AFTER PAUL GAUGUIN (1848-1903)
AFTER PAUL GAUGUIN (1848-1903)
AFTER PAUL GAUGUIN (1848-1903)
3 More
AFTER PAUL GAUGUIN (1848-1903)
6 More
AFTER PAUL GAUGUIN (1848-1903)

Oviri

Details
AFTER PAUL GAUGUIN (1848-1903)
Oviri
signed with initials 'PGo' (on the side of the base); titled 'OVIRI' (on the front of the base); numbered and stamped with foundry mark '11⁄12 C. VALSUANI CIRE PERDUE' (on the back of the base)
bronze with brown patina
Height: 29 ¼ in. (74.5 cm.)
Conceived circa 1894-1895 and cast at a later date
Provenance
Anon. sale, Mainichi Auction, Tokyo, 9 February 2018, lot 1078.
Acquired at the above sale by the present owner.
Literature
"Sculpture de P. Gauguin" in Zolotoe Runo, 1909, no. I, pp. 6-8, no. I-II (ceramic version illustrated).
C. Morice, Paul Gauguin, Paris, 1919, p. 234 (ceramic version illustrated, p. 158).
J. de Rotonchamp, Paul Gauguin, Paris, 1925, pp. 194 and 197.
C. Kunstler, Gauguin: Peintre maudit, Paris, 1934, p. 57 (ceramic version illustrated).
M. Malingue, Gauguin, Paris, 1943, p. 157 (ceramic version illustrated, p. 151).
A. Vollard, Souvenirs d'un marchand de tableaux, Paris, 1948, pp. 200-201.
V. Segalen, Lettres de Gauguin à Daniel de Monfreid, Paris, 1950, p. 234.
C. Gray, Sculpture and Ceramics of Paul Gauguin, Baltimore, 1963, pp. 245-247, no. 113 (ceramic version illustrated, pp. 245-247).

Brought to you by

Margaux Morel
Margaux Morel Associate Vice President, Specialist and Head of the Day and Works on Paper sales

Lot Essay

Oviri is the goddess of mourning in Tahitian mythology. It is also the title of a traditional Tahitian song that tells the love and longing between two women whose restless hearts grow cold and silent to each other. Before it was embodied as Paul Gauguin’s last sculpture and masterpiece, Oviri was one of the inner images in the artist’s “little world of friends” that spiritually invited and eventually took him to Tahiti. In the present work, Oviri, which translates to savage, is leaning on her mysteriously long and thick hair that curiously leaves the back of the head open. She is depicted as indifferently killing a fox while dispassionately caressing its cub thus communicating life in death. With its disturbing physical features as well as its unusual posture, Oviri appears as a strange amalgamation between a wild human being and some unknown creature. Gauguin hints at his empathic connection to the remarkable and unique rigidity of Oviri as if it is part of his inner self: “I am a savage in spite of myself. That's also why my work is inimitable.”

More from Impressionist and Modern Art Day Sale

View All
View All