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This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.
Acquired from the artist by Hendrik van Assendelft (1875-1928), Gouda, the Netherlands, 1914 [1]; by inheritance to his wife, Jacoba van Assendelft-Hoos, Gouda, the Netherlands, 1928 until at least 1946 [2]. E. Polak, Amsterdam/Suzanne Feigel, Basel, 1949 [3]; Sidney and Harriet Janis, New York, by 1951 [4]; The Museum of Modern Art, New York, 1967 (The Sidney and Harriet Janis Collection).
[1] One of altogether three paintings vam Assendelft purchased at Mondrian's first one-man exhibition, 16 composities van P. Mondrian, Parijs, showing sixteen of his works at Kunsthandel W. Walrecht, The Hague, c. June 15-July 31, 1914. See Robert P. Welsh and Joop M. Joosten, Piet Mondrian: catalogue raisonné, New York: Harry N. Abrams, 1998, vol. II-III, pp. 229-230, B45. See also ibid., p. II-105; p. III-28. Lender to the exhibition Alma, Le Fauconnier en Mondrian, Rotterdamsche Kunstkring, Rotterdam, January 31-February 28, 1915 (no. 63).
[2] See Welsh and Joosten 1998, p. 229, B45. The painting was still in the possession of Jacoba van Assendelft-Hoos in 1946: She lent the painting to the memorial exhibition Piet Mondriaan herdenkingstententoonstelling, Stedelijk Museum, Amsterdam, November 6-December 16, 1946 (no. 77).
[3] Per Welsh and Joosten 1998, p. 229, B45.
[4] Lender to the exhibition 1900-1925: Exhibition of Paintings and Prints presented by the Cincinnati Art Museum as part of the First Cincinnati Biennial Festival of the Arts, Cincinnati Art Museum, February 2-March 4, 1951 (no. 27).
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