Jules Guiffrey in "Table des portraits exposés aux salons du dix-huitième siècle jusqu'en 1800." Nouvelles archives de l'art français (Revue de l'art français ancien et moderne), 3rd ser., 5 (1889), p. 35.
Catalogue of Highly Important Old Master Paintings. Sotheby's, London. March 24, 1965, p. 52, no. 84, identifies the sitter as Monsieur Foulon d'Écotier, erroneously calling him Governor of Guadeloupe.
Denys Sutton. "Pleasure for the Aesthete." Apollo 90 (September 1969), p. 238, ill.
Everett Fahy in "Paintings, Drawings." The Wrightsman Collection. 5, [New York], 1973, pp. 323–29, no. 33, ill. p. 325 (color), figs. 2, 4 (details), suggests that Écotier could have sat for Vestier in the summer or early fall of 1785, and notes that in June 1785 he was named Intendant de la Guadeloupe, and not Governor as stated in the 1965 Sotheby's catalogue; the Intendant, whose position was secondary to the Governor's, "administered taxes and other aspects of the island's economy"; suggests that an oval portrait with the same dimensions, might be a companion piece representing Écotier's wife (ill. pl. 6, present location unknown; sold Hôtel Drouot, Paris, May 21, 1947, lot 21).
Jean-Claude Sueur. Le portraitiste Antoine Vestier (1740–1824). Neuilly-sur-Seine, 1974, p. 52, provides information about the sitter.
Arnauld Brejon de Lavergnée in The Eye of Th. Jefferson. Exh. cat., National Gallery of Art. Washington, 1976, p. 161, no. 260, ill., finds it stylistically close to portraits by Duplessis.
Katharine Baetjer in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, pp. 65–66, no. 6, ill.
Anne-Marie Passez. Antoine Vestier, 1740–1824. Paris, 1989, pp. 144, 170, no. 48, ill., calls the portrait identified by Fahy as Écotier's wife "La Dame à la rose"; admits to similarities in pose, oval format, and dimensions in these portraits, but notes that the identification of the female sitter cannot be confirmed.
Paul Mitchell and Lynn Roberts. Frameworks: Form, Function & Ornament in European Portrait Frames. London, 1996, pp. 323–24, colorpl. 252 (in frame), describe the frame; call it original to the picture.
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 244–47, no. 67, ill. (color).