Inscription: Photographers' stamp on print, verso, C: "FOTOGRAFIE // ringl // + pit"; inscribed and signed in pencil on print, verso, C: "#8 // Studio Ringl and Pit // Grete Stern Ellen Auerbach"; inscribed in pencil on print, verso, UC; UR; LL; LR: "#8"; "VI"; "vintage print"; "Petrol Hahn [sic] // Adv."; marked in pencil on tape affixed to print, verso, UC: [arrow pointing toward upper edge]
[Sander Gallery]; John C. Waddell, July 31, 1984
New York Public Library. "A History of Women Photographers," October 19, 1996–January 4, 1997.
National Museum of Women in the Arts. "A History of Women Photographers," February 13, 1997–May 11, 1997.
Santa Barbara Museum of Art. "A History of Women Photographers," June 7, 1997–August 10, 1997.
Akron Art Museum. "A History of Women Photographers," September 6, 1997–November 2, 1997.
Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen. "Female Trouble: The Camera as Mirror and Stage of Female Projection in Photography and Video Art," July 18, 2008–October 26, 2008.
Museum of Modern Art, New York. "From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola," May 23, 2015–September 13, 2015.
Sobieszek, Robert A. The Art of Persuasion: A History of Advertising Photography. New York: George Eastman House International Museum of Photography and Film, 1988. p. 54.
Ingelmann, Inka Graeve, ed. Female Trouble: Die Kamera als Spiegel und Bühne Weiblicher Inszenierungen. Munich: Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen, 2008. p. 71.
Marcoci, Roxana, and Sarah Hermanson Meister. From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola. New York: Museum of Modern Art, New York, 2015. no. 31, p. 53.
Ringl and Pit were the childhood nicknames of Grete Stern ("Ringl") and Ellen Auerbach ("Pit"). The print of this image reproduced in both Avant-Garde Photography 1919-1939 and Bertonati, Das experimentelle Photo, is signed and dated "Grete Stern 1928," but written sources report that Ringl + Pit opened their Berlin studio some time in 1930 or 1931 (Avant-Garde Photography, pp. 32, 53; Fotografie am Bauhaus, Berlin: Bauhaus-Archiv, 1990, p. 355). See Christopher Phillips' preparatory notes on mannequin as one of many objects collected by Auerbach and Stern for use in their advertising photos and on hand as belonging to Stern.