Click for BBB rating See our Privacy Policy

Spaightwood Galleries, Inc.

120 Main Street, Upton MA 01568-6193; 800-809-3343; email spaightwood@gmail.com

Last updated: 1/25/2017
Home / Gallery Tour 1 / Gallery News / Gallery Tour 2 / Artists

Gauguin and the Fauves: Original Etchings

Impressionist and Post-Impressionist Prints and Drawings: Prints by Pierre Bonnard, Georges Braque, Charles Camoin,
Mary Cassatt, Paul Cezanne, Henri Edmond Cross, Edgar Degas, Sonia Delaunay, Maurice Denis, André Derain,
Susanne Duchamp, Raoul Dufy, Jean-Louis Forain, Pauk Gauguin, Marie Laurencin, Edouard Manet, Pierre Matisse,
Berthé Morisot, Pablo Picasso, Pierre Auguste Renoir, Geeorges Rouault, Ker Xavier Roussel, Paul Signac,
Henri Toulouse-Lautrec, Suzanne Valadon, Maurice de Vlaminck, James A. McNeill Whistler, and others.

Drawings by Albert Besnard, Andre Barbier, Henri Edmond Cross, Jean-Louis Forain, Eva Gonzales, Marie Laurencin,
Maximilien Luce, and Georges Rouault.

Hand-colored prints by Mary Cassatt, Marc Chagall, Sonja Delaunay, Joan Miró, Henri Matisse, and Pablo Picasso.

For a review of the show that concludes, "Art exhibits in Madison rarely get this good," click review.
"Gauguin and the Fauves: Matisse, Rouault, Vlaminck, Camoin, and Derain," features extensive collections of Rouault (including several never-before shown Rouault mixed-media pieces from the Miserère), Matisse (Rouault's fellow student at the workshop of Gustave Moreau) and Vlaminck, along with token representation of Camoin (a friend of Matisse's, whose portrait of Matisse was on display at the Centre Pompidou in 1998) and Derain (who shared a studio with Vlaminck during the early years of the movement). The Fauves were a short-lived group, active mostly in 1905-6; yet the major artists of the group worked, each in his own way, for nearly fifty years afterwards, producing strong bodies of work that make their art as vital now as it was when they first began working.

In the course of researching our just-concluded show, Käthe Kollwitz and German Expressionism, we learned that when the German Expressionists planned their first shows, they tended to want to include in their shows works by those whom they saw as sharing their interests; the names of Van Gogh, Camoin, Cezanne, Derain, Gauguin, Matisse, Rouault, and Vlaminck tend to be regularity represented. Like the German Expressionist, the Fauves (a term applied to the group by a hostile critics that means "wild beasts"), were interested in color and in breaking through the conventions of Impressionism and Pointillism; also like the German Expressionists, the Fauves were interested in expressing their feelings both about their subjects and their belief that art could serve a prophetic call for reform and renewal.

At the heart of that belief, Sir Anthony Blunt has argued, lies a desire to "retire from the world and to live, in isolation, the life of the imagination" (see Georges Rouault: Miserere [Boston, 1963], pp. 2-3). Blunt goes on to discuss the common links between Rouault and the other Fauves: "The tendency of the Fauves to move away from the subject matter and away from a naturalistic treatment of the outside world was caused, in part at least, by a desire to escape from the unpleasantness of the actual world around them. Their method of escape was very different from Rouault's. They took refuge in purely decorative art, in an ivory tower of lines and colors, whereas he withdrew to religios contemplation. . . . But in a sense his withdrawal is part off the general flight from the world of reality which expressed itself in abstract painting on the one hand, and in the imaginative tendency ending in Surrealism on the other" (p. 3). From this general withdrawal, Vlaminck's landscapes might seem like an exception, until we remember how infrequently people appear in his landscapes, and even then, how indistinctly they are pictured when they do.
Paul Gauguin (French, 1848-1903), La femme aux figues (Guerin 88; Mongan, Kornfeld, Joachim 31 III/III). Original etching and lavis on zinc, 1899. First published in the portfolio, Germinal in an edition of 100 impressions in greenish-gray ink. At some point after this edition, the plate was cut down on the right side from 268x444mm to 268x418mm. 10 impressions from this were printed by Madame Delâtre, widow of the printer of the impressions for Germinal, who then cancelled the plate by gouging 2 XX lower right in the cloth nest to the figs. In 1966, the plate was purchased and perhaps as many as 1000 impressions were made from it. Our impression is a very good early impression from this edition. In later impressions, much of the background hatching wears away and no longer prints; the central image also deteriorates and the double X is no longer visible. Although Guerin denied that Gauguin executed this work (noting that "Chez Seguin à St. Julien" is etched into the upper left crosshatching), more recent scholars point out that Gauguin was still alive when Germinal was first published and never disclaimed his authorship of the work and that Seguin never claimed it. See, in particular, Caroline Boyle-Turner, The Prints of the Pont-Avon School: Gauguin and His Circle in Brittany (NY: Abbeville, 1986), G. 5b, for her judicious account of the critical debate on this work, which had been considered, according to Print Collector I (1972), 71, "one of the most meaningful engravings in contemporary French art." Seee also Caroline Boyle-Turner, Gauguin and the School of Pont-Aven: Prints and Paintings (London: Royal Academy of Arts, 1989) and the meticulous account of the attribution debate in Elizabeth Mongan, Harold Joachim, and Eberhard W. Kornfeld, Paul Gauguin: Catalogue Raisonne of His Prints (Berne: Galerie Kornfeld, 1988). In Dec. 2005, another posthumous impression of this etching sold at auction in France for $7321. Image size: 265x418mm. Price: $7000.
Henri Matisse (French, 1869-1954), Odalisque sur fond rouge. Color pochoir (hand-colored stencil print) after a painting, 1929. 500 impressions for Florent Fels' Henri Matisse, published in Paris by XXeme Siecle. The pochoirs were executed under Matisse's supervision. This beautiful hand-colored piece is one of the few early color prints in Matisse's print oeuvre. Image size: 154x224mm. Price: $2,675.
Teeny. Original linocut, 1938. Edition unknown (c. 1200). Published in the Christmas 1938 issue of the deluxe art review, XXe Siecle. (This is not the reduced-size restrike published in Homage à Matisse in 1970). Teeny was the nickname of Matisse's daughter-in-law. In Pablo Picasso Lithographs and Linocuts 1945-1964 Chicago, 1998), R. Stanley Johnson writes that "The first uses of linocuts by significant artists can probably be dated to two works by Matisse and Miró in 1938. These wre followed by two linocuts by Picasso, Head of a Woman and The Squab [Le Pigeoneau], which were used as book illustrations." (p. 16). The Matisse to which he refers is this one (for the Miró Femme, please click on the link). Image size: 302x227mm. Price: $2250.
George Rouault (French, 1871-1958), "Fiere autant qu'un vivant, de sa noble stature..." / "As proud as if she were still alive of hier noble descent" (C & R 277b). Original color aquatint, 1937. Printed in 1937 for Ambroise Vollard by Robert Lacourière in an edition of 225 unsigned impressions on Montval intended for Vollard's proposed edition, which ultimately fell through due to his death in an automobile accident in 1939. Les Fleurs de Mal 1936-38 (En Couleurs) contained all 12 of the color aquatinits that were completed from 1926-1928. There were also 50 sets of the black plate only. A brilliant impression with rich colors in very good condition except for a very thin stain along the extreme left margin. Image size: 300x214mm. Price: $3750.
Rouault, Squelette / Skeleton (C/R 222). Original aquatint, 1926. Edition: 425 impressions for Les Fleurs de Mal I. Images size: 350x225mm. Price $2500.
Les Trois Croix / The Three Crosses (C & R 283b). Original color aquatint, 1937. Printed in 1937 for Ambroise Vollard by Robert Lacourière in an edition of 225 unsigned impressions on Montval intended for Vollard's proposed edition, which ultimately fell through due to his death in an automobile accident in 1939. Les Fleurs de Mal 1936-38 (En Couleurs) contained all 12 of the color aquatinits that were completed from 1926-1928. There were also 50 sets of the black plate only. A brilliant impression with rich colors in very good condition except for a very thin stain along the extreme left margin. There is a color illustration of this work in François Chapon's Le livre des livres de Rouault (Monte Carlo: Andre Sauret, 1992), p. 134. Image size: 304x218mm. Price: $5500.
Christ au faubourg / Christ in the Neighborhood (C&R 262). Original aquatint, hand-painted by Rouault with gouache & watercolor, 1935. 40 impressions in black & white and 245 impressions in color for The Passion, published by Vollard in 1939. All impressions signed in the plate with the monogram and dated in the plate. There were also 25 impressions HC. The color plates were made by Roger Lacourier from Rouault's hand-painted key plate (shown above) under Rouault's supervision. Ours is a beautiful hand-painted proof in colors different than those in the final version of the color print. A unique trial proof. Image size: 295x195mm. Price: $25,000.
Christ au faubourg / Christ in the Neighborhood (C&R 262). Original aquatint, hand-painted by Rouault with gouache & watercolor, 1935. 40 impressions in black & white and 245 impressions in color for The Passion, published by Vollard in 1939. All impressions signed in the plate with the monogram and dated in the plate. There were also 25 impressions HC. The color plates were made by Roger Lacourier from Rouault's hand-painted key plate (shown above) under Rouault's supervision. Ours is a beautiful hand-painted proof in colors different than those in the final version of the color print. A unique trial proof. Image size: 295x195mm. Price: $25,000.
Christ au faubourg / Christ in the Neighborhood (C&R 262). Original aquatint and etching mixed-media, 1935. 40 impressions in black & white and 245 impressions in color for The Passion, published by Vollard in 1939. All impressions signed in the plate with the monogram and dated in the plate. There were also 25 impressions HC. The color plates were made by Roger Lacourier from Rouault's hand-painted key plate under Rouault's supervision. This is the final version that was published in The Passion. Image size: 295x195mm. Price: $5500.
Charles Camoin (French, 1879-1965), Figure study. Original drypoint. Edition unknown; our impression is signed and annotated an artist's proof. Image size: 178x164 mm. Price: $1275.
André Derain (French, 1880-1954), Nu debout, de profil, Appuy sur un Jambe, le Bras Droit en Avant. Original lithograph, c. 1929. #28 0f 60 pencil-signed impressions on chine volant paper numbered lower left. Published by Henri Petiet, Paris. From his private collection with his ink stamp verso (Lugt Supplement 2021a). Image size: 450x360mm. Price: $3750.
André Derain (French, 1880-1954), Nu les mains sur la Tête (A. 87/2, L. 30). Original lithograph, 1927. #15 0f 25 pencil-signed impressions on chine volant paper numbered lower left. Published by Henri Petiet, Paris. From his private collection with his ink stamp verso (Lugt Supplement 2021a). Image size: 398x260mm. Price: $4250.
André Derain (French, 1880-1954), Nu de Dos / Nude seen from the rear. Original lithograph, 1928. Unpublished proof on imitation Japan paper (530x400mm) with the Atelier stamp aside from the Six Etudes de Nu (cf. Adhemar 87). Rare. Image size: 285x2250mm. Price: $2750.
Maurice de Vlaminck, Rue à Herouville / The sreet in Herouville (W. 162). Original transfer lithograph, 1921. Edition: 100 signed and numbered impressions on Chine volant, of which ours is N. 78. Printed in Paris in 1921 at Charlot Frères for Galerie Simon, Paris. Wide margins. Image size: 382x465mm. Price: $3750.
Vlaminck, Beaumony / Oise (W. 118) (C/R 222). Original etching and drypoint, 1927. Edition: 875 impressions for Georges Duhamels' Vlaminck (Paris, 1927). Our impression is one of 850 on velin teinté d'Annency. A beautiful early impression (from 37/875). Image size: 100x137mm. Price $975.
Vlaminck, Chatou, with Red Tree (1906). 15-color lithograph after a painting, 1958. Edition: 2000 impressions executed in collaboration with Charles Sorlier at the Atelier Mourlot in Paris. Shortly before his death, Vlaminck went to Atelier Mourlot in Paris and worked with Master Printer Charles Sorlier (Chagall's normal collaborator) to prepare editions of lithographs of the paintings by which he wanted to be remembered.Image size: 207x287mm. Price: $475.

Spaightwood Galleries, Inc.

To purchase, call us at 1-800-809-3343 (1-508-529-2511 in Upton MA & vicinity) or send an email to spaightwood@gmail.com.
We accept AmericanExpress, DiscoverCard, MasterCard, and Visa.
We also accept wire transfers and paypal.

For directions and visiting information, please call. We are, of course, always available over the web and by telephone (see above for contact information). Click the following for links to past shows and artists. For a visual tour of the gallery, please click here. For information about Andy Weiner and Sonja Hansard-Weiner, please click here. For a list of special offers currently available, see Specials.

All works are sold with an unconditional guarantee of authenticity (as described in our website listing).

Go back to the top of this page.

Visiting hours: Saturday 10:00 am to 5:00 pm and Sunday noon to 6:00 pm and other times by arrangement.
Please call to confirm your visit. Browsers and guests are welcome.