About This Artwork

Paul Gauguin
French, 1848-1903

Still Life: Wood Tankard and Metal Pitcher, 1880

Oil on linen canvas
54 x 65 cm (21 1/4 x 25 9/16 in.)

A Millennium Gift of Sara Lee Corporation, 1999.362

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Galerie Charpentier, Tableaux de la vie silencieuse, 1946, cat. 26bis (ill.), as Le Pot de terre et le pot de fer.

Lyons, Musée dex Beaux Arts, Les Grands Courants de la peinture contemporaine, 1949, cat. 43 (ill. 16), as Le Pot de terre et le pot de fer.

Winston-Salem, North Carolina, Reynolda House Museum of American Art, An Impressionist Legacy: The Collection of Sara Lee Corporation, September 9-December 25, 1990; traveled to Memphis, Tennessee, Dixon Gallery and Gardens, January 20-March 17, 1991, pp. 30-31.

Lakeland, Florida, Polk Museum of Art, Modern Masters: The Collection of Sara Lee Corporation, January 15-March 12, 1995.

Laren, The Netherlands, Singer Museum, The Sara Lee Collection: An Impressionist Legacy, October 18, 1997 – February 15, 1998, pp. 30-31.

Singapore, Museum of Art, Monet to Moore: The Millennium Gift of the Sara Lee Corporation, April 1–May 30, 1999; traveled to Canberra, National Gallery of Australia, June 11–August 22, 1999; Raleigh, North Carolina Museum of Art, September 10–November 7, 1999; Oregon, Portland Art Museum, November 19, 1999–January 25, 1999; Chicago, Art Institute, March 15–May 28, 2000, cat. 12, as Clay Jug and Iron Jug.

Chicago, The Art Institute of Chicago, Van Gogh and Gauguin: The Studio of the South, September 22, 2001-January 13, 2002; traveled to Amsterdam, The Van Gogh Museum, February 9-June 2, 2002, fig. 51.

Ordrupgaard, Copenhagen, Gauguin and Impressionism: Painting, Sculpture and Ceramics, 1875–1887, August 20–November 20, 2005; traveled to Fort Worth, Kimbell Art Museum, December 18, 2005 - March 26, 2006, cat. 13.

Publication History

Raymond Cogniat, Gauguin (Paris, 1947), p. 6 (ill.).

Lee van Dovski (Herbert Lewandowski), Paul Gauguin oder die Flucht vor der Zivilisation (Olten-Bern, 1948, 1950), p. 339, no. 23.

Georges Wildenstein, Gauguin (Paris, 1964), p. 22, no. 47 (ill.).

Elda Fezzi, Gauguin (New York, 1980), pp. 22, no. 51, fig. 57.

Richard R. Brettell, An Impressionist Legacy: The Collection of Sara Lee Corporation (New York, 1986), pp. 30-31 (ill.).

Belinda Thomson, Gauguin by Himself (Boston, 1993), pp. 32, 56 (color ill.).

James G. Massey, Arthur J. Powell and Norm W. Wilson, Windows and Images: An Introduction to the Humanities (Needham Heights, Massachusetts, 1994), cover (color ill.).

Douglas Druick, Peter Kort Zegers and Britt Salvesen, Gauguin (Chicago, 2001), pp. 72 (ill.), 107.

Daniel Wildenstein with Sylvie Crussard and Martine Heudron, Gauguin: Premier itinéraire d’un sauvage: Catalogue de l’oeuvre peint (1873-1888) vol. 1 (Paris, 2001), pp. 67–68, no. 60 (color ill.).

Elise Eckermann, ‘En lutte contre une puissance formidable’: Paul Gauguin im Spannungsfeld von Kunstkritik und Kunstmarkt (Weimar 2003), p. 275, pl. 9.

Ownership History

Probably on deposit at Goupil, Boussard and Valadon by March 1893 and then sent to George Daniel de Monfreid [according to a letter from Joyant to Monfreid, March 24, 1893 as quoted in Jean Loize, Les amities du peintre Georges Daniel de Monfreid et ses reliques de Gauguin (Paris, 1951), pp. 93–4, no. 138, “I toile: nature morte, pot et cafeterie.”]. Possibly Émile Schuffenecker (1851-1934), Paris [‘Schuffenecker’ as the owner without first name is quoted in G. Wildenstein, 1964 and D. Wildenstein, 2001 as information given to G. Wildenstein by Jeanne Schuffenecker, Émile Schuffenecker’s daughter]; possibly Amédée Schuffenecker (1854-1935), Émile’s brother, after 1903. Private collection, Paris by 1947 [according to Cogniat 1947]. Dr B., ca. 1949 [according to exhibition catalogue, 1949]. Mr. and Mrs. Robert E. Ricksen, Palm Beach, Florida; sold Parke-Bernet, New York, October 21, 1971, lot 93 (ill.); Nathan Cummings (died 1985), Chicago and New York; acquired by the Sara Lee Corporation, Chicago, 1985 [memorandum of Norma Farrell dated April 4, 1985 concerning conservation]; given to the Art Institute in 1999.

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