Bulletin de "L'Effort Moderne" no. 32 (February 1927), ill. between pp. 8 and 9, as "Figure".
"Quelques notes de Juan Gris sur ses récherchés." Cahiers d'art 2, nos. 4–5 (1927), ill. p. 171, as "L'Arlequin," in the collection of Léonce Rosenberg.
Carl Einstein. "Juan Gris: Texte inédit." Documents 2, no. 5 (1930), ill. p. 274, as "Arlequin," in the collection of Docteur Reber, Lausanne.
Carl Einstein. Die Kunst des 20. Jahrhunderts. 3rd ed. Berlin, 1931, p. 639, ill. p. 377, as "Mann"; locates it still in the Galerie Léonce Rosenberg.
Daniel-Henry Kahnweiler. Juan Gris: His Life and Work. New York, 1947, p. 170, pl. 40, erroneously locates it still in a private collection, Switzerland.
James Thrall Soby. Juan Gris. Exh. cat., Museum of Modern Art. New York, 1958, pp. 81, 86–87, 93, 117, ill. (color), notes that Gris returned to figure painting in 1916–17, adding with reference to this picture that "he was seldom to do anything more impressive in this genre".
H. L. F. "Today's Collectors. Alex L. Hillman: Courbet to Dubuffet." Art News 58 (October 1959), p. 34, fig. 6.
Alfred Frankfurter. "Why Are Yalemen the Best Collectors?" Art News 59 (Summer 1960), p. 5, ill. and front cover (color).
Douglas Cooper. "The Temperament of Juan Gris." Metropolitan Museum of Art Bulletin 29 (April 1971), ill. p. 360.
Douglas Cooper. The Cubist Epoch. Exh. cat., Los Angeles County Museum of Art. London, 1971, pp. 228, 289, no. 126, colorpl. 280.
T. W. B. The Alex Hillman Collection. Exh. cat., Jacksonville Art Museum, Jacksonville, Fla. Corpus Christi, Tex., 1973, unpaginated, ill.
Jean Leymarie in Juan Gris. Exh. cat., Orangerie des Tuileries. Paris, 1974, p. 15.
Michèle Richet and Claudie Judrin in Juan Gris. Exh. cat., Orangerie des Tuileries. Paris, 1974, p. 97, no. 69, ill.
Douglas Cooper with Margaret Potter. Juan Gris: Catalogue raisonné de l'oeuvre peint. Paris, 1977, vol. 1, pp. XIX, 352–53, no. 241, ill. and colorpl. VI, call it "Arlequin à la guitare (Harlequin with a Guitar)".
David L. Shirey. "Modern Mastery on View in Nassau." New York Times (December 18, 1977), pp. 1, 21.
William P. Miller, Jr. Modern Masters: Paintings and Drawings from the Alex Hillman Family Foundation. Exh. cat., Nassau County Museum of Art. Roslyn Harbor, N. Y., 1977, unpaginated, ill.
Douglas Cooper and Gary Tinterow. The Essential Cubism: Braque, Picasso & their friends, 1907–1920. Exh. cat., Tate Gallery. London, 1983, pp. 172–73, 176, no. 75, ill. (color), state that it was acquired by Hillman in 1946 [but see Refs. Braun 1994, Esteban Leal 2005]; attribute Gris's interest in the harlequin to the influence of Cézanne and Picasso.
Mark Rosenthal. Juan Gris. Exh. cat., University Art Museum, University of California, Berkeley. New York, 1983, pp. 94, 179, no. 52, ill. p. 97 (color), notes that it is the first of Gris's harlequin paintings, following several 1916 drawings after Cézanne's "Harlequin" (1888–90; National Gallery of Art, Washington); compares it to "Woman with a Mandolin, after Corot" (1916; Kunstmuseum Basel; C197).
Juan Manuel Bonet and Carlos d'Ors Führer. Juan Gris. Madrid, 1983, p. 89, ill. (color) and colorpl. 29.
Mark Roskill. The Interpretation of Cubism. London, 1985, p. 114.
Mark Rosenthal in Juan Gris (1887–1927). Ed. Gary Tinterow. Exh. cat., Salas Pablo Ruiz Picasso. Madrid, 1985, pp. 57, 228–29, no. 61, ill. (color).
Maria Grazia Messina and Jolanda Nigro Covre. Il cubismo dei cubisti: Ortodossi/ eretici a Parigi intorno al 1912. Rome, 1986, pp. 357–58, 423, fig. 174.
Kenneth E. Silver. Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War, 1914–1925. Princeton, 1989, pp. xvi, 158–59, fig. 118, as "Harlequin with Guitar" in the Alex Hillman Family Collection; notes that Gris painted another seated harlequin in December 1917 (private collection; C242); discusses the commedia dell'arte character as a symbol of tradition and Latin culture.
Dorothy M. Kosinski. "G. F. Reber: Collector of Cubism." Burlington Magazine 133, no. 1061 (August 1991), pp. 522, 529, fig. 41 (installation photo).
Emily Braun. Manet to Matisse: The Hillman Family Collection. New York, 1994, pp. 22, 80–83, no. 20, ill. (color), notes that Gris painted about thirty-five harlequin and pierrot pictures; asserts that the harlequin's "connotations of melancholy and artifice" corresponded with Gris's own sense of "isolation and guilt" as a Spaniard in wartime Paris; quotes from a 1955 letter from Alfred Barr to the Hillmans expressing his regret at not buying this picture for the Museum of Modern Art.
Sarah Faunce in Emily Braun. Manet to Matisse: The Hillman Family Collection. New York, 1994, p. 16.
Christian Derouet, ed. Juan Gris: Correspondances avec Léonce Rosenberg, 1915–1927. Paris, 1999, p. 72, receipt no. 116, p. 126, no. 5557, identifies it as the "Arlequin" recorded in a receipt as paid for by Léonce Rosenberg on December 17, 1917, along with "Still Life with a Plaque" (1917; Kunstmuseum Basel; C244), for a total of Fr 520; transcribes its entry in Rosenberg's inventory as acquired by the gallery on March 29, 1918 for Fr 400 ["Still Life with a Plaque" is recorded as stock no. 5140, acquired January 31, 1918, for Fr 250].
Peter Kropmanns and Uwe Fleckner. "Von Kontinentaler Bedeuteung: Gottlieb Friedrich Reber und Seine Sammlungen." Die Moderne und Ihre Sammler: Französische Kunst in Deutschem Privatbesitz vom Kaiserreich zur Weimarer Republik. Ed. Andrea Pophanken and Felix Billeter. Berlin, 2001, p. 395, no. 20, fig. 86 (installation photo).
Paloma Esteban Leal in Juan Gris: Paintings and Drawings 1910–1927. Ed. Paloma Esteban Leal. Exh. cat., Museo Nacional Centro de Arte Reina Sofía. Madrid, 2005, vol. 1, pp. 49, 59, 64 n. 72, colorpl. 78; vol. 2, pp. 97–98, no. 78, ill., comments that the harlequin became an alter ego for Gris and appeared in almost forty works from 1920–27; characterizes this "carefree" picture as different from the later, melancholy depictions.
Claude Frontisi in Juan Gris: Paintings and Drawings 1910–1927. Ed. Paloma Esteban Leal. Exh. cat., Museo Nacional Centro de Arte Reina Sofía. Madrid, 2005, p. 94.
María Dolores Jiménez-Blanco, ed. Juan Gris: Correspondencia y escritos. Barcelona, 2008, p. 191 n. 310.
García Ponce de Léon. Juan Gris: La pasión por el Cubismo. Madrid, 2008, pp. 330–31, ill. (color).
Douglas Cooper, with Margaret Potter, updated by Alan Hyman, and Elizabeth Snowden. Juan Gris: Catalogue raisonné de l’oeuvre peint/ Catalogue Raisonné of the Paintings. 2nd ed. (1st ed., 1977). San Francisco, 2014, vol. 1, pp. 408–9, no. 241, ill. (color).