G[uido]. J[osef]. Kern. "Ein neuer Menzel." Zeitschrift für Bildende Kunst, n.s., 31 (1920), p. 132 (ill.), calls it "Wohnzimmer des Künstlers in der Ritterstrasse"; states that this previously unknown work passed from the artist's estate to a Hannoverian collection as a "glücklicher Zufall" [happy accident] and locates it in a private collection; observes that the small size and awkward proportions of the room were probably the result of its having been apportioned from a larger room.
P[aul]. O[tto]. Rave. Ausstellung Adolph von Menzel aus anlass seines 50. Todestages. Exh. cat., Museum Dahlem. Berlin, 1955, pp. 34–35, no. 50, suggests that this is the room adjacent to the bedroom Menzel depicted in a painting of 1847 (Nationalgalerie, Berlin).
Irmgard Wirth. Mit Adolph Menzel in Berlin. Munich, 1965, pl. 20.
Claude Keisch in Adolph Menzel, 1815–1905: Between Romanticism and Impressionism. Exh. cat., National Gallery of Art, Washington. New Haven, 1996, pp. 250–52, no. 60, ill. (color) [French ed., Paris, 1996; German ed., Berlin, 1997], states that the artist executed five paintings of more or less empty rooms between 1845 and 1851, the present work being the last; notes that this room is likely, but not definitely, Menzel's, observing that the artist's only interest here is "the intangible charm of the atmosphere"; describes the technique.
Bernhard Maaz in Adolph Menzel. radikal real. Exh. cat., Kunsthalle der Hypo-Kulturstiftung. Munich, 2008, p. 62, no. 30, ill. (color).
Sabine Rewald in "Recent Acquisitions, A Selection: 2008–2010." Metropolitan Museum of Art Bulletin 68 (Fall 2010), p. 50, ill. (color).
Sabine Rewald. Rooms with a View: The Open Window in the 19th Century. Exh. cat., The Metropolitan Museum of Art. New York, 2011, pp. 18–19, 66, 68, 70–74, no. 23, ill. (color), suggests that this room may have been a study adjacent to the sitting room.