Still Life

1. The artist, Paris; probably sold directly to Galerie Simon, Paris (later renamed Galerie Louise Leiris), by 1941 [stamp on verso label]; sold to Curt Valentin Gallery, New York, Sept. 16, 1953 [Galerie Louise Leiris statement dated Sept. 22, 1953, Museum of Modern Art Archive, Curt Valentin Papers, VII.E.4, copy in curatorial object file]; sold to G. David Thompson (1899–1965), Pittsburgh, PA, Nov. 1953 [letter from Curt Valentin to G. David Thompson, Nov. 2, 1953, Museum of Modern Art, Curt Valentin Papers, III.B.43, copy in curatorial object file]; sold, Parke-Bernet Galleries, New York, Mar. 23, 1966, lot 35, to Nathan Cummings (1896–1985), Chicago [letter from John H. Bryan to Martha Sharma, June 2000, in curatorial object file]; upon his death, collection of Consolidated Foods Corporation (later The Sara Lee Corporation), Chicago, 1985 [Brettell 1986]; given to the Art Institute of Chicago, Oct. 11, 1999.

Recorded by Art Institute of Chicago.

• Copenhagen, Kunstforeningen, Fernand Léger, Udstilling, Jan. 27–Feb. 25, 1951, cat. 7, as Le compass, 1926.
• Bern, Kunsthalle, Fernand Léger, April 10–May 25, 1952, cat. 35, as Nature Morte au Compas.
• New London, CT, Joanne and Nathan Cummings Art Center, Connecticut College, April 1969.
• Paris, Palais Galliera, Collection Nathan Cummings, Sept. 5–25, 1969, cat. 5, as Nature Morte Mécanique.
• Washington, D.C., National Gallery of Art, Selections from the Nathan Cummings Collection, June 28–Sept. 11, 1970, cat. 42; New York, Metropolitan Museum of Art, July 1–Sept. 7, 1971.
• Chicago, The Art Institute of Chicago, Major Works from the Collection of Nathan Cummings, Oct. 20–Dec. 9, 1973, cat. 55 (ill.).
• Winston-Salem, NC, Reynolda House of American Art, An Impressionist Legacy: The Collection of Sara Lee Corporation, Sept. 9–Dec. 25, 1990; Memphis, Dixon Gallery and Gardens, Jan. 20–Mar. 17, 1991.
• Laren, The Netherlands, Singer Museum, The Sara Lee Collection: An Impressionist Legacy, Oct. 18, 1997–Feb. 15, 1998.
• Singapore, Singapore Museum of Art, Monet to Moore: The Millennium Gift of Sara Lee Corporation, Apr. 1–May 30, 1999; Canberra, National Gallery of Australia, June 11–Aug. 22, 1999; Raleigh, NC, North Carolina Museum of Art, Sept. 10–Nov. 7, 1999; Portland, OR, Portland Art Museum, Nov. 19, 1999–Jan. 23, 2000; Chicago, The Art Institute of Chicago, Mar. 13–May 28, 2000, cat. 21.
• Giverny, Musée d’art Americain, A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939, Aug. 31–Nov. 30, 2003, cat. 7; Tacoma, Tacoma Art Museum, Dec. 18, 2003–Mar. 28, 2004; Chicago, Terra Museum of American Art, Apr. 17–June 27, 2004.

• E. Tériade, Fernand Léger (Paris: Cahiers d’Art, 1928), 76 (ill.), as Nature morte.
• Kunstforeningen, Fernand Léger, Udstilling, exh. cat. (Copenhagen: Kunstforeningen, 1951), n.p., cat. 7 (not ill.), as Le compass, 1926.
• Kunsthalle Bern, Fernand Léger, exh. cat. (Bern: Kunsthalle Bern, 1952), n. p., cat. 35 (not ill.), as Nature Morte au Compas.
• Palais Galliera, Collection Nathan Cummings, exh. cat. (Paris: Palais Galliera, 1969), cat. 5, as Nature Morte Mécanique.
• National Gallery of Art, Selections from the Nathan Cummings Collection, exh. cat. (Washington, D.C.: National Gallery of Art, 1970), 57, cat. 42 (ill.).
• The Art Institute of Chicago, Major Works from the Collection of Nathan Cummings, exh. cat. (Chicago: The Art Institute of Chicago, 1973), 64–65, cat. 55 (ill.).
• Richard R. Brettell, An Impressionist Legacy: The Collection of Sara Lee Corporation (New York: Abbeville Press, 1986), 38, no cat. no., 39 (color ill.), 40 (color ill., detail), 41 (color ill., detail), 120.
• Georges Bauquier, ed., Fernand Léger: Catalogue Raisonné, 1925-1928 (Paris: Adrien Maeght, 1993), 118–119, cat. 460 (ill.).
• Judith H. Dobrzynski, “Sara Lee is Donating Impressionist Art to 20 U. S. Museums,” The New York Times (June 3, 1998).
• Richard Brettell, Monet to Moore: The Millennium Gift of Sara Lee Corporation, exh. cat. (New Haven: Yale University Press, 1999), 78–81, cat. 21 (ill.), as Still-Life, also known as Still-Life with Compass.
• “Monet to Moore,” Art & Architecture (1999), 32 (ill.).
• Sophie Lévy, ed., A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939, exh. cat. (Berkeley: University of California Press, 2003), 30, cat. 7.

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