Arsène Alexandre. "La Renaissance." De Poussin à Corot 8 (January 1925), ill. p. 189.
Florence Ingersoll-Smouse. Pater. Paris, 1928, pp. 8, 12, 15–17, 42, no. 55, fig. 45, suggests that Pater was inspired by Dancourt's 1695 performance of the "Foire de Bezons," by Watteau's painting of this subject, and by the fair itself, on the banks of the Seine near Versailles; identifies this picture and the one in the 1793 Trelot sale as two separate works and mentions another example at Sanssouci, Potsdam.
Walter Heil. "The Jules Bache Collection." Art News 27 (April 27, 1929), pp. 4, 26, ill.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill.
Esther Singleton. Old World Masters in New World Collections. New York, 1929, pp. 296–98, ill.
Max Osborn. Die Kunst des Rokoko. Berlin, 1929, pp. 177, 611, ill., erroneously as still in the Rothschild collection.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 53, ill.
Introduction by René Huyghe. Cent trente chefs-d'œuvre de l'art français du moyen age au XXe siècle. Paris, 1937, pl. 64.
Germain Bazin. "La rétrospective d'art français." L'Amour de l'art 18 (May 1937), p. 20, fig. 39.
Charles Sterling in Chefs d'œuvre de l'art français. Exh. cat., Palais National des Arts. Paris, 1937, p. 99, no. 197, calls it a variant of the Sanssouci painting, but considers our picture more important; mentions "another version" in the sale of the Trelot [Tricot] collection.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 242, ill. (overall and detail), dates it 1733 and observes that several groups are introduced from Pater's earlier compositions such as his "Italian Comedians" (Frick Collection, New York).
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 286.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 52, ill.
Michel Florisoone. La peinture française: Le dix-huitième siècle. Paris, 1948, pl. 30, dates it about 1733.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 112–14, ill., comments that while the fair at Bezons inspired pictures by Watteau and his followers, these works were free interpretations; believes it was probably painted about 1733, the same year as the picture at Sanssouci.
Philip Conisbee. Painting in Eighteenth-Century France. Oxford, 1981, pp. 154–55, ill., describes it as "a gathering of various types and amorous encounters from Watteau's works, displaying more knowledge than understanding of his art".
Lincoln Kirstein. Four Centuries of Ballet: Fifty Masterworks. New York, 1984, pp. 98, 101, 263, no. 187, ill.
Alan Wintermute in Claude to Corot: The Development of Landscape Painting in France. Ed. Alan Wintermute. Exh. cat., Colnaghi. New York, 1990, p. 142.
Marianne Roland Michel in The Dictionary of Art. Ed. Jane Turner. Vol. 24, New York, 1996, p. 256.
Christoph Martin Vogtherr in The Age of Watteau, Chardin, and Fragonard: Masterpieces of French Genre Painting. Ed. Colin B. Bailey. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 2003, pp. 160–61, 358, no. 21, ill. (color), notes that most of those attending the fair are of the "urban or courtly type"; observes that people are dressed in a vaguely seventeenth-century fashion; finds the landscape of the Potsdam version more Italianate than its New York counterpart; suggests that our version is "somewhat later".
Alan Wintermute in Stephen D. Borys. The Splendor of Ruins in French Landscape Painting, 1630–1800. Exh. cat., Allen Memorial Art Museum. Oberlin, Ohio, 2005, pp. 24–25, ill.
Jérôme Delaplanche. Joseph Parrocel, 1646–1704: La nostalgie de l'héroïsme. Paris, 2006, p. 221, under no. P.100.
Frances Gage in French Paintings of the Fifteenth through the Eighteenth Century. Washington, 2009, p. 361.