Pablo Picasso (1881-1973)
Femme assise près d'une fenêtre (Marie-Thérèse)
dated and inscribed 'Boisgeloup 30 Octobre XXXII' (on a piece of the original stretcher affixed to the stretcher)
oil on canvas
57 ½ x 44 7/8 in. (146 x 114 cm.)
Painted in Boisgeloup on 30 October 1932.
Estate of the artist.
Marina Picasso, Paris (by descent from the above).
Galerie Jan Krugier, New York (acquired from the above).
Stephen Hahn, New York (acquired from the above,1985).
Anon. sale, Christie’s, New York, 14 May 1997, lot 50.
Private collection (acquired at the above sale).
Private collection, Europe (acquired from the above); sale, Sotheby’s, London, 5 February 2013, lot 12.
Acquired at the above sale by the present owner.
J. Harrison, "The Story Behind a Legend: Picasso Comes to Australia" in Arts National, September 1984, pp. 80-86 (illustrated in color, p. 81).
J. Palau i Fabre, Picasso: From the Minotaur to Guernica, 1927-1939, Barcelona, 2011, p. 433, no. 302 (illustrated in color, p. 108).
Munich, Haus der Kunst; Cologne, Josef-Haubrich-Kunsthalle; Frankfurt, Städtische Galerie im Städelschen Kunstinstitut and Kunsthaus Zürich, Pablo Picasso, Sammlung Marina Picasso, February 1981-March 1982, p. 328, no. 164 (illustrated in color, p. 106, pl. 35; illustrated again, p. 328).
Venice, Centro di Cultura di Palazzo Grassi, Picasso, Opere dal 1895 al 1971 dalla Collezione Marina Picasso, May-July 1981, p. 319, no. 210 (illustrated in color, p. 117, pl. 45; illustrated again, p. 319).
Tokyo, The National Museum of Modern Art and Kyoto Municipal Museum, Picasso, Masterpieces from Marina Picasso Collection and Museums in U.S.A. and U.S.S.R., April-July 1983, p. 111, no. 128 (illustrated in color).
Melbourne, National Gallery of Victoria and Sydney, Art Gallery of New South Wales, Picasso, July-December 1984, pp. 109 and 211, no. 100 (illustrated in color, p. 109; illustrated again in color on the back cover).
New York, William Beadleston, Inc., Through the Eye of Picasso, 1928-1934: The Dinard Sketchbook and Related Paintings and Sculpture, October-December 1985, no. 72 (illustrated in color; detail illustrated on the frontispiece).
New York, Acquavella Galleries, Inc., Picasso’s Marie-Thérèse, October-November 2008, pp. 55 and 77 (illustrated in color, p. 54, pl. 5).
New York, Gagosian Gallery, L’Amour fou: Picasso and Marie-Thérèse, April-June 2011, p. 164 (illustrated in color, p. 165).
Hamburg, Bucerius Kunst Forum, Fenster zur Welt, February-May 2016, p. 102, no. 19 (illustrated in color, p. 103; detail illustrated in color, p. 105).
Paris, Musée national Picasso, Picasso 1932, année érotique, October 2017-February 2018, pp. 190 and 232, no. 143 (illustrated in color, p. 191).
London, Tate Modern, The EY Exhibition: Picasso 1932, Love Fame Tragedy, March-September 2018, pp. 25 and 259 (illustrated in color, p. 215).
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Claude Picasso has confirmed the authenticity of this work.
Maya Widmaier-Picasso has confirmed the authenticity of this work.