the artist, Springs, N.Y. (until d.1956; his estate, New York, 1956–62); Lee Krasner Pollock, New York (1962–d.1984; her estate, New York, 1984–90; sold to MMA)
New York. The Metropolitan Museum of Art. "Jackson Pollock: Early Sketchbooks and Drawings," October 21, 1997–February 8, 1998, no catalogue.
Hanover, N.H. Hood Museum of Art, Dartmouth College. "Men of Fire: José Clemente Orozco and Jackson Pollock," April 7–June 17, 2012, unnumbered cat. (fig. 5).
Francis Valentine O'Connor and Eugene Victor Thaw, ed. Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings, and Other Works. Vol. 3, Drawings, 1930–1956. New Haven, 1978, p. 58, no. 460, ill., date it ca. 1938–39; note that "rubbing on verso indicates images at top and to left were done after sheet which follows was finished" (MMA 1990.4.54).
Lisa Mintz Messinger. "Pollock Studies the Mexican Muralists and the Surrealists: Sketchbook III." The Jackson Pollock Sketchbooks in The Metropolitan Museum of Art. New York, 1997, pp. 62, 67, 70, 79, 84 n. 36, p. 86, no. III:1r, states that the figures in this drawing evolved from the artist's studies of the old masters; considers the juxtaposition of unrelated elements to be "significant, random thoughts recorded...at different times".
Mary K. Coffey inMen of Fire: José Clemente Orozco and Jackson Pollock. Exh. cat., Hood Museum of Art, Dartmouth College. Hanover, NH, 2012, pp. 29, 87, fig. 55 (color), identifies echoes of Orozco's "Migration" panel from his Dartmouth murals in this work, adding that Pollock has decontextualized and reinterpreted the scene's violence through the lens of Jung's universal "collective unconscious" imagery.