M. [Luc-Vincent] Thiéry. Guide des amateurs et des étrangers voyageurs à Paris. Paris, 1787, vol. 1, pp. 28–29, describes the château de Bagatelle, stating that the bathing room, to the left of the "grand sallon," was ornamented with mirrors and with six charming pictures by Robert, while the boudoir, opposite, was decorated with mirrors and six pictures by Callet.
Friedrich Gilly. Description de Bagatelle. 1797 [published by Edgar Wedepohl in L'Oeil, no. 126, 1965, p. 22], mentions the Robert paintings in the "petit cabinet" to the left.
Annonces, affiches et avis divers 93 (April 2, 1808), p. 1478 [see Ref. Baillio 1995], preview the sale of "six tableaux de place, peints par Hubert Robert représentant des Monuments d'Italie".
Charles Yriarte. "Mémoires de Bagatelle, I." La revue de Paris 4 (July–August 1903), pp. 21, 33, states that Robert was paid 500 livres for each; mentions that by 1784 the pictures, suffering from dampness, were restored by the artist for 500 livres; notes that they appear in the year V [1796–97] inventory, described as damaged by humidity.
Henri-Gaston Duchesne. Le château de Bagatelle (1715–1908). Paris, 1909, pp. 142, 155, 160, cites a document of May 18, 1784, in which the paintings to the right and left of the fireplace are mentioned as requiring restoration; notes that the six damaged paintings were in situ when Bagatelle was leased to entrepreneurs in the year V [1796–97].
[Jean Claude Nicolas Forestier]. Bagatelle et ses jardins. Paris, 1910, pp. 34–35, ill. opp. p. 17, as in the collection of Mme la Comtesse de F . .
"Nouvelles." Chronique des arts et de la curiosité, supplément à la Gazette des beaux-arts no. 31 (October 7, 1911), p. 242, announces the rediscovery of the six panels by M. Forestier, conservator of the Bois de Boulogne; notes that paintings are signed and dated 1777 and 1784; states that they were brought to Malmaison and later given by Empress Josephine to her physician, who left them to his family.
D. F[riedley]. "Decorative Panels by Hubert Robert." Metropolitan Museum of Art Bulletin 7 (July 1912), pp. 130–31, announces J. Pierpont Morgan's loan.
J[ean]. C[laude]. N[icolas]. Forestier Librairie agricole de la maison rustique. Bagatelle et ses jardins. Paris, [1922–23?], pp. 43–44, ill. between pp. 24 and 25.
P[reston]. R[emington]. "Six Paintings by Hubert Robert." Metropolitan Museum of Art Bulletin 19 (January 1924), pp. 9–10, dates them 1777.
Jean Stern. A l'ombre de Sophie Arnould: Francois-Joseph Belanger. Paris, 1930, vol. 1, p. 70.
Georges Pascal. Histoire du château de Bagatelle. Paris, 1938, p. 34, notes that copies have replaced the Robert originals.
Louis Hautecœur. Histoire de l'architecture classique en France. Vol. 4, Seconde moitié du XVIIIe siècle: Le style Louis XVI, 1750–1792. Paris, 1952, p. 493.
Robert Joffet. Bagatelle: Histoire et guide. Paris, 1954, pp. 16, 27–28.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 163–64, 166–67, ill., accepts the tradition that the paintings were at Malmaison; notes that the round building was done from a drawing, now in Besançon, of the temple of Serapis at Pozzuoli; and adds that the statue at right is the Mercury by Pigalle.
Ferdinand Boyer. "Jean-Joseph de Laborde protecteur de F.-X. Fabre et sa collection confisquée en 1794." Bulletin de la Société de l'Histoire de l'Art Français, année 1954, (1955), p. 221 n. 1.
Ruth T. Costantino. How to Know French Antiques. New York, 1961, ill. between pp. 128 and 129.
Barbara Scott. "Bagatelle: Folie of the comte d'Artois." Apollo (June 1972), p. 481, ill.
Béatrice de Andia et al. De Bagatelle à Monceau, 1778-1978: Les folies au XVIIIe siècle à Paris. Exh. cat., Musée Carnavalet. Paris, 1978–79, p. 16, accepts the tradition that the six paintings were once at the Malmaison.
Gérard Hubert. Letter to Dean Walker. April 28, 1980, says there is no trace of the six panels having ever been in Josephine's collection; identifies her physician as Horeau; concludes that if the paintings belonged to her they were in her possession for only a short time.
Jean de Cayeux. "Jeux d'eau pour une salle de bains." L'Objet d'art 8 (June 1988), pp. 62–65, 68, ill. (color, overall and detail), finds the MMA title misleading and suggests instead the title "Le temple de l'Amitié," observing that the sculpture of Mercury is a symbol of friendship; suggests that this painting and "Wandering Minstrels" were installed at Bagatelle shortly before or shortly after the 1779 Salon, and that the narrower panels were not completed until 1784.
Annie Jacques and Jean-Pierre Mouilleseaux in La Folie d'Artois. Exh. cat., château de Bagatelle, Paris. n.p., , pp. 42–43, fig. 24 (color).
Jean de Cayeux with the collaboration of Catherine Boulot. Hubert Robert. Paris, 1989, p. 120.
Paul Bernard Wilson. "Profiles in Royalty: Hubert Robert's 'The Mouth of a Cave' and a Concealed Iconography of Louis XVI." Album Amicorum Kenneth C. Lindsay: Essays on Art and Literature. Ed. Susan Alyson Stein and George D. McKee. Binghamton, 1990, pp. 183–84.
Joseph Baillio. "Hubert Robert's Decorations for the Château de Bagatelle." Metropolitan Museum Journal 27 (1992), pp. 149, 156–57, 161, 164, 171–73, 176–78, 181 nn. 25–26, p. 182 nn. 51, 53–54, figs. 15, 17, 18, 20, 22 (overall and details), with the exception of "The Mouth of a Cave," dates the series 1777–79; observes that Robert took the figure of the woman seen from behind, with her knees protruding from the water, from Balechou's 1757 print (fig. 21) after Joseph Vernet's "Bathers," and that the female bather removing her stockings was taken from Boucher's "Le Fleuve Scamandre," which he knew from Nicolas de Larmessin's 1742 print of the composition (fig. 23).
Joseph Baillio. "Addendum to 'Hubert Robert's Decorations for the Château de Bagatelle'." Metropolitan Museum Journal 30 (1995), p. 103, notes that these paintings and Callet's were sold in Paris on April 4, 1808, to Brunot.
Paula Rea Radisich. Hubert Robert: Painted Spaces of the Enlightenment. Cambridge, 1998, pp. 12–13, 78–96, 110–11, 118–19, 171–72 nn. 25, 29, p. 173 n. 35, p. 174 n. 42, p. 176 n. 56, fig. 45.
Jean Strouse. Morgan: American Financier. New York, 1999, p. 559, briefly mentions our Bagatelle paintings (17.190.25–30).
Katie Scott. "Book Reviews. Hubert Robert: Painted Spaces of the Enlightenment." Burlington Magazine 141 (November 1999), p. 690.
Jean Strouse. "J. Pierpont Morgan, Financier and Collector." Metropolitan Museum of Art Bulletin 57 (Winter 2000), pp. 26–28, ill. (color).