Ivan Puni (Jean Pougny)

Collection of Herman Berninger (1911-2012), Zurich
Acquired from the widow of the above by the present owner

Exhibition catalogue Pougny - Oeuvres Choisies, Paris: Galerie Coard, 1956, no.8 listed
R.V. Gindertael, Pougny, Geneva: Pierre Cailier, 1957, pl.93 illustrated b/w 
Exhibition catalogue Jean Pougny, Paris: Musée National d'Art Moderne, 1958, p.23, no.109 listed; pl.XIV illustrated b/w
Exhibition catalogue Pougny, Albi: Musée Toulouse-Lautrec, 1958, no.106 listed; pl.14 illustrated
Exhibition catalogue Pougny, Zurich: Kunsthaus Zürich, 1960, p.31, no.160 listed
Exhibition catalogue Pougny, Nice: Galerie des Ponchettes, 1961, p.20, no.116 listed; pl.VIII illustrated b/w
Exhibition catalogue Jean Pougny 1894-1956, Amsterdam: Stedelijk Museum, 1961, no.161 listed and illustrated
Exhibition catalogue Pougny 1894-1956, Paris: Galerie Charpentier, 1961-1962, no.167 listed and illustrated b/w
Exhibition catalogue Jean Pougny, Turin: Galleria Civica d'Arte Moderna, 1962, p.71, no.183 listed; p.93, pl.XII illustrated 
Exhibition catalogue Jean Pougny, Geneva: Galerie Krugier et Cie, 1964, p.14, no.74 listed and illustrated
Exhibition catalogue Jean Pougny, Baden-Baden: Kunsthalle Baden-Baden, 1965, no.76 listed
Exhibition catalogue Iwan Puni (Jean Pougny) 1898-1956, Gemälde, Zeichnungen, Reliefs, Berlin: Haus am Waldsee, 1975, no.89 listed 
H.Berninger and J.-A. Cartier, Pougny, Catalogue de l’oeuvre, vol.2, Tübingen: Ernst Wasmuth, 1992, p.61 illustrated; p.293, no.1131 illustrated and listed
Exhibition catalogue Jean Pougny, Paris: Paris-Musées, 1993, p.150, no.93 listed
Exhibition catalogue Iwan Puni, 1892-1956, Berlin: Berlinische Galerie, 1993, p.160, no.93 listed
Exhibition catalogue 0,10 - Iwan Puni, Bern: Benteli Verlag, 2003, p.229 listed and illustrated

‘One characteristic of Puni which is of particular importance is the type of canvas he used to execute his paintings. Puni never used new canvases, preferring old ones, of which he always kept a reserve under the carpets in his studio. From 1937 onwards, he chose aged canvases, often cracked and worn, even revealing their weave, which he patiently prepared secretly before beginning to paint. It was then that he also got into the habit of mounting his paintings on wood and especially on masonite, by a secret procedure that gave stability and permanent protection to his works, which he always had framed under glass. The warm and precious material paired with the superimposition of the layers and Puni’s play with the imperfections and accidents of his canvases gives his paintings their inimitable dreamy atmosphere, successfully reflecting his inner emotions.’ (H.Berninger and J.-A. Cartier, Pougny, Catalogue de l’oeuvre, vol.1, Tübingen: Ernst Wasmuth, 1972, pp. 86-87)