Still Life

• E. Tériade, Fernand Léger (Paris: Cahiers d’Art, 1928), p. 76 (ill.), as Nature morte.
• Kunstforeningen, Fernand Léger, Udstilling (Copenhagen: Kunstforeningen, 1951), n.p. (cat. 7), as Le compass, 1926.
• Kunsthalle Bern, Fernand Léger, exh. cat. (Bern, Switzerland: Kunsthalle Bern, 1952), n. p., cat. 35, as Nature Morte au Compas.
• Palais Galliéra, Collection Nathan Cummings, exh. cat. (Paris: Palais Galliéra, 1969), cat. 5, as Nature Morte Mécanique.
• National Gallery of Art, Selections from the Nathan Cummings Collection, exh. cat. (Washington, D.C.: National Gallery of Art, 1970), p. 57, cat. 42 (ill.).
• The Art Institute of Chicago, Major Works from the Collection of Nathan Cummings, exh. cat. (Chicago: The Art Institute of Chicago, 1973), pp. 64–65, cat. 55 (ill.).
• Richard R. Brettell, An Impressionist Legacy: The Collection of Sara Lee Corporation (New York: Abbeville Press, 1986), pp. 38–41 and 120 (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, cat. 7

• Copenhagen, Kunstforeningen, Fernand Léger, Udstilling, January 27 – February 25, 1951, n.p. (cat. 7), as Le compass, 1926.
• Bern, Kunsthalle, Fernand Léger, April 10–May 25, 1952, n. p., cat. 35, as Nature Morte au Compas.
• 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, 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., Reynolda 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.
• The Art Institute of Chicago, Monet to Moore: The Millennium Gift of Sara Lee Corporation, March 13–May 28, 2000, pp. 78–81, cat. 21, as Still-Life, also known as Still-Life with Compass (ill.); traveled to Canberra, National Gallery of Australia, June 11–August 22, 1999, Raleigh, North Carolina Museum of Art, September 10–November 7, 1999, the Portland (Oregon) Art Museum, November 19, 1999–January 23, 2000, and Singapore Museum of Art, April 1–May 30, 1999.
• 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.

Galerie Louise Leiris, Paris, by 1952 [Bern 1952]. Buchholz Gallery, New York [this and the following according to letter from Curt Valentin to David Thompson, Nov. 2, 1953, Museum of Modern Art Archives, NY: CV III.B. “Thompson,” copy in curatorial file]. G. David Thompson (1899–1965), Pittsburgh, c. 1953; sold, Parke-Bernet, New York, Mar. 23, 1966, lot 35, to Nathan Cummings (1896–1985), Chicago [Consolidated Foods Corporation records; copy in curatorial file]; Consolidated Foods Corporation (The Sara Lee Corporation), Chicago; given to the Art Institute of Chicago, 1999.