The New Gallery (Eugene Thaw), New York
Acquired from the above in 1948

New York, Nolan/Eckman Gallery, Drawings from a Private Collection, 1995
New York, Nolan/Eckman Gallery, The Imagined World, 1998
Paris, Centre Georges Pompidou, Joan Miró, 1917-1934: La naissance du monde, 2004, no. 66, illustrated in color p. 135

Jacques Dupin, Miró, Paris, 1961, no. 18, illustrated p. 169
Jacques Dupin, Miró, New York, 1962, no. 18, illustrated p. 169
Joan Miró: Magnetic Fields (exhibition catalogue), New York: The Solomon R. Guggenheim Museum, 1972, no. 26, illustrated p. 114

The catalogue from the exhibition Joan Miró Magnetic Fields states: "Although this painting is sometimes referred to as Landscape with Rabbit and Flower, Miró himself has identified the white form on the stem as an egg....In this drawing a halo of dots surrounds the egg form, which serves as the head of the female.  From this head arc five lines.  The stem is crossed by a horizontal line with a flower and a leaf at either end.  Lower down on the stem six radiating lines form a spider web.  In this context, the leaf and flower double as the woman's breasts and the web as her gentials--a variation on the more common assoication in Miró's art of the feamls genitals as a spider. ...In this painting, what is prominent is the extreme simplification of it to a modeled oval on a single stem.  In discussing the Catalan Romanesque mural sources for Miró's development in the early 1920s, R. T. Doepel cites the "flowering rod" motif where the Tree of Life is simplified to a circle on a shaft.  The connection between the egg form and the notion of a life-source appears elsewhere in the years 1924-25. ... From both Miró's testimony and from evidence internal to his work, one can see that to identify the right-hand image in this Landscape simply as a flower is to strip it of much of its meaning" (Joan Miró Magnetic Fields (exhibition catalogue) New York, 1972, p. 114).