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Auguste Renoir

(Limoges 1841 -  Cagnes 1919 ) Wikipedia® : Auguste Renoir
RENOIR Auguste Femme Arrangeant Des Fleurs Or La Femme Au Bouquet - Andrée

Sotheby's /Jun 21, 2016
1,013,196.60 - 1,519,794.90
1,602,122.50

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

Renoir Pierre-Auguste

Renoir Pierre Auguste

 

Artworks in Arcadja
4304

Some works of Auguste Renoir

Extracted between 4,304 works in the catalog of Arcadja
Auguste Renoir - Femme Au Cep De Vigne

Auguste Renoir - Femme Au Cep De Vigne

Original 1904
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Lot number: 52
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Lot 52: Pierre-Auguste Renoir, Femme au Cep de Vigne, Lithograph, 1904 Description: Lithograph on wove paper ‘Arches’’’’’’’’ (watermark) France, 1904; published 1919 Pierre-Auguste Renoir (1841-1919) – Major French Impressionist Signed on the stone ‘Renoir’’’’’’’’ One of 950 copies on wove paper aside from 50 copies on Japan paper From ‘L’’’’’’’’Album des Douze Lithographies original de Pierre Auguste Renoir‘ Published by Ambroise Vollard, Paris 1919 Catalogue raisonné: Delteil/Stella 44
Auguste Renoir - Llith’’enfant Au Bisquit

Auguste Renoir - Llith’’enfant Au Bisquit

Original 1899
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Lot number: 3
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Lot 3: Pierre-Auguste Renoir, L’’’’’’’’Enfant au Bisquit, Lithograph, 1899 Description: Pierre-Auguste Renoir, L’’’’’’’’Enfant au Bisquit, Lithograph, 1899 Color Lithograph on MBM laid paper (watermark) France, c. 1899 Pierre-Auguste Renoir (1841-1919) – Leading French Impressionist From an edition of 100 for the not executed album „L’’’’’’’’Albume d’’’’’’’’estampes originales de la Galerie Vollard“ Catalogue raisonné: Delteil/Stella 31; Roger-Marx 6 Image dimensions: 32 x 26,3 cm; sheet dimensions: 63,5 x 48,5 cm Good condition The lithograph is in a good condition, consistent with age. It bears minor signs of age and wear. The paper is slightly toned. The right edge shows a minimal crease mark and the other edges are slightly worn out. The image dimensions’’’’’’’’ measure c. 32 x 26,3 cm, the sheet dimensions are 63,5 x 48,5 cm. Renoir was born in Limoges as the son of a tailor couple. At the age of 13, he began his training as a porcelain painter and became one of the best painters of the manufactory only two years later. He attended the École des Beaux-Arts for a short time and then studied painting in the class of the Swiss painter Charles Gleyre from 1861-1864, where he met Jean Frédéric Bazille, Alfred Sisley, Camille Pissarro and Claude Monet. Initially influenced by Gustave Courbet and Jean-Baptiste-Camille Corot, he was moreover inspired by Claude Monet, Alfred Sisley, and thus came to his impressionist conception. In 1868 Renoir successfully exhibited his paintings at the Paris salons for the first time, followed by his first exhibition of Impressionists in 1874. In the beginning of the 1880s, Renoir traveled to Italy and Algeria which prevailed him on giving up the impressionist style, characterized by a dissolution of forms and eventually turning to the use of contours, following his role model Jean Auguste Dominique Ingres. Around 1889, Renoir spent some time in Aix-en-Provence with Paul Cezanne where he dropped his outlined style, returning to his loose way of painting, thereby oscillating between his former impressionist ease and previous form-bounded contours. His later works such as ‘The Judgement of Paris’’’’’’’’ (1908) shows a certain routine, yet with the usual exhilaration, even though he was already sick at that time. After the year 1900, Renoir retired in southern France, first in Cannet and then in Cagnes, however ceaselessly continuing to paint until the end.
Auguste Renoir - Rochers De L'estaque

Auguste Renoir - Rochers De L'estaque

Original 1882
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Lot number: 1
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Lot Description Pierre-Auguste Renoir (1841-1919) Rochers de l'Estaque signed and dated 'Renoir 82.' (lower left) 11792 12 3/4 x 15 7/8 in. (32.3 x 40.3 cm.) Painted in 1882 Provenance Galerie Durand-Ruel, Paris (no. 1191), by 8 September 1886. Durand-Ruel Galleries, New York (no. 193), by April 1888. Catholina Lambert, Paterson, New Jersey, by whom acquired from the above on 25 February 1892; her sale, Plaza Hotel, New York, 22 February 1916, lot 114. Durand-Ruel Galleries, New York (no. 3944). M.C.J. Cote, by whom acquired from the above on 25 January 1919. Anonymous sale, Sotheby's, New York, 16 November 1989, lot 318. Anonymous sale, Sotheby's, London, 24 June 1996, lot 32. Acquired at the above sale by the present owner. Pre-Lot Text THE PROPERTY OF A PRIVATE EUROPEAN COLLECTOR Literature E. Fezzi, L'opera completa di Renoir nel periodo impressionista 1869-1883 , Milan, 1972, no. 509, p. 111 (illustrated p. 112). G.P. & M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles , vol. II, 1882-1894, Paris, 2009, no. 775, p. 56 (illustrated). Exhibited Tokyo, Bridgestone Museum of Art, Renoir: From Outsider to Old Master 1870-1892 , February - April 2001, no. 25 (illustrated p. 111); this exhibition later travelled to Nagoya, Nagoya City Art Museum, April - June 2001. London, National Gallery, Renoir Landscapes 1865-1883, February - May 2007, no. 66 (illustrated p. 253). View Lot Notes >
Auguste Renoir - Femme Arrangeant Des Fleurs Or La Femme Au Bouquet - Andrée

Auguste Renoir - Femme Arrangeant Des Fleurs Or La Femme Au Bouquet - Andrée

Original 1917
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Lot number: 10
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Pierre-Auguste Renoir 1841-1919 FEMME ARRANGEANT DES FLEURS OR LA FEMME AU BOUQUET - ANDRÉE signed Renoir (lower left) oil on canvas 54 by 65.5cm. 21 1/4 by 25 3/4 in. Painted in Cagnes in 1917.c atalogue critique being prepared by the Wildenstein Institute from the François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein archives.Provenance Maurice Gangnat, Paris (acquired from the artist. Sold: Hôtel Drouot, Collection Maurice Gangnat , 24th & 25th June 1925, lot 149) Philippe Gangnat (son of the above; purchased at the above sale) Thence by descent to the present owner Exhibited Philadelphia, Philadelphia Museum of Art (on long-term loan 1938-48) Paris, Galerie Durand-Ruel, Renoir, collection Maurice Gangnat , 1955, no. 47 Düsseldorf, Kunstverein für die Rheinlande und Westfalen, Renoir. Sammlung Gangnat, Paris , 1956, no. 47 (titled  Frau mit vase  and as dating from 1907) London, Marlborough Fine Art Ltd., Renoir , 1956, no. 30, illustrated in the catalogue (as dating from 1907) Literature Georges Rivière, Renoir et ses amis , Paris, 1921, illustrated p. 257 William Gaunt, Renoir , London, 1952, illustrated pl. 101 Pierre Cabanne, 'Sous les oliviers des Collettes, le dernier sourire de Renoir', in Paris Match , Paris, 1957, illustrated p. 51 Guy-Patrice & Michel Dauberville, Renoir. Catalogue raisonné des tableaux, pastels, dessins et aquarelles , Paris, 2014, vol. 5, no. 4185, illustrated p. 322 La Femme au bouquet is a remarkable example of Renoir’’’’’’’’s late paintings, treating his favourite theme, that of a woman in an intimate interior setting. By this time in his career Renoir had achieved significant acclaim and financial independence, and as he was no longer obliged to paint commissioned portraits, he cherished the opportunities to paint intimate portraits of those who surrounded him. The themes of young women engaged in an activity such as bathing, reading, playing the piano or – as in the present work – arranging a bouquet of flowers, were among the artist’’’’’’’’s favourites, and were also popular with his audience and collectors. The sitter in La Femme au bouquet is Andrée Heuschling, nicknamed Dédée (1900-1979), a local bakery girl who joined the Renoir household in order to help care for the ageing artist, and would be his last model. The year after the artist’’’’’’’’s death she married his son, the film director Jean Renoir, and acted in several of his films. Isabelle Gaëtan wrote: ‘From her first meeting with Renoir (between 1915 and 1917 according to accounts), Andrée stood out among the regular visitors to Les Collettes, where she became the painter’’’’’’’’s favorite model. She married Jean Renoir in 1920, and four years later began a career as an actress under the name of Catherine Hessling, in one of the first films scripted by her husband. As Jean confirms in the book he dedicated to his father, Dédée seems to have brightened up the last years of the painter’’’’’’’’s life: “she was sixteen years old, red-haired, plump, and her skin ‘took the light’’’’’’’’ better than any model that Renoir had ever had in his life. She… was gay, and cast over my father the revivifying spell of her joyous youth”’’’’’’’’ (I. Gaëtan in Renoir in the 20th Century (exhibition catalogue), Galeries Nationales, Paris; Los Angeles County Museum of Art, Los Angeles & Philadelphia Museum of Art, Philadelphia, 2009-10, p. 342). Dédée posed for some of Renoir’’’’’’’’s most celebrated late works, including Femme à la mandolin and Le Concert (fig. 2), now in the collection of the Art Gallery of Ontario in Toronto. Writing about Renoir’’’’’’’’s last masterpiece Les Baigneuses , which reflects the artist’’’’’’’’s delight in painting his young model, John House commented: ‘According to Albert André, the beauty of this “superb redhead” was the incentive he needed to undertake his last paintings’’’’’’’’ (J. House in Renoir (exhibition catalogue), Hayward Gallery, London; Galeries Nationales du Grand Palais, Paris & Museum of Fine Arts, Boston, 1985-86, p. 288). In several works, including the present composition, Dédée is depicted in the same exotic blouse which she is wearing in a photograph posing next to the artist (fig. 3). Renoir’’’’’’’’s fascination with costumes certainly brings to mind a similar affinity reflected in the paintings of Henri Matisse, who was Renoir’’’’’’’’s friend and neighbour in the south of France at this time, and a visitor to Les Collettes. The first owner of the present work was Maurice Gangnat, a Parisian collector with an extreme fondness for Renoir's paintings, in particular his small-scale, freely composed landscapes, still-lifes and figure studies. From the time he began collecting in 1905 until the artist's death in 1919, Gangnat amassed over 150 of Renoir's works, while cultivating a strong friendship with the artist. A photograph of his Paris home shows a part of his collection, with La Femme au bouquet taking pride of place above the grand piano (fig. 1). Gangnat often visited Renoir at Cagnes, where the artist painted his portrait in 1916 (fig. 4). As Jean Renoir later recalled about Gangnat: 'When he entered the studio, his glance always fell on the canvas which Renoir considered the best. “He had an eye!” my father stated’’’’’’’’ (J. Renoir, Renoir, My Father , London, 1962, p. 448). La Femme au bouquet was sold in the auction of Maurice Gangnat’’’’’’’’s collection held in Paris in June 1925, where it was acquired by his son Philippe Gangnat, and has remained in the same family to the present day.      
Auguste Renoir - Sur La Plage, A Berneval (delteil 5)

Auguste Renoir - Sur La Plage, A Berneval (delteil 5)

Original c.1982
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Lot number: 88
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Pierre-Auguste Renoir (French, 1841-1919) Sur La Plage, A Berneval (Delteil 5) Etching, circa 1892, on laid, possibly an intermediate state between the first and second, the plate is reduced but the bather just outside the composition on the right is still apparent, with wide margins, 136 x 93mm (5 3/8 x 3 5/8in)(PL) (unframed)
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