About This Artwork

Exhibition, Publication and Ownership Histories

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Galerie Paul Rosenberg, Exposition d’oeuvres récentes de Georges Braque, April 3–30, 1937, cat. 13 (ill.), as Femme peignant.

Paris, Petit Palais, Maitres des Art Independent 1895–1937, June–October 1937, p. 96, salle 29, cat. 2, as La femme peintre.

Pittsburgh, Carnegie Institute, 1937 International Exhibition of Paintings, October 14–December 5, 1937, hors cat.

Melbourne, Australia, David Jones’ Gallery, The Daily Telegraph Exhibition of French and British Modern Art, opened November 20, 1939, n. p., cat. 10, as Femme devant son chevalet.

Baltimore Museum of Art, Paintings by Georges Braque, November 22–December 27, 1942, no cat..

San Francisco, M. H. de Young Memorial Museum, The Nathan Cummings Collection, 1953.

Eugene, Oregon, University of Oregon, 1953; traveled to the Portland Museum of Art, Portland, Oregon.

Zürich, Switzerland, Kunsthaus Zürich, Georges Braque, June–July 1953, p. 8, cat. 90, as Femme devant le chevalet.

Arts Club of Chicago, Twentieth Century Art Loaned by Members of the Arts Club of Chicago, October 1–20, 1954, cat. 3, as Femme Peignant.

Art Gallery of Toronto, Nathan Cummings Collection: 19th and 20th Century French Paintings, September 9–Oct 16, 1955, cat. 1.

Paris, Musée des Arts Decoratifs, Collection Nathan Cummings d’art ancien du Perou et peintures françaises XIXe et XXe siècle, March–May 1956, n. p., cat. 15, as Femme Peignant.

New York, E. and A. Silberman Galleries, Art Unites Nations; An Exhibition of Paintings, December 10–28, 1957, n. p., cat. 26, as La Femme Peignant (ill.).

St. John, Canada, New Brunswick Museum, April 24–May 31, 1958.

Pittsburgh, Carnegie Institute, Retrospective Exhibition of Paintings from Previous Internationals, December 5, 1958–February 8, 1959, n. p., cat. 77 (ill.), as Femme Peignant.

Cincinnati, Ohio, Contemporary Arts Center, Homage to Georges Braque, September 22–October 22, 1962, n. p. (ill.), as Woman at the Easel, Femme au chevalet (Paravent vert); traveled to Chicago, The Arts Club, November 8–December 6, 1962, and Minneapolis, Minn., Walker Art Center, December 20, 1962–January 20, 1963.

New York, Paul Rosenberg Gallery, Georges Braque, 1882–1963: An American Tribute, April 7–May 2, 1964, cat. 29 (ill.).

Minneapolis, Minn., Minneapolis Institute of Arts, Paintings from the Cummings Collection, January 14–March 7, 1965, n. p., as Femme Piegnant.

New London, Conn., Lyman Allyn Museum, Connecticut College, Paintings and Sculpture from the Collection of Mr. and Mrs. Nathan Cummings, January 19–February 18, 1968, n. p. (ill.).

Washington D. C., National Gallery of Art, Selections from the Nathan Cummings Collection, June 28–September 11, 1970, p. 64, cat. 49 (ill.); traveled to New York, Metropolitan Museum of Art, July 1–September 7, 1971.

The Art Institute of Chicago, Major Works from the Collection of Nathan Cummings, October 20–December 9, 1973, p. 53, cat. 44 (ill.).

Winston-Salem, N. C., Reynolds House of American Art, An Impressionist Legacy: The Collection of Sara Lee Corporation, September 9–December 25, 1990; traveled to Memphis, Tenn., Dixon Gallery and Gardens, January 20–March 17, 1991.

Lakeland, Fla., Polk Museum of Art, Modern Masters: The Collection of Sara Lee Corporation, January 14-March 12, 1995, p. 2 and 15 (ill.), as Woman Painting (Femme sepoignant).

Laren, The Netherlands, Singer Museum, The Sara Lee Collection: An Impressionist Legacy, October 18, 1997–February 15, 1998.

Monet to Moore: The Millennium Gift of the Sara Lee Corporation, April 1–May 30, 1999, pp. xvii and 20–23, cat. 5 (ill.); traveled to Singapore, Museum of Art; Canberra, National Gallery of Australia, June 11–August 22, 1999; Raleigh, North Carolina Museum of Art, September 10–November 7, 1999; Oregon, Portland Art Museum, November 19, 1999–January 25, 1999; Chicago, Art Institute, March 15–May 28, 2000.
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Publication History

M. Walther Halvorsen, “Exposition Braque, Laurens, Matisse, Picasso à Oslo, Stockholm, Copenhague,” Cahiers d’art XII:6–7 (1937), opp. p. 220 (ill.).

Galerie Paul Rosenberg, Exposition d’oeuvres récentes de Georges Braque, exh. (Paris: Galerie Paul Rosenberg, 1937), cat. 13 (ill.), as Femme peignant.

Petit Palais, Maitres des Art Independent 1895–1937, exh. cat. (Paris: Petit Palais, 1937), p. 96, salle 29, cat. 2, as La femme peintre.

Christian Zervos, Histoire de l’art Contemporain (Paris: Cahiers d’Art, 1938), p. 286 (ill.).

David Jones’ Gallery, The Daily Telegraph Exhibition of French and British Modern Art, exh. cat. (Melbourne, Australia: David Jones’ Gallery, 1939), n. p., cat. 10, as Femme devant son chevalet.

Rosamund Frost, Contemporary Art: The March of Art from Cézanne until Now (New York: Crown Publishers, 1942), p. 54, as Guitare Bleue et Rouge (ill).

Kunsthaus Zürich, Georges Braque, exh. cat. (Zürich, Switzerland: Kunsthaus Zürich, 1953), p. 8, cat. 90, as Femme devant le chevalet.

Arts Club of Chicago, Twentieth Century Art Loaned by Members of the Arts Club of Chicago, exh. cat. (Chicago: Arts Club of Chicago, 1954), cat. 3, as Femme Peignant.

Art Gallery of Toronto, Nathan Cummings Collection: 19th and 20th Century French Paintings, exh. cat. (Toronto: Art Gallery of Toronto, 1955), cat. 1.

Musée des Arts Decoratifs, Collection Nathan Cummings d’art ancien du Perou et peintures françaises XIXe et XXe siècle, exh. cat. (Paris: Musée des Arts Decoratifs, 1956), n. p., cat. 15, as Femme Peignant.

Maurice Gieure, G. Braque (New York: Universe Books, 1956), pp. 53 and 101, pl. 90.

E. and A. Silberman Galleries, Art Unites Nations; An Exhibition of Paintings, exh. cat. (New York: E. and A. Silberman Galleries, 1957), n. p., cat. 26, as La Femme Peignant (ill.).

John Russell, G. Braque, (New York: Phaidon, 1959), pp. 28 and 125, pl. 52.

Carnegie Institute, Retrospective Exhibition of Paintings from Previous Internationals, exh. cat. (Pittsburgh: Carnegie Institute, 1958), n. p., cat. 77 (ill.), as Femme Peignant.

Catalogue de l’oeuvre de Georges Braque: Peintures 1936–1941 (Paris: Maeght, 1961), n. p., no. 2 (ill.), as Femme au chevalet (paravent vert).

Contemporary Arts Center, Homage to Georges Braque, exh. cat. (Cincinnati, Ohio: Contemporary Arts Center, 1962), n. p. (ill.), as Woman at the Easel, Femme au chevalet (Paravent vert).

John Richardson, Georges Braque (Paris: La Bibliothèque des arts, 1962), no. 29 (ill.).

Paul Rosenberg Gallery, Georges Braque, 1882–1963: An American Tribute, exh. cat. (New York, Paul Rosenberg Gallery, 1964), cat. 29 (ill.).

Minneapolis Institute of Arts, Paintings from the Cummings Collection, exh. cat. (Minneapolis, Minn., Minneapolis Institute of Arts, 1965), n. p., as Femme Piegnant.

Yoskiaki Tono, Picasso/Braque, Gendai Sekai Bijutsu Zenshu 7 (Tokyo: Kawade Shobo, 1966), p. 133, pl. 66.

Edwin Mullins, The Art of Georges Braque (New York: Harry N. Abrams, 1968), pp 130, 138, and 213, pl. 104.

Lyman Allyn Museum, Connecticut College, Paintings and Sculpture from the Collection of Mr. and Mrs. Nathan Cummings, exh. cat. (New London, Conn.: Lyman Allyn Museum, 1968), n. p. (ill.).

Atsushi Miyagawa, L’Art du Monde: Braque/Leger 18 (Japan: Kawade Shobo, 1968), p. 104, pl. 25, as Femme au chevalet.

National Gallery of Art, Selections from the Nathan Cummings Collection, exh. cat. (Washington D. C.: National Gallery of Art, 1970), p. 64, cat. 49 (ill.).

The Art Institute of Chicago, Major Works from the Collection of Nathan Cummings, exh. cat. (Chicago: The Art Institute of Chicago, 1973), p. 53, cat. 44 (ill.).

Magoichi Kushida, Braque, Shincho Art Library 43 (Tokyo: Shinchosha, 1975), n. p., pl. 27.

Irina Fortunescu, Braque, trans. by Richard Hillard (London: Abbey Library, 1977), p. 31, pl. 39.

Raymond Cogniat, Georges Braque, trans. by I. Mark Paris (New York: Harry N. Abrams, 1980) p. 64, fig. 61.

Nadine Pouillon and Isabelle Monod-Fontaine, Braque: oeuvres de Georges Braque (1882–1963) (Paris: Musée National d’Art Moderne, 1982) pp. 99 and 100, fig. 4.

Consolidated Foods Corporation’s Nathan Cummings Collection (Chicago: Consolidated Foods, 1983), pp. 12 and 14, pl. 8.

Richard R. Brettell, An Impressionist Legacy: The Collection of Sara Lee Corporation (New York: Abbeville Press, 1986), pp. 68–71 (ill.), as Woman Painting.

Serge Fauchereau, Braque, trans. by Kenneth Lyons (New York: Rizzoli, 1987), fig. 87.

“Impressionist Legacy,” Compass readings XXII:1 (January 1991), p. 90 (ill.).

Jean Leymarie, Braque, les ateliers (Paris: Édisud, 1995), pp. 74, 97 and 229, pl. 25, as Femme au chevalet (paravent vert).

Polk Museum of Art, Modern Masters: The Collection of Sara Lee Corporation, exh. cat. (Lakeland, Fla.: Polk Museum of Art, 1995), p. 2 and 15 (ill.), as Woman Painting (Femme se poignant).

Richard Brettell, Monet to Moore: The Millennium Gift of Sara Lee Corporation, exh. cat.

(New Haven, Conn.: Yale University Press, 1999), pp. 20–23, cat. 5 (ill.).

Ownership History

Paul Rosenberg (1881–1959), Paris, to at least 1939 [Melbourne 1939]. Keith Warner, New York. Sold by E. and A. Silberman Gallery, New York, to Nathan Cummings (1896–1985), Chicago, 1953; given to his son, Herbert K. Cummings (1923–1992), Phoenix, about 1978; sold to Consolidated Foods Corporation (The Sara Lee Corporation), 1981; given to the AIC, 1999.