Jacob Meyer de Haan (1852-1895)
GAUGUIN’S ODYSSEY: SELECTIONS FROM THE KELTON COLLECTION
Jacob Meyer de Haan (1852-1895)

Nature morte aux lilas, boule de neige et citrons

Details
Jacob Meyer de Haan (1852-1895)
Nature morte aux lilas, boule de neige et citrons
oil on canvas
25 5/8 x 21 ¼ in. (65 x 54 cm.)
Painted circa 1889
Provenance
Marie Henry, Le Pouldu.
Ida de Cochennec, Rosporden (by descent from the above, by 1950).
Anon. sale, Hôtel Drouot, Paris, 24 June 1959, lot 82.
Josefowitz collection, Lausanne (acquired at the above sale).
Private collection, Europe; sale, Christie's, Paris, 23 May 2007, lot 50.
Acquired at the above sale by the late owner.
Exhibited
Quimper, Musée des Beaux-Arts, Gauguin et le groupe de Pont-Aven, July-September 1950, p. 38, no. 69 (dated 1889-1890 and titled Vase de Fleurs).
Quimper, Musée des Beaux-Arts, Hommage à Sérusier et aux peintres du groupe de Pont-Aven, July-September 1958, p.15, no. 62 (titled Bouquet de fleurs aux lilas).
Marcq-en-Baroeul, Fondation Septentrion, Autour de Gauguin à Pont-Aven, March-June 1985, p. 44, no. 45 (illustrated; titled Nature morte aux lilas et citrons).
Indianapolis Museum of Art; Baltimore, The Walters Art Gallery; The Montreal Museum of Fine Arts; Memphis, The Dixon Gallery and Gardens; San Diego Museum of Art; Portland Art Museum and Boston, Museum of Fine Arts, Gauguin and the School of Pont-Aven, September 1994-September 1996, p. 108, no. 79 (illustrated in color).
Hartford, The Wadsworth Atheneum Museum of Art, Gauguin's Nirvana: Painters at Le Pouldu, 1889-1990, January-April 2001, pp. 38 and 152, no. 39 (illustrated in color, p. 38, fig. 54; dated circa 1889-1890 and titled Vase of Lilacs with Snowballs and Lemons).
Amsterdam, Joods Historisch Museum; Paris, Musée d'Orsay and Quimper, Musée des Beaux-Arts, A Master Revealed: Meijer de Haan, October 2009-October 2010, pp. 90 and 151, no. 87 (illustrated in color, p. 90; illustrated in color again, p. 151; dated 1889-1890).

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Sarah El-Tamer
Sarah El-Tamer

Lot Essay

Meyer de Haan arrived in Paris from his native Holland in 1888, at first moving in with Théo van Gogh and his family, who introduced him to Paul Gauguin. The two artists left for Pont-Aven and Le Pouldu to paint together, whereupon a real relationship of pupil and master developed between the two. Unique within the "school" of Pont-Aven, this relationship with Gauguin allowed Meyer de Haan to break with academic tradition and to progressively develop his own style. Gauguin's teaching is particularly visible in the present still life, which is built upon the contrast between warm and cool tones applied in short, vivid, parallel strokes.

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