Spanish Physician

• Charles Henri Ford, ed., “Exhibition Max Ernst,” exh. cat. in View, 2, no. 1 (April 1942): 18, cat. 6 (as Spanish doctor, fat horse, and young girl).
• Charles Henri Ford, ed., “Drawings and Paintings by Max Ernst,” exh. cat. in View, 2, no. 1 (April 1942): 18, cat. 3 (as Spanish doctor, fat horse, and young girl).
• Caresse Crosby Gallery, Max Ernst/Dorothea Tanning, exh. mailer (Washington D.C.: Caresse Crosby Gallery, 1946), n.p. (Spanish Doctor, Fat Horse, and Young Girl).
• Martica Sawin, “The Max Ernst Exhibition,” Arts 35, no. 7 (April 1961): 44 (ill.).
• Museum of Modern Art, Max Ernst, exh. cat. (Garden City, NY: Doubleday, 1961), 42 (ill), 54, cat. 88.
• Tate Gallery, Max Ernst, exh. cat. (London: Arts Council of Great Britain, 1961), 55, cat. 137 (ill.).
• Museum of Contemporary Art, Chicago, Selections from the Joseph Randall Shapiro Collection, exh. cat. (Chicago: Museum of Contemporary Art, 1969), cat. 25 (ill.).
• Arts Club of Chicago, The Horse as Motif, 1200 B.C.-1966 A.D., exh. cat. (Chicago: Arts Club of Chicago, 1975), 44–45, cat. 71 (ill.).
• Dawn Ades, et. al., Terry Ann R. Neff, ed., In the Mind’s Eye: Dada and Surrealism, exh. cat.
• (Chicago: Museum of Contemporary Art, 1985), 11, pl. 3 (color ill.), 147.
• Katherine Kuh and Dennis Adrian, The Mr. & Mrs. Joseph Randall Shapiro Collection, exh. cat. (Chicago: The Art Institute of Chicago, 1985), 56, fig. 44, cat. 55 (color ill.). 110, cat. 55.
• Werner Spies, Sigrid Metken, and Günter Metken, Max Ernst: Werke 1939–1953 (Houston and Cologne, 1987), 28, cat. 2357 (ill).
• Julia Drost, “‘Press hostile or silent, public recalcitrant, zero sales’: Max Ernst at the Valentine Gallery, Spring 1942” in Julia Drost, Fabrice Flahutez, et al., Networking Surrealism in the USA: Agents, Artists, and the Market (Paris and Heidelberg: DFK-Paris, 2019), 192.
• Carlos Martin, Tere Arcq, Naja Rasmussen, and Stefan van Raay, Leonora Carrington: Revelation, exh. cat. (Barcelona: RM Verlag, S.L.), 144, cat. 48, 149 (color ill.), 303.
• Susan L. Aberth, “Gods and Monsters,” Artforum, 61, no. 9 (May 2023), 64.

• New York, Valentine Gallery, Exhibition Max Ernst, Mar. 23-Apr. 11, 1942, cat. 6 (as Spanish doctor, fat horse and young girl); Arts Club of Chicago, as Drawings and Paintings by Max Ernst, May 22–June 13, 1942, cat 3 (as Spanish doctor, fat horse and young girl). For sale.
• Washington, D.C., Caresse Crosby Gallery, Max Ernst/Dorothea Tanning, Mar. 15–Apr. 10, 1946, cat. 7 (as Spanish Doctor, Fat Horse, and Young Girl). For sale.
• Arts Club of Chicago, Surrealism Then and Now, Oct. 1–30, 1958, cat. 20. Lent by “JRS”.
• New York, Museum of Modern Art, Max Ernst, Mar. 1–May 7, 1961, cat. 88; traveled to Chicago, Art Institute, June 16–July 23, 1961.
• London, Tate Gallery, Max Ernst, Sept. 7–Oct. 15, 1961, cat. 137.
• Chicago, Museum of Contemporary Art, Selections from the Joseph Randall Shapiro Collection, Dec. 20, 1969–Feb. 1, 1970, cat. 25.
• Arts Club of Chicago, The Horse as Motif, 1200 B.C.-1966 A.D., Jan. 15–Feb. 22, 1975, cat. 71.
• Chicago, Museum of Contemporary Art, Dada and Surrealism in Chicago Collections, Dec. 1, 1984–Jan. 27, 1985, no cat. no.
• Art Institute of Chicago, The Mr. & Mrs. Joseph Randall Shapiro Collection, Feb. 23–Apr. 14, 1985, cat. 55.
• Ishøj, DK, Arken Museum of Modern Art, Lenora Carrington: Revelation, Sept. 17,2022–Jan. 15, 2023, cat. 48; Madrid, Fundación MAPFRE, Feb. 11–May 7, 2023.

The artist, Saint Martin d’Ardèche, France, 1940 [New York 1961] and later New York [New York 1942]; sold through Peggy Guggenheim and Howard Putzel, New York, between 1942 and 1946 [Peggy Guggenheim, Out of this Century (New York: Dial Press, 1946), 310]. With Julien Levy Gallery, New York, by 1946 [handwritten checklist for Washington, D.C. 1946, no. 7, Philadelphia Museum of Art, Library and Archives, Julien Levy Gallery Records; copy in curatorial object file ]. Mr. and Mrs. Joseph Randall Shapiro, Oak Park, IL, by 1958 [lender information sheet, Newberry Library, Arts Club Papers, Series I: Exhibitions, Box 55, Folder 716; copy in curatorial object file]; bequeathed to the Art Institute of Chicago, 1996.