Constance Hill. The House in St. Martin's Street. London, 1907, list of illustrations, ill. opp. p. 288, as Charles Rousseau Burney, from the painting in the collection of Colonel Burney.
A. C. R. Carter. Christie's Season 1930. London, 1930, p. xxxviii, explains that the portrait was set in the paneling of the house in Woburn Sands and was therefore sold without a frame.
E[llis]. K. Waterhouse. "Preliminary Check List of Portraits by Thomas Gainsborough." Walpole Society 33 (1948–50), p. 13.
Ellis Waterhouse. Gainsborough. London, 1958, pp. 56–57, no. 96, as probably from the later 1770s.
Katharine Baetjer. "British Portraits in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 57 (Summer 1999), p. 40, ill. (color), observes that the sitter, who wears the lightly powdered hair and costume of about 1780, may have been acquainted with the artist.
Bettina Gockel. Kunst und Politik der Farbe: Gainsboroughs Portraitmalerei. Berlin, 1999, p. 128, fig. 110, dates the portrait of C. R. Burney to the late 1770s, noting that the fluent handling of the musical notation in the score the sitter leafs through is pleasing to the eye; compares Gainsborough's allusion to virtuoso technique in this portrait to Reynolds's portrait of Dr. Charles Burney, in which music theory is brought to the fore.
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 100–101, no. 44, ill. (color).