- 108
Paul Gauguin
Estimate
80,000 - 120,000 USD
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Description
- Paul Gauguin
- Taoa (recto); Éudes de deux têtes et un torse (verso)
- Titled (upper right)
- Pen and ink and pencil on paper
- 6 1/2 by 4 1/4 in.
- 16.5 by 10.8 cm
Provenance
Ambroise Vollard, Paris
Quatre-Chemins-Editart, Paris
Acquired from the above in 1954
Quatre-Chemins-Editart, Paris
Acquired from the above in 1954
Exhibited
New York, Wildenstein & Co., Gauguin: Loan Exhibition for the Benefit of the Citizens' Committee for Children of New York City, Inc., 1956, no. 64
Chicago, The Art Institute of Chicago & New York, The Metropolitan Museum of Art, Gauguin: Paintings, Drawings, Prints, Sculpture, 1959, no. 85, illustrated in the catalogue
Martigny, Switzerland, Fondation Pierre Gianadda, Gauguin, 1998, no. 73, illustrated in color in the catalogue
New York, The Metropolitan Museum of Art, Gauguin in New York Collections: The Lure of the Exotic, 2002, no. 49, illustrated in color in the catalogue
Chicago, The Art Institute of Chicago & New York, The Metropolitan Museum of Art, Gauguin: Paintings, Drawings, Prints, Sculpture, 1959, no. 85, illustrated in the catalogue
Martigny, Switzerland, Fondation Pierre Gianadda, Gauguin, 1998, no. 73, illustrated in color in the catalogue
New York, The Metropolitan Museum of Art, Gauguin in New York Collections: The Lure of the Exotic, 2002, no. 49, illustrated in color in the catalogue
Literature
Bernard Dorival, Carnet de Tahiti: Paul Gauguin, Paris, 1954, illustrated p. 43
John Rewald, Gauguin Drawings, New York, 1958, illustrated pl. 34
John Rewald, Post-Impressionism from Van Gogh to Gauguin, New York, 1978, illustrated p. 493
Gauguin Tahiti (exhibition catalogue), Musée d’Orsay, Galeries Nationales du Grand Palais, Paris & The Museum of Fine Arts, Boston, 2003-04, illustrated p. 26
John Rewald, Gauguin Drawings, New York, 1958, illustrated pl. 34
John Rewald, Post-Impressionism from Van Gogh to Gauguin, New York, 1978, illustrated p. 493
Gauguin Tahiti (exhibition catalogue), Musée d’Orsay, Galeries Nationales du Grand Palais, Paris & The Museum of Fine Arts, Boston, 2003-04, illustrated p. 26
Condition
Executed on cream colored paper which has been hinged to a window mat mount at two places on the top edge of the verso. The left edge is deckled and four pindot losses remain from where the sheet was bound in a notebook. Bearing the numbers 63 (upper right on verso) and 85 (lower left of recto)The sheet is otherwise a little dirty and time darkened, the ink is slightly faded and some studio stains are visible to the right center of the image on the verso, but overall the work is in very good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
It has been suggested that the present work and Fare were used as studies for Le Repas or Les Bananas, a large oil by Gauguin now in the collection of the Musée d'Orsay (see note for lot 106).