- 款識：畫家簽名 Klee（右下）；題款、紀年 III 1929 並標記 C.6.（畫托）
Lily Klee, Bern (acquired by 1940)
Klee-Gesellschaft, Bern (acquired from the above in 1946)
Galerie Rosengart, Lucerne (acquired from the above in 1949)
Pierre Janlet, Brussels (acquired from the above in 1949)
Berggruen & Cie, Paris
Mr & Mrs John Cowles Sr., Minneapolis (acquired by 1971)
Richard S. Davis, U.S.A.
Private Collection, U.S.A. (acquired by descent from the above. Sold: Christie's, New York, 15th November 1989, lot 41)
Yuji Okusu, Tokyo (until 1998)
Private Collection, Japan (sold: Sotheby's, New York, 17th November 1998, lot 347)
Purchased at the above sale by the late owner
Geneva, Galerie Jan Krugier, Ditesheim & Cie., Paul Klee. Traces de la mémoire, 1998-99, illustrated in colour in the catalogue
Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin - Preussischer Kulturbesitz, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 158, illustrated in colour in the catalogue
Venice, Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, 1999, no. 170, illustrated in colour in the catalogue
Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 167, illustrated in colour in the catalogue
Munich, Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 165, illustrated in colour in the catalogue
Lugano, Museo d'Arte, Klee-Melotti, 2013, no. 70, illustrated in colour in the catalogue
Will Grohmann, Paul Klee, Geneva & Stuttgart, 1954, mentioned p. 268
Will Grohmann, Paul Klee, London, 1966, mentioned p. 36
Mark L. Rosenthal, Paul Klee and the Arrow, Iowa, 1979, illustrated p. 188
The Paul Klee Foundation (ed.), Paul Klee, Catalogue Raisonné, Bern, 2001, vol. 5, 4882, illustrated p. 334
Describing the context of the present work Anita Beloubek-Hammer writes: 'It was not the treasures of antiquity there that fascinated him the most, but rather the experience of the Nile landscape with its powerful watercourse, the lush fruitful land on the river’s banks, and the endless desert with its pyramids. The light of the southern sun inspired an intense engagement with colour, which led to a compositional schema featuring horizontal strips of colour – as in this watercolour. In the increasingly rational working atmosphere at the Dessau Bauhaus, Klee also sought exact mathematical principles in art, but without ever denying the priority of intuition in each construction’ (A. Beloubek-Hammer, in The Timeless Eye – Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection (exhibition catalogue), op. cit., p. 344).
This horizontal striping, echoing as it does the stratification of the land along the great flood plane of the Nile, is further explained by Sabine Rewald: 'These horizontal stripes cover the entire surface from edge to edge and from top to bottom with here and there vertical or diagonal lines and acute or wide angles interrupting their flow and colouring. The latter denote dunes, shifts in altitude, or architectural accents in a desert that stretches monotonously toward infinity' (S. Rewald, The Berggruen Klee Collection in the Metropolitan Museum of Art, New York, 1988, p. 227). In the present work the pyramids at Giza, which Klee visited on 26th December, have been playfully anthropomorphised into the features of a motley-toned clown, as Will Grohmann notes: 'The Clown Pyramidal is like a parody on a sphinx irradiated by an evening glow' (W. Grohmann, op. cit., 1955, p. 281).