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Creator:
Gwen John, born in Haverfordwest, Wales, 1876; active in England and France; died in Dieppe, France, 1939
Title:
Seated Woman in a Broad-Brimmed Hat
Date:
undated
Materials & Techniques:
Oil on canvas
Dimensions:
Frame: 16 3/4 × 13 5/8 inches (42.5 × 34.6 cm), 13 × 11 inches (33 × 27.9 cm)
Inscription(s)/Marks/Lettering:

Inscribed with black ink, upper stretcher bar, on white paper sticker: “Z25”; inscribed in black felt tip pen inside upper stretcher bar: “Z25"; inscribed in black ballpoint pen on strip-lining canvas fold-over, towards top of left edge (from verso): “Z. | 25”; inscribed in blue ballpoint pen on strip-lining canvas fold-over, towards bottom of left edge: “OIL / 5-9-78”; white paper adhered to priming with strips of clear adhesive tape, printed in black (see right) center of canvas verso: "179 E. Lake Shore Drive | Chicago, Illinois 60611 Apt. 27 | GWEN JOHN | “SEATED WOMAN IN BROAD BRIMMED HAT’ | Purchased rom[sic] the Christopher Hull “Gallery. | 670 Fulham Road London.. SW6 | September 1983. | (This painting is unfinished and should never be exposed to very strong light)"

Credit Line:
Yale Center for British Art, Gift of the Libra Foundation, from the family of Nicholas and Susan Pritzker
Copyright Status:
No Known Copyright
Accession Number:
B2012.30.34
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
costume | figure study | hat | woman
Access:
Not on view
Link:
https://collections.britishart.yale.edu/catalog/tms:63984
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Created by Gwen John (1876–1939), the artist; bequest to her nephew, Edwin John (1905–1978) [1] [a]; assigned to Matthiesen Gallery Ltd., London, 1940 [2]; assigned to Faerber and Maison, London, 1963 [3]; assigned to Stefanie Maison, London, 1973; assigned to Anthony d’Offay Gallery, London, 1977 [4]; purchased by Christopher Hull Gallery, London, 1983 [5]; purchased by Rhoda Pritzker (née Goldberg) (1914–2007), Chicago, by 1987 [6]; by descent to her son, Nicholas J. Pritzker [7]; given by the Libra Foundation to the Yale Center for British Art, 2012 [b].

Notes:
[1] After Gwen John's death in 1939, her nephew, Edwin John (1905–1978), traveled to Meudon, retrieved her remaining works from her Rue Terre Neuve home, and brought them back to England. The fourth son of artist Augustus John (1878–1961), Edwin followed the artistic paths of both his father and aunt, becoming a watercolorist. He maintained a close relationship with his aunt until her death and was the sole executor of her estate.

[2] In August 1940, Matthiesen Gallery held a memorial exhibition of John’s paintings and drawings at Wildenstein & Co., London. This exhibition marks the beginning of Matthiesen Gallery’s representation of the Gwen John Estate.

[3] Following the Matthiesen Gallery’s closure in 1963, former associate Stefanie Maison represented the Gwen John Estate as Faerber and Maison until 1973, and, thereafter, under her own name.

[4] The Anthony d’Offay Gallery was a London gallery opened in 1965 by British art collector and dealer Georges Anthony d’Offay. In 1977, the Gwen John Estate’s representation was reassigned to d’Offay. The gallery closed in 2001.

[5] Christopher Robert Hull (1927–2007) was a British art dealer with an interest in modern art. He established the Christopher Hull Gallery in 1974, which moved throughout London several times before its eventual closure in 1998.

[6] Rhoda Pritzker (née Goldberg) (1914–2007) was a British-born American journalist, philanthropist, and collector of contemporary British art. She married Jack Nicholas Pritzker (1904–1979), whose family founded the Hyatt hotel chain.

[7] Nicholas J. Pritzker is an American entrepreneur and former board Chairman and CEO of the Hyatt Development Corporation. He, his wife, Susan Stowell Pritzker, and their children established the Libra Foundation in 2002.

Citations:
[a] Cecily Langdale, Gwen John: With a Catalogue Raisonné of the Paintings and a Selection of the Drawings (New Haven and London: Yale University Press, 1987): 121.

[b] Ian Collins, Modernism and Memory : Rhoda Pritzker and the Art of Collecting, Yale Center for British Art, New Haven, 2016, pg. 89-91, 95-96, 98, 10, 102, 103, 104, 206, fig. 53, 6, 106.

Ian Collins, Modernism and Memory: Rhoda Pritzker and the Art of Collecting, Yale Center for British Art, New Haven, 2016, pg. 89-91, 95-96, 98, 10, 102, 103, 104, 206, fig. 53, 61, 106, N6768 .M635 2016 OVERSIZE (YCBA) [YCBA]

Cecily Langdale, Gwen John : With a Catalogue Raisonne of the Paintings and a Selection of the Drawings, , Yale University Press, New Haven, 1987, p. 85, 165, no. 106, pl. 230, NJ18 J594 A12 L25 (YCBA) [YCBA]


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