Élisabeth Louise Vigée Le Brun. Souvenirs. Vol. 1, Paris, 1835, pp. 336–37 [Paris, 1986, ed. Claudine Herrmann, vol. 1, pp. 343–44, 353], lists two portraits of Crussol: one painted in 1788 and another in 1789.
Élisabeth Louise Vigée Le Brun. Souvenirs. Vol. 3, Paris, 1837, p. 352, lists a third portrait of Crussol, in half-length ("grand buste"), executed in Paris after the Revolution.
Pierre de Nolhac. Madame Vigée-Le Brun, peintre de la reine Marie-Antoinette, 1755–1842. Paris, 1908, pp. 156, 162, as "Le Bailli de Crussol", exhibited in 1883–84, 1888, and 1908.
Maurice Tourneux. "Une exposition rétrospective d'art féminin." Gazette des beaux-arts 50 (1908), p. 297, ill. opp. p. 278.
Pierre de Nolhac. Madame Vigée-Le Brun, peintre de Marie-Antoinette. Paris, 1912, pp. 154, 258, 260, 266.
W. H. Helm. Vigée-Lebrun, 1755–1842: Her Life, Works, and Friendships. London, 1915, p. 193, claims the present work was almost certainly the portrait of Crussol painted in 1788 or 1789, for which Madame Lebrun received the hundred louis to start for Italy in October 1789.
André Blum. Madame Vigée-Lebrun, peintre des grandes dames du XVIIIe siècle. Paris, , p. 99, lists our picture as painted in 1788.
Charles Oulmont. Les femmes peintres du XVIIIe siècle. Paris, 1928, pp. 21–22, 31, claims that Vigée was paid 100 louis for the picture when Le Brun was absent.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 54, ill.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 53, ill.
Theodore Sizer. "The John Trumbulls and Mme. Vigée-Le Brun." Art Quarterly 15 (1952), p. 171, fig. 1.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 188–90, ill., notes that in her "Souvenirs", Vigée mentions painting three portraits of the Bailli from 1788, 1789, and after the Revolution; states that ours, clearly dated 1787, is evidently a fourth.
Ilse Bischoff. "Vigée-Lebrun's Portraits of Men." Antiques 93 (January 1968), p. 112, ill.
Joseph Baillio. Letter to Mary Ann Wurth Harris. April 5, 1975, as "one of her best performances".
Joseph Baillio. "Identification de quelques portraits d'anonymes de Vigée Le Brun aux États-Unis." Gazette des beaux-arts, 6th ser., 96 (November 1980), p. 168 n. 25, as painted on panel.
Joseph Baillio. Elisabeth Louise Vigée Le Brun, 1755–1842. Exh. cat., Kimbell Art Museum. Fort Worth, 1982, pp. 5, 76–78, ill., claims that this picture and Vigée's portrait of the sitter's companion, the marquise de Grollier (collection of comte Jean-François de Roussy de Sales, Château de Thorens, Thorens-Glières), also on panel and about the same height, "can be considered pendants"; states that the marquise owned both portraits.
Joseph Baillio. draft entry for this picture. 1987, catalogues this picture, providing bibliography and provenance.
Kathleen Nicholson in The Dictionary of Art. Ed. Jane Turner. Vol. 32, New York, 1996, p. 495, as an example of the intensity and directness of Vigée's portraits of men, by comparison with the affectation found in many of her portraits of women.
Mary D. Sheriff in Dictionary of Women Artists. Ed. Delia Gaze. London, 1997, vol. 2, p. 1407.
Joseph Baillio et al. The Arts of France from François Ier to Napoléon Ier. Exh. cat., Wildenstein & Co., Inc. New York, , pp. 61, 74, no. 68, ill.
Joseph Baillio in Élisabeth Louise Vigée Le Brun. Ed. Joseph Baillio and Xavier Salmon. Exh. cat., Grand Palais, Galeries nationales. Paris, 2015, pp. 32, 184, fig. 20 (color).