Chak Ak’ Paat Kuy ("Red Turkey") Playing the Ballgame

• The Art Quarterly, “Recent Accessions of American and Canadian Museums,” The Art Quarterly 28, no. 1–2 (1965): 104 (as “wall panel”).
• The Art Quarterly, “Recent Accessions of American and Canadian Museums,” The Art Quarterly 29, no. 1 (1966): 71, fig. 77, center (ill.), (as “Stele”).
• Allen Wardwell, “A Maya Ball Game Relief,” Art Institute of Chicago Museum Studies, 2 (1967): 62–73 (ill.), https://www.jstor.org/stable/4108782.
• Clemency Coggins, “Illicit Traffic of Pre-Columbian Antiquities,” Art Journal (Fall 1969): 96 (as “El Cayo, ballplayer panel, 4”).
• Allen Wardwell, “Mayan Treasures at the Art Institute of Chicago,” Apollo: The International Magazine of Arts (June 1972): 491, fig. 8 (ill.).
• Michael D. Coe, Maya Scribe and His World (New York: Grolier Club, 1973), 29-30, cat. 4 and 5.
• Mary W. Helms, Middle America: A Culture History of Heartland and Frontiers (Englewood Cliffs, NJ: Prentice Hall, 1975), 65, fig. 5.6 (ill.).
• Karl Herbert Mayer, Maya Monuments: Sculptures of Unknown Provenance in the United States (Ramona, CA: Acoma Books, 1980), 17–19, cat. 5; pl. 26 (ill.).
• John Maxon, ed., The Art Institute of Chicago (London: Thames and Hudson, 1977), 241–42.
• Linda Schele and Mary Ellen Miller, The Blood of Kings: Dynasty and Ritual in Maya Art, exh. cat. (New York: G. Braziller; Fort Worth, TX: Kimbell Art Museum, 1986), 256–257, 266, pl. 101 (ill.).
• Mary Ellen Miller and Stephen D. Houston, “The Classic Maya Ballgame and its Architectural Setting: A Study of Relations Between Text and Image,” RES 14 (Autumn 1987): 54, fig 7 (drawing).
• Ted J.J. Leyenaar and Lee Allen Parsons, Ulama: het balspel bij de Maya’s en Azteken, 2000 v. Chr.–2000 n. Chr.: van mensenoffer tot sport [Ulama: the ballgame of the Mayas and Aztecs, 2000 BC–AD 2000: from human sacrifice to sport], exh. cat. (Leiden, Netherlands: Spruyt, Van Mantgem & De Does, 1988), 204, cat. 148.
• Marvin Cohodas, “Ballgame Imagery of the Maya Lowlands: History and Iconography,” in The Mesoamerican Ballgame, ed. Vernon L. Scarborough and David R. Wilcox (Tucson, AZ: University of Arizona Press, 1991), 257–259, fig. 14.4 (drawing).
• Richard F. Townsend, ed., The Ancient Americas: Art from Sacred Landscapes, exh. cat. (Chicago: Art Institute of Chicago, 1992), 169, 378, cat. 125 (ill.).
• Ian Graham, “Mission to La Corona,” Archaeology 50, no. 5 (Sept./Oct., 1997): no pg. no.
• Angela M.H. Schuster, “The Search for Site Q,” Archaeology 50, no. 5 (Sept./Oct., 1997), (ill.).
• Peter Mathews, “Site Q Sculptures,” Archaeology (Mar. 25, 1998): https://archive.archaeology.org/online/features/siteq/.
• Simon Martin, “Site Q: The Case for a Classic Maya Super-Polity,” (1993), www.mesoweb.com/articles/martin/SiteQ.pdf (pdf).
• Mary Ellen Miller, “The Maya Ballgame: Rebirth in the Court of Life and Death,” in The Sport of Life and Death: The Mesoamerican Ballgame, ed. E. Michael Whittington, exh. cat. (New York: Thames and Hudson, 2001), 82, fig. 86 (drawing).
• Marcello A. Canuto and Tomás Barrientos Q, Proyecto Regional Arqueológico La Corona, Informe Final (Guatemala: Universidad del Valle de Guatemala, Feb. 2009), 9–10, 23, 26, 43; figs. 1.3, 2.16 [as Monumento Misceláneo 1].
• Marcello A. Canuto and Tomás Barrientos Q, “La Corona: un Acercamiento a las Políticas del Reino Kaan desde un Centro Secundario del Noreste del Petén,” in Estudios Cultura Maya 37 (2011), 14–15, fig. 2 (drawing), http://dx.doi.org/10.19130/iifl.ecm.2011.37.12.
• Christophe Helmke, et al., “For Love of the Game: The Ballplayer Panels of Tipan Chen Uitz in light of Late Classic Athletic Hegemony, PARI Journal 16, no. 2 (Fall 2015): 9–10, fig. 6 (ill.).
• David Stuart, Marcello A. Canuto, and Tomás Barrientos Q. “The Nomenclature of La Corona,” La Corona Notes 1, no. 2 (2015): 9, www.mesoweb.com/LaCorona/LaCoronaNotes02.pdf (pdf).
• Richard Townsend with Elizabeth Pope, Indian Art of the Americas at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2016), 213, cat. 171 (ill.).
• Simon Martin and Erik Velasquez Garcia, “Polities and Places: Tracing the Toponyms of the Snake Dynasty,” THE PARI Journal 17, no. 2 (2016): 24, fig. 2 (ill.).
• Stephen Houston, David Stuart, and Marc Zender, “The Lizard King,” Maya Decipherment (June 15, 2017): fig. 2 (detail), https://mayadecipherment.com/2017/06/15/the-lizard-king/.
• David Stuart and Marc Zender, “Epigraphy and History at La Corona: Contingency and Surprise in Epigraphic Discovery,” PowerPoint presentation, 83rd meeting of the American Archaeological Society, Washington, DC, April 5, 2018, https://www.academia.edu/37623507/Epigraphy_and_History_at_La_Corona_contingency_and_surprise_in_epigraphic_discovery.

• Fort Worth, TX, Kimbell Art Museum, Blood of Kings: Dynasty and Ritual in Maya Art, May 17–Aug. 24, 1986, cat. 101; Cleveland Museum of Art, Oct. 8–Dec. 14, 1986.
• Leiden, Netherlands, Rijksmuseum voor Volkenkunde, Ulama: het balspel bij de Maya’s en Azteken, 2000 v. Chr.–2000 n. Chr.: van mensenoffer tot sport [Ulama: the ballgame of the Mayas and Aztecs, 2000 BC–AD 2000: from human sacrifice to sport], June 18–Sept. 12, 1988, cat. 148.
• Art Institute of Chicago, The Ancient Americas: Art from Sacred Landscape, Oct. 10, 1992–Jan. 3, 1993, cat. 125; Houston, Museum of Fine Arts, Feb. 4–April 18, 1993; Los Angeles County Museum of Art, June 6–Aug. 15, 1993.
• Art Institute of Chicago, Chicago’s Dream, A World’s Treasure: The Art Institute, 1893–1993, Nov. 1, 1993–Jan. 9. 1994 (not in cat.).

Walter Randel Gallery, New York, by 1965 [incoming receipt, June 18, 1965, and letter from Gordan Ekholm, June 15, 1965; copies in curatorial file; Wardwell 1967]; sold to the Art Institute of Chicago, 1965.