Figure

• “Contemporary Art in the Bay Region—1950,” San Francisco Museum of Art, Magazine of Art (March 1950), p. lxxxx (ill.), as Figure.
• Christian Zervos, Pablo Picasso VII (Paris: Cahiers d’Art, 1955), p. 51, no. 118 (ill.), as Figure.
• Alfred H. Barr, Jr., Picasso: 75th Anniversary Exhibition, exh. cat. (New York: Museum of Modern Art, 1957), p. 63 (ill.).
• Picasso, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1958), p. 19, cat. 116 (ill.).
• Paintings in The Art Institute of Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 1961), p. 357.
• “Samuel A. Marx 1885–1964,” The Art Institute of Chicago Quarterly 58:1 (1964), p. 4 (ill.).
• The School of Paris: Paintings from the Florence May Schoenborn and Samuel A. Marx Collection, exh. cat. (New York: Museum of Modern Art, 1965), p. 26 (ill.)
• Yoshiaki Tono, Picasso/Braque, Gendai Sekai Bijutsu Zenshu 7 (Tokyo: Kawade Shobo, 1966), p. 118, pl. 28.
• Picasso in Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 1968), p. 32, cat. 31 (ill.).
• Sandra Grung, Supplement to Paintings in The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 1971), p. 86.
• A. James Speyer and Courtney Graham Donnell, Twentieth Century European Painting (Chicago: University of Chicago Press, 1980), p. 64, no. 3D7.
• Picasso (France: ODA Laser Edition, 1992), p. 49, no. 22074, as Figure.
• James N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: The Art Institute of Chicago, 1996), p. 57 (ill.).
• The Picasso Project, Picasso’s Paintings, Watercolors, Drawings, and Sculpture: A Comprehensive Illustrated Catalogue 1885–1973, Toward Surrealism 1925–1929 (San Francisco: Alan Wofsy Fine Arts, 1996), p. 91, no. 27–030 (ill), as Head of a Woman.
• Michael Fitzgerald and Julia May Boddewyn, Picasso and American Art, exh. cat. (New York: Whitney Museum of American Art, 2006), pp. 367 and 376.
• Liz O’Brien, Ultramodern, Samuel Marx: Architecth, Designer, Art Collector (New York? Pointed Leaf Press, 2007), pp. 122-23.
• Stephanie D’Alessandro, Picasso and Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 2013), pp. 22, 66-67, pl. 49; 105, cat. 79 (ill.).
• T.J. Clark, Picasso and Truth (Princeton, NJ: Princeton University Press, 2013), p. 201, fig. 5.10.
• Enrique Mallen, The On-Line Picasso Project (http://www.tamu.edu/mocl/picasso/), no. 27–08 (ill.), as Tête de femme.
• Laurent Le Bon, Marilyn McCully, and Michael Raeburn, Picasso. Tableaux Magiques, exh. cat. (Paris: Musée national Picasso-Paris, 2019), frontcover (color ill.), 26, 74 (color ill.), 149, 191.

• San Francisco Museum of Art, Modern Masterpieces of the Bay Region—15th Anniversary, Jan. 1950, no cat.
• The Art Institute of Chicago, Gallery of Art Interpretation: Presenting the Art Institute’s Picassos, Sept.–Dec. 1955, no cat.
• New York, Museum of Modern Art, Picasso: 75th Anniversary Exhibition, May 22–Sept. 5, 1957; The Art Institute of Chicago, Oct.29–Dec. 8, 1957.
• Philadelphia Museum of Art, Picasso, Jan. 8–Feb. 23, 1958, cat. 116.
• New York, Museum of Modern Art, The School of Paris: Paintings from the Florence May Schoenborn and Samuel A. Marx Collection, Nov. 1, 1965–Jan. 2, 1966; The Art Institute of Chicago, Feb. 11–Mar. 27, 1966; City Art Museum of St. Louis, Apr. 27–June 13, 1966; Mexico City, Museo de Arte Moderno, July 2–Aug. 7, 1966; San Francisco, Museum of Art, Sept. 2–Oct. 2, 1966.
• The Art Institute of Chicago, Picasso in Chicago, Feb. 3–Mar. 31, 1968, cat. 31.
• The Art Institute of Chicago, Picasso and Chicago, Feb. 20–May 12, 2013, cat. 79.
• 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. 
• Paris, Musée national Picasso-Paris, Picasso. Tableaux magiques, Oct. 1, 2019–Feb. 23, 2020, cat. 24.

The artist; sold to Gordon Onslow-Ford (1912-2003) with the aid of André Breton (1896-1966), Paris, 1940; transferred from the studio of Pablo Picasso to Gordon Onslow-Ford, San Francisco, 1948 (physical transfer of object delayed) [letter from Gordon Onslow-Ford of April 15, 1951 in curatorial file]; sold to the Art Institute of Chicago, 1951.