Catalogue of the Paintings in the Metropolitan Museum of Art. New York, 1905, p. 98, no. 501, as "Marie Marguerite Lambert de Thorigny".
Elisabeth Luther Cary. "The Scrip: Some of the Portraits in the Metropolitan Museum." International Studio 37 (April 1909), p. LX, ill.
Georges Sortais. Largillierre manuscript. [ca. 1912] [manuscript of a catalogue raisonné of the oeuvre, begun ca. 1912, in the Cabinet des Estampes, Bibliothèque Nationale, Paris, Da 58, vols. 3 and 5], lists it twice, as Marie Lambert de Thorigny and as the marquise de Simiane.
Georges Pascal. Largillierre. Paris, , p. 63, no. 76, p. 68, no. 127, as no. 76, "Madame Lambert de Thorigny," 55 x 42 in., belonging to Wildenstein, and also under no. 127, as "La Marquise de Simiane," 53 x 40 in., signed and dated 1696, at the MMA.
O. Kellner in Allgemeines Lexikon der bildenden Künstler. 22, Leipzig, 1928, p. 384.
Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, pp. 95–97, ill., identifies the sitter as "Madame Claude Lambert de Thorigny (?)" and calls it a fine example of Largillière's "middle manner".
René Gimpel. Diary of an Art Dealer. English ed. New York, 1966, p. 298, observes that his father's biggest sale in 1902–3 was to the Metropolitan Museum: this Largillière and a Nattier (03.37.3) for $70,000.
Marianne Roland Michel. "Of Women and Flowers . . . [in L'art du dix-huitième siècle, advertisement supplement to Burlington Magazine]." Burlington Magazine 108 (July 1966), p. iii, as "presumably representing the younger Madame Lambert de Thorigny, the wife of Claude".
Myra Nan Rosenfeld in L'art du connaisseur/The Art of Connoisseurship. Exh. cat., Musée des Beaux-Arts de Montréal. Montreal, 1978, pp. 94, 102, fig. 7, comments on the influence of Lely.
Georges de Lastic. "Largillierre's Portrait of Madame Aubry." Minneapolis Institute of Arts Bulletin 63 (1979), p. 75, as "the very young and witty Marquise de Simiane".
Myra Nan Rosenfeld. "Nicolas de Largillierre's 'Portrait of the Marquise de Dreux-Brézé'." Apollo 109 (March 1979), p. 205, fig. 6.
Recent Acquisitions: French Paintings & Sculptures of the 17th and 18th Century. Exh. cat., Heim Gallery. London, 1979, unpaginated, under no. 11, compares it with "Portrait of a Young Woman as Venus with her Son as Cupid" of 1698, and notes that our sitter is wrongly identified as Madame Lambert de Thorigny.
Myra Nan Rosenfeld. Letter to Dean Walker. December 21, 1979, observes that Jean Cailleux, who knew Sortais, asserts that Sortais merely accepted titles that were current at the time; she has looked in his files and found no engravings of Mlle or Mme de Thorigny.
Myra Nan Rosenfeld. Largillierre and the Eighteenth-Century Portrait. Exh. cat., Montreal Museum of Fine Arts. Montreal, 1981, pp. 100, 104, 107, 120–23, 129, no. 18, ill., notes that Largillierre has taken the statue of a nude female figure from Lely's "Portrait of Anne Hyde, Duchess of York" (Scottish National Portrait Gallery, Edinburgh), and suggests "an allegorical allusion to the woman as Venus or a water nymph"; considers this sitter too young to be Marie de l'Aubespine (wife of Nicolas Lambert de Thorigny), and notes that no likenesses of Marie-Marguerite Bontemps (wife of Claude Lambert de Thorigny) appear to have survived.
Myra Nan Rosenfeld. "Largillierre: Problèmes de méthodologie." Revue de l'art no. 66 (1984), p. 72.
John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. London, 1984, p. 231.
Gwendolyn DuBois Shaw. Portraits of a People: Picturing African Americans in the Nineteenth Century. Exh. cat., Addison Gallery of American Art. Andover, Mass., 2006, pp. 18–19, fig. 10 (color).