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756
Cinq pommes
1877–78
Alternate titles: Five Apples; Pommes
Rewald: (334) 1877–78; Venturi: (191) 1873–77; Venturi revised: 1873–77
Oil on canvas
5 x 10 in. (12.7 x 25.5 cm)

Keywords

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decade: 1870–79 »
theme: Still life »

Exhibition History

1895 Paris: Galerie Vollard, Paul Cézanne, Maufra buys.
1937 San Francisco: San Francisco Museum of Art, Calif, Paul Cézanne, no. 5, ill, lent by Weeks.
1947d New York: A. Seligman-Helft Galleries, N.Y, French Still-Life from Chardin to Cézanne, no. 7, lent by Mr. Carl Weeks.
1961 Iowa City: Department of Art, State University of Iowa, Iowa, Paintings, Drawings, Sculptures, Prints from Twenty-Three Iowa Collections, no. 19.
1970–71 New York and traveling: The Museum of Modern Art, New York, N.Y, Four Americans in Paris: The Collections of Gertrude Stein and Her Family, p. 155, pl. 19 (dated 1873–77), lent by Eugene Thaw.
1985 New York and traveling: Morgan Library & Museum, New York, N.Y, Drawings from the Collection of Mr. and Mrs. Eugene Victor Thaw, Part II [Addendum], no. 8.
1986 Tokyo and traveling: Isetan Museum of Art, Tokyo, Cézanne, no. 13, ill, Cinq pommes, lent by Mr. and Mrs. Eugene Thaw.
1997 Tokyo: Kasama Nichido Museum of Art, Kasama, Ibaraki, Cézanne, no. 5, ill.
2008 Humlebćk: Louisiana Museum of Art, Cézanne and Giacometti: Paths of Doubt, no. 8, ill, p. 295, Cinq pommes, lent by Eugene V. Thaw.
2009 Philadelphia: Philadelphia Museum of Art, Pa, Cézanne and Beyond, pl. 168, p. 458, Cinq pommes, lent by Mr. and Mrs. Eugene V. Thaw.
2009–2010 Montclair and traveling: Montclair Art Museum, Montclair, N.J, Cézanne and American Modernism, no. 2, ill, p. 144, Cinq pommes, lent by Mr. and Mrs. Eugene V. Thaw.
2011–12 San Francisco and traveling: San Francisco Museum of Modern Art, San Francisco, Calif, The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde, pl. 49, cat. 7 (dated: 1874–75), Five Apples, lent by Mr. and Mrs. Eugene V. Thaw.

Published References

Venturi 1936b: Cézanne: Son Art, Son Oeuvre, 2 vols., no. 191, ill. vol. 2, Pommes.
Schapiro 1973: Paul Cézanne, pl. 31.
Rewald 1975a: "Some Entries for a New Catalogue Raisonné of Cézanne's Paintings," pp. 162–63, ill, Cinq pommes.
Pickvance and Takumi 1986: Cézanne, p. 40, pl. 13.
Rewald 1989: Cézanne and America: Dealers, Collectors, Artists and Critics, 1891–1921, pp. 56, 57, 248, 256, 261, note 34, fig. 35.
Kitschen 1995: Cézanne: Stilleben, fig. 24.
Rewald 1996: The Paintings of Paul Cézanne, A Catalogue Raisonné, 2 vols., no. 334, ill. vol. 2, Cinq pommes.
Baumann 2004: Cézanne—Aufbruch in die Moderne, p. 82, ill, Cinq pommes.
Shiff 2009: "Lucky Cézanne (Cézanne Tychique)," p. 90, ill, p. 458, pl. 168, Five Apples.
Sachs 2009a: "Cézanne and Kelly: Painting Form through Color," p. 458, pl. 168, Five Apples.
Parker 2011: "Catalogue of the Stein Collections," p. 395, cat. 7, Five Apples.
Warman 2011: "Cézanne peintre des peintres," p. 169, fig. 88, Cinq pommes.

Remarks

The American artist, Morgan Russell borrowed this painting from the Gertrude and Leo Stein and made a still life based on this work.

When Leo and Gertrude divided their collection in 1914, Leo succeeded in claiming this still life for himself. Gertrude was distraught. According to Alice Toklas, Picasso made a watercolor of a single apple to console her and inscribed it on the verso: Souvenir pour Gertrude and Alice/ Picasso/ Noel 1914. (See D. Aimé-Azan, "Alice Toklas et las collection Gertrude Stien," Jardin des arts, March 1868, pp. 46, 51).

The French painter Maxime Maufra bought the still life from Vollard in April 1896 and seems to have made a faithful copy of it. The whereabouts of that work is unknown.

Morgan Russell, Three Apples, 1910. Museum of Modern Art, NY
Page citation: Feilchenfeldt, Walter, Jayne Warman, and David Nash. "Cinq pommes, 1877–78 (cat. no. 756)." The Paintings of Paul Cézanne: An Online Catalogue Raisonné. http://www.cezannecatalogue.com/catalogue/entry.php?id=330 (accessed October 20, 2017).
Record last updated June 23, 2015. Please note that the information on this and all pages is periodically reviewed and subject to change.