Antoine Schnapper, David: Témoin de son temps, Fribourg, 1980, pp. 27-29, fig. 7.
Hans Körner and Friedrich Piel, “‘À Mon Ami A. Quatremère de Quincy’: Ein unbekanntes Werk Jacques-Louis Davids aus dem jahre 1779,” Pantheon 43 (1985), p. 93, fig. 8.
Luc de Nanteuil, Jacques-Louis David, New York, 1985, p. 11, fig. 6.
Antoine Schnapper in 1770-1830: Autour du néo-classicisme en Belgique, exh. cat., Musée Communal des Beaux-Arts d’Ixelles, 1985-86, p. 28
Lorenz Eitner, An Outline of 19th-Century European Painting: From David through Cézanne, vol. 1, New York, 1987, pp. 17-18.
Philippe Bordes, David, Paris, 1988, p. 8 (ill.).
Régis Michel and Marie Catherine Sahut, David: L’Art et la politique, Paris, 1988, p. 12 (ill).
Jean Jacques Lévêque, La Vie et l’oeuvre de Jacques-Louis David, Paris, 1989, pp. 20, 22 (ill.).
John McEwen, “Paint and Politics,” Country Life 183, 47 (1989), p. 66.
Bernard Nöel, L. David, New York, 1989, p. 93.
Antoine Schnapper in David, special issue of Connaissance des arts (1989), p. 8, fig. 2.
“La Chronique des arts: Musées, monuments historiques, expositions,” Gazette des Beaux Arts 6th ser., 132 (1990), suppl. to no. 1453, p. 1, fig. 1.
Barbara Scott, “Letter from Paris: David’s Portraits,” Apollo 131 (1990), p. 115, fig. 1.
Paul Spencer-Longhurst, “State of the Art David,” Apollo 131 (1990), p. 106.
Maxine Schur, The Reading Woman: A Journal, Rohnert Park, Calif., 1991, p. 87 (ill).
Christopher Wright, The World’s Master Paintings from the Early Renaissance to the Present Day: A Comprehensive Listing of Works by 1,300 Painters and a Complete Guide to Their Locations Worldwide, New York, 1991, vol. 1, p. 437, vol. 2, p. 62.
Susan Wise in Malcolm Warner and Susan Wise, French and British Paintings from 1600 to 1800 in the Art Institute of Chicago: A Catalogue of the Collection, Chicago, 1996, pp. 35-9, ill.
Mary D. Sheriff, Moved by Love: Inspired Artists and Deviant Women in Eighteenth-Century France, Chicago and London, 2004, pp. 99-101, fig. 22.
Paris, Palais des Beaux-Arts de la Ville de Paris (Petit Palais), David et ses éleves, 1913, cat. no. 2.
New York, Wildenstein and Co., Fashion in Headdress, 1450-1943, 1943, no. 53.
Toledo, The Toledo Museum of Art, The Spirit of Modern France: An Essay on Painting in Society, 1745-1946, 1946-47, cat. no. 10, traveled to Toronto.
New York, Wildenstein and Co., French Painting of the Eighteenth Century, 1948, cat. no. 8.
Paris, Musée de l’Orangerie, David: Exposition en l’honneur du deuxième centenaire de sa naissance, 1948, cat. no. M. O. 1.
New Orleans, Isaac Delgado Museum of Art, Masterpieces of French Painting through Five Centuries, 1400-1900, 1953-54, cat. no. 50.
Toledo, The Toledo Museum of Art, The Age of Louis XV: French Painting, 1710-1774, 1975-76, cat. no. 24, traveled to Chicago and Ottawa.
Chicago, The Art Institute of Chicago, Selected Works of Eighteenth-Century French Art in the Collections of The Art Institute of Chicago, 1976, cat. no. 16.
Paris, Musée du Louvre, and Versailles, Musée National du Château, Jacques-Louis David, 1748-1825, 1989-90, cat. no. 3.
Probably in the sitter’s possession [for the descent of this portrait and the companion portrait of François Buron, see Schnapper in Paris 1989-90, p. 44, under no. 2]; probably by descent to her daughter, Marie Françoise Buron, who married François Charles Seigneur; probably by descent to their daughter, Alexandrine Marie Louise, who married Charles François Baudry; probably by descent to their son, A. Baudry, and his wife (both d. 1903), by 1879; probably in 1903 to Mme Baudry’s brother, M. Dussault (or Dussaud), and his wife [according to London 1948 and Péreire 1907]; presumably by descent to M. Regnault, a family member, Paris, until 1925; offered for sale, Hôtel Drouot, Paris, 22 June 1905, no. 2 (ill.), bought in [subsequently lent by Regnault to Paris 1913]; sold by Regnault to Wildenstein, Paris in 1925; transferred from Wildenstein, Paris, on 22 March 1939; inventoried in Wildenstein, New York, stock on 27 February 1940 [acc.to Ay-Whang Hsia of Wildenstein, conversation with Martha Wolff 4 November 2003, note in curatorial file]; sold by Wildenstein to the Art Institute, 1963.
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