Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Dawn Ades, with Margherita Andreotti and Adam Jolles, Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1997), pp. 205–06, cat. 101 (color ill.).
Possibly New York, Pierre Matisse Gallery, “Miró: Paintings, Gouaches,” 1941, cat. 23.
Possibly New York, Pierre Matisse Gallery, “Miró,” 1942, cat. 19, 20, 21 or 22, as Pastel.
New York, Pierre Matisse Gallery, “Miró: Peintures Sauvages, 1934 to 1953,” 1958, cat. 2 (ill.).
Art Institute of Chicago, “Treasures of Chicago Collectors,” 1961, n.p.
New York, Acquavella Galleries, Inc., “Joan Miró,” 1972, cat. 25 (ill.).
Saint Louis, Washington University Gallery of Art, “Joan Miró: The Development of a Sign Language,” 1980, pp. 36, 66, fig. 28; shown only in Chicago.
Chicago, Museum of Contemporary Art, “Dada and Surrealism in Chicago Collections,” 1984–1985, p. 199 and pl. 45.
Art Institute of Chicago, “A Tribute to Edwin A. Bergman (1917–1986): Selections from the Lindy and Edwin Bergman Collection,” 1986, pamphlet no. 45.
New York, Solomon R. Guggenheim Museum, “Joan Miró: A Retrospective,” 1987, cat. 78 (ill.) and p. 153.
Pierre Matisse Gallery, New York, by 1958. Harold and Mary Weinstein, Chicago, by 1961; sold to Lindy and Edwin Bergman, Chicago, 1967; given to the Art Institute of Chicago, 2018.
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