Alfred Werner, Hilton Kramer, Charles Kessler, Perry T. Rathbone, Arts Magazine 39:3 (December 1964), p. 42 (ill.).
Friedhelm Wilhelm Fischer, Max Beckmann. Symbol und Weltbild. Grundriss zu einer Deutung des Gesamtwerkes (Munich, 1972), pp. 127–28, no. 37 (ill.).
Carla Schulz-Hoffmann and Judith C. Weiss (eds.), Max Beckmann - Retrospective, exh. cat. (Munich , 1984), p. 274, under cat. 87, and p. 310 under cat. 121.
Städtische Galerie Albstadt, Max Beckmann: Apokalypse, exh. cat. (1988), p. 18.
Stephan Lackner, Max Beckmann (New York), p. 69, fig. 86.
New York, Buchholz Gallery, “Max Beckmann,” October 18–November 5, 1949, cat. 26.
New York, Catherine Viviano Gallery, December 15, 1964–January 30, 1965, cat. 37.
Cambridge Mass, Fogg Art Museum, Harvard University, December 9, 1967–March 29, 1968.
Waltham, Mass., Dreitzer Gallery, Brandeis University, “50 Drawings by 50 Modern Masters,” February 22–April 5,1970.
Boston, Institute of Contemporary Art, 1979.
The Art Institute of Chicago, “Drawn to Form: Modern Drawings,” June11– September 7, 1999, checklist 2.
The Art Institute of Chicago, “Drawings in Dialogue: Old Master Through Modern, The Harry B. and Bessie K. Braude Memorial Collection,” June 3–July 30, 2006, p. 207, cat. 154 (ill.).
Unknown, stamp (illegible text in circle, covered with pressure-sensitive tape) recto, lower left, in black; Buchholz Gallery, New York, 1949 [New York 1949]. Sold by the Catherine Viviano Gallery, New York, to Dorothy Braude Edinburg, February 8, 1965 [invoice]; given to the Art Institute, 1998.
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