Alain Mérot. Letter to Guy Stair Sainty. April 30, 1984, considers it a work of Le Sueur's youth, painted between 1636 and 1638, at the time of his apprenticeship to Vouet.
Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1984–1985. New York, 1985, pp. 24–25, ill., considers the picture an early work of Le Sueur, probably executed while he was still in Vouet's shop; identifies the subject as the Rape of Tamar rather than Tarquin and Lucretia, but concedes that neither story can account for the raised cup and overturned urn; notes that athough we do not know the original location for which the picture was conceived, it was likely a specific room in a grand Parisian "hôtel".
Alain Mérot. Eustache Le Sueur (1616–1655). Paris, 1987, pp. 1, 33, 168, 336, no. 11, colorpl. 1, fig. 2, ascribes it to Le Sueur, done in Vouet’s atelier under his supervision around 1636–38 and with the probable collaboration of other assistants, noting that the caryatids, in particular, are part of Vouet’s decorative vocabulary; suggests this picture may be identical with one attributed to the circle of Vouet at the Nourri sale (Paris, Febuary 24, 1785, no. 104); credits Alistair Laing with the identification of the subject as the Rape of Tamar; observes that the picture is unpublished.
Daniëlle O. Kisluk-Grosheide. "A State Bedchamber in the Metropolitan Museum of Art." Antiques 133 (March 1988), colorpls. IV, VII, illustrates it hanging on the wall in the Louis XIV bedroom at the Metropolitan Museum.
Alain Mérot. Eustache Le Sueur (1616–1655). reprint. Paris, 2000, pp. 1, 33, 168, 336, no. 11, colorpl. 1, fig. 2.
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 141–43, no. 39, ill. (color).
Keith Christiansen in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008. New York, 2009, p. 34.