Élisabeth Louise Vigée Le Brun. Souvenirs. Vol. 1, Paris, 1835, p. 337 [Paris, 1986, ed. Claudine Herrmann, vol. 2, p. 344], as a portrait of "Madame de la Châtre" painted in 1789.
Armand Dayot. L'image de la femme. Paris, 1899, ill. opp. p. 309, as Madame de Jaucourt.
Masters in Art: Vigée Le Brun 6 (1905), p. 39, ill. pl. 7.
Pierre de Nolhac. Madame Vigée-Le Brun, peintre de la reine Marie-Antoinette, 1755–1842. Paris, 1908, ill. opp. p. 140, as the Marquise de Jaucourt in the collection of M. Stielmann.
Pierre de Nolhac. Madame Vigée-Le Brun, peintre de Marie-Antoinette. Paris, 1912, ill. opp. p. 238.
Louis Hautecœur. Madame Vigée-Lebrun. Paris, , pp. 61, 65, ill.
W. H. Helm. Vigée-Lebrun, 1755–1842: Her Life, Works, and Friendships. London, 1915, p. 202.
André Blum. Madame Vigée-Lebrun, peintre des grandes dames du XVIIIe siècle. Paris, , p. 99, pl. 15, as "Madame de la Châtre" under pictures executed in 1789, and illustrates our portrait as the Marquise de Jaucourt.
René Gimpel. Diary of an Art Dealer. English ed. New York, 1966, p. 11, in the entry for March 20, 1918, notes that Mary Cassatt mentioned a Vigée Le Brun among works owned by the late James Stillman.
Joseph Baillio. Letter to Mary Ann Wurth Harris. April 5, 1975, as "first-rate".
Ann Sutherland Harris and Linda Nochlin in Women Artists: 1550–1950. Exh. cat., Los Angeles County Museum of Art. New York, 1976, pp. 192–93, no. 59, ill., publish Baillio's identification of this portrait with one Vigée lists as "Madame de la Châtre" in 1789; note that she later divorced and married François Arnail de Jaucourt.
Joseph Baillio. Elisabeth Louise Vigée Le Brun, 1755–1842. Exh. cat., Kimbell Art Museum. Fort Worth, 1982, pp. 84–85, no. 29, ill., identifies the sitter as Madame de la Châtre; provides extensive biographical information; calls it "the ultimate expression of Parisian elegance in the months preceding the outbreak of the Revolution".
Joseph Baillio. The Winds of Revolution. Exh. cat., Wildenstein. New York, 1989, p. 43, no. 33, ill., as the "most English" of Vigée's portraits, observing that the composition recalls Romney.
Paul Mitchell and Lynn Roberts. Frameworks: Form, Function & Ornament in European Portrait Frames. London, 1996, pp. 318, 323, colorpl. 246 (in frame), describe the frame; call it original to the picture.
Mary D. Sheriff in Dictionary of Women Artists. Ed. Delia Gaze. London, 1997, vol. 2, p. 1407, as among Vigée's most convincing portraits of society women.
Olivier Blanc. Portraits de femmes artistes et modèles à l'époque de Marie-Antoinette. Paris, 2006, ill. p. 320.
Sébastien Allard in Citizens and Kings: Portraits in the Age of Revolution, 1760–1830. Exh. cat., Royal Academy of Arts. London, 2007, p. 389, no. 27, ill. pp. 12, 98 (color, overall and detail) [French ed., Portraits publics, portraits privés, 1770–1830, Paris, 2006, no. 29], compares the composition with that of Jacques-Louis David's 1790 portrait of the comtesse de Sorcy, observing that Vigée "has more empathy with her sitter"; calls our painting a portrait of the "ancien régime".
Kimberly Chrisman-Campbell. Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette. New Haven, 2015, p. 178, fig. 133 (color), ill. p. 334 (color detail).