Woman at an Easel (Green Screen)

• Halvorsen, M. Walther, “Exposition Braque, Laurens, Matisse, Picasso à oslo, stockholm, copenhague,” Cahiers d’art 12, 6–7 (1937), p. 221 (ill.), as Femme peignant.
• Galerie Paul Rosenberg, Exposition d’œuvres récentes de Georges Braque, exh. (Paris: Galerie Paul Rosenberg, 1937), n.p. (cat. 13, ill.), as Femme peignant.
• Petit Palais, Les Maitres de l’art independant 1895–1937, exh. cat. (Paris: Petit Palais, 1937), p. 96 (cat. 2), as La femme peintre, 1936.
• Palais Des Beaux-Arts, Exposition d’art français contemporain, exh. cat. (Brussels: Palais des Beaux-Arts), p. 15 (cat. 16), as Femme devant un chevalet, 1936.
• Zervos, Christian, Histoire de l’art contemporain (Paris: Cahiers d’Art, 1938), p. 286 (ill.), as Femme peignant, 1936.
• Stedelijk Museum, Parijsche Schilders, exh. cat. (Amsterdam: Stedelijk Museum, 1939), n.p. (cat. 32), as Vrouw voor een schildersezel, 1937.
• Carnegie Institute, The 1938 International Exhibition of Paintings, exh. cat. (Pittsburgh: Carnegie Institute, 1938), n.p. (cat. 193, pl. 27, ill.), as Woman in Front of Easel, 1937.
• Daily Telegraph, The Daily Telegraph Exhibition of French and British Modern Art, exh. cat. (Sydney: Daily Telegraph, 1939), n.p. (cat. 10), as Femme devant son chevalet.
• Fumet, Stanislas, Braque (Paris: Braun, 1941), n.p. (fig. 34, ill.), as Femme au chevalet, 1936.
• Frost, Rosamund, Contemporary Art: The March of Art from Cézanne Until Now (New York: Crown Publishers, 1942), p. 54 (ill.), as Guitare Bleue et Rouge, 1930.
• Kunsthaus Zurich, Georges Braque, exh. cat. (Zurich: Kunsthaus, 1953), p. 8 (cat. 90), as Femme devant le chevalet, 1936.
• Arts Club of Chicago, Twentieth Century Art Loaned by Members of the Arts Club of Chicago, exh. cat. (Chicago: Arts Club, 1954), n.p. (cat. 3), as Femme Peignant, 1936.
• Art Gallery of Toronto, Nathan Cummings Collection: 19th and 20th Century French Paintings, exh. cat. (Toronto: Art Gallery, 1955), n.p. (cat. 1), as Femme peignant, ‘36.
• 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.
• Gieure, Maurice, G. Braque (Paris: Pierre Tisné, 1956), pp. 53, n.p. (pl. 90, ill.), 101, as The Woman at an Easel, Femme au chevalet, 1936.
• 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, ill.), as La femme poignant, 1936.
• Russell, John, G. Braque, (New York: Phaidon, 1959), pp. 28, 88 (pl. 52, ill.), 125, as Woman Painting, Femme peignant, 1936.
• Carnegie Institute, 1896-1955, Retrospective Exhibition of Paintings from Previous Internationals, exh. cat. (Pittsburgh: Carnegie Institute, 1958), n.p. (cat. 77, ill.), as Femme Peignant, 1936.
• Worms de Romilly, Nicole, Catalogue de l’œuvre de Georges Braque, vol. 3, Peintures 1936–1941 (Paris: Maeght Éditeur, 1961), n.p. (no. 2, ill.), as Femme au chevalet (paravent vert), 1936.
• Contemporary Arts Center, Braque, exh. cat. (Cincinnati: Contemporary Arts Center, 1962), n.p. (ill.), as Woman at the Easel, Femme au chevalet (Paravent vert).
• Richardson, John, Georges Braque (Paris: La Bibliothèque des arts, 1962), n.p., no. 29 (ill.).
• Richardson, John (ed.), Georges Braque, 1882–1963: An American Tribute, exh. cat. (New York: Public Education Association, 1964), n.p. (cat. 29, ill.), as Woman at an Easel, 1936.
• Minneapolis Institute of Arts, Paintings from the Cummings Collection, exh. cat. (Minneapolis: Institute of Arts, 1965), n.p., as Femme piegnant [sic], 1936.
• Tono, Yoskiaki, Picasso/Braque, Gendai Sekai Bijutsu Zenshu 7 (Tokyo: Kawade Shobo, 1966), pp. 133, n.p. (pl. 66, ill.), as Femme au chevalet, 1936.
• Mullins, Edwin, The Art of Georges Braque (New York: Harry N. Abrams, 1968), pp. 130, 138 (ill. 104, ill.), 213, as Woman with an Easel, 1936.
• Lyman Allyn Museum, Paintings and Sculpture from the Collection of Mr. and Mrs. Nathan Cummings, exh. cat. (New London, Conn.: Lyman Allyn Museum, 1968), n.p. (ill.), as Woman at Easel, 1936.
• Miyagawa, Atsushi, Braque/Léger (Japan: Kawade Shobo, 1968), pp. 104, 120, n.p. (no. 25, ill.), as Femme au chevalet, 1936.
• Cogniat, Raymond, G. Braque (Paris: Nouvelles Éditions Françaises, 1970) p. 64 (fig. 61, ill.).
• National Gallery of Art, Selections from the Nathan Cummings Collection, exh. cat. (Washington D.C.: National Gallery of Art, 1970), pp. 64 (cat. 49, ill.), 95, as Woman at an Easel (Green Screen), 1936.
• Metropolitan Museum of Art, Summer Loan 1971 Paintings from New York Collections: Nathan Cummings Collection, exh. cat. (New York: Metropolitan Museum of Art, 1971), p. 1 (cat. 4), as Woman at an Easel (Green Screen), 1936.
• Art Institute, Major Works from the Collection of Nathan Cummings, exh. cat. (Chicago: Art Institute, 1973), p. 53 (cat. 44, ill.), as Woman at an Easel (Green Screen), 1936.
• Kushida, Magoichi, Braque, (Tokyo: Shinchosha, 1975), n.p. (no. 27, ill.).
• Fortunescu, Irina, Braque, (Bucharest: Editura Meridiane, 1976), n.p. (fig. 46, ill.), as Femeie la sevalet, 1936.
• Pouillon, Nadine and Isabelle Monod-Fontaine, Braque: œuvres de Georges Braque (1882–1963) (Paris: Musée National d’Art Moderne, 1982) pp. 99 (no. 4, ill.), 100, as La Femme au chevalet, 1936.
• Consolidated Foods Corporation, Nathan Cummings Collection (Chicago: Consolidated Foods Corporation, 1983), pp. 12, 14 (fig. 8, ill.), as Woman at an Easel (Green Screen), 1936.
• Brettell, Richard R., An Impressionist Legacy: The Collection of Sara Lee Corporation (New York: Abbeville Press, 1986), pp. 68, 69 (ill.), 70 (detail), 71 (detail), 116–117, as Woman Painting (Femme se peignant), 1936.
• Fauchereau, Serge, Braque, Lyons (Paris: Éditions Albin Michel, 1987), pp. 81 (fig. 87, ill.), 127, as Femme au chevalet, 1936.
• Nathan Cummings Foundation, Annual Report 1990 (New York: Nathan Cummings Foundation, 1990), cover (detail), as Woman Painting.
• “Impressionist Legacy,” Compass Readings 22, 1 (January 1991), p. 90 (ill.).
• Leymarie, Jean, Braque, les ateliers (Paris: Édisud, 1995), pp. 74 (fig. 25, ill.), 97, 229, as Femme au chevalet (paravent vert), 1936.
• Polk Museum of Art, Modern Masters: The Collection of Sara Lee Corporation, exh. cat. (Lakeland, Fla.: Polk Museum of Art, 1995), pp. 2 (ill.), 15, as Woman Painting (Femme se peignant).
• Artner, Alan G., “Sara Lee takes its art to new level,” Chicago Tribune (June 3, 1998), p. 14 (ill.), as Antwerp, 1906.
• Brettell, Richard R., Monet to Moore: The Millennium Gift of Sara Lee Corporation, exh. cat. (New Haven, Conn.: Yale University Press, 1999), pp. xvii (fig. 16, ill.), 20 (cat. 5), 21 (ill.), 22-23, as Woman at an Easel, 1936.
• Israël, Armand, George Braque: Père du Cubisme Initiateur de l’Art Contemporain (Paris: Éditions des Catalogues Raisonnés, 2013), p. 255 (ill.), as Femme au chevalet (paravent vert).

• 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.

Paul Rosenberg (1881–1959), probably acquired directly from the artist, Paris and New York, by 1937 until at least 1941 [Paris 1937; Chicago 1941 checklist]. Keith Warner, New York [Bretell 1986]. E. and A. Silberman Galleries, New York, by 1953 [this and the following, Sara Lee Corporation collection records, copy in curatorial file]; sold to Nathan Cummings (1896–1985), Chicago, 1953; given to his son, Herbert K. Cummings (1923–1992), Phoenix, about 1978; sold to Consolidated Foods Corporation (later, The Sara Lee Corporation), 1981; given to the Art Institute of Chicago, 1999.