"Quelques prix des œuvres de Derain." Les Chroniques du jour 11 (January 1931), p. 17, lists its sale price of Fr 5,100 [in the 1925 Monsieur D... sale].
Maurice Raynal. Peintres du XXe siècle. Geneva, 1947, colorpl. 18, as "Rue de Londres" in a private collection, Paris.
Maurice Raynal et al. History of Modern Painting. Vol. 2, Matisse, Munch, Rouault: Fauvism, Expressionism. Geneva, 1950, ill. p. 39 (color), as "A London Street," private collection, Paris.
Georges Hilaire. Derain. Geneva, 1959, pp. 71, 191, pl. 36, as "Rue de Londres".
Denys Sutton. André Derain. London, 1959, p. 18.
John Elderfield. The "Wild Beasts": Fauvism and Its Affinities. Exh. cat., Museum of Modern Art. New York, 1976, p. 81, ill. p. 45 (color).
Gaston Diehl. Derain. New York, 1977, p. 36, states that Derain intended this picture for the Salon d'Automne of 1906.
Keith Roberts. "Current and Forthcoming Exhibitions: Edinburgh and London." Burlington Magazine 121 (January 1979), p. 52, fig. 63.
Malcolm Gee. Dealers, Critics, and Collectors of Modern Painting: Aspects of the Parisian Art Market Between 1910 and 1930. PhD diss., Courtauld Institute of Art. New York, 1981, p. 94; appendix G, pp. 95, 124, no. 248, identifies the buyer of this picture in the 1925 Hôtel Drouot sale as Paul Eluard.
Pierre Schneider in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 26–27.
Sabine Rewald in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 81–83, 298, ill. (color and bw), notes that Vollard commissioned Derain's London paintings after being inspired by the 1904 Durand-Ruel exhibition of Monet's London views; observes that Derain "romanticized London" by not depicting the motorcars then dominating the streets.
William S. Lieberman in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, fig. 3 (color, installation photo).
Pierre Cabanne. André Derain. Paris, 1990, ill. p. 37 (color), as "Vue de Regent street," 1905–6; erroneously locates it in the Lefebvre Gallery, London.
Judi Freeman. The Fauve Landscape. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1990, pp. 187, 212 n. 17, p. 278, colorpl. 299, dates it winter 1906; states that this is the only picture of Regent Street among the thirty known paintings of London by Derain.
Michel Kellermann. André Derain: Catalogue Raisonné de l'œuvre peint. Vol. 1, 1895–1914. Paris, 1992, p. 60, no. 92, ill. pp. 50, 60 (color and bw), as "Londres: Regent Street".
James D. Herbert. Fauve Painting: The Making of Cultural Politics. New Haven, 1992, pp. 23, 33–34, 40, 44, fig. 8 (color), assumes that Derain set up his easel on the curbside to paint this scene; asserts that the "full spectrum of street life" is not represented in this picture because it contains no sign of London's underclass.
Niamh O'Laoghaire. "The Influence of Van Gogh on Matisse, Derain and Vlaminck, 1898–1908." PhD diss., University of Toronto, 1992, p. 296.
Sarah Whitfield. "Book Reviews. Fauve painting: The Making of Cultural Politics." Burlington Magazine 135 (April 1993), p. 280, suggests that Derain sketched this view from the open-air seat of an omnibus, and likely completed the London paintings back in Paris.
Jacqueline Munck in André Derain: Le peintre du "trouble moderne". Exh. cat., Musée d'Art Moderne de la Ville de Paris. Paris, 1994, pp. 141–42, 471, no. 53, ill. (color).
Jean-Louis Ferrier. The Fauves: The Reign of Color. Paris, 1995, p. 67.
William S. Lieberman. "Donation Gelman: l'École de Paris au Metropolitan." Connaissance des arts no. 554 (October 1998), p. 105, fig. 2 (color).
Rémi Labrusse and Jacqueline Munck. "André Derain in London (1906–07): Letters and a Sketchbook." Burlington Magazine. Exh. cat.Vol. 146, April 2004, pp. 246, 252, 259, fig. 48 (color), date it about 1907; reproduce a pencil study for this painting and list another related sketch of a horse-drawn carriage and coachman, both in Derain's first London sketchbook (March 6–17, 1906; private collection); note that in the painting Derain isolated the figures of a man and woman in the right foreground from the vibrancy of the composition, creating "a somewhat unsettling impact".
Rémi Labrusse and Jacqueline Munck. Matisse-Derain: La Vérité du fauvisme. Paris, 2005, pp. 84, 98, 261, colorpl. 66, date it 1906–7; state that there are twenty-nine known paintings in Derain's London series; note that in his second London sketchbook, Derain lists twenty paintings, including "3 Regent Street," although only this picture of the street is known.
Rémi Labrusse and Jacqueline Munck in André Derain: The London Paintings. Exh. cat., Courtauld Institute of Art Gallery. London, 2005, pp. 20, 27 n. 7, p. 28 n. 13, comment that although Derain listed twenty paintings in his first London sketchbook [the authors locate this list in the second London sketchbook in "Matisse-Derain: La vérité du fauvisme," 2005], it is uncertain whether these pictures had already been executed since some cannot be identified today; note that in July 1906, Derain received payment from Vollard for twelve London paintings, but had not yet delivered the canvases, suggesting that many of the paintings were executed in France from sketchbooks.
John House in André Derain: The London Paintings. Exh. cat., Courtauld Institute of Art Gallery. London, 2005, pp. 37, 40.
Ernst Vegelin van Claerbergen and Barnaby Wright in André Derain: The London Paintings. Exh. cat., Courtauld Institute of Art Gallery. London, 2005, pp. 96–97, 142, no. 13, ill. (color), date it 1906–7; note that Derain wrote to Matisse on January 30, 1907 on stationery from the Café Monico which had a branch on Regent Street, suggesting that the preparatory sketch for this painting may have been executed during Derain's last London trip.