Reclining Woman

1. Galerie Simon, Paris [this and the following according to Chicago 2000]. Gimpel and Hanover. Anne Rotzler, Switzerland. Nathan Cummings (1896–1985), Chicago, by 1965–at least 1971 [Minneapolis 1965; Washington D.C. 1971]. Beadleston Fine Art, Inc., New York, by 1979 [The Art Quarterly 1979]. Galerie Louise Leiris, Paris, 1981. Private collection, United States. Daniel Varenne, Geneva, by 1985 [this and the following according to email from Francesca Volpe, Galerie Beyeler, to Diane Miliotes, Dec. 14, 2007, copy in curatorial file]; Galerie Beyeler, Basel, 1985; Riklis Collection, New York, probably through Anne Rotzler, 1986. Consolidated Foods Corporation (The Sara Lee Corporation); given to the Art Institute of Chicago, 1999.

Recorded by Art Institute of Chicago.

• Minneapolis, Minn., Minneapolis Institute of Arts, Paintings from the Cummings Collection, January 14–March 7, 1965, n. p.
• Washington D. C., National Gallery of Art, Selections from the Nathan Cummings Collection, June 28–September 11, 1970, p. 58, cat. 43, as Reclining Figure (ill.); traveled to New York, Metropolitan Museum of Art, July 1–September 7, 1971.
• Laren, The Netherlands, Singer Museum, The Sara Lee Collection: An Impressionist Legacy, October 18, 1997–February 15, 1998.
• The Art Institute of Chicago, Monet to Moore: The Millennium Gift of Sara Lee Corporation, March 13–May 28, 2000, pp. 74–77, cat. 20 (ill.); traveled to the National Gallery of Australia, Canberra, June 11–August 22, 1999, the North Carolina Museum of Art, Raleigh, September 10–November 7, 1999, Portland Art Museum, Oregon, November 19, 1999–January 23, 2000, and, Singapore Museum of Art, April 1–May 30, 1999.

• Minneapolis Institute of Arts, Paintings from the Cummings Collection, exh. cat. (Minneapolis, Minn.: Minneapolis Institute of Arts, 1965), n.p.
• National Gallery of Art, Selections from the Nathan Cummings Collection, exh. cat. (Washington D.C., National Gallery of Art, 1970), p. 58, cat. 43, as Reclining Figure (ill.).
• Douglas Cooper, “Cummings Event in Washington,” Art News 69:4 (Summer 1970), p. 36 (ill.).
• Frank Elgar, “Le Primitif des Temps Modernes,” XX Siècle (1971), p. 32 (ill.).
• Jean Cassou and Jean Leymarie, Fernand Léger, Dessins et Gouaches (Paris: Chêne, 1972), p. 73, fig. T 22.
• The Art Quarterly II:1 (Winter 1979), n.p. (ill.).
• Claude Laugier and Michèle Richet, Léger: oeuvres de Fenand Léger (1881–1955) (Paris: Collections du Musée National d’Art Moderne, 1981), p. 51, fig. b.
• Georges Bauquier, Fernand Léger: Catalogue raisonné 1920-1924 (Paris: Adrien Maeght, 1992), pp. 210–211, no. 320 (ill.).
• Della de LaFuente, “Art Institute scores in Sara Lee giveaway,” Chicago Sun Times (June 3, 1998), p. 7 (ill.).
• Judith H. Dobrzynski, “Sara Lee is Donating Impressionist Art to 20 U.S. Museums,” The New York Times (June 3, 1998), p. B8.
• Richard Brettell, Monet to Moore: The Millennium Gift of Sara Lee Corporation, exh. cat. (New Haven, Conn.: Yale University Press, 1999), pp. 74–77, cat. 20 (ill.).
• James N. Wood, Treasures from The Art Institute of Chicago (Chicago: The Art Institute of Chicago, 2000), p. 260 (ill.).

The Railway Crossing (Sketch)

Art Institute of Chicago

Composition in Blue

Art Institute of Chicago

Accordion Player

Art Institute of Chicago

Divers on a Yellow Background

Art Institute of Chicago

The Red Table

Art Institute of Chicago

Composition with Statuette

Art Institute of Chicago

Still Life

Art Institute of Chicago

Still Life

Art Institute of Chicago

Museum holdings, not sale records. Auction results are only shown when a licensed price source is connected.