Woman with Figs

Inscription: Inscribed (in plate, upper left, in ink): chez Seguin / St. Julien

private collection, California (until 2000; sale, Swann Galleries, New York, November 9, 2000, no. 318, sold to MMA)

John Richardson. "Gauguin at Chicago and New York." Burlington Magazine 101 (May 1959), p. 192.

Harold Joachim in Gauguin: Paintings, Drawings, Prints, Sculpture. Exh. cat., Art Institute of Chicago. Chicago, 1959, pp. 76, 79, no. 126 (not this edition; collection Art Institute of Chicago).

Marcel Guérin. L'Oeuvre gravé de Gauguin. Rev. ed. (1st ed., Paris, 1927). San Francisco, 1980, unpaginated, no. 88, ill., considers it a work by Armand Seguin.

Vivien Raynor. "Art. Complementary Shows: Two Outside the Mainstream." New York Times (February 24, 1980), p. CN14.

Richard S. Field, Cynthia L. Strauss, and Samuel J. Wagstaff, Jr. The Prints of Armand Seguin 1869–1903. Exh. cat., Davison Art Center, Wesleyan University. Middletown, Conn., 1980, p. 62, no. 80, ill. (not this edition; collection Art Institute of Chicago), list other editions, including MMA [accession number 67.753.6].

Caroline Boyle-Turner. The Prints of the Pont-Aven School: Gauguin and His Circle in Brittany. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Washington, D.C., 1986, pp. 37, 114–15, no. G.5b, ill. (not this edition, collection Samuel Josefowitz).

Gabriel P. Weisberg. "The Pont-Aven Printmakers Rediscovered: Gauguin and His Circle in Brittany." Arts Magazine 61 (January 1987), p. 85, fig. 1 (not this edition; collection The Fridart Foundation).

Elizabeth Mongan, Eberhard W. Kornfeld, and Harold Joachim. Paul Gauguin: Catalogue raisonné of his Prints. Bern, 1988, pp. 124–27, no. 25 III, ill. (not this edition), call it "The Woman with Figs"; refute Guérin's claim [Ref. Guérin 1980] that this work is by Seguin, providing evidence that Gauguin "drew the entire image... on the prepared plate, and... Seguin's role was limited to the grounding and etching of the plate".

Craig Hartley. "Exhibition Reviews. London, Royal Academy: Gauguin and Pont-Aven." Burlington Magazine 131 (November 1989), p. 792.

Pat Gilmour. "Books in Review. Paul Gauguin: Catalogue raisonné of His Prints." Print Collector's Newsletter 20 (March–April 1989), p. 28.

Richard S. Field. "Gauguin." Print Quarterly 6 (June 1989), p. 201, argues that "Gauguin might have sketched something on the plate, but the etching... was mostly the work of Seguin".

Ronald Pickvance. Gauguin and the School of Pont-Aven. Exh. cat., Indianapolis Museum of Art. [London], 1994, p. 46, no. 16, ill. (color) (not this edition; trial proof).

Colta Ives in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, p. 75, no. 48, ill. (not this edition; MMA 67.753.6).

Stephen F. Eisenman in Paul Gauguin: Artist of Myth and Dream. Ed. Stephen F. Eisenman. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2007, pp. 330–31, no. 98, ill. (not this edition; collection Musée des Beaux-Arts, Quimper).

Suzanne Folds McCullagh. "Gauguin, Cat. 76, The Woman with Figs (1951.219)." Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago. Ed. Gloria Groom and Genevieve Westerby. Ebook. Chicago, 2016, ill. (color) (not this edition).

Gauguin created this image in 1894 while visiting his friend Armand Seguin in Le Pouldu. Seguin assisted with the etching of the plate (see Ref. Mongan et al. 1988). In 1899, the first state of the etching was printed by Delâtre, in an edition of 100, for publication in the album Germinal by Julius Meier-Graefe (see MMA 67.753.6). A second state, cropped on the right side, was printed in an edition of 10 by Jacqueline Delâtre about 1950. A third state was printed from the cancelled plate about 1963 in an edition of unknown size (including this example).