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Sell Your Paul Gauguin Autograph

Here are recent auction prices realized for a Paul Gauguin autograph and we can obtain up to these prices for you or more for your Paul Gauguin autograph at Nate D. Sanders Auctions:

In 2017 an original Paul Gauguin autograph letter signed sold for almost $50,000

In 2011 an original Paul Gauguin autograph letter signed sold for almost $25,000

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At Nate D. Sanders Auctions, we had the following Paul Gauguin autographs:

Paul Gauguin Autograph Letter Signed to Camille Pissarro

Museum-worthy autograph letter signed by French artist Paul Gauguin, here accepting an invitation early in his career to exhibit with fellow Impressionist artists. Dated 3 April 1879 to French artist Camille Pissarro, Gauguin accepts membership in the “Societe Anonyme Cooperative des Artistes Peintres, Sculpteurs, Graveurs,” formed in 1873 by Pissarro, Claude Monet, Pierre-Auguste Renoir and Alfred Sisley for the purpose of exhibiting their artwork independently (largely because art critics of the time lampooned their work). Letter in French on four pages of card style stationery reads in full: “My Dear Mr. Pissarro / I accept with pleasure the invitation that you and Mr. Degas were kind enough to extend to me. And naturally in that case I shall abide by all the rules that govern your Societe. Based on this decision, I also have the membership dues available. I will probably see you at Miss Latouche’s and we will talk about this. Yours truly with many thanks, / P Gauguin”.

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Pissarro, one of the original members of the Societe, had mentored Gauguin throughout the 1870’s and, by extending the invitation to join his cooperative of artists, allowed Pissarro to exhibit his work at the 4th Impressionist Exhibition of 1879; Gauguin did in fact exhibit there for the first time in 1879, displaying a sculpture of his son Emile. This was also the first year of the annual exhibition that Pissarro,
Degas and Gauguin all displayed their work. Although remembered as a Post-Impressionist artist because of his bold colorful style, Gauguin’s early work was heavily influenced by Pissarro, with whom he painted frequently. The reference to Madame LaTouche likely refers to the household of Louis LaTouche, a landscape painter who displayed Impressionist paintings in his art shop. It was there that the art collaborative was originally formed. The 5.25″ x 8″ letter shows expected folds, tape residue and minor soiling. Overall very good condition. A fantastic letter on the early days of the modern art movement.  CATALOG ADDENDUM: Letter is one page long. Card style stationery runs four pages (there is no writing on the last three pages).

Paul Gauguin Autograph Letter

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Paul Gauguin Autograph Manuscript From His Days in Tahiti 

French painter Paul Gauguin autograph manuscript unsigned, contemplating in a very personal way the artistic urge to create, and the consequences of stifling this creative urge. Exceptionally scarce, as only about 1,500 pages from Gauguin’s manuscripts are believed to exist, with most of these institutionally held. In French on two pages, front and verso, with the upper half of the first page written in pencil and the remainder in dark purple ink. Three small holes on the margin indicate that the page was originally in a notebook; the writing is similar in style and subject to “Noa Noa: The Tahiti Journal of Paul Gauguin,” dating this manuscript to circa 1897. Translated in part, “A new métier has appeared on the horizon – this time quite distinct and very intelligent. An era of artistic freedom has been instituted, and intelligence, revived by all these efforts, all this rivalry, has blazed a trail. Formerly, actions were performed routinely; today, actions are guided by reason;…One can say that since 1872 (the year of the first Impressionist exhibition) and the first exposition of prints until 1890, the early impressionists, as well as the late ones have been almost the only artists of the epoch – each one to a certain degree, but with a definite foothold in the art…The principal of life, eternal life as well, in its divisions and subdivisions as in its entirety, is movement. Let’s follow this particularly with regard to man, or rather let us seek out whether all our states of mind (soul) and all our actions do not come directly from this principal of movement. Each impulsive force, by the very fact that it has a beginning, tends to have an end; it therefore follows that the movement of the blood, the base of vitality of man and animal, creates an impulse on all parts of the whole…The more impetuous the movement is, the stronger the impulsive force is, and manifests itself by fully stimulated activity…To clarify our idea of impulsion and expulsion, let’s take a few examples. Imagine, in the body of an animal, a large force of impulsion on all his muscles. You see immediately that this animal is obliged to respond with expulsive force causing the muscles to act – a logical and natural propensity, deriving from this law:  that any body set in motion sets up a motion in its turn. I arrive at this conclusion after having dissected the body of an animal…

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Since we have established two divisions in man, the material and the immaterial, it follows that one of its two parts, triggered into dominance by the impulsive force, has an expulsive force of the same dominance…With the dominance of the immaterial holding sway, we have what I shall call the artist, and since his activity and his expulsive force are of the immaterial, and since they are necessary for him, it is evident that this man, this artist, translates them by actions which are always of the immaterial. And there you have the man who speaks, writes, paints, creates music, etc., in direct consequence of his impulsive force. Take away from him the means of expulsion, and the machine breaks down. It is necessary that the expulsive force of the immaterial manifest itself in everything, everywhere. Moreover, those artists who do not possess the dominant expulsive force of the material are not suited for commerce and mundane interest; they must struggle with the world and themselves, and inevitably be subdued…” Gauguin’s reflections upon movement and impulsion are found elsewhere in his writings, and he strongly believed that the constant struggle between the forces of material/immaterial, impulsion/expulsion, were inherent in his own nature. In a letter to his friend, D. de Montfried, he describes his last major work, the masterpiece “D’ou venons nous / Que somme-nous / ou allons-nous,” in this way:  “Where does the execution of a painting commence and where does it end? At that moment when the most intense emotions are in fusion in the depths of one’s being, when they burst forth (the impulsive forces) like lava from a volcano? The work is created suddenly, brutally if you like, and is not its appearance great, almost superhuman?” Manuscript measures 8″ x 12″ with dense writing on both front and verso. Some small tears on the lower margin, otherwise in near fine condition.

Paul Gauguin Autograph Manuscript

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