Antwerp

• Isarlov, George, Georges Braque (Paris: José Corti, 1932), pp. 13 (no. 2), 14, as Anvers.
• “Exposition Georges Braque au Musée des Beaux-Arts de Bâle,” Cahiers d’art 8, 1–2 (1933), p. 11 (ill.).
• Cooper, Douglas, G. Braque, exh. cat. (London: Arts Council of Great Britain, 1956), pp. 26 (cat. 5), n.p. (pl. 12a, ill.), as Antwerp, summer 1906.
• Art Institute, Chicago Collectors, exh. cat. (Chicago: Art Institute, 1963), pp. 3, 49 (pl. 38, ill.), as Antwerp, 1905-07.
• Minneapolis Institute of Arts, Paintings from the Cummings Collection, exh. cat. (Minneapolis: Institute of Arts, 1965), n.p. (ill.), as Anvers, 1905-1907.
• Davenport Municipal Art Gallery, Collection of Masterpieces—Courtesy of Mr. and Mrs. Nathan Cummings, exh. cat. (Davenport: Municipal Art Gallery, 1965), n.p., cover (ill.), as Anvers, 1905-1907.
• Paintings from the Cummings Collection, exh. cat. (Detroit: City National Bank, 1966), n.p. (ill.), as Anvers, 1905-1907.
• Lyman Allyn Museum, Paintings and Sculpture from the Collection of Mr. and Mrs. Nathan Cummings, exh. cat. (New London, Conn.: Lyman Allyn Museum, 1968), n.p. (ill.), as Anvers, 1905-1907.
• National Gallery of Art, Selections from the Nathan Cummings Collection, exh. cat. (Washington, D.C.: National Gallery of Art, 1970), pp. 62 (cat. 47, ill.), 95, as Antwerp, 1906.
• Metropolitan Museum of Art, Summer Loan 1971 Paintings from New York Collections: Nathan Cummings Collection, exh. cat. (New York: Metropolitan Museum of Art, 1971), p. 1 (cat. 3), as Antwerp, 1906.
• Art Institute, Major Works form the Collection of Nathan Cummings, exh. cat. (Chicago: Art Institute, 1973), p. 51 (cat. 42, ill.), as Antwerp, 1906.
• Martin, Alvin Randolph III, “Georges Braque: Stylistic Formation and Transition, 1900–1909” (Ph.D. dissertation, Harvard University, 1979), pp. 52, 53, 56, 69, 315, 333 (fig. 17, ill.), as Port of Antwerp/Port (Harbor), Antwerp.
• Kim, Youngna, “The Early Works of Georges Braque, Raoul Dufy, and Othon Friesz: The Le Havre Group of Fauvist Painters” (Ph.D. dissertation, Ohio State University, 1980), pp. 138, 345, (fig. 161, ill.), as The Escaut at Antwerp, 1906.
• Brettell, Richard, An Impressionist Legacy: The Collection of Sara Lee Corporation (New York: Abbeville Press, 1986), pp. 104, 105 (ill.), 106 (detail), 115–116, as Antwerp (Anvers), 1906.
• Freeman, Judi, The Fauve Landscape, exh. cat. (Los Angeles: County Museum of Art, 1990), pp. 93 (pl. 103, ill.), 269, as Anvers (Antwerp), summer 1906.
• Boston, Richard, “Shock of the few,” Guardian (June 19, 1991), p. 36, as Port of Antwerp.
• Thomson, Richard, “Young Man’s Painting,” Times Literary Supplement 4604 (June 28, 1991), p. 16 (ill.), as Antwerp, 1906.
• Freeman, Judi, Fauves, exh. cat. (Sydney: Art Gallery of New South Wales, 1995), p. 34 (cat. 2), 35 (ill.), as Antwerp, summer 1906.
• Guralnik, Nehama, Fauvism: “Wild Beasts,”exh. cat. (Tel Aviv: Museum of Art, 1996), pp. 21 (ill.), 22 (cat. 2), as Antwerp, summer 1906.
• Artner, Alan G., “Sara Lee takes its art to new level,” Chicago Tribune (June 3, 1998), pp. 1, 14 (ill.), as Antwerp, 1906.
• Dobrzynski, Judith H. , “Sara Lee is Donating Impressionist Art to 20 U.S. Museums,” New York Times (June 3, 1998), p. B8 (ill.), as Antwerp.
• Brettell, Richard R., Monet to Moore: The Millennium Gift of Sara Lee Corporation, exh. cat. (New Haven, Conn.: Yale University Press, 1999), pp. 14 (cat. 4), 15 (ill.), 16, 17 (detail), 18-19, as Antwerp (Anvers), summer 1909.
• Wood, James N. and Debra N. Mancoff, Treasures from The Art Institute of Chicago (Chicago: Art Institute, 2000), p. 238 (ill.), as Antwerp, 1906.
• Serrano, Véronique, Georges Braque et le paysage: De l’Estaque à Varengeville, 1906-1963, exh. cat. (Marseille and Paris: Musée Cantini and Hazan, 2006), pp. 157 (fig. 90, ill.), 177, as Anvers, été 1906.

• Arts Council of Great Britain and Edinburgh Festival Society (organizer), G. Braque, pp. 26 (cat. 5), n.p. (pl. 12a, ill.), as Antwerp, summer 1906; traveled to Edinburgh, Royal Scottish Academy, August 18–September 15, 1956; and London, Tate Gallery, September 28–November 11, 1956.
• Chicago, Art Institute, Chicago Collectors, September 20–October 27, 1963, pp. 3, 49 (pl. 38, ill.), as Antwerp, 1905-07.
• Minneapolis, Institute of Arts, Paintings from the Cummings Collection, January 14–March 7, 1965, n.p. (ill.), as Anvers, 1905-1907.
• Davenport, Iowa, Davenport Municipal Art Gallery, Collection of Masterpieces—Courtesy of Mr. and Mrs. Nathan Cummings, March 21–April 11, 1965, n.p., cover (ill.), as Anvers, 1905-1907.
• Detroit, First National Building, City National Bank, Paintings from the Cummings Collection, January 20–February 2, 1966, n.p. (ill.), as Anvers, 1905-1907.
• New London, Conn., Lyman Allyn Museum, Paintings and Sculpture from the Collection of Mr. and Mrs. Nathan Cummings, January 19–February 18, 1968, n.p., as Anvers, 1905-1907.
• Washington, D.C., National Gallery of Art, Selections from the Nathan Cummings Collection, June 28–September 11, 1970, pp. 62 (cat. 47, ill.), 95, as Antwerp; traveled to New York, Metropolitan Museum of Art, Summer Loan 1971 Paintings from New York Collections: Nathan Cummings Collection, July 1–September 7, 1971, p. 1 (cat. 3), as Antwerp, 1906.
• Chicago, Art Institute, Major Works from the Collection of Nathan Cummings, October 20–December 9, 1973, p. 51 (cat. 42, ill.), as Antwerp, 1906.
• Los Angeles County Museum of Art, The Fauve Landscape, October 4–December 30, 1990, pp. 93 (pl. 103, ill.), 269, as Anvers (Antwerp), summer 1906; traveled to New York, Metropolitan Museum of Art, February 19–May 5, 1991; and London, Royal Academy of Arts, June 10–September 1, 1991.
• Sydney, Art Gallery of New South Wales, The Fauves, December 8, 1995–February 18, 1996, p. 34 (cat. 2), 35 (ill.), as Antwerp, summer 1906; traveled to Melbourne, National Gallery of Victoria, February 29–May 13, 1996.
• Tel Aviv Museum of Art, Fauvism: “Wild Beasts,” June 6–August 31, 1996, pp. 21 (ill.), 22 (cat. 2), as Antwerp/Anvers, summer 1906.
• Laren, The Netherlands, Singer Museum, The Sara Lee Collection: An Impressionist Legacy, October 18, 1997–February 15, 1998.
• Sara Lee Corporation (organizers), Monet to Moore: The Millennium Gift of Sara Lee Corporation, pp. 14 (cat. 4), 15 (ill.), 16, 17 (detail), 18-19, as Antwerp (Anvers), Summer 1906; traveled to Canberra, National Gallery of Australia, June 11–August 22, 1999; Raleigh, North Carolina Museum of Art, September 10–November 7, 1999; Portland, Ore., Art Museum, November 19, 1999–January 23, 2000; Singapore, Museum of Art, April 1–May 30, 1999; and Chicago, Art Institute, March 13–May 28, 2000.
• 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. 

The artist; Galerie Kahnweiler, Paris, after 1907 to before 1914 [Kahnweiler photo no. 1031; Isarlov 1932]. Possibly sold through Fine Arts Associates, New York to Mr. S. M. Lubitsch, New York, Nov. 1951. Mr. and Mrs. William Bedford, Copenhagen, by 1956 [London 1956]; Mrs. N. Bedford, New York [Chicago 2000]; sold to Nathan Cummings (1896–1985), Chicago, Mar. 29, 1963 [Sara Lee Corporation records]; the Sara Lee Corporation, Chicago, after 1982 and by 1986 [Corporation records mentioned above; Grunwald 1982; Brettell 1986]; given to the Art Institute of Chicago, Sept. 13, 1999.