The Dormitory

Artists

Dimensions

23.9 × 36.8 cm (9 7/16 × 14 1/2 in.) frame: 46.5 × 58.9 × 6 cm (18 5/16 × 23 3/16 × 2 3/8 in.)

Provenance

After Huquier, the following provenance is for this drawing and/or the other version of this composition, now in a private Parisian collection: Gabriel Huquier, Paris (his mark, L.1285, lower right); possibly Louis Varanchan de Saint-Geniès, Paris (his sale, Paris, Paillet—Chariot, 29-31 December 1777, lot 63); possibly Peter Adolf Hall, Paris (his collection inventory, 10 May 1778—see Villot 1867, p. 77); possibly Erik Magnus, Baron Staël von Holstein, Paris and Poligny (1); possibly Emmanuel de Ghendt, Paris (his sale, Paris, Basan—Guilleaumon, 15-22 November 1779, lot 261); possibly Chevalier Charles-François Mesnard de la Claye, called Mesnard de Clesne, Paris (his sale, Paris, Paillet—Boileau, 4 December 1786, lot 114); possibly Étienne-Laurent-Joseph-Hippolyte Boyer de Fonscolombe or Fons Colombe, Aix-en-Provence (his sale, Paris, Lebrun—Le Jeune, 13 December 1790, lot 116); possibly Hubert Robert, Paris (his sale, Paris, Paillet—Olivier, 5 April 1809, part of lot 165); possibly Destaisnières, Paris? (his sale, Paris, Laneuville—Haize, 16 November 1806, lot 29); possibly Vivant-Jean (Bon) Brunet-Denon, Paris and Châtenoy-en-Bresse (his sale, Paris, Defer and Roussel—Bonnefons, 2 February 1846, lot 245); possibly Baron A. Saint, Paris? (his sale, Paris, Defer—Bonnefons, his sale, Paris, 4-11 or 30 May 1846, lot 15); Émile Norblin, Paris (his sale, Paris, 16-17 March 1860, lot 56); possibly Hippolyte Walferdin, Paris (his sale, Paris, Drouot—Escribe, 12-16 April 1880, lot 213); Etienne-François Haro, Paris (2); Galerie Wildenstein (3); David David-Weill, Paris; Galerie Wildenstein; Charles E. Dunlap, New York and Newport; Harvard Art Museums/ Fogg, Gift of Charles E. Dunlap, inv. no. 1954.106 (1) See New York 1959, cat. no. 46, pp. 50-51. (2) Acquired at the Walferdin sale, according to the Drouot—Escribe sale catalogue. (3) Traditionally, Camille Groult is cited as the owner of the drawing before Galerie Wildenstein procures it for the first time. However, based on caption information in a contemporary publication by Georges Grappe, the Groult drawing was the second known version of the Fragonard composition (see Grappe, H. Fragonard: peinture de l'amour au XVIIIe siècle, vol. 2, 1913, p. 74, repr.).