Aldo Ravà. Pietro Longhi. Bergamo, 1909, p. 153, as "Il ritrovo"; reproduces an engraving in reverse after it by Flipart.
"New Acquisitions of Pictures." Metropolitan Museum of Art Bulletin 9 (March 1914), pp. 75–77, ill., as "The Rendezvous," on loan from Henry Walters; calls it one of a series of nine pictures said to have been in the collection of the Miari family since the eighteenth century.
Ancient Italian Art Treasures of Extraordinary Artistic and Historical Interest. American Art Galleries, New York. December 17–19, 1917, unpaginated, under nos. 441–46, identifies the four MMA paintings, as well as pictures in the National Gallery, London, the Pinacoteca di Brera, Milan, and six works included in this sale catalogue, as from a series of twenty works painted for the Gambardi family of Florence; gives provenance information for the series.
Aldo Ravà. Pietro Longhi. Florence, 1923, p. 152, reproduces the Flipart engraving, as well as a painted copy (p. 29) made after the engraving.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, under pl. CCCCXXXI.
Lionello Venturi. "Sixteenth to Eighteenth Century." Italian Paintings in America. 3, New York, 1933, unpaginated, under pl. 602.
Margaret D. Sloane. "A Genre Scene by Longhi." Metropolitan Museum of Art Bulletin 31 (March 1936), pp. 51–52, ill. on cover, repeats the provenance information given in Ref. Volpi 1917.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 293–95, ill., repeats the provenance information given in Ref. Volpi 1917.
Marian Davis. "Two Eighteenth Century Paintings: A Fete Galante by Pater and a Scene from Everyday Life by Longhi." Worcester Art Museum Annual 5 (1946), pp. 60–61, accepts the Gambardi provenance and the connection with the London, Milan, and ex-Volpi pictures; dates the series to the artist's middle or late period, 1750–70.
Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 727, no. 2034, ill. (cropped).
Antonio Morassi. "Una mostra del Settecento veneziano a Detroit." Arte veneta 7 (1953), p. 55.
Michael Levey. The Eighteenth Century Italian Schools. London, 1956, p. 72 nn. 7, 10, notes that there is no evidence to confirm the provenance given in Ref. Volpi 1917.
Vittorio Moschini. Pietro Longhi. Milan, 1956, p. 22, pl. 67, colorpl. 8, identifies the subject as the meeting of a procurator and his wife.
Francesco Valcanover. "Affreschi sconosciuti di Pietro Longhi." Paragone 7 (January 1956), p. 25 n. 1, lists the "bellissima" series at the MMA, noting that there are preparatory drawings in the Museo Correr, Venice.
Carlo Donzelli. I pittori veneti del Settecento. Florence, 1957, p. 135.
Rodolfo Pallucchini. La pittura veneziana del Settecento. Venice, 1960, p. 181.
Terisio Pignatti. Pietro Longhi. Venice, 1968, pp. 92–93, pl. 78 [English ed., "Pietro Longhi: Paintings and Drawings," London: Phaidon, 1969, pp. 80–82, pl. 78], calls it "L'incontro del procuratore con la moglie" ("The Meeting of the Procuratore and His Wife") and dates it about 1746; gives the provenance as the Gambardi collection, Florence; notes that it is the prototype of a number of versions and copies of the subject [see Notes]; reproduces the engraving in reverse by Flipart (pl. 78a), as well as one by Hayd (pl. 78b) which omits the two figures on the right.
Jean Cailleux. "The Literature of Art: The Art of Pietro Longhi." Burlington Magazine 111 (September 1969), p. 567, notes that it must date from before 1750 since it was engraved by Flipart, who left Venice for Madrid in that year; calls the engraving for this picture and that for "La lezione di ballo" (Gallerie dell'Accademia, Venice) pendants, adding that the two paintings themselves have the same dimensions.
Michael Levey. The Seventeenth and Eighteenth Century Italian Schools. London, 1971, p. 154 nn. 9, 14, p. 159 n. 2.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 108, 496, 607.
Antonio Morassi. Guardi: Antonio e Francesco Guardi. Venice, [1973?], vol. 1, p. 353, under no. 241, catalogues the painting based on Flipart's engraving of this work [see Notes], attributing it to Francesco Guardi and dating it about 1755 or slightly later; calls it a pendant to "La lezione di danza" (no. 242; private collection, Milan), also based on an engraving by Flipart after a painting by Longhi.
Fern Rusk Shapley. "Italian Schools: XVI–XVIII Century." Paintings from the Samuel H. Kress Collection. 3, London, 1973, pp. 136–37, no. K393, fig. 265, dates all four pictures 1746, finding them "completely homogenous in style".
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, p. 39, pl. 43, call the version in Moscow "a rather crude copy," which they date to the late nineteenth century.
Terisio Pignatti. L'opera completa di Pietro Longhi. Milan, 1974, pp. 88, 94, no. 44, ill. p. 89.
Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, p. 93, under no. 65.
Filippo Pedrocco. "Francesco Guardi pittore di figure." Guardi: metamorfosi dell'immagine. Exh. cat., Castello di Gorizia. Venice, 1987, p. 35.
Rolf Bagemihl. "Pietro Longhi and Venetian Life." Metropolitan Museum Journal 23 (1988), pp. 233, 236, 238–39, 243, fig. 6, identifies the setting as a café along the north side of the Piazza San Marco in Venice; interprets the scene as a chance meeting between a husband and wife during Carnival, the man with the keys being a vendor of theater boxes.
Giorgio Fossaluzza et al. in Pietro Longhi. Exh. cat., Museo Correr, Venice. Milan, 1993, pp. 114, 130.
Paul Mitchell and Lynn Roberts. Frameworks: Form, Function & Ornament in European Portrait Frames. London, 1996, p. 450 n. 20.
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 52, 54–56, no. 8, ill. (color) [Catalan ed., Barcelona, 2006, pp. 36, 38–39, no. 6, ill. (color).