[Anne Claude Philippe de Tubières, comte de Caylus]. "Exposition des ouvrages de l'Académie royale de peinture faite dans une des sales du Louvre le 25 novembre 1751." Mercure de France (October 1751), p. 158 [see Refs. Fleury and Brière 1920, p. 37, and Debrie and Salmon 2000, pp. 162, 169 n. 45] (Collection Deloynes, vol. 4, no. 50; McWilliam 1991, no. 0069), mentions a pastel portrait of "M. Dille" in the 1751 Salon, possibly this picture.
A[uguste]. Jal. Dictionnaire critique de biographie et d'histoire: errata et supplément pour tous les dictionnaires historiques d'après des documents authentiques inédits. 2nd ed. Paris, 1872, pp. 1318–19, identifies the pastel, which descended in the family of the vicomte de Belle-Isle, Vernon, as a portrait of the owner's great-grandfather, Antoine-Pierre Mirleau de Neuville, fermier général and secrétaire du roi; describes it as "un morceau que tout amateur voudrait avoir dans son cabinet".
Élie Fleury and Gaston Brière. Catalogue des pastels de M.-Q. de La Tour: Collection de Saint-Quentin et Musée du Louvre. Paris, 1920, p. 37, mention this pastel as one of three (the others at Saint-Quentin and in the David Weill collection) representing Jean Charles Garnier d'Isle, noting that it is the same size as the David Weill work but shows a different costume, and that it belongs to descendants of the sitter; fail to identify it with a portrait incorrectly called "M. de Neuville," which had been brought to their attention by the comte de Joybert.
Albert Besnard and Georges Wildenstein. La Tour: La vie et l'oeuvre de l'artiste. Paris, 1928, p. 143, no. 158, identify the sitter for the portrait published by Jal [see Ref. 1872] as Monsieur Garnier d'Isle rather than Monsieur Mirleau de Neuville, and list the owner as the comte de Joybert.
Élie Fleury and Gaston Brière. Collection Maurice-Quentin Delatour à Saint-Quentin: Catalogue. Saint-Quentin, 1954, p. 53, under no. 22, note that the two larger pastels belong respectively to the Fogg Museum and the comte de Joybert.
Christine Debrie and Xavier Salmon. Maurice-Quentin de La Tour: Prince des pastellistes. Paris, 2000, pp. 161–63, 169 n. 51, colorpls. 83–84 (overall and detail), mention that this pastel was doubtless commissioned by the sitter or his daughter and that it may have been exhibited at the Salon of 1751.
Tim Warner-Johnson and Florian Härb in "2002: The Year in Review at Colnaghi." Old Master Paintings and Drawings. London, 2003, p. 14, fig. 8 (color), state that the "rocaille" frame is original.
Katharine Baetjer in "Recent Acquisitions, A Selection: 2002–2003." Metropolitan Museum of Art Bulletin 61 (Fall 2003), p. 24, ill. (color), dates it about 1750.
Marjorie Shelley. "Pastelists at Work: Two Portraits at the Metropolitan Museum by Maurice Quentin de La Tour and Jean Baptiste Perronneau." Metropolitan Museum Journal 40 (2005), pp. 105–19, figs. 1, 3, 6, 9 (overall, details, and infrared reflectogram), colorpl. 8, mentions the exceptional use of an unplaned surface, retaining the tree bark, for the vertical bars of the strainer, and suggests that "these rounded surfaces were meant to prevent damaging pressure marks being transferred to the pastel surface"; discusses in detail the laying out and preparation of the paper surface; notes that the clasps of the the sitter's jacket have been made tactile "by painting them with a brush loaded with a thick liquid mixture of gray, white, and black gouache, producing an effect that virtually sparkles".
Katharine Baetjer in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008. New York, 2009, p. xiii, fig. 2 (color).
Katharine Baetjer and Marjorie Shelley. "Pastel Portraits: Images of 18th-Century Europe." Metropolitan Museum of Art Bulletin 68 (Spring 2011), pp. 16, 25, 29, 33, 39, 51, no. 17, ill. (color).