Italian Comedians

• Edmond de Goncourt, Catalogue Raisonné de l’Oeuvre Peint, Dessiné et Gravé d’Antoine Watteau (Paris, 1875), nos. 659 and 715.
• Carl Schniewind, “Mrs. Tiffany Blake, Patron of the Arts,” The Art Institute of Chicago Quarterly, 158 (September 15, 1954), pp. 42-44 (ill.).
• Karl Theodor Parker and Jacques Mathey, Antoine Watteau, Catalogue Complet de son Oeuvre Dessiné (Paris, 1957), no. 674 (ill.).
• Jacques Mathey, Antoine Watteau (Paris, 1959), p. 37.
• Jacques Mathey, “Drawing by Watteau and Gillot,” The Burlington Magazine (August 1960), p. 358 (ill.).
• Ira Moskowitz, Great Drawings of all Time (New York, 1962), no. 692 (ill.).
• Alfred Frankfurter, “Il Bon Disegno from Chicago,” Art News, 62 (November 1963), p. 31 (ill.).
• Hugh Edwards, “Two Drawings by Antoine Watteau,” Museum Studies, 1 (1966), p. 9.
• “Recent Acquisition,” Apollo, 62 (September 1970), p. 233 (ill.).
• John Maxon, The Art Institute of Chicago (London, 1970), p. 146 (ill.).
• Martin Eidelberg, “Watteau Paintings in England in the Early Eighteenth Century,” The Burlington Magazine (September 1975), p. 579.
• Suzanne McCullagh, “A Study for ‘La Fête d’Amour’ by Antoine Watteau,” Bulletin of The Art Institute of Chicago, 70 (January-February 1976), p. 16.
• Harold Joachim, French Drawings and Sketchbooks of the Eighteenth Century (Chicago, 1977), no. 2G6.
• Marianne Roland-Michel, Watteau (Paris, 1984), p. 78 (ill.).
• The Art Institute of Chicago, Degas in The Art Institute of Chicago, exh. cat. (Chicago, 1984), p. 49, fig. 17-1.
• Margaret Morgan Grasselli, The Watteau Society Bulletin, 2 (1985), p. 44.
• Margaret Morgan Grasselli, “Watteau’s Use of the Trois-Crayon Technique,” Drawings Defined (New York, 1987), p. 191 (ill.).
• Robert Tomlinson, “Fête Galante et/ou Foraine? Watteau et le Théâtre,” Antoine Watteau (Paris, 1987), p. 211.
• Pierre Rosenberg and Louis-Antoine Prat, Antoine Watteau, 1684-1721: Catalogue Raisonné des Dessins (Milan, 1996), no. 643 (ill.).
• Mary Sheriff, The Cambridge Companion to Watteau (Cambridge, 2002).
• 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), pp. 7, 34-35, no. 10, fig. 14.
• Pierre Rosenberg, “Watteau: The Drawings”, (Royal Academy of Arts, London, 2011), p. 25, fig. 9.

• London, South Kensington Museum, “Twenty-Six Drawing by Watteau,” 1878, cat. 3.
• New York, The Metropolitan Museum of Art, “French Drawings from American Collections,” 1958-1959, cat. 87; traveled to Rotterdam, Museum Boymans; and Paris, Musée de l’Orangerie.
• New York, Wildenstein and Company, “Master Drawings from The Art Institute of Chicago,” October 17-November 30, 1963, n.p., cat. 42, pl. XVII, as “Four Studies of Italian Actors.”
• The Art Institute of Chicago, “A Quarter Century of Collecting: Drawings Given to The Art Institute of Chicago 1944-1970 by Margaret Day Blake,” April 28-June 7, 1970, n.p., cat. 14 (ill.).
• 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, pp. 42-43, cat. 29 (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. 2 (ill.).
• Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, “Französische Zeichnungen aus dem Art Institute of Chicago,” February 10-April 10, 1977, pp. 14-15, cat. 2 (ill.).
• Washington, D.C., The National Gallery of Art, “Watteau,” 1984-1985, cat. 107.
• The Art Institute of Chicago, November 1993-January 1994.
• New York, The Phillips Collection, “Watteau and His World: French Drawing from 1700-1750,” the Frick Collection, New York, N.Y., October 19, 1999-January 9, 2000, and the National Gallery of Canada, Ottawa, February 11-May 8, 2000, cat. 31. (ill.).
• New York, The Metropolitan Museum of Art, “Watteau, Music, and Theater,” 9/22/09–11/29/09, p. 86 and 87, cat. #42, cat. by Katherine Baetjer et al
• New York, The Metropolitan Museum of Art, “Watteau, Music, and Theater,” September 22–November 29, 2009, p. 87 and 86, cat. # 32, cat. by Georgia J. Cowart et. al.

Andrew James (died before 1857); by descent to his daughter, Sarah Ann James, London; sold, Christie’s, London, June 22-23, 1891, lot 341, to Bourgeois [according to Rosenberg and Prat 1996]. Camille Groult (died 1908); by descent to his son, Jean Groult (died 1951); by descent to his son, Pierre Bordeaux-Groult [according to Rosenberg and Prat 1996]. Sold by Wildenstein and Company, New York, to the Art Institute, 1954.