Nude in a Folding Chair

• Roland E. Schacht, Henri Matisse (Dresden, 1922), p. 62 (ill.).
• Regina Schoolman and Charles Slatkin, Six Centuries of French Master Drawings (New York, 1950), p. 236 (ill.).
• Alfred H. Barr, Matisse: His Art and His Public (New York, 1951), pp. 98, 322, and 533 (ill.).
• J. Cassou and P. Jaccottet, Le Dessin Français au XXe Siècle, (Lausanne, 1951), p. 26 (ill.).
• E. Tériade, “Matisse Speaks,” ArtNews Annual 21 (1952), p. 44 (ill.), as Nude in Armchair, 1906.
• Clement Greenberg, Henri Matisse (1869– ), Pocket Library of Great Art (Harry N. Abrams, 1953), pl. 38, as Nude in Armchair, 1906.
• René Huyghe, Henri Matisse (Flammarion, 1953), pl. 38, as Nu au fauteuil, 1906.
• E. Trier, Zeichner des XX Jahrhunderts, (Berlin, 1956), p. 30, no. 16 (ill.).
• Ira Moskowitz, Great Drawings of All Time III (New York, 1962), no. 852 (ill.).
• Una E. Johnson, Drawings of the Masters I, 20th Century Drawings (New York, 1964), pl. 8.
• Jean Guichard-Meili, Matisse (New York, 1967), pp. 34 (ill.), 36 and 245, fig. 19, as Sleeping Nude.
• J. Jacobus, Henri Matisse (New York, 1972), p. 65 (ill.).
• Stephen Longstreet, The Drawings of Matisse (Borden Publishing, 1973), n.pag. (ill.).
• G. Monnier and B. Rose, History of an Art/Drawing (Geneva, 1979), p. 206 (ill.).
• John Elderfield, The Drawings of Henri Matisse exh. cat. (London, 1984), p. 42 (ill.), fig. 7.
• Jack Flam, Matisse: The Man and His Art, 1869–1918 (Cornell University Press, 1986), pp. 167; 171, fig. 162.
• Isabelle Monod-Fontaine, Anne Baldassari, and Claude Laugier, Matisse: Œuvres de Henri Matisse (Éditions du Centre Pompidou, 1989), pp. 143; 146, fig. c.
• Sarah Wilson, Henri Matisse (Barcelona, 1990) (ill.).
• David A. Lauer, Design Basics, 3rd ed. (Harcourt Brace Jovanovich College Publishers, 1990), pp. 222–23, fig. b.
• Isabelle Monod-Fontaine, Les Fauves ou la couleur libérée (Paris, 1995), p. 51 (ill.).
• Anita Hopmans, Kees Van Dongen (Rotterdam, 1996).
• Treasures From the Art Institute of Chicago, selected by James N. Wood with commentaries by Debra N. Mancoff (Chicago, 2000), p. 237 (ill.).
• Ileana Parvu, “De l’histoire au tableau: Grand Nu (1907–1908) de Braque,” Les cahiers du musée national d’art moderne 91 (Spring 2005), p. 42 (ill.).
• Patricia Briggs, “Matisse’s Odalisques and the Photographic Académie,” History of Photography 31, no. 4 (Winter 2007), pp. 374; 382, fig. 14.
• “Nude in a Folding Chair,” 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. 8, https://publications.artic.edu/matisse/reader/works/section/24/24_anchor.

• Berlin, Galerien Thannhauser, “Henri Matisse,” 1930, pp. 28, 63 (ill.), cat. 107.
• The Art Institute of Chicago, “Drawings: Old and New,” 1946, pp. 20-21, cat. 36, pl. XXVIII, cat. by Carl Schniewind.
• New York, Museum of Modern Art, “Henri Matisse,” November 13, 1951–January 13, 1952, addendum to catalogue; traveled to Cleveland Museum of Art, February 5–March 16, 1952; Art Institute of Chicago, April 1–May 4, 1952; San Francisco, Museum of Art, May 22–July 6, 1952.
• New York, Museum of Modern Art, “Les Fauves,” October 8, 1952–January 4, 1953, p. 47, cat. 114; traveled to the Minneapolis Institute of Arts, January 21–February 22, 1953; the San Francisco Museum of Art, March 13–April 12, 1953; and the Toronto, Art Gallery, May 1–May 31, 1953.
• Chicago, Arts Club, “Les Fauves,” January 10–February 15, 1956, n.p., cat. 21.
• New York, Metropolitan Museum of Art, “French Drawings: Clouet to Matisse,” 1958, cat. 202, pl. 181.
• New York, Wildenstein and Company, Master Drawings from the Art Institute of Chicago, Oct. 17–Nov. 30, 1963, cat. 151.
• University of California Art Council and University of California Art Galleries (organizers), “Henri Matisse Retrospective,” 1966, pp. 143 (ill.) and 196, cat. 142; traveled to Los Angeles, University of California Art Galleries, January 5–February 27, 1966; Art Institute of Chicago, March 11–April 24, 1966; and Boston, Museum of Fine Arts, May 11–June 26, 1966.
• Baltimore Museum of Art, “Matisse as Draughtsman,” January 12–February 21, 1971, pp. 15, 50-51 (ill.), cat. 15; traveled to San Francisco, California Palace of the Legion of Honor, March 20–May 9, 1971; and Art Institute of Chicago, May 26–July 10, 1971.
• Paris, Musée national d’art moderne, “Henri Matisse: dessins et sculpture,” May 29–September 7, 1975, pp. 14, 74-75 (ill.), and 77, cat. 24; traveled to Brussels, Palais des Beaux-Arts, September 27–October 26, 1975, n.p., cat. 22 (ill.).
• Paris, Musée du Louvre, “Dessins français de l’Art Institute de Chicago de Watteau à Picasso,” October 15, 1976-January 17, 1977, n.p., cat. 79 (ill.).
• Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, “Französische Zeichnungen aus dem Art Institute of Chicago,” February 10-April 10, 1977, pp. 166-167, cat. 80 (ill.).
• New York, Museum of Modern Art, “Henri Matisse: A Retrospective,” September 16, 1992–January 12, 1993, p. 150 (ill.), cat. 69.
• The Art Institute of Chicago, “Modern and Contemporary Works on Paper,” March 24-September 13, 2009, no cat.

The artist to Dr. Heinz Braun (born Hans Heinrich Braune-Krickau, 1880–1957), Breslau (present day Wrocław, Poland) and Stuttgart, Germany, by 1922–Oct. 5, 1929 [Galerie Thannhauser, undated collection history; and Zentralarchiv des internationalen Kunsthandels ZADIK, Cologne (Thannhauser stock book 2); photocopies in curatorial object file]; sold to Galerie Thannhauser, Berlin, Amsterdam, and New York, Oct. 5, 1929; sold to the Art Institute of Chicago, Dec. 28, 1944.