'Oviri', a ceramic stoneware sculpture by Paul Gauguin, probably made in France in 1894-1895, has the same title as a woodcut of the same period. 'Oviri' (the savage) is a term Gauguin used to refer to himself. On his second visit to Tahiti, Gauguin took the block for the woodcut. The print is a combination of that block and another, a composition of woman and fruit. The elements refer to the original sin - Eve picking the apple from the tree of knowledge - but with Gauguin these carry a broader association with fertility. Gauguin played a major role in the revival of the art of the woodcut. The print was once owned by a friend of Gauguin, Georges Daniel de Monfreid. All impressions from this block are on thin 'japon' paper and were made by Gauguin himself.
AGNSW Handbook, 1994
Femme cueillant des fruits et Oviri
Guerin 49, one of six proofs known.
18.2 x 14.6 cm sheet (irreg)
Signature & date
Not signed. Not dated.
Not on display
Shown in 4 exhibitions
Five years on: a selection of acquisitions 1981-1986, Art Gallery of New South Wales, Sydney, 26 Sep 1986–23 Nov 1986
Fin de Siècle: posters prints drawings from the collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 15 Jan 1994–13 Mar 1994
Forest and field: from Claude to the Barbizon School, Art Gallery of New South Wales, Sydney, 14 Jul 1995–17 Sep 1995
Paths to abstraction 1867-1917, Art Gallery of New South Wales, Sydney, 26 Jun 2010–19 Sep 2010
Referenced in 5 publications
Art Gallery of New South Wales, Five years on: a selection of acquisitions 1981-1986, Sydney, 1986. cat.no. 195
Renée Free, The Art Gallery of New South Wales collections, 'The Western Heritage, Renaissance to Twentieth Century', pg. 108-172, Sydney, 1994, 140 (colour illus.).
Renée Free, Forest and field: from Claude to the Barbizon School, Sydney, 1995, 8. no catalogue numbers
Renée Free, Fin de Siècle, Sydney, Jan 1994. no catalogue numbers
Terence Maloon, Paths to abstraction 1867-1917, Sydney, 2010, 149 (illus.).