Duranty. "Daumier (2e et dernier article)." Gazette des beaux-arts, 2nd ser., 17 (June 1878), p. 538 [possibly this picture].
Arsène Alexandre. Honoré Daumier: L'Homme et l'œuvre. Paris, 1888, p. 375, as "Les buveurs" in the collection of M. Rouart.
Gustave Geffroy. Daumier. Paris, , p. 26, erroneously lists it still in Mme Daubigny's collection.
Erich Klossowski. Honoré Daumier. Munich, 1908, p. , no. 264, pl. 61.
R[obert]. E. D[ell]. "Art in France." Burlington Magazine 22 (January 1913), p. 241, erroneously states that Knoedler purchased it for Fr 38,500 at the Rouart sale.
"French, English, and American Paintings." Metropolitan Museum of Art Bulletin 15 (September 1920), pp. 205–6.
André Fontainas. La Peinture de Daumier. Paris, , unpaginated, ill.
Erich Klossowski. Honoré Daumier. 2nd rev. ed. Munich, 1923, p. 110, no. 264, pl. 102.
Eduard Fuchs. Der Maler Daumier. Munich, 1927, p. 47, no. 31, pl. 31 [2nd rev. ed., 1930].
Stephan Bourgeois. "The Passion of Art Collecting: Notes on the Adolph Lewisohn Collection." Art News (April 14, 1928), p. 64.
Stephan Bourgeois. The Adolph Lewisohn Collection of Modern French Paintings and Sculptures. New York, 1928, pp. 34–35, ill.
Edith von Térey. "Die Sammlung Adolph Lewisohn, New York." Kunst und Künstler 27 (August 1929), p. 417, ill. p. 419.
A[lfred]. H. B[arr]. Jr. Corot – Daumier. Exh. cat., Museum of Modern Art. New York, 1930, pp. 19, 33, no. 69, ill., observes the influence of Rembrandt in this picture's dramatic chiaroscuro.
Eduard Fuchs. Der Maler Daumier: Nachtrag—Supplement. Munich, 1930, pp. 3, 62 under no. 278, reproduces "The Drinkers" in the H. Fiquet collection, Paris, calling it a larger repetition of this picture.
Samuel A. Lewisohn. "Drama in Painting." Creative Art 9 (September 1931), p. 191, ill. p. 194.
Stephan Bourgeois and Waldemar George. "The French Paintings of the XIXth and XXth Centuries in the Adolph and Samuel Lewisohn Collection." Formes nos. 28–29 (1932), pp. 301–2, ill. between pp. 300 and 301.
A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections. Exh. cat., Art Institute of Chicago. Chicago, 1933, pp. 36–37, no. 240, ill.
Alfred M. Frankfurter. "Art in the Century of Progress." Fine Arts 20 (June 1933), ill. p. 32.
Independent Painters of Nineteenth Century Paris. Exh. cat., Museum of Fine Arts, Boston. Boston, 1935, p. 12, no. 2, ill. p. 57, includes an unidentified poem by Baudelaire in the catalogue entry.
Sam A. Lewisohn. Painters and Personality: A Collector's View of Modern Art. [New York], 1937, p. 70, pl. 97.
Jacques Lassaigne. Daumier. Paris, 1938, ill. p. 47, calls it "The Topers".
Lionello Venturi. Modern Painters. 1, New York, 1947, p. 179, dates it from "about the same period" as "The Miller, His Son, and the Ass" (1849; M I-22, 23, 24).
Jean Adhémar. Honoré Daumier. Paris, , pp. 50, 121, no. 85, ill., calls it "Les Deux buveurs"; dates it both 1860 (p. 50) and about 1856 (p. 121); asserts that Baudelaire pressed Daumier to illustrate a subject from his poems and suggests that this picture was inspired by "Vin des chiffonniers" in "Les Fleurs du mal," noting that a manuscript for the poem was found among Daumier's papers; observes the influence of Gavarni's lithographs.
K. E. Maison in Daumier: Paintings and Drawings. Exh. cat., Tate Gallery. [London], 1961, p. 35, no. 45, pl. 22E.
Robert Rey. Honoré Daumier. New York, , pp. 32, 104–5, ill. (color), dates it about 1856; notes that when Daumier was unable to sell this painting he gave it to Daubigny; repeats Adhémar's [Ref. 1954] assertion that it illustrates verses from Baudelaire's "Vin des chiffonniers".
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. 39–40, ill., note that it may date "a few years before" its first exhibition in 1861; call the version formerly in the Fiquet collection "probably a copy of this picture"; note its similarity to a lithograph by Gavarni published in "Le Charivari" on February 23, 1842.
K. E. Maison. "The Paintings." Honoré Daumier: Catalogue Raisonné of the Paintings, Watercolours, and Drawings. 1, Greenwich, Conn., 1968, p. 199, no. II-30, pl. 191, categorizes it among paintings with extensive restorations; considers Adhémar's [Ref. 1954] date of c.1856 for this picture to be too late; comments that the supposed association with Baudelaire's "Les Fleurs du Mal" is "very far-fetched"; does not believe that the former Fiquet collection version is genuine.
Gabriele Mandel in L'opera pittorica completa di Daumier. Milan, 1971, p. 101, no. 155, ill., dates it after 1858.
Richard Thomson. "The Drinkers of Daumier, Raffaëlli and Toulouse-Lautrec: Preliminary Observations on a Motif." Oxford Art Journal no. 2 (April 1979), pp. 29–31, 33, ill., states that the picture "must have been painted shortly before it was first exhibited at Martinet's gallery in 1861"; rejects the suggestion that this picture illustrates Baudelaire's "Vin des chiffoniers," noting that Baudelaire gave Daumier the manuscript of the poem before 1851 [see Ref. Adhémar 1954].
Pierre Cabanne. Honoré Daumier: Témoin de la comédie humaine. [Paris], 1999, ill. p. 143 (color), as "Les deux buveurs," 1858.
Michael Pantazzi in Daumier, 1808–1879. Exh. cat., National Gallery of Canada. Ottawa, 1999, pp. 460–61, 472, 555, no. 303, ill. (color, reversed), dates it about 1858–60; doubts the connection with Baudelaire's poem, which describes a single drunkard on a crowded street; disagrees with Maison's [Ref. 1968] assessment of this painting's restoration, calling it "in fairly good condition".
Richard R. Brettell and Stephen F. Eisenman. Nineteenth-Century Art in the Norton Simon Museum. 1, New Haven, 2006, p. 129.