Reclining Tahitian (fragment)

• Société du Salon d’Automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif, exh. cat. (Compagnie Française des Papiers-Monnaie, 1906), n.pag., cat. 152.
• Association Paris–Amerique Latine, Exposition rétrospective: Hommage au génial artiste franco-péruvien Gauguin, with introductions by F. Cossio del Pomar and G. Daniel de Monfreid, exh. cat. (n.p., 1926), n.pag., cat. 54.
• Kunsthalle Basel, Paul Gauguin, 1848–1903, exh. cat. (Kunsthalle Basel, 1928), p. 25, cat. 120.
• Kunsthalle Basel, Paul Gauguin, 1848–1903, 2nd ed., exh. cat. (Kunsthalle Basel, 1928), p. 30, cat. 230.
• Galerien Thannhauser, Paul Gauguin, 1848–1903, introduction by W. Barth, exh. cat. (Galerien Thannhauser, 1928), p. 16, cat. 206.
• Leicester Galleries, Catalogue of an Exhibition of the Durrio Collection of Works by Paul Gauguin, exh. cat. (Ernest Brown & Phillips, 1931), p. 6, cat. 8.
• Richard S. Field, Paul Gauguin: Monotypes, exh. cat. (Philadelphia Museum of Art, 1973), pp. 61, 147, cat. 12 (ill.).
• Alan G. Wilkinson, Gauguin to Moore: Primitivism in Modern Sculpture, exh. cat. (Art Gallery of Ontario, 1982), pp. 68–69, cat. 26 (ill.).
• Richard R. Brettell, Françoise Cachin, Claire Frèches-Thory, and Charles F. Stuckey, The Art of Paul Gauguin, with assistance from Peter Zegers, exh. cat. (National Gallery of Art, Washington, D.C./Art Institute of Chicago/New York Graphic Society Books, 1988), p. 375, cat. 213a.
• Elizabeth Mongan, Eberhard Kornfeld, and Harold Joachim, Paul Gauguin: Catalogue Raisonné of His Prints, with assistance of Christine H. Stauffer (Galerie Kornfeld, 1988), p. 152, cat. 35.
• Art Institute of Chicago, Intimate Encounters: Paul Gauguin and the South Pacific; The Edward McCormick Blair Collection, exhibition brochure (Art Institute of Chicago, 2003), not in cat.
• Javier González de Durana, Miriam Alzuri, and María Amezaga, Francisco Durrio (1868–1940): Sobre las huellas de Gauguin, exh cat. (Museo de Bellas Artes de Bilbao, 2013), p. 210, no. 18, 222, no. 22.

• Paris, Grand Palais des Champs-Élysées, Salon d’automne: 4me exposition, 1906, cat. 152, as Noa-Noa.
• Association Paris–Amerique Latine, Exposition rétrospective: Hommage au génial artiste franco-péruvien Gauguin, Dec. 17, 1926, cat. 54.
• Kunsthalle Basel, Paul Gauguin, 1848–1903, July–Sept. 9, 1928, cat. 120 and cat. 230.
• Berlin, Galerien Thannhauser, Paul Gauguin, 1848–1903, Oct. 1928, cat. 206.
• London, Leicester Galleries, Catalogue of an Exhibition of the Durrio Collection of Works by Paul Gauguin, May–June 1931, cat. 8.
• Philadelphia Museum of Art, Paul Gauguin: Monotypes, Mar. 23–May 13, 1973, cat. 12 (ill.).
• Toronto, Art Gallery of Ontario, Gauguin to Moore: Primitivism in Modern Sculpture, Nov. 7, 1981–Jan. 3, 1982, cat. 26 (ill.).
• Washington, D.C., National Gallery of Art, The Art of Paul Gauguin, May 1–July 31, 1988, cat. 213a; Art Institute of Chicago, Sept. 17–Dec. 11, 1988; Paris, Galeries Nationales du Grand Palais, as Gauguin, Jan. 10–Apr. 20, 1989 (Chicago and Paris only).
• Art Institute of Chicago, Intimate Encounters: Paul Gauguin and the South Pacific; The Edward McCormick Blair Collection, Sept. 6, 2003–Jan. 11, 2004, not in cat.
• The Art Institute of Chicago, “Gauguin: Artist as Alchemist”, June 25 - September 10, 2017, cat. by Gloria Groom, et. al., traveled to Paris, Réunion des musées nationaux - Grand Palais, October 9, 2017 - January 21, 2018.

From the artist to Francisco “Paco” Durrio (1868–1940), Paris, between 1893 and 1895 [González de Durana, Alzuri, and Amezaga, Francisco Durrio (1868–1940): Sobre las huellas de Gauguin, exh. cat. (Museo de Bellas Artes de Bilbao, 2013), pp. 195–98, 210, no. 18, 222, no. 22; and Société du Salon d’Automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif, exh. cat. (Compagnie Française des Papiers-Monnaie, 1906), cat. 152.]; left by Francisco “Paco” Durrio at Kunsthalle Basel for exhibition in 1928; Walther Geiser (1897–1993), Basel, by Jan. 18, 1931 [Oviri appears in the inventories of Geiser (no. 86-106, Jan. 18, 1931, Holzschnitte, and no. 68–89, Dec. 24, 1931, as Gravures sur bois, all listed as a set of woodcuts)]; consigned by Walther Geiser to Lucas Lichtenhan (1897–1969), Basel, on Jan. 18, 1931; returned by Lucas Lichtenhan to Walther Geiser in 1936; sold to the Art Institute of Chicago, 1948.