Paul Gauguin

Boussod & Valadon, Paris (by 1890; on loan)
Sale: Hôtel Drouot, Paris, Vente Gauguin, February 23, 1891, lot 27
Alexandre Natanson, Paris (acquired at the above sale)
Galerie Bollag, Zurich
Galerie Rosengart, Lucerne
Dr. M. Rottman, Soleure, Switzerland
Ernest Albert Ditisheim, La-Chaux-de-Fonds, Switzerland (acquired circa 1949)
Drs. Fritz & Peter Nathan, Zurich (acquired circa 1972)
Mme. H.A. Polak-Schwarz, Amsterdam
Private Collection, Monaco (and sold: Sotheby's, London, April 7, 1976, lot 9)
Dr. Toufik R. Ibrahim, Madrid (acquired at the above sale and sold: Sotheby's, New York, May 14, 1985, lot 32)
Acquired at the above sale by A. Alfred Taubman

(Probably) Basel, Kunsthalle, Oktober-Ausstellung, 1913, no. 48
Basel, Kunstmuseum, Gaugin, 1949-1950, no. 15 (titled Petit ruisseau à Pont Aven)
Lausanne, Museé Cantonal des Beaux-Arts, Gauguin, 1950, no. 32 (titled Petit ruisseau à Pont Aven)

Jules Huret, "P.G. Devant ses tableaux" in L'Écho de Paris, February 23, 1891, p. 2
Georges Wildenstein, Gauguin, Paris, 1964, no. 260, illustrated p. 97
Gabriele Mandel Sugana, L'Opera completa di Gauguin, Milan, 1972, no. 82, illustrated p. 91
Charles Guy Le Paul & Judy Le Paul, L'Impressionisme dans l'École de Pont-Aven, Lausanne & Paris, 1983, illustrated p. 198
Daniel Wildenstein, Gauguin, Premier itinéraire d'un sauvage, catalogue de l'oeuvre peint (1873-1888), vol. II, 2001, no. 269, illustrated in color p. 377

This work is in overall very good condition. The canvas is lined. The surface is rich and stable. There are scattered areas where the primed canvas is exposed, notably in the foreground, although this appears to be how the artist intended. Under UV light some small strokes of retouching to the sky at upper left and some scattered strokes of retouching sensitively applied to some of the areas of reserve are visible, otherwise fine.
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.

Gauguin was already thoroughly familiar with the landscape of Brittany when he painted Sur l'Aven en amont de Pont-Aven in 1888. In fact, Brittany had interested painters since the 1860s, who were attracted by the picturesque costumes and customs of the peasants. Looking beneath the superficial exoticism, however, Gauguin identified qualities that were to be of far more importance to him. In a famous letter to his friend Schuffenecker, Gauguin wrote, "I love Brittany which I find savage and primitive.  When my clogs ring on the granite ground I hear the dull and powerful sound that I am looking for in painting" (Victor Merles, ed., Correspondance de Paul Gauguin, Paris, 1984, letter 141, p. 172).

After spending several months in Martinique in the summer of 1887, where he began using a more brilliant palette in order to capture the strong light and luxuriant vegetation of the tropics, Gauguin returned to Pont-Aven in January 1888. Responding to the rugged landscape of the area, so different from the countryside of Pontoise and Normandy where he had painted in previous years, Gauguin began to relinquish his orthodox Impressionist style in a series of canvases of great originality.

In the present work Gauguin matched the vertiginous views typical of the Brittany landscape with plunging perspectives derived from Japanese prints. The dominating tree in the foreground undoubtedly derives from Japanese prints, particularly those of Hiroshige, which were a strong source of inspiration for the Impressionists at the time. Sur l'Aven en amont de Pont-Aven can be seen as an important transition from the still existing Impressionist influence of Pissarro's style on Gauguin and the beginning departure to a more progressive composition and use of colors that was to develop in his oeuvre during the course of 1888.