Paul Gauguin

Lot Description Paul Gauguin (1848-1903) Portrait de femme (Juliette Huet) sanguine and charcoal on paper 13 x 11 in. (33 x 29.5 cm.); irregular Executed circa 1890 Special Notice VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium. Provenance Juliette Huet, Paris. Galerie Druet, Paris (no. 3100). Anonymous sale, Hôtel Drouot, Paris, 22 June 2000, lot 7. Acquired at the above sale and thence by descent to the present owners. Pre-Lot Text PROPERTY FROM THE COLLECTION OF SIMONE AND JEAN TIROCHE View Lot Notes > This work will be included in the new critical catalogue of Paul Gauguin's works being prepared by the Wildenstein Institute. This work relates to a group of drawings Gauguin executed during his time in Paris in late 1890 and early 1891, after returning from Pont-Aven and before his departure to Tahiti. This drawing is one of two that probably depicts Juliette Huet, a seamstress and Gauguin's mistress.

Lot Description Paul Gauguin (1848-1903) Rouen, L'Eglise Saint-Ouen signed and dated 'P Gauguin 84' (lower right) oil on canvas 36 x 28 5/8 in. (91.5 x 72.8 cm.) Painted in 1884 Provenance (possibly) Daniel de Monfreid, Paris (1893). French Art Gallery, New York (by 1944). Hugo Moser, New York. Pedro Vallenilla Echeverria, Caracas (by 1957). Wildenstein & Co., Inc., New York (by 1968). Acquired by the family of the present owner in the 1970s. Literature J. Rewald, ed., Camille Pissarro, Letters to His Son Lucien, New York, 1943, p. 48 (illustrated, fig. 8). J. Rewald, The History of Impressionism, New York, 1946, p. 376 (illustrated). G. Diehl, El arte moderno Francés en Caracas, Instituto Cultural Venezolano-Francés, 1959, p. 19, no. 18 (illustrated). "Notiziario," Arte antica e moderna, no. 22, April-June, 1963, p. XVI (illustrated, fig. 40). A. Bury, "In the Galleries, Lautrec and Gauguin," Connoisseur, December 1963, p. 258. G. Wildenstein, Gauguin, Paris, 1964, vol. I, pp. 41-42, no. 103 (illustrated, p. 41). J. Rewald, The History of Impressionism, New York, 1973, p. 494 (illustrated). D. Wildenstein, Gauguin, Premier itinéraire d'un sauvage, Catalogue de l'oeuvre peint (1873-1888), Paris, 2002, vol. I, p. 144, no. 124 (illustrated). Exhibited (possibly) Paris, Catalogue de la 8eme exposition de peinture, May-June 1886, no. 51. Amsterdam, E.J. van Wisselingh & Co., Peintures françaises, 1940, no. 14. Milwaukee Art Institute, Masters of Impressionism, October-November 1948, no. 13. Caracas, Fundación Eugenio Mendoza, Cien años de pintura moderna, 1840-1940, May 1957, p. 13, no. 19 (illustrated). Caracas, Museo de Bellas Artes, 20 Obras de la colección Pedro Vallenilla Echeverria, 1959, p. 9, no. 7. London, Wildenstein & Co., Ltd., The French Impressionists and some of their Contemporaries, April-May 1963, pp. 23-24, no. 64 (illustrated). Corpus Christi, Art Museum of South Texas, Ideas for the Collector, February-March 1968. Baltimore Museum of Art, From El Greco to Pollock, Early and Late Works by European and American Artists, October-December 1968, pp. 86-87, no. 65 (illustrated, p. 86). Cincinnati Art Museum, The Early Work of Paul Gauguin, Genesis of An Artist, March-April 1971, pp. 7 and 11, no. 6 (illustrated, p. 17, fig. 6). View Lot Notes > In the summer of 1883, Camille Pissarro and Paul Gauguin worked alongside each other in Osny, painting en plein air in order to explore the challenges of capturing the landscape in the changing light of day. It was in November 1883 that Gauguin decided to move his family to Rouen, where the cost of living was much lower than Paris. "In 1884 the Impressionist movement was beginning to break apart. Cézanne was developing his ideas concerning the expression of form through color, Durand-Ruel called the works executed by Monet that year fauve, while Pissarro was about to take up the neo-impressionist theories of Seurat and Signac. Renoir had gone back to classical art for inspiration. Gauguin, too, shows the beginnings of his future tendencies, in a tentative way, in his painting of The Church of St. Ouen in Rouen. Superficially the picture still maintains the fragmented brush stroke similar to that Pissarro used in the early eighties, but the color is no longer Impressionist. The palette is dark and rich. There is little differentiation within objects of light and shadow, and often the most intense colors sparkle like jewels against the dark green velvet of the foliage. Gauguin was not yet using the massive areas of color that he was to employ in a few years in the pictures he would paint in Brittany and Tahiti, but he was already thinking in terms of sumptuous color rather than the effects of light" (quoted in Baltimore Museum of Art, exh. cat. op. cit., p. 86). The present view of Rouen, L'Eglise Saint-Ouen must have been painted from the Bihorel hillside, close to the junction of rue de Bihorel and what is now rue Lamartine. Gauguin appears to have removed the cathedral from the scene, which would normally be visible to the right of the church form that spot, clearly seeking to balance the composition of this large-scale work.

LOT 84 PROPERTY FROM THE COLLECTION OF MIRIAM AND IRA D. WALLACH PAUL GAUGUIN 1848 - 1903 NAVE NAVE FENUA (MONGAN/KORNFELD/JOACHIM 14 IV B) Woodcut printed in colors, 1893-94, the fourth (final) state, on thin Japan paper, framed 358 by 210 mm 14 1/8 by 8 1/4 in sheet 399 by 273 mm 15 3/4 by 10 3/4 in

Lot 50 Paul Gauguin (1848-1903) MAHNA NO VARUA INO (KORNFELD 19) Woodcut, 1893-4, inscribed Paul Gauguin fait and Pola Gauguin imp in pencil by the artist's son, numbered no 35 , on Chine volant , printed and published in 1921 by Pola Gauguin, Copenhagen, pale lightstain and matstain, some rippling, some handling and other creases, a few foxing spots and minor soiling in the margins, two small pieces of old tape at top sheet corners recto (some associated staining and small losses), otherwise in good condition, with good margins, framed. 8 x 14 inches; 203 x 356 mm. Sheet 10 1/4 x 16 3/8 inches; 260 x 416 mm. C Estate of Agnes Strauss Wolf Estimate $1,500-2,500 Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

Sale 77 Lot 1565 PAUL GAUGUIN (French, 1848-1903). SELF PORTRAIT WITH WIFE AND CHILD and HOUSE WITH FIGURES: TWO SIDED, charcoal drawing circa 1848-1903. Accompanying the drawing is the orignal letter written October 24, 1929 from Pola Gauguin (artist's son) authenticating the work; together with the original exhibition brochure from Fisher Galleries, Washington, D.C., 1963. - Framed, sheet: 9 in. x 11 1/2 in. Estimate $6,000-8,000 PROVENANCE: Purchased by current owner at Fisher Galleries, Washington, D.C., "Paul Gauguin, 21 Original Drawings, September 22-October 13, 1963"