Behind the Scenes (Backstage), from the portfolio The Fair

Inscription: Signed (inside plate, lower right, in pencil): Beckmann

(sale, Hauswedell & Nolte, Hamburg, December 4, 1999, no. 765, sold to MMA)

New York. The Metropolitan Museum of Art. "Max Beckmann Prints," July 14, 2000–January 7, 2001, no catalogue.

Curt Glaser et al. Max Beckmann. Munich, 1924, p. 84, no. 168, call it "Hinter den Kulissen".

Klaus Gallwitz, ed. Max Beckmann: Die Druckgraphik. Radierungen, Lithographien, Holzschnitte. Exh. cat., Badischer Kunstverein Karlsruhe. Karlsruhe, 1962, unpaginated, no. 165, ill. (not this edition; collection R. Piper), calls it "Hinter den Kulissen".

James Hofmaier. Max Beckmann: Catalogue Raisonné of His Prints. Vol. 2, Numbers 180–373. Bern, 1990, pp. 496–97, 502–3, no. 193 II B b, ill., calls it "Behind the Scenes (Hinter den Kulissen)"; tentatively identifies the man holding a violin as the publisher Reinhard Piper.

Wendy Weitman in Max Beckmann Prints from the Museum of Modern Art. Exh. cat., Modern Art Museum of Fort Worth. Fort Worth, 1992, pp. 14, 95, 98, calls it "Behind the Scenes".

Robin Reisenfeld. The German Print Portfolio: Serials for a Private Sphere. Ed. Richard A. Born and Stephanie D'Alessandro. Exh. cat., Detroit Institute of Arts. London, 1992, pp. 93–96, 103, no. 6f, ill. p. 100 (not this edition; collection David and Alfred Smart Museum of Art, the University of Chicago), calls it "Hinter den Kulissen (Behind the Scenes)".

Catherine Clinger. "Theory of the Ridiculous: Jean Paul, Max Beckmann, and Dostoevsky's Donkey." Art History 33 (June 2010), p. 522, colorpl. 4 (not this edition; collection Harvard Art Museum, Fogg Art Museum, Cambridge, Mass.), calls it "Behind the Wings of the Stage (Hinter den Kulissen)" in the caption and "Behind the Curtains" in the text.