Still Life with Glass, Dice, Newspaper and Playing Card

1. Daniel-Henry Kahnweiler (1884–1979), Paris, acquired directly from the artist [verso label, inv. 1926]; sold, Hôtel Drouot, Paris, Nov. 17-18, 1921, 2nd Kahnweiler sequestration sale, lot. 32, as Nature morte, to Jonas Netter (1867–1946), Paris. Jacques Doucet (1853–1929), Neuilly-sur-Seine, by 1928 [photograph probably taken by Pierre Legrain, 1928, copy in curatorial object file]; by descent to his wife, Jeanne Roger Doucet (1861–1958), Neuilly-sur-Seine, 1929; sold to Jacques Seligmann & Co., New York, Sept. 15, 1937 [Seligmann & Co. receipt, Seligmann Records, Box 290, Folder 6, Archives of American Art, Smithsonian Institution, copy in curatorial object file]; sold to Mima de Manziarly Porter, Chicago and later Ojai, California, Nov. 4, 1937 [letter dated Nov. 4, 1935 from Jacques Seligmann & Co., New York, to Mima de Manziarly Porter, Seligmann Records, Box 78, Folder 4, Archives of American Art, Smithsonian Institution, copy in curatorial object file, copy in curatorial object file]; bequeathed to the Art Institute of Chicago, Mar. 13, 1989.

Recorded by Art Institute of Chicago.

• Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Art from the Art Institute of Chicago, Oct. 6, 2013–Feb. 16, 2014, no cat. no.

• “Revue des Ventes: Séquestre Kahnweiler,” Gazette de L’Hôtel Drouot 30, 122 (November 19, 1921), 1, cat. 32 (not ill.), as Nature Morte.
• L.-Maurice Lang, ed., Annuaire des ventes de tableaux, dessins, aquarelles, pastels, gouaches, miniatures: Guide du Marchand, de l’Amateur 4 (October 1921–July 1922), 55 (not ill.), as Nature Morte.
• André Joubin, “Le studio de Jacques Doucet,” L’Illustration 4548 (May 3, 1930), 17 (color ill.).
• George Isarlov, Georges Braque (Paris: José Corti, 1932), 19, cat. 188 (not ill.), as Verre et Dé.
• Germain Seligmann, Merchants of Art, 1880-1960: Eighty Years of Professional Collecting (New York: Appleton-Century-Crofts, 1961), n.p., pl. 70a, (ill.), as Le Jour, 1911.
• Nicole Worms de Romilly and Jean Laude, Braque, le cubisme, fin 1907-1914 (Paris: Maeght, 1982), 230, fig. 218 (ill.), 286, as Verre et dé Jou, 1913.
• William Rubin, Judith Cousins and Hélène Seckel, eds., Les Demoiselles d’Avignon, Studies in Modern Art 3 (New York: Museum of Modern Art, 1994), 193, 194, 195, as Le Jour.
• Stephanie D’Alessandro, ed., The Age of Picasso and Matisse: Modern Art at the Art Institute of Chicago, exh. cat. (Chicago: The Art Institute of Chicago, 2014), 42, no cat. no. (color ill.).
• Chantal Georgel, ed., Jacques Doucet: Collectionneur et Mécène (Paris: Arts décoratifs and the Institut National d'Histoire de l'Art, 2016), 140, 169 (color ill.), as Verre et dé JOU.
• Anna Jozefacka, "Jacques Doucet (also Jacques-Antoine)," The Modern Art Index Project (February 2017), Leonard A. Lauder Research Center for Modern Art, The Metropolitan Museum of Art. https://doi.org/10.57011/KHUM8583.

Little Harbor in Normandy

Art Institute of Chicago

Landscape at L'Estaque

Art Institute of Chicago

Antwerp

Art Institute of Chicago

Still Life with Fruits and Stringed Instrument

Art Institute of Chicago

Woman at an Easel (Green Screen)

Art Institute of Chicago

Wheatfield

Art Institute of Chicago

Ajax

Art Institute of Chicago

Still Life

Art Institute of Chicago

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