Paul Gauguin

Lucien Gurraud, Paris
M. Knoedler & Co., Inc., New York (acquired by 1957)
Mr & Mrs David P. Heilner, Blue Hill, Maine (sale: Sotheby's, New York, 20th October 1977, lot 105A)
Waddington & Tooth Galleries, Ltd., London
Acquired from the above by the present owner in 1978

Charles Morice, Paul Gauguin, Paris, 1919, illustrated p. 59
John Rewald, Gauguin Drawings, New York, 1958, no. 94, illustrated n.p.
Georges Boudaille, Gauguin, Paris, 1963, illustrated p. 151
André Balland (ed.), Noa Noa, Paris, 1966, illustrated n.p. (dated 1891)


To be included in the new edition of the Paul Gauguin catalogue raisonné being prepared by the Wildenstein Institute.

Executed on cream wove paper, laid down on card and attached along the edges to another sheet of paper, which is attached to the overmount at all four corners. There are some minor repaired tears, mainly to the left edge, not visible when framed. There is timestaining throughout the sheet. This work is in overall good condition. Colours: Overall fairly accurate in the printed catalogue, although the paper tone and the contours are slightly lighter in the original.
"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."

Marking a definitive rupture with modern society and civilisation, Gauguin sought refuge and inspiration in Tahiti from his native industrialised France. After his first voyage in 1891 Gauguin returned permanently to the South Pacific in 1895 and remained there for the rest of his life. The dating of the present work within this time span has been debated by scholars who have suggested various possibilities. John Rewald dates the work between 1895-1903 with an emphasis on the likelihood that the work was executed towards the end of Gauguin life as it shares an economy of line and intensity of emotion common to works from this period. However, Andrè Ballard has suggested that the work dates from Gauguin's visit in 1891 as the woman depicted with the distinctive tattoo to her cheek is described in the illustrated account of his first Tahitian adventure Noa-Noa.

Using only essential lines, Tête d'une Femme Tahitienne demonstrates the artist's interest in primitivism, and represents his mystical vision of life and breaks away from what he considered a superficial Western painting lacking in personal artistic investment. Linda Goddard states: 'Gauguin constructed a mythical vision of Tahiti as a tropical paradise - at once unspoiled and possessing an undercurrent of savagery and sexual adventure (L. Goddard, Gauguin, Maker of Myth, Tate Gallery, London, 2010, p. 33)

The work is drawn in decisive charcoal lines, creating the contour of the sitter's face which is balanced by her strong features. The vahiné is imbued with a certain solemnity and mysteriousness as she stares out at the viewer, echoing the female presences which dominate works such as Manao Tupapao (The Courtauld Gallery, London). Contrasting Gauguin's paintings and their colourful appeal, the present work is powerful in its strong execution. It emphasises that his studies and sketches remain amongst his most personal works, and as such are of supreme artistic and documentary importance.