Study for The Feast of Love

• Edmond de Goncourt, Catalogue Raisonné de l’Oeuvre Peint, Dessiné et Gravé d’Antoine Watteau (Paris, 1875), p. 344.
• “Une collection…”, L’Artiste, 1894-97, p. 189, pl. 35.
• Émile Dacier and Jacques Vuaflart, Jean de Jullienne et les Graveurs de Watteau au XVIII Siècle (Paris, 1929), p. 114.
• Karl Theodor Parker, The Drawings of Antoine Watteau (London, 1931), no. 68 (ill.).
• Roger Fry, Characteristics of French Art (New York, 1933), (ill.).
• Karl Theodor Parker, “Sidelights on Watteau,” Master Drawings (June 1935), p. 8.
• René Huyghe and Helene Adhemar, Watteau: Sa Vie et son Oeuvre (Paris, 1950), p. 55.
• François Boucher and Philippe Jaccottet, Le Dessin Français au XVIIIe Siècle (Lausanne, 1952), no. 25, (ill.).
• Karl Theodor Parker and Jacques Mathey, Antoine Watteau: Catalogue Complet de son Oeuvre Dessiné (Paris, 1957), no. 858.
• Jakob Rosenberg, Great Draughtsmen from Pisanello to Picasso (Cambridge, 1959), no. 192 (ill.).
• Menz, The Dresden Gallery, p. 368.
• René Huyghe, L’Univers de Watteau (Paris, 1968), p. 46 (ill.).
• René Huyghe, Watteau (New York, 1970), p. 50 (ill.).
• Suzanne Folds McCullagh, “A Study for ‘La Fête d’Amour’ by Antoine Watteau,” Bulletin of The Art Institute of Chicago, 70 (January-February 1976), pp. 14-16 (ill.).
• Martin Eidelberg, Watteau’s Drawings, Their Use and Significance (New York, 1977), pp. 29-30, 38, 42, 46, 53-54, and 147 (ill).
• Baron Lambert, Artemis 1970-1976 (Luxembourg, 1977) (ill.).
• Harold Joachim, French Drawings and Sketchbooks of the Eighteenth Century in The Art Institute of Chicago (Chicago, 1979), no. 2G8.
• Donald Posner, Antoine Watteau (London, 1984), p. 171 (ill.).
• Marianne Roland-Michel, Watteau (Paris, 1984), pp. 117-118, and 192 (ill.).
• Margaret Morgan Grasselli, The Watteau Society Bulletin (1985), p. 44.
• Denys Sutton, “Antoine Watteau, Enigmatic Ironist,” Apollo (March 1985), p. 151 (ill.).
• Margaret Morgan Grasselli, The Drawings of Antoine Watteau (Cambridge, 1987), no. 245 (ill.).
• Claire Ruytinx, “La Technique du Dessin de Watteau,” Annales d’Histoire de l’Art et d’Archéologie (1987), p. 155.
• Margaret Morgan Grasselli, “Eighteen Drawings by Antoine Watteau: A Chronological Study,” Master Drawings, 31 (1993), p. 116.
• Pierre Rosenberg and Louis-Antoine Prat, Antoine Watteau, 1684-1721: Catalogue Raisonné des Dessins (Milan, 1996), no. 599.
• The Art Institute of Chicago, “Maineri to Miró: The Regenstein Collection Since 1975,” Museum Studies, 26 (2000), no. 12 (ill.).
• Suzanne Folds McCullagh, “‘A Lasting Monument’: The Regenstein Collection at The Art Institute of Chicago,” The Art Institute of Chicago Museum Studies, 26, 1 (2000), p. 10.
• Sarah Cohen, “Watteau and the Artful Body,” Cambridge Companion to Watteau (Cambridge, 2002) (ill.).
• A Watteau Companion, University of Delaware Press (Chapel Hill, 2005).
• Pierre Rosenberg, “Watteau: The Drawings”, (Royal Academy of Arts, London, 2011), p. 178, fig. 37.

• London, Artemis, 1974-1975, cat. 5.
• The Art Institute of Chicago, “Selected Works of 18th Century French Art in the Collections of The Art Institute of Chicago,” January 24-March 28, 1976, p. 45, cat. 31 (ill.).
• Paris, Musée du Louvre, “Dessins français de l’Art Institute de Chicago de Watteau à Picasso,” October 15, 1976-January 17, 1977, n.p., cat. 3 (ill.).
• Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, “Französische Zeichnungen aus dem Art Institute of Chicago,” February 10-April 10, 1977, pp. 16-17, cat. 3 (ill.).
• Paris, Galeries Nationales du Grand Palais, “Watteau 1684-1721,” October 23, 1984-January 28, 1985, cat. 98; also traveled to Washington, D.C., The National Gallery of Art in June 17-September 23, 1984; and Berlin, The Château de Charlottenbourg, February 22-May 26, 1985.
• The Art Institute of Chicago, “Great Drawings from The Art Institute of Chicago: The Harold Joachim Years 1958-1983,” July 24-September 30, 1985, pp. 90-91, cat. 37 (ill.), cat. by Martha Tedeschi.
• The Art Institute of Chicago, May 1987-August 1988.
• The Art Institute of Chicago, “Acquisitions in the Regenstein Collection 1974-1989,” February 2-May 8, 1990.
• Musée des Beaux-Arts de Valenciennes: “Watteau et les Fêtes Galantes”, March 6-June 14, 2004, cat. 12 (ill. p. 105).

Possibly Col. M. Vailly [Rosenberg and Prat 1996]. Possibly sold, Paris, Apri 29l-May 4, 1867, Martial Pelletier sale, lot 1446 [Rosenberg and Prat 1996]. Marquis Philippe de Chennevières (died 1899), by 1875 [Goncourt 1875; Lugt 2072]; sold, Hôtel Drouot, Paris, May 5-6, 1898, de Chennevières sale, lot 193, to Jacques Doucet (died 1929), Paris [Rosenberg and Prat 1996]; sold, Galerie Georges Petit, Paris, June 5, 1912, Doucet sale, lot 69. Marius Paulme (died 1928), Paris [Paris 1985]. Maurice Fenaille (died 1937), Paris, by 1931 [Parker 1931]; probably by descent to his daughter, Mme. de Billy (née Yvonne Fenaille), and her husband, Count Robert de Billy (died 1985), Paris, by 1950-at least 1957 [Adhemar 1950; Parker and Mathey 1957]. Karl-Hans Strauss, Paris [Rosenberg and Prat 1996]. Artemis, London, by 1974 [London 1974]. Sold by Robert Light and Company, Boston, to the Art Institute, 1975.