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Paul Cezanne

France (Aix-en-provence 1839 -  Aix-en-provence 1906 ) Wikipedia® : Paul Cezanne
CEZANNE Paul Rochers

Sotheby's /Feb 4, 2016
329,424.18 - 461,193.85
Not Sold

Find artworks, auction results, sale prices and pictures of Paul Cezanne at auctions worldwide.
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Variants on Artist's name :

Cezanne

Cézanne Paul

 

Artworks in Arcadja
841

Some works of Paul Cezanne

Extracted between 841 works in the catalog of Arcadja
Paul Cezanne - Portrait De Guillaumin

Paul Cezanne - Portrait De Guillaumin

Original
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Lot number: 1075
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Description:
Description: CEZANNE, Paul (French, 1839-1906): Portrait de Guillaumin, etching, 7.25" x 5", fine contemporary frame 21" x 19.5". Cezanne is known as the artist that bridged the gap between the late 19th century impressionism and the early 20th century cubism. He influenced both Henri Matisse and Pablo Picasso with his use of color and composition that is now world renown. Condition Report: Not examined out of frame, sold as is.
Paul Cezanne - Route En Sous-bois

Paul Cezanne - Route En Sous-bois

Original 1890
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Lot number: 26C
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Paul Cézanne (1839-1906) Route en sous-bois watercolor and pencil on paper 19 1/8 x 12 ½ in. (48.4 x 31.7 cm.) Executed circa 1890 Provenance Ambroise Vollard, Paris. Marie Harriman Gallery, New York (by 1939). Justin K. Thannhauser, New York. M. Knoedler & Co., Inc., New York (acquired from the above, 20 March 1946). Anna J. Sweeney, New York (acquired from the above, December 1947). Walter Feilchenfeldt, Zürich. Acquired from the above by the present owner, 1997. Pre-Lot Text PROPERTY FROM A EUROPEAN COLLECTION Literature J. Rewald, Paul Cézanne : The Watercolors , Boston, 1983, p. 166, no. 330 (illustrated). J. Rewald, Cézanne: A Biography , New York, 1986, p. 275 (illustrated in color, p. 261). Exhibited New York, Marie Harriman Gallery, Cézanne Centennial Exhibition , 1839-1939 , November-December 1939, no. 33 (titled Paysage ). Columbus Gallery of Fine Arts, Watercolours by Paul Cézanne , 1939, no. 16. Cincinnati Art Museum, Paintings by Paul Cézanne , February-March 1947, no. 18 (titled Landscape ). Tokyo, Isetan Museum of Art; Kobe, The Hyogo Prefectural Museum of Modern Art and Nagoya, The Aichi Prefectural Art Gallery, Cézanne , September-December 1986, p. 94, no. 50 (illustrated in color). Neuss, Clemens-Sels-Museum and Munich, Museum Villa Stuck, Rainer Maria Rilke und die bildende Kunst seiner Zeit , October 1996-April 1997, p. 173, no. 68 (illustrated in color, p. 78). Sydney, Art Gallery of New South Wales, Classic Cézanne , November 1998- February 1999, pp. 151 and 184, no. 80 (illustrated in color). View Lot Notes >
Paul Cezanne - Portrait De Cézanne Par Lui-même.

Paul Cezanne - Portrait De Cézanne Par Lui-même.

Original 1898
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Lot number: 89
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PAUL CÉZANNE Portrait de Cézanne par lui-même. Lithograph printed in black on cream laid paper, circa 1898. 325x280 mm; 12 3/4x11 inches, full margins. Edition of approximately 100. Printed by Auguste Clot, Paris. Arches Ingres MBM watermark. A very good, richly-inked impression with strong contrasts. Cherpin 8.
Paul Cezanne - Rochers

Paul Cezanne - Rochers

Original
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Lot number: 408
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Paul Cézanne 1839 - 1906 ROCHERS oil on canvas 54 by 65cm., 21 1/4 by 25 1/2 in. Painted circa 1867–70. Provenance Private Collection, Switzerland Sale: Schüller, Zurich, 21st March, 1997, lot 4396A Purchased at the above sale by the present owner Literature Walter Feilchenfeldt, Jayne Warman & David Nash, The Paintings of Paul Cézanne, an online catalogue raisonné, www.cezannecatalogue.com, no. 381 (accessed on 4th January 2016) Catalogue Note Painted between 1867-70, Rochers is a highly significant example of Paul Cézanne’’’’s rare early landscapes. In its palette of deeply-hued blue and greens and contrasts between light and shadow the present work recalls the landscapes of Gustave Courbet as well as those of the Barbizon School painters such as Camille Corot or Théodore Rousseau. However, Cézanne’’’’s bold handling of paint and the rich texture of the pigment surface reveals his striving towards an entirely new pictorial language, one which, as it developed throughout his career, was to profoundly influence the direction of twentieth century painting. In his extensive study of Cézanne’’’’s early work, Lawrence Gowing has noted the following about this stage of Cézanne's career: ‘Cézanne was the first man [among the Impressionists], perhaps the first man in history, to realize the necessity for the manner in which paint is handled to build up a homogenous and consistent pictorial structure. This is the invention of forme in the French modernist sense—meaning the condition of paint that constitutes a pictorial structure. It is the discovery of an intrinsic structure inherent in the medium and the material’’’’ (quoted in Cézanne, The Early Years (exhibition catalogue), Royal Academy of Arts, London; Musée d'Orsay, Paris & The National Gallery of Art, Washington, D.C., 1988-89, p. 10). By the time Cézanne commenced work on Rochers in 1867, he had been rejected three times by the Salon in Paris and had subsequently participated in the notorious Salon des Refusés alongside Edouard Manet and Camille Pissarro. If the capital offered many gifts to the young artist, the lure of his native Aix-en-Provence nevertheless endured and he returned often to find inspiration in the surrounding countryside. The rocky hillside and shady forests were furthermore ideal subject matter for his experiments with painting en plein air as recommended by Pissarro. Cézanne was delighted with the results of this new technique and wrote to Emile Zola, ‘But you know all pictures painted inside, in the studio, will never be as good as those painted outside. When outdoor scenes are represented… the landscape is magnificent. I see some superb things, and I must resolve to paint only outdoors’’’’ (letter from Cézanne to Zola, 19 th October 1866). Indeed Cézanne’’’’s fascination with the wildly dramatic scenery of Provence would prove to be a defining feature of his art throughout his career, lending his paintings a personal poignancy even as they transcend genres and generations. The artist appears to have been particularly inspired by the particular scene depicted within Rochers, with its dramatically weathered rock and lush foliage, and executed a watercolour study of the same composition alongside the oil version.
Paul Cezanne - L'amour Et L'amitié, D'après Pigalle

Paul Cezanne - L'amour Et L'amitié, D'après Pigalle

Original 1895
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Lot number: 232
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Paul Cézanne (1839-1906) L'Amour et l'Amitié, d'après Pigalle (recto); Deux fruits (verso) inscribed 'XXVI' (recto; upper left) pencil on paper (recto); watercolour on paper (verso) 9 1/2 x 8 in. (24 x 20.3 cm.) Drawn circa 1895 (recto); 1885-1890 (verso) Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance The artist's estate. Paul Cézanne, Jr., Paris, by descent from the above. Paul Guillaume, Paris. A. Chappuis, Tresserve. Anonymous sale, Maurice Rheims, Palais Galliera, Paris, 23 March 1965, lot 14. Private collection, New York, by whom acquired in 1965. Acquired from the above in 2007; sale, Sotheby's, London, 23 June 2010, lot 265. Saleroom Notice Please note that this work will be included in the forthcoming online catalogue raisonné Paul Cézanne's watercolors, under the direction of Walter Feilchenfeldt, David Nash and Jayne Warman and is not currently online, as suggested in the last line of literature in the printed catalogue. Literature L. Venturi, Cézanne, son art, son oeuvre, vol. I, Paris, 1936, no. 1316, p. 312 (illustrated, vol. II, pl. 355). G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 161, p. 104 (illustrated pl. 138). A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, vol. I, London, 1973, no. 1044, p. 242 (illustrated vol. II, pl. 1044). J. Rewald, Paul Cézanne, The Watercolours, A Catalogue Raisonné, London, 1983, no. 227, p. 139 (the verso illustrated).
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