Edtaonisl (Ecclesiastic)

1. The artist, until at least 1947 [New York 2016]; stored with Gabrièle Buffet-Picabia (1881-1985), 1947 [Buffet-Picabia 1956]; stored with Fritz Glarner (1899-1972), New York, by 1949 [this and the following according to letter from Armand Bartos to Courtney Donnell, Feb. 5, 1976, copy in curatorial object file]; sold through Rose Fried Gallery, New York, to Armand Phillip Bartos (1910-2005) and Celeste Bartos (1913-2013), New York, 1950; given to the Art Institute of Chicago, 1953.

Recorded by Art Institute of Chicago.

• Paris, Grand Palais, Salon d’Automne, 11e Exposition, November 15, 1913-January 5, 1914, cat. 1675.
• Paris, Musée National d’art Moderne, Palais de Tokyo, Exhibition of Udnie and Edtaonisl, May 1-31, 1948, no cat.
• Paris, Galerie René Drouin, 491, Mar. 4-26, 1949, cat. 11.
• New York, Rose Fried Gallery, Picabia, Feb. 15-Mar. 31, 1950, no cat.
• New York, Museum of Modern Art, Dada, Surrealism, and Their Heritage, Mar. 27-June 9, 1968, cat. 260; Los Angeles, Los Angeles County Museum of Art, July 16-Sept. 8, 1968, and Chicago, Art Institute of Chicago, Oct. 19-Dec. 8, 1968 [New York and Chicago only].
• New York, Solomon R. Guggenheim Museum, Francis Picabia, Sept. 18-Dec. 6, 1970, cat. 32; Cincinnati, Cincinnati Art Museum, Jan. 6-Feb. 7, 1971; Toronto, Art Gallery of Ontario, Feb. 26-Mar. 28, 1971; Detroit Institute of Arts, May 21-June 27, 1971 [New York only].
• Zürich, Kunsthaus Zürich, Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction, June 3–Sept. 25, 2016; New York, Museum of Modern Art, Nov.20, 2016–Mar. 19, 2017, pl. 23.
• New York, Solomon R. Guggenheim Museum, Harmony and Dissonance: Orphism in Paris, 1910-1930, Nov. 8-Mar. 9, 2025, pl. 25.

• Salon d’Automne, 11e Exposition, exh. cat. (Paris: Société anonyme de l’imprimerie Kugelmann, 1913), 212, cat. 1675 (not ill.).
• Guillaume Apollinaire, “Salon d’Automne,” Les Soirées de Paris 18 (Nov. 15, 1913), 8 (not ill.).
• A. Cartault, "Le Salon d'Automne," La Revue du mois no. 97 (Jan. 10, 1914), 40 (not ill.).
• Six reproductions dont deux en couleurs d'après les récents tableaux de Francis Picabia, Les Soirées de Paris 22 (Mar. 15, 1914), 151 (color ill.), as Edtaonisl (ecclesiastique).
• Georges Isarlov, “Picabia Peintre,” Orbes 2 (Spring 1929): 92.
• Bernard Dorival, “Les nouvelles artistiques,” Les nouvelles littéraires, artistiques, et scientifiques, (May 20, 1948), 6 (not ill.).
• Michel Tapié, ed., 491, exh. cat. in newspaper format (Paris: Galeries René Drouin, 1949), cat. 11 (not ill.).
• Henry McBride, “The More Abstract the Better,” Art News 49, no. 1 (Mar. 1950), 10 (ill.).
• Michel Seuphor, ed. L’Art Abstrait (Paris: Maeght, 1950), 205 (ill.).
• “Francis Picabia,” Art Digest 28, no. 6 (Dec. 15, 1953), 4.
• “Recent Additions to the Twentieth Century Collection,” The Art Institute of Chicago Quarterly, Vol. 49, No. 2 (Apr. 1, 1955), 25 (not ill.).
• Philip Pearlstein, “The Symbolic Language of Francis Picabia,” Arts 30, 4 (January 1956), 43 (not ill.).

Têtes-paysage

Art Institute of Chicago

Untitled (Match-Woman I)

Art Institute of Chicago

Self-Portrait

Art Institute of Chicago

Painting of Madame X

Art Institute of Chicago

New York

Art Institute of Chicago

Entrance to New York

Art Institute of Chicago

291

Art Institute of Chicago

Machine

Art Institute of Chicago

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