¹ Geoffrin, one of Vien’s patrons and host of a salon that he frequently attended, purchased the painting directly from the artist for 400 livres, possibly at the Salon of 1757.

² Some versions of the painting’s provenance list Damery followed by Durbarry, while they appear in the reverse order in others. Although this is not confirmed, it seems that Damery should appear first for the following reasons: 1) An engraving after the painting by Beauvarlet, published c. 1765, situates the painting in the Damery collection; 2) In all versions of this provenance, Conti is followed, directly or indirectly, by the Marquis de Saint-Marc; if the painting appeared in the November 18-19, 1803 sale of Damery’s collection, Damery would fall between Conti and the Marquis in the provenance, which is the never the case; 3) This painting, a prominent titled work by Vien, is not listed by title in the 1803 Damery sale, which includes a lot containing works by Vien, some of which are named; 4) Pierre Remy came into posession of the the painting at the 1774 Dubarry sale, sold it to the Prince de Conti, and then auctioned off the Conti collection in 1777; that Remy acquired the painting at the Dubarry sale and is then associated with the painting for the next three years strongly suggests that Damery was not involved with the painting by this point. It is possible that Damery sold the painting in 1764, when he was forced to sell off part of his paintings collections for financial reasons.

³ Remy, who is indicated as the buyer at the Dubarry sale by an annotation in the catalogue, presided over both the Dubarry and Prince de Conti auctions, and thus he was likely not the "buyer" of the painting. Rather, the painting was probably unsold or was bought in at the Dubarry sale, and thus the Vien remained with the auction house or with Remy, in his capacity as an agent, until the Prince de Conti somehow acquired it.

⁴ According to the Getty Provenance Index, Quenet purchased several hundred objects at auctions in the 1770s and 1780s, but beyond this, nothing is known about his identity.

⁵ Marie de la Roze (née de Saint-Marc) inherited the paintings in her father's collection, eventually putting them up for sale at Hôtel Drouot in 1859.

⁶ Katz and Dickinson purchased the painting from Thuillier; Katz then bought out Dickinson and sold the painting to Moatti and Kilgore within several days.