Zincograph in black, with pale orange, red and green watercolor and white crayon, on chrome yellow wove paper
Signed recto, below image, in pen and brown ink: "Dessins Lithographiques / Paul Gauguin"; signed in plate, upper right, printed in black ink: "homis soit qui mal y pense PGO [in reverse]"; inscribed in plate, below image, printed in black ink: "Projet d’asiet en 89"; inscribed verso, lower left, in graphite: "43.1021A / R8013"
217 × 205 mm (image); 304 × 260 mm (sheet)
William McCallin McKee Memorial Endowment
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The Art Institute of Chicago, Gauguin Prints (Chicago, 1959), frontispiece (ill.).
Elizabeth Mongan, Eberhard W. Kornfeld, and Harold Joachim, Paul Gauguin: Catalogue Raisonné of His Prints (Bern, 1988), pp. 14 and 16, cat. 1.
The Art Institute of Chicago, Van Gogh and Gauguin: The Studio of the South, exh. cat. (Chicago, 2001), pp. 276-277 and 407, cat. 90, fig. 24.
Heather Lemonedes, Paul Gauguin’s High Yellow Note: The Volpini Suite (New York, 2006), diss., p. 224.
New York, Wildenstein & Co., “Gauguin: Loan Exhibition for the Benefit of the Citizens’ Committee for Children of New York City, Inc.,” April 5–May 5, 1956, p. 22, cat. 77.
The Art Institute of Chicago, “Gauguin: Paintings, Drawings, Prints, Sculpture,” February 12-March 29, 1959, p. 80, cat. 128 (Chicago only).
Toronto, Canada, Art Gallery of Ontario, “Vincent van Gogh and the Birth of Cloisonism,” January 23-March 22, 1981, pp. 194-201, cat. 58a (ill.), cat. by Bogomila Welsh-Ovcharov; traveled to the Rijksmuseum Vincent van Vogh, Amsterdam, April 9-June 14, 1981.
The Art Institute of Chicago, “Gauguin: Artist as Alchemist”, June 25 - September 10, 2017, pp. 15, 142, 166, 168, cat. 93, cat. by Gloria Groom, et. al.
Sold by Hellmuth Wallach (1901–1989), New York, to the Art Institute of Chicago, 1943.
Guérin 1 first edition
Kornfeld 1 only, A,a
Fonds Français 10
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