Paul Jamot and Georges Wildenstein, Manet, with Marie-Louise Bataille (Les Beaux-Arts, 1932), vol. 1: p. 182, no. 529; vol. 2: p. 135, fig. 260.
Charles C. Cunningham, “A Pastel by Manet,” Bulletin of the Museum of Fine Arts 35, 212 (Dec. 1937), p. 81, note 1.
Adolphe Tabarant, Manet et ses œuvres (Gallimard, 1947), pp. 464–65, 548, no. 539.
Art Institute of Chicago, Édouard Manet 1832–1883 (Art Institute of Chicago, 1967), n. pag., cat. 197 (ill.).
Marcello Venturi and Sandra Orienti, L’opera pittorica di Edouard Manet (Rizzoli, 1967), p. 120 (ill.), 121, no. 413.
Merete Bodelsen, “Early Impressionist Sales, 1874–94 in the Light of Some Unpublished ‘Procès-Verbaux,’” Burlington Magazine 110, 783 (June 1968), p. 343, no. 120.
Denis Rouart and Daniel Wildenstein, Edouard Manet: Catalogue raisonné, vol. 2, Pastels, aquarelles et dessins (Bibliothéque des Arts, 1975), pp. 26 and 27, no. 67 (ill.).
Sandra Orienti, Tout Manet 1873–1883, La Peinture, trans. Claude Lauriol and Diana Grange-Fiori (Flammarion, 1981), p. 86, no. 409 (ill.).
Maryanne Stevens and Laurence W. Nichols, Manet: Portraying Life, assisted by Sarah Lea, exh. cat. (Toledo Museum of Art, 2012), p. 184.
London, Lefevre Galleries, Important Pictures by Nineteenth Century French Masters, May–June 1924 (ill.).
Art Institute of Chicago, Édouard Manet 1832–1883, Jan. 13–Feb. 19, 1967, n. pag., cat. 197 (ill.).
By descent from the artist to his wife, Suzanne Manet (née Leenhoff; 1829–1906), Paris, Apr. 30, 1883 [artist’s estate stamp (Lugt 880), recto, lower right, in red]; sold Hôtel Drouot, Paris, Feb. 4–5, 1884, lot 120, to de la Narde, for 95 francs [Julius Meier-Graefe, Edouard Manet (R. Piper, 1912), p. 327, no. 120.]. Carvalho, Paris, by 1902 [Adolphe Tabarant, Manet: Histoire catalographique (Montaigne, 1931), pp. 507–08, no. 85. It is possible that this is Octavie Josephine Macedo-Carvalho (1833–1909; née Marchand). She was the mistress of the important art dealer and collector George Aloysius Lucas (1824–1909), who moved to Paris in 1857. He maintained her apartment across the hall from his own, and the two shared a servant. Reportedly, cooking for both households was done in Lucas’s apartment, as Carvalho’s kitchen was stuffed with Lucas’s art collection. Therefore, it is possible that someone knew the picture was in Carvalho’s apartment but never made the connection to George A. Lucas. See Holly Selby and James Bock, “Lucas’ Will, The Fight over George A. Lucas Collection Comes Down to One Question: Does the Lucas art belong in Baltimore forever? THE LUCAS COLLECTION: WHAT DID HE REALLY WANT?,” The Baltimore Sun, Mar. 19, 1995, accessed online Jan. 25, 2016, https://www.baltimoresun.com/news/bs-xpm-1995-03-19-1995078030-story.html. In addition to assembling his own significant collection of Manet prints, Lucas helped Samuel P. Avery (1822–1904) and William T. Walters (1820–1894) form their collections. Avery amassed a collection of 17,775 etchings and lithographs representing 978 artists, many of them French, and gave his collection of prints to the New York Public Library in 1900. Following his death in 1894, Walters bequeathed bequeathed his extensive collection to his son, Henry Walters, who established the Walters Art Gallery, now called The Walters Art Museum, in Baltimore, Maryland.]. Théodore Duret (1838–1927), Paris [Tabarant 1931]. Auguste Pellerin (1853–1929), Paris, by 1902 [Duret 1902]; probably sold to Bernheim-Jeune, Paris, spring 1910 [Auguste Pellerin was an active collector, buying and trading pictures for more than twenty-five years, frequently through Bernheim-Jeune. In spring 1910 Pellerin sold much of his Manet collection to a consortium of art dealers comprised of Bernheim-Jeune and Durand-Ruel, both in Paris, and Paul Cassirer, in Berlin. See Julius Meier-Graefe, Kunst ist nicht für Kunstgeschichte da: Briefe und Dokumente, ed. Catherine Krahmer (Wallstein, 2001), p. 374. In June of that year, Bernheim-Jeune exhibited thirty-five works by Manet from the Pellerin collection. See Bernheim-Jeune, Manet: Trente-cinq tableaux de la collection Pellerin (Paris, 1910). This pastel was not included, but another pastel portrait, L’Homme Blond (Duret no. 75) was shown. If Pellerin had still owned The Man with the Dog at that time, it seems likely that it, too, would have been included.]. Lefevre Galleries (Alex. Reid & Lefevre), London, by May 1924 ]London, 1924 exh. cat.]. Bignou Gallery, New York [Stock card, Bignou Gallery Album, Frick Collection Archives, copy provided by Shannon Morelli, Jan. 28, 2016, in the curatorial object file]. Chester H. Johnson (died 1934), Chicago, by 1931 [Tabarant 1931]. Brooks McCormick (1917–2006), Chicago, probably by 1967 [Chicago, 1967 exh. cat.]; bequeathed to the Art Institute, 2007.
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