About This Artwork

Exhibition, Publication and Ownership Histories

Exhibition, Publication and Ownership Histories

Exhibition History

Copenhagen, Kunstforeningen, Fernand Léger, Udstilling, 1951, cat. 7.

Bern, Kunsthalle, Fernand Léger, April 10–May 25, 1952, cat. 35.

Turin, Galleria Civica d’Arte Moderna, 1961.Pittsburgh, Penn., Carnegie Institute, 1961.

New London, Conn., Joanne and Nathan Cummings Art Center, Connecticut College, April 1969.

Paris, Palais Galliéra, Collection Nathan Cummings, September 5–25, 1969, cat. 5, as Nature Morte Mécanique.

Washington, D.C., National Gallery of Art, Selections from the Nathan Cummings Collection, June 28–September 11, 1970, p. 57, cat. 42 (ill.); traveled to New York, The 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, pp. 64–65, cat. 55 (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.

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. 78–81, cat. 21, as Still-Life, also known as Still-Life with Compass (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.

Giverny, France, Musée d’art Americain, A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939, August 31–November 30, 2003, p. 30, cat. 7; traveled to, Tacoma, Wash., Tacoma Art Museum, December 18, 2003–March 28, 2004, and Chicago, Terra Museum of American Art, April 17–June 27, 2004.

Publication History

E. Tériade, Fernand Léger (Paris: Cahiers d’Art, 1928), p. 76 (ill.), as Nature morte.Richard R. Brettell, An Impressionist Legacy: The Collection of Sara Lee Corporation (New York: Abbeville Press, 1986), pp. 96–97 (ill.).

Georges Bauquier, Fernand Léger: Catalogue Raisonné, 1925-1928 (Paris: Adrien Maeght,, 1993), pp. 118–119, no. 460 (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. 78–81, cat. 21, as Still-Life, also known as Still-Life with Compass (ill.)

“Monet to Moore,” Art & Architecture (1999), p. 32 (ill.).

Sophie Lévy (ed.), A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939, exh. cat. (Berkeley, Calif.: University of California Press, 2003), p. 30,

Ownership History

Galerie Louise Leiris, Paris, by 1952 [Bern 1952]. Buchholz gallery, New York. G. David Thompson (1899–1965), Pittsburg, c. 1953 [letter from Curt Valentin to David Thompson, Nov. 2, 1953, The Museum of Modern Art Archives, NY: CV III.B. “Thompson”]; sold, Parke-Bernet, New York, Mar. 23, 1966, lot 35, to Nathan Cummings (1896–1985), Chicago. Consolidated Foods Corporation (The Sara Lee Corporation), Chicago, 1980. Given by them to the Art Institute, 1999.