PAUL GAUGUIN | Tête de Chat

Oil on canvas, laid down on board, signed

Paul Desforges, Rouen
Sotheby's, New York, Mrs Frank J. Gould, New York & Cannes, 25 April 1985, lot 177
Purchased at the above sale by the present owner

Georges Wildenstein, Gauguin, Catalogue, Paris, 1964, vol. I, no. 130, illustrated p. 49
Daniel Wildenstein, Gauguin, Catalogue de l'œuvre peint (1873-1888), Paris, 2001, vol. I, no. 159, illustrated p. 187

The canvas is not lined. There is an uneven varnish application, but examination under UV light reveals some scattered very tiny spots of retouching, primarily to the cat's face and to the green pigment at the lower part of the composition. There are some minor spots of pigment loss at the extreme edges, consistent with frame abrasion. This work is in overall 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1884, Tête de chat is a tender portrait of a cat who looks calmly at the viewer, propped up on extended paws. 1884 was a seminal year for Paul Gauguin, who made the bold decision to dedicate himself full-time to an artistic career. Until then, Gauguin’s pursuit of painting, and even his forays into sculpture and decorative arts, had been liminal to his primary occupation as a successful stockbroker. Having moved to Rouen with his family in January, he worked primarily on landscapes in a similar vein to his friend and mentor Camille Pissarro, who had also spent time working in Rouen. Gauguin made several efforts to develop the same Impressionist style as his peers, yet these were variously met with a lukewarm response, and largely dismissed by Pissarro for lacking an essential vitality. Subsequently, the artist relinquished his attempts to emulate his peers, and started to paint in his own manner. In this vein Gauguin created several miniature portraits at this time in his own unique style. Each work seeming to encapsulate a certain fondness with its diminutive scale, especially noticeable in the present work. The hint of a red ribbon around the subject's neck suggests an intimate relationship: this was perhaps a family pet or a frequent visitor to the Gauguin household. 

Cats would feature extensively in Gauguin’s later work, prowling the sandy Tahitian landscapes for which the artist is renowned, or simply as peripheral feline presence, alluded to by a disappearing tail at the edge of the frame.