Auguste Renoir

(Limoges 1841Cagnes 1919 ) - Artworks Wikipedia® - Auguste Renoir
RENOIR Auguste Paysage Avec Figures

Christie's /Nov 5, 2014
741,784.73 - 1,112,677.10
1,427,965.00

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Variants on Artist's name :

Renoir Pierre-Auguste

Renoir Pierre Auguste

 

Artworks in Arcadja
3760

Some works of Auguste Renoir

Extracted between 3,760 works in the catalog of Arcadja
Auguste Renoir - Vase De Fleurs Et Femme

Auguste Renoir - Vase De Fleurs Et Femme

Original 1915
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Lot number: 304
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Pierre-Auguste Renoir (1841-1919) Vase de fleurs et femme signed 'Renoir' (upper right) oil on canvas 13 7/8 x 9 7/8 in. (35.2 x 25 cm.) Painted circa 1915 Ambroise Vollard, Paris. Kurt Meissner, Zurich. Hugo Dreyfus, New York (acquired from the above, October 1951); sale, Christie’’’’s, New York, 9 November 2006, lot 304. Acquired at the above sale by the present owner. PROPERTY FROM A EUROPEAN COLLECTION G.-P. and M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Paris, 2014, vol. V, p. 234, no. 4033 (illustrated, p. 235).
Auguste Renoir - La Roche-guyon

Auguste Renoir - La Roche-guyon

Original
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Lot number: 105
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Pierre-Auguste Renoir (1841-1919) La Roche-Guyon signed with initial 'R' (lower right) pen and brown and black inks and pencil on paper 12 3/8 x 18 7/8 in. (31.4 x 48 cm.) Drawn in 1885-1886 Ambroise Vollard, Paris. Rosenberg & Stiebel, New York. Acquired from the above by the late owner, June 1950. PROPERTY FROM THE ESTATE OF ROSALYND C. PFLAUM A. Vollard, La vie et l'oeuvre de Pierre-Auguste Renoir, Paris, 1919, p. 25 (partial sheet illustrated; titled Paysage). J. Rewald, Renoir Drawings, New York, 1946, p. 21 (partial sheet illustrated, pl. 52). G.-P. and M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Paris, 2009, vol. II, p. 559, no. 1597 (partial sheet illustrated).
Auguste Renoir - Paysage Aux Environs Des Collettes, Près De Cagnes

Auguste Renoir - Paysage Aux Environs Des Collettes, Près De Cagnes

Original 1919
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Lot number: 118
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Pierre-Auguste Renoir 1841-1919 PAYSAGE AUX ENVIRONS DES COLLETTES, PRÈS DE CAGNES Stamped Renoir. (lower right) Oil on canvas 9 1/8 by 15 3/8 in. 23.2 by 39 cm Painted in 1919. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication This work will be included in the catalogue critique being prepared by the Wildenstein Institute from the François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein archives. Provenance Estate of the artist Private Collection, Japan (acquired circa the 1970s) Thence by descent Literature Bernheim-Jeune, ed., L'Atelier de Renoir, vol. II, Paris, 1931, no. 687, illustrated pl. 217 Guy-Patrice & Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. V, Paris, 2014, no. 3882, illustrated p. 152 This vibrant landscape is exemplary of Renoir’’s late pastoral scenes, where flurries of color and wild brushwork create an image of visceral, unbridled nature. However, unusually for an artist whose landscapes normally feature bathers, readers, walkers or prominent architecture, man’’s presence is absent in the present composition. Yet Renoir, his brushstrokes visible in the patches of thick impasto, does strive to make his own presence felt, trying to cross the breach between the civilized and the wild, the tamed and the untameable. Indeed, this whole painting is an exercise in balance; for every florid detail Renoir provides a patch of sketchy nothingness; every jubilant yellow finds its match in a dash of violet; for each green, a slash of scarlet sits nearby. Each of these opposites (and the compromises Renoir creates between them) serves the purpose of Renoir’’s landscape as a whole, which tries to temper reality with representation, and a very dynamic subject matter with a static medium. It is this vitality that Vincent van Gogh had so admired in Renoir’’s work. Writing to his brother Théo in 1885, he had said that Renoir reminded him that “there is life in every pencil stroke,” casting a different light on the artistic dialogue between the two painters (quoted in Keith Wheldon, Renoir and his Art,New York, 1975, p. 120, see fig. 1). By the time Paysage aux environs des collettes, près de Cagnes was painted in 1919, Renoir’’s vivacity was much matured; his painting is bursting with even more rhythm and vibrating color than his earlier landscapes. His desire for “people to feel that neither my figures nor my trees are flat” is certainly fulfilled in this landscape (quoted in Renoir (exhibition catalogue), New York, 1985, p. 278). Fig. 1 Vincent Van Gogh, Flowering Garden , 1888, oil on canvas, Private Collection Canvas is unlined. The edges are reinforced with tape. Under UV light a few pindots and hairstrokes of inpainting appear around the extreme perimeter of the work, otherwise fine. This work is in very good condition. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Auguste Renoir - Paysage Avec Figures

Auguste Renoir - Paysage Avec Figures

Original 1890
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Lot number: 9
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Pierre-Auguste Renoir (1841-1919) Paysage avec figures signed 'Renoir.' (lower right) oil on canvas 18 ¼ x 21 ¾ in. (46.3 x 55.2 cm.) Painted circa 1890 Galerie Durand-Ruel et Cie., Paris (acquired from the artist, 21 November 1893). Charles H. Tweed, New York (acquired from the above, 31 May 1905). Mrs. Charles Tweed, New York (by descent from the above). Mrs. B.D. Chambers, Westover Rectory, Toxbury, Virginia (by descent from the above by 1937). Richard Palmer Kaleioku Smart, Honolulu. Hirschl & Adler Gallery, New York (acquired from the above, 1983). Private collection (acquired from the above, 1984); sale, Sotheby's, New York, 3 May 2005, lot 55. Acquired by the present owner, 2009. PROPERTY FROM A EUROPEAN PRIVATE COLLECTION G.-P. and M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Paris, 2009, vol. II, p. 158, no. 949 (illustrated, p. 159). Paris, Galerie Durand-Ruel et Cie., Monet, Pissarro, Renoir et Sisley, April 1899, p. 12, no. 100 (titled Paysage avec Figures and dated 1895). Boston, Museum of Fine Arts, 1917-1928 (on extended loan).
Auguste Renoir - Nature Morte Aux Pommes

Auguste Renoir - Nature Morte Aux Pommes

Original 1905
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Lot number: 59
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Pierre-Auguste Renoir 1841 - 1919 NATURE MORTE AUX POMMES Signed Renoir (upper right) Oil on canvas 12 1/4 by 17 7/8 in 31 by 45.5 cm Painted circa 1905. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication This painting will be included in the forthcoming Renoir catalogue critique being prepared by the Wildenstein Institute and established from the archive funds of François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein. Provenance Galerie Ambroise Vollard, Paris Mouradian et Vallotton, Paris Mrs. Neville Blond, O.B.E. (sold: Christie's, London, June 24, 1986, lot 115) Private Collection (acquired at the above sale, thence by descent and sold: Christie's, London, February 5, 2008, lot 266) Richard Green Gallery, London Acquired from the above A vibrant still life with fruit is the subject of Renoir's richly-painted composition from the early twentieth century. By this point in his career, Renoir could paint at leisure, no longer heavily dependant on client commissions or the expectations of his dealers. Women and still-lifes occupied his production during these later years, when the pursuit of beauty was first and foremost this artistic priority. The present work, which depicts an arrangement of apples on a table, belies a consciousness of Renoir's contemporaries and the leanings of the avant-garde at this important moment in history. The methodical arrangement of the pictorial elements calls to mind the still-lifes of Paul Cézanne, whose exploration of geometry and spatial perspective would change the direction of modern art. Renoir has similarly concentrated on the relationships among heavy cylindrical outines of the apples and the porcelain bowl, while remaining true to the softness of his original Impressionist palette.
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