The Dreamer (La Rêveuse)

• P[ierre] Hédouin, “Watteau III: Catalogue de son oeuvre,” L’Artiste: Revue de Paris 4th ser., 5 (1845), p. 78, no. 45.
• Edmond de Goncourt, Catalogue raisonné de l’oeuvre peint, dessiné et grave d’Antoine Watteau, Paris, 1875, p. 82, no. 88.
• John W. Mollet, Watteau, New York and London, 1883, p. 66, no. 88.
• Paul Leroi, “M. Jules Burat,” L’Art: Revue illustrée 38, (1885), p. 169 (ill. with engraving by Léon Gaucherel following p. 171).
• Paul Eudel, L’Hôtel Drouot et la curiosité en 1884–1885, Paris, 1886, pp. 355, 367.
• Paul Eudel, L’Hôtel Drouot et la curiosité en 1885–1886, Paris, 1887, p. 436.
• Louis de Fourcaud, “Antoine Watteau: Scènes et figures galantes (premier article),” La Revue de L’Art Ancien et Moderne 16 (1904) pp. 345, 350, (ill. with engraving by Aveline), 353, 354.
• Emile Dacier, Catalogues de ventes et livrets de salons illustrés par Gabriel de Saint-Aubin, vol. 2. Paris, 1910, pt. 3, p. 29 (p. 47 of sale cat. facsimile).
• Emile Dacier, Jacques Hérold and Albert Vuaflart, Jean de Jullienne et les graveurs de Watteau au XVIIIe siècle, 4 Vols., Paris, 1921–1929; vol. 1, Hérold and Vuaflart, 1929, pp. 117, 178, 264, under no. 166; vol. 3, Dacier and Vuaflart, 1922, p. 82, under no. 166.
• Georges Wildenstein, Lancret. Paris, 1924, p. 117, no.704, fig. 202 (engraving by Léon Gaucherel).
• Louis Réau, “Watteau,” in Louis Dimier, Les Peintres Français du XVIIIe siècle: Historie des vies et catalogue des oeuvres, vol 1, Paris and Brussels, 1928, pp. 38–39, no. 100.
• Hélène Adhémar, Watteau: Sa Vie - son oeuvre. Paris, 1950, p. 219, no. 145, pl. 77.
• R[aymond] Charmet, “De Watteau à Prud’hon,”in Arts, Spectacles, No. 567 (1956), p. 14 (ill.).
• Alexandre Ananoff, L’Oeuvre dessiné de Jean-Honoré Fragonard (1732–1806), vol. 2, Paris, 1963, p. 195, under no. 1123.
• I[nna] S. Nemilova, Watteau et ses oeuvres à l’Ermitage (in Russian, with French summary), Leningrad, 1964, pp. 87, 92, 158, 173 n. 21, fig. 40.
• John Maxon, “Some Recent Acquisitions,” Apollo 84 (September 1966), p. 221, fig. 5.
• Ettore Camesasca and John Sunderland, The Complete Paintings of Watteau, New York, 1968, pp. 113–14, no. 165 (ill.).
• Giovanni Macchia and E. C. Montagni, L’opera completa di Watteau, Classici dell’arte 21, Milan, 1968, pp. 113–14, no. 165 (ill.).
• John Maxon, The Art institute of Chicago, London, 1970, p. 261 (ill.).
• Jean Ferré et al, Watteau, Madrid, 1972, vol. 1, pp. 206–07, 214, chronology (n. p.), under “1885,” vol. 4, pp. 1111, 1120.
• Yvonne Boerlin-Brodbeck, “Antoine Watteau und das Theater,” Ph.D. diss., Universität Basel, 1973, pp. 171, 176, 318 n. 435.
• I[nna] S. Nemilova, The Enigmas of Old Paintings (in Russian), Moscow, 1973, p. 150, fig. 38.
• John David Farmer, “A New Painting by François Boucher,” Art Institute of Chicago Bulletin 68, 2 (1974), p. 18 (ill.).
• Kimio Nakayama, Watteau (in Japanese), Tokyo, 1976, p. 107, no. 29 (ill.), pl. 29.
• The Art Institute of Chicago, 100 Masterpieces, Chicago, 1978, p. 67, no. 28, pl. 28.
• John D. Morse, Old Master Paintings in North America, New York, 1979, p. 298.
• Marianne Roland Michel, Watteau, Milan, 1981, p. 42, no. 120 (ill.).
• Nicole Parmantier, “Watteau, 1684–1721,” Le Petit Journal des grandes expositions 146 (1984), n. pag.
• Donald Posner, Antoine Watteau, London 1984, pp. 47, 256, fig. 39.
• Marianne Roland Michel, Watteau: An Artist of the Eighteenth Century, New York, 1984, p. 156, fig. 143.
• Pascale Thuillant, L’Exposition des trois tiers (indiscutable, controversables, inacceptables)… ou un édifiant dialogue avec Jean Ferré,” L’Amateur d’art 710 (1984), p. 8.
• Wolfgang Sauré, “Malerisches Spiel zwischen Sein und Schein: Die Kunst von Jean-Antoine Watteau (1684–1721),” Die Kunst 97 (1985), p. 197, fig. 8.
• Pierre Rosenberg, “Watteau: Le Recueil de Valenciennes,” La Revue du Louvre 36, (1986), p. 288.
• Margaret Morgan Grasseli, “The Drawings of Antoine Watteau: Stylistic Development and Problems of Chronology,” Ph. D. diss., Harvard University, 1987 (Ann Arbor, Michigan, University Microfilms, 1988), vol. 1, p. 208, vol. 2 fig. 227.
• Alan P. Wintermute in Claude to Corot: The Development of Landscape Painting in France, exh. cat., New York, Colnaghi, 1990, p. 122.
• Kimio Nakayama, L’Oeuvre complet de Watteau (in Japanese, with captions in French), Tokyo, 1991, pp. 213–14, no. 29 (ill.), 272 (ill.), pl. 29.
• Susan Wise and Malcolm Warner, French and British Paintings from 1600 to 1800 in The Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1996), pp. 169–174, ill.
• Helmut Börsch-Supan, Antoine Watteau 1684-1721 (Cologne, 2000), p. 75, fig. 64.
• Marie-Laure de Rochebrune, Le guéridon de madame du Barry (Paris, 2002), p. 24, fig. 24.

• Paris, Société de protection des alsaciens et lorrains demeurés français, Ouvrages de peinture exposés au profit de la colonisation de l’Algérie par les Alsaciens-Lorrains au Palais de la Présidence ou Corps législatif…, 1874, no. 526.
• Paris, Galerie Georges Petit, L’Art du XVIIIe siècle, 1883-84, no. 145.
• New York, Wildenstein, Fashion in Headdress 1450 - 1943, April 27 - May 27, 1943, no. 36.
• Paris, Gazette des Beaux-Arts, De Watteau a Prud’hon, May 11 - 31, 1956, no. 95.
• Baltimore, Baltimore Museum of Art, Age of Elegance: The Rococo and its Effect, April 25 to June 14, 1959, no. 35.
• Toledo, The Toledo Museum of Art, The Age of Louis XV, French Painting 1710-1774, 1975, no. 120, pl. 17; traveled to Chicago and Ottawa.
• Chicago, Art Institute, Selected Works of 18th Century French Art in the Collections of the Art Institute of Chicago, 1976, no. 2.
• Washington, D.C., National Gallery of Art, Watteau 1684-1721, 1984, no. P26; traveled to Paris and Berlin.

Possibly the abbé Pierre Maurice Haranger (died 1735), canon of Saint-Germain-l’Auxerrois, Paris; [based on Pierre Jean Mariette, Notes, Mss. IX, fol. 191[9] Bibliotehèque Nationale, Paris; see Wise 1996]. Comte du Barry, Paris; sold Remy and Le Brun, Paris, November 21 and following, 1774, no. 132, for 190 livres [supported by Gabriel de Saint-Aubin’s sketch in his copy of the sale catalogue in the Musée du Petit Palais, Paris]. Anne Pierre, marquis de Montesquiou, Paris; sold Le Brun, Paris, December 9 and following, 1788, no. 214 [une dame ajustée dans le costume Turc: elle est coëffée d’un bonnet ou turban, la tête tournée de trois quarts sur l’épaule droite, assise sur un tertie dans un fond de paysage. Hauteur 8 pounces 4 lig. largeur 6 pounces. B.” (A woman dressed in a Turkish costume; she is wearing a bonnet or turban, the head turned three quarters toward the right shoulder, seated on a mound in a landscape background. Height 8 pouces 4 lig., width 6 pouces. Panel]. Jules Burat (died 1885), Paris, by 1866; sold Galerie Georges Petit, Paris, April 28 - 29, 1885, no. 109 (ill. with engraving by Léon Gaucherel), as Lancret, to Laurent-Richard for Fr 7,000 [Eudel 1886 states that Burat acquired the picture in 1865; price and buyer at the Burat sale are given in a annotated catalogue of the Frick Art Reference Library]. Vincent Claude Laurent-Richard (died 1886), Paris; sold Galerie Georges Petit, May 28-29, 1886, no. 29 (ill. with engraving by Gaucherel), as Lancret, to Blumenthal for Fr 6,200 [see Rosenberg in Paris/Washington/Berlin 1984, no. P26; the price is given in an annotated catalogue at the Frick Art Reference Library]; Willy Blumenthal, (died 1937) Paris, to at least 1929 [Dacier, Hérold, and Vuaflart 1929, p. 178]. Acquired by Wildenstein, Paris, though an intermediary, 1935; transferred to Wildenstein, New York, 1938 [information kindly supplied by Ah-Whang Hsia, Wildenstein, letter of July 18, 2006 in curatorial file]; sold to the Art Institute, 1960.