The Certitude of the Never Seen

1. Georges Hugnet (1906–1974), Paris, probably acquired directly from the artist, by 1946 [New York 1946]; sold to Roland Penrose (1900–1984), Sussex, by Dec. 13, 1960 [letter from Roland Penrose to Pierre Matisse, Dec. 13, 1960, Roland Penrose Collection, Scottish National Gallery Modern Art Archive, copy in curatorial object file]; sold to William N. (1919–1996) and Noma Copley (1916–2006), Longpont-sur-Orge, Feb. 15, 1961 [invoice dated Feb. 15, 1961, Roland Penrose Collection, Scottish National Gallery Modern Art Archive, copy in curatorial object file]; sold, Sotheby Parke-Bernet, New York, Nov. 5-6, 1979, lot 37, to Lindy (1918–2014) and Edwin Bergman (1917–1986), Chicago; given to the Art Institute of Chicago, Sept. 12, 2018.

Recorded by Art Institute of Chicago.

• Paris, Galerie Pierre Colle, Exposition surréaliste: Sculptures, objets, peintures, dessins, June 7–18, 1933, cat. 69, as Objet.
• Paris, Galerie l’Oeil, Minotaure, May-June 1962, cat. 50, as La certitude du jamais-vu.
• New York, Museum of Modern Art, Dada, Surrealism, and their Heritage, Mar. 27–June 9, 1968, cat. 311; Los Angeles, Los Angeles County Museum of Art, July 16–Sept. 8, 1968; Chicago, The Art Institute of Chicago, Oct. 9–Dec. 18, 1968.
• Paris, Centre Georges Pompidou, Yves Tanguy, June 15–Sept. 27, 1982; Baden-Baden, Staatliche Kunsthalle Baden-Baden, Oct. 17–Jan. 2, 1983, cat. 52, as Die Gewißheit des Niegesehenen / La certitude du jamais-vu.
• Chicago, Museum of Contemporary Art, Dada and Surrealism in Chicago Collections, Dec. 1, 1984–Jan. 27, 1985, no cat. no.
• Chicago, The Art Institute of Chicago, A Tribute to Edwin A. Bergman (1917–1986): Selections from the Lindy and Edwin Bergman Collection, May 30–Aug. 24, 1986, cat. 52.

• Galerie Pierre Colle, Exposition surréaliste: Sculptures, objets, peintures, dessins, exh. cat. (Paris: Galerie Pierre Colle, 1933), cat. 69, as Objet.
• Dominguez Lopez Torres, “Aureola y estigma del surrealismo,” Gaceta de arte 2, 19 (Sept. 1933), 1 (ill.).
• E. Tériade, “Aspects actuels de l’expression plastique,” Minotaure 5 (May 1934), 46, fig. 4 (ill.), as La certitude du jamais-vu.
• André Breton, Yves Tanguy, trans. Bravig Imbs (New York: Pierre Matisse Editions, 1946), 33 (ill.), 93, as La certitude du jamais vu.
• Jean-François Revel and Guy Habasque, eds., Minotaure, exh. cat. (Paris: L’Oeil, 1962), n.p., cat. 50, as La certitude du jamais-vu. (not ill.).
• Kay Sage and Pierre Matisse, Yves Tanguy: Un recueil de ses oeuvres: A Summary of his Works (New York: P. Matisse, 1963), 85, no. 139 (ill.).
• William S. Rubin, ed., Dada, Surrealism, and their Heritage, exh. cat. (New York: Museum of Modern Art, 1968), 102, 103, fig. 139 (ill.), 424, cat. 311, 250.
• Patrick Waldberg, Yves Tanguy (Brussels: A. de Rache, 1977), 294, 329, 351 (ill.).
• Phyllis Tuchman, “In Detail: David Smith and Cubi XXVIII,” Portfolio 5 (Jan.-Feb. 1983), 80 (ill.).
• Jennifer V. Mundy, “Tanguy, Titles, and Mediums,” Art History 6 (June 1983), 207 (not ill.).
• Katharina Schmidt, ed., Yves Tanguy, exh. cat. (Baden-Baden: Staatliche Kunsthalle Baden-Baden and Prestel-Verlag München, 1983), 70, 71, cat. 52 (ill.), 253, 268 (ill.), as Die Gewißheit des Niegesehenen / La certitude du jamais-vu.
• Dawn Ades and Terry Ann R. Neff, eds., In the Mind’s Eye: Dada and Surrealism in Chicago Collections (New York: Abbeville Press, 1985), 6, no cat. no., pl. 1 (color ill.), 220.

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