Apples

1916

Henri Matisse
French, 1869–1954

When the 45-year-old Henri Matisse was rejected from military service at the outbreak of World War I, a friend encouraged him to contribute to the war effort the best way he could: by continuing to paint well. This led to a productive period of compositional and material experimentation that Matisse hoped would sustain the tradition of French painting in the face of a cultural and national threat.

Matisse painted this still-life composition twice—in the abstract work seen here and also in a more traditionally representational version. A hidden light source bathes the scene in warm tones, which are offset by a swath of green. Luminous black consumes the background, reflecting Matisse’s challenge to himself to use black as a “color of light, not darkness.”

Status: On View, Gallery 391
Department: Modern Art

Artist: Henri Matisse
Title: Apples
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1916
Medium: Oil on canvas
Inscriptions: Signed, l.r.: Henri-Matisse
Dimensions: 116.5 × 89.5 cm (45 7/8 × 35 3/16 in.)
Credit Line: Gift of Florene May Schoenborn and Samuel A. Marx
Reference Number: 1948.563
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/64001/manifest.json

Marius de Zayas, Exhibition of Paintings by Courbet, Manet, Degas, Renoir, Cézanne, Seurat, Matisse, exh. cat. (M. de Zayas, 1919), cat. 21, as Apples.
Henry McBride, “News and Comment in the World of Art,” Sun, Nov. 23, 1919, sec. 7, p. 12.
Frederick James Gregg, “From Courbet to Matisse in One Art Exhibition,” New York Herald, Nov. 23, 1919, sec. 3, p. 10, as Still Life.
Society of Independent Artists, Catalogue of the Fourth Annual Exhibition of the Society of Independent Artists, exh. cat. (Society of Independent Artists, 1920), n. pag., cat. 508, as Still-Life, Apples.
Catalogue of an Exhibition of Paintings and Drawings by Representative Modern Artists, exh. cat., with an introduction by Leopold Stokowski (Pennsylvania Academy of the Fine Arts, 1920), p. 16, cat. 150, as Apples.
Henry McBride, “New Matisse Art on Exhibition,” New York Herald, Dec. 12, 1920, sec. 3, p. 4.
Charles Lewis Hind, Art and I (John Lane Company, 1921), pp. 153, 157–58, as Apples and Still Life, Apples.
Sculptors’ Gallery, Exhibition: Contemporary French Art, exh. cat. (Sculptors’ Gallery, 1921), cat. 84, as Apples, 1919.
Joseph Brummer, Exhibition of Works by Henri Matisse, exh. cat. (Joseph Brummer, 1924), cat. 7, as Apples.
John Quinn, 1870–1925: Collection of Paintings, Water Colors, Drawings, and Sculpture, with a foreword by Forbes Watson (Pidgeon Hill Press, 1926), pp. 5, 11, 73 (ill.), as Still Life.
“Quinn Art in Five Session Sale,” Art News 25, no. 15 (Jan. 15, 1927), p. 2.
“Last of Quinn Art to Go at Auction,” New York Times, Jan. 16, 1927, p. E20.
American Art Association, The John Quinn Collection: Paintings and Sculptures of the Moderns, sale cat. (American Art Association, Feb. 9–12, 1927), pp. 56–57, lot 126 (ill.), as The Bowl of Apples.
“Modern Art Brings $16,235 at Auction,” New York Times, Feb. 10, 1927, p. 26.
“Quinn Art Sale Nets $16,235 in First Session,” New York Herald Tribune, Feb. 10, 1927, p. 15, as Bowl of Apples.
“Big Prices Keep Up in Quinn Sale,” New York American, Feb. 11, 1927, p. 15, no. 126, as Bowl of Apples.
“Sale of the Quinn Collection is Completed,” Art News 25, no. 20 (Feb. 19, 1927), p. 7, no. 126, as The Bowl of Apples.
“Paintings, Drawings and Sculpture, the Modern Art Collection of the Late John Quinn,” American Art Sales 7, no. 4 (Mar. 1927), p. 6, no. 126, as The Bowl of Apples.
“Modern French Masters at the Valentine Galleries,” New York Sun, Mar. 12, 1927, p. 5.
“Modern Paintings,” Art News 25, no. 25 (Mar. 26, 1927), p. 9, as Bowl of Apples.
Christian Zervos, “De l’importance de l’objet dans la peinture d’aujourd’hui,” Cahiers d’art 5, no. 3 (1930), p. 118 (ill.), as Le plateau a pommes [sic], 1916.
Roger Fry, “Henri-Matisse,” Cahiers d’art 6, no. 5–6, L’œuvre de Henri Matisse (1931), p. 284, fig. 52, as Le plateau a pommes [sic], 1916.
Galeries Georges Petit, Henri-Matisse, exh. cat. (Galeries Georges Petit, 1931), p. 23, cat. 46, as Les Pommes, 1918.
Kunsthalle Basel, Henri-Matisse, exh. cat. (Kunsthalle Basel, 1931), p. 13, cat. 48, as Les Pommes, 1918.
San Francisco Museum of Art, Henri-Matisse: Paintings, Drawings, Sculpture, exh. cat. (San Francisco Museum of Art, 1936), cat. 15, as Bowl of Apples, 1916.
Henry Clifford and Henri Matisse, Henri Matisse: Retrospective Exhibition of Paintings, Drawings, and Sculpture, Organized in Collaboration with the Artist, exh. cat. (Philadelphia Museum of Art, 1948), pp. 39, cat. 38; n. pag., no. 38 (ill.), as Bowl of Apples, 1916.
Fiske Kimball, “Matisse: Recognition, Patronage, Collecting,” Philadelphia Museum Bulletin 43, no. 217 (Mar. 1948), p. 45, as Bowl of Apples.
Museum of Modern Art, Henri Matisse, exh. cat., introduction by Alfred H. Barr, Jr. (Museum of Modern Art, New York, 1951), pp. 10, cat. 38; 24 (ill.), as Apples, (1916).
Alfred H. Barr, Jr., Matisse: His Art and His Public (Museum of Modern Art, New York, 1951), pp. [3], 180, 189, 194, 263, 406 (ill.), 529, 558, as Apples (Les pommes), (1916) and Bowl of Apples, 1916.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961, repr., 1968), pp. 304, 466 (ill.), as Apples, 1916.
Art Institute of Chicago, Art Institute of Chicago Quarterly 58, no. 1 (1964), cover (ill.), copyright page, as Apples, 1916.
Alfred H. Barr, Jr., James Thrall Soby, and Lucy Lippard, The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection, exh. cat. (Museum of Modern Art, New York, 1965), pp. 10, 11 (ill.), 12, as Apples, (1916).
Art Institute of Chicago, “School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection,” Calendar of the Art Institute of Chicago 60, no. 1 (Jan. 1966), n. pag. (ill.), as Apples, 1916.
A. James Speyer, “Twentieth-Century European Paintings and Sculpture,” Apollo, n.s., 84, no. 55 (Sept. 1966), p. 224, fig. 3, as Apples, 1916.
Jean Guichard-Meili, Matisse, trans. Caroline Moorehead, Praeger World of Art Profile (Frederick A. Praeger, 1967), p. 231, as Apples.
Charles C. Cunningham, John Maxon, and Anselmo Carini, Instituto de arte de Chicago, El Mundo de los museos (Editorial Codex, 1967), p. 38 (ill.).
Matisse, 1869–1954: A Retrospective Exhibition at the Hayward Gallery, exh. cat., with a foreword by Gabriel White and an introduction by Lawrence Gowing (Arts Council of Great Britain, 1968), pp. 102 (ill); 164, cat. 67, as Apples/Les Pommes, 1916.
Kenjirō Okamoto, Bonnard/Matisse, L’Art du Monde 16 (Kawade Shobō, 1968), n. pag.; pp. [52], pl. 48; 110, no. 48, as Ringo [Apples]/Les Pommes, 1916.
B. L. Reid, The Man from New York: John Quinn and His Friends (Oxford University Press, 1968), pp. 398, 499, 660, as Apples and Still Life with Apples.
John Maxon, The Art Institute of Chicago (Harry N. Abrams, 1970), pp. 116 (ill.), 117, 283, as Apples, 1916.
Pierre Schneider, Henri Matisse: Exposition du Centenaire, with the collaboration of Tamara Préaud, exh. cat., revised and corrected 2nd ed. (Réunion des Musées Nationaux, 1970), pp. 84, cat. 141; 210, no. 141 (ill.), as Les pommes sur la table, sur fond noir et jaune, Issy, 1916.
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. 94–95, cat. 210 (ill.), as Mele su un tavolo con fondo nero e giallo, 1916.
Mike Samuels and Nancy Samuels, Seeing with the Mind’s Eye: The History, Techniques, and Uses of Visualization (Random House/Bookworks, 1975), p. 117 (ill.), as Apples, 1916.
Janice J. Feldstein and Maureen Smith, eds., The Art Institute of Chicago: 100 Masterpieces (Art Institute of Chicago, 1978), pp. 138–39, fig. 87, as Apples, 1916.
Judith Zilczer, “The Noble Buyer:” John Quinn, Patron of the Avant-Garde, exh. cat. (Smithsonian Institution, 1978), pp. 50; 56, fig. 44; 121–22, cat. 50 (ill.); 172, as Apples, 1916.
Judith Zilczer, “The Dispersal of the John Quinn Collection,” Archives of American Art Journal 19, no. 3 (1979), pp. 18; 19, fig. 7, as Apples, 1916.
A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), pp. 14; 54, no. 2F8; microfiche 2, no. F8 (ill.), as Apples, 1916.
Felix Baumann, Henri Matisse, exh. cat. (Kunsthaus Zürich/Städtische Kunsthalle Düsseldorf, 1982), p. 60, as Les pommes, 1916.
Michael P. Mezzatesta, Henri Matisse, Sculptor/Painter: A Formal Analysis of Painted Works, exh. cat. (Kimbell Art Museum, 1984), pp. 104; 105, fig. 69, as Apples, 1916.
Pierre Schneider, Matisse (Flammarion, 1984), pp. 372, 386 (ill.), 387, as Les Pommes, 1916.
Pierre Schneider, Matisse, trans. Michael Taylor and Bridget Strevens Romer (Rizzoli, 1984), pp. 372, 386 (ill.), 387, as Apples on a Table, Black and Yellow Background and Apples, 1916.
Catherine C. Bock, “Woman before an Aquarium and Woman on a Rose Divan: Matisse in the Helen Birch Bartlett Memorial Collection,” in “The Helen Birch Bartlett Memorial Collection,” special issue, Art Institute of Chicago Museum Studies12, no. 2 (1986), pp. 203; 218, n. 2, as Apples, 1916.
Jack Flam, Matisse: The Man and His Art, 1869–1918 (Cornell University Press, 1986), pp. 423; 430, fig. 434; 504, n. 31, as Apples, 1916.
Jean Guichard-Meili, Matisse (Somogy, 1986), p. 129, as Les pommes sur la table, 1916.
Jefferson C. Harrison, French Paintings from the Chrysler Museum, exh. cat. (Chrysler Museum, 1986), p. 87, fig. 42, as Apples.
Jacqueline Guillaud and Maurice Guillaud, Matisse: Le rythme et la ligne (Guillaud Editions, 1987), pp. 71, no. 67; [81] fig. 67, as Les pommes sur la table sur fond noir et jaune, 1916.
Bernard Noël, Matisse, revised and corrected edition (Hazan, 1987), cover (ill.), p. 106, as les Pommes, 1916.
Leningrad (now Saint Petersburg), State Hermitage Museum, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX–nachala XX veka, iz Muzeia Metropoliten v N’iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago] exh. cat. (Avrora, 1988), n. pag., cat. 51 (ill.), as Iabloki [Apples], 1916.
John Elderfield, Henri Matisse: A Retrospective, exh. cat. (Museum of Modern Art, 1992), p. 261, cat. 186 (ill.), as Apples/Les pommes, Issy-les-Moulineaux, [summer–autumn] 1916.
Dominique Fourcade and Isabelle Monod- Fontaine, eds., Henri Matisse 1904–1917, exh. cat. (Éditions du Centre Georges Pompidou, 1993), pp. 372–73, cat. 129 (ill.); 506, no. 129 (ill.), as Les pommes, Issy-les-Moulineaux, été–automne 1916.
Colette Giraudon, Paul Guillaume et les peintres du XXe siècle: De l’art nègre à l’avant-garde (La Bibliothèque des arts, 1993), p. 51 (ill.), as Nature morte aux pommes, 1916.
Eric de Chassey, “Les quatre leçons de Cézanne,” Beaux Arts 111 (Apr. 1993), p. 81 (ill.), as Pommes, 1916.
Guy-Patrice Dauberville and Michel Dauberville, Matisse: Henri Matisse chez Bernheim-Jeune (Éditions Bernheim-Jeune, 1995), vol. 1, pp. 558, cat. 160; 559 (ill.); vol. 2: pp. 1433, 1459, 1463, as Nature morte aux pommes sur fond noir et jaune, 1916.
Catherine C. Bock-Weiss, Henri Matisse: A Guide to Research, Artist Resource Manuals 1, ed. Wolfgang M. Freitag, Garland Reference Library of the Humanities 1424 (Garland Publishing, 1996), pp. 267, no. 790; 682; 684, as Apples (Still Life), Les Pommes (Apples), and Apples (Les Pommes), 1916.
Frédéric Sorbier et al., Henri Matisse, Mes Premières Découvertes de l’art (Gallimard, 1996), n. pag. (ill.), as Les Pommes, 1916.
James N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Art Institute of Chicago, 1996), pp. 37 (ill.), 159, as Apples, 1916.
Julia May Boddewyn, “The Valentine Gallery: Valentine Dudensing and the Temple of European Modernism” (M.A. thesis, Hunter College of the City University of New York, 1997), p. 133, as Bowl of Apples.
Margit Rowell, Objects of Desire: The Modern Still Life, exh. cat. (Museum of Modern Art, New York, 1997), pp. 50–51; 55, pl. 21; 223, as Apples/Les Pommes, 1916.
Therese Southgate, The Art of JAMA: One Hundred Covers and Essays from the Journal of the American Medical Association (American Medical Association, 1997), pp. 34, 35 (ill.), as Apples, 1916.
Björn Uwe Rahlwes, ed., Weniger–aber mehr: Das Fastenlesebuch (GEP-Buch, 1998), cover (ill.), [4], 10, 12, 222, as Die Äpfel, Les Pommes, 1916.
Imants Krumins and Michael Thomas, Art Starts: Art and Design for Upper Secondary (Oxford University Press, 1999), pp. 37, 38 (ill.), as Apples, 1916.
John H. Cauman, “Matisse and America, 1905–1933” (Ph.D. diss., City University of New York, 2000), pp. xv, no. 2.19; 330; 339; 347; 358; 359; 378; 396, as Apples, 1916.
Rebecca A. Rabinow, “Modern Art Comes to the Metropolitan: The 1921 Exhibition of ‘Impressionist and Post-Impressionist Paintings,’” Apollo, n.s., 152, 464 (Oct. 2000), pp. 5; 9, nn. 19, 21, as Apples.
John Elderfield, “Catalogue: 24,” in Elizabeth Cowling, et. al., Matisse Picasso, exh. cat. (Tate Publishing, 2002), pp. 233; 355, fig. 62, as Apples, 1916.
Sarah Whitaker Peters, “Georgia O’Keeffe: Unsubmissive Modernist,” American Art Review 15, no. 2 (2003), pp. 108, 109 (ill.), as Les Pommes (Apples), 1916.
Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun, eds., Matisu-ten [Matisse Exhibition]/Henri Matisse: Processus/Variation, exh. cat. (Musée National d’Art Occidental/Le Yomiuri Shimbun/NHK, 2004), pp. 48, fig. 35; 261, as Ringo [Apples]/Les Pommes, 1916.
Gotthard Jedlicka, Mit Henri Matisse in Paris, 1931 (Piet Meyer, 2008), p. [7], fig. 2, as Les pommes/Die Äpfel, Sommer–Herbst, 1916.
Ann Slavick, Hour Chicago: Twenty-Five Self-Guided 60-Minute Tours of Chicago’s Great Architecture and Art (Ivan R. Dee, 2008), p. 167, as Apples, 1916.
Stephanie D’Alessandro and John Elderfield, Matisse: Radical Invention, 1913–1917, exh. cat. (Art Institute of Chicago/Yale University Press, 2010), pp. 220; 264; 276, cat. 39.1 (ill.); 277; 278, cat. 39a; 279; 281; 285, as Apples, late July– Nov. 1916.
Stephanie D’Alessandro, “Surface and Depth,” in Matisse: In Search of True Painting, exh. cat. ed. Dorthe Aagesen and Rebecca Rabinow (Metropolitan Museum of Art, New York, 2012), pp. 95; 97, cat. 34 (ill.); 98; 99; 100; 189, n. 2, as Apples, 1916.
Christel Hollevoet-Force and Mary Chan, “Works in the Exhibition,” in Matisse: In Search of True Painting, exh. cat., ed. Dorthe Aagesen and Rebecca Rabinow (Metropolitan Museum of Art, New York, 2012), p. 212, as Apples, 1916.
Stephanie D’Alessandro, with contributions by Renée DeVoe Mertz, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2013), pp. 14, 74 (ill.), as Apples, 1916.
Stephanie D’Alessandro, with contributions by Renée DeVoe Mertz, The Age of Picasso and Matisse: Modern Art at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2014), pp. 12, 74 (ill.), as Apples, 1916.
“Apples,” 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. 24, https://publications.artic.edu/matisse/reader/works/section/60/60_anchor.

New York, M. de Zayas, Exhibition of Paintings by Courbet, Manet, Degas, Renoir, Cézanne, Seurat, Matisse, Nov. 17–Dec. 6, 1919, cat. 21, as Apples.
New York, Waldorf Astoria, Fourth Annual Exhibition of the Society of Independent Artists, Mar. 11–Apr. 1, 1920, cat. 508, as Still- Life, Apples.
Possibly Philadelphia, Pennsylvania Academy of the Fine Arts, Exhibition of Paintings and Drawings by Representative Modern Masters, Apr. 17–May 9, 1920, cat. 150, as Apples.
New York, Marius de Zayas Galleries, Paintings by Matisse, Dec. 6–25, 1920, no cat.
New York, Sculptors’ Gallery, Exhibition: Contemporary French Art, Mar. 24–Apr. 10, 1921, cat. 84, as Apples, 1919.
New York, Galleries of Joseph Brummer, Exhibition of Works by Henri Matisse, Feb. 25–Mar. 22, 1924, cat. 7, as Apples.
New York, F. Valentine Dudensing Galleries, Group Exhibition [of] Modern French Painters, Mar. 8–Apr. 1927, no cat.
Paris, Galeries Georges Petit, Henri-Matisse, June 16–July 25, 1931, cat. 46, as Les Pommes, 1918.
Basel, Kunsthalle, Henri-Matisse, Aug. 9–Sept. 15, 1931, cat. 48, as Les Pommes, 1918.
San Francisco Museum of Art, Henri-Matisse: Paintings, Drawings, Sculpture, Jan. 11–Feb. 24, 1936, cat. 15, as Bowl of Apples, 1916.
Philadelphia Museum of Art, Henri Matisse: Retrospective Exhibition of Paintings, Drawings, and Sculpture, Apr. 3–May 10, 1948, cat. 38 (ill.), as Bowl of Apples, 1916.
New York, Museum of Modern Art, Henri Matisse, Nov. 13, 1951–Jan. 13, 1952, cat. 38 (ill.), as Apples, (1916); Cleveland Museum of Art, Feb. 5–Mar. 16, 1952; Art Institute of Chicago, Apr. 1–May 4, 1952; San Francisco Museum of Art, May 22–July 6, 1952.
New York, Museum of Modern Art, The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection, Nov. 1, 1965–Jan. 2, 1966, no cat. no. (ill.), as Apples, (1916); Art Institute of Chicago, Feb. 11–Mar. 27, 1966; City Art Museum of Saint Louis, Apr. 26–June 13, 1966; Mexico City, Museo de Arte Moderno, July 2–Aug. 7, 1966; San Francisco, Museum of Art, Sept. 2–Oct. 2, 1966.
London, Hayward Gallery, Matisse, 1869–1954: A Retrospective Exhibition at the Hayward Gallery, July 11–Sept. 8, 1968, cat. 67 (ill.), as Apples/Les Pommes, 1916.
Paris, Grand Palais, Henri Matisse: Exposition du Centenaire, Apr. 21–Sept. 21, 1970, cat. 141 (ill.), as Les pommes sur la table, sur fond noir et jaune, Issy, 1916.
Washington, DC, Hirshhorn Museum and Sculpture Garden, “The Noble Buyer:” John Quinn, Patron of the Avant-Garde, June 15–Sept. 4, 1978, cat. 50 (ill.), as Apples, 1916.
Leningrad (now Saint Petersburg), State Hermitage Museum, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX–nachala XX veka, iz Muzeia Metropoliten v N’iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], Mar. 15–May 10, 1988, cat. 51 (ill.), as Iabloki [Apples], 1916; Moscow, Pushkin State Museum of Fine Arts, June 10–July 30, 1988.
New York, Museum of Modern Art, Henri Matisse: A Retrospective, Sept. 24, 1992–Jan. 12, 1993, cat. 186 (ill.), as Apples/Les pommes, Issy-les-Moulineaux, [summer–autumn] 1916.
Paris, Centre Georges Pompidou, Henri Matisse 1904–1917, Feb. 25–June 21, 1993, cat. 129 (ill.), as Les pommes, Issy-les-Moulineaux, été–automne 1916.
New York, Museum of Modern Art, Objects of Desire: The Modern Still Life, May 25–Aug. 26, 1997, pl. 21, as Apples/Les Pommes, 1916; London, Hayward Gallery, Oct. 9, 1997–Jan. 4, 1998 (New York only).
Art Institute of Chicago, Matisse: Radical Invention, 1913–1917, Mar. 20–June 20, 2010, cats. 39.1 and 39a (ill.), as Apples, late July–Nov. 1916; New York, Museum of Modern Art, July 18–Oct. 11, 2010.
Paris, Centre Pompidou, Musée National d’Art Moderne, Matisse: In Search of True Painting, Mar. 7–June 18, 2012, cat. 34 (ill.), as Apples, 1916; Copenhagen, Statens Museum for Kunst, July 14–Oct. 28, 2012; New York, Metropolitan Museum of Art, Dec. 4, 2012–Mar. 17, 2013.
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 Apples, 1916.

The artist; sold to Galerie Bernheim-Jeune, Paris, Nov. 13, 1916 [Dauberville 1995]; sold to Henry Bernstein, Jan. 15, 1917 [Paris 1993]; sold to Galerie Bernheim-Jeune, Paris, from Dec. 13, 1917 [Paris 1993]. Marius de Zayas, New York, by May 1919 [Marius de Zayas to John Quinn, invoice dated Dec. 26, 1919, John Quinn Papers, Manuscripts and Archives Division, New York Public Library; photocopy in curatorial file]; sold to John Quinn (Apr. 24, 1870–July 28, 1924), New York, after Dec. 26, 1919 [invoice mentioned above]; by descent to John Quinn Estate, New York, July 28, 1924 [American Art Association, New York sale catalogue, Feb. 9–12, 1927, lot 126]; sold to F. Valentine Dudensing, New York, through American Art Association sale, lot 126, Feb. 9, 1927; sold to Pierre Matisse (June 13, 1900–Aug. 10, 1989), New York, by June 16, 1931 [this and the following according to letter from Pierre Matisse, Oct. 21, 1974; photocopy in curatorial file]; sold to Samuel A. Marx (1885–1964) and Florene May Schoenborn (c. 1903–Aug. 25, 1995), Chicago, Dec. 1940; given to the Art Institute of Chicago, Dec. 29, 1948.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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