Pen and black ink, and graphite with smudging, with colored pencils and colored crayons on tan wove paper
Inscribed and dated on the back: MAN RAY/TANGUY/MIRO/MORISE (upper left in graphite); "CADAVRE EZQUIS" (1928)/DE HAUT EN BAS: MAN RAY, YVES TANGUY, JOAN MIRÓ, MAX MORISE (upper center in black ink in Breton's hand); ANDRÉ BRETON (center right in black ink, Breton's signature); 60 (center left in graphite); 68.200 (lower right in graphite).
Ades, Dawn. SURREALIST ART: THE LINDY AND EDWIN BERGMAN COLLECTION AT THE ART INSTITUTE OF CHICAGO. Chicago, New York and London: The Art Institute of Chicago and Thames and Hudson, 1997. cat. no. 9, reprod. p. 19.
Rubin 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, New Brunswick, N.J., Rutgers University Art Gallery, 1977, exh. cat., p. 14, pl. VI.
Jean La Marche, “The Negotiated Construction Project”, INTERSIGHT, University at Buffalo School of Architecture, May 1997.
Thomas Mical, PH.D. SURREALISM AND ARCHITECTURE, Routledge, English language, World distribution, print run 800.
Scholarly electronic, peer-reviewed journal on surrealist games.
From The Art Institute of Chicago, Chicago, IL, “TWENTIETH CENTURY COLLECTION REINSTALLED,” The Art Institute of Chicago, Chicago, IL, June 7, 1991-February 28, 1992 (Gallery 249).
Chicago 1967-68, no cat. New York 1968, p. 234, no. 117, fig. 107. Philadelphia, University of Pennsylvania, Institute of Contemporary Art, AGAINST ORDER: CHANCE AND ART, 1970, no cat. nos., n. pag. Kalamazoo, Michigan, Kalamazoo Institute of Arts, THE SURREALISTS: A FIFTH ANNIVERSARY FUND EXHIBITION, 1971, no. cat. nos. Washington, D.C., Hirshhorn Museum and Sculpture Garden, ARTISTIC COLLABORATION IN THE TWENTIETH CENTURY, 1984-85, no. 23 (ill.) and pp. 30-31, traveled to Milwaukee and Louisville.
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