Horsemen of the Apocalypse

• Carrà, Carlo di, La Mia Vita (Milan: Rizzoli Editore, 1943), p. 120.
• Mastrolonardo, Enotrio, “Pittura Italiana contemporanea,” Scena Illustrata (October 1959), pp. 12-13 (ill.), as I cavalieri dell’Apocalisse.
• Le Arti (January 1959), pp. 8-9.
• Sotheby’s London, Catalogue of Important Impressionist and Modern Drawings, Paintings and Sculpture, sale cat. (May 4, 1960), pp. 12, 13 (ill.), lot. 43, as I cavaliri dell’Apocalisse.
• Isaac Delgado Museum of Art, The World of Art in 1910 exh. cat. (New Orleans, 1960).
• Taylor, Joshua C., Futurism exh. cat. (New York: Museum of Modern Art, 1961), pp. 20 (ill.), 141, cat. 67.
• Ballo, Guido, La Linea dell’Arte Italiana (Rome, 1964), vol. 1, p. 58, as I cavalieri dell’Apocalisse, 1908.
• Art Institute of Chicago, Calendar of the Art Institute of Chicago 59: 4 (September 1965), n.p. (ill.).
• Carrà, Massimo, Carrà: Tutta l’Opera Pittorica, vol. 1 (Milan: Edizioni dell’Anunciata, 1967), pp. 141 (ill.), 580, cat. 2/08, as I Cavalieri Dell’Apocalisse, 1908
• Pierre, José, Le Futurisme et le Dadaisme (Lausanne, 1967), pp. 15, 157, as Les Cavaliers de l’Apocalypse, 1908.
• L’Opera completa di Carrà (Milan: Rizzoli, 1970), p. 87, cat. 9 (ill.), as I Cavalieri Dell’Apocalisse, 1908.
• Grung, Sandra, Supplement to Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute, 1971), p. 15.
• Shaw, Rue Winterbotham, The Horse as Motif, 1200 B.C.–1966 A.D. exh. cat. (Chicago: Arts Club, 1975), pp. 40 (ill.), 41, cat. 61.
• Carlo Carrà: con il patrocinio della regione emilia-romagna exh. cat. (Galleria civica d’arte moderna, 1977), n.p., as I cavalieri dell’Apocalisse.
• Hirsh, Sharon Latchaw, “Carlo Carra’s ‘The Swimmers’,” Arts Magazine 53, no. 5 (January 1979), pp. 123, 124 (ill.), 125–27, fig. 4.
• d’Harnoncourt, Anne, ed., Futurism and the International Avant-Garde exh. cat. (Philadelphia: Museum of Art, 1980), n.p., cat. 54 (ill.).
• Speyer, A. James and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago, 1980), p. 35, cat. 1C10.
• Palazzo reale di Milano, Carrà exh. cat. (Milan: Mazzotta, 1987), pp. 10 (ill.), 16, as Cavalieri dell’Apocalisse, 1908.
• Cavallo, Luigi, Carrà Oggi exh. cat. (Bologna: Edizioni Galleria Marescalchi, 1989), p. 36, as I cavalieri dell’Apocalisse.
• Galleria Nazionale d’Artre Moderna e Contemporanea, Carlo Carra 1881–1966 exh. cat. (Rome: Electa, 1994), p. 7.
• Chierici, Giorgio, ed., Carlo Carrà: Opere dal 1909 al 1960, Matite, Carboncini, Inchiostri (San Polo di Reggio Emilia, 1995), p. 54, as I cavalieri dell’Apocalisse.
• Fagone, Vittorio, ed., Carlo Carrà: La matita e il pennello (Skira, 1996), pp. 57, 167, 342, as I Cavalieri dell’Apocalisse, 1908.
• Carrà, Massimo, ed., Carte D’Artisti 26: Carlo Carrà, La Mia Vita (Milan: Abscondita, 2002), p. 238, as Cavalieri dell’Apocalisse.

• Milan, Famiglia Artistica Milanese, Concorso Crudo & Lattuada, 1908, no. cat.
• New Orleans, Isaac Delgado Museum of Art, The World of Art in 1910, November 15–December 31, 1960, n.p.
• New York, Museum of Modern Art, Futurism, May 31–September 5, 1961, p. 20 (ill.), cat. 61; traveled to Detroit Institute of Arts, October 18–December 19, 1961; Los Angeles County Museum, January 14–February 19, 1962.
• Chicago, Arts Club, The Horse as Motif, 1200 B.C.-1966 A.D., January 15– February 22, 1975, pp. 40 (ill.), 41, cat. 61.
• Philadelphia, Museum of Art, Futurism and the International Avant-Garde, October 26, 1980–January 4, 1981, n.p., cat. 54 (ill.).
• Rome, Galleria Nazionale d’Artre Moderna e Contemporanea, Carlo Carra 1881–1966, November 25, 1994–February 26, 1995, p. 7.

Gino Bassi, Varese, by 1948 [this and the following according to letter from Centro Italiano d’Arte Annunciata, Oct. 15, 1975, in curatorial file]; sold through Centro Italiano d’Arte Annunciata, Milan to Luigi Silvera, Varese, 1948; sold through Centro Italiano d’Arte Annunciata, Milan and Sotheby’s, London, May 4, 1960, lot. 43 to Richard L. Feigen, Chicago and New York [letter from Sotheby’s, June 6, 1975, in curatorial file]; sold to Mr. and Mrs. Harold X. Weinstein, Chicago, c. 1960 [letter from Richard Feigen, Apr. 12, 2001, in curatorial file]; given to the Art Institute of Chicago, 1964.