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Auguste Renoir

(Limoges 1841 -  Cagnes 1919 ) Wikipedia® : Auguste Renoir
RENOIR Auguste Enfants Jouant À La Balle

Christie's /Oct 24, 2017
21,125.57 - 29,575.80
21,257.50

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Variants on Artist's name :

Renoir Pierre-Auguste

Renoir Pierre Auguste

Pierre-Auguste Renoir

 

Artworks in Arcadja
4691

Some works of Auguste Renoir

Extracted between 4,691 works in the catalog of Arcadja
Auguste Renoir - Douze Lithographies Originales

Auguste Renoir - Douze Lithographies Originales

Original 1919
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Lot number: 111
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Description:
Pierre Auguste Renoir (Limoges 1841–1919 Cagnes near Nice) \“Douze Lithographies originales\” (portfolio of 12), 1919, signed on the frontispiece Renoir, lithographs on vellum, no. 31 from the edition of 50, each 37 x 26.5 cm (sheet size), published by Ambroise Vollard Provenance: Collection Ambroise Vollard (1865-1939), Paris Collection Erich Slomovich (1915-1942) Sotheby´s, Paris, 29 June 2010, lot 17 Literature: Loys Delteil, Pierre-Auguste Renoir, l\’oeuvre gravé et lithographié, catalogue raisonné, San Francisco 1999, no. 37-48
Auguste Renoir - Roses Dans Un Vase

Auguste Renoir - Roses Dans Un Vase

Original 1913
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Lot number: 256
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Description:
ROSES DANS UN VASE Stamped Renoir.(lower left) Oil on canvas 16 1/4 by 17 in. 41.3 by 43.2 cm Paintedcirca 1913. Provenance Estate of the artist Georges Bernheim, Zurich (acquired from the above after 1919) Private Collection, Paris (and sold:Sotheby's, New York, November 17, 1998, lot 271) Acquired at the above sale Literature Bernheim-Jeune, ed.,L'Atelier de Renoir, vol. II,Paris, 1931, no. 477, illustratedpl. 152 Guy-Patrice &Michel Dauberville,Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, 1911-1919, vol. V, Paris, 2014, no. 3662, illustrated p.43 Catalogue Note Bursting with exuberance and vitality, Roses dans un vase exemplifies Pierre-Auguste Renoir\’s intuitive understanding and expert handling of light, color and movement. The present work, painted circa 1913, is an exquisite example of the artist\’s still life paintings, a subject that he returned to throughout his career for the technical freedom and experimentation that it afforded. As was noted at the time of a retrospective exhibition in 1988: \“For an artist enamoured with color, flowers provide a perfect subject—infinitely varied, malleable to any arrangement. Several of Renoir's most beautiful paintings are flower pieces. Renoir painted many pictures of flowers in addition to the more numerous figures and landscapes. Flowers appear frequently in his paintings as hat decorations or as part of the landscape behind figures even when they are not the main motif. Renoir himself said that when painting flowers he was able to paint more freely and boldly, without the mental effort he made with a model before him\” (Renoir Retrospective (exhibition catalogue), Nagoya, Nagoya City Art Museum, 1988, p. 247). The exuberant brushwork and warm palette, so skillfully deployed, perfectly describes the blooming flowers\’ delicacy with a sense of spontaneity. Renoir once spoke of how he strove for an improvisatory effect in paintings of this kind: "It mustn\’t reek of the model—and yet one should be able to get the feel of nature in it" (quoted in François Fosca,Renoir: His Life and Work, London, 1961, p. 263). Glowing with jewel-like colors,Roses dans un vase depicts one of Renoir\’s favored subject matter; he was drawn to flowers time and again during his celebrated artistic career. This lush and vibrant painting is a particularly charming example of Renoir\’s mature paintings, which masterfully conveys the beauty ofnature.
Auguste Renoir - Baigneuse (assise)

Auguste Renoir - Baigneuse (assise)

Original 1882
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Lot number: 33
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Description:
BAIGNEUSE (ASSISE) Pierre-Auguste Renoir 1841-1919 SignedRenoir.(lower left) Oil on canvas 21 5/8 by 16 1/2 in. 55 by 41.9 cm Paintedcirca1882. Arsène Alexandre, Paris (sold: Galerie Georges Petit, Paris, May 18, 1903, lot 52) M. Cognacq, Paris (acquired at the above sale) Galerie Georges Petit, Paris Galerie Bernheim-Jeune, Paris (acquired from the above on July 7, 1905) Leo Stein, Paris (acquired from the above in1909) Durand-Ruel Galleries, Paris& New York (acquired from the above on May 21, 1921) Chester Dale, New York (acquired from the above on October 25, 1926) Durand-Ruel Galleries, Paris & New York (acquired from the above on November 30, 1937) Mabel Choate, New York (acquired from the above onMay 22,1945) The Metropolitan Museum of Art, New York (a gift from the above in1958) Wildenstein & Co.,New York (acquired from the above inMarch 1965) Mr.& Mrs. Algur H. Meadows, Texas (acquired from the above in1968 and sold: Christie's, New York,November 3, 1982, lot 5) Private Collection, Switzerland (acquired at the above sale) Private Collection (sold: Christie's, New York, November 8, 1999, lot 124) Acquiredat the above sale Exhibited New York, Durand-Ruel Galleries, Nudes by Degas and Renoir, 1945, no. 9 New York, Wildenstein & Co.,Renoir, 1969, no. 51, illustrated in the catalogue New York, The Museum of Modern Art, Four Americans in Paris, 1970-71, p. 173 New York, Wildenstein & Co.,Renoir, The Gentle Rebel, 1974, no. 31, illustrated in the catalogue Dallas, Museum of Fine Arts, Dallas Collects: Impressionist and Early Modern Masters, 1978, no. 36, illustrated in the catalogue San Francisco, San Francisco Museum of Modern Art; Paris, Réunion des Musées Nationaux-Grand Palais & New York, The Metropolitan Museum of Art,The Steins Collect: Matisse, Picasso and the Parisian Avant-Garde, 2011-12, no. 393, illustrated in color in the catalogue Literature Vittorio Pica, Gl'Impressionisti Francesi, Bergamo, 1908, illustrated p. 99 Maud Dale, "French Art in the Chester Dale Collection" inArt News, vol. XXVII,April 27, 1929, p. 50 Maud Dale, Before Manet to Modigliani from the Chester Dale Collection, New York, 1929, no. 29, illustrated A.M. Berry, "The Appreciation of Art Form" inCreative Art, no. 4, May 1931, illustrated p. 359 Maud Dale, "Auguste Renoir" inCreative Art, no. 9, December 1931, illustrated p. 453 R.F., "The Nude Passionately and Dispassionately" inArt News, XLIV,April 15, 1945, p. 15 "Eighty-Ninth Annual Report of the Trustees for the Fiscal Year 1958-1959" inThe Metropolitan Museum of Art Bulletin, XVIII, October 1959, p. 56 François Daulte, Auguste Renoir, Catalogue raisonné de l'oeuvre peint, Lausanne, 1971, vol. I, no. 399, illustrated n.p. Elda Fezzi, Tout l'oeuvre peint de Renoir, période impressionniste 1869-1883, Paris, 1985, p. 111, no. 516, illustrated, p. 110 Robert Katz &Celestine Dars, The Impressionists in Context, New York, 1991, p. 231, illustrated in color, p. 230 Guy-Patrice & Michel Dauberville, Renoir, Catalogue Raisonné des Tableaux, Pastels, Dessins et Aquarelles, Paris, 2009, vol. III, no. 1296, illustrated p. 381 Baigneuse (assise)is an exceptional example of Renoir's key subject, renderedat a fascinating moment in his career. The 1880s mark a period in which Renoir returned repeatedly to the subject of the female nude in a landscape. Painted circa 1882,Baigneusewas created at the pinnacle of his achievements in this style. More than any other avant-garde painter of the late nineteenth century, aside from Degas, Renoir focused his energy on the subject of the female nude, and the results he achieved were both unique and striking. The development of Renoir's style in depicting his nudes draws from both his early experience as an Impressionist painter and the influence of a trip he took to Italy in 1881, when he went to see works by Raphael and other Renaissance masters. Renoir's approach to this subject underwent a series of transformations in the 1870s and 1880s, creating an aesthetic that would become the epitome of Renoir's art. In Baigneuse (assise) a seated female bather sits in profile, her legs crossed and eyes either partially or fully closed. The outdoor space she is set in is ambiguous, allowing the figure to fully dominate the composition. The cloth she sits on, presumably to dry herself after bathing, harkens back to the casually yet artfully draped cloths which populate Renaissance art, including the two nudes in the early Titian La Concert champêtre of 1509, a canvas which formed a part of Louis XIV\’s collection (and was traditionally attributed to Giorgione). When Renoir began painting with other Impressionist artists, he favored quick, loose brushstrokes, illustrating the effects of plein-air painting and natural light. During the 1880s, Renoir began to stray from his emphasis of color over line after seeing the precision of forms and subtle light coloration in the works of the Renaissance masters and the palette of the French Rococo artists. Emile Verhaeren, a contemporary poet and art critic of Renoir, summed up the artist's paintings of this period and highlights the quality of Renoir's stylistic details illustrated in the present work. Verhaeren writes, "Here... is an utterly new vision, a quite unexpected interpretation of reality to solicit our imagination.Nothing is fresher, more alive and pulsating with blood and sexuality, than these bodies and faces as he portrays them.Where have they come from, those light and vibrating tones that caress arms, necks, and shoulders, and give a sensation of soft flesh and porousness? The backgrounds are suffusions of air and light; they are vague because they must not distract us" (quoted in G. Muesham, ed.,French Painters and Paintings from the Fourteenth Century to Post-Impressionism: A Library of Art Criticism, New York, 1970, pp. 511-12). John House writes the following on Renoir's fascination with the subject of the female nude in outdoor settings: "On his travels Renoir painted many landscapes and informal outdoor subjects, but his more serious efforts were reserved for themes which tread the borderline between everyday life and idyll-themes with obvious echoes of eighteenth century art. He painted a long series of nudes, mainly young girls in outdoor settings, whom in a letter he called his 'nymphs.' Mainly single figures at first, he brought them together in groups around 1897 in several pictures of girls playing which translate the subject of the 1887Bathersinto a fluent informality very reminiscent of Fragonard'sBathers(Musée du Louvre, Paris)" (J. House,Renoir (exhibition catalogue), London, The Hayward Gallery, 1985, pp. 250-51). Among the first owners ofBaigneuse (assise)was Leo Stein, one of the greatest collectors of early modern art and the brother of Gertrude Stein, the famed writer and famed collector in her own right. The two shared a home in Paris until 1914 due to the latter\’s involvement with Alice B. Toklas. He acquired the work in 1909 and in turn sold it to Durand-Ruel Galleries in the 1920s. Several years laterChester Dale would acquire the work. It was Dale\’s collection that would form a critical backbone of the collection of the National Gallery of Art in Washington, D.C., though Baigneuse (assise) would instead enter the collection of The Metropolitan Museum of Art, New York in the late 1950s. In the late 1960s the canvas was acquired by Algur H. Meadows of Dallas. Meadows not only funded the construction of the Meadows Museum at Southern Methodist University in Dallasbutalso donated many of the works that form their permanent collection and, on his death in 1978, bequeathed large portions of his personal collection to the Dallas Museum of Art. Fig. 1 Pierre-Auguste Renoir, Étude. Torse, effect de soleil, circa 1876, oil on canvas, Musée d\’Orsay, Paris Fig. 2 Pierre-Auguste Renoir, Femme nue dans un paysage, 1883, oil on canvas, Musée de l\’Orangerie, Paris Fig. 3 Titian, Le Concert champêtre, circa 1509, oil on canvas, Musée de Louvre, Paris (traditionally attributed to Giorgione)
Auguste Renoir - Enfants Jouant À La Balle

Auguste Renoir - Enfants Jouant À La Balle

Original 1900
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Gross Price
Lot number: 115
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Description:
PIERRE-AUGUSTE RENOIR (1841-1919) Enfants jouant à la Balle lithograph in colors, on Arches paper, circa 1900, watermark MBM, from the edition of 200, with wide margins, pale mat staining, otherwise in good condition, framed Image: 23½ x 20 in. (597 x 508 mm.) Sheet: 35¾ x 24½ in. (908 x 622 mm.)
Auguste Renoir - Le Chapeau Épinglé, 1 Ere Planche (delteil, Stella 29)

Auguste Renoir - Le Chapeau Épinglé, 1 Ere Planche (delteil, Stella 29)

Original 1897
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Gross Price
Lot number: 263
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Description:
Pierre-Auguste Renoir LE CHAPEAU ÉPINGLÉ, 1 ERE PLANCHE (DELTEIL, STELLA 29) Lithograph printed in sanguine, 1897, from the edition of 50(total edition also includes 50 printed in bistre and 100 printed in black), on laid paper, published by Ambroise Vollard, Paris, framed image: 600 by 492 mm 23 5/8 by 19 3/8 in sheet: 805 by 585 mm 31 3/4 by 23 in
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