Nude with a Pitcher

• Oscar Schürer, Pablo Picasso (Berlin: Klinkhardt & Biermann, 1927), n.p. (ill.), as Hebe.
• Städelsches Kunstinstitut, Vom Abbild zum Sinnbild: Ausstellung von Meisterwerken Moderner Malerei im Städelschen Kunstinstitut, exh. cat. (Frankfurt: Städelsches Kunstinstitut, 1931), 44, cat. 184.
• Christian Zervos, Pablo Picasso I (Paris: Cahiers d’Art, 1932), 154, no. 330 (ill.).
• Joan Merli, Picasso (Buenos Aires: Editorial Poseidon, 1948), n.p., fig. 139, as Muchacha Desnuda.Tate Gallery, Picasso, exh. cat. (London: Tate Gallery, 1960), 19, cat. 27, pl. 5i.
• Pierre Daix and Georges Boudaille, Picasso 1900-1906: catalogue raisonné de l’oeuvre peint (Neuchâtel: Editions Ides et Calendes, 1966), 100, and 298. no. XV.23 (ill.).
• National Gallery of Art, 100 Paintings and Drawings from the Collection of Mr. and Mrs. Leigh B. Block, exh. cat. (Washington D. C.: National Gallery of Art, 1967), cat. 36 (ill.).
• Denys Sutton and Paolo Lecaldano, The Complete Paintings of Picasso: Blue and Rose Periods (New York: Harry N. Abrams, 1968), 113, no. 305 (ill.), as Nude Woman with Water Jug.
• The Art Institute of Chicago, Picasso in Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 1968), 17, cat. 9 (ill.).
• Francine du Plessix, “The Flawless Eye: Mary and Leigh Block,” in The Collector in America (New York: A Studio Book, 1970), 111 (ill.), as Girl with Pitcher.
• Art Institute of Chicago Annual Report 1980–81 (1981), cover (ill.).
• Bulletin of the Art Institute of Chicago 75:4 (Oct.–Dec. 1981), 9 (ill.), as Girl with Pitcher.
• Alan Artner, “Art Institute gets four major pieces,” Chicago Tribune (May 1, 1981), 1 (ill.), as Girl With Pitcher.
• Alan Artner, “Art Institute’s new ‘jewels’,” Chicago Tribune (May 1, 1981) section 4, 20, as Girl with Pitcher.
• Josep Palau i Fabre, Picasso: Vivent (1881–1907) (Barcelona: Ediciones Poligrafa, 1980), 451 and 550, fig. 1254, as Girl with a Pitcher.
• Mary Matthews Gedo, “A Youthful Genius Confronts His Destiny: Picasso’s Old Guitarist in The Art Institute of Chicago,” Museum Studies 12.:2 (1986), 156–157 and 159, fig. 6.
• James N. Wood and Katherine C. Lee, Master Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1988), 114 (ill.), as Girl with Pitcher.
• Hermitage Museum, Ot Delakrua do Matissa, exh. cat. (Leningrad: Hermitage Museum, 1988), cat. 48 (ill.).
• Patricia Leighten, Re-Ordering the Universe: Picasso and Anarchism, 1897–1914 (Princeton, N. J.: Princeton University Press, 1989), 81, fig. 54.
• Anatoly Podoksik, Picasso: The Artist’s Works in Soviet Museums, trans. by Vladimir Malakhov (New York: Harry N. Abrams, 1989), p. 56 (ill.), as Girl with Pitcher, Pierre Daix, Picasso (Paris: Chêne, 1990), 151, fig. 2.
• Gary Tinterow, Picasso Clasico, exh. cat. (Malaga: Palacio Episcopal, 1992), 68, 87, and 203, cat. 9 (ill.).
• Jan van Adrichem,“Collectors of Modern Art in Holland: Picasso as Pars pro Toto, 1920-40,” Simiolus: Netherlands Quarterly for the History of Art 22, no. 3 (1993), 153.
• Elizabeth Cowling and John Golding, Picasso: Sculptor/Painter (London: Tate Gallery, 1994), 230, fig. 57, as Girl with a Pitcher.
• Judith A. Barter, Douglas W. Druick, and Charles F. Stuckey, Masterworks of Modern Art from The Art Institute of Chicago, exh. cat. (Nagaoka, Japan: Niigata Prefectural Museum of Modern Art, 1994), 88–89, cat. 22 (ill.).
• Marilyn McCully, Picasso: The Early Years, 1892–1909, exh. cat. (Washington, D. C.: National Gallery of Art, 1997), 8, 320–321, 364, cat. 152 (ill.), as Girl with a Pitcher.
• Marylin McCully, Picasso, Painter and Sculptor in Clay, exh. cat. (London: Royal Academy of Arts, 1998), 29 (ill), fig. 17.
• Marilyn McCully, Picasso: scolpire e dipingere, La ceramica, exh. cat. (Ferrara: Ferrara arte, 2000), 34 (ill.), as Regazza con Brocca.
• Jan van Adrichem, De ontvangst van de moderne kunst in Nederland 1910-2000: Picasso als pars pro toto (Amsterdam: Prometheus, 2001), 200–201 (ill.).
• María Dolores Jiménez-Blanco, “Picasso clásico,” in Picasso (Madrid: Fundación Cultural Mapfre Vida, 2002), 79 (ill.).
• Washington DC, The National Gallery of Art, Picasso: The Cubist Portraits of Fernande Olivier (Washington DC: The National Gallery of Art, 2003), 7, fig. 2, as Girl with a Pitcher.
• Stephanie D’Alessandro, Picasso and Chicago: 100 Years, 100 Works (Chicago: The Art Institute of Chicago, 2013), 39, pl. 11.
• Stephanie D’Alessandro, The Age of Picasso and Matisse: Modern Art at the Art Institute of Chicago (Chicago: The Art Institute of Chicago, 2014), 54 (ill.).
• Kenneth Brummel, Susan Behrends Frank, Marilyn McCully, Patricia Favero, Eduard Vallès, Sandra Webster-Cook, Picasso: Painting the Blue Period, exh. cat. (New York: DelMonico Books; Toronto: Art Gallery of Ontario; Washington D.C.: The Phillips Collection, 2021), 250, 251 (color ill.), 315, 325.

• Frankfurt, Städelsches Kunstinstitut, Vom Abbild zum Sinnbild: Ausstellung von Meisterwerken Moderner Malerei im Städelschen Kunstinstitut, June 3–July 3, 1931, cat. 184, as Mädchen mit Krug.
• The Hague, Gemeentemuseum, Hedendaagsche Fransche Kunst, Feb. 15–Mar. 15, 1936, cat. 89, as Hebe, Halffiguur Naakt in Rooden Toon.
• London, Tate Gallery, Picasso, July 6–Sept. 18, 1960, cat. 27, as Girl with Pitcher.
• Washington, National Gallery of Art, 100 Paintings and Drawings from the Collection of Mr. and Mrs. Leigh B. Block, May 4–June 11, 1967, cat. 36, as Girl with a Pitcher; Los Angeles County Museum of Art, Sept. 21–Nov. 2, 1967.
• The Art Institute of Chicago, Picasso in Chicago, Feb. 3–Mar. 31, 1968, cat. 9 (ill.).
• The Art Institute of Chicago, The Art of the Edge: European Frames 1300–1900, Oct. 17–Dec. 14, 1986, as Girl With Pitcher.
• Leningrad, Hermitage Museum, Ot Delakrua do Matissa, Mar. 15–May 10, 1988, cat. 48; Moscow, Pushkin Museum, June 10–July 30, 1988.
• Malaga, Palacio Episcopal, Picasso Clasico, Oct. 10, 1992–Jan. 11, 1993, cat. 9, as Desnudo con jarra.
• Nagaoka, Japan, Niigata Prefectural Museum of Modern Art, Masterworks of Modern Art from The Art Institute of Chicago, Apr. 20–May 29, 1994, cat. 22; Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; Yokohama Museum of Art, Aug. 6–Sept. 25, 1994.
• Washington, National Gallery of Art, Picasso: The Early Years, 1892–1909, Mar. 30–July 27, 1997, cat. 152, as Girl with a Pitcher; traveled to Boston, Museum of Fine Arts, Sept. 10, 1997–Jan. 4, 1998.
• Chicago, Art Institute of Chicago, Picasso and Chicago, Feb. 20–May 12, 2013, cat. 26.
• Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. 16, 2014, no cat. no. 
• Toronto, Art Gallery of Ontario, Picasso: Painting the Blue Period, Oct. 9, 2021–Jan. 23, 2022 (extended from Jan. 16th), no. cat. no.; Washington D.C.; The Phillips Collection, Feb. 26–June 12, 2022 (Washington D.C. only).

Dr. Gottlieb Friedrich von Reber (1880–1959), Lausanne, by 1927 [Schürer 1927]; probably sold to A. E. von Saher, by 1936 [The Hague 1936; van Adrichem 1993, 153]. Alfred Richet (1893–1992), Paris, until c. 1960 [Daix and Boudaille 1967, and email from Pierre-Jean Furet, June 15, 2001; copy in curatorial file]. Edward F. W. James (1907–1984), London, by 1960 [London 1960]. Mary and Leigh Block, Chicago, by 1967 [Daix and Boudaille 1967]; given to the Art Institute, 1981.