Bathing Nymphs and Child

• Alfred Robaut, L’Oeuvre de Corot: catalogue raisonné et illustré précédé de L’histoire de Corot et de ses Oeuvres (Paris: Floury, 1905; reprint, 1965), vol. 2, no. 1113.
• E. G. Halton, “The Collection of Mr. Alexander Young: I – the Corots,” The International Studio: An Illustrated Magazine of the Fine and Applied Art 30, 117 (1906), pp. 6 (ill.), 12.
• Arthur Hoeber, Barbizon Painters: Being the Story of the Men of Thirty (New York: Books for Libraries Press, 1915; reprinted 1969), opp. p. 111 (ill.).
• Louise James Bargelt, “Art: Kimball Exhibit at Institute,” Chicago Daily Tribune (July 9, 1916), p. E6.
• “Notes: The Kimball Collection,” Bulletin of the Art Institute of Chicago 14, 5 (1920), pp. 69 (ill.), 77.
• Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago: Art Institute of Chicago, 1920), p. 59, no. 751.
• “Mrs. Kimball, 80, Dies in ‘Home of $2,000,000 Art’,” Chicago Daily Tribune (June 14, 1921), p. 17.
• “Chicago Inherits $2,000,000 in Art,” American Art News (June 25, 1921), p. 1.
• Eleanor Jewett, “Art and Architecture At Art Institute – the Kimball and Palmer Collections,” Chicago Daily Tribune (July 3, 1921), p. D4.
• Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago: Art Institute of Chicago, 1922), p. 64, no. 751.
• Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 64, no. 751.
• Marguerite B. Williams, “Valuable Collection of Paintings Added to Chicago’s Treasures,” America Today – Fort Dearborn Magazine (1924), p. 26.
• M. C., “Corots in the Art Institute,” Bulletin of the Art Institute of Chicago 18, 8 (1924), pp. 100 (ill.), 101.
• Art Institute of Chicago, Kimball Gallery of Paintings: XVII to XIX Century (Chicago: Art Institute of Chicago, 1928), pp. 11–12.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), p. 131, no. 751.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 147.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 86.
• Faber Birren, History of Color in Painting: With New Principles of Color Expression (New York: Reinhold Publishing, 1965), p. 266, fig. 10-24.
• John D. Morse, Old Master Paintings in North America (New York: Abbeville Press, 1979), p. 62.
• Theodore Reff, Exhibitions of Barbizon and Landscape Art, Modern Art in Review (New York and London: Garland Publishing, 1981), no pag.
• Richard R. Brettell, French Salon Artists: 1800–1900 (Chicago: Art Institute of Chicago, 1987), pp. 69, 70 (ill), 117.
• Edward J. Sullivan, ed., The Taft Museum: European and American Paintings (New York: Hudson Hills Press, 1995), p. 248, fig. 2.
• James N. Wood, Impressionism and Post-Impressionism in the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2000), p. 17 (ill.).

• Paris, L’École Nationale des Beaux-Arts, Exposition de l’Oeuvre de Corot, 1875, cat. 178.
• Paris, Palais Galliera, Exposition organisé au profit du monument du centenaire du Corot, May–June 1895, cat. 34.
• Art Institute of Chicago, Century of Progress: Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 165.
• Art Institute of Chicago, Corot, 1796–1875: An Exhibition of His Paintings and Graphic Work, October 6–November 13, 1960, cat. 83.
• Dallas Museum of Fine Arts, The Arts of Man: A Selection from Ancient to Modern Times, October 6–December 31, 1962, no cat. no.

Gustave Claudon (possibly lent to Paris 1875); sold in equal shares to Goupil & Cie, Paris and Knoedler & Co., Paris, for 17,000 francs, July 3, 1899 [according to Goupil stockbook no. 26031, Getty Research Institute, Los Angeles]; sold to Alexander Young, London, for 225,000 francs, July 31, 1899 [according to the Goupil stockbook cited above]; sold by Young to Thomas Agnew & Sons, London, July 24, 1906 [according to a letter from Richard Kingzett, Agnews, to Martha Howard, Art Institute, dated July 20, 1990, in curatorial file]; sold in equal shares to Scott and Fowles, New York, and Knoedler & Co., New York, for £13,000, June 14, 1907 [according Knoedler stockbook no. 11481, Getty Research Institute, Los Angeles, and the letter cited above]; sold to Mrs. W. W. Kimball, Chicago, for $7,000, April 9, 1909 [according to the Knoedler stockbook cited above]; on loan to the Art Institute from 1920 [see Bulletin of the Art Institute 1920]; bequeathed to the Art Institute, 1922.