Jun 5, 2018
Artworks in Arcadja1077
Some works of Paul GauguinExtracted between 1,077 works in the catalog of Arcadja
Auction: Sotheby's -Jun 19, 2018 - LondonLot number: 29
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FLEURS DANS UN PANIER Paul Gauguin 1848 - 1903 signed P. Gauguin (lower left) oil on canvas 45.3 by 53.5cm. 17 3/4 by 21in. Painted circa 1880-85. This work will be included in the forthcoming Gauguin Digital Catalogue Raisonné being prepared by The Wildenstein Plattner Institute. Galerie Thannhauser, Munich (acquired circa 1918) Kojiro Matsukata, Japan (acquired from the above in August 1921) Kawasaki Dockyard, Co., Ltd., Kobe (transferred from the above in 1927) The Jûgo Bank, Tokyo (seized from the above circa 1927-28. Sold: Bijutsukan, Tokyo, 5th Matsukata sale, 6th-20th February 1934, lot 25) Sale: Asahikaikan, Osaka, 20th-24th February 1935, lot 61 Private Collection, Japan (purchased at the above sale) Thence by descent to the present owners Exhibited Osaka, Osaka Mainichi Shimbun Honsha, Masterpieces of the Matsukata Collection, 1922, no. 27, illustrated in the catalogue(titled Still-life and with incorrect measurements) (possibly) Prague, Municipal House, Exhibition of French Art XIX and XX Century. 66th Exhibition of the Artists Association Mánes, 1923, no. 186 (titled Fruits et fleurs and with incorrect measurements) Tokyo, Musée des Beaux-Arts, Collection Matsukata, 1934, no. 25, illustrated in the catalogue Literature Moderne Galerie, Heinrich Thannhauser, München. Nachtragswerk III zur grossen Katalogausgabe 1916, Munich, 1918, pl. 36, illustrated p. 118 (titled Stilleben andwith incorrect measurements) The Old Matsukata Collection. Occidental Art, Kobe, 1990, no. 696, illustrated p. 190(with incorrect measurements) Daniel Wildenstein, Gauguin. Premier itinéraire d'un sauvage. Catalogue de l'œuvre peint (1873-1888), Paris, 2001, vol. I, no. 94, illustrated p. 105 (with incorrect measurements) The years from 1880-85 were eventful ones for Gauguin and saw great change both in his domestic life and in the development of his artistic vision. It is the period when he was most closely linked with the Impressionists yet, as Fleurs dans un panier shows, he was already beginning to experiment more radically with form and perspective. He began the decade working in Paris and its environs, exhibiting in the three Impressionist exhibitions from 1880-83; by 1885 he had moved first to Rouen and then to Copenhagen and had begun to make the stylistic and philosophical changes that would ultimately lead him away from the Impressionists and towards forging his own Post-Impressionist style. This important transition owed much to the significant influence of Cézanne, several of whose pictures Gauguin owned. In 1881 Gauguin joined Cézanne and Pissarro, painting en plein air in the area around Pontoise. In a letter to Pissarro written several years later, in July 1884, Gauguin described Cézanne\’s painting as \‘marvels of an essentially pure art\’ (quoted in The Lure of the Exotic. Gauguin in New York Collections (exhibition catalogue), The Metropolitan Museum of Art, New York, 2002, p. 183). Writing about the three artists\’ joint painting expeditions, Richard Shiff commented: \‘Observing Cézanne\’s technique on those occasions changed the trajectory of Gauguin\’s aesthetic life. He resolved to achieve a comparable directness. By 1884, he was also among the most active of Cézanne\’s handful of collectors. His purchases included a still life that he would make famous by featuring it in impromptu demonstrations offered to fellow painters, explaining the naïve genius of Cézanne\’s accents of bold color, applied as discrete, parallel strokes of the brush […]. In general, when Gauguin followed what he perceived as Cézanne\’s method – primarily the use of blunt strokes that remained visually distinct – he showed more respect for the inherent form of objects than his aesthetic model did\’ (R. Shiff in The World is an Apple: The Still Lifes of Paul Cézanne (exhibition catalogue), The Barnes Foundation, Philadelphia & The Art Gallery of Hamilton, Ontario, 2014-15, pp. 150 & 154). The important influence of Cézanne is visible in Fleurs dans un panier which shows a marked difference from the still-lifes of contemporaries such as Monet and Renoir who were more closely associated with Impressionism (fig. 1). Conventional perspective is all but abandoned with the space between the table or sideboard and the wall behind indicated only by a change in colour and brushstroke. Instead depth is indicated by the cloth on which the basket of flowers sits and which extends forwards and almost out of the picture towards the viewer. The vibrancy of the flowers is indicated by smaller, more intense strokes of paint and a warmth of palette that in some respects seems to anticipate the richness of colour that would so entrance the artist on his first visit to Tahiti six years later. This is directly contrasted with the delicate and cool whites, blues and pinks that make up the cloth and are once again reminiscent of Cézanne. However, whilst Gauguin might have looked to Cézanne for inspiration in terms of form and colour, he also sought an independent artistic voice. His technique is markedly different, as Richard R. Brettell argues: \‘in the paintings they made in and around Pontoise in the early 1880s Gauguin and Cézanne struggled to create works with very different factures and chromatic structures. Rarely did Gauguin approach the \“constructivist stroke\” of Cézanne, preferring his \“woven\” facture\’ (R. R. Brettell in Gauguin and Impressionism (exhibition catalogue), Kimbell Art Museum, Fort Worth, 2005-06, p. 171). These \‘woven\’ brushstrokes are used to striking effect in the present work, particularly in the basket where they have the dual purpose of indicating both form and texture. More than these differences in technique though, Fleurs dans un panier exudes a vibrant, exotic quality that is entirely the artist\’s own and which anticipates the dramatic change in the artist\’s life and art that would follow with his departure to the South Seas in 1891. This work has been requested for the exhibition of the Matsukata Collection, to be held at the The National Museum of Western Art, Tokyo from Juneto September 2019.
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Lot # : 93 - PAUL GAUGUIN French 1848-1903 Woman OOB Oil on board. Featuring a Tahitian woman. Signed and attr. Paul Gauguin (French, 1848-1903). Gallery seal and stamped, verso. 9.3 x 6.7 in. (23.5 x 17 cm). A pioneer of the Symbolist art movement in France, Paul Gauguin is renowned for his \“savage\” art depicting sumptuous Tahitian women, nude bathers and haystacks in the Breton landscape, and decorative door panels around his hut on the Marquesas Islands in French Polynesia. Although Gauguin began his artistic career with the Impressionists in Paris, during the 1880s he sought to escape from Western civilization—first moving to Brittany and Arles in France, where he met Van Gogh, and then to French Polynesia - in search of a paradise were he could create pure, "primitive" art. \“There is no such thing as exaggeration in art,\” wrote Gauguin in 1885. "And I even believe that there is salvation only in extremes." PROVENANCE: Private estate (Perugia, Italy)
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Paul Gauguin (Paris 1848-1903 Fatu-Iwa/ Marquesas Islands) \“Femmes, Animaux et Feuillages\”, 1898, woodcut on yellowish wove paper, probably an example of the posthumous impressions published in 1961, block size 15.8 x 32.4 cm, sheet size 27.5 x 41 cm, Kornfeld 43 II, upper and left margin with a slight pressure mark probably due to a former mount, (RAC) Specialist: M.A. Raphael Achterberg
Auction: Christie's -May 15, 2018 - New YorkLot number: 27A
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Paul Gauguin (1848-1903) Dahlias et mandoline signed and dated \‘P. Gauguin 1883\’ (lower left) oil on canvas 18 7/8 x 22 5/8 in. (47.8 x 57.3 cm.) Painted in summer-autumn 1883 Provenance Mette Gauguin, Copenhagen. Benny Dessau, Copenhagen (acquired from the above, by 1920). Olaf Dessau, Copenhagen (by descent from the above and until at least 1964). Wildenstein & Co., Inc., New York. Lloyd S. and Margery B. Gilmour, New York (acquired from the above, November 1965). Margery B. Gilmour, New York (by descent from the above); sale, Christie's, New York, 13 May 1980, lot 21. Acquired at the above sale by the late owners.
Auction: Christie's -May 8, 2018 - New YorkLot number: 6
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Paul Gauguin (1848-1903) La Vague signed and dated \‘P Gauguin 88.\’ (lower left) oil on canvas 23 ¾ x 28 5/8 in. (60.2 x 72.6 cm.) Painted in August-October 1888 Provenance The artist; sale, Hôtel Drouot, Paris, 23 February 1891, lot 28. Jules Chavasse, Paris (acquired at the above sale). Ambroise Vollard, Paris (probably acquired from the above, October 1897 and until at least 1908). Galerie Druet, Paris (circa 1911). (possibly) Paul Guillaume, Paris. Alden Brooks, Paris (possibly acquired from the above, by 1934). Filippa Books Veren, Big Sur, California (gift from the above); sale, Parke-Bernet Galleries, Inc., New York, 19 May 1966, lot 18. Acquired at the above sale by the late owners.