This painting, made from life about 1856, depicts a dog that belonged to a gentleman known as the Vicomte d'Armaille. It is one of Bonheur's numerous portraits of hunting dogs and pets.
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H. D. Newcomb, Louisville (by 1867–d. 1874; his estate sale, Leavitt's, New York, December 21, 1877, no. 5, for $2,700 to Wolfe); Catharine Lorillard Wolfe, New York (1877–d. 1887)
New York. National Academy of Design. "Pedestal Fund Art Loan Exhibition," December 3, 1883–January 1, 1884, no. 18 (as "Staghound," lent by Miss Catharine Wolfe).
Tulsa. Philbrook Art Center. "Animals in Art," October 3–December 4, 1944, no. 3 (as "Limier-Briquet Hound").
New York. School of Visual Arts, Visual Arts Museum. "Les Animaliers and Animals in Early Nineteenth-Century French Art," April 8–27, 1985, no catalogue.
Southampton, N.Y. Parrish Art Museum. "In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition," June 29–September 1, 1986, no. 6.
New York. National Academy of Design. "In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition," September 18–December 7, 1986, no. 6.
Washington. National Museum of Women in the Arts. "Rosa Bonheur," December 12, 1989–March 11, 1990, no. 12.
Catalogue of Modern Paintings in the Possession of H. D. Newcomb, Esq. Louisville, 1867, pp. 13–14, as "Limier-Briquet Hound"; notes that it was painted from life and portrays "one of the pack of the Vicomte d'Armaille, bearing upon his flank the initial of his master".
Montezuma [Montague Marks]. "My Note Book." Art Amateur 16 (May 1887), p. 122, as "Study of a Hound".
Mrs. Schuyler van Rensselaer. "The Wolfe Collection at the Metropolitan Museum. II." Independent 39 (November 24, 1887), p. 9.
John Denison Champlin Jr. and Charles C. Perkins, ed. Cyclopedia of Painters and Paintings. New York, 1892, vol. 1, p. 177, list it as "Study of Hound" in the Wolfe collection.
Anna Klumpke. Rosa Bonheur: Sa vie, son oeuvre. Paris, 1908, p. 425, ill. p. 339 [English ed., "Rosa Bonheur: The Artist's (Auto)biography," Ann Arbor, 1997, p. 282], lists it among works of unknown date that the artist did not exhibit.
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 10.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, p. 164, ill., date it about 1880, based on the style.
Rosalia Shriver. Rosa Bonheur: With a Checklist of Works in American Collections. Philadelphia, 1982, p. 56.
Maureen C. O'Brien in Maureen C. O'Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, pp. 24, 32, 95, 134, no. 6, ill. p. 134 and colorpl. III, states that it depicts one of Bonheur's pets at her country estate at Chevilly, France [but see Ref. Newcomb 1867]; suggests that it may have been made in preparation for Bonheur's "Rendezvous de chasse" (1856; formerly collection August Belmont, New York, now The Haggin Museum, Stockton, Calif.).
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 431, ill.
Bernard Denis inRosa Bonheur (1822–1899). Ed. Francis Ribemont. Exh. cat., Galerie des Beaux-Arts. Bordeaux, 1997, pp. 150–51.
Rebecca A. Rabinow. "Catharine Lorillard Wolfe: The First Woman Benefactor of the Metropolitan Museum." Apollo 147 (March 1998), p. 55 n. 28, remarks that Wolfe bought this picture, her first painting by Bonheur, for $2,700, at the Newcomb Gallery sale in 1877.
William Secord. Dog Painting: The European Breeds. Woodbridge, England, 2000, p. 320, colorpl. 471.
This picture may have been used as a preparatory study for Bonheur's painting Gathering for the Hunt (1856; Haggin Museum, Stockton, Calif.) [see O'Brien et al. 1986].
After Rosa Bonheur (French, Bordeaux 1822–1899 Thomery)
1857–71
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