Roger Portalis. Adélaïde Labille-Guiard (1749–1803). Paris, 1902, pp. 87, 94.
Anne-Marie Passez. Adélaïde Labille-Guiard, 1749–1803: Biographie et catalogue raisonné de son oeuvre. Paris, 1973, pp. 172, 178, 312–13, no. 76, pl. LXIII, calls it a pastel replica of "the original" (no. 72, exh. at the Paris Salon of 1787) or a preparatory study; provides provenance and publishes the 1816 posthumous sale of Labille-Guiard's husband, F.-A. Vincent, and the 1818 posthumous inventory of Mademoiselle Capet, both of which included this pastel.
Neil Jeffares. Dictionary of Pastellists Before 1800. London, 2006, p. 271, ill.
Mary Sprinson de Jesús. "Adélaïde Labille-Guiard's Pastel Studies of the Mesdames de France." Metropolitan Museum Journal 43 (2008), pp. 157–72, figs. 1 and 10 (color, overall and detail), discusses it in relation to Labille-Guiard's pastel portraits of Madame Adélaïde and Madame Victoire; identifies them as "among a very few pastel studies, handled with great immediacy, that prepared the way for her more ambitious, monumental portrait style"; remarks that these studies were "produced at the very end of the great age of pastel, at a moment when the artist herself was in the process of evolving from pastelist to oil painter"; views them as more direct reflections of their sitters' characters than Labille-Guiard's finished oil paintings.
Laura Auricchio. Adélaïde Labille-Guiard: Artist in the Age of Revolution. Los Angeles, 2009, p. 123, no. U18, as a study for the portrait of Madame Élisabeth sold at Piasa, Paris, in 1996.
Katharine Baetjer and Marjorie Shelley. "Pastel Portraits: Images of 18th-Century Europe." Metropolitan Museum of Art Bulletin 68 (Spring 2011), pp. 11, 38–39, no. 27, ill. (color, detail).