Arsène Alexandre. Honoré Daumier: L'Homme et l'œuvre. Paris, 1888, pp. 346, 373, notes that Daumier painted at least five or six pictures of Don Quixote and lists the one shown in Exh. Paris 1878.
Gustave Geffroy. Daumier. Paris, , p. 26.
Erich Klossowski. Honoré Daumier. Munich, 1908, pp. 66–67, , no. 39, pl. 30, erroneously states that it is painted on canvas; lists a smaller repetition in Holland (now Rijksmuseum Kröller-Müller, Otterlo; M I-201) [see Ref. Klossowski 1923]
B.[ryson] B.[urroughs]. "A Painting by Daumier." Metropolitan Museum of Art Bulletin 5 (January 1910), pp. 23–24, ill.
"Increasing Interest Being Shown in Paintings of the Great Caricaturist Honoré Daumier, One of Which is at Metropolitan Museum Here." New York Times (June 28, 1914), p. SM11.
B[ryson]. B[urroughs]. "Nineteenth-Century French Painting." Metropolitan Museum of Art Bulletin 13 (August 1918), p. 178, ill. p. 176, as "Don Quixote".
Erich Klossowski. Honoré Daumier. 2nd rev. ed. Munich, 1923, pp. 45–46, 89, no. 39, pl. 39, calls the Kröller-Müller version (M I-201) an almost exact repetition of our picture [erroneously lists the Kröller-Müller version as two different pictures].
Eduard Fuchs. Der Maler Daumier. Munich, 1927, pp. 15, 38, 52, no. 158, pl. 158 [2nd rev. ed., 1930], as "Don Quichotte"; states that there is a nearly identical repetition of this picture.
Frank Jewett Mather, Jr. Modern Painting. Garden City, N.Y., 1927, pp. 80–81, ill., as "Don Quixote Halted at the View of a Dead Horse".
A[lfred]. H. B[arr]. Jr. Corot – Daumier. Exh. cat., Museum of Modern Art. New York, 1930, pp. 19–20, 31, no. 47, ill., compares it to a vertical composition of the same subject painted for the wall of Daubigny's studio in Auvers (Musée d'Orsay, Paris; M I-209).
Bryson Burroughs. The Metropolitan Museum of Art: Catalogue of Paintings. 9th ed. New York, 1931, p. 85, no. D261–1.
Claude Roger-Marx in Daumier 1808–1879. Exh. cat., Pennsylvania Museum of Art. Philadelphia, 1937, pp. 8, 24, no. 11, ill.
David Rosen Henri Marceau in Daumier 1808–1879. Exh. cat., Pennsylvania Museum of Art. Philadelphia, 1937, pp. 11–12, note that an x-ray of this picture revealed scored grooves in the panel surface "used to provide a firm grip for the gesso ground".
Lionello Venturi. Modern Painters. 1, New York, 1947, pp. 185–86.
Marcelle Dureteste in Monticelli et le Baroque provençal. Exh. cat., Orangerie des Tuileries. [Paris], 1953, p. 16, no. 28, states that there are two nearly identical replicas of this picture [see Ref. Klossowski 1923].
Jean Adhémar. Honoré Daumier. Paris, 1954, p. 91 n. 97, p. 130, no. 166, pl. 166, dates it about 1868; identifies it as no. 48 in Exh. Paris 1878; erroneously lists the Sanmarcelli sale, 1895, in the provenance [this is a picture in the Kunstmuseum Basel; M I-83); suggests that Daumier may have chosen to represent this minor episode because Gustave Doré illustrated it in an 1863 edition of Cervantes's novel.
K. E. Maison. "Daumier Studies— I: Preparatory Drawings." Burlington Magazine 96 (January 1954), p. 14, fig. 11, reproduces a charcoal drawing of this composition in reverse (now Armand Hammer Museum of Art and Cultural Center, Los Angeles; M D-442, M D-443), noting that it was traced in chalk on the verso and squared for transfer, clearly in preparation for the MMA painting; calls the Kröller-Müller version (M I-201) a painted sketch.
K. E. Maison. "Further Daumier Studies— I: The Tracings." Burlington Magazine 98 (May 1956), p. 166, calls the Kröller-Müller picture (M I-201) a "perfectly genuine second version of the painting".
Catalogue of Nineteenth and Twentieth-Century Painting. Otterlo, 1957, p. 27, under no. 85, calls it a replica of the Kröller-Müller version.
A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), p. 86.
K. E. Maison in Daumier: Paintings and Drawings. Exh. cat., Tate Gallery. [London], 1961, p. 46, under no. 99, calls the Kröller-Müller picture the earlier version.
Robert Rey. Honoré Daumier. New York, , pp. 154–55, ill. (color), dates it about 1868.
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. 43–44, ill., note that Daumier departed from Cervantes's text by representing Sancho Panza on his donkey instead of on foot; tentatively characterize the Kröller-Müller picture as a sketch.
K. E. Maison. "The Paintings." Honoré Daumier: Catalogue Raisonné of the Paintings, Watercolours, and Drawings. 1, Greenwich, Conn., 1968, p. 162, no. I-202, pl. 160, calls it "Don Quixote dans les Montagnes" and dates it about 1866; erroneously repeats that it is on canvas support and that it was in the Sanmarcelli sale; considers it the second version, adding that "a few years may well separate the two versions"; observes that our painting "is undoubtedly the result" of the drawing squared for transfer (M D-443) since the compositions correspond in all details.
Gabriele Mandel in L'opera pittorica completa di Daumier. Milan, 1971, pp. 110–11, no. 260, ill. and colorpl. LB, dates it 1866.
Claude Roy. Daumier. Geneva, 1971, ill. p. 78 (color), dates it about 1866.
Sarah Symmons. Daumier. London, 1979, p. 102, under no. 83, asserts that the Kröller-Müller version is a preparatory sketch for our picture.
Bruce Laughton. Honoré Daumier. New Haven, 1996, p. 184 n. 12, states that Daumier pasted the preparatory drawing onto a piece of glass in order to trace it for transfer to our painting.
Pierre Cabanne. Honoré Daumier: Témoin de la comédie humaine. [Paris], 1999, p. 15, ill. p. 180 (color), dates it 1866.
Robert Fohr. Daumier: Sculpteur et peintre. Paris, 1999, ill. p. 113 (color), dates it 1867.
Dominique Lobstein with Catherine L. Blais in Daumier, 1808–1879. Exh. cat., National Gallery of Canada. Ottawa, 1999, p. 566.
Henri Loyrette in Daumier, 1808–1879. Exh. cat., National Gallery of Canada. Ottawa, 1999, pp. 526–27, no. 359, ill. (color), dates it about 1860; asserts that the Kröller-Müller version was executed some ten years earlier in the mid-1850s; compares both versions to the two paintings of "The Fugitives," also executed ten years apart (about 1849–50, private collection, M I-27; about 1865–70, Minneapolis Institute of Arts, M I-215).
Michael Pantazzi in Daumier, 1808–1879. Exh. cat., National Gallery of Canada. Ottawa, 1999, p. 24.