This work is included in the Provenance Research Project
, which investigates the ownership history of works in MoMA's collection.
[Probably Ambroise Vollard (1866-1939), Paris, 1905] . Jean Decroux, Paris/Morges, Switzerland, by 1949 ; Galerie Lorenceau, Paris ; Alex Reid and Lefèvre Ltd., London ; Sidney Janis Gallery, New York, by 1954 ; sold to Philip L. Goodwin (1885-1958), New York, 1954 ; The Museum of Modern Art, New York, 1958 (The Philip L. Goodwin Collection).
 See Jacqueline Munck, "Vollard and the Fauves: Derain and Vlaminck," Cézanne to Picasso: Ambroise Vollard, Patron of the Avantgarde, ed. by Rebecca Rabinow, exh. cat. New York: The Metropolitan Museum of Art, New Haven and London: Yale University Press, 2006, p. 119: "On November 23, 1905, at Henri Matisse's suggestion, Vollard acquired the entire studio - comprising eighty-nine paintings and eighty watercolors - of André Derain (1880-1954), a newcomer to the art scene who had exhibited for the first time at the Salon des Indépendants that spring."
 Reproduced in Georges Duthuit, Les Fauves, Geneva: Editions des trois collines, 1949, p. 129: "Collection particulière Paris."  Included in the exhibition Les Fauves, Kunsthalle Bern, April 29 to May 29, 1950, no. 23: "Coll.[ection] part.[iculière], Morges."
 Label by Maurice Robinot, Paris inscribed "Lorenceau 76" on verso.
 Michel Kellermann, André Derain: catalogue raisonné de l'oeuvre peint, Paris: Editions Galerie Schmit, 1992, vol. 1 , no. 75: Barques de pêche à Collioure, 1905.
 Ibid. Gallery label on verso (# 3922).
 Collection files, Department of Painting and Sculpture, The Museum of Modern Art, New York.
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