill. (color).
Everett Fahy in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008. New York, 2009, p. 31, fig. 45 (color).
Colta Ives in Une passion pour Delacroix: La collection Karen B. Cohen. Exh. cat., Musée National Eugène Delacroix. Paris, 2009, pp. 31, 34.
Marion Doublet. "'Heureux qui possède un coin de terre': Frépillon, la résidence de campagne de la famille Riesener." Bulletin de la Société des Amis du musée national Eugène Delacroix no. 8 (2010), p. 42, fig. 7, notes that it was painted at Frépillon.