"Alloïs d'Herculais." Annuaire de la noblesse de France 31 (1875), pp. 121–22, states that the portrait belonged to the sitter's grandson Antoine-Marie-Jules Alloïs, comte d'Herculais, who in his will expressed the wish that it remain in the family; adds that after an ownership dispute, Jules Kunckel, husband of his sister, was declared the rightful owner.
Camille Gronkowski. "L'Exposition N. de Largilliere au Petit Palais." Gazette des beaux-arts 17 (June 1928), p. 322.
Everett Fahy in "Paintings, Drawings." The Wrightsman Collection. 5, [New York], 1973, pp. 127–32, ill., (overall in color and details), accepts the traditional identification of the sitter; relates the painting to a type of military portrait that first appeared in Italy during the mid-sixteenth century; notes that "the wig and greatcoat are actually part of the 'grand habit', or formal attire, worn in the early 18th century," and that the helmet and breastplate should be viewed as allegorical attributes; questions whether the sitter actually owned the armor, as it reappears in three near-contemporary portraits by Largillierre.
R. A. Cecil. "The Wrightsman Collection." Burlington Magazine 118 (July 1976), pp. 516–18.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 361, figs. 652, 673 (color detail).
Myra Nan Rosenfeld. Largillierre and the Eighteenth-Century Portrait. Exh. cat., Montreal Museum of Fine Arts. Montreal, 1981, 267–69, ill.
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 167–69, no. 47, ill. (color).