"Un appartement Pop." L'Oeil no. 106 (October 1963), pp. 18–19, ill. (color, installation photo), states that Robert Scull traveled to Belgium to purchase the work, and reproduces a photograph of it hanging in the living room of the Scull's New York apartment.
Allene Talmey. "Fashions in Living: Art is the Core. In the Robert Scull New York Apartment, Art is the Lighthearted Obsession–from Renaissance to Pop Art–An Adventure for the Eyes." Vogue 144.1 (July 1, 1964), p. 122, ill. (color).
Grace Glueck. "Auction Where the Action Is." New York Times (November 15, 1970), p. D26.
H[enry]. G[eldzahler]. in "Recent Accessions." The Metropolitan Museum of Art Bulletin 29 (April 1971), p. 371, (ill. upside down), calls it "Reds, No. 16"; notes that "we have long felt that if Mark Rothko were to be represented at the Metropolitan Museum by one painting, this should be it".
Henry Geldzahler in "Twentieth Century Art." The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 214, ill., calls it "Reds, No. 16"; states that the work traveled from New York to a collector in Brussels [Philippe Dotremont] and back to New York in the mid-sixties.
Steven Henry Madoff. "What is Postmodern About Painting: The Scandinavia Lectures." Arts Magazine 60 (September 1985), p.118, fig. 4, calls it "Reds, Number 16".
Eugene Victor Thaw. "The Abstract Expressionists." Metropolitan Museum of Art Bulletin 44 (Winter 1986–87), pp. 13, 35, fig. 9 (color), calls it "Untitled (Number 16)".
Lisa Mintz Messinger in 20th Century Art: Selections from the Collection of The Metropolitan Museum of Art, New York. Vol. 2, Painting: 1945-1985. New York, 1986, pp. 36–37, ill. (color), calls it "Untitled (Number 16)".
Anna C. Chave. Mark Rothko: Subjects in Abstraction. New Haven, 1989, pp. 75, 117-18, 121, colorpl. XXII, calls it "Reds, Number 16"; citing this picture as an example, states that "the structure of his pictures bears a significant relation to certain conventional pictorial structures–in this instance that of the full-figure portrait...Rothko created a recurrent type of picture with proportions that are somewhat more specifically related to those of the human form–small at the top, bulky in the middle, and medium-sized at the base".
Hiromoto Nobuyuki. Contemporary Great Masters: Mark Rothko. Vol. 4, Tokyo, 1993, p. 49, ill. (color).
James E. B. Breslin. "Rothko's Image." Mark Rothko: A Biography. Chicago, 1993, p. 420, cites No. 16 as one of the Abstract Expressionist paintings that "decorated the walls of his [Scull's] living room" in the early 1960s.
Diane Waldman. Mark Rothko in New York. New York, 1994, p. 26, no. 38, ill. (color), calls it "Untitled (Number 16)"; mentions this work among those illustrating Rothko's move towards horizontal compositions and darker palettes of similar tones as opposed to his earlier, brighter canvases with striking color combinations.
David Anfam. Mark Rothko: The Works on Canvas. Catalogue Raisonné. New Haven, 1998, p. 541, no. 683, ill. (color), calls it "No. 16".