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.
Christian Zervos, Pablo Picasso II (Paris, 1942), p. 260, no. 561 (ill.).
Alfred H. Barr, Jr., Picasso: Fifty Years of his Art (New York, 1946), p. 280, as Musical Instruments.
Franco Russoli and Fiorella Minervino, L’opera completa di Picasso Cubista (Milan, 1972), pp. 126 and 127, no. 864 (ill.).
Pierre Daix and Joan Rosselet, Le Cubisme de Picasso: Catalogue raisonné de l’oeuvre peint 1907-1916 (Neuchâtel, 1979), p. 351, no. 862 (ill.), dated 1915–16.
Gary Tinterow, Master Drawings by Picasso, exh. cat. (Cambridge, Mass., 1981), p. 254, no. 16, dated 1916 (?).
The Annual Exhibition Record of The Art Institute of Chicago, 1888–1950 (Madison, Conn., 1990), p. 705.
The Art Institute of Chicago, “A Century of Progress Exhibition,” June 1–November 1, 1933, cat. 1046, as Musical Instruments (Cubist).
The Art Institute of Chicago, “The Sixteenth International Exhibition: Water Colors, Pastels, Drawings and Monotypes,” March 18–May 16, 1937, cat. 122, as Still Life: Musical Instruments.
The Art Institute of Chicago, “Picasso in Chicago,” February 3–March 31, 1968, pp. 56, 70, and 116, cat. 76 (ill.).
New York, Saidenberg Gallery, “Homage to Picasso,” October 1971, p. 34, cat. 21 (ill.).
Bielefeld, Germany, Kunsthalle Bielefeld, “Zeichnungen und Collagen des Kubismus-Picasso-Braque-Gris,” March 11–April 29, 1979, cat. 129 (ill.), as Musical instruments; Woman in an armchair.
New York, Pace Gallery, “Je suis le cahier: The Sketchbooks of Pablo Picasso,” 1986, hors cat.; shown only at The Art Institute of Chicago, July 10–August 23, 1987.
Art Institute of Chicago, “Picasso and Chicago”, February 20-May 12, 2013, hors cat.
Sold by Justin K. Thannhauser, to the Art Institute, 1927.
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