Sotheby's /Oct 22, 2017
€60,000.00 - €80,000.00
Artworks in Arcadja1023
Some works of Paul GauguinExtracted between 1,023 works in the catalog of Arcadja
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Lot 166 PAUL GAUGUIN (1848-1903): L'UNIVERS EST CRÉE Woodcut in black on chine volant, 1893-94, signed by the artist's son and inscribed 'imp', 'Paul Gauguin fait' and 'no. 43' in pencil, from the edition of 100 published by Pola Gauguin in 1921. 10 3/4 x 16 1/2 in. (sheet), 151 /4 x 20 3/4 in. (frame). Provenance: The Philadelphia Museum of Art; Sold Sotheby's, New York, May 3-4, 1996, Lot 526. Collection of Dr. Heinrich Medicus, Troy, NY
Auction: Sotheby's -Nov 15, 2017 - New-yorkLot number: 141
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TAHITIENNE ASSISE Paul Gauguin 1848 - 1903 Stamped with the initialsPG(lower right) Watercolor and pencil on paper 10 3/4 by 7 in. 27.4 by 17.8 cm Executedcirca1891-96. Provenance Francisco Durrieu de Madron (Paco Durrio) Charles Gillet, Lausanne Galerie Prouté, Paris Marie Matisse, Paris Sale: Martinot & Savignat, Pontoise, December 15, 2001, lot 217 Thomas Gibson Fine Art, London Acquired from the above Exhibited Paris, Grand Palais,Salon d'Automne, 4ème exposition: oeuvres de Gauguin, 1906, no. 118 (possibly) London, The Leicester Galleries,The Durrio Collection of Works by Gauguin, 1931, n.n. (possibly) Perpignan, Salle Maillol, Palais des congrès, 1894-1908: Le Roussillon à l\’origine de l\’art moderne, 1998, n.n. Catalogue Note The subject of this exquisite drawing is a sympathetically rendered young Tahitian woman at ease, seemingly unaware of being observed. Most likely drawing from life, the artist has depicted her in the traditional pareu, a unisex garment knotted at the waist, and a simple white sleeveless blouse. Gauguin was a prolific draughtsman, making sketches and more highly finished drawings throughout his career. He considered these masterful works on paper extremely personal to his artistic practice and rarely shared them with outsiders. Instead he drew on them extensively for various projects, adapting elements and simplifying compositions to suit his needs. Tahitienne assiselikely once formed part of a sketchbook and was executed circa1891 soon after the artist\’s arrival in Tahiti. The world he found on the Pacific island was a mixture of the unspoilt exoticism he sought when he departed on his ambitious voyage, combined with the sobering influence of European culture and encroaching Christian missionaries. The figure\’s simple and modest dress is particularly indicative of this Western influence on the local population. The artist spent his days keenly observing his new surroundings and making many drawings in monochrome and watercolor, most of which he would return to years later and incorporate into his work. Gauguin uses this figure, albeit reversed, in a monotype pasted to the back of folio 65 of his travelogue Noa Noa, published in 1901. Most significantly, he placed her, only slightly modified (her skirt is now plain blue but still bordered with white), into the left middle ground of one of the most important multi-figure compositions of his second Tahitian voyage, Nave Nave Mahana (or Jours délicieux) in the collection of the Musée des Beaux-Arts, Lyon (see fig. 1). The watercolor\’s first recorded owner was Basque sculptor Francisco Durrio (1868-1940).Durrio assembled a large and important collection of works by Gauguin, beginning in 1894-95 when Gauguin was clearing out his Parisian studio and preparing for his return to Tahiti. The present drawing is thought to have entered the Durrio Collection at a later date since Gauguin seems to have had this work with him during his second Tahitian sejour and while he worked on Nave Nave Mahana in 1896. Durrio was a close friend of Picasso's and this workmay wellhave contributed to the Spanish modernist's appreciation of Gauguin's work.
Auction: Sotheby's -Nov 14, 2017 - New-yorkLot number: 47
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CAVALIER DEVANT LA CASE +1 212 606 7360 Paul Gauguin 1848 - 1903 Read Condition Report Register or Log-in to view condition report Or This work is accompanied by an Attestation of Inclusion from the Wildenstein Institute, and it will be included in the forthcoming Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Ambroise Vollard, Paris (acquired circa 1903) Christian de Galéa, Paris (by descent from the above and by at least 1969) Private Collection (acquired in 1977 and sold: Christie's, London, June 24, 1998, lot 22) Private Collection, Germany (acquired at the above sale and sold: Sotheby\’s, New York, May 8, 2007, lot 14) Acquired at the above sale Exhibited Paris, Galerie Ambroise Vollard, Exposition Paul Gauguin, 1903, no. 26 Tokyo, Grand Magazin Seibu; Kyoto, National Museum of Modern Art& Fukuoka, Cultural Center of the Prefecture, Gauguin, 1969, no. 31, illustrated in color in the catalogue Tahiti, Musée Gauguin, Gauguin, 1976 Krems, Kunsthalle, Sehnsucht nach dem Paradies -- Gauguin bis Nolde, 2004 Hamburg, Bucerius Kunst Forum& Munich, Hirmer Verlag, Die Brücke und die Moderne 1904-1914, 2004-05, no. 131 Brescia, Museo di Santa Giulia,Turner e gli Impressionisti, La Grande Storia del Paesaggio Moderno in Europa, 2006-07, no. 206 Literature Georges Wildenstein, Paul Gauguin, Paris, 1964, vol. I, no. 627, illustrated p. 266 Merete Bodelsen, "The Gauguin Catalogue (Wildenstein-Cogniat)" inThe Burlington Magazine, January 1966, p. 28 William M. Kane, "Gauguin's 'Le cheval blanc': Sources and Syncretic Meanings" inThe Burlington Magazine, July 1966, p. 355 Gabriele Mandel Sugana, L'opera completa di Gauguin, Milan, 1972, no. 450, illustrated pl. 113 Gilles Artur, "Notice historique du musée Gauguin de Tahiti, suivie de quelques lettres inédites de Paul Gauguin" inJournal de la Société des Océanistes, 1982, no. 74-75, illustrated p. 10 Floating quote: \“I am leaving in order to find peace and quiet, to be rid of the influence of civilization. I only want to make simple, very simple art, and to be able to do that, I have to re-immerse myself in virgin nature, see no one but savages, live their life, with no other thought in mind but to render, the way a child would, the concepts formed in my brain and to do this with the aid of nothing but the primitive means of art, the only means that are good and true.\” - Gauguin interviewed by Jules Huret,l\’Echo de Paris, 1891 Executed in 1902, during his second and last visit to the South Seas,Cavalier devant la caseepitomizes Gauguin\’s fascination with his idyllic surroundings, andis characteristicof the artist\’s life-long search for the primitive achieved in his last years. Attracted by the freedom, wilderness and simplicity of this remote place far removed from the Western world, Gauguin produced works in which the fluidity and expressiveness of the brushstrokes reflect the sense of artistic liberation. The dynamic, vivid palette of the present painting reflects the richness of nature that excited the artist, the bright yellow-green tones in sharp contrast to the deeper purples and flaming reds. Gauguin\’s innovative and avant-garde approach to building a composition is visible in the way that the tall tree dominates the foreground, with the central figure of the horse and rider appearing from behind it. Gauguin arrived in Papeete for the second time in September 1895, but finding it greatly affected by European colonization, moved to Punaauia, where he lived in a traditional Tahitian hut. In 1901 Gauguin finally carried out his old intention of moving to an even more remote location, the islands of the Marquesas, and on September 10th left Tahiti on the steamshipCroix du Sud.He settled on the island of Hivaoa, where life was more savage and the scenery far more wild than in Tahiti. Furthermore, its inhabitants had a reputation for being the most handsome people in the South Seas – taller, slimmer, and with elegant features. Gauguin wrote: \“I am certain that in the Marquesas, where models are easy to find (while in Tahiti it is getting more and more difficult), and where in addition there are landscapes to discover – new and more primitive sources of inspiration, in fact – I can do fine things. My creative powers were beginning to flag here, and moreover the art public was getting too familiar with Tahiti\” (quoted in B. Danielsson,Gauguin in the South Seas, London, 1965, p. 228). It was on this remote island, where Gauguin was to stay for the rest of his life, that Cavalier devant la case was painted. While still fascinated with the wilderness of the island and its nature, during his second stay in the South Seas Gauguin became more interested in the mythical, spiritual quality of his surroundings. Rather than depicting the island\’s inhabitants in their everyday activities, the artist focused on compositions that transcended the particular place in which they were painted, and created his own mythic universe which was a conflation of the religious traditions of the East, West and Oceania. Incorporating his belief in the harmony of man and nature, these scenes often depicted the subject of horse and rider. In the present work nature is rendered with a sense of otherworldliness typical of Gauguin\’s late works. In his account of the artist\’s final years, Richard Brettell wrote: \“In 1901, Gauguin moved to the even more distant island of Hivaoa, part of the most remote island group on earth. From the tiny village of Atuona, where he lived the last two years of his life, he kept abreast of world news, followed artistic and literary events throughout Europe, and busied himself with the decoration of his last total work of art, the famous House of Pleasure. After years of struggle, he came to a financial agreement with Ambroise Vollard who, in exchange for a more-or-less regular income, imposed a certain level of productivity upon Gauguin. Since his works were then in demand, he finished them relatively quickly and sent them in batches to France…the rapidity with which he worked had a liberating effect on Gauguin. His compositions became more varied, and he experimented even more dramatically with relationships of color\” (The Artof Paul Gauguin (exhibition catalogue), National Gallery of Art, Washington, D.C., 1988, p. 395). Fig. 1 Paul Gauguin, La Fuite, 1901, oil on canvas, Pushkin State Museum, Moscow Fig. 2 Paul Gauguin, Cavaliers sur la plage (I), 1902, oil on canvas, Museum Folkwang, Essen Fig. 3 Gauguin in Tahiti, July 1896, photograph by Jules Agostini
Auction: Sotheby's -Oct 22, 2017 - ParisLot number: 337
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PAYSAGE, PROBABLEMENT PONTOISE Paul Gauguin 1848 - 1903 signed Gauguin (lower left) pastel on paper 31 x 47,7 cm; 12 1/4 x 18 3/4 in. Camille & Lucien Pissarro, Paris Sale: Sotheby's, London,March 27,1957, lot 22 Private collection, United Kingdom Catalogue Note In 1879, while still a stockbroker and after having purchased works by Camille Pissarro, Paul Gauguin visits Pontoise to paint alongside the impressionist master. A strong friendship develops, Pissarro introduces the young artist to Cézanne, and he is rapidly invited to participate in the Impressionist Exhibitions (1880, 1881, 1882 and 1886). This wonderful pastel in which one makes out the almost anthropomorphic rock structures of the Carrières du Chou is a testimony to this seminal period of creative interaction and friendships among these major artists.
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Sale 2454 Lot 115 PAUL GAUGUIN Femme Cueillant des Fruits et Oviri. Woodcut printed in black on Japon pelure, 1896-97. 100x88 mm; 4x3 1/2 inches, full margins. A very good impression of this extremely scarce woodcut. We have found only 5 other impressions at auction in the past 30 years. Kornfeld 36.