Peter Doig

Victoria Miro, London

Private Collection, Seattle (acquired from the above in 1994)

Christie’s, London, 16 October 2015, lot 11 (consigned by the above)

Acquired from the above sale by the present owner

London, Victoria Miro, Concrete Cabins, January – February 1994

London, Hayward Gallery, Unbound: Possibilities in Painting, March – May 1994, p. 32, illustrated in colour

London, Tate Gallery, The Turner Prize 1994, November – December 1994, illustrated in colour on the cover (detail); no. 5, pp. 8 and 11, illustrated in colour

Vancouver, Morris and Helen Belkin Art Gallery; Ottawa, National Gallery of Canada; and Ontario, The Power Plant Gallery, Peter Doig, January 2001 – February 2002, p. 27, illustrated in colour

London, Tate Britain; Paris, Musée d’Art Moderne de la Ville de Paris; and Frankfurt, Schirn Kunsthalle Frankfurt, Peter Doig, February 2008 – January 2009, pp. 58-59, illustrated in colour

Basel, Fondation Beyeler; and Humlebaek, Louisiana Museum of Modern Art, Peter Doig, November 2014 – August 2015, no. 78, n.p., illustrated in colour

Beijing, Faurschou Foundation, Peter Doig: Cabins and Canoes / The Unreasonable Silence of the World, March – June 2017, pp. 96-97, illustrated in colour 

Exh. Cat., Berlin, Contemporary Fine Arts (and travelling), Peter Doig – Blotter, 1995, no. 7, n.p., illustrated in colour

Exh. Cat., Maastricht, Bonnefantenmuseum (and travelling), Peter Doig: Charley’s Space, 2003-04, p. 136, illustrated in colour

Virginia Button, The Turner Prize, London 2007, p. 111, illustrated in colour

John-Paul Stonard, “Peter Doig,” Artforum, vol. 46, no. 8, April 2008, p. 361, illustrated in colour

James Wilkes, “Peter Doig,” Studio International, 22 May 2008 (text) (online)

Catherine Lampert and Richard Shiff, eds., Peter Doig, New York 2011, p. 26, illustrated in colour