The Ladies of Avignon

• De Ridder, André, Nieuwe Kunst, no. 8, André Lhote (Amsterdam: N.V. Van Munster S Uitgevers-Maatschappj, n.d.), n.p. (ill.), as de Gezusters.
• Salon des tuileries, Salon des tuileries (Paris: Terrase du bord de l’eau, 1923), n.p., cat. 691, as Les dames d’Avignon, n.d.
• Art Institute, “Art Institute of Chicago News Letter,” October 6, 1923, p. 3, as Two Ladies of Avignon, n.d.
• Bulliet, C. J., “Cubism in Lhote Here on Display,” Chicago Evening Post, October 7, 1924, pp. 3, 11 (ill.), as Women of Avignon, n.d.
• Art Institute, Art Institute of Chicago: A Guide to Paintings in the Permanent Collection (Chicago: Art Institute, 1925), p. 169, cat. 2279, as Les dames d’Avignon, n.d.
• Boston Art Club, Birch Bartlett Collection of Modern French Paintings, exh. cat. (Boston: Art Club, 1925), n.p., cat. 20, as Les dames d’Avignon, n.d.
• Minneapolis Institute of Arts, Exhibition of Modern French Paintings from the Birch-Bartlett Collection, Lent by Frederick C. Bartlett of Chicago, exh. cat. (Minneapolis: Institute of Arts, 1925), n.p., cat. 11, as Two Ladies of Avignon, n.d.
• Art Institute, Modern Paintings in the Helen Birch-Bartlett Memorial from the Birch-Bartlett Collection (Chicago: Art Institute, 1926) pp. 46 , 47 (ill.), 60, as Les Dames d’Avignon, n.d.
• Zabel, Morton Dauwen, “An American Gallery of Modern Painting: The Helen Birch-Bartlett Memorial in the Art Institute of Chicago,” Art and Archaeology 27, 6 (December 192), p. 236, as Les Dames d’Avignon, n.d.
• Art Institute, Modern Paintings in the Helen Birch-Bartlett Memorial from the Birch-Bartlett Collection (1926; repr., Chicago: Art Institute, 1929) pp. 52, 53 (ill.), 65, as Les dames d’Avignon, n.d.
• Bulliet, C. J., Apples and Madonnas: Emotional Expression in Modern Art (New York: Covici Friede, 1930), pp. xi, opp. 168 (ill.), as Les Dames d’Avignon.
• Art Institute, A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections, exh. cat. (Chicago: Art Institute, 1933), p. 79, cat. 697, as Women of Avignon, c. 1923.
• Bulliet, C. J., Art Masterpieces in a Century of Progress Fine Arts Exhibition at the Art Institute of Chicago, vol. 2 (Chicago: North-Mariano Press, 1933), n.p., cat. 74, as Women of Avignon, n.d.
• Snelgrove, Gordon William, “An Investigation of the Present Developments from Cubism as Exemplified by the Work and Theories of André Lhote” (M.A. thesis, University of Chicago, 1933), pp. ii (ill., pl. 1), iv, 20, 29, 39-50, as Les Dames d’Avignon.
• Bulliet, C. J., The Significant Moderns and Their Pictures (New York: Covici Friede, 1936), n.p., pl. 213), as Women of Avignon, n.d.
• Bulliet, Catherine Girdler, “He Made Art into News,” Louisville Courier-Journal (March 30, 1952), p. 8, as Women of Avignon.
• Art Institute, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute, 1961), p. 260, as The Ladies of Avignon, c. 1923.
• Speyer, A. James and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago: University of Chicago Press, 1980), p. 52, no. 2E4, as The Ladies of Avignon, c. 1923.
• Garcia, Francoise, “Pau, musée des Beaux-Arts: Deux tableaux d’André Lhote,” Revue du Louvre et des Musées de France 35, 2 (1985), pp. 137 (ill.), 138 n. 11, as Dames d’Avignon, c. 1923.
• Art Institute, “Illustrated Checklist of the Helen Birch-Bartlett Memorial Collection,” Museum Studies 12, 2 (1986), pp. 223, no. 15, 229 (ill.), as The Ladies of Avignon, c. 1923.
• Kendall, Sue Ann, “C. J. Bulliet: Chicago’s Lonely Champion of Modernism,” Archives of American Art Journal 26, 2/3 (1986), pp. 22, 24 (ill.), as Ladies of Avignon, c. 1923.

• Paris, Salon des tuileries, Salon des tuileries, 1923, n.p., cat. 691, as Les dames d’Avignon, n.d.
• Chicago, Art Institute, Group of Modern Paintings from the Birch-Bartlett Collection, September 8–October 22, 1923, no cat.
• Chicago, Art Institute, Birch-Bartlett Collection of Modern European Paintings, September 3–October 22, 1924, no cat.
• Chicago, Art Institute, Birch-Bartlett Collection of Modern European Paintings, September 8–October 8, 1925, no cat.
• Minneapolis, Institute of Arts, Exhibition of Modern French Paintings from the Birch-Bartlett Collection Lent by Frederick C. Bartlett of Chicago, April 1925, n.p., cat. 11, as Two Ladies of Avignon, n.d.
• Boston, Art Club, Birch Bartlett Collection of Modern French Paintings, December 9–26, 1925, n.p., cat. 20, as Les dames d’Avignon, n.d.
• Chicago, Art Institute, Catalogue of A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections, June 1–November 1, 1933, p. 79, cat. 697, as Women of Avignon, c. 1923.
• Chicago, University of Chicago, New Administrative building, 1949, no cat.

Sold to Frederick C. Bartlett on Mar. 7, 1923 [annotation in Paris 1923, copy in curatorial file]; given to the Art Institute of Chicago, 1926.