Paul Gauguin (1848-1903)
Paul Gauguin (1848-1903)

La ferme de la Groue à Osny

Paul Gauguin (1848-1903)
La ferme de la Groue à Osny
signed and dated ‘P Gauguin 83' (lower right)
oil on canvas
15 1/8 x 18 in. (38.3 x 46.1 cm.)
Painted in 1883
Mme Devos, Paris.
Galerie Bernheim-Jeune et Cie., Paris (acquired from the above, July 1910).
Joachim Gasquet (acquired from the above, July 1910).
Anon. sale, Galerie Charpentier, Paris, 15 December 1958, lot 160.
Denise Boas, Paris; sale, Palais Galliéra, Paris, 3 December 1964, lot 33.
Arthur Tooth & Sons, Ltd., London (by 1965).
Captain H.E. Rimington-Wilson, Sheffield; Estate sale, Christie's, London, 30 November 1971, lot 18.
Mason collection (acquired at the above sale).
The Hon. Richard Smith, London; sale, Christie's, London, 4 April 1978, lot 8.
S.M. Golesteneh, London (acquired at the above sale).
Anon. sale, Christie's, London, 23 June 1986, lot 11.
Private collection, London (acquired at the above sale); sale, Christie's, London, 25 June 2003, lot 108.
Acquired at the above sale by the late owner.
R. Rey, Gauguin, Paris, 1923 (illustrated, pl. 3; titled Le ruisseau).
R. Cogniat, Gauguin, Paris, 1947, p. 5 (illustrated; dated 1882 and titled The Rill).
L. van Dovski, Paul Gauguin oder Die Flucht vor der Zivilisation, Zurich, 1948, p. 339, no. 33 (titled Le petit ruisseau).
G. Wildenstein, Gauguin, Paris, 1964, vol. I, p. 35, no. 85 (illustrated; titled Osny, La Ferme).
D. Wildenstein, Gauguin: Premier itinéraire d'un sauvage, Catalogue de l'oeuvre peint (1873-1888), Paris, 2001, vol. I, pp. 118-119, no. 103 (illustrated in color, p. 119).
London, Arthur Tooth & Sons, Ltd., Recent Acquisitions XX, November-December 1965, no. 17 (illustrated; titled Osny, La ferme).
Rome, Complesso del Vittoriano, Paul Gauguin: Artist of Myth and Dream, October 2007-February 2008, p. 170, no. 10 (illustrated in color, p. 171; titled La Groue Farm, Osny).

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Lot Essay

Gauguin arrived at Osny, a northwestern suburb of Paris just beyond Pontoise, on 15 June 1883, where he would spend three weeks painting with Camille Pissarro. Gauguin had visited Pissarro regularly since 1879, but the summer of 1883 was the longest and final stretch of time that he would spend with the older artist. Such concentrated time spent together inspired Gauguin to paint the same motifs as Pissarro, who painted the exact scene depicted in the present work, but viewed from a slightly broader angle (fig. 1).
During this trip, Gauguin painted seven canvases including the present work. Four of the works from this series are housed in museum collections, including the Ny Carlsberg Glyptotek in Copenhagen (Wildenstein, nos. 102 and 105), the Museum of Fine Arts in Boston (Wildenstein, no. 106; fig. 2) and the Rhode Island School of Design (Wildenstein, no. 101).

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