Inventaire après décès. June 18, 1883 [published in Ref. Jamot and Wildenstein 1932, vol. 1, p. 108], as "Faure (esquisse)," under "études peintes," possibly this picture.
Arthur J. Eddy. "Édouard Manet, Painter." Brush and Pencil 1 (February 1898), p. 139, ill., illustrates this picture before it was cut at the bottom.
Étienne Moreau-Nélaton. Manuscrit de l'œuvre d'Édouard Manet, peinture et pastels. , unpaginated, probably no. 327 or 328 [Département des Estampes, Bibliothèque Nationale de France, Paris], as "Faure en costume de ville" [Ref. Jamot and Wildenstein 1932 identifies this picture as no. 328].
Théodore Duret. "Les portraits peints par Manet et refusés par leurs modèles." La Renaissance no. 5 (July 1918), p. 152, remarks that Manet began the portrait Faure commissioned in 1882 many times, argues that this picture might possibly be one of those attempts, but comments that the portrait was never completed.
Théodore Duret. Histoire d'Édouard Manet et de son œuvre. 4th ed. Paris, 1926, pp. 123–24, 300, supp. cat. no. 5.
A. Tabarant. Manet, histoire catalographique. Paris, 1931, p. 440, no. 415, dates it 1883; catalogues a portrait of Faure by describing the Lochard photograph (no. 102) and basing his information on the reverse of the photograph; assumes that this is Manet's last study of Faure and one of his last works.
Paul Jamot and Georges Wildenstein. Manet. Paris, 1932, vol. 1, p. 181, no. 519; vol. 2, fig. 473, illustrate the Lochard photograph, identify it as a portrait of Faure but erroneously associate it with the pictured catalogued by Duret as "Tête d'homme" (1926, cat. suppl. no. 5) and wrongly state that it belonged to Faure.
A. Tabarant. Manet et ses œuvres. 4th ed. (1st. ed. 1942). Paris, 1947, pp. 463–64, 545, no. 440, fig. 440, lists it with works dated 1882–83; notes that it once belonged to Faure, but that its present whereabouts are unknown.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 53–54, ill., comment that the annotations on the reverse of the Lochard photograph are larger than for this work and that the eyes do not appear as finished, but note that the MMA painting was cut at the bottom and the sides, which accounts for the discrepancy, and suggest that the difference in the eyes and other details could be a result of restoration.
Sandra Orienti in The Complete Paintings of Manet. New York, 1967, pp. 120–21, no. 414B, dates it to late December 1882 or early January 1883.
Anthea Callen. "Jean-Baptiste Faure, 1830–1914: A Study of a Patron and Collector of the Impressionists and their Contemporaries." Master's thesis, University of Leicester, 1971, p. 62, remarks that this is one of three "partially-finished oil studies" for a portrait that Faure commissioned in December 1881, but that Manet did not begin until late in 1882 and never completed; notes that there is no evidence that Faure owned this picture.
John Rewald. "Should Hoving Be De-accessioned?" Art in America 61 (January–February 1973), p. 27.
Anthea Callen. "Faure and Manet." Gazette des beaux-arts 83 (March 1974), pp. 168, 177 n. 73.
Denis Rouart and Daniel Wildenstein. Édouard Manet, catalogue raisonné. Paris, 1975, vol. 1, pp. 288–89, no. 390, ill., publish the wrong dimensions for this picture and erroneously place it in a private collection, France.
Theodore Reff. "Review of Rouart and Wildenstein 1975." Art Bulletin 58 (December 1976), p. 637, notes Rouart and Wildenstein's incorrect information about this picture.
Anne Distel. Impressionism: The First Collectors. New York, 1990, p. 83, colorpl. 75, dates it 1882 and notes that it was one of Manet's last works.
Simon Kelly in Manet, inventeur du Moderne. Exh. cat., Musée d'Orsay. Paris, 2011, pp. 62, 279, no. 122, colorpl. 25, lists Faure in the provenance [see Ref. Callen 1971 and provenance for MMA 59.129].