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.
Société des Beaux-Arts, La Peinture sous le signe d’Apollinare exh. cat. (Courtroi: J. Vermaut, 1950), p. 38, cat. 62, as Nature morte: Barbera.
Basel, Kunsthalle, Collection Fernand Graindorge exh. cat. (Kunsthalle Basel, 1954), p. 12, cat. 113, as Nature morte “Barbera.”
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 416, as Still Life “Barbara.”
Tokyo, National Museum of Modern Art, Cubism exh. cat. (Tokyo , 1976), pp. 27 (ill.), 107, cat. 84, as Still Life: Barbera, 1918.
Speyer, A. James, and Courtney Graham Donnell, Twentieth-Century European Paintings (Art Institute of Chicago, 1980), p. 69, pl. 3G7, as Still Life: Barbera, 1918.
Barilli, Renato, ed., Gino Severini exh. cat. (Electa Firenze, 1983), pp. 102 (ill.), 175, cat. 57, as Natura morta–Barbera.
Fonti, Daniela, Gino Severini: Catalogo ragionato (Milan: Arnoldo Mondadori Editore, 1988), p. 268 (ill.), fig. 303, as Nature morta: Barbera.
Green, Christopher, The European Avant-Gardes (London: Zwemmer, 1995), p. 465 (ill.), as Still Life Barbera, 1918.
Verviers, Belgium, Société des Beaux-Arts, La Peinture sous le signe d’Apollinare, October 22–November 5, 1950, p. 38, cat. 62; traveled to Gand, Belgium, Cercle Royal Artistique et Littéraire, November 11–26, 1950; and Brussels, Palais des Beaux-Arts, December 1950.
Tokyo, National Museum of Modern Art, Cubism, October 2–November 14, 1976, cat. 84; traveled to Kyoto, National Museum of Modern Art, November 23–December 19, 1976.
Florence, Palazzo Pitti, Gino Severini, June 25–September 25, 1983, pp. 102 (ill.), 175, cat. 57.
Chicago, The Art Institute of Chicago, A Case for Wine, July 11—September 20, 2009, no cat.
Galerie de l’Effort Moderne (Léonce Rosenberg), Paris, probably acquired directly from the artist, by 1937 [this and the following according to letter from Fernand C. Graindorge, Apr. 15, 1976, in curatorial file]; sold to Fernand C. Graindorge, Liège, Belgium, 1937 [this and the following according to object data sheet completed by Theodore Schempp, May 22, 1975, in curatorial file]; sold to Theodore Schempp, Paris, Nov. 1954 [this and the following according to letter from Saidenberg Gallery, Apr. 15, 1975, in curatorial file]; sold to Mr. and Mrs. Daniel Saidenberg, New York, Mar. 1955; given to the Art Institute of Chicago, 1955.
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