Literature: “Sculptor Sigurjón Ólafsson (1908–1982) Catalogue Raisonné”, no. LSÓ 1081. Literature: Æsa Sigurjónsdóttir: "Tracks in Sand“, exhibition catalogue, The National Gallery of Iceland, Reykjavík, Iceland, 2014, p. 36.

Exhibited (the stone version): “Tove and Sigurjón Ólafsson's exhibition in Reykjavík”, Iceland, 1946, cat. no. 12. Exhibited (the stone version): Nordisk Konstförbund, Liljevalchs Konsthall, Stockholm, Sweden, 1947, cat. no. 232. Exhibited (the stone version): "Woman-mistress, crone, damsel, wife...“, Sigurjón Ólafsson Museum, Reykjavík Art Festival 2002. The poet Vilborg Dagbjartsdóttir wrote a poem inspired by the sculpture which can be heard on a CD issued to accompany the exhibition. Exhibited (this bronze cast): "Islandske modernister og Kai Nielsen“ (Icelandic modernists and Kai Nielsen), SAK, Svendborg, Denmark, 2011. Exhibited (this bronze cast): "Henry Moore - Grænser til Norden“, Kunstmuseet i Tønder, Denmark, 2017. Exhibited (bronze cast): "Two Comrades - Asger Jorn & Sigurjón Ólafsson“, Sigurjón Ólafsson Museum, Reykjavík, Iceland, 2017. Exhibited (this bronze cast): "Sigurjón Ólafsson – Mangfoldige former“ (Manifold forms), Kunstmuseet i Tønder, Denmark, 2019, ill. in the catalogue p. 176.

“Snót” is the first sculpture Sigurjón Olafsson carves in stone after his return to Iceland from Denmark, where he had lived for 17 years, and where he had just finished work on the granite sculptures for Vejle Town Hall Square, 1941–45. With “Snót”, a new chapter in the artist's oeuvre begins with the landmark monumental sculptures in stone, which he created the following ten years.