After publishing demonstrably false provenances for Chagall's "Over Vitebsk", Kirchner's "Sand Hills in Engadine" and "Artillerymen in the Shower" as well as histories of questionable quality for other artworks, many Nazi-era gaps remain in 2026.
Here are just a couple examples of the kinds of questions that can be asked:
Madame Derain in Green
| André Derain (French, 1880–1954.) Madame Derain in Green[Portrait de Madame Derain]. (1907) Oil on canvas, 28 3/4 x 23 5/8" (73 x 60 cm) 143.42 | ![]() | |
Provenance in 2005: Marius de Zayas, Paris and New York. [Until 1917 or 1920] Alternate titles: Woman in Green Dress, c. 1906 (Former title) | ||
Provenance in February 2026:
1907, André Derain.
Before December 12, 1914, Galerie Kahnweiler, Paris.
Paul Guillaume, Paris.
By 1917 - ?, Marius de Zayas, Paris and New York.
? - 1942, Charles Sheeler (1883-1965), Ridgefield, Connecticut, acquired from Marius de Zayas.
1942, The Museum of Modern Art, New York, acquired as anonymous gift.
Nazi era provenance questions: From whom and when did Charles Sheeler acquire this Derain?
Why have the MoMa's provenance researchers suggested so many different acquisition dates by Sheeler (1917 or 1920, ?, 1942)
