Roger Portalis. Honoré Fragonard, sa vie et son oeuvre. Paris, 1889, vol. 2, p. 272, as "Le Billet doux", 79 x 69 cm, in the Feuillet de Conches collection, and shown in the Alsaciens-Lorrains exhibition in 1874.
A. Alexandre. "La collection E. Cronier." Les arts no. 47 (November 1905), pp. 6–7, ill.
André Gide. Journal entry. December 1905 [in Gide, André, "Journal: avec un index des noms et des oeuvres cités," Paris, Gallimard, 1948–54, vol. 1, p. 186; see Ref. Sutton 1968], finds it delightful but considers Fragonard's reputation exaggerated.
Henry Pannier in Pierre de Nolhac. "Catalogue des oeuvres peintes de Jean-Honoré Fragonard qui ont passé en vente publique depuis 1770 jusqu'en 1905." J.-H. Fragonard, 1732–1806. Paris, 1906, p. 146, ill. opp. p. 148, as purchased at the 1905 Cronier sale for Fr 420,000 by Kraemer and Wildenstein.
L. de Fourcaud. "Honoré Fragonard, VII: Chronologie de l'oeuvre de Frago." Revue de l'art ancien et moderne 21 (January–June 1907), p. 294.
Armand Dayot and Léandre Vaillat. L'oeuvre de J.-B.-S. Chardin et de J.-H. Fragonard. Paris, , p. XII, no. 87 bis, ill. after pl. 88, as engraved by Jacquet in 1907 and sold in 1905 for Fr 625,000.
Georges Grappe. H. Fragonard: Peintre de l'amour au XVIIIe siècle. Paris, 1913, vol. 1, ill. opp. p. 44.
"French, English, and American Paintings." Metropolitan Museum of Art Bulletin 15 (September 1920), p. 203, ill.
Louis Réau. L'art français aux États-Unis. Paris, 1926, p. 142.
Édouard Brandus. "La collection des tableaux anciens de M. Jules S. Bache, à New-York." La Renaissance 11 (May 1928), pp. 186, 188, 195, ill.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill.
Georges Grappe. La vie e l'oeuvre de J.-H. Fragonard. Paris, 1929, p. 19, pl. XXXI.
Walter Heil. "The Jules Bache Collection." Art News 27 (April 27, 1929), pp. 4, 11, ill. (color).
"London–New-York–Paris." Pantheon 3 (January–June 1929), pp. 244, 246, ill.
Esther Singleton. Old World Masters in New World Collections. New York, 1929, pp. 318–20, ill., notes that the sitter is said to be the daughter of Boucher, who married the painter Baudouin and later M. de Cuviller.
Georges Wildenstein in Unknown Masterpieces in Public and Private Collections. 1, London, 1930, unpaginated, no. 82, ill., as Boucher's youngest daughter, Marie Emilie; reads the inscription as "A Monsieur, Monsieur Cuvilier" and notes that she married the architect Charles Étienne Gabriel Cuvilier in 1773.
Trenchard Cox. "A Last View of the French Exhibition." Connoisseur 89 (March 1932), ill. p. 151.
Georges Wildenstein. "Paintings from America in the French Exhibition." The Fine Arts 18 (January 1932), pp. 23, 54, ill.
Georges Wildenstein. "L'exposition de l'art français à Londres: Le XVIIIe siècle." Gazette des beaux-arts, 6th ser., 7 (1932), ill. p. 69.
Royal Academy of Arts. Commemorative Catalogue of the Exhibition of French Art, 1200–1900. London, 1933, p. 47, no. 173, pl. 71.
Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 343, pl. 261 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 327, pl. 261].
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 50, ill.
"La collection Jules Bache a New-York." Mouseion 39–40 (1937), pp. 220–21, ill.
Charles Sterling in Chefs d'œuvre de l'art français. Exh. cat., Palais National des Arts. Paris, 1937, p. 83, no. 160.
"Fragonard: 'Le Billet Doux'." Art News 40 (January 15–31, 1942), ill. p. 20 (color).
Regina Shoolman and Charles E. Slatkin. The Enjoyment of Art in America. Philadelphia, 1942, pl. 494.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 49, ill., reads the inscription as "Monsieur de Cuviller".
Walter Heil. "The Bache Paintings at the Metropolitan." Art News 42 (June–July 1943), pp. 23, 25–26, ill.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 286, ill. in color on cover.
Louis Guimbaud. Fragonard. Paris, 1947, p. 53.
Fiske Kimball and Lionello Venturi. Great Paintings in America. New York, 1948, pp. 140–41, no. 63, ill. (color).
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 231, no. 129, ill. (color).
Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, pp. 157–59, ill., reads the inscription "A Monsieur mon Cavalier (or Cavallier)" and rejects the identification of the sitter as Boucher's daughter; calls the painting "a romantic subject in Fragonard's usual happy vein"; dates it in the 1770s.
Louis Réau. Fragonard, sa vie et son oeuvre. Brussels, 1956, p. 160, pl. 107, as a genre scene.
Georges Wildenstein. The Paintings of Fragonard, Complete Edition. London, 1960, p. 284, no. 388, colorpl. facing p. 24.
René Gimpel. Diary of an Art Dealer. English ed. New York, 1966, pp. 6, 87, 99, ill. opp. p. 18, claims the picture was purchased at the Cronier sale by his father and Nathan Wildenstein for Fr 500,000, and sold two years later to Bardac; that they bought it back in 1919, but that Bardac retained a 1/3 interest; states that he sold it to Bache.
Adrian Daintrey. Adrian Daintrey on Fragonard's 'Le Billet Doux'. London, 1969, pp. 25–31, ill. (color).
Introduction by Kenneth Clark in Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, p. 276, no. 308, ill.
Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 316 [rev., enl. ed., 1989].
Gabriele Mandel in L'opera completa di Fragonard. Milan, 1972, p. 104, no. 413, ill.
David Wakefield. Fragonard. London, 1976, pp. 54–55, ill. (color).
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 364–65, fig. 663.
Jeffery Daniels. "Gainsborough the European." Connoisseur 206 (February 1981), p. 112, ill. (color).
Pierre Cabanne. Fragonard. Paris, 1987, pp. 103–4, ill. (color).
Jean-Pierre Cuzin. Jean-Honoré Fragonard: Vie et oeuvre, catalogue complet des peintures. Fribourg, Switzerland, 1987, pp. 186–88, 324, no. 335, ill. (color), dates it about 1778.
Dore Ashton. Fragonard in the Universe of Painting. Washington, 1988, pp. 190–91, ill., suggests it might have been a commission and probably dates to the later 1770s; comments that Fragonard's "characterization both of the little dog and its inwardly bemused mistress differentiate him from contemporary portrait painters".
Pierre Rosenberg. Fragonard. Exh. cat., The Metropolitan Museum of Art. New York, 1988, p. 633, no. 148A.
Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. New York, 1992, pp. 22, 25.
Frederica Harlow. "Pretty as a Picture: French Frames Capture the Lavish Spirit of Rococo." Art & Antiques 17 (December 1994), p. 35, ill. (in frame).
Michael Kimmelman. "At the Met with Roy Lichtenstein: Disciple of Color and Line, Master of Irony." New York Times (March 31, 1995), p. C27, ill., Lichtenstein calls it "boudoirish" but great.
Michael Fried. Manet's Modernism: or, The Face of Painting in the 1860s. Chicago, 1996, pp. 147, 149–50, 491 n. 142, p. 513 n. 39, ill., believes that Manet saw it at Martinet's in 1860 and that the "general mise-en-scène, paper-wrapped bouquet, and startled, outward-staring dog all anticipate aspects of 'Olympia'".
The Libertine: The Art of Love in Eighteenth-Century France. New York, 2013, ill. p. 329 (color).
Melissa Percival. "Fragonard's Reverse Whodunnit and Other Tales of Relocation." Art History 37 (February 2014), p. 171.