Search for over 80 million sold items in our price database

Cavalier devant la case
Sold
Cavalier devant la case
Sold

About the item

Floating quote:\nI am leaving in order to find peace and quiet, to be rid of the influence of civilization. I only want to make simple, very simple art, and to be able to do that, I have to re-immerse myself in virgin nature, see no one but savages, live their life, with no other thought in mind but to render, the way a child would, the concepts formed in my brain and to do this with the aid of nothing but the primitive means of art, the only means that are good and true.\n- Gauguin interviewed by Jules Huret, lEcho de Paris, 1891Executed in 1902, during his second and last visit to the South Seas, Cavalier devant la case epitomizes Gauguins fascination with his idyllic surroundings, and is characteristic of the artists life-long search for the primitive achieved in his last years. Attracted by the freedom, wilderness and simplicity of this remote place far removed from the Western world, Gauguin produced works in which the fluidity and expressiveness of the brushstrokes reflect the sense of artistic liberation. The dynamic, vivid palette of the present painting reflects the richness of nature that excited the artist, the bright yellow-green tones in sharp contrast to the deeper purples and flaming reds. Gauguins innovative and avant-garde approach to building a composition is visible in the way that the tall tree dominates the foreground, with the central figure of the horse and rider appearing from behind it.\nGauguin arrived in Papeete for the second time in September 1895, but finding it greatly affected by European colonization, moved to Punaauia, where he lived in a traditional Tahitian hut. In 1901 Gauguin finally carried out his old intention of moving to an even more remote location, the islands of the Marquesas, and on September 10th left Tahiti on the steamship Croix du Sud. He settled on the island of Hivaoa, where life was more savage and the scenery far more wild than in Tahiti. Furthermore, its inhabitants had a reputation for being the most handsome people in the South Seas taller, slimmer, and with elegant features. Gauguin wrote: I am certain that in the Marquesas, where models are easy to find (while in Tahiti it is getting more and more difficult), and where in addition there are landscapes to discover new and more primitive sources of inspiration, in fact I can do fine things. My creative powers were beginning to flag here, and moreover the art public was getting too familiar with Tahiti (quoted in B. Danielsson, Gauguin in the South Seas, London, 1965, p. 228). It was on this remote island, where Gauguin was to stay for the rest of his life, that Cavalier devant la case was painted.\nWhile still fascinated with the wilderness of the island and its nature, during his second stay in the South Seas Gauguin became more interested in the mythical, spiritual quality of his surroundings. Rather than depicting the islands inhabitants in their everyday activities, the artist focused on compositions that transcended the particular place in which they were painted, and created his own mythic universe which was a conflation of the religious traditions of the East, West and Oceania. Incorporating his belief in the harmony of man and nature, these scenes often depicted the subject of horse and rider. In the present work nature is rendered with a sense of otherworldliness typical of Gauguins late works.\nIn his account of the artists final years, Richard Brettell wrote: In 1901, Gauguin moved to the even more distant island of Hivaoa, part of the most remote island group on earth. From the tiny village of Atuona, where he lived the last two years of his life, he kept abreast of world news, followed artistic and literary events throughout Europe, and busied himself with the decoration of his last total work of art, the famous House of Pleasure. After years of struggle, he came to a financial agreement with Ambroise Vollard who, in exchange for a more-or-less regular income, imposed a certain level of productivity upon Gauguin. Since his works were then in demand, he finished them relatively quickly and sent them in batches to Francethe rapidity with which he worked had a liberating effect on Gauguin. His compositions became more varied, and he experimented even more dramatically with relationships of color (The Art of Paul Gauguin (exhibition catalogue), National Gallery of Art, Washington, D.C., 1988, p. 395).\n\nThis work is accompanied by an Attestation of Inclusion from the Wildenstein Institute, and it will be included in the forthcoming Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.
US
NY, US
US

notes

Please note there is an Irrevocable Bid on this lot.

medium

Oil on canvas 

creator

Gauguin, Paul

dimensions

22 7/8 by 13 1/2 in.

exhibition

Paris, Galerie Ambroise Vollard, Exposition Paul Gauguin, 1903, no. 26 Tokyo, Grand Magazin Seibu; Kyoto, National Museum of Modern Art & Fukuoka, Cultural Center of the Prefecture, Gauguin, 1969, no. 31, illustrated in color in the catalogue Tahiti, Musée Gauguin, Gauguin, 1976 Krems, Kunsthalle, Sehnsucht nach dem Paradies -- Gauguin bis Nolde, 2004 Hamburg, Bucerius Kunst Forum & Munich, Hirmer Verlag, Die Brücke und die Moderne 1904-1914, 2004-05, no. 131 Brescia, Museo di Santa Giulia, Turner e gli Impressionisti, La Grande Storia del Paesaggio Moderno in Europa, 2006-07, no. 206

literature

Georges Wildenstein, Paul Gauguin, Paris, 1964, vol. I, no. 627, illustrated p. 266 Merete Bodelsen, "The Gauguin Catalogue (Wildenstein-Cogniat)" in The Burlington Magazine, January 1966, p. 28 William M. Kane, "Gauguin's 'Le cheval blanc': Sources and Syncretic Meanings" in The Burlington Magazine, July 1966, p. 355 Gabriele Mandel Sugana, L'opera completa di Gauguin, Milan, 1972, no. 450, illustrated pl. 113 Gilles Artur, "Notice historique du musée Gauguin de Tahiti, suivie de quelques lettres inédites de Paul Gauguin" in Journal de la Société des Océanistes, 1982, no. 74-75, illustrated p. 10

provenance

Ambroise Vollard, Paris (acquired circa 1903) Christian de Galéa, Paris (by descent from the above and by at least 1969) Private Collection (acquired in 1977 and sold: Christie's, London, June 24, 1998, lot 22) Private Collection, Germany (acquired at the above sale and sold: Sotheby’s, New York, May 8, 2007, lot 14) Acquired at the above sale 

time_period

Painted in the Marquesas in 1902. 

time_range_end

1902

artist_range_end

1903

time_range_start

1902

artist_range_start

1848

consignmentDesignation

Property of a Distinguished Collector

creator_nationality_dates

1848 - 1903


*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.

*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.


Advert
Advert

Sold items

Jeanne hébuterne (devant une porte)
Sold

Jeanne hébuterne (devant une porte)

Realized Price
31,368,000 USD

Les trois personnages devant le jardin
Sold

Les trois personnages devant le jardin

Realized Price
8,976,000 USD

Cavalier devant la case
Sold

Cavalier devant la case

Realized Price
4,856,000 USD

Pablo Picasso (1881-1973) DEVANT LE JARDIN
Withdrawn
Beatrice Hastings devant une porte
Sold

Beatrice Hastings devant une porte

Realized Price
4,189,500 USD

Sold

FEMMES ET OISEAU DEVANT LE SOLEIL

Realized Price
3,314,231 USD

Sold
Sold

Nature morte devant une fenêtre

Realized Price
2,909,225 USD

Sold

Bouquet devant la fenêtre

Realized Price
2,672,076 USD