The journey of a piece of art through time and across continents is often as captivating as the artwork itself. In the realm of art history, understanding “Where Are Are” – the whereabouts and ownership history – of a masterpiece adds layers of context and appreciation. This exploration delves into the fascinating provenance of a significant Gauguin painting, meticulously tracing its path from the artist’s hands in Tahiti to its esteemed place in a renowned museum collection.
Our story begins in Tahiti, where the artist himself dispatched this particular Gauguin creation to Georges Daniel de Monfreid in Paris. Monfreid, acting directly and through his agent, then consigned the artwork to the well-known art dealer Ambroise Vollard. It was in Vollard’s Galerie that the painting was first exhibited to the public from November to December 1898, marking an early point in its documented journey.
In 1901, Gabriel Frizeau from Bordeaux acquired the painting from Vollard, signaling a shift in ownership to a discerning private collector. Research indicates Frizeau’s significant role as an early admirer and purchaser of Gauguin’s works, highlighting his refined taste and foresight in recognizing artistic merit. The painting likely remained with Frizeau until around 1913, before it transitioned to the Galérie Barbazanges in Paris.
The Galérie Barbazanges further showcased the painting, including an exhibition in 1914, increasing its visibility within the Parisian art scene. By the period leading up to 1920, J. B. Stang of Oslo became the painting’s owner, indicating its movement into international collections. Interestingly, the Galérie Barbazanges attempted to repurchase the artwork from Stang in 1920, underscoring its continued significance and desirability.
In 1935, Alfred Gold, operating between Berlin and Paris, entered the picture, either purchasing or taking consignment of the painting from Stang. Gold played a crucial role in lending the artwork to various exhibitions, including a showing at the Kunsthaus Zürich in 1932 (even prior to 1935, acting as Stang’s representative) and “L’impressionisme” exhibition in Brussels in 1935. These exhibitions provided opportunities for the public and critics to engage with the Gauguin masterpiece.
The Marie Harriman Gallery in New York became the next significant point in the painting’s journey. Alfred Gold sold the artwork to the gallery, which then featured it in an exhibition in April-May 1936. This marked the painting’s arrival in the American art market, generating local buzz, as documented by a New York Times article in April 1936 anticipating the exhibition.
Finally, in April 1936, the Museum of Fine Arts (MFA) in Boston acquired the Gauguin painting from the Marie Harriman Gallery for $80,000. This acquisition cemented the artwork’s place within a permanent museum collection, ensuring its preservation and public accessibility for generations to come.
From the shores of Tahiti to the galleries of Paris, through private collections and significant exhibitions, and ultimately to the walls of the MFA in Boston, the “where are are” of this Gauguin painting reveals a rich tapestry of art history, collection practices, and the enduring journey of a masterpiece across time and geography.
