Two Tahitian Women in a Landscape

• Grafton Galleries, Manet and the Post-Impressionists, exh. cat. (Ballantyne, 1910), p. 34, cat. 185.
• Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, exh. cat. (n.p., 1913), p. 26, cat. 179.
• Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, exh. cat. (n.p., 1913), n.pag., cat. 142.
• Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, exh. cat. (Copley Society of Boston, 1913), n.pag., cat. 59.
• “Accessions and Loans,” Bulletin of the Art Institute of Chicago 17, no. 1 (Jan. 1923), p. 11.
• Rose Mary Fischkin, “Notes on Some Modern Drawings,” Bulletin of the Art Institute of Chicago, 21, no. 3 (Mar. 1927), p. 36.
• Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 91, cat. 876.
• Institute of Modern Art, 100 Modern Pictures in Water Color, Gouache and Tempera, exh. cat. ([Institute of Modern Art, Boston], 1945), n.pag., cat. 20.
• Wildenstein & Co., A Loan Exhibition of Paul Gauguin, for the Benefit of the New York Infirmary, with an essay by Raymond Cogniat (Wildenstein & Co., 1946), p. 68, cat. 46.
• John Rewald, 19th Century French Drawings, exh. cat. (California Palace of the Legion of Honor, 1947), p. 85, cat. 139.
• Beatrice Wilczynski, “European Paintings Exhibited in the 1913 Armory Show,” unpublished MS, 1955), p. 19, no. 142, pl. 2, no. 15, Ryerson Library.
• Munson-Williams-Proctor Institute, 1913 Armory Show: 50th Anniversary Exhibition, exh. cat. (Munson-Williams-Proctor Institute, 1963), p. 190, no. 179.
• Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century, vol. 2 (University of Chicago Press, 1979), p. 60, cat. 3E11 (ill.).
• Milton W. Brown, The Story of the Armory Show (Abbeville, 1988), pp. 268–69, no. 179.
• Andrew Martinez, “A Mixed Reception for Modernism: The 1914 Armory Show at The Art Institute of Chicago,” Art Institute of Chicago Museum Studies 19, no. 1 (1993), p. 40.
• Colta Ives and Susan Alyson Stein, The Lure of the Exotic: Gauguin in New York Collections, with Charlotte Hale and Marjorie Shelley, exh. cat. (Metropolitan Museum of Art, New York/Yale University Press, 2002), p. 154, fig. 59.
• Peter Kort Zegers, “In the Kitchen with Paul Gauguin: Devising Recipes for a Symbolist Graphic Aesthetic,” in The Broad Spectrum: Studies in the Materials, Techniques, and Conservation of Color on Paper, ed. Harriet K. Stratis and Britt Salvesen (Archetype, 2002), pp. 141–43, fig. 3.7.
• Anna Gruetzner Robins, “Manet and the Post-Impressionists’: A Checklist of Exhibits,” Burlington Magazine 152, no. 1293 (Dec. 2010), pp. 787–88.
• 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. 208, no. 4 (ill.).

• London, Grafton Galleries, Manet and the Post-Impressionists, Nov. 8, 1910–Jan. 15, 1911, cat. 185 as Water Colour.
• New York, 69th Regiment Armory, International Exhibition of Modern Art, Feb. 17–Mar. 15, 1913, cat. 179, as Femme et Enfant.
• Art Institute of Chicago, International Exhibition of Modern Art, Mar. 24–Apr. 16, 1913, cat. 142, as Woman and child.
• Copley Society of Boston, International Exhibition of Modern Art, Apr. 28–May 19, 1913, cat. 59, as Woman and Child.
• Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, June 1–Nov. 1, 1933, cat. 876.
• Boston, Institute of Modern Art, 100 Modern Pictures in Water Color, Gouache and Tempera, May 23–July 14, 1945, cat. 20.
• New York, Wildenstein & Co., A Loan Exhibition of Paul Gauguin, for the Benefit of the New York Infirmary, Apr. 3–May 4, 1946, cat. 46.
• San Francisco, California Palace of the Legion of Honor, 19th Century French Drawings, Mar. 8–Apr. 6, 1947, cat. 139.
• Minneapolis Institute of Arts, Gauguin in Tahiti, Apr. 1–May 14, 1950, no cat.

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, 208, no. 4]. Emily Crane Chadbourne (1871–1964), Chicago and London, by 1910 [Robins, “‘Manet and the Post-Impressionists’: A Checklist of Exhibits,” Burlington Magazine, 152, no. 1293 (Dec. 2010), pp. 787–88.]; given to the Art Institute of Chicago, 1922.

• Cat. 64  Two Tahitian Women in a Landscape, c. 1892