The Art Treasures of America. reprint, 1977. Philadelphia, , vol. 1, p. 134.
Montezuma [Montague Marks]. "My Note Book." Art Amateur 16 (May 1887), p. 122.
Mrs. Schuyler van Rensselaer. "The Wolfe Collection. News and Notes." Independent 39 (December 1, 1887), p. 7, calls it "truly marvelous, an absolutely perfect piece of work in its own way".
Walter Rowlands. "The Miss Wolfe Collection." Art Journal, n.s., (January 1889), p. 14, considers its brushwork superior to that of Gérôme.
Sophia Antoinette Walker. "Fine Arts: The Painting Master in the Wolfe Collection." Independent 46 (August 2, 1894), p. 12, erroneously states that it was purchased at the artist's posthumous sale.
"The Metropolitan Museum of Art—The French Painters." New York Times (May 22, 1895), p. 4.
Arthur Hoeber. The Treasures of The Metropolitan Museum of Art of New York. New York, 1899, pp. 81–82.
Charles Sterling and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, p. 169, ill.
Anne Poulet in "Turquerie." Metropolitan Museum of Art Bulletin 26 (January 1968), p. 237, fig. 67.
Gerald M. Ackerman in The Other Nineteenth Century: Paintings and Sculpture in the Collection of Mr. and Mrs. Joseph M. Tanenbaum. Exh. cat., National Gallery of Canada. Ottawa, 1978, p. 40, notes that Bargue painted several images of single Bashi-Bazouks, including one in the Tanenbaum collection (Sotheby's, New York, May 5, 1999, no. 229, bought in); observes that the anatomy of the figure in our painting is convincing even though it is distorted; states that the Bashi-Bazouks "were irregular troops attached to the Ottoman army, . . . much feared for their ferocity . . . who could dress as they pleased—usually gaudily".
Donald A. Rosenthal. Orientalism: The Near East in French Painting 1800–1880. Exh. cat., Memorial Art Gallery of the University of Rochester. Rochester, N.Y., 1982, pp. 78, 82–83, 160, no. 3, fig. 78.
Maureen C. O'Brien in Maureen C. O'Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, pp. 24, 32, 95, 130, no. 1, ill. p. 130 and colorpl. I, remarks that it was one of the few Orientalist subjects in the 1883 exhibition.
Mahonri Sharp Young. "Letter from the USA: The Pedestal." Apollo 124 (July 1986), p. 51, fig. 4.
The Forbes Magazine Collection of Orientalist Paintings, Drawings, Watercolors and Sculpture. Christie's, New York. October 14, 1993, p. 126, under no. 255, reproduces a replica of our painting, dated 1878, attributed to Bargue.
Richard Thomson in Theo van Gogh: Marchand de tableaux, collectionneur, frère de Vincent. Exh. cat., Van Gogh Museum, Amsterdam. Paris, 1999, pp. 74, 76, 209, no. 2, colorpl. 62, erroneously states that it was "G 16637" in the Bargue studio sale and was bought by Boulevard Montmartre (Theo van Gogh) for Fr 50 on June 1, 1883 and sold by him on October 16 for Fr 600 to Desfossés.
Belinda Thomson. "Amsterdam, Van Gogh Museum: Theo van Gogh." Burlington Magazine 141 (September 1999), p. 567, fig. 63.
Gerald M. Ackerman. Charles Bargue, with the Collaboration of Jean-Léon Gérôme:Drawing Course. Exh. cat., Dahesh Museum of Art, New York. Paris, 2003, pp. 275–76, 296–97, no. 33, ill. (color), mentions two copies of this painting (see Ref. Christie's 1993; Sotheby's, London, May 1, 2002, no. 330, sold as by C. Baird, and dated 1807) and a pencil study for the model's right arm (Museum of Fine Arts, Boston).
19th Century European Art. Christie's, New York. October 27, 2004, p. 44, under no. 40, fig. 1, catalogues a study for this painting, also signed and dated 1875 [withdrawn from the sale].