{"exhibition":[{"id":"1183069","text":"Paris, Galeries Durand-Ruel, <em>Exposition d'œuvres récentes de Paul Gauguin,</em> November 9–25, 1893, no. 19 (as \"Nafea faaipoipo? (Quand te maries-tu?)\")","notes":[],"exh_id":"6819","seq_num":2,"scan_flag":true,"start_year":1893,"highlight_flag":false},{"id":"1183070","text":"Weimar, Großherzogliches Museum für Kunst und Kunstgewerbe am Karlsplatz, <em>Ausstellung von Werken von Paul Gauguin,</em> July 7–September 15, 1905, no. 23 (as \"Sitzende Tahitanerinnen\")","notes":["See Kropmanns 1999: \n\"[...] Kessler made it possible to bring to Thuringia not just the works owned by Fayet, but also those belonging to the Gauguin collectors Maurice Fabre and Gauguin's friend Georges-Daniel de Monfreid. [...] The exhibition ran from 7th July to 15th September 1905. [...] Appendix B: Exhibits in the 1905 Weimar checklist with identifications where possible [...] 23. Sitzende Tahitanerinnen (Nafea Faaipoipo [Quand te maries-tu?], 1892; W 454) [...]\" \"4\"Perhaps exhibited at the Salon d'Automne 1906, cat. no.159: Deux Tahitiennes accroupies, as 'Collection Fabre' [...]\"\n"],"exh_id":"62093","seq_num":3,"scan_flag":false,"start_year":1905,"highlight_flag":false},{"id":"1183071","text":"Paris, Grand Palais des Champs-Elysées, <em>Salon d'Automne,</em> October 6–November 15, 1906, no. 159 (as \"Deux Tahitiennes accroupies\") (Lender: Fabre)","notes":["Information comes from [M. G. [Maurice Guillemot] 1906](https://gallica.bnf.fr/ark:/12148/bpt6k58632948/f54.item)\n\nEugène Druet was assigned to photograph the Salon Automne Exhibition in 1906.\nPhoto Druet (R094649)"],"exh_id":"61898","seq_num":5,"scan_flag":true,"start_year":1906,"highlight_flag":false},{"id":"1226489","text":"Zurich, Kunsthaus Zürich, <em>Aus Zürcher Privatsammlungen,</em> November 1–December 6, 1914, no. 43 (as \"Frauen auf Haiti\")","notes":["See Geelhaar 1990:\nnote 18: \"Exposition des \"collections privées zurichoises\", Kunsthaus de Zurich du 1er au 29 novembre 1914, n°43.\""],"exh_id":"63568","seq_num":8,"scan_flag":false,"start_year":1914,"highlight_flag":false},{"id":"1182703","text":"Basel, Kunsthalle Basel, <em>September-Ausstellung I: Gemälde aus Privatbesitz,</em> September 8–October 3, 1920, no. 27 (as \"Nafea faa. ipopo\")","notes":[],"exh_id":"62132","seq_num":10,"scan_flag":false,"start_year":1920,"highlight_flag":false},{"id":"1183813","text":"Basel, Kunsthalle Basel, <em>Paul Gauguin 1848–1903,</em> July–August 1928, no. 75, first edition; no. 87, second edition, p. 22 (as \"Nafea Faaipopo? (Quand te maries-tu?)\") (Lender: Rud. Staechelin, Basel)","notes":[],"exh_id":"6830","seq_num":12,"scan_flag":true,"start_year":1928,"highlight_flag":false},{"id":"1219355","text":"Bern, Kunsthalle Bern, <em>Französische Meister des 19. Jahrhunderts und Van Gogh,</em> February 18–April 2, 1934, no. 55, p. 8 (as \"Zwei Mädchen von Tahiti\")","notes":[],"exh_id":"34993","seq_num":17,"scan_flag":true,"start_year":1934,"highlight_flag":false},{"id":"1186030","text":"Amsterdam, Stedelijk Museum, <em>Honderd jaar Fransche kunst</em> [One Hundred Years of French Art], July 2–September 25, 1938, no. 126, pp. 78–79 (as \"Nafea faa ipopo: Quand te maries-tu? / Nafea faa ipopo: Wanneer trouw je?\") (Lender: R. Staechelin, Basel)","notes":[],"exh_id":"32848","seq_num":20,"scan_flag":true,"start_year":1938,"highlight_flag":false},{"id":"1189562","text":"Hồ Chí Minh City, Salle du Cercle indochinois, <em>Exposition de peinture française de David à Picasso,</em> 1949, no. 108 (Lender: Collection Staëchelin, Basel)","notes":[],"exh_id":"62454","seq_num":31,"scan_flag":false,"start_year":1949,"highlight_flag":false},{"id":"1188518","text":"Paris, Orangerie des Tuileries, <em>Gauguin: Exposition du centenaire,</em> 1949, no. 32, pp. 44–45 (as \"Nafea Foa Ipoipo (Quand te maries-tu?)\") (Lender: Kunstmuseum Basel, Basel)","notes":["Exhibited since August"],"exh_id":"6922","seq_num":32,"scan_flag":true,"start_year":1949,"highlight_flag":false},{"id":"1188564","text":"Lyon, Musée de Lyon, <em>Les Grands Courants de la peinture contemporaine: De Manet à nos jours,</em> 1949, no. 44, p. 50 (ill. fig. 4) (Lender: Fondation Rudolph Staechelin, Basel)","notes":[],"exh_id":"28452","seq_num":33,"scan_flag":true,"start_year":1949,"highlight_flag":false},{"id":"1188820","text":"Basel, Kunstmuseum Basel, <em>Paul Gauguin zum 100. Geburtsjahr,</em> November 26, 1949–January 29, 1950, no. 46, p. 36 (ill. pl. 19, as \"Nafea Faa ipopo. Wann heiratest Du?\") (Lender: Kunstmuseum Basel)","notes":[],"exh_id":"6923","seq_num":34,"scan_flag":true,"start_year":1949,"highlight_flag":false},{"id":"1206573","text":"Basel, Kunstmuseum Basel, <em>Sammlung Rudolf Staechelin: Gedächtnisausstellung zum 10. Todesjahr des Sammlers,</em> May 13–June 17, 1956, no. 35, p. 36 (ill. p. 36; color ill. as \"Nafea Faa ipopo (Wann heiratest Du?)\")","notes":[],"exh_id":"34926","seq_num":46,"scan_flag":true,"start_year":1956,"highlight_flag":false},{"id":"1206902","text":"Paris, Musée National d'Art Moderne, <em>Fondation Rodolphe Staechelin: De Corot à Picasso,</em> April 10–June 28, 1964, no. 28 (color ill.; ill.)","notes":[],"exh_id":"48295","seq_num":55,"scan_flag":true,"start_year":1964,"highlight_flag":false},{"id":"1208358","text":"New York, Museum of Modern Art, <em>European Master Paintings from Swiss Collections: Post-Impressionism to World War II,</em> December 15, 1976–March 1, 1977, p. 20 (ill. p. 21, as \"Nafea Faa ipoipo (When Will You Marry?)\") (Lender: Rudolf Staechelin, Basel)","notes":["[See Museum of Modern Art, New York](https://www.moma.org/calendar/exhibitions/2445)"],"exh_id":"24385","seq_num":67,"scan_flag":true,"start_year":1976,"highlight_flag":false},{"id":"1211764","text":"London, Royal Academy of Arts, <em>Post-Impressionism: Cross-Currents in European Painting, 1800–1906,</em> November 17, 1979–March 16, 1980, no. 90, pp. 77–78 (ill. p. 78, as \"When Will You Marry ? / Nafea Faa ipoipo (Quand te maries-tu?)\") (Lender: Rudolph Staechelin Foundation, Basel). Traveled to: Washington, D.C., National Gallery of Art, May 25–September 1, 1980, no. 53 (ill. p. 52)","notes":[],"exh_id":"45928","seq_num":70,"scan_flag":true,"start_year":1979,"highlight_flag":false},{"id":"1210767","text":"Washington, D.C., National Gallery of Art, <em>The Art of Paul Gauguin,</em> May 1–July 31, 1988, no. 145, pp. 263–64 (color ill. p. 264) (Lender: Rudolph Staechelin Family Foundation). Traveled to: Chicago, Art Institute of Chicago, September 17–December 11, 1988; Paris, Galerie nationales du Grand-Palais, as <em>Gauguin,</em> January 10–April 24, 1989, no. 145, pp. 264, 266 (color ill. p. 265)","notes":[],"exh_id":"5626","seq_num":80,"scan_flag":false,"start_year":1988,"highlight_flag":false},{"id":"1212427","text":"London, Royal Academy of Arts, <em>From Manet to Gauguin: Masterpieces from Swiss Private Collections,</em> June 30–October 8, 1995, no. 26, p. 79 (color ill. p. 78, as \"Nafea Faa-ipopo: When will you Marry? / Nafea Faa-ipopo: Quand te maries-tu?\") (Lender: Rudolph Staechelin Family Foundation, Basel)","notes":["\"On Loan to the Kunstmuseum Basel\""],"exh_id":"19433","seq_num":90,"scan_flag":true,"start_year":1995,"highlight_flag":false},{"id":"1212483","text":"Stuttgart, Staatsgalerie Stuttgart, <em>Paul Gauguin Tahiti,</em> February 7–June 1, 1998, no. 48, p. 168 (color ill. p. 69, as \"Nafea Faa ipoipo (Wann heiratest Du?)\") (Lender: Rudolf Staechelin' sche Familienstiftung, Basel)","notes":[],"exh_id":"23508","seq_num":95,"scan_flag":true,"start_year":1998,"highlight_flag":false},{"id":"1208117","text":"Essen, Museum Folkwang, <em>Paul Gauguin: Das verlorene Paradies,</em> June 17–October 18, 1998, no. 21, p. 320 (color ill. as \"Nafea Faa ipoipo / Wann heiratest Du? / Quand te maries-tu?\"). Traveled to: Berlin, Neue Nationalgalerie, October 31, 1998–January 10, 1999","notes":[],"exh_id":"23749","seq_num":96,"scan_flag":true,"start_year":1998,"highlight_flag":false},{"id":"1312713","text":"Basel, Kunstmuseum Basel, <em>Orte des Impressionismus: Gemälde und Fotografien,</em> April 5–July 13, 2003, no. 12, p. 96 (as \"NAFEA faa ipoipo (Quant te maries-tu?)\"; \"NAFEA faa ipoipo (Wann heiratest-Du?)\") (Lender: Sammlung Rudolf Staechelin, Depositum im Kunstmuseum Basel)","notes":[],"exh_id":"3301","seq_num":156,"scan_flag":true,"start_year":2003,"highlight_flag":false},{"id":"1211623","text":"Basel, Fondation Beyeler, <em>Paul Gauguin,</em> February 8–June 28, 2015, p. 220 (color ill. p. 89, as \"Nafea Faaipopo / Quand te maries-tu?\") (Lender: Collection Rudolf Staechelin)","notes":[],"exh_id":"52223","seq_num":108,"scan_flag":false,"start_year":2015,"highlight_flag":false},{"id":"1217018","text":"Madrid, Museo Nacional Centro de Arte Reina Sofía, <em>Coleccionismo y Modernidad, dos casos de estudio: Colecciones Im Obersteg y Rudolf Staechelin,</em> March 18–September 14, 2015 (as \"Nafea faaipoipo (¿Cuándo te casarás? )\") (Lender: Colección Rudolf Staechelin). Traveled to: Washington, D.C., Phillips Collection, as <em>Gauguin to Picasso: Masterworks from Switzerland, the Staechelin & Im Obersteg Collections,</em> October 10, 2015–January 10, 2016 (color ill. pl. 11, p. 99, as \"Nafea faaipoipo (When Will You Marry?)\")","notes":["See [Museo Nacional Centro de Arte Reina Sofía, Madrid](https://www.museoreinasofia.es/prensa/nota-de-prensa/coleccionismo-modernidad-dos-casos-estudio-colecciones-im-obersteg-rudolf)\n"],"exh_id":"63082","seq_num":109,"scan_flag":false,"start_year":2015,"highlight_flag":false}],"provenance":[{"id":"1238300","text":"Paul Gauguin","notes":[],"seq_num":142,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1238300","text":"On consignment with <em>Durand-Ruel,</em> Paris (November 1893, until January 23, 1895)","notes":[],"seq_num":142,"looting_provenance_flag":false,"possession_provenance_flag":true},{"id":"1226097","text":"Sale, consigned by the artist to Hôtel des Ventes, Paris, <em>Vente de tableaux et dessins par Paul Gauguin,</em> February 18, 1895, no. 20","notes":["Repurchased by the artist"],"auc_id":"118902","seq_num":144,"scan_flag":false,"looting_provenance_flag":false,"possession_provenance_flag":true},{"id":"1235246","text":"On consignment with <em>Gaston Lévy,</em> Paris (February 1895–May 1896)","notes":["For further information relating to Paul Gauguin's consignment to Gaston Lévy see [Paul Gauguin to Lévy / Chaudet: Durand–Ruel Exhibition (1893) & Gauguin Sale (1895) – Paul Gauguin’s consignment to Gaston Lévy](https://digitalprojects.wpi.art/artworks/gauguin/introduction/8)"],"seq_num":146,"looting_provenance_flag":false,"possession_provenance_flag":true},{"id":"1235247","text":"On consignment with <em>Georges-Alfred Chaudet,</em> Paris through <em>Gaston Lévy,</em> Paris (1896)","notes":["For further information relating to Paul Gauguin's consignment to Georges-Alfred Chaudet see [Paul Gauguin to Lévy / Chaudet: Durand–Ruel Exhibition (1893) & Gauguin Sale (1895) – Paul Gauguin’s consignment to Georges-Alfred Chaudet](https://digitalprojects.wpi.art/artworks/gauguin/introduction/8)"],"seq_num":147,"looting_provenance_flag":false,"possession_provenance_flag":true},{"id":"1226099","text":"Maurice Fabre, Paris and Narbonne (as of 1905)","notes":["See Kropmanns 1999:\n\"[...] Kessler made it possible to bring to Thuringia not just the works owned by Fayet, but also those belonging to the Gauguin collectors Maurice Fabre and Gauguin's friend Georges-Daniel de Monfreid. [...] The exhibition ran from 7th July to 15th September 1905. Although we cannot yet pinpoint every single exhibit, it is nonetheless possible to identify a great number of them. The brief catalogue, no more than a brochure, contains a short appreciation of Gauguin by Kessler, which makes it clear that the show was devoted exclusively to works from the Fayet, Fabre and de Monfreid collections. [...] Appendix B: Exhibits in the 1905 Weimar checklist with identifications where possible [...] 23. Sitzende Tahitanerinnen (Nafea Faaipoipo [Quand te maries-tu?], 1892; W 454) [...]\"\nnote 54: \"Perhaps exhibited at the Salon d'Automne 1906, cat. no. 159: Deux Tahitiennes accroupies, as 'Collection Fabre' [...]\""],"seq_num":148,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1226487","text":"Fritz Meyer-Fierz, Zurich","notes":["See Geelhaar 1990:\n\"[...] NAFEA faaipoipo ou Les deux femmes de Tahiti [...] avait à l'origine appartenu au commerçant zurichois Fritz Meyer-Fierz (1847-1917) [...] qui chercha à s'en défaire quelques mois seulement avant sa mort. [...]\" "],"seq_num":149,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1226101","text":"Rudolf Staechelin, Basel, acquired from above through <em>Galerie Moos,</em> Geneva (June 27, 1917)","notes":["See Geelhaar 1990:\n\"[...] NAFEA faaipoipo ou Les deux femmes de Tahiti [...] avait à l'origine appartenu au commerçant zurichois Fritz Meyer-Fierz (1847-1917) [...] qui chercha à s'en défaire quelques mois seulement avant sa mort. [...] NAFEA fut d'abord offert à Rudolf Staechelin par le marchand d'art zurichois Wolfensberger pour la somme de 25 000 francs. Le 21 avril 1917, ce même tableau lui fut proposé, cette fois par la galerie genevoise Moos et pour 21 000 francs. Aucun acheteur ne s'étant apparemment présenté, le 5 juin suivant, Moos écrivit à Staechelin que le tableau se trouvait à Genève et qu'il pouvait le lui céder pour 18 700 francs. Staechelin avança immédiatement une offre de 18 000 francs à laquelle le vendeur accéda par retour de courrier.[...] (\"La facture de la Galerie Moos date du 27 juin 1917\")\""],"seq_num":150,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1226103","text":"Rudolf Staechelin'sche Familienstiftung, Basel","notes":[],"seq_num":151,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1226105","text":"On deposit with Kunstmuseum Basel (1947, until 2015)","notes":[],"seq_num":152,"looting_provenance_flag":false,"possession_provenance_flag":true},{"id":"1226106","text":"Sheikh Tamim bin Hamad al-Thani, Qatar, acquired from above through <em>Simon de Pury</em> (2015)","notes":["See [Selvin 2019](https://www.artnews.com/art-news/market/gauguin-painting-lawsuit-simon-de-pury-12565/):\n\"[...] The de Purys said that they had come to a \"gentleman’s agreement\" with him regarding the commission they were owed for providing the introduction that led to the sale. The ultimate buyer, according to documents obtained by the New York Times, was Qatari Sheikh Tamim bin Hamad al-Thani. [...]\""],"seq_num":153,"looting_provenance_flag":false,"possession_provenance_flag":false}],"publication":[{"id":"1239893","text":"\"Opinions d'artistes,\" <em>L'Escarmouche</em> 2 (November 19, 1893)","notes":["\"[...] Chez-Durand-Ruel. – L'Exposition  de Paul Gauguin séduit par l'aspect général. [...] Ce travesti d'un civilisé très maître  de son pinceau nous fait sourire.  Nous applaudissons volontiers aux manifestations du peintre de quelques portraits, de quelques morceaux de nu, de quelques paysages, de Tahiti, mais nous restons indifférents devant l'évocateur des légendes tahitiennes [...]\""],"pub_id":"270390","seq_num":1,"scan_flag":false,"start_year":1893,"highlight_flag":false},{"id":"1183073","text":"Jean de Rotonchamp, <em>Paul Gauguin, 1848–1903</em> (Paris: Édouard Druet Éditeur, 1906), p. 119 (no. 19), 135 (no. 20) (as \"Naféa faïpoïpo? (Quand te maries-tu?)\")","notes":[],"pub_id":"270398","seq_num":4,"scan_flag":true,"start_year":1906,"highlight_flag":false},{"id":"1183035","text":"M. G. [Maurice Guillemot], \"Le mois artistique: Le Salon d'Automne,\" <em>L'Art et les artistes: Revue mensuelle d'art ancien et moderne</em> 4, no. 20 (November 1906) (ill. p. 297, as \"Deux Tahitiennes accroupies\")","notes":["\"[...] Gauguin est plus compliqué, paysagiste de Bretagne transplanté à Tahiti par la loi d'un atavisme qui lui fit retrouver là-bas l'ambiance du Primitif [...] C'est pour quoi il resta longtemps sans conquérir les appréciations qu'il méritait ; les 227 numéros qui sont rassemblés permettent de connaître  sa vie et son oeuvre en son ensemble [...]\""],"pub_id":"100787","seq_num":6,"scan_flag":false,"start_year":1906,"highlight_flag":false},{"id":"1189047","text":"Julius Meier-Graefe, \"Henri de Toulouse-Lautrec,\" <em>Volné směry</em> 14, no. 1 (1910) (ill. p. 33, as \"Tahitské Ženy\")","notes":[],"pub_id":"273191","seq_num":7,"scan_flag":false,"start_year":1910,"highlight_flag":false},{"id":"1184586","text":"Charles Morice, <em>Paul Gauguin</em> (Paris: H. Floury, Éditeur, 1919) (ill. between pp. 224–25, as \"Nafea faiaipoipo? (Quand te maries-tu?)\")","notes":[],"pub_id":"103190","seq_num":9,"scan_flag":true,"start_year":1919,"highlight_flag":false},{"id":"1186025","text":"Wilhelm Barth, <em>Paul Gauguin</em> (Basel: Benno Schwabe, 1929), pp. 130–32, 164 (ill. pl. XXXIII, p. 129, as \"Nafea faai poipo\")","notes":[],"pub_id":"103200","seq_num":13,"scan_flag":true,"start_year":1929,"highlight_flag":false},{"id":"1183751","text":"Arsène Alexandre, <em>Paul Gauguin: Sa vie et le sens de son œuvre</em> (Paris: Bernheim-Jeune, Éditeurs d'art, 1930), pp. 260, 273 (ill. p. 201, as \"Naféa Faaïpoïpo (Quand te maries-tu?)\")","notes":[],"pub_id":"15912","seq_num":14,"scan_flag":true,"start_year":1930,"highlight_flag":false},{"id":"1208380","text":"R[eginald] H[oward] Wilenski, <em>French Painting</em> (Boston: Hale, Cushman & Flint, 1931), p. 291 (as \"Nafea Faai poipo (When will they Marry)\")","notes":[],"pub_id":"133168","seq_num":15,"scan_flag":false,"start_year":1931,"highlight_flag":false},{"id":"1183600","text":"Charles Kunstler, <em>Gauguin: Peintre maudit</em> (Paris: Librairie Floury, 1934) (ill. p. 109, as \"Nafea Foa Ipoipo\")","notes":[],"pub_id":"113252","seq_num":16,"scan_flag":true,"start_year":1934,"highlight_flag":false},{"id":"1182142","text":"Louis Hautecœur, <em>Gauguin</em> (Paris: Skira, Albert, 1938) (color ill. pl. 2, as \"Nafea Faa-Ipoipo. (Quand te maries-tu ?)\") (Collection: Rudolf Staechelin, Basel)","notes":[],"pub_id":"272541","seq_num":18,"scan_flag":false,"start_year":1938,"highlight_flag":false},{"id":"1242835","text":"John Rewald, <em>Gauguin</em> (Paris: Éditions Hypérion, 1938), p. 167 (ill. p. 116) (Collection: R. Staechelin)","notes":[],"pub_id":"15930","seq_num":19,"scan_flag":true,"start_year":1938,"highlight_flag":false},{"id":"1215138","text":"N. H. W. [Wolf], \"100 jaar Fransche kunst: Stedelijk Museum, Amsterdam,\" <em>De Kunst</em> 30, no. 1441 (September 24, 1938), p. 125 (as \"Wanneer trouw je me?\")","notes":[],"pub_id":"273921","seq_num":21,"scan_flag":false,"start_year":1938,"highlight_flag":false},{"id":"1183078","text":"Maurice Malingue, <em>Gauguin</em> (Monaco: Les Documents d'Art, 1943), p. 155 (ill. p. 96, as \"Quand te maries-tu ?: Nafea foa ipoipo,\" dated 1893)","notes":[],"pub_id":"15926","seq_num":22,"scan_flag":true,"start_year":1943,"highlight_flag":false},{"id":"1220259","text":"Antony De Witt, <em>Paul Gauguin,</em> 2nd ed. (Milan: Ulrico Hoepli Editore, 1945) (ill. pl. XX, as \"Quando ti mariti (Nafea Fai-poipo),\" dated 1892–93) (Collection: Rudolf Staechelin, Basel)","notes":[],"pub_id":"273879","seq_num":23,"scan_flag":false,"start_year":1945,"highlight_flag":false},{"id":"1232313","text":"Hans Graber, <em>Paul Gauguin: Nach eigenen und fremden Zeugnissen</em> (Basel: Benno Schwabe Verlag, 1946) (ill. between pp. 308–9)","notes":[],"pub_id":"103139","seq_num":24,"scan_flag":true,"start_year":1946,"highlight_flag":false},{"id":"1235248","text":"Maurice Malingue, ed., <em>Lettres de Gauguin à sa femme et à ses amis</em> (Paris: Éditions Bernard Grasset, 1946), p. 274 (CLXII)","notes":[" \"[...] Laché par Lévy, par tout le monde [...]\" (CLXII-Letter to Charles Morice, Tahiti, May, 1896)"],"pub_id":"113225","seq_num":25,"scan_flag":false,"start_year":1946,"highlight_flag":false},{"id":"1181684","text":"Raymond Cogniat, <em>Gauguin</em> (Paris: Édition Pierre Tisné, 1947) (ill. pl. 82, as \"Nafea Foa Ipoipo\")","notes":[],"pub_id":"270406","seq_num":26,"scan_flag":true,"start_year":1947,"highlight_flag":false},{"id":"1235250","text":"Jean Ribaud-Menetière, \"Une lettre inédite de Paul Gauguin,\" <em>Arts: Beaux-arts, littérature, spectacles</em> 108 (March 28, 1947), p. 8","notes":["\"[...] Cette lettre, tout entière consacrée aux affaires d'argent, n'est pas signée, elle est écrite sur un mauvais papier quadrillée, probablement arraché à un cahier d'écolier, elle est datée : Marquises, mars 1902 : Cher Monsieur Bauchy, Je me rappelle vaguement le tableau Vahine note miti de ma première exposition. Tous ces tableaux étaient chez Lévy, puis Chaudet les a repris. [...]\" (letter from Paul Gauguin to Auguste Bauchy, March 1902)"],"pub_id":"292188","seq_num":27,"scan_flag":false,"start_year":1947,"highlight_flag":false},{"id":"1181552","text":"René-Jean, <em>Gauguin</em> (Paris: Les Éditions Braun, 1948) (color ill. as \"Nafea fau ipoipo (Quand te maries-tu ?)\")","notes":[],"pub_id":"113233","seq_num":28,"scan_flag":true,"start_year":1948,"highlight_flag":false},{"id":"1188657","text":"Maurice Malingue, <em>Gauguin: Le peintre et son œuvre</em> (Paris: Les Presses de la Cité, 1948) (ill. pl. 179, as \"Nafea Fo I poipo 'Quand te maries-tu?'\") (Collection: Rudolf Staechelin)","notes":[],"pub_id":"223672","seq_num":29,"scan_flag":true,"start_year":1948,"highlight_flag":false},{"id":"1186526","text":"Frank Elgar, <em>Gauguin</em> (Paris: Fernand Hazan, 1949), no. 1 (color ill. as \"Nafea Fo Ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"113198","seq_num":30,"scan_flag":true,"start_year":1949,"highlight_flag":false},{"id":"1183081","text":"Lee van Dovski, <em>Paul Gauguin oder die Flucht vor der Zivilisation</em> (Olten: Delphi-Verlag, 1950), no. 266, pp. 218, 348 (as \"Nafea Faaipoipo (Wann wirst du heiraten?) / Nafea Foa I poipo ? (Quand te maries-tu?)\")","notes":[],"pub_id":"113241","seq_num":35,"scan_flag":true,"start_year":1950,"highlight_flag":false},{"id":"1235249","text":"Annie Joly-Segalen, ed., <em>Lettres de Gauguin à Daniel de Monfreid</em> (Paris: Georges Falaize, 1950), p. 77 (XVI), 84 (XX), 85, 86 (XXI), 112–13 (XXXVII), 164 (LXVIII)","notes":["\"Mon cher Daniel, Depuis que je suis arrivé, je fais des courses, des courses toutes inutiles : personne à Paris. Si pourtant, j'ai vu Durand-Ruel qui m'a reçu favorablement et qui a repris le commerce des impressionnistes ; vente qu'il avait abandonnée autrefois. [...] — Il m'a promis de venir voir mes œuvres quand elles seraient prêtes et d'en faire une exposition chez lui. Je vais donc m'atteler à tout cela [...]\" (XVI-September 12, 1893)\n\n\"[...] Au reçu de ma lettre voyez Lévy rue Saint-Lazare 57 et dites-lui que je suis très inquiet et de mon argent et de mes affaires de tableaux chez lui. [...]\" (XX-November 1895)\n\n\"[...] J'avais fait à mon premier séjour à Tahiti des efforts inouïs dont vous avez vu les résultats rue Laffitte : à quoi suis-je arrivé, à une défaite complète. [...] je parle de Lévy. Sans lui je n’aurais pas osé partir pour Tahiti mais c’est lui qui est venu me proposer cette affaire. \"Vous pouvez partir là-bas tranquille ; nous ne vous laisserons pas dans l’embarras. C’est peut-être une affaire de temps car votre peinture n’est pas facile à faire avaler, mais je ferai le nécessaire.\" Et déjà il ne veut plus s'en occuper. Je suis donc parti avec confiance, faisant des calculs non erronés [...] Voilà qui me permettait de vivre tranquille quelque temps et attendre que Lévy vende de la peinture. [...]\" (XXI-April 1896)\n\n\"[...] J’ai souvenance de ces paroles de Lévy d’accord avec Chaudet : \"Puisque vous désirez retourner à Tahiti, voici une combinaison qui pallierait tout\" — et après avoir signé de part et d'autre ce contrat que vous connaissez, ils ajoutèrent tous deux : \"vous pouvez être sûr que quoi qu'il arrive, vous ne manquerez pas de vivres.\" [...]\" (XXXVII-October 1897)\n\n\"[...] Comme vous voyez, cela fait supposer chez Chaudet un grand désordre [...] tout ce qui était chez Lévy (qui en a reçu avec la nomenclature), était à moi [...] Il serait à examiner aussi quels sont les tableaux que Chaudet aurait confiés à Vollard, qui, lui doit en avoir traces sur ses livres ! mais c'est beaucoup de peine pour vous : cela vaut cependant la peine de s'en occuper car en somme Chaudet avait tout mon atelier. [...]\" (LXVIII-October 1900)\n"],"pub_id":"113215","seq_num":36,"scan_flag":false,"start_year":1950,"highlight_flag":false},{"id":"1184201","text":"H. W., \"Cronache: Losanna; La grande mostra Gauguin,\" <em>Emporium</em> 111, no. 666 (June 1950), p. 279 (as \"Quando ti sposi?\")","notes":[],"pub_id":"272793","seq_num":37,"scan_flag":false,"start_year":1950,"highlight_flag":false},{"id":"1214565","text":"Maria Netter, \"Die Neuerwerbungen der Öffentlichen Kunstsammlung Basel, 1947–1950,\" <em>Werk: Schweizer Monatsschrift für Architektur, Kunst und künstlerisches Gewerbe</em> 37, no. 9 (September 1950), p. 291 (ill. p. 287, as \"Nafea Faa ipoipo — Wann heiratest du? / Quand te maries-tu? / When will you wed?\")","notes":[],"pub_id":"273852","seq_num":38,"scan_flag":false,"start_year":1950,"highlight_flag":false},{"id":"1235251","text":"Jean Loize, <em>De Maillol et Codet à Ségalen: Les Amitiés du peintre Georges-Daniel de Monfreid et ses reliques de Gauguin</em> (Paris: Jean Loize, 1951), pp. 26, 50","notes":["\"[...] Une manière de contrat avec Lévy et Chaudet devait l'assurer au moins des vivres. [...]\" (p. 26)\n\n\"[...] Gauguin était parti en Océanie, assuré du lendemain par les promesses de Lévy et de Chaudet. [...]\" (p. 50)"],"pub_id":"105256","seq_num":39,"scan_flag":true,"start_year":1951,"highlight_flag":false},{"id":"1184748","text":"François Daulte, \"La fondation Rudolf Staechelin au musée de Bâle,\" <em>Arts: Beaux-arts, littérature, spectacles,</em> no. 349 (March 7, 1952), p. 2 (ill. p. 1, as \"Nafea faa i poipo — Quand te maries-tu?\")","notes":[],"pub_id":"272836","seq_num":40,"scan_flag":false,"start_year":1952,"highlight_flag":false},{"id":"1183082","text":"Charles Estienne, <em>Gauguin</em> (Geneva: Éditions d'art Albert Skira, 1953), pp. 67, 79 (color ill. p. 66, as \"Nafea Foa Ipoipo: Quand te maries-tu ?\")","notes":[],"pub_id":"113200","seq_num":41,"scan_flag":true,"start_year":1953,"highlight_flag":false},{"id":"1181572","text":"Jean Taralon, <em>Gauguin</em> (Paris: Éditions du Chêne, 1953) (color ill. pl. IX, as \"Nafea Faa ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"110278","seq_num":42,"scan_flag":false,"start_year":1953,"highlight_flag":false},{"id":"1217834","text":"Bernard Dorival, <em>Paul Gauguin: Carnet de Tahiti,</em> vol. 2 [Facsimile] (Paris: Quatre Chemins-Editart, 1954), p. 71 r","notes":[],"pub_id":"272538","seq_num":43,"scan_flag":false,"start_year":1954,"highlight_flag":false},{"id":"1211010","text":"Lawrence Hanson and Elisabeth Hanson, <em>Noble Savage: The Life of Paul Gauguin</em> (New York: Random House, 1955), p. 215 (as \"Nafea Fo I poipo\")","notes":[],"pub_id":"273498","seq_num":44,"scan_flag":false,"start_year":1955,"highlight_flag":false},{"id":"1207263","text":"John Rewald, <em>Post-Impressionism: From Van Gogh to Gauguin</em> (New York: Museum of Modern Art, 1956) (ill. p. 521, as \"Nafea Faaipoipo—When Will You Mary?\")","notes":[],"pub_id":"132303","seq_num":45,"scan_flag":true,"start_year":1956,"highlight_flag":false},{"id":"1213601","text":"Charles Sterling, <em>Musée de l'Ermitage: La peinture française de Poussin à nos jours</em> (Paris: Éditions Cercle d'Art, 1957), p. 130 (as \"Nafea Foa Ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"116679","seq_num":47,"scan_flag":false,"start_year":1957,"highlight_flag":false},{"id":"1182607","text":"L.-J. [Louis-Joseph] Bouge, \"Traduction et interprétation des titres en langue tahitienne inscrits sur les œuvres océaniennes de Paul Gauguin,\" in <em>Gazette des Beaux-Arts,</em> special issue, <em>Gauguin: Sa vie, son œuvre; Réunion de textes, d'études, de documents,</em> ed. Georges Wildenstein (1958), no. 26, p. 162 (as \"Nafea faa ipoipo – Quand nous marions-nous ?\")","notes":[],"pub_id":"272579","seq_num":48,"scan_flag":true,"start_year":1958,"highlight_flag":false},{"id":"1185855","text":"René Huyghe, <em>Gauguin</em> (Paris: Flammarion, 1959) (color ill. p. 54)","notes":[],"pub_id":"15923","seq_num":49,"scan_flag":true,"start_year":1959,"highlight_flag":false},{"id":"1206761","text":"Claude Roger-Marx, \"Ce que lui doit la peinture contemporaine,\" in <em>Gauguin</em> (Paris: Librairie Hachette, 1960) (ill. p. 188, as \"Nafea Foa Ipoipo (Quand nous-marions-nous?)\")","notes":[],"pub_id":"273240","seq_num":50,"scan_flag":true,"start_year":1960,"highlight_flag":false},{"id":"1183083","text":"Georges Boudaille, <em>Gauguin</em> (Paris: Éditions Aimery Somogy, 1963), pp. 170, 186 (color ill. p. 148, as \"Nafea foa ipoipo: Quand te maries-tu ?\")","notes":[],"pub_id":"103131","seq_num":51,"scan_flag":true,"start_year":1963,"highlight_flag":false},{"id":"1183084","text":"Alfred Langer, <em>Paul Gauguin</em> (Leipzig: VEB E.A. Seemann, 1963), p. 46 (color ill. pl. 47, as \"Nafea faa ipoipo - Wann heiratest Du?\")","notes":[],"pub_id":"15924","seq_num":52,"scan_flag":true,"start_year":1963,"highlight_flag":false},{"id":"1217437","text":"Georg Schmidt, <em>Kunstmuseum Basel: 150 Gemälde 12.–20. Jahrhundert / Musée des Beaux-Arts, Bâle: 150 tableaux XIIe–XXe siècle / Museum of Fine Arts, Basle: 150 Paintings, 12th–20th Century</em> (Basel: Bâloise-Holding, 1964), p. 126 (color ill. p. 127, as \"Nafea Faa ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"274120","seq_num":53,"scan_flag":false,"start_year":1964,"highlight_flag":false},{"id":"1180750","text":"Georges Wildenstein, <em>Gauguin</em> (Paris: Les Beaux-arts, éditions d'études et de documents, 1964), no. 454, p. 181 (ill. p. 181, as \"Nafea faa ipoipo. Quand te maries-tu?\") (Collection: Kunstmuseum, Basel)","notes":[],"pub_id":"7513","seq_num":54,"scan_flag":true,"start_year":1964,"highlight_flag":false},{"id":"1186946","text":"Bengt Danielsson, <em>Gauguin in the South Seas</em> (London: George Allen & Unwin, 1965), p. 142 (as \"Nafea Faa Ipoipo\")","notes":[],"pub_id":"273017","seq_num":56,"scan_flag":false,"start_year":1965,"highlight_flag":false},{"id":"1212582","text":"Patrick O'Reilly, <em>Catalogue du Musée Gauguin: Papeari, Tahiti</em> (Paris: Fondation Singer-Polignac, 1966), no. 195, p. 56 (as \"Nafea faa ipoipo. Quand te maries-tu?\")","notes":[],"pub_id":"273591","seq_num":57,"scan_flag":false,"start_year":1966,"highlight_flag":false},{"id":"1237349","text":"Gérard Legrand, <em>Gauguin</em> (Paris: Club d'Art Bordas, 1966), p. 24","notes":[],"pub_id":"113228","seq_num":58,"scan_flag":true,"start_year":1966,"highlight_flag":false},{"id":"1182033","text":"Bengt Danielsson, \"Gauguin's Tahitian Titles,\" <em>Burlington Magazine</em> 109, no. 769 (April 1967), no. 34, p. 231","notes":[],"pub_id":"272534","seq_num":59,"scan_flag":true,"start_year":1967,"highlight_flag":false},{"id":"1186732","text":"Wayne Andersen, <em>Gauguin's Paradise Lost</em> (New York: Viking Press, 1971), p. 167 (ill. fig. 95, p. 320, as \"Who Will You Marry? (Nafea faa ipoipo)\")","notes":[],"pub_id":"103176","seq_num":60,"scan_flag":true,"start_year":1971,"highlight_flag":false},{"id":"1183085","text":"G. M. [Gabriele Mandel] Sugana, <em>L'Opera completa di Gauguin</em> (Milan: Rizzoli Editore, 1972), no. 276, p. 103 (ill. p. 103; color ill. pl. XXIV, as \"Due donne tahitiane in un paesaggio (Nafea faa ipoipo)\")","notes":[],"pub_id":"6930","seq_num":61,"scan_flag":true,"start_year":1972,"highlight_flag":false},{"id":"1183087","text":"Lee van Dowski, <em>Die Wahrheit über Gauguin</em> (Darmstadt: Josef Gotthard Bläschke Verlag, 1973), no. 266, p. 269 (ill. p. 212, as \"Nafea Faa Ipoipo (Wann heiratest du?) / Nafea Faa Ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"15947","seq_num":62,"scan_flag":true,"start_year":1973,"highlight_flag":false},{"id":"1187128","text":"Ziva Amishai-Maisels, \"Gauguin's 'Philosophical Eve,'\" <em>Burlington Magazine</em> 115, no. 843 (June 1973), p. 374 (note 9) (as \"Nafea Faa Ipoipo\")","notes":[],"pub_id":"272919","seq_num":63,"scan_flag":true,"start_year":1973,"highlight_flag":false},{"id":"1183088","text":"Elda Fezzi, Fiorella Minervino, and Marc Sanson, <em>'Noa Noa' e il primo viaggio a Tahiti di Gauguin</em> (Milan: Rizzoli Editore, 1974), no. 172, pp. 73, 87 (color ill. pl. XV; color ill. pl. XVI, detail; color ill. p. 107, as \"Nafea faa ipoipo\")","notes":[],"pub_id":"110277","seq_num":64,"scan_flag":false,"start_year":1974,"highlight_flag":false},{"id":"1183090","text":"Bengt Danielsson, <em>Gauguin à Tahiti et aux îles Marquises</em> (Papeete: Les Éditions du Pacifique, 1975), p. 143 (as \"Nafea faa ipoipo\")","notes":[],"pub_id":"103205","seq_num":65,"scan_flag":true,"start_year":1975,"highlight_flag":false},{"id":"1189827","text":"Vojtěch Jirat-Wasiutyński, \"Gauguin in the Context of Symbolism,\" vol. 1 (PhD diss., Princeton: Princeton University, 1975), p. 430","notes":[],"pub_id":"9453","seq_num":66,"scan_flag":true,"start_year":1975,"highlight_flag":false},{"id":"1181286","text":"Richard S. Field, <em>Paul Gauguin: The Paintings of the First Voyage to Tahiti</em> (New York: Garland Publishing, 1977), pp. 127–28, 131–37, 141, 145–47, 158, 187, 254 (note 20), 276 (note 4), 309, 324, 327 (no. 35), 336 (ill. pl. 65, as \"Nafea Faa Ipoipo ('When will you Marry?'),\" dated May–June 1892)","notes":[],"pub_id":"113269","seq_num":68,"scan_flag":true,"start_year":1977,"highlight_flag":false},{"id":"1217488","text":"Nicolas Wadley, <em>Gauguin: 116 oeuvres</em> (Paris: Éditions Hier et Demain, 1978), no. 39 (color ill.)","notes":[],"pub_id":"110267","seq_num":69,"scan_flag":false,"start_year":1978,"highlight_flag":false},{"id":"1219719","text":"Elda Fezzi, <em>Gauguin: Every Painting,</em> ed. David Piper, vol. 2, trans. Jane Carroll (New York: Rizzoli, 1980), no. 435, p. 34 (ill. p. 34; color ill. p. 35, detail)","notes":[],"pub_id":"274439","seq_num":71,"scan_flag":false,"start_year":1980,"highlight_flag":false},{"id":"1186298","text":"Ziva Amishai-Maisels, <em>Gauguin's Religious Themes</em> (New York: Garland Publishing, 1985), pp. 209–10 (note 51), 394 (note 66) (as \"Nafea Faa Ipoipo\")","notes":[],"pub_id":"223713","seq_num":72,"scan_flag":true,"start_year":1985,"highlight_flag":false},{"id":"1217547","text":"Paul Gauguin, <em>Noa Noa: Gauguin's Tahiti,</em> ed. Nicholas Wadley, trans. Jonathan Griffin (Oxford: Phaidon Press, 1985), p. 158 (color ill. pl. 88, p. 131, as \"Nafea Faa Ipoipo? (When will you marry?)\")","notes":[],"pub_id":"12654","seq_num":73,"scan_flag":true,"start_year":1985,"highlight_flag":false},{"id":"1218219","text":"Yann Le Pichon, <em>Sur les traces de Gauguin</em> (Paris: Éditions Robert Laffont, 1986), pp. 176, 261 (color ill. p. 177, as \"Nafea faa ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"110274","seq_num":74,"scan_flag":true,"start_year":1986,"highlight_flag":false},{"id":"1187900","text":"Michel Hoog, <em>Gauguin: Vie et œuvre</em> (Paris: Nathan, 1987), p. 273 (color ill. no. 121, p. 175, as \"Nafea Faa ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"15953","seq_num":75,"scan_flag":true,"start_year":1987,"highlight_flag":false},{"id":"1216802","text":"Maurice Malingue, <em>La Vie prodigieuse de Gauguin</em> (Paris: Éditions Buchet-Chastel, 1987), pp. 187, 221, 231, 238–39 (as \"Naféa Faa Ipoipo ('Quand te-maries-tu')\")","notes":["\"[...] Le marteau d'ivoire, claquant sur le pupitre du commissaire-priseur, scandait les chiffres cruels qui n'atteignaient même pas ceux de l'estimation [...] à défaut d'enchères, le peintre dut racheter trente-huit toiles [...] : \"A Gauguin qui rachète .... Au même ... A Gauguin qui rachète : [...] Nafea Foaipoipo, 500 F\" [...]\" (p. 221)\n\n\"[...] Chaudet avait son atelier dans la cour d'un immeuble appartenant à sa famille 6, rue Rodier. Là, il entreposait les toiles de Gauguin. Mais, négligent et souvent malade — il devait mourir à trente ans [...]\" (p. 231)\n\n\"[...] Alors, après une dernière entrevue le 26 juin 1904, entre Mme Chaudet, Vollard et Daniel Monfreid, celui-ci exaspéré, écrit trois jours plus tard à la mère de Georges : \"Au cas où vous ne voudriez pas, ou ne pourriez pas terminer ce règlement avant mon départ, j’en confierai le soin à mon homme d’affaires.\" Mme Veuve Chaudet devait disparaître à son tour le 5 mars 1905. Grâce à ce reçu pour solde de tout compte, la famille Chaudet garda abusivement tous les tableaux Gauguin. Ceux-ci restèrent dissimulés très longtemps dans une pièce de l’appartement. Peu à peu de nombreuses toiles furent vendues par Mme Chaudet, puis par son plus jeune fils Maurice. Jusqu’à sa disparition en 1945 [...]\" (pp. 238-239)\n\n\n"],"pub_id":"103188","seq_num":76,"scan_flag":true,"start_year":1987,"highlight_flag":false},{"id":"1188462","text":"Marla Prather and Charles F. Stuckey, eds., <em>Gauguin: A Retrospective</em> (New York: Hugh Lauter Levin Associates, 1987) (color ill. pl. 66, p. 210, as \"Nafea Faa Ipoipo? (When Will You Marry?)\")","notes":[],"pub_id":"231856","seq_num":77,"scan_flag":true,"start_year":1987,"highlight_flag":false},{"id":"1208395","text":"Belinda Thomson, <em>Gauguin</em> (London: Thames & Hudson Ltd, 1987), p. 147 (ill. fig. 134, p. 149, as \"Nafea faa ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"272550","seq_num":89,"scan_flag":false,"start_year":1987,"highlight_flag":false},{"id":"1217877","text":"Assia Kantor-Goukovskaïa, Anna Barskaïa, and Marina Bessonova, <em>Paul Gauguin: Musée de l'Ermitage, Musée des Beaux-Arts Pouchkine,</em> trans. Marie-Thérèse Schmitt (Paris: Éditions Cercle d'Art, 1988), p. 92 (ill. p. 95, as \"Nafea faa ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"6675","seq_num":78,"scan_flag":false,"start_year":1988,"highlight_flag":false},{"id":"1219294","text":"Francisca Vandepitte, \"Het exotisme bij Gauguin,\" <em>Gentsche bijdragen tot de kunstgeschiedenis</em> 27 (1988), p. 128","notes":[],"pub_id":"274374","seq_num":79,"scan_flag":false,"start_year":1988,"highlight_flag":false},{"id":"1222708","text":"Pierre Daix, <em>Paul Gauguin</em> (Paris: Éditions Jean-Claude Lattès, 1989), p. 239 (as \"Nafea faa ipoipo, 'Quand te maries-tu?'\")","notes":[],"pub_id":"6771","seq_num":81,"scan_flag":false,"start_year":1989,"highlight_flag":false},{"id":"1219412","text":"Hans-Joachim Müller, ed., <em>Nafea: Die Sammlung Rudolf Staechelin, Basel</em> (Basel: Wiese Verlag, 1990), pp. 16–17, 21, 31, 40, 43, 49, 84, 86, 142, 155, 163 (color ill. p. 85; color ill. p. 87, detail; ill. p. 142, as \"Nafea faaipoipo (Quand te marie-tu?)\")","notes":["\"[...] Parmi les marchand suisses [...] la \"Maison Moos\", de Genève [...]. C'est également par son intermédiaire que l'intérêt du collectionneur se déplace de la peinture romande vers la peinture française, comme en témoigne l'achat de [...] Gauguin (\"NAFEA\") [...] que la galerie lui a procurés entre mai et octobre 1917. [...]\" (pp. 16-17)"],"pub_id":"9488","seq_num":82,"scan_flag":true,"start_year":1990,"highlight_flag":false},{"id":"1226486","text":"Christian Geelhaar, \"'J’ai toujours été d’avis qu’il fallait acheter la meilleure qualité possible,'\" in <em>Nafea: Die Sammlung Rudolf Staechelin, Basel,</em> ed. Hans-Joachim Müller (Basel: Wiese Verlag, 1990), pp. 155–56, 163, 170 (notes 18, 20) (as \"Nafea\")","notes":["\"[...] NAFEA faaipoipo ou Les deux femmes de Tahiti [...] avait à l'origine appartenu au commerçant zurichois Fritz Meyer-Fierz (1847-1917) [...] qui chercha à s'en défaire quelques mois seulement avant sa mort. [...] NAFEA fut d'abord offert à Rudolf Staechelin par le marchand d'art zurichois Wolfensberger pour la somme de 25 000 francs. Le 21 avril 1917, ce même tableau lui fut proposé, cette fois par la galerie genevoise Moos et pour 21 000 francs. Aucun acheteur ne s'étant apparemment présenté, le 5 juin suivant, Moos écrivit à Staechelin que le tableau se trouvait à Genève et qu'il pouvait le lui céder pour 18 700 francs. Staechelin avança immédiatement une offre de 18 000 francs à laquelle le vendeur accéda par retour de courrier.[...]\" (pp. 155-156)\n\nnote 18: \"Exposition des \"collections privées zurichoises\", Kunsthaus de Zurich du 1er au 29 novembre 1914, n°43.\"\n\nnote 20: \"La facture de la Galerie Moos date du 27 juin 1917\""],"pub_id":"291725","seq_num":83,"scan_flag":true,"start_year":1990,"highlight_flag":false},{"id":"1187557","text":"Henri Dorra, \"Gauguin et l'émancipation de la femme,\" in <em>Gauguin: Actes du colloque Gauguin; Musée d'Orsay, 11–13 janvier 1989</em> (Paris: La Documentation française, 1991), p. 190 (as \"Nafea faa ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"273067","seq_num":84,"scan_flag":true,"start_year":1991,"highlight_flag":false},{"id":"1187454","text":"Vojtěch Jirat-Wasiutyński and Travers Newton, \"Tradition et innovation dans la technique picturale de Paul Gauguin,\" in <em>Gauguin: Actes du colloque Gauguin; Musée d'Orsay, 11–13 janvier 1989</em> (Paris: La Documentation française, 1991), p. 59 (ill. fig. 1, p. 60)","notes":[],"pub_id":"273060","seq_num":85,"scan_flag":true,"start_year":1991,"highlight_flag":false},{"id":"1186147","text":"Karyn Elizabeth Esielonis, \"Gauguin's Tahiti: The Politics of Exoticism\" (PhD diss., Cambridge: Harvard University, 1993), pp. 38, 51, 242 (note 60) (ill. fig. 14, as \"Nafea faaipoipo (When Will You Marry?)\") (Collection: Rudolph Staechelin Family Foundation)","notes":[],"pub_id":"11282","seq_num":86,"scan_flag":true,"start_year":1993,"highlight_flag":false},{"id":"1233242","text":"Belinda Thomson, ed., <em>Gauguin by Himself</em> (Boston: Little, Brown, 1993) (color ill. pl. 180, p. 223, as \"Nafea Faaipoipo (When are you getting married?)\")","notes":[],"pub_id":"223762","seq_num":87,"scan_flag":true,"start_year":1993,"highlight_flag":false},{"id":"1221037","text":"Anna Barskaya, Asya Kantor-Gukovskaya, and Marina Bessonova, <em>Paul Gauguin: Mysterious Affinities</em> (Bournemouth: Parkstone Publishers; Saint Petersburg: Aurora Art Publishers, 1995), p. 104 (ill. p. 107, as \"Nafea Fa' aipoipo? (When Will You Marry?)\")","notes":[],"pub_id":"10445","seq_num":88,"scan_flag":true,"start_year":1995,"highlight_flag":false},{"id":"1243973","text":"Peter Kropmanns, <em>Gauguin und die Schule von Pont-Aven im Deutschland nach der Jahrhundertwende</em> (Sigmaringen: Jan Thorbecke Verlag, 1997) (as \"Sitzende Tahitanerin\")","notes":["\"[...] Die Gauguin-Ausstellung in Weimar 1905 [...]\" (p. 24)\n\n\"[...] Ausserdem ist folgende Liste der dreiunddreissig Exponate abgedruckt: Kat. nr. [...] 23. Sitzende Tahitanerin [...]\" (pp. 25, 26)\n\nnote 64: \"[...] Ausst. kat. Großherzogliches Museum für Kunst und Kunstgewerbe am Karlsplatz Weimar. Ausstellung von Werken von Paul Gauguin Juli-September 1905 [...]\""],"pub_id":"272510","seq_num":91,"scan_flag":false,"start_year":1997,"highlight_flag":false},{"id":"1211538","text":"Philippe Dagen, <em>Le Peintre, le poète, le sauvage: Les voies du primitivisme dans l'art français</em> (Paris: Flammarion, 1998), p. 79 (as \"Nafea faa ipoipo (Quand te maries-tu?)\")","notes":[],"pub_id":"11822","seq_num":92,"scan_flag":false,"start_year":1998,"highlight_flag":false},{"id":"1218679","text":"Naomi Margolis Maurer, <em>The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent Van Gogh and Paul Gauguin</em> (Madison: Fairleigh Dickinson University Press; London: Associated University Presses in association with the Minneapolis Institute of Arts, 1998), p. 148 (color ill. fig. 305, between pp. 190–93)","notes":[],"pub_id":"274230","seq_num":93,"scan_flag":false,"start_year":1998,"highlight_flag":false},{"id":"1237878","text":"Albert Kostenewitsch, \"Eva im tahitianischen Paradies,\" in <em>Paul Gauguin: Das verlorene Paradies,</em> ed. Georg-W. Költzsch, exh. cat. (Cologne: DuMont Buchverlag, 1998), p. 78 (as \"Wann Heiratest Du?\")","notes":[],"pub_id":"273342","seq_num":94,"scan_flag":true,"start_year":1998,"highlight_flag":false},{"id":"1183092","text":"Peter Kropmanns, \"The Gauguin Exhibition in Weimar in 1905,\" <em>Burlington Magazine</em> 141, no. 1150 (January 1999), pp. 25, 26 (note 11), 29, 31 (note 54) (as \"Sitzende Tahitanerinnen / Nafea Faaipoipo [Quand te maries-tu ?]\")","notes":["\"[...] Kessler made it possible to bring to Thuringia not just the works owned by Fayet, but also those belonging to the Gauguin collectors Maurice Fabre and Gauguin's friend Georges-Daniel de Monfreid. [...]\" (p. 25)\n\n\"[...] The exhibition ran from 7th July to 15th September 1905. [...]\" (p. 26)\n\n\"[...] Appendix B: Exhibits in the 1905 Weimar checklist with identifications where possible [...]\" (p. 29)\n\n\"[...] 23. Sitzende Tahitanerinnen (Nafea Faaipoipo [Quand te maries-tu?], 1892; W 454) [...]\" (p. 31)\n\nnote 54: \"Perhaps exhibited at the Salon d'Automne 1906, cat. no. 159: Deux Tahitiennes accroupies, as 'Collection Fabre' [...]\""],"pub_id":"272468","seq_num":97,"scan_flag":true,"start_year":1999,"highlight_flag":false},{"id":"1220701","text":"Henri Dorra, \"Ein nur allzu menschliches Paradies: Gauguins Symbolismus in Tahiti,\" in <em>Paul Gauguin: Von der Bretagne nach Tahiti; Ein Aufbruch zur Moderne,</em> ed. Denise Delouche, exh. cat. (Tulln an der Donau: Millenniumsverlag, 2000), p. 140 (ill. p. 140, as \"Nafea Faaipopo? (Quand te maries-tu?) (Nafea Faaipopo?Wann heiratest Du?\")","notes":[],"pub_id":"274636","seq_num":98,"scan_flag":false,"start_year":2000,"highlight_flag":false},{"id":"1186871","text":"Britt Salvesen, Douglas W. Druick, and Peter Zegers, <em>Gauguin</em> (Chicago: Art Institute of Chicago, 2001), p. 46 (ill. fig. 20, p. 47, as \"When Will You Marry? (Nafea faaipoipo)\")","notes":[],"pub_id":"141471","seq_num":99,"scan_flag":true,"start_year":2001,"highlight_flag":false},{"id":"1217356","text":"Charlotte Hale, \"Gauguin's Paintings in the Metropolitan Museum of Art: Recent Revelations Through Technical Examination,\" in <em>The Lure of the Exotic: Gauguin in New York Collections,</em> by Colta Ives and Susan Alyson Stein, exh. cat. (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2002), pp. 180–81 (as \"Nafea Faaipoipo (When Will You Marry?)\")","notes":[],"pub_id":"274096","seq_num":100,"scan_flag":true,"start_year":2002,"highlight_flag":false},{"id":"1187519","text":"Paule Laudon, <em>Tahiti-Gauguin: Mythe et vérités</em> (Paris: Société nouvelle Adam Biro, 2003), p. 76 (color ill. p. 77)","notes":[],"pub_id":"141859","seq_num":101,"scan_flag":true,"start_year":2003,"highlight_flag":false},{"id":"1302482","text":"Elise Eckermann, <em>'En lutte contre une puissance formidable': Paul Gauguin im Spannungsfeld von Kunstkritik und Kunstmarkt</em> (Weimar: VDG, 2003), p. 160 (as \"Nafea Faaipopo\")","notes":[],"pub_id":"300467","seq_num":154,"scan_flag":false,"start_year":2003,"highlight_flag":false},{"id":"1235252","text":"Douglas W. Druick, \"Vollard and Gauguin: Fictions and Facts,\" in <em>Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde,</em> ed. Rebecca A. Rabinow, exh. cat. (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2006), pp. 64–65, 78 (note 28)","notes":["\"[...] Gauguin then entrusted to Lévy, who had shown commitment to his work, the majority of his own paintings. [...] A \"contract\" that Gauguin devised with Chaudet and Lévy [...] seems to have given them authority to sell and acquire on his behalf, but it has been lost. [...] In early spring of 1896 [...] He was still counting on Lévy to sell his work and collect sums due him, even though the dealer's silence had disturbed him enough to ask his friend Monfreid to investigate. [...] in May the artist learned that Lévy had \"dropped\" him and withdrawn from their understanding. [...] Chaudet, having reclaimed all of Gauguin's work from Lévy, now controlled virtually everything that the artist had left in Paris. [...]\" (pp. 64-65)\n\nnote 28: \"Lévy had the majority of the Tahitian paintings that had failed to sell at Durand-Ruel in 1893 or at auction 1895 [...]\"\n"],"pub_id":"273606","seq_num":102,"scan_flag":true,"start_year":2006,"highlight_flag":false},{"id":"1217299","text":"Henri Dorra, <em>The Symbolism of Paul Gauguin: Erotica, Exotica and the Great Dilemmas of Humanity</em> (Berkeley: University of California Press, 2007), pp. 180, 183, 228, 229 (color ill. fig. 85, p. 181, as \"Nafea faa ipoipo? (When Will You Mary?)\")","notes":[],"pub_id":"146397","seq_num":103,"scan_flag":true,"start_year":2007,"highlight_flag":false},{"id":"1219684","text":"Magali Rougeot, \"Gustave Fayet (1865–1925): Itinéraire d'un artiste collectionneur,\" vol. 1 (PhD diss., Nanterre: Université Paris X; Paris: École du Louvre, 2013), pp. 27, 28, 218 (as \"Deux tahitiennes accroupies, Nafea Faaipoipoi (Quand te maries-tu?)\")","notes":[],"pub_id":"274470","seq_num":104,"scan_flag":false,"start_year":2013,"highlight_flag":false},{"id":"1211550","text":"Lukas Gloor, \"La Réception internationale de Gauguin au miroir de deux expositions bâloises,\" in <em>Paul Gauguin,</em> exh. cat. (Ostfildern: Hatje Cantz, 2015), pp. 189, 194 (ill. fig. 10, p. 189, installation view)","notes":["\"ill. 10 : L'Exposition du centenaire de Paul Gauguin au Kunstmuseum Basel, 1949/50 ; [...] et au centre du mur de droite Nafea Faaipoipo [...], photographie, Archives du Kunstmuseum Basel\""],"pub_id":"273530","seq_num":105,"scan_flag":false,"start_year":2015,"highlight_flag":false},{"id":"1211114","text":"Marianne Jakobi, <em>Gauguin-Signac: La genèse du titre contemporain</em> (Paris: CNRS Éditions, 2015), no. 33, pp. 97, 109, 118–21, 147 (ill. no. 33, p. 147)","notes":[],"pub_id":"115631","seq_num":106,"scan_flag":false,"start_year":2015,"highlight_flag":false},{"id":"1211452","text":"Alastair Wright, \"Une vision déchue: Gauguin en Polynésie,\" in <em>Paul Gauguin,</em> exh. cat. (Ostfildern: Hatje Cantz, 2015), p. 176","notes":[],"pub_id":"273529","seq_num":107,"scan_flag":false,"start_year":2015,"highlight_flag":false},{"id":"1220096","text":"Scott Reyburn and Doreen Carvajal, \"Gauguin Painting is Said to Fetch $300 Million,\" <em>New York Times</em> (February 5, 2015) (color ill.)","notes":[],"pub_id":"274552","seq_num":110,"scan_flag":false,"start_year":2015,"highlight_flag":false},{"id":"1243613","text":"Hannah Klemm, \"Gauguin_Cat. 32 Seated Tahitian Women and Other Sketches (recto), Sketches of Figures, Hands, and Feet (verso): Commentary,\" in <em>Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago,</em> ed. Gloria Groom and Genevieve Westerby (Chicago: Art Institute of Chicago, 2016) (color ill. fig. 32.2)","notes":[],"pub_id":"292669","seq_num":111,"scan_flag":false,"start_year":2016,"highlight_flag":false},{"id":"1243632","text":"Suzanne Folds McCullagh, \"Gauguin_Cat. 46 Crouching Tahitian Woman (recto), Seated Tahitian Woman (verso): Commentary,\" in <em>Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago,</em> ed. Gloria Groom and Genevieve Westerby (Chicago: Art Institute of Chicago, 2016) (color ill. fig. 46.5)","notes":[],"pub_id":"292675","seq_num":112,"scan_flag":false,"start_year":2016,"highlight_flag":false},{"id":"1243744","text":"Mel Becker Solomon, \"Gauguin_Cat. 64: Two Tahitian Women in a Landscape: Commentary,\" in <em>Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago,</em> ed. Gloria Groom and Genevieve Westerby (Chicago: Art Institute of Chicago, 2016) (color ill. fig. 64.7)","notes":[],"pub_id":"292692","seq_num":113,"scan_flag":false,"start_year":2016,"highlight_flag":false},{"id":"1212374","text":"June Hargrove, <em>Gauguin</em> (Paris: Éditions Citadelles and Mazenod, 2017), p. 214 (color ill. no. 249, p. 215; color ill. no. 250, pp. 216–17, detail, as \"Nafea faa ipoipo (Quand te maries-tu ?)\")","notes":[],"pub_id":"273592","seq_num":114,"scan_flag":false,"start_year":2017,"highlight_flag":false},{"id":"1216178","text":"Christian Greelhaar, \"Die Entstehung der Sammlung Rudolf Staechelin,\" <em>Du: Kulturelle Monatsschrift,</em> no. 873 (February 2017), pp. 37–38 (color ill. p. 39, as \"Nafea faa ipoipo (Wann heiratest du? / Quand te maries-tu?)\")","notes":["\"Erworben am 27. juni 1917 von der Galerie Maison Moos. Genf\""],"pub_id":"273968","seq_num":115,"scan_flag":false,"start_year":2017,"highlight_flag":false},{"id":"1208320","text":"Norma Broude, ed., <em>Gauguin's Challenge: New Perspectives After Postmodernism</em> (New York: Bloomsbury Visual Arts, 2018), p. 244 (as \"Nafea Faa Ipoipo (When will you marry?)\")","notes":[],"pub_id":"273363","seq_num":116,"scan_flag":false,"start_year":2018,"highlight_flag":false},{"id":"1226108","text":"Claire Selvin, \"Appeals Court Affirms Simon and Michaela de Pury’s $10 M. Commission on $210 M. Gauguin Sale,\" <em>Artnews</em> (May 15, 2019) (color ill. as \"Nafea Faa Ipoipo? (When Will You Marry?)\")","notes":["\"[...] The de Purys said that they had come to a \"gentleman’s agreement\" with him regarding the commission they were owed for providing the introduction that led to the sale. The ultimate buyer, according to documents obtained by the New York Times, was Qatari Sheikh Tamim bin Hamad al-Thani. [...]\""],"pub_id":"291674","seq_num":121,"scan_flag":false,"start_year":2019,"highlight_flag":false},{"id":"1242583","text":"Laurent Vizzavona, ed., <em>Recueil: Oeuvre de Paul Gauguin; Photographies de E. Druet,</em> vol. 8, <em>Oeuvres diverses</em> (n.d.) (ill. no. R094649)","notes":[],"pub_id":"292603","seq_num":122,"scan_flag":false,"highlight_flag":false}],"last_published_date":"2024-06-26T20:09:08.770Z"}