"Suite de l'examen du salon." La décade philosophique, littéraire et politique (1802 (an XI-Ier trimestre)), p. 107 [see Ref. Oppenheimer 1996, pp. 146–67], as "Le portrait d'une jeune femme avec un enfant" by Mme Benoist exhibited at the Salon of 1802 as no. 17; refers to it as a likeness of "Mme D * *, whose beauty is known and whose complexion is as delicate as her forms"; comments on the high quality of the drawing and composition.
"Salon de l'an dix, No. IX." Journal des débats et loix du pouvoir législatif, et des actes du gouvernement (1802 (11 Brumaire an XI)), p. 3 [see Ref. Oppenheimer 1996 letter], mentions favorably the portrait exhibited in the Salon as no. 17.
Revue du salon de l'an X ou examen critique de tous les tableaux qui ont été exposés au muséum. Paris, 1802 (an X), pp. 3-4 [published in Ref. Reuter 2002, pp. 320–21], in discussing no. 17, claims that it is easy to see that David has worked less on this picture than on the preceding one.
Armand Dayot. L'image de la femme. [Paris], 1899, p. 297, ill. on title page (detail) and pl. 15, as Mme. de Richemond by David.
Marie-Juliette Ballot. Une élève de David: La comtesse Benoist, l'Émilie de Demoustier, 1768–1826. Paris, 1914, p. 253, lists a portrait of Mme. de Richemont in the collection of the Vicomtesse de Richemont, Paris, as a copy after David by Mme. Benoist.
"Le carnet d'un curieux." La Renaissance 2 (February 1919), p. 79, ill. p. 80, as Mme. de Richemond and Eugène (1800–59) by David; provides information about the sitters; notes that the picture was formerly in the collections of Chabert and Sigismond Bardac.
Henry Caro-Delvaille. "Jacques Louis David." Art in America 7 (June 1919), p. 148, ill. opp. p. 145, as Mme. de Richemond and her son, Eugène, by David.
W. R. Valentiner. Jacques Louis David and the French Revolution. New York, 1929, fig. 14, as Mme. de Richmond and her Son by David; dates it about 1800.
Unknown Masterpieces in Public and Private Collections. 1, London, 1930, no. 83, pl. 83, as Mme. de Richemond and her Son by David.
Henri Focillon. "The French Portrait." Formes 20 (December 1931), pl. foll. p. 166, as Mme Richemont and her Son by David.
R. H. Wile[n]ski. French Painting. Boston, 1931, p. 181, as Mme de Richemont and her son by David, ca. 1805.
Alfred M. Frankfurter. "Thirty-Five Portraits from American Collections." Art News 29, no. 33 (May 16, 1931), p. 4, as by David; calls it "one of the greatest pictorial achievements of the Directoire period".
Jacques-Émile Blanche. "The French Art Exhibition, London, 1932." Gazette des beaux-arts, 6th ser., 7 (1932), fig. 5, as Mme Richemont et son fils by David.
Tancred Borenius. "Die Ausstellung französischer Kunst in London." Pantheon 9 (1932), ill. p. 19, as Mme. Richmond mit Söhnchen by Gerard David.
W.-K. "Die Londoner Ausstellung 'Französische Kunst von 1200–1900'." Die Kunst 65 (March 1932), ill. p. 175, as Mme Richemont mit Söhnchen by David.
Georges Wildenstein. "Paintings from America in the French Exhibition." The Fine Arts 18 (January 1932), p. 54, ill. p. 24, as "a delightful though slightly melancholy canvas . . . a forerunner of the romantic school," by Jacques-Louis David.
Jacques Riche. "Renseignements." Intermediaire des chercheurs et curieux (1933) [extracts from Mourgue family archives, Marseilles], mentions that according to a note in the Mourgue papers, the portrait of Mme de Richemont and her son Eugène, was painted not by David but by Mme Benoist and the head was "retouched by David"; notes that Monsieur Benoist was a friend of Jacques Antoine Mourgue, the sitter's father.
Katharine Dunlap. Letter to the Frick Art Reference Library. Summer 1935, relates the story, told to her by the Count de Richemont, that his ancestor is shown with her daughter, Camille, and that the picture was sold because the mother could not bear to look at it after the child was killed in an accident; states that the next child was a son, Eugène, and speculates that the portrait may have been listed at one time as Mme de Richemont and her eldest child, leading to confusion over the child's identity.
Agnès Humbert. Louis David. Paris, [194?], pl. 55, as "Madame de Richemont et sa fille"; "vers 1810?".
Gaston Brière. "Sur David portraitiste." Bulletin de la Société de l'Histoire de l'Art Français, années 1945–46, (1948), p. 176, finds the attribution to David convincing, but includes it among portraits for which documentary evidence is lacking.
Elizabeth E. Gardner. "David's Portrait of Madame de Richemont and Her Daughter." Metropolitan Museum of Art Bulletin 12 (November 1953), pp. 57–59, ill. pp. 58 and 59 (details of heads) and in color on cover, states that it was sold by Sigismond Bardac to Viscount G. Chabert before 1897.
Viscount Hubert de Richemont. Letter to Mrs. Dunlap. November 24, 1953, states that Camille was born in 1801 and died in 1804; that Eugène, born in 1800, was the eldest child; that the portrait was given to relatives on Mme de Richemont's side (the Mourgue family); one of them, "I believe a Chabert," sold the portrait to Bardac.
Charles Sterling. Letter to Elizabeth Gardner. March 22, 1954, notes that the identification of the sitters appears to be based exclusively on family tradition.
Louis Hautecœur. "De la nature à l'abstraction." Histoire de l'art. 3, Paris, 1959, p. 71, includes it among portraits by David from 1799–1800.
René Gimpel. Diary of an Art Dealer. English ed. New York, 1966, pp. 37–38, in a journal entry of June 18, 1918, as by David.
James Laver. "Fashion, Art, and Beauty." Metropolitan Museum of Art Bulletin 26 (November 1967), ill. p. 125, as Mme. de Richemont and Her Daughter, Camille; dates it about 1800.
Robert L. Herbert. Letter to Thomas DaCosta Kaufmann. July 15, 1970, states that Peter Walch feels that it is probably by David, and that he himself feels, without much certainty, that it probably is not, commenting on the "rather flat and unfunctional area of neck and shoulder".
J. de Moussac. Letter to Theodore Rousseau. March 15, 1973, describes a copy showing Mme de Richemont without the child which, according to family tradition, was commissioned in 1804 and painted by Mme Benoist.
J. de Moussac. Letter. April 17, 1982, sends transcriptions of Camille's birth and death certificates.
Margaret A. Oppenheimer. "Three Newly Identified Paintings by Marie Guillelmine Benoist." Metropolitan Museum Journal 31 (1996), pp. 143–50, ill., attributes this portrait and two others to Marie-Guillelmine Benoist; identifies the child as Eugène, observing that "the yellow pantaloons, short jacket, and open shirt are the clothing of a boy"; believes our picture was exhibited at the Paris Salon of 1802 as no. 17 and points out that a contemporary source [see Ref. 1802] identifies the female sitter as "Mme D**" and specifies that the child, a boy, was blond; remarks that the same chair was used in Benoist's portrait of her brother-in-law, Jean-Dominique Larrey, exhibited in the Salon of 1804 (ill. fig. 5); identifies a third painting, a portrait of a young woman holding a spray of lilacs (fig. 8, location unknown), as no. 16 in the Salon of 1802.
Margaret A. Oppenheimer. "Women Artists in Paris, 1791–1814." PhD diss., Institute of Fine Arts, New York University, 1996, pp. 113, 309, fig. 13.
Margaret A. Oppenheimer. Letter to Mary Sprinson. March 15, 1996, cites contemporary sources.
Astrid Reuter. Marie-Guilhelmine Benoist: Gestaltungsräume einer Künstlerin um 1800. Berlin, 2002, pp. 160–61, 273–74, 319–21, no. 34, ill., cites 1802 Salon criticism; believes the unfinished painting in the Hotel Ritz, Paris, could be by Benoist.
Philippe Bordes. Portraiture in Paris around 1800: Cooper Penrose by Jacques-Louis David. Exh. cat., Timken Museum of Art. San Diego, 2003, pp. 45, 55–56, ill. (color), notes that the "beckoning sweetness" of the sitters' expressions is alien to David.