Inscription: Signed and inscribed (lower left, in woodcut design): hm; (lower right): Henri-Matisse 38/50
[Galerie Louise Leiris, Paris, until 2000; sold in April 2000 to Pace Master Prints]; [Pace Master Prints, New York, 2000; sold to MMA]
Ferrara. Palazzo dei Diamanti. "Matisse, la figura. La forza della linea, l'emozione del colore," February 22–June 15, 2014, no. 9.
Georges Desvallières. "Aux Serres du Cours-la-Reine." La Grande Revue 42 (April 10, 1907), p. 145.
Charles Morice. "Art Moderne: Le XXIIIe Salon des Indépendants." Mercure de France (April 15, 1907), p. 753.
Louis Vauxcelles. "Le Salon des 'Indépendants'." Gil Blas 28 (March 20, 1907), p. 1.
A[lfred]. H. B[arr]., Jr. Henri-Matisse: Retrospective Exhibition. Exh. cat., Museum of Modern Art. New York, 1931, pp. 24, 60, no. 151, ill. p. 43 (unknown edition; collection Montross Gallery, New York), calls it "Reclining Figure" in the text and "Decorative Composition: Reclining Figure" in the checklist.
Alfred H. Barr Jr. Matisse: His Art and His Public. New York, 1951, pp. 99, 534 nn. 2, 3.
William S. Lieberman. Matisse: 50 Years of His Graphic Art. New York, 1956, pp. 7, 19 n. 3.
Riva Castleman in John Elderfield. Matisse in the Collection of the Museum of Modern Art, including Remainder-Interest and Promised Gifts. New York, 1978, pp. 48–49, 182, ill. (not this edition), calls it "Seated Nude" in the text and "Seated Nude Asleep (Grand Bois)" in the catalogue information.
Marguerite Duthuit-Matisse, and Claude Duthuit, with Françoise Garnaud. Henri Matisse: Catalogue raisonné de l'œuvre gravé. Paris, 1983, vol. 1, p. 246, no. 317, ill. p. 247 (color), call it "Le Grand Bois".
"The London Print Fair: The Royal Academy." Print Quarterly 3 (June 1986), p. 165, ill. (edition 50), calls it "Le Grand Bois".
Margrit Hahnloser. Matisse: The Graphic Work. New York, 1987, pp. 18–19, no. 6, ill. (edition 29/50), calls it "Large Woodcut (Le Grand Bois)".
Sabine Rewald inTwentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 84, 86.
Xavier Girard inHenri-Matisse. [title on spine: Matisse: Oeuvre gravé]. Paris, 1993, p. 39, ill. p. 48 (color), calls it "Le Grand Bois".
Stephen Coppel. "The Fauve Woodcut." Print Quarterly 16 (March 1999), pp. 8, 10–11, figs. 1 (woodblock for this print; Victoria and Albert Museum, London), 2 (edition 31/50; British Museum, London), calls it "Le Grand Bois".
Sabine Rewald in "Recent Acquisitions. A Selection: 2000–2001." Metropolitan Museum of Art Bulletin 59 (Fall 2001), p. 58, ill.
Pat Gilmour. "Prints and the Victoria and Albert Museum." Print Quarterly 19 (September 2002), p. 307.
Rémi Labrusse and Jacqueline Munck. Matisse-Derain: La Vérité du fauvisme. Paris, 2005, pp. 254, 282–84, fig. 202 (color; unknown edition), call it "Le Grand Bois (Nu de profil sur une chaise longue)".
Rémi Labrusse in Rémi Labrusse and Jacqueline Munck. Matisse-Derain: La Vérité du fauvisme. Paris, 2005, pp. 54–55, 137, 344 n. 108.
Maria Luisa Pacelli et al. Matisse, la figura. La forza della linea, l'emozione del colore. Exh. cat., Palazzo dei Diamanti. Ferrara, 2014, pp. 101, 246, no. 9, ill. pp. 105 (color), 246.
Henri Matisse (French, Le Cateau-Cambrésis 1869–1954 Nice)
1900–1903
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