Seated Breton Woman

• Carther H. Harrison, “Growing Up with Chicago,” (Ralph Feltcher Seymour, 1944), pp. 338-39.
• Monroe Wheeler and John Rewald, Modern Drawings, exh. cat. (Museum of Modern Art, New York, 1944), p. 91.
• Art Institute of Chicago, Drawings Old and New, exh. cat. (Art Institute of Chicago, 1946), p. 15, cat. 21, pl. 26.
• Robert Goldwater and Carl O. Schniewind, Exhibition, Gauguin: For the Benefit of the Citizens’ Committee for Children of New York City, Inc., exh. cat. (Wildenstein & Co., 1956), p. 20, cat. 56
• Herbert Read, “Gauguin: Return to Symbolism,” Art News Annual 25 (1956), p. 153 (ill.).
• John Rewald, Gauguin Drawings (New York, 1958), p. 23, no. 6 (ill.).
• Art Institute of Chicago and Metropolitan Museum of Art, New York, Gauguin: Paintings, Drawings, Prints, Sculpture, exh. cat. (Art Institute of Chicago, 1959), p. 63, cat. 76.
• Merete Bodelson, “Gauguin’s Bathing Girl,” Burlington Magazine 101, no. 674 (May 1959), p. 187.
• Merete Bodelsen, “The Missing Link in Gauguin’s Cloisonism,” Gazette des Beaux-Arts (May-June 1959), pp. 338, 342, 344 (ill.).
• University of Michigan Museum of Art, A Generation of Draughtsmen, exh. cat. (University of Michigan Museum of Art, 1962), n.pag., cat. 69.
• Stephen Longstreet, The Drawings of Gauguin (Borden, 1965), n.pag. (ill.).
• Ronald Pickvance, The Drawings of Gauguin (P. Hamlyn, 1970), p. 21, pl. 12.
• Harold Joachim and Suzanne Folds McCullagh, Dessins français de l’Art Institute de Chicago de Watteau à Picasso, exh. cat. (Secrétariat d’État à la Culture, Éditions des Musés Nationaux, 1976), n.pag., cat. 71 (ill.).
• Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century, vol. 2 (University of Chicago Press, 1979), p. 56, no. 3E1 (ill.)
• Nicolas Wadley, Gauguin: 116 Ouevres (SACELP, 1986), no. 10 (ill.).
• Bates Lowry, Muse or Ego: Salon and Independent Artists of the 1880s, exh. cat. (Pomona College Gallery, 1963), p. 31, cat. 31.
• Merete Bodelsen, Gauguin’s Ceramics: A Study in the Development of his Art (Copenhagen, 1964), pp. 50-51, fig. 15 and 40g (ill.).
• Stephen Longstreet, The Drawings of Gauguin (Calif., 1965), p. 39 (ill.).
• Ronald Pickvance, The Drawings of Gauguin (London, 1970), p. 21, pl. 12 (ill.).
• Nicolas Wadley, Gauguin (Paris, 1986), p. 10 (ill.).
• Michel Hoog, Paul Gauguin: Life and Work (New York, 1987), p. 47, fig. 25.
• Françoise Cachin, Gauguin (Paris, 1990), pp. 42, 306, fig. 38.
• Peggy Vance, Gauguin (London, 1991), p. 13 (ill.).
• Nicholas Wadley, Impressionist and Post-Impressionist Drawing (London, 1991), p. 220, fig. 69b.
• Anna Maria Damigella, Paul Gauguin: La vita e l’opera (Milan, 1997), p. 64 (ill.).
• Britt Salvesen, with Douglas W. Druick and Peter Kort Zegers, Gauguin (Chicago, 2001), pp. 75 and 107, no. 4 (ill.).
• Françoise Cachin, Gauguin (Paris, 2003), p. 42, 302, fig. 38.
• Parkstone International, Gauguin, 1848-1903 (Parkstone International, 2010), pp. 34-35 (ill.).

• New York, The Museum of Modern Art, “Modern Drawings,” February 16-May 10, 1944, p. 91, as Brittany Woman, cat. by Monroe Wheeler.
• The Art Institute of Chicago, “Drawings: Old & New,” 1946, p. 15, cat. 21, pl. XXVI (ill.) as Woman of Brittany (Une Brettone).
• Birmingham, Ala., Birmingham Museum of Art, “Exhibition of French Drawings (Le fin du siècle),” October 5–November 1, 1952, no cat.
• New York, Wildenstein and Company, “Gauguin: Loan Exhibition for the Benefit of Citizens’ Committee for Children of New York City, Inc.,” April 5-May 5, 1956, p. 20, cat. 56 as Woman of Brittany.
• The Art Institute of Chicago, “Gauguin: Paintings, Drawings, Prints, Sculpture,” February 12-March 29, 1959, p. 63, cat. 76; traveled to the Metropolitan Museum of Art, New York, April 23-May 31, 1959.
• Ann Arbor, Mich., University of Michigan Museum of Art, “A Generation of Draughtsmen,” April 25-May 29, 1962, n.pag., cat. 69.
• Claremont, Calif., Pomona College Gallery, “Muse or Ego: Salon and Independent Artists of the 1880s,” 1963, p. 31, cat. 31.
• Paris, Musée du Louvre, “Dessins français de l’Art Institute de Chicago de Watteau à Picasso,” October 15, 1976-January 17, 1977, n.p., cat. 71 (ill.).
• Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, “Französische Zeichnungen aus dem Art Institute of Chicago,” February 10-April 10, 1977, pp. 150-151, cat. 72 (ill.).
• Washington, D.C., National Gallery of Art, “The Art of Paul Gauguin,” April 17-July 31, 1988, p. 64, cat. 19 (ill.); traveled to The Art Institute of Chicago, September 17-December 10, 1988.
• Auckland, New Zealand, Auckland City Art Gallery, “Paul Gauguin: Pages From the Pacific,” August 4-October 15, 1995, pp. 33 and 49, cat. 2 (ill.), cat. by Douglas Druick and Peter Zegers.
• The Art Institute of Chicago, “Gauguin: Artist as Alchemist”, June 25 - September 10, 2017, pp. 57, 61, 118, 121, cat. 39, cat. by Gloria Groom, et. al., traveled to Paris, Réunion des musées nationaux - Grand Palais, October 9, 2017 - January 21, 2018.

Given by the artist to Charles Laval (1862–1894), Paris [inscription on recto]. Sold by the estate of André Teissier (died 1927), Mâcon, France, to Henri Cottereau, Galerie Choiseul, Paris, 1928 [Harrison collection notes]; sold to Carter H. Harrison (1860-1953), Chicago, 1928; given to the Art Institute, 1933.