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Paul Gauguin

France (Paris 1848 -  Iwa 1903 ) Wikipedia® : Paul Gauguin
GAUGUIN Paul Femmes, Animaux Et Feuillages

Auctionata /Jan 8, 2016
1,200.00
Not Sold

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Artworks in Arcadja
926

Some works of Paul Gauguin

Extracted between 926 works in the catalog of Arcadja
Paul Gauguin - Nature Morte Aux Mangos Et À La Fleur D'hibiscus

Paul Gauguin - Nature Morte Aux Mangos Et À La Fleur D'hibiscus

Original 1887
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Lot number: 24
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Paul Gauguin 1848 - 1903 NATURE MORTE AUX MANGOS ET À LA FLEUR D'HIBISCUS signed P. Gauguin and dated 87 (lower left) oil on canvas 32.5 by 47cm. 12 3/4 by 18 1/2 in. Painted in 1887. Provenance Dr Fritz Rosenfeldt, Stuttgart Galerie Thannhauser, Berlin (acquired by circa 1928) Thannhauser Gallery, New York (acquired from the above; probably until after 1945) Sale: Galerie Fischer, Lucerne, 5th June 1948, lot 2303 Galerie Art Point (sold: Sotheby's, London, 27th June 1989, lot 16) Private Collection, Japan (purchased at the above sale) Hall Galleries, Dallas Private Collection, United States (acquired in December 2004) Private Collection (acquired in 2009) Exhibited Basel, Kunsthalle, Gauguin, 1928, no. 29 or 33 Berlin, Galerie Thannhauser, Paul Gauguin, 1928, no. 19 Fort Worth, Kimbell Art Museum, Gauguin and Impressionism, 2005-06, no. 77, illustrated in colour in the catalogue Rome, Complesso del Vittoriano, Paul Gauguin, Artist of Myth and Dream, 2007-08, no. 27, illustrated in colour in the catalogue (with incorrect measurements) Literature Lee Van Dovski, Paul Gauguin oder die Flucht vor der Zivilisation, Zurich, 1950, no. 105, listed p. 342 (titled Nature morte aux fleurs et aux fruits) Georges Wildenstein, Gauguin, Paris, 1964, no. 238, illustrated p. 87 (titled Fruits exotiques et fleurs rouges) Gabriele Mandel Sugana, L'Opera completa di Gauguin, Milan, 1972, no. 56, illustrated p. 90 (image reversed) Roger Cucchi, Gauguin à la Martinique, Vaduz, 1979, no. 238, illustrated in the catalogue (titled Fruits exotiques et fleurs rouges) Daniel Wildenstein, Gauguin: Premier itinéraire d'un sauvage. Catalogue de l'œuvre peint (1873-1888), Paris, 2001, vol. II, no. 256, illustrated in colour p. 348 Catalogue Note Gauguin's still-lifes evoke the sensuous beauty and visual splendour of the tropics. The artist painted this expertly modelled composition of exotic fruits and flora around the time of his trip to the Caribbean island of Martinique, where he stayed from June until November 1887. Although it has commonly been thought that he painted Nature morte aux mangos et à la fleur d'hibiscus while on that island, recent scholarship suggests that it was completed after the artist had already returned to Paris. When he returned to this urban European setting after several months in Martinique, Gauguin fantasised about his experiences abroad and yearned to set out again for another exotic location. Not surprisingly, some of his most striking compositions from this contemplative period at the end of 1887 are his still-lifes. In these pictures Gauguin focused on the brightly coloured orbs of succulent tropical fruit arranged loosely next to objects from his studio. The daring perspective of these pictures calls to mind the compositional procedures of Cézanne (fig. 2), whose still-lifes Gauguin would have seen at the last group exhibition of Impressionist paintings the previous year. But most of all, Gauguin's desire to paint these still-lifes had deeply personal underpinnings. The exotic fruits, readily available in the Paris marketplaces, were a tangible reminder of Gauguin's tropical paradise and the nearest examples of the colours, smells and tastes of his experiences abroad. Discussing Nature morte aux mangos et à la fleur d'hibiscus in the catalogue of the recent exhibition, Gauguin and Impressionism, Richard R. Brettell wrote: ‘Gauguin returned to Paris from Martinique in mid-November 1887, moving immediately into the delightful pavilion of the Schuffenecker family in the 14th arrondissement. There he began a group of still-life paintings that culminated in a canvas of 1887-88 in the Musée d'Orsay, Still life with fan. Given that it would hardly have been difficult for him to buy tropical fruit or to find hothouse hibiscus in Paris during the 1880s, it seems most likely that he in fact painted the present work at the Schuffeneckers in dreary December 1887 - recovering from his tropical illnesses and dreaming of the warmth of another place’’’’ (R. R. Brettell, Gauguin and Impressionism (exhibition catalogue), op. cit., p. 239). Nature morte aux mangos et à la fleur d'hibiscus is a spatially dynamic composition which forecasts the bold direction that Gauguin's art was to take in the years to come. Completed just as the official Impressionist movement was coming to a close, this wonderfully modern picture demonstrates how advanced in his approach Gauguin really was at the end of 1887. Unlike his Impressionist colleagues, who focused on the airy effects of light and shadow in their still-lifes, Gauguin's concern rests with the geometry of the fruit and radical spatial perspective. His framing of the composition appears to be haphazard - the petals of the red hibiscus at the top are abruptly cropped, and the ensemble is confined by what looks to be either a shadow or the edge of the table. He has devoted his attention almost exclusively to the upper half of the composition, leaving the bottom devoid of objects. Most striking, though, is his palette. He paints with brisk strokes of sharp red and orange, deep green and an unapologetically bold black, which were rare colour choices in the still-lifes of this era. Gauguin was clearly blazing his own artistic trail with this picture and forging a new, Post-Impressionist aesthetic. Indeed, it would be these very pictures of 1887-88 that Gauguin would have in mind when he created his colourful still-lifes in Tahiti several years later (fig. 3). Fig. 1 Paul Gauguin, Nature morte à l’’’’éventail , 1887-88, oil on canvas, Musée d’’’’Orsay, Paris Fig. 2 Paul Cézanne, Compotier, verre et pommes , 1879-80, oil on canvas, The Museum of Modern Art, New York Fig. 3 Paul Gauguin, Nature morte aux mangos , circa 1891-96, oil on canvas. Sold: Sotheby’’’’s, London, 24th June 2015 See More See Less
Paul Gauguin - Portrait D'enfant

Paul Gauguin - Portrait D'enfant

Original
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Lot number: 332
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Paul Gauguin (1848-1903) Portrait d'enfant oil on panel 6 1/4 x 8 1/4 in. (15.7 x 21 cm.) Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance DuMouchelle Art Galleries, Detroit. Alexander Raydon, New York, by whom acquired from the above, and thence by descent to the present owner. Pre-Lot Text Property from an Important American Collection
Paul Gauguin - Tête De Marquesan

Paul Gauguin - Tête De Marquesan

Original 1902
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Lot number: 253
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Lot Description Paul Gauguin (1848-1903) Tête de marquesan (recto); Nativité (verso) gouache and watercolour monotype with gouache and watercolour on Japan paper (recto); gouache and watercolour monotype with gouache, watercolour and white chalk on Japan paper (verso) 12 1/2 x 10 7/8 in. (31.8 x 27.6 cm.) Executed circa 1902 Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance Perpessac collection, Paris. Anonymous sale, Sotheby's, New York, 19 November 1986, lot 35. Anonymous sale, Sotheby's, New York, 12 November 1988, lot 109. Acquired at the above sale by the present owner. Literature R. S. Field, Paul Gauguin, Monotypes, Philadelphia, 1973, no. 139 (illustrated p. 143; titled 'Nativity (fragment)'). Exhibited New York, The Museum of Modern Art, Gauguin, Metamorphoses, March - June 2014, pp. 196, 198 & 230, pl. 160 (recto illustrated p. 199). View Lot Notes >
Paul Gauguin - Femmes, Animaux Et Feuillages

Paul Gauguin - Femmes, Animaux Et Feuillages

Original 1898
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Lot number: 8
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Paul Gauguin, Femmes, Animaux et Feuillages, Woodcut, 1898 Woodcut on cream laid paper France, 1898, posthumous impression, presumably 1960s Paul Gauguin (1848-1903) – French painter, whose postimpressionist work strongly influenced the Nabis and Symbolism Catalogue raisonné: Kornfeld 43 II Image dimensions: 15.8 x 32.5 cm; sheet dimensions: 27.6 x 41.1 cm Good condition
Paul Gauguin - Pastorales Martinique

Paul Gauguin - Pastorales Martinique

Original 1889
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Lot number: 399
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Paul Gauguin (1848-1903) Signed and dated on the zinc plate. 2nd edition published after 1900 by Ambroise Vollard. One of circa 50 unnumbered proofs on this paper. Beautiful and rare sheet. Gauguin created it in Paris in 1889 in reference to his drawings that originated during his travels to Martinique (1887). The sheet belongs to a series of a total of 10 zinc lithographs which were printed by Edouard Ancourt in an edition of 30 to 50. Gauguin left the zinc plates to his friend Émile Schuffenecker who later sold them to Ambroise Vollard. Vollard printed the present 2nd edition on Japan paper (cf. Elizabeth Mongan, Eberhard Kornfeld, Harold Joachim: Paul Gauguin, Catalogue raisonné of his Prints, Bern 1988, p. 11 and 17). Condition Report: The paper minimally browned. Notes: VAT: Margin scheme Dimensions: 18.5 x 22.2 cm (32.7 x 41.8 cm) Artist or Maker: Paul Gauguin Medium: Zinc lithograph on simili Japan Framed under glass 1889
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