Gustave Coquiot. Lautrec, ou quinze ans de mœurs parisiennes, 1885–1900. Paris, 1921, pp. 129, 214, mentions it among a number of pictures that Lautrec painted outdoors in a local garden near his studio.
Maurice Joyant. "Peintre." Henri de Toulouse-Lautrec, 1864–1901. 1, Paris, 1926, pp. 127, 273, ill. opp. p. 38, dates it 1891.
Maurice Joyant. "Dessins - estampes - affiches." Henri de Toulouse-Lautrec, 1864–1901. 2, Paris, 1927, pp. 15–16, mentions the series of paintings of red-haired women posing in the garden of M. Forest.
Gotthard Jedlicka. Henri de Toulouse-Lautrec. Berlin, 1929, ill. p. 174.
Émile Schaub-Koch. Psychanalyse d'un peintre moderne: Henri de Toulouse Lautrec. Paris, 1935, p. 186.
Achille Astre. H. de Toulouse-Lautrec. Paris, , p. 78.
Gerstle Mack. Toulouse-Lautrec. New York, 1938, p. 357.
Jacques Lassaigne. Toulouse-Lautrec. London, 1939, p. 17, ill. p. 83.
R. H. Wilenski. Modern French Painters. New York, , p. 127.
Pierre Mac Orlan. Lautrec, peintre de la lumière froide. Paris, 1941, pp. 81–82, ill. p. 53.
"'The Gay Paree' of the Nineteenth Century Recorded by Toulouse-Lautrec: Beauties of the Famous Moulin Rouge and of the Bois de Boulogne." Illustrated London News 223 (November 19, 1953), p. 41, ill.
Jacques Lassaigne. Lautrec. Geneva, 1953, p. 36.
François Gauzi. Lautrec et son temps. Paris, 1954, p. 84, pl. 6.
Hugo Perls. Warum ist Kamilla schön? Von Kunst, Künstlern und Kunsthandel. Munich, 1962, p. 92.
Ph[ilippe]. Huisman and M. G. Dortu. Lautrec par Lautrec. Lausanne, 1964, pp. 64–65, ill. (color detail), note that the sitter was the mistress of the famous anarchist and criminal, Liaboeuf; remark that her hairstyle was so popular in Montmartre that the Moulin Rouge dancers wore wigs fashioned in the same style.
M. Roy Fisher. The Annenberg Collection. Exh. cat., Tate Gallery. London, 1969, unpaginated, no. 29, ill. (color), dates it about 1898; identifies the sitter as Amelie-Elie, "best known by her stage name, 'Casque d'or,'" adding that "she gained notoriety when, in 1898, she shifted her affections from one underworld figure to another, which resulted in gang warfare and street fighting".
M. G. Dortu. Toulouse-Lautrec et son œuvre. New York, 1971, vol. 2, pp. 236–37, no. P.407, ill.
G. M. Sugana in The Complete Paintings of Toulouse-Lautrec. London, 1973, p. 105, no. 286, ill.
Naomi E. Maurer in Toulouse-Lautrec: Paintings. Exh. cat., Art Institute of Chicago. Chicago, 1979, pp. 166–67, no. 45, ill., dates it 1890 based on its similarity to the portrait of Desiré Dihau (Musée d'Albi; D P.379) of the same year; compares it to Watteau's images of pierrots in gardens and comments that "it was typical of Lautrec's sympathy and insight that he has characterized the notorious prostitute by an expression of such appealing candor, and portrayed her in a tranquil natural setting so at odds with her flamboyant reputation".
Gale Barbara Murray. "Henri de Toulouse Lautrec: A Checklist of Revised Dates, 1878–1891." Gazette des beaux-arts, 6th ser., 95 (February 1980), p. 90, dates it about 1890–91, noting that it is stylistically closer to works of 1890 than 1891; erroneously states that it was shown in the spring of 1891.
Catherine Barnett. "A Very Private View: Inside Walter Annenberg's Personal Paradise." Art & Antiques 6 (March 1989), pp. 100, 104, ill. (color), refers to the sitter as an actress named Amélie-Elie.
Jérôme Coignard. "Le Salon de peinture de Mr. et Mrs. Annenberg." Beaux arts no. 92 (July–August 1991), pp. 68, 72, ill. (color).
Gilles Néret. Toulouse-Lautrec. Paris, 1991, p. 65, fig. 86 (color detail).
Joseph J. Rishel in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 62–63, 171–72, ill. (color and black and white), dates it about 1890–91; notes that Lautrec only portrayed Casque d'or once and states that there is no evidence that her name was Amelie-Elie [see Refs. Fisher 1969 and Barnett 1989]; suggests that her hair may be a wig and notes that it is a hairstyle made popular by the dancer La Goulue (Louise Weber); comments that Lautrec painted his models in the Forest's garden as early as 1887, possibly to examine them in daylight.
Danièle Devynck. Toulouse-Lautrec. [Paris], , p. 82, fig. 1 (color).
Julia Frey. Toulouse-Lautrec: A Life. London, 1994, p. 276, colorpl. 18 (detail).
Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by the State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, p. 252, dates it 1890.
Colta Ives. Toulouse-Lautrec in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 23, 28, 61, fig. 29 (color).
Ira Berkow. "Jewels in the Desert." Art News 97 (May 1998), p. 146, ill. p. 148 (color, installation photo).
Régine Deforges. "Les Femmes de Toulouse-Lautrec." Toulouse-Lautrec en scène. Lausanne, 2003, p. 14.
Franck Maubert. Toulouse-Lautrec in Paris. New York, 2004, p. 78, ill. (color), erroneously suggests that the sitter is the dancer La Goulue (Louise Weber).
Joseph J. Rishel in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 244–47, no. 45, ill. (color), notes that this picture was first called "La Pierreuse" (The Streetwalker) in the 1901 Hôtel Drouot catalogue of the François Depeaux sale.
R[ichard]. S[hone]. "Supplement: Acquisitions (2000–10) of nineteenth- and early twentieth-century French art at The Metropolitan Museum of Art, New York." Burlington Magazine 152 (December 2010), p. 842, fig. XI (color).