Still Life: Wood Tankard and Metal Pitcher

Paris, Galerie Charpentier, Tableaux de la vie silencieuse, 1946, cat. 26bis (ill.), as Le Pot de terre et le pot de fer. Lyons, Musée dex Beaux Arts, Les Grands Courants de la peinture contemporaine, 1949, cat. 43 (ill. 16), as Le Pot de terre et le pot de fer. Winston-Salem, North Carolina, Reynolda House Museum of American Art, An Impressionist Legacy: The Collection of Sara Lee Corporation, September 9-December 25, 1990; traveled to Memphis, Tennessee, Dixon Gallery and Gardens, January 20-March 17, 1991, pp. 30-31. Lakeland, Florida, Polk Museum of Art, Modern Masters: The Collection of Sara Lee Corporation, January 15-March 12, 1995. Laren, The Netherlands, Singer Museum, The Sara Lee Collection: An Impressionist Legacy, October 18, 1997 – February 15, 1998, pp. 30-31. Singapore, Museum of Art, Monet to Moore: The Millennium Gift of the Sara Lee Corporation, April 1–May 30, 1999; traveled to Canberra, National Gallery of Australia, June 11–August 22, 1999; Raleigh, North Carolina Museum of Art, September 10–November 7, 1999; Oregon, Portland Art Museum, November 19, 1999–January 25, 1999; Chicago, Art Institute, March 15–May 28, 2000, cat. 12, as Clay Jug and Iron Jug. Chicago, The Art Institute of Chicago, Van Gogh and Gauguin: The Studio of the South, September 22, 2001-January 13, 2002; traveled to Amsterdam, The Van Gogh Museum, February 9-June 2, 2002, fig. 51. Copenhagen, Ordrupgaard, Gauguin and Impressionism: Painting, Sculpture and Ceramics, 1875–1887, August 20–November 20, 2005, cat. 13; Fort Worth, Kimbell Art Museum, December 18, 2005 - March 26, 2006. Chicago, The Art Institute of Chicago, Gauguin: Artist as Alchemist, June 25-Sept. 10. 2017; Paris, Musée d’Orsay, Oct. 9, 2017-Jan. 1, 2018.

Raymond Cogniat, Gauguin (Paris, 1947), p. 6 (ill.). Lee van Dovski (Herbert Lewandowski), Paul Gauguin oder die Flucht vor der Zivilisation (Olten-Bern, 1948, 1950), p. 339, no. 23. Georges Wildenstein, Gauguin (Paris, 1964), p. 22, no. 47 (ill.). Elda Fezzi, Gauguin (New York, 1980), pp. 22, no. 51, fig. 57. Richard R. Brettell, An Impressionist Legacy: The Collection of Sara Lee Corporation (New York, 1986), pp. 30-31 (ill.). Belinda Thomson, Gauguin by Himself (Boston, 1993), pp. 32, 56 (color ill.). James G. Massey, Arthur J. Powell and Norm W. Wilson, Windows and Images: An Introduction to the Humanities (Needham Heights, Massachusetts, 1994), cover (color ill.). Douglas Druick, Peter Kort Zegers and Britt Salvesen, Gauguin (Chicago, 2001), pp. 72 (ill.), 107. Daniel Wildenstein with Sylvie Crussard and Martine Heudron, Gauguin: Premier itinéraire d’un sauvage: Catalogue de l’oeuvre peint (1873-1888) vol. 1 (Paris, 2001), pp. 67–68, no. 60 (color ill.). Elise Eckermann, ‘En lutte contre une puissance formidable’: Paul Gauguin im Spannungsfeld von Kunstkritik und Kunstmarkt (Weimar 2003), p. 275, pl. 9. “Gauguin, Cat. 1, Wood Tankard (1999.362),” in Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago, ed. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2016), https://publications.artic.edu/gauguin/reader/gauguinart/section/140163. Gloria Groom, ed. Gauguin: Artist as Alchemist, exh. cat. (Art Institute of Chicago/ Yale University Press, 2017). p. 14, 96, 98, 334, cat. 26. Claire Bernardi and Ophélie Ferlier-Bouat, Guaguin: L’alchimiste, exh. cat. (Musée d’Osay/ Réunion des muséea nationaux-Grand Palais/ Graphicom, 2017), p.54-55, 305, cat. 56.