Our infrared examination of Paul Klee’s Small Harbour Scene at the Victoria Art Gallery features in Jonathan Benington’s article for the September 2011 issue of The Burlington Magazine. The painting incorporates two paper fragments mounted on the reverse of another rejected painting on cardboard, a recycling that Benington explains was likely prompted by the scarce availability of materials in Munich in 1919. Infrared reflectography revealed the presence of two figures unrelated to the upper composition drawn beneath the paint layers. These belonged to an independent drawing made on the paper fragment before the support was assembled for the Small Harbour Scene. Benington compares the drawing to other works of the period and suggests a date of 1918-19, immediately preceding the painting.