Catharine Lorillard Wolfe, New York (by 1879–d. 1887)
New York. Galerie St. Etienne. "Austria's Expressionism," April 21–May 30, 1981, unnumbered cat. (colorpl. 6).
New York. Dahesh Museum. "The Dahesh Salon: Art, Patronage and Presentation in America," September 16–November 29, 1997, not in catalogue.
Edward Strahan [Earl Shinn], ed. The Art Treasures of America. Philadelphia, [1880], vol. 1, pp. 133–34; vol. 2, ill. after p. 124, calls it "The Love-Dream" in the text and "A Dream" in the caption.
"Zur Erinnerung an Hans Makart." Illustrirte Zeitung 83 (October 11, 1884), pl. 4.
Makart Album. Vienna, 1885, pl. 28 [see Ref. Frodl 1974].
Carl von Lützow. "Hans Makart: Ein Beitrag zu seiner Charakteristik." Zeitschrift für bildende Kunst 21 (1886), pp. 217–18, ill. (woodcut by N. Berthold), calls it "Der Traum".
Adolf Rosenberg. Die Münchener Malerschule in ihrer Entwickelung seit 1871. Leipzig, 1887, pp. 14–15, ill. (woodcut).
Mariana Griswold Van Rensselaer. "The Wolfe Collection. News and Notes." Independent 39 (December 1, 1887), p. 7.
Montezuma [Montague Marks]. "My Note Book." Art Amateur 16 (May 1887), p. 122, calls it "The Love Dream".
"Gallery and Studio: The Metropolitan Museum of Art." Art Amateur 18 (December 1887), p. 7, calls it "Dream after the Ball".
Walter Rowlands. "The Miss Wolfe Collection." Art Journal, n.s., (January 1889), p. 13, calls it "Dream after the Ball".
Adolf Rosenberg. Geschichte der Modernen Kunst. Vol. 3, Die Deutsche Kunst: Zweiter Abschnitt, 1849–1889. Leipzig, 1889, p. 49.
"The Catherine [sic] Wolfe Collection of Paintings." National Magazine (July–August 1893), p. 180.
Catalogue of the Paintings in the Metropolitan Museum of Art. New York, 1898, p. 157, no. 524, states erroneously that it was painted to order in 1882 (see Strahan 1879).
William Sharp. "The Art Treasures of America (Concluded.)." Living Age, 7th ser., 1 (December 3, 1898), p. 605, comments that it "has too much uncontrolled vehemence of color".
Gerbert Frodl. Hans Makart: Monographie und Werkverzeichnis. Salzburg, 1974, p. 332, no. 185, ill., calls it "Der Traum" and dates it about 1872; states that a photograph of this picture in the archive of the Österreiche Nationalbibliothek is inscribed: "Hanna Prinzessin Liechtenstein, vor ihr Putten," adding that this identification of the woman as Hanna Klinkosch is based on speculation.
Jane Kallir. Austria's Expressionism. Exh. cat., Galerie St. Etienne. New York, 1981, p. 59, colorpl. 6, calls it "The Dream (After the Ball)" and dates it about 1872.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 237, ill.
Leanne M. Zalewski. The New York Market for French Art in the Gilded Age, 1867–1893. New York, 2023, p. 120.
The model for the woman may have been Hanna Klinkosch (see Frodl 1974). A woodcut after this painting by N. Berthold is reproduced in Lützow 1886.
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