• 1959, acquis grâce au fonds de Mrs. Simon Guggenheim

• Museum's website, April 11, 2013
• 1960 NY MoMA Bulletin
  The Museum of Modern Art Bulletin, vol. 27, nos. 3-4, 1960, repr. p. 1
• 1967 NY MoMA Barr
  Alfred H. Barr, Painting and Sculpture in The Museum of Modern Art, 1929-1967, New York, 1967, ill. 88
• 1967 Penrose
  Roland Penrose, The Sculpture of Picasso, 1967, repr. p. 126
• 1972 Rubin
  William Rubin, Picasso in the Collection of The Museum of Modern Art, 1972, repr. p. 174
• 1977 NY MoMA Legg
  Painting and Sculpture in The Museum of Modern Art, with Selected Works on Paper. Catalogue of the Collection, January 1, 1977, Edited by Alicia Legg, New York, The Museum of Modern Art, 1977, p. 77

MoMA's website, April 11, 2013:
Focus: Picasso Sculpture
July 3–November 3, 2008
Picasso's studio in the town of Vallauris, where he worked beginning in 1948, was next to a yard into which potters threw debris—pieces of metal and shards of ceramics. After deciding to sculpt a goat, Picasso searched the yard for discarded materials that could suggest parts of the animal's body. He crafted a skeleton with these objects, and filled out the sculpture with plaster. A wicker basket forms the goat's rib cage; two ceramic jugs were modified to serve as its udders. Flat palm fronds shape the slope of the goat's spine and the length of its snout, and metal scraps are used as structural units throughout.