The Art Treasures of America. reprint, 1977. New York, 1879, vol. 2, pp. 130, 132, reproduces a drawing similar to our painting, with the horse facing in the same direction, but with the falconer facing forward; locates it in the collection of J. Hobart Warren and notes that it resembles, but does not exactly match, the "Arab Falconer" in the collection of Mr. Wall, Providence (now Chrysler Museum of Art, Norfolk, Va.).
Louis Gonse. Eugène Fromentin: Peintre et écrivain. Paris, 1881, p. 79, notes that Fromentin often repeated his original composition of the falconer (Chrysler Museum) in oil, watercolor, and pencil.
"Accessions and Notes." Metropolitan Museum of Art Bulletin 18 (July 1923), p. 181, as "The Falconer".
"Metropolitan Gets Warren Paintings." New York Times (February 8, 1923), p. 19.
Charles Sterling, and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, p. 157, ill., call it one of several repetitions of the 1863 Salon painting (Chrysler Museum).
James Thompson in The Orientalists: Delacroix to Matisse, the Allure of North Africa and the Near East. Exh. cat., Royal Academy of Arts, London. New York, 1984, p. 135, under no. 24 [British edition, "The Orientalists: Delacroix to Matisse: European Painters in North Africa and the Near East," London, 1984, p. 133, under no. 22], calls it a variant "that lacks the verve and power of the original".
Jefferson C. Harrison. The Chrysler Museum: Handbook of the European and American Collections. Selected Paintings, Sculpture and Drawings. Norfolk, Va., 1991, p. 112.
Patrick Shaw Cable. "From North Africa to the Black Sea: Nineteenth-Century French Orientalist Drawings." Cleveland Studies in the History of Art 7 (2002), pp. 114, 124 n. 44, discusses a watercolor of the falconer (Cleveland Museum of Art) which has the same inversed composition as our painting, suggesting that both works are "replicas Fromentin was encouraged to make because of the immense popularity of [the Salon] picture".
James Thompson and Barbara Wright. Eugène Fromentin, 1820–1876: Visions d'Algérie et d'Égypte. 2nd rev. ed (1st ed., 1987). Paris, 2008, pp. 220, 242, ill., suggests that Fromentin's two watercolor compositions of the falconer (private collection; Cleveland Museum of Art) influenced him to use lighter colors in our painting, to comparably lesser effect.
