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142
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PAUL GAUGUIN
La Femme aux Figues
.
Etching printed in black on cream laid paper, 1894. 265x415 mm; 10
1
/
2
x16
3
/
8
inches, full
margins.Third state (of 3). A very good, well-inked impression.
According to Boyle-Turner,“This controversial print has been assigned to Seguin, to Gauguin,
and even to a collaboration of both artists.”The artist Armand Seguin (1869-1903) was a close
friend of Gauguin during the late 1880s/early 1890s. Based on the etched inscription upper
left,“Chez Seguin à St. Julien,” the scene takes place at Seguin’s Breton home in Pouldu.Current
scholarship regarding authorship for the print leans toward Gauguin, in its similarities to other
of his Breton female portrait compositions. Kornfeld 25.
[1,500/2,500]
143
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PAUL GAUGUIN
L’Enlevèment d’Europe
.
Woodcut on thin Japan paper, mounted on light tan card-stock so the signature does not
appear in reverse, as issued, 1898-99. 235x220 mm; 9
1
/
4
x8
5
/
8
inches, full margins. From the
first edition of approximately 30 impressions (before the posthumous edition published
by the artist’s son, Pola Gauguin, and Leicester Galleries, London). Numbered “28” in ink,
lower left recto). A superb impression of this extremely scarce woodcut.
According to Kornfeld, in this first edition there were, “About 30 impressions printed in
olive-green, black or bistre on very thin Japan paper and sometimes pasted on another
sheet so that the signature does not appear in reverse, mostly numbered in ink or pencil
by hand.” Kornfeld 47 A.
[10,000/15,000]
144
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HENRI ROUSSEAU
La Guerre
.
Lithograph on red wove paper, 1894-95. 218x327 mm; 8
3
/
4
x12
3
/
4
inches, full margins.With
the soft center fold, as published in
L’Ymagier
.A superb impression of this extremely scarce
lithograph, the only documented print by Rousseau.
[6,000/9,000]
144