About This Artwork

Henri Matisse
French, 1869–1954

Laurette with a Cup of Coffee, 1916/17

Oil on canvas
22 3/4 x 15 3/4 in. (57.8 x 40 cm)
Signed, l.l.: "Henri Matisse"

Estate of Marguerita S. Ritman; Marion and Samuel Klasstorner Endowment; through prior gifts of Philip D. Armour; through prior bequests of Dorothy C. Morris and Marguerita S. Ritman, 1993.186

© 2018 Succession H. Matisse / Artists Rights Society (ARS), New York

Exhibition, Publication and Ownership Histories

Exhibition History

Berlin, Galerien Thannhauser, Henri Matisse, February 15–March 19, 1930, pp. 9 (ill.), 16, cat. 40, as Liegendes Mädchen. New York, Museum of Modern Art, 1957.

Washington, National Gallery, Matisse: The Early Years in Nice, November 2, 1986–March 29, 1987, p. 67 (ill.), cat. 12, as Lorette à la tasse de café.

New York, Christie’s, Impressionist and Modern Paintings, Drawing and Sculpture, Part 1 (New York, 1993), no. 48.

West Palm Beach, Florida, Norton Museum of Art, Matisse in Transition: Around Lorette, January 28–April 16, 2006.

Publication History

Hans Purrmann, Henri Matisse (Berlin, 1930), pp. 9 (ill.), 14.

Alfred Barr, Matisse: His Art and His Public (New York, 1951), pp. 191-192, 414 (ill.), as Head and Coffee Cup, (Tête et tasse à café).

Carrà, M. and M. Luzi, L’Opera di Matisse dalla rivolta ‘fauve’ all’intimismo, 1904––1928 (Milan, 1971), pp. 95–6 (ill.), cat. 230.Xavier Deryng, ed., Tout l’Œuvre Peint de Matisse, 1904-1928 (Paris, 1982), pp. 95-96 (ill.), cat. 230.

Jack Cowart and Dominique Fourcade, Henri Matisse: The Early Years in Nice: 1916–1930, exh. cat. (Washington, 1986), p. 67 (ill.), pl. 12.

Herrera, Hayden, Matisse: A Portrait (Harcourt Brace and Company, 1993), p. 126 (ill.).

Christie’s, New York, Impressionist and Modern Paintings, Drawing and Sculpture Part I, lot 48, (May 12, 1993), p. 110, as Lorette à tasse de café.

Tully, Judd, “Smooth Sailing at Christie’s,” The Washington Post (May 13, 1993).

Vogel, Carol, “A Record at Sotheby’s and Hopes at Christie’s,” The New York Times (May 13, 1993), p. B4.

Stuckey, Charles F., “Selected recent acquisitions of twentieth-century art at The Art Institute of Chicago,” Burlington Magazine (October 1993), p. 725 (ill.).

Riley II, Charles A., “The Museum Market,” Antiques Monthly 29, no. 9 (October 1993), pp. 18 (ill.), 19, 21, 22.

John Elderfield, Pleasuring Painting: Matisse’s Feminine Representations (London, 1995), pp. 46–47 (ill.), pl. 42.

John Elderfield, "Charting a New Course"Matisse: Ratical Invention 1913-1917. Exh. cat (Art Institute of Chicago, 2010), p. 313-314. fig. 7.

Ownership History

Galerie Bernheim-Jeune, Paris, probably acquired directly from the artist. Mr. and Mrs. George Warrington, Cincinnati, by 1932–probably 1940 [label on verso]. Heinz Berggruen Gallery, Paris, not before 1950–ca. 1957 [label on verso]. Marlborough Fine Arts, London, ca. 1957 [label on verso]. Ferdinand (died 1989) and Imelda Marcos, New York, by 1991–1993 [email of January 25, 2001 from Claudia Schmuckli, MoMA and Washington Post article of May 13, 1993]; purchased from Christie’s sale, May 12, 1993, lot 48, by Richard Feigen Gallery, New York, May 13, 1993–May 14, 1993 [Washington Post article of May 13, 1993 and invoice dated May 14, 1993]; sold to the Art Institute, 1993.

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