Denis Diderot. Salon de 1763. 1763 [published in Ref. Seznec and Adhémar, vol. 1, 1957, p. 237], criticizes the dull, brassy hair, but notes that in costume, character, and coloring the painting is skillful.
John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. 8, London, 1837, p. 426, no. 97, as "Le doux regard de Colin," engraved by Donnel.
Edmond de Goncourt and Jules de Goncourt. L'art du dix-huitième siècle. 1, 3rd ed. Paris, 1880, p. 355, under "L'oeuvre gravé de Greuze" list Livois, Gamba, and Henry as owners of "Le petit frère," engraved by Haüer; list Dennel's engraving separately.
J. Martin and Charles Masson. Catalogue raisonné de l'oeuvre peint et dessiné de Jean-Baptiste Greuze [published as supplement to C. Mauclair, Jean-Baptiste Greuze, Paris, 1905]. Paris, 1905, p. 31, no. 444 (Le doux regard de Colin), p. 60, no. 961 (Jeune garçon), p. 61, no. 967 (Jeune villageois), catalogue the picture under three different titles; connect with it "Le sans-souci" in the 1837 Henry sale, indicating that this could have been the work owned by the Duc d'Aumale; place ours, under no. 967, in the 1780 sale of Sonneville.
Edmond de Goncourt and Jules de Goncourt. L'art du dix-huitième siècle. definitive ed. Paris, 1906, pp. 86–87.
Edmond Pilon. J.-B. Greuze, peintre de la femme et la jeune fille du XVIIIe siècle. Paris, [1912?], pp. 56–57, mentions the Dennel engraving and its pendant "Doux regard de Colette".
"Friedsam Bequest to be Exhibited Next November." Art News 30 (January 2, 1932), p. 5.
Marcel Roux. Inventaire du fonds français, graveurs du XVIIIe siècle. 6, Paris, 1949, p. 506, catalogues the Dennel engraving (no. 4), giving the provenance of the painting as Mariette, Desmarets, Randon de Boisset, Very, Le Brun aîné, and Henry.
Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, p. 176, ill. p. 177, as a typical example of Greuze's "character heads"; mentions two very similar pictures, one formerly in the Ganay collection (sale, Hôtel Drouot, Paris, June 4, 1903, no. 21, ill.) and another in the Musée Condé, Chantilly.
Denis Diderot. "1759, 1761, 1763." Salons. 1, Oxford, 1957, pp. 182–83, mention a pendant, "Petite Fille," and confuse it with a work in the La Live sale of 1769.
James Thompson. "Jean-Baptiste Greuze." Metropolitan Museum of Art Bulletin 47 (Winter 1989/90), pp. 10–12, figs. 7–8 (color, overall and detail).
Nicole Garnier-Pelle. Chantilly, Musée Condé: Peintures du XVIIIe siècle. Paris, 1995, p. 58, mentions it in connection with "Jeune garçon" (cat. no. 23, ill. in color p.57) and speculates that the same model posed for both.
Joseph Baillio. Two Pastel Portraits of Children of the Caillot Family by Élisabeth Louise Vigée Le Brun (1755–1842). New York, n.d., p. 1, fig. 3 (color).