Given by the artist to Charles Laval [1862-1894] in 1887.{1} Possibly to (Ambroise Vollard [1867-1939], Paris).{2} Schuffenecker, around 1906.{3} With the (Galerie Miethke, Vienna) by 1907.{4} Marczell de Nêmes [1866-before 1931], Budapest.{5} (Alexandre Rosenberg, known as Rosenberg Père , Paris);{6} Baron Mór Lipót Herzog [1869-1934], also known as Moritz Leopold Herzog, by 1912;{7} by inheritance to his son András Herzog [1902-?] by 1938;{8} seized from Herzog storage by Hungarian State Security Police and placed in the Museum of Fine Arts, Budapest, in 1944;{9} restituted to Maria Izabella Parravicini [1912-?], former wife of András Herzog, via Dr. Emil Oppler, Budapest, a family friend and lawyer, in 1948; {10} to (Sándor Donáth, Hungary, then Zurich) in 1948.{11} (Wildenstein and Co., New York).{12} Mr. and Mrs. Otto L. Spaeth, New York.{13} Mr. and Mrs. Walter B. Ford II;{14} sold at (Christie's, New York) to Samuel Josefowitz, Lausanne, in 1980;{15} acquired as a partial gift, partial purchase by the IMA in 1998 (1998.167).

{1} This early provenance is given in Georges Wildenstein, Gauguin, 2002, cat. rais. no. 238.
{2} Vollard's name appears in a typescript copy of an unpublished catalogue of Gauguin's paintings (by Douglas Cooper?). Copies in IMA Provenance file (1998.167).
{3} See footnote 1 above.
{4} It appears in an exhibition of works by Gauguin held at the Galerie Miethke, March-April 1907, as no. 70 with the notation "for sale." See Donald Gordon, Modern Art Exhibitions 1900-1916, vol. II, 1974, p. 191.
{5} See footnote 1 above.
{6} According to a document prepared in 1998 by Lászlo Mravik, Director of the Cultural Research Group at the National Museum, Budapest, the painting was sold to Mór Lipót Herzog by Rosenberg Père, Paris. Copy in IMA Provenance file (1998.167).
{7} The painting appears in the Sonderbund Internationale Kunstausstellung, Cologne, Städtische Ausstellungshalle, 25 May - 30 September 1912, cat. no. 152, as lent by "Baron Moritz Leopold Herzog." See Donald Gordon, as cited above, p. 589. (It was not purchased out of the auction of Baron Marczell de Nêmes' collection in 1913, as is sometimes suggested.)
{8} The collection of Mór Lipót Herzog was, for the most part, distributed between his three children: András Herzog, Erzsébet Herzog (then already married to Alfonz Weiss), and István Herzog. This painting was included in the exhibition Honderd Jaar Fransche Kunst, Stedelijk Museum, Amsterdam, 1938, cat. no. 122a, as lent by " Baron A. Herzog, Budapest." He lent five paintings to this exhibition and all were returned to him upon its closing. Following the exhibition, this painting, along with other items in the Herzog collection were stored by the owners in the cellars of the Labor Company at Budafok, outside Budapest. For the history of the Herzog collection, see Lászlo Mravik, "Sacco Di Budapest": Depredation of Hungary, 1938-1949, 1998, p. 305.
{9} A document in the Hungarian National Archives (K 643-1944-201, Fol. 6) states that the painting was found in 1944 by the State Security Police in the Budafok laboratory; copy in IMA Provenance file (1998.167). The seized collection had initially been offered to the Eichmann Sonderkommando at its headquarters in the Hotel Majestic in Budapest. It was among the unwanted materials and was transferred to the Museum of Fine Arts by the State Security Police for safekeeping on 20 May 1944.
{10} András Herzog was sent to a labor camp in 1942 and never returned. Because he had only under-age heirs, the paintings were restituted to his former wife Maria Izabella Parravicini, who had divorced András Herzog in 1939 and married Count Istvan Bethlen, Jr. Police records of a smuggling prosecution in 1949 detail the facts of the restitution and the role of Dr. Oppler. See footnote 11 below.
{11} The 1949 police investigation against the wife of István Herzog claimed that proper export licenses had not been procured for works in the Herzog collection, including those in possession of Maria Izabella Parravicini. While this may have been the case for a number of the Herzog pictures, Gauguin's Still Life with Profile of Laval had been granted permission for export; see copies of papers from the Hungarian National Archives (K 726-1948-732) in IMA Provenance file (1998.167). This is corroborated by the presence of an export stamp bearing the Hungarian national crest on the verso of the canvas. The police investigation materials identify Donáth as an art dealer who left Hungary for Zurich in 1948.
{12} See footnote 1 above.
{13} See The Spaeth Collection, Munson-Williams Proctor Institute, Utica, New York, October 1952, cat. no. 14.
{14} The first Wildenstein catalogue raisonné, published in 1964, identifies the painting's owner as "Mrs. Walter B. Ford II."
{15} See Impressionist and Modern Paintings and Sculpture, Christie's, New York, 13 May 1980, lot no. 32A.