The Tall Man, 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)

Curt Glaser et al. Max Beckmann. Munich, 1924, p. 84, no. 170.

Klaus Gallwitz, ed. Max Beckmann: Die Druckgraphik. Radierungen, Lithographien, Holzschnitte. Exh. cat., Badischer Kunstverein Karlsruhe. Karlsruhe, 1962, unpaginated, no. 167, ill. (not this edition; collection R. Piper).

Harold Joachim in Peter Selz. Max Beckmann. Exh. cat., Museum of Fine Arts, Boston. New York, [1964], p. 119, ill. (not this edition; collection Museum of Modern Art, New York), calls it "Annual Fair: The Tall Man".

James Hofmaier. Max Beckmann: Catalogue Raisonné of His Prints. Vol. 2, Numbers 180–373. Bern, 1990, pp. 496–97, 506–7, no. 195 II B b, ill.

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, 16, 20 nn. 31, 32, pp. 95, 98, pl. 34 (not this edition).

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. 95–96, 103, no. 6h, ill. p. 101 (not this edition; collection David and Alfred Smart Museum of Art, the University of Chicago).

Christian Lenz in Thomas Döring and Christian Lenz. Max Beckmann: Selbstbildnisse, Zeichnung und Druckgraphik. Exh. cat., Bayerische Staatsgemäldesammlungen. Bonn, 2000, pp. 37–38, 222–23, no. 67, ill. (not this edition; private collection).

Catherine Clinger. "Theory of the Ridiculous: Jean Paul, Max Beckmann, and Dostoevsky's Donkey." Art History 33 (June 2010), pp. 526, 529–31, colorpl. 8 (not this edition; collection Harvard Art Museum, Fogg Art Museum, Cambridge, Mass.), calls it "The Huge Husband (Der Grosse Mann)" in the caption and "The Tall Man" in the text.