Eugène Delacroix. Journal entry. April 29, 1853 [published in Joubin 1932, vol. 2, pp. 31–32; Hannoosh 2009, vol. 1, p. 644], describes seeing this painting in Decamps's Paris studio.
Marius Chaumelin. Decamps: Sa vie, son œuvre. Marseilles, 1861, pp. 19, 43, states that it sold at the artist's estate sale for Fr 32,600 to M. Mayer [see Refs. Gazette des beaux-arts 1861, Moreau 1869].
"Vente de l'atelier de Decamps." Gazette des beaux-arts 10 (May 15, 1861), p. 251, states that this painting was the most finished of the works in Decamps's estate sale, and that it sold for Fr 23,600.
Ad[olphe]. Moreau. Decamps et son œuvre. Paris, 1869, pp. 190, 289, notes that Meyer bought it for Fr 23,600.
Albert Wolff. Cent chefs-d'œuvre des collections parisiennes. Exh. cat., Galerie Georges Petit. Paris, , pp. 76, 96, no. 26, ill. opp. p. 74 (etching by Ch. Courtry).
Charles Clément. Decamps. Paris, , p. 90.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 104–5, ill.
André Joubin. Journal de Eugène Delacroix. Paris, 1932, vol. 2, pp. 31–32, publishes Delacroix's 1853 journal entry.
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. 33–34, ill., suggest that Decamps chose this subject in order to paint realistic oriental decor; note that it is probably a repetition of an earlier work; mention two other pictures (Minneapolis Institute of Arts; Cleveland Museum of Art) and a sketch (present location unknown) of the same theme; consider it an excellent example of Rembrandt's influence on Decamps.
John Ittmann et al. in The Forest of Fontainbleau [sic], Refuge of Reality: French Landscape 1800 to 1870. Exh. cat., Shepherd Gallery. New York, 1972, unpaginated, under no. 65, reproduces a chalk sketch, "Near-Eastern Scene with a Monkey" (about 1828–30; formerly collection Kurt P. Ross, New York) which may have provided the background of our painting.
Dewey F. Mosby Harvard University. Alexandre-Gabriel Decamps, 1803–1860. New York, 1977, vol. 1, pp. 203, 231; vol. 2, pp. 381, 492–93, 500, no. 202, pl. 101B, dates it about 1853 and calls it a replica of the painting of the same title in the Chrysler Museum, Norfolk, Va. (about 1845); suggests that it was inspired by a copy after Rembrandt's painting of the subject (Musée du Louvre, Paris) in Decamps's own collection; mentions an engraving after this picture by Ramus.
Donald V. S. Harley. French and Other European Drawings, Paintings and Sculpture of the Nineteenth Century. Exh. cat., Shepherd Gallery, Associates, Inc. New York, 1980, unpaginated, under no. 48.
Donald A. Rosenthal. Orientalism: The Near East in French Painting 1800–1880. Exh. cat., Memorial Art Gallery of the University of Rochester. Rochester, N.Y., 1982, p. 38, cites it as an example of works that combined Decamps's "desire to be a history painter with the reality of his talent as a specialist in genre scenes".
Frances Weitzenhoffer. "The Creation of the Havemeyer Collection, 1875–1900." PhD diss., City University of New York, 1982, p. 113, fig. 23.
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 61, 158.
Alice Cooney Frelinghuysen. Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 187, 189, colorpl. 173 (painting and frame), dates it about 1853; dates the frame 1892–93 and suggests that it may have been designed by Tiffany for the Havemeyers.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 210, 286.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 323, no. A185, ill.
Louise d'Argencourt in "European Paintings of the 19th Century." The Cleveland Museum of Art Catalogue of Paintings: Part Four. 1, Cleveland, 1999, pp. 203–4, states that it is difficult to determine the sequence of the four Decamps paintings on this theme; dates the Cleveland version about 1842.
Michèle Hannoosh. Eugène Delacroix: Journal. Paris, 2009, vol. 1, p. 644, publishes Delacroix's 1853 journal entry.