Laurette with a Cup of Coffee

• Galerien Thannhauser, Henri Matisse, mit Geleitwort von Prof. Hans Purrmann und 64 Abbildungen, exh. cat. (Galerien Thannhauser, 1930), pp. 9 (ill.); 16, cat. 40, as Liegendes Mädchen.
• Marie Harriman Gallery, Opening Exhibition, exh. cat. (Marie Harriman Gallery, 1930), cat. 20, as Cup of Coffee.
• Jean Charlot, “Pinning Butterflies,” Creative Art 12, no. 5 (May 1933), p. 355 (ill.), as La Tasse de Café.
• Marie Harriman Gallery, Modern French Masters: Important Paintings (Marie Harriman Gallery, 1939), cat. 8, as Lorette, 1916.
• Alfred H. Barr, Jr., Matisse: His Art and His Public (Museum of Modern Art, New York, 1951), pp. 191, 192, 414 (ill.), as Head and Coffee Cup (Tête et tasse à café), Paris, (1917?).
• Massimo Carrà, “Catalogo delle opera,” in Mario Luzi and Massimo Carrà, L’opera di Matisse: Dalla rivolta “fauve” all’intimismo, 1904–1928, Classici dell’Arte 49 (Rizzoli Editore, 1971), pp. 95–96, cat. 230 (ill.), as Testa femminile, con tazza di caffè, 1917.
• Lefevre Gallery, Important Nineteenth and Twentieth Century Paintings and Drawings, exh. cat. (Lefevre Gallery, 1974), pp. [3], no. 11; 24, cat. 11; 25 (ill.), as Tête de Lorette au Tasse de Café, circa 1917.
• Fenella Crichton, “London Letter: January,” Art International 19, no. 1 (Jan. 20, 1975), p. 38 (ill.), as Tête de Lorette à la Tasse de Café, c. 1917.
• An Important Exhibition of Works by Henri Matisse, exh. cat. with introductory notes by Nicholas Wadley (Marlborough Fine Art, 1978), cat. 1 (ill.), as Head of Laurette, Cup of Coffee, c. 1917.
• Jack Cowart and Dominique Fourcade, Henri Matisse: The Early Years in Nice, 1916–1930, exh. cat. (National Gallery of Art, Washington, DC/Harry N. Abrams, 1986), pp. 67, pl. 12; 333, as Lorette à la tasse de café, season 1916–1917.
• Hayden Herrera, Matisse: A Portrait (Harcourt Brace & Co., 1993), p. 126 (ill.), as Lorette with Coffee Cup, Issy-les-Moulineaux, 1917.
• Christie’s New York, Impressionist and Modern Paintings, Drawings, and Sculpture (Part I), sale cat. (Christie’s New York, May 12, 1993), pp. 110, lot 48; 111 (ill.), as Lorette à la tasse de café, 1916–1917.
• Judd Tully, “Smooth Sailing at Christie’s,” Washington Post, May 13, 1993, p. C3, as Lorette with Coffee Cup.
• Carol Vogel, “A Record at Sotheby’s and Hopes at Christie’s,” New York Times, May 13, 1993, p. B4, as Lorette With a Cup of Coffee, 1916–1917.
• Carol Vogel, “At Christie’s, Passion for a Middle Range,” New York Times, May 13, 1993, p. C17, as Laurette With a Cup of Coffee.
• Carol Vogel, “The Art Market,” New York Times, May 14, 1993, p. C24, http://www.nytimes.com/1993/05/14/arts/the-art-market.html?pagewanted=all&src=pm (accessed Oct. 29. 2013), as Laurette With a Cup of Coffee.
• Charles A. Riley II, “The Museum Market,” Antique Monthly 26, no. 9 (Oct. 1993), pp. 18 (ill.), 19, 21–22, as Lorette With a Cup of Coffee, 1917.
• Charles F. Stuckey, “Selected Recent Acquisitions of Twentieth-Century Art at the Art Institute of Chicago,” Burlington Magazine 135, 1087 (Oct. 1993), p. 725, fig. 1, as Lorette with cup of coffee, 1916–17.
• John Elderfield, Pleasuring Painting: Matisse’s Feminine Representations (Thames & Hudson, 1995), pp. 46–47 (ill.), no. 42, as Lorette with a Cup of Coffee, 1916–17.
• Jack D. Flam, Matisse in Transition: Around Laurette, exh. cat. (Norton Museum of Art, 2006), pp. [2] (ill.); [4]; 23; 49, cat. 18 (ill.), as Lorette with Cup of Coffee, 1917.
• Catherine Bock-Weiss, Henri Matisse: Modernist Against the Grain (Pennsylvania State University, 2009), pp. 83; 190, n. 1; 192–93, n. 25, as Laurette with Cup of Tea, 1916–17 and 1917.
• Stephanie D’Alessandro and John Elderfield, Matisse: Radical Invention, 1913–1917, exh. cat. (Art Institute of Chicago/Yale University Press, 2010), pp. 313–14, fig. 7; 341, as Laurette with a Cup of Coffee, 1917.
• Stephanie D’Alessandro, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, with contributions by Renée DeVoe Mertz, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2013; repr., 2014), p. 77 (ill.), as Lorette with Cup of Coffee, 1916–17.
• “Laurette with a Cup of Coffee,” in Matisse Paintings, Works on Paper, Sculpture, and Textiles at the Art Institute of Chicago, ed. Stephanie D’Alessandro (Chicago: Art Institute of Chicago, 2019), cat. 26, https://publications.artic.edu/matisse/reader/works/section/62/62_anchor.
• Naomi Beckwith, curator, Duro Olowu: Seeing Chicago, exh. cat. (Chicago: Museum of Contemporary Art, 2020), 165 (color ill.), 381.

• 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.
• New York, Marie Harriman Gallery, Opening Exhibition, Oct. 4–31, 1930, cat. 20, as Cup of Coffee.
• Chicago, Renaissance Society, University of Chicago, Exhibition of Fifteen Paintings and Some Prints by Henri Matisse with Persian and Indian Miniatures of the Fourteenth to Nineteenth Centuries, Nov. 15–30, 1930, as The Cup of Coffee, no cat.
• Possibly New York, Marie Harriman Gallery, Modern French Masters: Important Paintings, May 23–Oct. 1, 1939, cat. 8, as Lorette, 1916.
• Cincinnati Art Museum, Exhibition of Modern Paintings from Cincinnati Collections, Nov. 10–Dec. 10, 1939, no cat.
• London, Lefevre Gallery, Important Nineteenth and Twentieth Century Paintings and Drawings, Nov. 21–Dec. 20, 1974, cat. 11 (ill.), as Tête de Lorette au Tasse de Café, circa 1917.
• London, Marlborough Fine Art, An Important Exhibition of Works by Henri Matisse, June 13–July 29, 1978, cat. 1 (ill.), as Head of Laurette, Cup of Coffee, 1917, c. 1917.
• West Palm Beach, Florida, Norton Museum of Art, Matisse in Transition: Around Lorette, January 28–April 16, 2006.
• Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. 16, 2014, no cat. no. (ill.), as Lorette with Cup of Coffee, 1916–17.
• Boston, Museum of Fine Arts, Matisse in the Studio, Apr. 9–July 9, 2017.
• Chicago, Museum of Contemporary Art, Duro Olowu: Seeing Chicago, Feb. 29–May 10, 2020.Museum of Contemporary Art Chicago, Duro Olowu: Seeing, Feb. 29-May 10, 2020 (extend to Sept. 13 due to the COVID-19 pandemic), no cat. no.

Possibly Marie Harriman, New York, by Oct. 4, 1930 [New York 1930]. George Howard Warrington (Oct. 21, 1872–Nov. 30, 1940) and Eliza Holmes Warrington (née Eliza Kerrison Holmes, July 12, 1886–Oct. 2, 1938), Cincinnati, by July 21, 1932–at least Nov. 3, 1939 [label on verso]. Heinz Berggruen (Jan. 6, 1914–Feb. 23, 2007) of Berggruen Gallery, Paris, after 1950 [label on verso]. E. V. Thaw and Company and Stephen Hahn (Feb. 1, 1921–Apr. 2, 2011), New York, until 1973. Ferdinand (Sep. 11, 1917–Sep. 28, 1989) and Imelda Marcos (née July 2, 1929), New York, by 1991 [email from Claudia Schmuckli, MoMA, Jan. 25, 2001; Washington Post, May 13, 1993; photocopies in curatorial file]; purchased from Christie’s New York, lot 48, by Richard L. Feigen, New York, on behalf of the Art Institute of Chicago, May 12, 1993.