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Auguste Renoir

(Limoges 1841 -  Cagnes 1919 ) Wikipedia® : Auguste Renoir
RENOIR Auguste Le Faisan

Christie's /Jun 27, 2017
569,443.75 - 911,110.00
752,514.00

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Variants on Artist's name :

Renoir Pierre-Auguste

Renoir Pierre Auguste

 

Artworks in Arcadja
4629

Some works of Auguste Renoir

Extracted between 4,629 works in the catalog of Arcadja
Auguste Renoir - Personnages Dans Une Barque

Auguste Renoir - Personnages Dans Une Barque

Original 1890
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Lot number: 3224
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Description: PIERRE-AUGUSTE RENOIR (Limoges 1941 - 1919 Cagnes-sur-Mer) Personnages dans une barque. Circa 1890. Chalk on paper. Lower right with the signature stamp. 20.7 x 30.7 cm. Provenance: - Estate of the artist. - Ambroise Vollard, Paris. - Christie's London, 29 June 1992, lot 5. - Collection Dr. Hans Werner Riedel and Dr. Ralf Dieter Loher-Riedel, Munich. Literature: - Dauberville, Guy-Patrice/Dauberville, Michel: Renoir. Catalogue raisonné des tableaux, pastels, dessins et aquarelles. Vol. II (1882-1894), Paris 2009, no. 1491, p. 501 (with ill., with visible size: 17.5 x 27.5 cm). - Vollard, Ambroise: La vie et l'oevre de Pierre-Auguste Renoir, Paris 1919 (with ill. on the last page). --------------- PIERRE-AUGUSTE RENOIR (Limoges 1941 - 1919 Cagnes-sur-Mer) Personnages dans une barque. Um 1890. Kohle auf Papier. Unten rechts mit dem Signaturstempel. 20,7 x 30,7 cm. Provenienz: - Nachlass des Künstlers. - Ambroise Vollard, Paris. - Christie's London, 29. Juni 1992, Los 5. - Sammlung Dr. Hans Werner Riedel und Dr. Ralf Dieter Loher-Riedel, München. Literatur: - Dauberville, Guy-Patrice/Dauberville, Michel: Renoir. Catalogue raisonné des tableaux, pastels, dessins et aquarelles. Band II, Paris 2009, Nr. 1491, S. 501 (mit Abb., mit Lichtmass: 17,5 x 27,5 cm). - Vollard, Ambroise: La vie et l'oevre de Pierre-Auguste Renoir, Paris 1919 (mit Abb. auf der letzten Seite).
Auguste Renoir - Buste De Madame Renoir

Auguste Renoir - Buste De Madame Renoir

Original
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Lot number: 360
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Pierre-Auguste Renoir (1841-1919) and Richard Guino (1890-1973) Buste de Madame Renoir signed with the monogram 'GR' and signed again 'Renoir' (on the back of the right shoulder); inscribed and numbered '© 1983 GUINO-RENOIR 1916 E.A. 1/4' and stamped with the foundry mark 'Susse Fondeur Paris 1983' (on the back) bronze with dark brown patina with green undertones Height: 23 3/4 in. (60 cm.) Width: 19 7/8 in. (50.5 cm.) Conceived in 1916 and cast in 1983
Auguste Renoir -  Suzanne Et Jean

Auguste Renoir - Suzanne Et Jean

Original 1895
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Lot number: 214
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Pierre-Auguste Renoir (1841-1919) Suzanne et Jean signed with the artist's initials 'AR' (lower left) pastel on paper 17 x 12 3/8 in. (43.3 x 31.5 cm.) Executed circa 1895 Pierre-Auguste Renoir began to work in pastel as early as 1874, and his interest in the medium grew as his efforts in portraiture began to bring him some measure of financial success. Renoir greatly admired the pastels of Jean-Antoine Watteau, and other 18th century artists, and pastel portraits were becoming fashionable again. However, Renoir only rarely employed pastel for formal portrait commissions, preferring instead to use the medium for more casual works in which the sitters were friends or family. \\\‘It was about 1890 that Renoir\\\’s first pastel portraits appeared. If he frequently used that medium to depict those near and dear to him it was because pastel, which combines colour with line, gave him the possibility of working rapidly in all their vividness the rapid flash of intelligence and the fleeting shadow of emotion\\\’ (F. Daulte, Pierre-Auguste Renoir: Watercolours, Pastels and Drawings in Colour, London, 1959, p. 10). The subject of Suzanne et Jean is in fact composed of three parts: the classical and timeless composition of a mother, or maternal figure, and child, as well as a portrait of both Suzanne Valadon, one of the artist\\\’s most famous models and mistresses, who was by this time an artist in her own right, and the infant Jean Renoir, the artist\\\’s second son from his wife, Aline Charigot. Valadon had been the model for some of Renoir\\\’s most famous paintings, including Danse à la ville, 1883 (Wildenstein no. 1000; Musée d\\\’Orsay, Paris), and she had also been Renoir\\\’s mistress, given birth to her illegitimate son, Maurice Utrillo, and this image of her holding Renoir\\\’s son is striking, in light of the rumours there had been that Renoir was the father, although in reality this seems highly unlikely. In fact, Renoir went on to marry Aline Charigot, who had been the model for Danse à la campagne, 1883 (Wildenstein no. 999; Musée d\\\’Orsay, Paris), the pendant to the Danse à la ville. With marriage and the three sons he had with Aline, Renoir found the most important models in his later artistic career; according to Jean Renoir, here depicted as an infant, the birth of his sons \\\‘Was a big revolution in Renoir\\\’s life. The theories of Nouvelle Athènes had been overtaken by a dimple to the joint of a newborns thigh. By drawing his children, Renior was rebuilding his inner world\\\’ (Jean Renoir, quoted in M. Peltier, Renoir, sa femme et ses enfants d\\\’abord, Paris, 2009, p. 70). Jean Renoir was born in September 1894, when the family were living in the Château des Brouillards in Montmartre, which is most likely where this pastel was executed. He later became a celebrated film-maker whose memoirs, Renoir, My Father (Boston, 1962) are, alongside Renoir\\\’s own paintings and drawings such as this, the best and most affectionate record of the family\\\’s domestic intimacy and happiness.
Auguste Renoir - Le Faisan

Auguste Renoir - Le Faisan

Original 1879
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Lot number: 12
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Pierre-Auguste Renoir (1841-1919) Le faisan signed \‘Renoir.\’ (lower right) oil on canvas 19 1/2 x 25 5/8 in. (49.5 x 65 cm.) Painted circa 1879 This work will be included in the forthcoming catalogue critique of Pierre-Auguste Renoir being prepared by the Wildenstein Institute established from the archives of François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein. Painted circa 1879, Pierre-Auguste Renoir\’s Le faisan is a stunning example of the artist\’s keen skills of observation and mastery of paint, its elegant rendering of the beautiful form of a small pheasant caught in harsh snowy conditions a masterclass in brushwork, colour and texture. 1879 saw one of the coldest and most severe winters recorded in France during the Nineteenth Century, with temperatures reaching a low of minus 25 degrees Celsius in some areas. Snow started to fall in earnest towards the end of November, and continued for weeks on end, bringing transportation across the country almost to a halt, as the accumulated snow and ice rendered routes impassable. Perhaps most dramatic of all, the Seine froze over, a rare phenomenon that drew huge crowds to its banks to see the spectacle for themselves, garnering an enormous amount of attention in the press. In rendering the death of the pheasant, its colourful form perfectly preserved by the cold weather, Renoir captures a sense of the spectacular, but perilous, beauty that lay at the heart of this fairytale frozen world, its dazzling colours and glittering reflections at once captivating and dangerous. One of the most striking elements of the composition is the array of jewel-like colours the artist employs, most noticeably in the rich, multi-hued plumage of the pheasant, where the artist\’s palette ranges from the deep teal around its head and neck, to a subtle crimson on its breast, and the rich blues and oranges that dominate its wings and lower body. Each colour gradually merges with its surrounding shades, subtly shifting from one to the other in a delicate progression of pigment. Renoir conveys a sense of the soft, silky texture of the feathers, meanwhile, through a series of delicate, precise strokes, an effect which stands in stark contrast to the loose, thick, swift brushwork used to render the snowy background. While the artist no doubt spent many hours wandering through the snow-filled landscapes that surrounded his home during the winter of 1879, fascinated by the subtle nuances of colour that lay in the layers of snow and ice that enveloped the countryside, the harsh conditions must have made it almost impossible to paint en-plein-air. As such, the present composition was most likely executed in Renoir\’s studio, with the artist drawing on his memories of the kaleidoscopic array of colour in the snow to reconstruct the scene.
Auguste Renoir - Forét D'argenteuil / Forest In Argenteuil

Auguste Renoir - Forét D'argenteuil / Forest In Argenteuil

Original
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Lot number: 250
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RENOIR Pierre-Auguste FORÉT D'ARGENTEUIL / FOREST IN ARGENTEUIL Technique oil on canvas framed Sign signed on the lower right \“Renoir\“ Certificate This work will be included in the forthcoming critical catalogue of the works of Pierre-Auguste Renoir currently being prepared by the Wildenstein Institute 21.3 × 32.8 cm
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