Reclining Tahitian (fragment)

CC0 Public Domain Designation

Prints and Drawings

1894

Paul Gauguin
French, 1848-1903

Status: Currently Off View
Department: Prints and Drawings

Artist: Paul Gauguin
Title: Reclining Tahitian (fragment)
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1894
Medium: Pastel monotype, with touches of pastel, on cream wove Japanese paper, laid down on cream wove Japanese paper
Inscriptions: Not signed; inscribed, verso upper left corner, in black chalk: "No 5151"; upper edge center, in black chalk: "17"; upper right corner, in graphite: "Guérin No 48"; stamped, upper left corner, in black ink: "W. G. / B" (encircled)
Dimensions: Image/primary/secondary support: 20.4 × 11.7 cm (8 1/16 × 4 5/8 in.)
Credit Line: Clarence Buckingham Collection
Reference Number: 1948.273V
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/148411/manifest.json

Société du Salon d’Automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif, exh. cat. (Compagnie Française des Papiers-Monnaie, 1906), n.pag., cat. 152.
Association Paris–Amerique Latine, Exposition rétrospective: Hommage au génial artiste franco-péruvien Gauguin, with introductions by F. Cossio del Pomar and G. Daniel de Monfreid, exh. cat. (n.p., 1926), n.pag., cat. 54.
Kunsthalle Basel, Paul Gauguin, 1848–1903, exh. cat. (Kunsthalle Basel, 1928), p. 25, cat. 120.
Kunsthalle Basel, Paul Gauguin, 1848–1903, 2nd ed., exh. cat. (Kunsthalle Basel, 1928), p. 30, cat. 230.
Galerien Thannhauser, Paul Gauguin, 1848–1903, introduction by W. Barth, exh. cat. (Galerien Thannhauser, 1928), p. 16, cat. 206.
Leicester Galleries, Catalogue of an Exhibition of the Durrio Collection of Works by Paul Gauguin, exh. cat. (Ernest Brown & Phillips, 1931), p. 6, cat. 8.
Richard S. Field, Paul Gauguin: Monotypes, exh. cat. (Philadelphia Museum of Art, 1973), pp. 61, 147, cat. 12 (ill.).
Alan G. Wilkinson, Gauguin to Moore: Primitivism in Modern Sculpture, exh. cat. (Art Gallery of Ontario, 1982), pp. 68–69, cat. 26 (ill.).
Richard R. Brettell, Françoise Cachin, Claire Frèches-Thory, and Charles F. Stuckey, The Art of Paul Gauguin, with assistance from Peter Zegers, exh. cat. (National Gallery of Art, Washington, D.C./Art Institute of Chicago/New York Graphic Society Books, 1988), p. 375, cat. 213a.
Elizabeth Mongan, Eberhard Kornfeld, and Harold Joachim, Paul Gauguin: Catalogue Raisonné of His Prints, with assistance of Christine H. Stauffer (Galerie Kornfeld, 1988), p. 152, cat. 35.
Art Institute of Chicago, Intimate Encounters: Paul Gauguin and the South Pacific; The Edward McCormick Blair Collection, exhibition brochure (Art Institute of Chicago, 2003), not in cat.
Javier González de Durana, Miriam Alzuri, and María Amezaga, Francisco Durrio (1868–1940): Sobre las huellas de Gauguin, exh cat. (Museo de Bellas Artes de Bilbao, 2013), p. 210, no. 18, 222, no. 22.

Paris, Grand Palais des Champs-Élysées, Salon d’automne: 4me exposition, 1906, cat. 152, as Noa-Noa.
Association Paris–Amerique Latine, Exposition rétrospective: Hommage au génial artiste franco-péruvien Gauguin, Dec. 17, 1926, cat. 54.
Kunsthalle Basel, Paul Gauguin, 1848–1903, July–Sept. 9, 1928, cat. 120 and cat. 230.
Berlin, Galerien Thannhauser, Paul Gauguin, 1848–1903, Oct. 1928, cat. 206.
London, Leicester Galleries, Catalogue of an Exhibition of the Durrio Collection of Works by Paul Gauguin, May–June 1931, cat. 8.
Philadelphia Museum of Art, Paul Gauguin: Monotypes, Mar. 23–May 13, 1973, cat. 12 (ill.).
Toronto, Art Gallery of Ontario, Gauguin to Moore: Primitivism in Modern Sculpture, Nov. 7, 1981–Jan. 3, 1982, cat. 26 (ill.).
Washington, D.C., National Gallery of Art, The Art of Paul Gauguin, May 1–July 31, 1988, cat. 213a; Art Institute of Chicago, Sept. 17–Dec. 11, 1988; Paris, Galeries Nationales du Grand Palais, as Gauguin, Jan. 10–Apr. 20, 1989 (Chicago and Paris only).
Art Institute of Chicago, Intimate Encounters: Paul Gauguin and the South Pacific; The Edward McCormick Blair Collection, Sept. 6, 2003–Jan. 11, 2004, not in cat.
The Art Institute of Chicago, “Gauguin: Artist as Alchemist”, June 25 - September 10, 2017, cat. by Gloria Groom, et. al., traveled to Paris, Réunion des musées nationaux - Grand Palais, October 9, 2017 - January 21, 2018.

From the artist to Francisco “Paco” Durrio (1868–1940), Paris, between 1893 and 1895 [González de Durana, Alzuri, and Amezaga, Francisco Durrio (1868–1940): Sobre las huellas de Gauguin, exh. cat. (Museo de Bellas Artes de Bilbao, 2013), pp. 195–98, 210, no. 18, 222, no. 22; and Société du Salon d’Automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif, exh. cat. (Compagnie Française des Papiers-Monnaie, 1906), cat. 152.]; left by Francisco “Paco” Durrio at Kunsthalle Basel for exhibition in 1928; Walther Geiser (1897–1993), Basel, by Jan. 18, 1931 [Oviri appears in the inventories of Geiser (no. 86-106, Jan. 18, 1931, Holzschnitte, and no. 68–89, Dec. 24, 1931, as Gravures sur bois, all listed as a set of woodcuts)]; consigned by Walther Geiser to Lucas Lichtenhan (1897–1969), Basel, on Jan. 18, 1931; returned by Lucas Lichtenhan to Walther Geiser in 1936; sold to the Art Institute of Chicago, 1948.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.