The artist; on consignment 1 June 1922 to possibly spring 1924 to (Léonce Rosenberg, Galerie L'Effort Moderne, Paris); possibly on consignment to (Jacques Viot, Galerie Pierre, Paris); possibly Evan Shipman, Paris, by June 1925; Hadley [1891-1979] and Ernest [1899-1961] Hemingway, Paris, by 9 November 1925;[1] Hadley Richardson Hemingway [later Mrs. Paul Scott Mowrer], Paris and Chicago, from c. October-November 1926;[2] Ernest Hemingway's fourth wife, Mary Welsh Hemingway [1908-1986], New York;[3] bequest 1987 to NGA. [1] Provenance from Carolyn Lanchner, _Joan Miró_, Exh. cat., Museum of Modern Art, New York, 1993: no. 22. Although Evan Shipman's name is included here in the provenance, it is not certain that he ever actually owned the painting. Ernest Hemingway wrote in a 1934 article that Shipman made Galerie Pierre put a price on the painting and agree to sell it to him (Shipman), but that Shipman reconsidered the same day, thought Hemingway should have the painting, and the two rolled dice for it. Hemingway won, and purchased the painting from Galerie Pierre by paying for it in monthly installments. (See _Cahiers d'Art_ 1-4[1934]: 32.) It is probable that Galerie Pierre published the painting as being owned by Shipman in the catalogue of the 1925 exhibition to indicate that it was not for sale. (See notes on the provenance prepared in 2004 by NGA intern Jennifer Sudul, in NGA curatorial files.) [2] Hadley and Ernest divided their possessions shortly before they were officially divorced in December 1926, and Ernest delivered the painting to Hadley (Carlos Baker, _Ernest Hemingway: A Life Story_, New York, 1969: 177, 593 note). Hadley married Paul Mowrer in 1933 and they moved from Paris to Chicago the following year, taking the painting with them. The Mowrers lent the painting to the exhibition _A Century of Progress_ at the Art Institute of Chicago, and it was returned to them after the closing on 1 November 1934 (e-mail of 30 August 2012 from Ryerson Archives, Art Institute of Chicago, in NGA curatorial files). Around this time, Ernest Hemingway, then resident in Key West, Florida, asked Hadley to lend him the painting for a time, to which she apparently agreed (Jack Hemingway, _Misadventures of a Fly Fisherman: My Life With and Without Papa_, Dallas, 1986: 299). The painting was then lent by Hemingway to a Miró exhibition at the Pierre Matisse Gallery in New York that opened 10 January 1935, and closed the next month on 9 February. Matisse notified Hemingway on 18 February 1935 that the painting was being shipped to him that day (telegram, Pierre Matisse to Ernest Hemingway, Incoming Correspondence Series, folder: Matisse, Pierre, Ernest Hemingway Papers, John F. Kennedy Presidential Library, Boston, Massachusetts; kindly brought to NGA's attention by Alex Fernández de Castro). Hemingway never returned the painting to Hadley; he moved to Havanna, Cuba, in 1939/1940, and the painting remained in his possession, except for loans he made to various exhibitions, until his death in 1961. As Hadley told Alice Sokoloff, "Everyone Ernest married after me thought it [the Miró painting] belonged to her." See Gioia Diliberto, _Paris Without End: The True Story of Hemingway's First Wife_, New York, 2011: 272, 317 note. This was true of Hemingway's fourth wife, Mary Welsh. [3] After Hemingway's death, Hadley and Mary reached an agreement about the painting out of court, through their lawyers, in which Mary paid Hadley in return for Hadley giving up her claims to the painting (memo to the file by NGA attorney, recording a phone conversation with Mary Hemingway's attorney, 21 August 1981, copy in NGA curatorial files).