Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Harreit Janis and Rudi Blesh, Collage: Personalities, Concepts, Techniques (New York, 1962), fig. 121.
Uwe M. Schneede, Max Ernst, transated by R.W. Last (New York, 1973), fig. 241.
Edward Quinn, Max Ernst, translated by Kenneth Lyons (New York, 1977), fig. 210.
Ernst Katalog, vol. 4 (1979), p. 147, no. 1852 (ill.).
Ernst Collages 1991 (1974), pl. 77 and pp. 72, 128, 242.
Werner Spies, “Max Ernst: Loplop, The Artist in the Third Person, translated by John W. Gabriel (New York, 1983), pl. 20, pp. 26, 31.
Lu Bro, Figure and Form, vol. 1: Skills and Expression (Dubuque, Iowa, 1992), fig. IV.22.
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. 128–29, cat. 65 (color ill.). no. 65, reprod. p. 128.
New York, Museum of Modern Art, “Max Ernst,” 1961, p. 17, cat. 218a; also Chicago.
New York, Museum of Modern Art, “The Art of Assemblage,” 1961-1962, cat. 93 (ill.); also Dallas and San Francisco.
Waltham, Massachusetts, Brandeis University, Rose Art Museum, “The Painter and the Photograph,” 1964-1965, cat. 12 (ill.), p. 26; also Bloomington, Iowa City, New Orleans, Albuquerque, and Santa Barbara.
Gary Artists’ League, “Indiana Sesquicentennial Collectors’ Art Exhibit,” 1966, no. cat.
Chicago, Museum of Contemporary Art, “Fantastic Drawings,” 1967–1968, no cat.
New York, Museum of Modern Art, “Dada, Surrealism, and Their Heritage,” 1968, cat. 104, fig. 189 and p. 129.
Philadelphia, Institute of Contemporary Art, University of Pennsylvania, “Against Order: Chance and Art,” 1970, n.p. (ill.).
Kalamazoo Institute of Arts, Genevieve and Donald Gilmore Art Center, “The Surrealists: A Fifth Anniversary Fund Exhibition,” 1971, p. 5.
Chicago, Museum of Contemporary Art, “Twentieth-Century Drawings from Chicago Collections,” 1973, n.p.
New York, Solomon R. Guggenheim Museum, “Max Ernst: A Retrospective,” 1975, cat. 153 (ill.).
Paris, Galeries Nationales du Grand Palais, “Max Ernst,” 1975, cat. 192.
Cleveland Museum of Art, “The Spirit of Surrealism,” 1979, cat. 22 (ill.).
Chicago, Museum of Contemporary Art, “Dada and Surrealism in Chicago Collections,” 1984–1985, pp. 102, 146, pl. 31.
Art Institute of Chicago, “A Tribute to Edwin A. Bergman (1917–1986): Selections from the Lindy and Edwin Bergman Collection,” 1986, pamphlet no. 18.
Kunsthalle Tübingen, “Max Ernst: Die Welt der Collage,” 1988-1989, cat. 193, pl. 77 and p. 72.
Sold by Galerie du Dragon, Paris, to Lindy and Edwin Bergman, Chicago, 1960; given to the Art Institute of Chicago, 2018.
Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.