Pen and black ink, and graphite with smudging, with colored pencils and colored crayons on tan wove paper
Inscribed, verso, upper left, in graphite: “Man Ray / Tanguy / Miro / Morise”; inscribed and dated, verso, upper center, in black ink, in Breton's hand: “"CADAVRE EZQUIS" (1928) / De haut en bas: Man Ray, Yves Tanguy, Joan Miró, Max Morise”; signed, verso, center right, in black ink: “André Breton”; inscribed verso, center left, in graphite: “60”; verso, lower right, in graphite: “68.200”
William S. Rubin, Dada and Surrealist Art (New York, 1968), p. 278 and fig. 288.
H. A. Bouraoui, Créaculture 1 (Philadelphia, 1971), p. 194 (ill.).
Nahma Sandrow, Surrealism: Theatre, Arts, Ideas (New York, 1972), opp. p. 46 (ill.).
Jeffrey Wechsler, Surrealism and American Art, 1931-1947, exh. cat. (New Brunswick, N.J.: Rutgers University Art Gallery, 1977), p. 14, pl. VI.
Dawn Ades, with Margherita Andreotti and Adam Jolles, Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1997), pp. 19 and 21, cat. 9 (color ill.).
Chicago, Museum of Contemporary Art, “Fantastic Drawings,” 1967–1968, no cat.
New York, Museum of Modern Art, “Dada, Surrealis, and Their Heritage,” 1968, p. 234, cat. 117, fig. 107.
Philadelphia, University of Pennsylvania, Institute of Contemporary Art, “Against Order: Chance and Art,” 1970, n.p.
Kalamazoo, MI., Kalamazoo Institute of Arts, “The Surrealists: A Fifth Anniversary Fund Exhibition,” 1971, n.p..
Washington, D.C., Hirshhorn Museum and Sculpture Garden, “Artistic Collaboration in the Twentieth Century,” 1984-85, cat. 23 (ill.) and pp. 30-31, also Milwaukee and Louisville.
André Breton, Paris [inscription]. Sold by Galerie Furstenberg (Simone Collinet), Paris, Lindy and Edwin Bergman, Chicago, 1960; given to the Art Institute of Chicago, 2018.
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