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Paul Gauguin (1848-1903) La Vague

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Paul Gauguin (1848-1903) La Vague


The Collection of Peggy and David Rockefeller

On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is a lot where Christie’s holds a direct financial guarantee interest.

The Collection of Peggy and David Rockefeller


La Vague


signed and dated ‘P Gauguin 88.’ (lower left)


Paul Gauguin (1848-1903)


Paris, Boussod et Valadon, 30 Tableaux de Paul Gauguin, 23 February 1891, no. 28 (titled La Vague (arc-en-ciel)).

(possibly) Vienna, Galerie Miethke, March-April 1907, no. 71 (titled On the Coast, Pont-Aven).

(possibly) Budapest, Nemzeti Szalon, Oeuvres de Gauguin, Cézanne, etc., May 1907, no. 42 (titled At a Rocky Seashore).

(possibly) Prague, Manes Gallery, French Impressionists, October 1907, no. 122 (titled Waterfall).

Moscow, Salon de La Toison d’Or, April-May 1908, p. 55, no. 69 (illustrated; titled Plage rouge).

(possibly) London, Grafton Galleries, Manet and the Post-Impressionists, November 1910-January 1911, no. 26 (titled Pont-Aven, Bretagne).

New York, The Museum of Modern Art, Masterpieces from the David and Peggy Rockefeller Collection: Manet to Picasso, June-September 1994, pp. 8, 12-13, 17, 40 and 80-81 (illustrated in color, p. 41).

New York, The Metropolitan Museum of Art, The Lure of the Exotic: Gauguin in New York Collections, June-October 2002, pp. 67 and 221, no. 41 (illustrated in color, p. 67).


J. Huret, “Paul Gauguin devant ses tableaux” in L’Echo de Paris, 23 February 1891, p. 2.

Y. Tugenhold, “Le paysage dans la peinture français” in Apollo, July 1911, p. 8 (illustrated; titled Bretagne).

C. Morice, Paul Gauguin, Paris, 1919 (illustrated).

E. Faure, Histoire de I’art—L’art moderne, Paris, 1921, p. 429 (illustrated).

M. Malingue, Gauguin: Le Peinture et son oeuvre, Paris, 1948, p. 34 (illustrated, pl. 116; titled Marine en Bretagne).

J. Leymarie, Gauguin: Exposition du Centenaire, exh. cat., Musée de l’Orangerie, Paris, 1949, p. 96.

L. van Dovski, Paul Gauguin: oder die Flucht von der Zivilisation, Zürich, 1950, p. 342, no. 112 (titled Marine en Bretagne).

D. Sutton, “Notes on Paul Gauguin apropos a Recent Exhibition” in Burlington Magazine, vol. XCVIII, March 1956, p. 91.

Y. Thirion, “L’Influence de l’estampe japonaise dans l’oeuvre de Gauguin” in Gazette des Beaux-Arts, vol. XLVII, January-April 1956, pp. 105-106 (illustrated, p. 102, fig. 6).

Y. Thirion, “L’Influence de l’estampe japonaise dans l’oeuvre de Gauguin” in G. Wildenstein, ed., Gauguin: Sa Vie, son oeuvre, Paris, 1958, pp. 105-106 (illustrated, p. 102, fig. 6).

B. Dorival, “Le Peintre dans son siècle” in Gauguin: Collection Génies et Réalités, Paris, 1960, p. 89.

M. Bodelsen, Gauguin’s Ceramics: A Study in the Development of His Art, London, 1964, pp. 178 and 220.

G. Wildenstein, Gauguin, Paris, 1964, vol. I, p. 106, no. 286 (illustrated).

D. Sutton, intro., Gauguin and the Pont-Aven Group, exh. cat., Tate Gallery, London, 1966, pp. 7 and 21.

A. Lhote letter to G. Frizeau, 11 November 1908 reproduced in J.-F. Moueix, Un amateur d'art éclairé à Bordeaux: Gabriel Frizeau, Ph.D. Diss., Université de Bordeaux, 1969, pp. 269-270 and 272.

W. Andersen, “Gauguin’s Motifs from Le Pouldu—Preliminary Report” in Burlington Magazine, vol. 112, no. 810, September 1970, p. 619 (illustrated, fig. 73).

G.M. Sugana, L’Opera completa di Gauguin, Milan, 1972, p. 94, no. 118 (illustrated, p. 93).

J. Rewald, “Theo van Gogh: Goupil and the Impressionists” in Gazette des Beaux-Arts, vol. LXXXI, January 1973, p. 49.

C.F. Ives, The Great Wave: The Influence of Japanese Woodcuts on French Prints, New York, 1974, pp. 100-101.

V. Jirat-Wasiutýnski, Paul Gauguin in the Context of Symbolism, Ph.D. Diss., Princeton University, 1978, pp. 81-82 and 410 (illustrated, pl. 48).

J. Rewald, Post-impressionism: From Van Gogh to Gauguin, New York, 1978, p. 179 (illustrated).

E. Fezzi, Gauguin: Every Painting I, New York, 1980, p. 72, no. 278.

M. Potter et al., The David and Peggy Rockefeller Collection: European Works of Art, New York, 1984, vol. I, pp. 9-10 and 187-189, no. 62 (illustrated in color, p. 188).

R. Brettell, F. Cachin, C. Frèches-Thory and C. Stuckey, The Art of Paul Gauguin,, National Gallery of Art, Washington, D.C., 1988, p. 174.

F. Cachin, Gauguin, Paris, 1988, pp. 66-67 (illustrated in color, p. 67).

K. Berger, Japonisme in Western Painting: From Whistler to Matisse, Cambridge, 1992, p. 153 (illustrated).

R. Smith, "Critic's Notebook: Gauguin and Eakins, Driven but Worlds Apart" in The New York Times, 2 September 2002.

D. Wildenstein, Gauguin: A Savage in the Making, Catalogue Raisonné of the Paintings, Milan, 2002, vol. II, pp. 442-443, no. 303 (illustrated in color, p. 443).

D. Gamboni, Paul Gauguin: The Mysterious Centre of Thought, London, 2014, pp. 137-138, 277 and 286, no. 67 (illustrated in color, p. 138).

H. Hakamata and Y. Ikeda, eds., Hokusai and Japonisme, exh. cat., The National Museum of Western Art, Tokyo, 2017, p. 342 (illustrated, fig. 3).




The artist; sale, Hôtel Drouot, Paris, 23 February 1891, lot 28.

Jules Chavasse, Paris (acquired at the above sale).

Ambroise Vollard, Paris (probably acquired from the above, October 1897 and until at least 1908).

Galerie Druet, Paris (circa 1911).

(possibly) Paul Guillaume, Paris.

Alden Brooks, Paris (possibly acquired from the above, by 1934).

Filippa Brooks Veren, Big Sur, California (gift from the above); sale, Parke-Bernet Galleries, Inc., New York, 19 May 1966, lot 18.

Acquired at the above sale by the late owners.

*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.


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