亨利·馬蒂斯

保羅·紀堯姆，巴黎
諾德勒畫廊，紐約，（1928年購自上述藏家）
艾比·奧爾德里奇·洛克斐勒，紐約（1928年購自上述來源）
約翰·D·洛克斐勒三世伉儷，紐約（家族傳承自上述藏家）
小約翰·T·多蘭斯，賓州（售出：紐約蘇富比，1989年10月18日，拍品編號42）
購自上述拍賣

巴黎，喬治·帕蒂畫廊，〈亨利·馬蒂斯展〉，1931年，品號34

紐約，現代藝術博物館，〈亨利·馬蒂斯〉，1931年，品號38，圖錄載圖（畫名《包頭巾的女子》）

普羅維登斯，羅德島設計學院，〈亨利·馬蒂斯〉，1931年，品號17

阿爾弗雷德·H·巴爾，《馬蒂斯的藝術與觀眾》，紐約，1951年，414頁載圖（畫名《包頭巾的女子》）

馬里奧·盧齊及馬西莫·卡拉，《馬蒂斯之歌：從「野獸派」崛起到親和主義1904-1928年》，米蘭，1971年，品號222，95頁載圖（畫名《包頭巾的女子》）

Models were hard to come by in World War I Paris. However, at the recommendation of fellow artist Georgette Sembat, Matisse was introduced to an Italian woman named Lorette. She began to model for him in late 1916 and in the course of their year-long association she would feature in some fifty canvases. Tête de femme (Lorette) dates from the first few months of Lorette and Matisse's association. Over the course of their time together, Lorette would dramatically influence the artist's work. 

"It was Lorette who liberated (or was liberated by) Matisse," writes Hilary Spurling, "Together they embarked on a series of experiments that would open up a new direction in his work for another decade or more" (H. Spurling, Matisse the Master. A Life of Henri Matisse: The Conquest of Colour, 1909-1954, New York, 2005, p. 198). Lorette was playful in the studio, donning and removing various costumes and accouterments, assuming varied poses and playing with different props. "...He responded to Lorette's expert lead as spontaneously as a dancer taking to the floor. She released in him an observant gaiety and speedy, casual attack suppressed in years of strenuous sacrificial effort. He painted her energetically from odd angles and in exotic outfits, but mostly he returned to her simplest post, seating her facing him in a plain, long sleeved top and improvising endlessly inventive rhythmic variations on the central them of her strong features, heart-shaped face and the black ropes of her hair" (ibid., pp. 200-01).