HomeMaternité II
「11」Paul Gauguin
Maternité II
1899 | Oil Burlap
94.7×61 cm | 0.58 m²
Estimate on request
Details PAUL GAUGUIN (1848-1903) Maternity II signed and dated ‘Paul Gauguin 1899’ (lower right) oil on burlap 37 1/4 x 24 inches. (94.7 x 61 cm.) Painted in Tahiti in Provenance The artist; Estate sale, Papeete, 2 September 1903, lot Jean Cochin, Paris (acquired at the above sale). Denys Cochin, Paris (1906). Galerie Bernheim-Jeune et Cie., Paris (acquired from the above, February 28, 1910). Alphonse Kann, Paris (acquired from the above, 28 February 1910). (possibly) Michel Manzi, Paris (circa 1915). Dikran Khan Kelakian, Paris and New York (by 1920); sale, American Art Association, New York, January 30-31, 1922, lot 152. Bourgeois Gallery, Paris (acquired at the above sale). Adolph Lewisohn, New York (1926). Sam Lewisohn, New York (circa 1942). Wildenstein & Co. Inc., New York (acquired from the above, 1942). Mrs. McCarthy Henry Huttleston Rogers Jr . (acquired from the above, 1943, until at least 1948). Wildenstein & Co. Inc., New York (acquired from above). Edwin C. and Florence Vogel, New York (acquired from the above, 1952). David Rockefeller, New York (acquired from above, 1956). John Seward Sr. and Barbara Piasecka Johnson, Princeton (acquired from the above, circa 1975, until at least 1990). Nevill Keating Pictures, Ltd., London. Private collection (acquired circa 1997); sale, Sotheby's, New York, 4 November 2004, lot 15 (world auction record for the artist at the time of sale). Acquired at the above sale by the late owner. Literature Vizzavona, ed., Review: Works of Paul Gauguin; Photographs by E. Druet, Brittany, vol. 1 (illustrated). Vizzavona, ed., Review: Works of Paul Gauguin; Photographs by E. Druet, Miscellaneous Works, vol. 8 (illustrated twice). V. Segalen, "Gauguin in His Last Décor" in Mercure de France, June 1904, no. 174, p. 682. C.J. McCarthy Holmes, Notes on the Post-Impressionist Painters: Grafton Galleries, 1910-1911, London, 1910, pp. 23-24, no. 41 (titled Negresses). D. MacCarthy, "The Exhibition at the Grafton Galleries: Gauguin and Van Gogh" in Spectator, 26 November 1910, pp. 902-9 M. Puy, "Paul Gauguin" in The Decorative Art: A Review of Ancient Art and Modern Artistic Life, April 1911, no. 151, p. 183 (illustrated; titled Tahitiennes). C. Morice, Paul Gauguin, Paris, 1919, p. 164 (illustrated). A. Alexander, Kélékian Collection: Tables of the Modern French School, Paris, 1920 (illustrated, pl. 41). H.E. Field, "The Metropolitan French Show" in The Arts, May 1921, vol. I, no. 5, p. 2. S. Haweis, "Paul Gauguin: Artist" in International Studio, May 1921, vol. LXXIII, no. 290, p. 95 (illustrated, p. 97; entitled Natives of Tahiti). Art in America, August 1921, vol. 9, no. 5, p. 213. W.S. Blunt, My Diaries: Being a Personal Narrative of Events; 1900-1914: The Coalition against Germany, New York, 1922, vol. 2, p. 329. F. Watson, "American Collections: No. 3; The Adolph Lewisohn Collection" in Arts, July-December 1926, vol. 10, p. 33 (illustrated, p. 33). H. Hertz, "Paul Gauguin" in Art in America and Elsewhere, April 1927, vol. 15, no. 3 , p. 150 (illustrated). S. Bourgeois, The Adolph Lewisohn Collection of Modern French Paintings and Sculptures, New York, 1928, p. 162 (illustrated, p. 163). S. Bourgeois, "The Passion of Art Collecting: Notes on the Adolph Lewisohn Collection" in Art News, 14 April 1928, vol. XXVI, no. 28, p. 64. A. Alexandre, Paul Gauguin: His Life and the Meaning of His Work, Paris, 1930, p. 267 (illustrated; entitled Taitian Pastoral). F. Cossio del Pomar, Art and Life of Pablo Gauguin, Madrid, 1930, p. 364 (illustrated, p. 325, pl. LV; titled Tahitians/Tahitian Scene). R.H. Wilenski, French Painting, Boston, 1931, p. 289 (dated circa 1896). S. Bourgeois and W. George, "French Art of the Nineteenth and Twentieth Centuries in the Collection of Adolphe and Samuel Lewisohn" in Formes: International Review of the Fine Arts, September-October 1932, no. 28-29, p. 303 (illustrated, p. 302). C. Artists, Ancient and Modern: Gauguin, Paris, 1934, p. 164 (illustrated, p. 77). G.L. McCann Morley, "The Gauguin Exhibition" in San Francisco Art Association Bulletin, September 1936, vol. 3, no. 4, p. 5. PROBABLY. Lewisohn, Painters and Personality: A Collector's View of Modern Art, New York, 1937, pp. 61-62 (illustrated, p. 58, pl. 29). "Gauguin and Victor Segalen" in The Love of Art, December 1938, no. 10, p. 384. J. Rewald, Gauguin, Paris, 1938, p. 167 (illustrated, p. 141; dated circa 1896). PROBABLY. Lewisohn, "Four Memoirs of the Growth of Art and Taste in America: The Collector; Personalities Past and Present" in Art News Annual, 1939, vol. 37, no. 22, p. 154 (illustrated, p. 69). R. Cogniat, Gauguin, Paris, 1947 (illustrated, pl. 94; dated circa 1896). C. Kunstler, Gauguin: The Last Painter, Paris, 1947 (illustrated, pl. 36). L. van Dovski, Paul Gauguin or the Flow of Civilization, Old, 1950, pp. 100-1 281 and 351–352, no. 332 (dated 1896). J. Loize, From Maillol and Codet to Ségalen: The Friendships of the Painter Georges-Daniel de Monfreid and His Relics of Gauguin, Paris, 1951, p. 133, no. 360 and p. 162, no. 553 (titled Three Tahitians). C. Estienne, Gauguin, Geneva, 1953, p. 84 (illustrated in color, p. 85; dated 1896). A.M. Frankfurter, "Collectors and Modern Million-Dollar Taste" in Art News, March 1953, vol. 52, no. 1, p. 24 (illustrated in color, p. 24; dated 1889). C. Chassé, Gauguin and His Time, Paris, 1955, p. 148. B.H. Friedman, "Current and Forthcoming Exhibitions" in The Burlington Magazine, June 1956, vol. 98, no. 639, p. 212 (dated 1896). H. Read, "Gauguin: Return to Symbolism" in Art News Annual, 1956, no. 25, pp. 125 and 145 (illustrated in color, p. 145; dated 1889). R. Goldwater, Paul Gauguin, New York, 1957, p. 134 (illustrated in color, p. 135; dated 1896). C. Sterling, Hermitage Museum: Poussin's French Painting to the Present Day, Paris, 1957, pp. 132 and 134 (dated 1897-1899). G. Wildenstein, "The Ideology and Aesthetics in Two Gauguin Paintings" and "Sale of Works of Art, Books, and Objects Belonging to Gauguin: September 2, 1903" in Gazette des beau-arts, special issue , Gauguin: His Life, His Work; Meeting of Texts, Studies, Documents, 1958, p. 137 (illustrated, p. 152, fig. 19; dated 1896); 205 and 207, respectively. R. Puig, Paul Gauguin, G.D. de Monfreid and Friends, Perpignan, 1958, p. 35 (titled Tahitian). "Authorization of Paul Gauguin" in The Arts of the World, June 1959, no. 11, pp. 9-11. M. Denis, Journal, 1921-1943, Paris, 1959, vol. 3, p. 241. R. Huyghe, Gauguin, Paris, 1959, p. 75 (illustrated in color; dated 1896). J. Richardson, "Shorter Notices: Gauguin at Chicago and New York" in The Burlington Magazine, May 1959, vol. 101, no. 674, p. 191, no. 61. M. Malingue, "The Man Who Reinvented Painting" in Gauguin, Paris, 1960, p. 124. M. Rheims, "The Cote of Gauguin" in Gauguin, Paris, 1960, p. 221 (titled The Three Vehicles). H. Perruchot, The Life of Gauguin, Paris, 1961, p. 334, note I and p. 386. A. Langer, Paul Gauguin, Leipzig, 1963, p. 63 (illustrated in color, pl. 71; dated 1896). G. Wildenstein, Gauguin, Paris, 1964, vol. I, pp. 107-1 245-246, no. 582 (illustrated, p. 245). C. Chassé, Gauguin Without Legends, Paris, 1965, p. 141 (illustrated, p. 140; with incorrect support). B. Danielsson, Gauguin in the South Seas, London, 1965, p. 211. A. Kantor-Goukovskaia, ???? ????? ????? ? ??????????, Leningrad, 1965, p. 162 (dated 1896). P. O'Reilly, Catalog of the Gauguin Museum: Papeari, Tahiti, Paris, 1966, p. 128. P.C. Nicholls, Gauguin, New York, 1967, p. 30 (illustrated in color, pl. 65). W.V. Andersen, Gauguin's Paradise Lost, New York, 1971, p. 248 (illustrated, p. 345, fig. 131). G. Mandel Sugana, The Complete Opera of Gauguin, Milan, 1972, p. 112, no. 403 (illustrated, p. 110). L. van Dowski, The Truth About Gauguin, Darmstadt, 1973, pp. 220-221 and 273, no. 332 (dated 1896). B. Danielsson, Gauguin in Tahiti and the Marquesas Islands, Papeete, 1975, p. 221. P. Leprohon, Paul Gauguin, Paris, 1975, pp. 271 and E. Fezzi, Gauguin: Every Painting, New York, 1980, vol. II, p. 76, no. 561 (illustrated, p. 77). Z. Amishai-Maisels, Gauguin's Religious Themes, New York, 1985, pp. 100-111. 288, 305-308, 325, 333, notes 67, 68 and 72; 546 (illustrated, fig. 138). R. Goldwater, Primitivism in Modern Art, Cambridge, 1986, p. 77 (dated 1896). M. Malingue, The Prodigious Life of Gauguin, Paris, 1987, p. 303. R. Brettell, F. Cachin, C. Freches-Thory and C.F. Stuckey, The Art of Paul Gauguin, exh. cat., National Gallery of Art, Washington, D.C., 1988, p. 423. J.B. McCarthy Bullen , ed. , Post-Impressionists in England , London , 1988 , pp . 113 and F. Cachin, Gauguin, Paris, 1988, p. 239. A. Kantor-Goukovskaïa, A. Barskaïa and M. Bessonova, Paul Gauguin: The Hermitage Museum, Pushkin Museum of Fine Arts, Paris, 1988, p. 144 (illustrated). P. Daix, Paul Gauguin, Paris; 304 , 354 and G. Manceron, "Segalen and Gauguin" in Gauguin: Proceedings of the Gauguin Colloquium; Museum of Orsay, 11-13 January 1989, Paris, 1991, pp. 41 and 47, note C. Christensen, "The Painting Materials and Technique of Paul Gauguin" in Studies in the History of Art, 1993, vol. 41, p. 94. Paul Gauguin and the Russian Avant-Garde, exh. cat., Diamond Palace, Ferrara, 1995, pp. 120 and N. Margolis Maurer, The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent van Gogh and Paul Gauguin, Madison, 1998, pp. 171-172 (illustrated in color, fig. 373). PROBABLY. Stein, "From the Beginning: Collecting and Exhibiting Gauguin in New York" in The Lure of the Exotic: Gauguin in New York Collections, exh. cat., The Metropolitan Museum of Art, New York, 2002, pp. 166-168 and 230, note 83 (illustrated in situ at the Lewisohn apartment, p. 160, fig. 62; illustrated again in situ at the 1921 exhibition, p. 167, fig. 64). P. Laudon, Tahiti-Gauguin: Myth and Truth, Paris, 2003, p. 120. G. Manceron, "Koké and Tépéva: Victor Segalen in Gauguin's Steps" in Gauguin Tahiti: The Workshop of the Tropics, exh. cat., National Gallery of the Grand Palais, Paris, 2003, pp. 325 and 330, note K. White, "Coming to Beatitude" in Paul Gauguin: Legacy and Confrontations; Proceedings of the colloquium of 6, 7 and 8 March 2003 at the University of French Polynesia, Papeete, 2003, pp. 225-226 (titled Women by the Sea). A. Gruetzner Robins, "'Manet and the Post-Impressionists': A Checklist of Exhibits" in The Burlington Magazine, December 2010, vol. CLII, no. 1293, p. 787, note M. Jakobi, Gauguin-Signac: The Genesis of the Contemporary Title, Paris, 2015, p. 191, no. 143 (illustrated). M. Stone, "The Most Expensive, Over-The-Top Pieces of Art Owned by Tech Billionaires" in Business Insider France, May 9, 2015 (illustrated in color). P. Zegers, "Gauguin, Cat. 102, The Rape of Europa," in Gauguin Paintings, Sculpture, and Graphic Works at The Art Institute of Chicago, 2016 (illustrated in color, fig. 1.28). D. Wildenstein, S. Crussard, and R.R. Brettell, Gauguin: A Reasoned Catalog of the Paintings, 1891-1903 (, no. W582 (illustrated in color). Exhibited Paris, Grand Palais de Champs-Elysées, Society of the Autumn Salon, 4th Exhibition, October-November 1906, p. 201, no. 213. London, Grafton Galleries, Manet and the Post-Impressionists, November 1910-January 1911, p. 19, no. 41 (titled Negresses). The Brooklyn Museum, Paintings by Modern French Masters Representing the Post-Impressionists and their Predecessors, March-April 1921, no. 119 (illustrated; entitled Natives of Tahiti). New York, The Metropolitan Museum of Art, Loan Exhibition of Impressionist and Post-Impressionist Paintings, May-September 1921, p. 12, no. 48 (illustrated). New York, Union League Club, Exhibition of ‘Modern’ Pictures Representing Impressionist, Post-Impressionist, Expressionist and Cubist Painters, April 1924, no. 17. Cleveland Museum of Art, Fifty Years of French Art, October-November 1926. New York, The Museum of Modern Art, Summer Exhibition: Painting and Sculpture, July-September 1933. New York, The Museum of Modern Art, Modern European Art, October 1933, p. 3. San Francisco Museum of Art, Paul Gauguin: Exhibition of Paintings and Prints, September-October 1936, p. 17, no. 19 (illustrated). The Brooklyn Museum, Gauguin Prints and Drawings, June-October 1938. San Francisco, Treasure Island, Masterworks of Five Centuries: The Golden Gate International Exposition, February-October 1939, no. 148 (illustrated, pl. 148; dated circa 1896). New York, Wildenstein & Co. . Inc., A Loan Exhibition of Paul Gauguin, April-May 1946, p. 63, no. 7 (illustrated, p. 21). New York, Wildenstein & Co. . Inc., Six Masters of Post-Impressionism, April-May 1948, p. 27, no. 17 (illustrated, p. 34; dated 1896). New York, Paul Rosenberg & Co., Collector's Choice: Masterpieces of French Art from New York Private Collections, May-April 1953, p. 66, no. 27 (illustrated, p. 67; dated 1896 and with incorrect support). Paris, Museum of the Orangery, From David to Toulouse-Lautrec: Masterpieces of American Collections, April-July 1955, no. 30 (illustrated, pl. 76; dated 1896). New York, Wildenstein & Co. . Inc., Gauguin: Loan Exhibition for the Benefit of the Citizens' Committee for Children of New York City, Inc., April-May 1956, p. 19, no. 45 (illustrated, p. 57; dated 1896). The Art Institute of Chicago and New York, The Metropolitan Museum of Art, Gauguin: Paintings, Drawings, Prints, Sculpture, February-May 1959, pp. 56-57, no. 61 (illustrated in color on the frontispiece; dated circa 1896). New York, M. Knoedler & Co., Inc., Impressionist Treasures from Private Collections in New York, January 1966, p. 18, no. 10 (illustrated; dated 1896). Stockholm, Ethnographic Museum, National Museum, Gauguin in the South Sea, March-April 1970, pp. 94-95, no. 53 (illustrated, p. 74). Tokyo, The National Museum of Art and Aichi Prefectural Art Gallery, Paul Gauguin, March-June 1987, p. 142, no. 120 (illustrated in color, p. 141). Warsaw, Royal Castle, Opus Sacrum: From the Collection of Barbara Piasecka Johnson, April-September 1990, pp. 278 and 280-281, no. 49 (illustrated in color, p. 279; detail illustrated in color, p. 281, fig. 2). Seattle, Experience Music Project, DoubleTake: From Monet to Lichtenstein, April 2006-January 2007, pp. 6-7 and 17 (illustrated in color, p. 16). Seattle Art Museum, Gauguin and Polynesia: An Elusive Paradise, February-April 2012, p. 297 and 368, no. 296. Seattle, Pivot Art + Culture, A Closer Look: Portraits from the Paul G. Allen Family Collection, December 2016-March 2017. Special Notice On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.
Auction date:
9 Nov 2022
Auction house: