- Adelheid (Heidi) Roosevelt (Mrs. Andree Roosevelt)
- Boston, Childs Gallery
- 1957, Gift of Professor and Mrs. John McAndrew
- Museum's website, January 20, 2013
- 1964 Wick
Peter A. Wick, Jacques Villon: Master of Graphic Art, Boston, Museum of Fine Arts, 1964
- 1972 Boston Globe
"Treasures of Massachusetts", Boston Globe, March 5, 1972, p. 56, repr.
- 1978 Davis Museum
One Century: Wellesley Families Collect, Wellesley, Davis Museum, 1978
- 1957 Boston
European Masters of Our Time, Boston, Museum of Fine Arts, October 10-November 17, 1957
- 1964 Boston
Jacques Villon: Master of the Graphic Art, Boston, Museum of Fine Arts, February 11-April 12, 1964, no. 191
- 1976 Cambridge/Purchase
Jacques Villon Retrospective, Cambridge, Fogg Art Museum, January 17-February 29, 1976; Purchase, NY, Roy R. Neuberger Museum, 1976, edited by Daniel Robbins, no. 70a, p. 92
- 1980 Wellesley
Faces of the Twentieth Century, Wellesley, Jewett Arts Center at the Wellesley College, May 1-June 15, 1980
- 1990 Wellesley
Duchamp-Villon's Baudelaire: Sources and Transformations, Wellesley, Davis Museum at the Wellesley College, January 26-March, 1990
- 1993-1994 Huntington/Austin
The Poet and his Painters, Huntington, NY, The Heckscher Museum, August 28-November 14, 1993; Austin, Archer M. Huntington Art Gallery, University of Texas, January 6-March 30, 1994
Terracotta, Philadelphia, Museum of Art.
Bronze, West Palm Beach, Norton Gallery of Art.
Gips, Duisburg, Wilhelm-Lehmbruck-Museum.
Bronze, New York, Museum of Modern Art.
Terracotta, Art Institute of Chicago.
Genise Schnitman, Faces of the Twentieth Century, 1980:
Duchamp-Villon's Baudelaire, like its subject, looks both forward and backward in the history of art. The head conveys an extraordinary sense of classical repose, its masses generalized, balanced and resolved into intense clarity and definition of form. The poet was both a classicizer in his forms but at the same time a radical innovator. The poet and critic who first celebrated "la vie moderne" and put his finger on the living pulse of that which became recognized as "modernity" itself. Duchamp-Villon here is still under the influence of Rodin, but has gone beyond the most advanced sculptural conceptions of the nineteenth century, honing down Rodin's elaborated surfaces, to reveal the essences of the underlying forms by means of strongly delineated and broadly articulated planes.