Alexander Archipenko

Private Collection, New York (acquired from the artist in 1963)

Sotheby’s, New York, 19 November 1986, lot 149 (consigned by the above)

Acquired from the above sale by the present owner 

Alexander Archipenko, Sturm Bilderbücher, vol. II, Berlin, 1917, p. 8, marble version illustrated

Francesco Sapori, La dodicesima esposizione d'arte a Venezia - 1920, Bergamo, 1920, p. 30, marble version illustrated (titled Donna coricata)

Hans Hildebrandt, Alexander Archipenko, Berlin, 1923, no. 6, n.p., marble version illustrated

Alexander Archipenko, Archipenko: Fifty Creative Years 1908-1958, New York, 1960, no. 79, n.p., marble illustrated

Katherine Jánszky Michaelsen, Archipenko, A Study of the Early Works 1908-1920, New York, 1977, pp. 30 and 161, plaster listed; no. 24, n.p., plaster illustrated

Exh. Cat., Tel Aviv Museum, Archipenko, The Early Works: 1910-1921, 1981, no. 4, n.p., plaster illustrated (dated 1912)

Exh. Cat., Washington, D.C., National Gallery of Art, Alexander Archipenko: A Centennial Tribute, 1986-87, no. 5, p. 149, plaster illustrated in colour (dated 1912)

Helmut Schmidt, “Nicht zereißen, was zusammengehört! Zum drohenden Verkauf von Marga Böhmers Barlach-Nachlass,” Die Zeit, 5 May 1995

Anette Barth, Alexander Archipenkos plastisches Œuvre, Frankfurt, 1997, vol. I, no. 33, p. 63, listed; vol. II, no. 33, p. 74, listed; p. 75, marble version illustrated

Alexander Archipenko Foundation, ed., Alexander Archipenko Catalogue Raisonné, 2018, no. 3004, fig. S.10-05, https://archipenkocr.org/ (accessed 26 June 2025)