Jean Auguste Dominique Ingres. Letter to Monsieur Cavé. July 27, 1844, calls this work a sketch; indicates that Mme Cavé had asked him to make a portrait of M. Cavé to serve as a pendant for her earlier portrait.
Marie-Élisabeth Cavé. La couleur . . . ouvrage approuvé par M. Eugène Delacroix pour apprendre la peinture à l'huille et à l'aquarelle. 3rd ed. Paris, 1863, p. 127 [see Ref. Angrand 1966], mentions this portrait as an example of a rough draft in oils; remarks that although it took Ingres only one hour to make this portrait it is one of his masterpieces.
Henry Lapauze. Ingres: Sa vie & son oeuvre (1780–1867), d'après des documents inédits. Paris, 1911, pp. 386, 389, ill., dates it about 1845.
Exposition Ingres. Exh. cat., Galeries Georges Petit. Paris, 1911, p. 24, no. 46.
L[ili]. Fröhlich-Bum. Ingres sein Leben und sein Stil. Vienna, 1924, p. 26.
"Revue des ventes de Mai et Juin: Jeudi 20 Mai, Hôtel Drouot." Le Figaro artistique (July 15, 1926), pp. 633–34, ill., states that Paul and Marcel Jonas bought this portrait for Fr 136,000 on May 20, 1926.
Le vieux collectionneur. "Les ventes à Paris." Le bulletin de l'art ancien et moderne no. 730 (July–August 1926), p. 232, ill., gives an account of the sale of the collection of M. Gaston Le Roy; notes that the portraits of M. and Mme Cavé fetched the highest prices, Fr 126,000 and Fr 136,000 respectively.
Louis Hourticq. Ingres: L'oeuvre du maître. Paris, 1928, p. 89, ill., dates it 1845.
André Joubin. "Deux amis de Delacroix: Mme Élisabeth Boulanger-Cavé et Mme Rang-Babut." Revue de l'art ancien et moderne 57 (January 1930), pp. 58–75, ill., dates it 1844; gives biographical information about Mme Cavé.
Georges Wildenstein. The Paintings of J. A. D. Ingres. 1st ed. 1954, p. 216, no. 246, pl. 94, as "Mme E.-L.-A. Cavé, née Marie -Élisabeth Blavot, previously married to the painter Clément Boulanger; born in 1815".
Georges Wildenstein. The Paintings of J. A. D. Ingres. 2nd revised ed. London, 1956, p. 216, no. 247, pl. 94.
Ingres in American Collections. Exh. cat., Paul Rosenberg. New York, April 7–May 6, 1961, p. 51, no. 58, ill., dates it 1844.
Pierre Angrand. Marie-Elizabeth Cavé: Disciple de Delacroix. Paris, 1966, p. 22 n. 1, plate II.
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, pp. 12–13, ill., date it 1844, noting that Mme Cavé was probably about 34 years old at the time it was painted; remark that both portraits are the same size and are inscribed with the same dedication by Ingres, concluding that they were probably painted on the occasion of their marriage.
Ingres Centennial Exhibition: 1867–1967. Exh. cat., Fogg Art Museum. Greenwich, Conn., 1967, unpaginated, no. 89, ill., remarks that the portraits of M. and Mme Cavé were probably made by Ingres as a wedding gift.
Daniel Ternois in Ingres. Exh. cat., Petit Palais. Paris, 1967, pp. 296–97, no. 229, ill.
Emilio Radius Ettore Camesasca in L'opera completa di Ingres. Milan, 1968, p. 112, no. 137, colorpl. XLVII.
Important Old Master Pictures. Christie's, London. July 9, 1976, p. 46, attribute an oval study for this painting to Ingres.
Marjorie B. Cohn and Susan L. Siegfried. Works by J.-A.-D. Ingres in the Collection of the Fogg Art Museum. Cambridge, Mass., 1980, p. 124.
Gaëtan Picon. Jean-Auguste-Dominique Ingres. 2nd ed. [1st ed. 1967]. New York, 1980, p. 100 [1st edition has different page numbers].
Avigdor Arikha. J. A. D. Ingres: Fifty Life Drawings from the Musée Ingres at Montauban. Exh. cat., Museum of Fine Arts, Houston. Houston, 1986, p. 85, considers this portrait to be much earlier than the 1844 portrait of M. Cavé.
Annalisa Zanni. Ingres: catalogo completo dei dipinti. Florence, 1990, p. 120, no. 91, ill.
Gary Tinterow in Portraits by Ingres: Image of an Epoch. Exh. cat., The Metropolitan Museum of Art. New York, 1999, pp. 394–98, 552, no. 123, ill. (color), as probably painted in the early 1830s, before Ingres's departure to Rome in 1834; comments that in portraits dating from the late 1830s to the 1850s Mme Cavé's hair is ebony, rather than the blond seen here, which she had when she was younger; remarks that Ingres rarely made sketches such as this one and those that survive were made in preparation for allegorical figures in his history paintings; posits that Ingres asked Mme Cavé to pose for him in the early 1830s without intending to paint her portrait, perhaps considering including her features in the figure of Stratonice (W232; Musée Condé, Chantilly); publishes and translates a letter from Ingres to M. Cavé of 1844 [see Ref. Ingres 1844].