- Jacques Villon
- André Salmon
- Paris, Galerie Louis Carré
- New York, Arnold Herstand & Company
- 1984, Dallas, Texas, Raymond and Patsy Nasher Collection
- 2003 Nash, Giménez and Brenson
Steven A. Nash, Carmen Giménez, Michael Brenson, A Century of Sculpture: The Nasher Collection, Dallas, The Nasher Foundation, 2003 (first published in 1997, expanded and republished in 2003 by The Nasher Foundation on the occasion of the inauguration in October 2003 of the Nasher Sculpture Center), p. 120-121, repr., 364
- Museum's website:
- 1987-1988 Dallas/Washington
A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection, Dallas Museum of Art, April 5 - May 31, 1987; National Gallery of Art, Washington, D.C., June 28, 1987 - January 3, 1988. Exhibition catalogue.
- 1996-1997 San Francisco/New York
A Century of Sculpture: The Nasher Collection, Fine Arts Museums of San Francisco, October 26, 1996 - January 12, 1997; Solomon R. Guggenheim Museum, New York, February 6 - June 1, 1997. Exhibition catalogue.
- 2003-2004 Dallas
From Rodin to Calder: Masterworks of Modern Sculpture from the Nasher Collection, Nasher Sculpture Center, Dallas, October 20, 2003 - September 2004.
- 2004-2005 Dallas
Bodies Past and Present: The Figurative Tradition in the Nasher Collection, Nasher Sculpture Center, Dallas, September 2004 - July 2005
In 1912, Duchamp-Villon donated a plaster to the museum in Rouen, his native city.
In a letter written in 1955, Jacque Villon attested that his brother had made five or six plaster casts and three or four terra-cottas of the Baudelaire, as well as three lifetime bronze casts (correspondence in the Wellesley College archives; quoted by Zilczer, 1980, p. 23 n. 12).
To date, five plasters have been identified (Nasher collection; Philadelphia Museum of Art, gift of the artist's family; Musée des Beaux-Arts de Rouen; private collection in Germany; and Musée de Saint-Denis, from the collection of Paul Eluard).
Four terra-cottas are known (Wellesley College, Art Gallery of Ontario, New York art market, Ny Carlsberg Glyptothek, Copenhagen) and a full edition of bronzes numbered through 8/8 plus one artist's proof was completed posthumously.
The Nasher cast belonged to Jacques Villon, who gave it to André Salmon in return for the preface Salmon contributed to the catalog of the Duchamp-Villon exhibition at the Galerie Pierre in 1931 (information from the archives of Galerie Louis Carré).
A small study in wax (present location unknown) that was later cast in an edition of bronzes (see Hamilton and Agee, 1967, p. 59) is relatively close to the Rodin in form and feeling.
A drawing now in the Musée National d'Art Moderne in Paris (Hamilton and Agee 1967, p. 59) shows a further stage of development; the head is more rigid and surfaces trued and flattened, clearly under the influence of Cubism.
Villon based a long series of works on the piece starting in 1919 (see Daniel Robbins, Jacques Villon, Fogg Art Museum, Cambridge, Massachusetts, 1976, pp. 92f).