Painter, Sculptor, Still life painter, Flower painter, b. 1848 - d. 1903
Paul Gauguin's artwork is among some of the most distinctive contemporary art. Although Gauguin started out as an Impressionist, he eventually broke with them, becoming the father of the Symbolism and the Primitive schools of painting. Many of Paul Gauguin's paintings date from his time in rural areas of either Tahiti or the Marquesas Islands. One of the hallmarks of Gauguin's work is his use of large blocks of color, rather than intricate details. Another is his employment of exaggerated proportions. Paul Gauguin's paintings were so radically different from the work of his contemporaries that he met with very mixed responses from critics and the public.
In addition to his paintings, there are many fine Paul Gauguin prints for sale. Gauguin was a proponent of woodcuts and woodcut prints during his lifetime. Invaluable hosts a collection of other vintage and modern collectible woodcut prints, so you're sure to find something to pique your interest.
Paul Gauguin (1848-1903) lithograph titled La Bouquet, after the original which was painted in 1891 and now hangs in the Pushkin Fine Arts Museum in Moscow. This piece was produced in the Soviet Union in the 1950s, under the auspices of the Pushkin Museum and it comes with a description sheet that is written in Cyrillic. With frame, it measures 14.5 inches x 17.5 inches. It is matted and framed under glass. This piece was acquired from a Metro Washington DC estate.
Paul Gauguin (1848-1903) textured print on board titled Ta Matete, after the original which was painted in 1892. With frame, it measures 30.5 inches x 38 inches. It is mounted and framed. This piece was acquired from a Metro Washington DC estate.
Paul GAUGUIN (France / 1848-1903) Paris, le pont roulant en bord de Seine et le quai de Grenelle, vers 1875 Huile sur papier marouflé sur toile Au revers de la feuille, note manuscrite attribuée à Mette Gauguin, épouse de l’artiste: «Cette oeuvre est faite par Paul Gauguin en 1876 à Paris / M Gauguin / 29.09.05» [Cette note est en l’état cachée par le marouflage] 35,5 x 49,2 cm Bibliographie : - D. Wildenstein, "Gauguin, Premier itinéraire d’un sauvage. Catalogue de l’oeuvre peint (1873-1888)", Ed. Wildenstein Institute et Skira, Paris et Milan, 2001, vol. I, p. 21, no. 20 (la présente oeuvre mentionnée dans la notice de l’oeuvre "Pont roulant au bord de la Seine" : «This is one of the first large-format works that Gauguin painted. [...] We voiced our suspicion that it was a montage of several earlier studies, and so it has proved; the central component, a previously unknown oil study on paper of the travelling crane, has since reappeared»). Provenance : - Louis Bausil (1876-1945), Perpignan (Louis Bausil est peintre et ami de Gauguin). - Albert Bausil (1881-1943), Perpignan (frère du précédent, par héritage avant 1943. Albert Bausil est écrivain et journaliste). - Charles Trenet (1913-2001), Paris (probablement don du précédent. Charles Trenet est chanteur et compositeur). - Vente, Hôtel des ventes de Douai (maîtres Declerck & Beghin), 24 mars 2002, lot 32. - Collection privée, Suisse (acquis au cours de cette vente). Une attestation d’inclusion au Catalogue Raisonné de Paul Gauguin de l’Institut Wildenstein / Sylvie Crussard no. 01.11.19/8232/C14C en date du 19 Novembre 2001 sera remis à l’acquéreur. Une attestation d’inclusion au Catalogue Raisonné de Paul Gauguin de l’Institut Wildenstein-Plattner no. 24.09.30 / 21646 en date du 3 octobre 2024 sera remis à l’acquéreur. * Cette oeuvre est vendue en importation temporaire avec des frais de 5,5% en sus des frais d'adjudication. En 1875, alors que Gauguin exerce toujours l’activité d’agent de change - dans laquelle il connaît un certain succès - la peinture prend de plus en plus de place dans sa vie. Ses sujets se diversifient. Il habite depuis janvier au 54 rue de Chaillot, à dix minutes à pied de la Seine, et doit traverser le pont d’Iéna pour rentrer chez lui. Passionné de marine (il avait tenté en vain le concours d’entrée de l’Ecole Navale), Gauguin devient le témoin attentif de l’activité fluviale parisienne, du pont d’Iéna jusqu’au pont de Javel. L’artiste peint les bords de Seine au moins à une dizaine de reprises, la Seine devenant le sujet le plus important des paysages parisiens de Gauguin, et dans laquelle la présente oeuvre s’inscrit. Avec "Le pont roulant", Gauguin choisit de peindre la modernité parisienne comme peu de contemporains l’ont fait, et montre la formidable indépendance d’esprit qui le caractérise comme artiste. Gauguin s’intéresse ici à l’architecture d’une grue mobile, déchargeant depuis des péniches les marchandises des usines de métallurgie Cail, dont on aperçoit à l’arrière-plan les cheminées fumantes, entre le pont d’Iéna et le pont de Grenelle. Proche esthétiquement d’un Jongkind, d’un Boudin, où même d’un Stanislas Lépine à la même époque, le jeune Gauguin innove en présentant davantage le quotidien du Paris en développement, ouvrier et industriel, loin des représentations pittoresques convenues. Redécouverte au début des années 2000, "Le pont roulant" est une étude aboutie pour l’une des premières toiles monumentales peintes par Gauguin, "le Pont roulant au bord de la Seine" de 1875. Le traitement sobre et naturaliste de la toile finale offre un contraste saisissant avec cette première pensée, peinte sur le vif et devant le motif avec beaucoup plus de liberté, et une fraîcheur chromatique propre aux plus innovantes oeuvres impressionnistes. Elle révèle également l’ambition artistique de plus en plus affirmée chez Gauguin, qui peint ce sujet avec l’idée de l’exposer au Salon; cela sera chose faite l’année suivante avec "La Seine au pont d’Iéna" de 1876.
Les Laveuses Zinkographie auf Similijapan. 1889. 21,1 x 26,3 cm (32,1 x 46 cm). Auflage 50 Ex. Guérin 6. Abzug aus der späteren Auflage auf Similijapan, nach der Auflage von 50 in Schwarz gedruckten Exemplaren auf gelbem Papier, herausgegeben vom Cabinet des Estampes de la Bibliothèque Nationale, Paris. Entstanden nach einem Gemälde der Bretagne von Paul Gauguin von 1888. Prachtvoller Druck mit breitem Rand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
PAUL GAUGUIN (1848-1903) Portrait de Stéphane Mallarmé, 1891 Eau-forte, pointe-sèche et burin, imprimée en bistre sur papier vergé filigrané Arches Belle impression du deuxième état sur quatre, comme décrit par Kornfeld, rare épreuve avant le tirage à 79 exemplaires (dont 60 ont été publiés dans l'édition de luxe de C. Morice, Gauguin, par H. Floury, Paris, 1919) 44 x 30,2 cm Etching, drypoint and burin, printed in bistre on Arches laid paper, fine impression of the second state on four
Paul GAUGUIN (1848-1903) " die Schwäne "(ca. 1890) Bronze- Relief, 19,3 cm x 32,3 cm x 3 cm, rechts unten Signaturstempel, links seitlich Gießerstempel « VALSUANI, cire perdue », Edition 30 Stück, hier Nr. 12/30 Paul GAUGUIN (1848-1903) ‘ The Swans ‘ (ca. 1890) Bronze relief, 19.3 cm x 32.3 cm x 3 cm, signature stamp lower right, foundry mark ‘ VALSUANI, cire perdue ’ on the left side, edition of 30, here no. 12/30
French, 1848-1903 Tahitienne, 1891-93 Stamped P. G. (lr): Lugt 2078; there are several pencil sketches on the verso Pencil and watercolor on paper 10 3/4 x 7 inches (27.3 x 17.8 cm) Provenance: Galerie Drouet, Paris, no. 11432 Galerie Flechtheim, Dusseldorf, no. 10991 Jill Newhouse, New York Private collection, France This work is accompanied by a certificate of authenticity from the Wildenstein Institute, dated May 3, 1994. (Frame: 26 1/2 x 23 3/8 inches) Lightly toned; matburn; few small losses, a crease and a few repaired small tears along the edges; there a few faint water spots along the right; hinged to mat from the top verso corners.
Property from The Harry Frank Guggenheim Foundation Paul Gauguin (1848 – 1903) La Femme noire inscribed P. Gauguin glazed stoneware height: 19 ⅞ in. 50.5 cm. Executed in Summer 1889; this work is unique. This work will be included in the forthcoming Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.
GAUGUIN, Paul, (French, 1848-1903): Study of children and man's head, Pencil and Colored Pencil on Paper, unsigned, Far Gallery label, unknown gallery label, and copy of certificate from Gauguin's son verso, catalog number 3783, 8" x 10.25", framed 17.5" x 20". Acquired from the Estate of John Frankenheimer, director of "The Manchurian Candidate" in 1962. Condition: Toning, edge creases and tears, not examined out of frame.
Paul Gaugin - French, 1848-1903 La Femme Aux Figues, Woman with Figs, 1894, printed circa 1963 - 3rd state of the print Intaglio Print Print measuring H 10 3/8 x W 16 3/8 inches On a silver toned wooden frame, measuring H 23.5 x W 29.5 inches The print is inscribed in the plate upper left - chez Seguin/St. Julien. This work was printed from Gauguin’s cancelled plate about 1963, from an edition of unknown size, per MET research below. Below is an accounting of the print’s history from scholarship listed on the Metropolitan Museum of Art in NYC website: https://www.metmuseum.org/art/collection/search/491773
Paul Gauguin (1848-1903) textured print on board titled Ta Matete, after the original which was painted in 1892. With frame, it measures 30.5 inches x 38 inches. It is mounted and framed. This piece was acquired from a Metro Washington DC estate.
A fantastic example of post-impressionist art titled 'Femme Tahitienne et Chien' (Tahitian Woman and Dog) by French artist, Paul Gauguin (1848-1903). Watercolor and graphite crayon on Velin D'Arches paper, piece features the woman just off-center, the blue dog at the bottom right, and a tropical background. Also shows a graphite drawn woman at the left and some writing, which reads 'Location, Pierre...... ' to the right. With two well known expert French authentications and one signature authentication included with the purchase. Bid with confidence. Frame measures 20 1/2" x 18 3/4". 10" x 6 1/4" site.
Artist: Paul Gauguin, After, French (1848 - 1903) Title: Tahitian Mountains Year: of Original: 1893 Medium: Offset Lithograph, mounted to masonite Size: 18.5 x 25 in. (46.99 x 63.5 cm) Frame Size: 23 x 29 inches
GAUGUIN, Paul. - "NOA NOA. VOYAGE DE TAHITI" Munich: R. Piper, Marées Gesellschaft, 1926. Smaller folio, hessian cloth with overcover (restored). Numbered ex. of a limited edition of 320 ex. Facsimile of Gauguin's original illustrated handwritten diary. Lavishly illustrated with colour and black-and-white reproductions of watercolour paintings, woodcuts, drawings and the occasional photograph. This deluxe edition published by R. Piper & Co. in 1926 is still considered the finest facsimile of Gauguin's original manuscript now in the Louvre. Publisher's bookplate with ed. data and numbering, and bookplate by Gustavo Gili.
Paul Gauguin (1848-1903) textured print on board titled Ta Matete, after the original which was painted in 1892. With frame, it measures 30.5 inches x 38 inches. It is mounted and framed. This piece was acquired from a Metro Washington DC estate.
Art Measure: 9w x 11h Frame Measure: 20w x 22h In good condition with wear commensurate with age and no major damage to notate. This Paul Gauguin “A Walk by the Sea?? print captures the essence of Gauguin’s post-impressionist style with its bold colors and simplified forms. The artwork portrays a tranquil seaside scene, reflecting Gauguin’s unique approach to landscape and human figures. Known for his use of vibrant hues and innovative composition, this print brings a sense of calm and natural beauty to anycollection. Ideal for art enthusiasts and collectors, it’s a timeless representation of Gauguin’s distinct artistic vision. Born on June 7, 1848, in Paris, France, PaulGauguin's early career took an unconventional path for a future artist. Initially, he worked as a sailor in the French merchant fleet for six years before transitioning to banking, where he became a successfulRH50839
Property from a Private French Collection Paul Gauguin 1848 - 1903 Le Jardin de Pissarro, quai du Pothuis à Pontoise - recto; Deux esquisses d'autoportrait - verso signed p Gauguin and dated 81 (recto; lower left) oil on canvas (recto; verso) 66 x 54,4 cm; 26 x 21 ⅜ in. Executed in 1881. (recto) __________________________________________________________________________ Provenant d'une Collection Particulière Française Paul Gauguin 1848 - 1903 Le Jardin de Pissarro, quai du Pothuis à Pontoise - recto; Deux esquisses d'autoportrait - verso signé p Gauguin et daté 81 (recto; en bas à gauche) huile sur toile (recto; verso) 66 x 54,4 cm; 26 x 21 ⅜ in. Exécuté en 1881. (recto)
PAUL GAUGUIN Maruru. Woodcut on Chine volant, 1893-94. 204x356 mm; 8⅛x13⅞ inches, wide margins. Edition of 100, published by the artist's son, Pola Gauguin, in 1921. Signed "Pola Gauguin imp" and inscribed "Paul Gauguin fecit" in pencil, lower margin, and inscribed "No 57" in pencil, upper left. Kornfeld 22.
PAUL GAUGUIN Pastorales Martinique. Zincograph on canary yellow wove paper, 1889. 185x225 mm; 7¼x8¾ inches, full margins. Edition of approximately 30 to 50. From 10 Zincographies. Printed by Ancourt, Paris. Published by the artist, Paris. A very good, lifetime impression of this scarce zincograph. Kornfeld 6.
Oil on canvas painting. Attributed to Paul Gauguin, 1948 to 1903, a Post-Impressionist French artist. The artwork depicts a Tahitian landscape. Signed in the lower right. Untitled, undated. Golden frame. Provenance: private collection. Gauguin visited Tahiti several times in the 1890s, which greatly influenced the subject matter and style of his works. Collectible Modernist Fine Art.
PAUL GAUGUIN (1848-1903) Étude pour 'Deux femmes tahitiennes nues sur la plage' (recto); Études (verso) pencil and sanguine on paper 27 x 17.9cm (10 5/8 x 7 1/16in). Executed circa 1891-1892
Material: wohl Keramik, im Basrelief, Rückseite aus vergoldetem Silber, oben mit Loch als Aufhängevorrichtung, Signatur: seitlich links monogrammiert 'PGO', Maße: 7,7 x 4,7 cm, Provenienz: aus privater Sammlung, ehemals auf Auktion erworben, Zustand:
Technik: Holzschnitt auf Papier, Signatur: monogrammiert signiert und in der Platte bezeichnet, rückseitig bezeichnet, Maße: 28,5 x 40,5 cm, Zustand: gebräunt und an linkem Blattrand angesengt
Technik: Holzschnitt auf Papier, Signatur: monogrammiert signiert und in der Platte bezeichnet, Maße: 28,5 x 40 cm, Zustand: etwas gebräunt und fleckig, an rechtem Blattrand angesengt
Affiche en quadrichromie, éditée en 1980 pour l’ exposition “Les Impressionnistes du musée de Chicago” au musée Toulouse-Lautrec à Albi. Elle présente la toile “Merahi metua no Tehamana” 69,5 x 47 cm Non signée, non numérotée
Le sorcier - 1989 Affiche imprimée en quadrichromie, éditée en 1989 pour l’ exposition “Oeuvre ultime” présentant le tableau de Paul Gauguin “Le Sorcier” 77,5 x 45 cm Non signée, non numérotée
Artist: Paul Gauguin, French (1848 - 1903) Title: Paysage de Bretagne Medium: Poster Image Size: 22.5 x 18 inches Size: 29 x 23 in. (73.66 x 58.42 cm) Description: A lovely poster produced by Shorewood Press of an 1889 painting by Paul Gauguin. This painting (also called "Between the Lillies") was sold by the Basel Museum in 1989 and now resides in a private collection.
Le sorcier - 1989 Affiche imprimée en quadrichromie, éditée en 1989 pour l’ exposition “Oeuvre ultime” présentant le tableau de Paul Gauguin “Le Sorcier” 77,5 x 45 cm Non signée, non numérotée
Affiche en quadrichromie, éditée en 1980 pour l’ exposition “Les Impressionnistes du musée de Chicago” au musée Toulouse-Lautrec à Albi. Elle présente la toile “Merahi metua no Tehamana” 69,5 x 47 cm Non signée, non numérotée
Paul Gauguin (1848-1903) textured print on board titled Ta Matete, after the original which was painted in 1892. With frame, it measures 30.5 inches x 38 inches. It is mounted and framed. This piece was acquired from a Metro Washington DC estate.
Art Measure: 12w x 10h Matting Measure: 18w x 16h In good condition with wear commensurate with age and no major damage to notate. This Paul Gauguin Fruit Still Life Lithograph reflects the artist’s masterful use of color and form, capturing the simplicity and beauty of everyday objects. Known for hispost-impressionist style, Gauguin brings a sense of warmth and vibrancy to the composition, with bold shapes and rich tones that highlight the natural beauty of the fruit. The lithograph offers a glimpse intoGauguin’s unique vision, where color and form are used to evoke emotion and meaning. Perfect for collectors and lovers of fine art, this lithograph is a timeless piece that adds elegance and depth to any space. Paul Gauguin's (1848–1903) famous image as the original Western “savage” was his own embellishment upon reality. That persona was, for him, the modern manifestation of theRH50666
Paul Gauguin serigraph on .9999 pure gold laminate. Signed in the plate lower right. Marked H.C. and holds Studio Perna blindstamp lower left. Includes Certificate of Authenticity and additional documentation. Serigraph measures 10 5/8" x 7 5/8".
After Paul Gauguin giclee on canvas depicting a farm with dogs. Signed in the plate lower right. Viewable measures 19 1/4" x 15 1/2". Frame measures 26 1/2" x 22 1/2".
PAUL GAUGUIN (1848-1903) "Noa Noa (Fragrant Scent)" - Hand-coloured woodcut on paper. Titled in the woodcut upper centre, signed in the woodcut with initials PGO upper centre. Unframed. 13.25 x 8 inches (image), 15.5 x 11.25 inches (paper). Very good condition, some yellowing at the paper edges well outside of the image area. This print can also be found in many important collections including the Metropolitan Museum of Art (New York), Museum of Modern Art (New York), National Gallery of Art (Washington) and Art Institute of Chicago.
PAUL GAUGUIN (1848-1903) "Nave Nave Fenua (Delightful Earth)" - Hand-coloured woodcut on paper. Titled in the woodcut across the top, signed in the woodcut with initials PGO lower left. Unframed. 13 x 8 inches (image), 15.5 x 11.25 inches (paper). Very good condition, some yellowing at the paper edges well outside of the image area, a mark on the right edge also outside of the image area. This print can also be found in many important collections including the Metropolitan Museum of Art (New York), Museum of Modern Art (New York), National Gallery of Art (Washington) and Art Institute of Chicago.
PAUL GAUGUIN (1848-1903) "Auti Te Pape (Women at the River)" - Hand-coloured woodcut on paper. Titled in the woodcut lower right, signed in the woodcut with initials PGO lower left. Unframed. 8 x 13.25 inches (image), 11.25 x 15.5 inches (paper). Very good condition, some yellowing at the paper edges well outside of the image area (especially the bottom edge). This lot includes the book Gauguin Prints, published in 1959 by the Art Institute of Chicago, in which this print is illustrated. This print can also be found in many important collections including the Metropolitan Museum of Art (New York), Museum of Modern Art (New York), National Gallery of Art (Washington) and Art Institute of Chicago.
Paul Gauguin (1848-1903) lithograph titled Woman Holding a Fruit, after the original which was painted in 1893 now hangs in the Pushkin Museum in Moscow. This piece was produced in the Soviet Union in the 1950s, under the auspices of the Pushkin Museum, and it comes with a description sheet that is written in Cyrillic. With frame, it measures 18 inches x 22 inches. It is matted and framed under glass. This piece was acquired from a Metro Washington DC estate.
Paul Gauguin (Paris 1848 - 1903 Hiva-Hoa (Marquesas)) Pommes et bol Öl auf Malkarton / Oil on cardboard 1888 27x34,8 cm / 27x34.8 cm Signatur / Signature Oben rechts vom Künstler monogrammiert und dediziert "PGO / à l'ami Jacob" Monogrammed and dedicated "PGO / à l'ami Jacob" by the artist upper right Werkverzeichnis / Catalogue Raisonné Daniel Wildenstein, Gauguin, Catalogue de l'œuvre peint (1873-1888), Band II, Paris/Mailand 2001, Nr. 261 Daniel Wildenstein, Gauguin, Catalogue de l'œuvre peint (1873-1888), volume II, Paris/Milan 2001, no. 261 Provenienz / Provenance Wohl 1888 als Geschenk des Künstlers an Yves-Marie Jacob, Zollbeamter (Capitaine Jacob), Pont-Aven Galerie Bernheim-Jeune, Paris, verkauft am 23. Februar 1909 an Galerie Thannhauser, München, dort angekauft am 7. Februar 1910 von Slg. Hedy und Arthur Hahnloser-Bühler, Winterthur, durch Erbschaft an Prof. Hans Hahnloser, Bern, durch Erbschaft an Privatsammlung Schweiz Probably 1888 as a gift from the artist to Yves-Marie Jacob, customs officer (Capitaine Jacob), Pont-Aven Gallery Bernheim-Jeune, Paris, sold on 23 February 1909 to Galerie Thannhauser, Munich, purchased there on 7 February 1910 from Collection Hedy and Arthur Hahnloser-Bühler, Winterthur, by inheritance to Prof. Hans Hahnloser, Bern, by inheritance to Private collection Switzerland Literatur / Literature Wildenstein, Paul Gauguin, 1964, Kat. Nr. 291, S. 107, Abb. S. 108 Jean Taralon, Gauguin, Paris 1953, Kat. Nr. 10, Abb. Tf. II Margrit Hahnloser-Ingold (Hrsg.), Die Sammlung Arthur und Hedy Hahnloser Winterthur, Mit den Augen des Künstlers, Bern 2011, Abb. S. 254f. Wildenstein, Paul Gauguin, 1964, cat. No. 291, p. 107, ill. p. 108 Jean Taralon, Gauguin, Paris 1953, cat. No. 10, ill.. tf. II Margrit Hahnloser-Ingold (ed.), Die Sammlung Arthur und Hedy Hahnloser Winterthur, Mit den Augen des Künstlers, Bern 2011, ill. pp. 254f. Ausstellungen / Exhibitions München 1909, Moderne Galerie (Thannhauser), S. 21, Abb. 32 Basel 1928, Kunsthalle, Paul Gauguin, Kat. Nr. 36 Berlin 1928, Galerie Thannhauser, Paul Gauguin, Kat. Nr. 22 Luzern 1940, Kunstmuseum, Die Hauptwerke der Sammlung Hahnloser, Winterthur, Kat. Nr. 47, S. 18 Martigny 1998, Fondation Pierre Gianadda, Paul Gauguin, Kat. Nr. 39 Wien 2020, Albertina, Van Gogh, Cézanne, Matisse, Hodler, Die Sammlung Hahnloser, Kat. Nr. 8, S. 108 ff. Munich 1909, Moderne Galerie (Thannhauser), p. 21, ill. 32 Basel 1928, Kunsthalle, Paul Gauguin, cat. no. 36 Berlin 1928, Galerie Thannhauser, Paul Gauguin, cat. no. 22 Lucerne 1940, Kunstmuseum, Die Hauptwerke der Sammlung Hahnloser, Winterthur, cat. no. 47, p. 18 Martigny 1998, Fondation Pierre Gianadda, Paul Gauguin, cat. no. 39 Vienna 2020, Albertina, Van Gogh, Cézanne, Matisse, Hodler, The Hahnloser Collection, cat. no. 8, p. 108 ff. Zustand / Condition Bildträger leicht gewölbt. Tadelloser Zustand Image carrier slightly curved. Impeccable condition Erläuterungen / Comments Ab 1886 lebte und wirkte Paul Gauguin zwischen Paris und dem bretonischen Fischerdorf Pont-Aven, das zu einem beliebten Künstlertreffpunkt wurde. Dieser sollte später als "Schule von Pont-Aven" in die Kunstgeschichte eingehen. Einer der Gründe für Gauguins Aufenthalt in der Bretagne war seine Suche nach einem einfachen, ursprünglichen Leben. Diese führte ihn 1887 noch weiter in die Ferne: Gemeinsam mit seinem Künstlerfreund Charles Laval schiffte er sich im April nach Südamerika ein. In Panama wollte er wie ein "Wilder" leben, war dann aber aus finanzieller Not gezwungen, als Arbeiter beim Bau des Panamakanals mitzuarbeiten. Von dort reiste er weiter nach Martinique, kehrte aber bald gesundheitlich angeschlagen nach Paris zurück. Danach ging es zurück in die Bretagne, wo er zum Mittelpunkt einer kleinen Gruppe von Künstlern wurde, von denen einige später als "Nabis" bekannt werden sollten. Zusammen mit Émile Bernard entwickelte er einen neuen Stil, den "Synthetismus". Im Oktober 1888 nahm Gauguin ein Angebot Vincent van Goghs an, im südfranzösischen Arles gemeinsam künstlerisch zu arbeiten. Die konfliktreiche Beziehung endete zwei Monate später mit dem nie vollständig geklärten Vorfall, bei dem sich van Gogh nach einem Streit ein Stück Ohr abschnitt. Gauguin floh aus der für ihn schwierigen Situation nach Paris, wo der Plan reifte, in den Tropen zu leben. Zwischen Madagaskar und Tahiti schwankend, entschied er sich für letzteres und reiste schliesslich im April 1891 in die Südsee. Das hier angebotene Stillleben wird im Sommer 1888 in Pont-Aven entstanden sein. Meisterhaft zeigt es vier Äpfel – zwei grüne und zwei rote – und eine Obstschale, darunter ein drapiertes Tuch. Es setzt eine Gruppe von Stillleben fort, die Gauguin noch im Winter in Paris geschaffen hatte, ist aber freier umgesetzt als diese und bezeugt bereits den sich abzeichnenden, künstlerischen Aufbruch. Gauguin hatte vermutlich Ende 1887 in Paris die bahnbrechenden Stillleben von Paul Cezanne gesehen und bewundert. Der Hintergrund unseres Gemäldes greift denn auch die typisch floralen Tapetenmuster auf, die man auch bei Cezanne finden kann. Gauguin schenkte das Gemälde dem Zollbeamten Yves-Marie Jacob (Capitaine Jacob), dem er auch ein Porträt widmete (Wildenstein 306). Jacob war seit 1887 in Pont-Aven stationiert und verkehrte dort im Künstlerkreis um Émile Bernard und Paul Sérusier. Gauguin wird ihn bei seinem zweiten Bretagneaufenthalt 1888 kennengelernt haben, als er in der Herberge von Marie-Jeanne Gloannec in Le Pouldu bei Pont-Aven wohnte. Die beiden befreundeten sich, da sie beide zur See gefahren waren und dabei die Antillen besucht hatten. Rückseitig findet sich ein Porträtentwurf zu einem rosa gekleideten Mädchen, den Daniel Wildenstein in die Nähe der Arbeiten aus Tahiti rückt, was einen späteren Entstehungszeitpunkt der Rückseite nahelegen würde. Das hätte aber bloss einen Einfluss auf das Schenkungsdatum an Capitaine Jacob – der das Gemälde dann nicht 1888 sondern erst 1894 bei Gauguins nächstem Besuch in Pont-Aven erhalten hätte. Wildenstein weist jedoch darauf hin, dass die Nähe zu den Tahitibildern reine Spekulation sei. Gauguin hat klar die Seite mit dem Stillleben ausgearbeitet. Das Gemälde wurde 1910 vom Sammlerpaar Hedy und Arthur Hahnloser bei Thannhauser erworben (Hahnloser-Ingold, S. 255 Anm. 25) und verblieb bis heute in Familienbesitz. From 1886, Paul Gauguin lived and worked between Paris and the Breton fishing village of Pont-Aven, which became a popular meeting place for artists. This would later go down in art history as the "School of Pont-Aven". One of the reasons for Gauguin's stay in Brittany was his search for a simple, original life. This led him even further afield in 1887: together with his artist friend Charles Laval, he embarked for South America in April. He wanted to live like a "savage" in Panama, but was then forced to work as a labourer on the construction of the Panama Canal due to financial hardship. From there, he travelled on to Martinique, but soon returned to Paris in poor health. He then returned to Brittany, where he became the centre of a small group of artists, some of whom would later become known as the "Nabis". Together with Émile Bernard, he developed a new style called "Synthetism". In October 1888, Gauguin accepted an offer from Vincent van Gogh to work together in Arles in the south of France. The conflict-ridden relationship ended two months later with an incident that has never been fully clarified, in which van Gogh cut off a piece of his ear after an argument. Gauguin fled the difficult situation to Paris, where he made plans to live in the tropics. Vacillating between Madagascar and Tahiti, he opted for the latter and finally travelled to the South Seas in April 1891. The still life offered here was probably painted in Pont-Aven in the summer of 1888. It masterfully depicts four apples - two green and two red - and a fruit bowl with a draped cloth underneath. It continues a group of still lifes that Gauguin had created in Paris in the winter, but is realised more freely than these and already testifies to the emerging artistic awakening. Gauguin had probably seen and admired Paul Cezanne's groundbreaking still lifes in Paris at the end of 1887. The background of our painting also takes up the typical floral wallpaper patterns that can also be found in Cezanne's work. Gauguin gave the painting to the customs officer Yves-Marie Jacob (Capitaine Jacob), to whom he also dedicated a portrait (Wildenstein 306). Jacob had been stationed in Pont-Aven since 1887, where he socialised with artists such as Émile Bernard and Paul Sérusier. Gauguin must have met him during his second stay in Brittany in 1888, when he stayed at Marie-Jeanne Gloannec's hostel in Le Pouldu near Pont-Aven. The two became friends as they had both travelled to sea and visited the Antilles. On the reverse there is a portrait sketch of a girl dressed in pink, which Daniel Wildenstein places close to the works from Tahiti, which would suggest a later date of origin for the reverse. However, this would only affect the date of the gift to Captain Jacob - who would have received the painting on Gauguin's next visit to Pont-Aven in 1894 rather than 1888. Wildenstein points out that the proximity to the Tahiti paintings is pure speculation. Gauguin clearly completed the side with the still life. The painting was acquired from Thannhauser in 1910 by the collector couple Hedy and Arthur Hahnloser (Hahnloser-Ingold, p. 255 note 25) and has remained in the family to this day. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 15:40 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Artist: Paul Gauguin, French (1848 - 1903) Title: Portrait de Stephane Mallarme Year: 1891 Medium: Etching on Japon Image Size: 7.25 x 5.75 inches Size: 13.75 x 9.75 in. (34.93 x 24.77 cm) Reference: M. Guerin, I, 14 ; Kornfeld-Mongan 12.II.A/B.a Description: From the collection of the late Larry Saphire.
Artist: Paul Gauguin, French (1848 - 1903) Title: Madeleine Year: circa 1894 Medium: Wood Engraving Image Size: 4.75 x 5.25 inches Size: 10.25 x 7.75 in. (26.04 x 19.69 cm) Description: From the collection of the late Larry Saphire.
