The Checkerboard

• James Thrall Soby, Juan Gris, exh. cat. (New York: Museum of Modern Art, 1958), pp. 57, 58, 59 (ill.), as The Checkerboard, 1915.
• Esteban Vicente, “Gris: Reality Cubed,” Art News 57, 3 (May 1958), pp. 32 (fig. 3, ill.), 33, as The Checkerboard, 1915.
• Art Institute, Paintings in The Art Institute of Chicago (Chicago: Art Institute, 1961), pp. 207, 470 (ill.), as The Checkerboard, 1915.
• A. James Speyer, “Twentieth-Century European Paintings and Sculpture,” Apollo 84 (September 1966), p. 222, as The Checkerboard, 1915.
• George Heard Hamilton, Painting and Sculpture in Europe, 1880 to 1940 (Harmondsworth: Penquin Books, 1967), pp. 159, n.p. (pl. 92a, ill.), as The Chessboard, 1915.
• Fine Arts Gallery of San Diego, Masters of Modern Spanish Painting: Legacy of Spain, XXth Century, exh. cat. (San Diego: Fine Arts Gallery, 1969), n.p. (ill.), as The Checkerboard, 1915.
• Orangerie des Tuileries, Juan Gris, exh. cat. (Paris: Orangerie des Tuileries, 1974), p. 89 (cat. 44, ill.), as Le damier, 1915.
• Gaya-Nuño, Juan Antonio Juan Gris (Barcelona: Ediciones Polígrafa, 1974), pp. 72 (no. 90, ill.), 241, as El tablero de damas, 1915.
• Douglas Cooper, Juan Gris: catalogue raisonné de l’œuvre peint (Paris: Berggruen, 1977), pp. 222 (cat. 148), 223 (ill.), as Le Damier (The Checkerboard), 1915.
• E. A. Carmean, Jr., “Juan Gris’ Fantômas,” Arts Magazine 51, 5 (January 1977), pp. 10, 11 (ill.), as Le Damier (The Checkerboard), 1915.
• A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago: University of Chicago Press, 1980), p. 45 (no. 2A10), as The Checkerboard (Le Damier), 1915.
• Christopher Green, “Synthesis and the ‘Synthetic Process’ in the Painting of Juan Gris 1915–19,” Art History 5, 1 (March 1982), pp. 90, n.p. (fig. 21, ill.), 95, as Le Damier, Sepetember 1915.
• Liliane Caffin Madaule, Catalogue Raisonné des Oeuvres de Maria Blanchard, vol. I (London : Editions Liliane Caffin Madule, 1992), 166 (ill.).
• Art Institute, Masterworks of Modern Art from The Art Institute of Chicago, exh. cat. (Nagaoka: Niigata Prefectural Museum of Modern Art, 1994), pp. 100 (cat. 27), 101 (ill.), 102, 103 (detail) as The Checkerboard, September 1915.
• Gary Apgar and Shaun O’L. Higgins, Colleen Striegel, The Newspaper in Art (Spokane, Wash.: New Media Ventures, 1996), p. 151 (fig. 164, ill.), as The Checkerboard, 1915.

• New York, Museum of Modern Art, Juan Gris, April 9–June 1, 1958, pp. 57, 58, 59 (ill.), as The Checkerboard, Sept. 1915; traveled to Minneapolis, Institute of Arts, June 24–July 24, 1958; San Francisco, Museum of Art, August 11–September 14, 1958; and Los Angeles County Museum, September 29–October 26, 1958 (New York only).
• San Diego, Fine Arts Gallery, Masters of Modern Spanish Painting: Legacy of Spain, XXth Century, January 2–March 4, 1969, n.p. (ill.), as The Checkerboard, 1915.
• Paris, Orangerie des Tuileries, Juan Gris, March 14–July 1, 1974, p. 89 (cat. 44, ill.), as Le damier, 1915.
• Nagaoka, Niigata Prefectural Museum of Modern Art, Masterworks of Modern Art from The Art Institute of Chicago, September 1915; April 20–May 29, 1994, pp. 100 (cat. 27), 101 (ill.), 102, 103 (detail) as The Checkerboard; Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; and Yokohama Museum of Art, August 6–September 25, 1994 (organized by Art Institute of Chicago and Asahi Shimbun).
• 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. 

Estate of the artist, from 1927 [Cooper 1977; letter from Eleanore Saidenberg, February 13, 1975, copy in curatorial file]. Galerie Simon, Paris, from 1930 [Saidenberg letter cited above]; sold to the Saidenberg Gallery, New York, 1956 [Saidenberg letter cited above]; sold to the Art Institute, 1956.