Willard Erwin Misfeldt. "James Jacques Joseph Tissot: A Bio-Critical Study." PhD diss., Washington University, 1971, p. 138, fig. 72.
Michael Wentworth. Letter to Mrs. Charles Wrightsman. October 5, 1981.
Michael Wentworth in James Tissot. Exh. cat., Barbican Art Gallery, London. Oxford, 1984, pp. 20, 107, under nos. 44–45, describes the pencil study (Parr collection) for the figure to the left in "Bad News (The Parting)" and in this work.
Michael Wentworth. James Tissot. Oxford, 1984, pp. xvii, 103, no. 79, colorpl. 79, includes it in a discussion of the narrative implications of Tissot's neo-Georgian pieces of the early 1870s, where the same elements were often rearranged.
Christopher Wood. Tissot: The Life and Work of Jacques Joseph Tissot, 1836–1902. Boston, 1986, p. 60, fig. 56, calls it "Tea-Time (Le thé)" and identifies the background as the Thames.
Russell Ash. James Tissot. London, 1992, unpaginated, colorpl. 12, suggests that in deleting the narrative elements, Tissot created a genre painting.
Gary Tinterow in "Recent Acquisitions, A Selection: 1998–1999." Metropolitan Museum of Art Bulletin 57 (Fall 1999), pp. 5, 46–47, ill. (color), identifies the background as the "dense London cityscape" and notes that the pencil study presently in the Parr collection was previously owned by Edgar Degas.
Gary Tinterow and Asher Ethan Miller in The Wrightsman Pictures. New York, 2005, pp. 401–4, no. 114, ill. (color).
Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 118, 307, no. 107, ill. (color and black and white).