Vincent Van Gogh

(18531890 ) - Artworks Wikipedia® - Vincent Van Gogh
GOGH van Vincent Prairie Avec Des Vaches

Sotheby's /Jun 24, 2014
250,187.65 - 375,281.47
572,070.45

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Artworks in Arcadja
397

Some works of Vincent Van Gogh

Extracted between 397 works in the catalog of Arcadja
Vincent Van Gogh - In The Dunes

Vincent Van Gogh - In The Dunes

Original 1883
Estimate:

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Gross Price
Lot number: 10
Other WORKS AT AUCTION
Description:
Vincent van Gogh (1853-1890) In the Dunes (In de Duinen) oil on paper laid down on panel 13 ¼ x 19 1/8 in. (33.5 x 48.5 cm.) Painted in The Hague, September 1883 Oldenzeel Art Gallery, Rotterdam (1904). H. Sythoff, Wassenaar, Netherlands (by 1937). Mrs. A.M. Sythoff-Burgerhour, Wassenaar, Netherlands (by descent from the above, 1960). Anon. sale, Van Marle en Bingell, The Hague, 21 May 1963, lot 32. Private collection, Netherlands. The Weldon Collection, London. Anon. sale, Sotheby's, London, 4 December 1968, lot 18. Mrs. Philip D. Armour, Palm Beach and Lake Forest. Brook Street Galleries, London. Hirschl & Adler Galleries, Inc., New York (acquired from the above, 1969). Trosby Gallery, Inc., Palm Beach (acquired from the above, 1969). Private collection, Denver. Hirschl & Adler Galleries, Inc., New York (acquired from the above, 1975). Trosby Galleries, West Palm Beach (acquired from the above, 1977). Mr. and Mrs. Herbert W. Vanden Brul, Rochester. Acquired from the above by the present owner, December 1989. PROPERTY FROM A PALM BEACH ESTATE W. Vanbeselaere, De Hollandsche Periode (1880-1885) in het werk van Vincent van Gogh, Antwerp, 1937, pp. 112, 238 and 413, no. 15bis (titled Heide). J.-B. de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, Amsterdam, 1970, p. 185, no. F 15a (illustrated, p. 186). J. Hulsker, The Complete van Gogh: Paintings, Drawings, Sketches, New York, 1980, p. 92, no. 393 (illustrated, p. 93; titled Landscape with Dunes). M. Arnold, Vincent van Gogh: Werk und Wirkung, Munich, 1995, p. 836, no. 424. J. Hulsker, The New Complete van Gogh, Paintings, Drawings, Sketches: Revised and Enlarged Edition of the Catalogue Raisonné of the Works of Vincent van Gogh, Philadelphia, 1996, p. 92, no. 393 (illustrated, p. 93; titled Landscape with Dunes). Rotterdam, Kunstzalen Oldenzeel, Vincent van Gogh, November-December 1904, no. 5. Paris, Musée Jacquemart-André, Vincent van Gogh, February-May 1960, p. 29, no. 4 (illustrated in color, p. 58). Memorial Art Gallery of the University of Rochester (on extended loan).
Vincent Van Gogh - Nature Morte, Vase Aux Marguerites Et Coquelicots

Vincent Van Gogh - Nature Morte, Vase Aux Marguerites Et Coquelicots

Original 1890
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Lot number: 17
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Description:
Vincent van Gogh 1853 - 1890 NATURE MORTE, VASE AUX MARGUERITES ET COQUELICOTS Oil on canvas 26 by 20 1/8 in. 66 by 51 cm Painted on June 16-17, 1890. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam. Provenance (probably) Dr. Paul Gachet, Auvers-sur-Oise Gaston Alexandre Camentron, Paris Paul Cassirer, Berlin (acquired from the above in November 1911) Antoine Albert, Wiesbaden (acquired in 1914) Mrs. A. Albert, Munich (widow of the above; acquired in 1918) Georg Caspari, Munich M. Knoedler & Co., Inc., London (acquired on April 24, 1926) James Carstairs, Philadelphia (acquired in December 1926) M. Knoedler & Co., Inc., New York (acquired in October 1928) Anson Conger Goodyear, Long Island, New York (acquired in October 1928) George F. Goodyear, Buffalo, New York (acquired by decent from the above in December 1941) Albright Knox Art Gallery, Buffalo, New York (acquired in part from the above) Acquired by the present owner from the Goodyear family in 1991 Exhibited Berlin, Paul Cassirer, Vincent van Gogh, 1914, lot 27a New York, The Museum of Modern Art, First Loan Exhibition: Cézanne-Gauguin-Seurat-van Gogh, 1929, illustrated pl. 92 Buffalo, Albright Art Gallery, Catalogue of Exhibition Commemorating the Twenty Fifth Anniversary: An International Group of Paintings of Flowers, 1930, no. 67 (titled Flowers-Still Life) New York, The Museum of Modern Art, Modern Works of Art: Fifth Anniversary Exhibition, 1934-35, no. 15 (titled Poppies) New York, The Museum of Modern Art ; Philadelphia, Pennsylvania Museum of Art; Boston, Museum of Fine Arts; Cleveland, Museum of Art; San Francisco, Palace of the Legion of Honor; Kansas City, The William Rochill Nelson Gallery of Art; Minneapolis, The Institute of Arts; Chicago, The Art Institute; Detroit, Institute of Arts; New York, The Museum of Modern Art, Vincent van Gogh, 1936-37, no. 14 (titled Poppies) Washington, D.C., The Washington Gallery of The Museum of Modern Art, Flowers and Fruits, 1938, no. 22 (titled Poppies) Buffalo, Albright-Knox Art Gallery, Paintings, Sculpture, Drawings, Prints Collected by A. Conger Goodyear, 1966, no. 16 (titled Flowers of the Fields) Washington, D.C., National Gallery of Art, Paintings from the Albright-Knox Art Gallery, Buffalo, New York, 1968, illustrated in the catalogue Buffalo, Albright-Knox Art Gallery, on long-term exhibition, 1962-90 Literature Julius Meier-Graefe, Vincent van Gogh, Munich, 1918, illustrated p. 11 (titled Blumenstrauss) Jacob-Baart de la Faille, L’’Oeuvre de Vincent van Gogh, Paris and Brussels, 1928, vol. I no. 280, catalogued p. 82; vol. II, illustrated pl. 77 (dated incorrectly Epoque de Paris) “Fruits & Flowers: Spring in the Capital,” The Art News, New York, April 2, 1938, illustrated p. 11 (titled Poppies) Jacob-Baart de la Faille, The Works of Vincent van Gogh: His Painting and Drawings, Amsterdam, 1970, no. 280 , pp 309 and 622 illustrated, p. 308 (titled Still life Vase with Daises and Poppies) Paul Aletrino, Tout van Gogh, 1888-1890, La Peinture, Paris, 1982, no. 67, illustrated p. 80 (titled Fleurs de Champs) Alain Mothe, Vincent van Gogh à Auvers-sur-Oise, Paris, 1987, illustrated in color p. 81 Walter Feilchenfeldt, Vincent van Gogh and Paul Cassirer, Berlin, The Reception of van Gogh in Germany from 1902-1913, Amsterdam, 1988, illustrated p. 86 (titled Still life: Vase with Daises and Poppies) Ingo Walter & Rainer Metzger, Vincent van Gogh, The Complete Paintings, Cologne, 1990, illustrated p. 661 Jan Hulsker, The Complete van Gogh, Paintings, Drawings, Sketches, New York, 1996, no. 2032, illustrated p. 466 The Real Van Gogh, The Artist and his Letters (exhibition catalogue), Royal Academy of Arts, London, 2010, discussed p. 272 Walter Feilchenfeldt, Vincent van Gogh, The Years in France, Complete Paintings 1886-1890, London, 2013, illustrated in color p. 250 Teeming with visual drama and emotion, Van Gogh's richly-colored bouquet of wildflowers exemplifies the creative genius of the artist at the culmination of his career. Depicting a bounty of sensory splendor from the fields of Auvers, this important picture captures the artist at the height of his mania and only weeks before his tragic end. It was during this period that Van Gogh painted the most powerful pictures of his career, including his legendary Portrait of Dr. Paul Gachet and Wheat Fields with Crows. An expressive masterwork, Nature morte, Vase aux marguerites et coquelicots transcends the boundaries of its genre and offers an insightful psychological profile. The present composition was painted in mid-June 1890 in Auvers-sur Oise, the town where the artist settled following his release from the asylum at St-Rémy in May 1890. "Auvers is very beautiful, among other things a lot of old thatched roofs, which are getting rare...really it is profoundly beautiful, it is the real country, characteristic and picturesque" (Letter 635). Renting a small room at the Auberge Ravoux, he lacked a proper studio, which compelled him to go elsewhere to paint. He spent his days setting up his easel in the fields to paint the lush countryside, or visiting his physician, Dr. Paul Gachet. The artist described his new living situation with enthusiasm, especially the close kinship he felt with the "rather eccentric" art collector, Dr. Gachet, who offered him a quiet environment in which he could work. As he told Theo in one of his first letters after meeting the doctor in late May, Gachet's house was filled with black antiques as well as Impressionist paintings including " two fine flower pieces by Cézanne." Van Gogh found Gachet's environment so inviting that he pledged to "... gladly, very gladly, do a bit of brushwork here" (LT635). Over the coming weeks, Van Gogh would paint his celebrated portrait of Dr. Gachet, along with several views of his flower garden and members of his family. The present work was painted at Gachet's house and probably came into his possession upon completion. Van Gogh was inspired by the many objects that Gachet collected, including one particular Cézanne still-life that hung on Gachet's wall. In that picture, the rounded edge of the table top and general arrangement can be likened to that of the present work. On June 4, he told Theo that despite the clutter of the Gachet's accomodations, "there is always something for arranging flowers in or for a still life. I did these studies for him to show him that if it is not a case for which he is paid in money, we will still compensate him for what he does for us." The present work was one of the few works that Van Gogh sold or traded during his lifetime, and it was possibly given to Gachet in exchange for treatment. Looking at this picture, we can imagine the artist traipsing through the fields on his way to Gachet's, gathering up armfuls of poppies, daisies, cornflowers and sheaves of wheat to squeeze into one of the modest vases in Gachet's antique-filled house. Indeed, several days later, the artist began work on the present composition as well as another painting, featuring the same earthenware vase. Writing on June 16, he explained "At the moment I am working on two studies, one a bunch of wild plants, thistles, ears of wheat and sprays of different kinds of leaves -- the one almost red, the other bright green, the third turning yellow" (letter no. 642). While his description most certainly applies to Still life, Vase with Field Flowers and Thistle (F. 763), the catalogue raisonné identifies the present work as being painted contemporaneously on June 16-17. In comparison with the more reserved and academic still-lifes that he had completed in Paris in the mid-1880s, the present work evidences the dramatic shift in the artist's painterly style, now characterized by nfrenetic energy. "I am working a good deal and quickly these days," the artist wrote June 13,"in do doing, I seek to express the desperately swift passing away of things in modern life" (Letter W23). As noted in a recent biography of the artist, Van Gogh was flooded by anxiety in Auvers, and his agitation surely spilled over onto even his most optimistic canvases: "It was a beautiful, alluring vision -- as much as paint and works could make it. But real life for Vincent in Auvers was anything but idyllic. He had arrived in May holding on to the thinnest thread: terrified by the possiblity of another attack, still racked with guilt over the money diverted from Theo's new family, haunted by the stacks of unsold paintings in Paris. He poured his despair into a letter so bleak that he didn't dare to mail it: 'I am far from having reached any kind of tranquility... I feel a failure ... a lot that I accept and that I will not change .... The prospect grows darker, I see no happy future at all'" (Steven Naifeh & Gregory White Smith, Van Gogh, The Life, New York, 2011, p. 838). It is under this black cloud of despair, using flowers from the same fields in which he would attempt to take his own life only weeks later, that the artist painted this extraordinary composition. It is probable that Gachet either sold or faciliated the sale of this painting to Gaston Alexandre Camentron, the collector of Impressionist pictures, who eventually sold the picture to Paul Cassirer in 1911. The picture remained with a series of private collectors in Germay until the mid-1920s, when it made its way to London and eventually across the Atlantic, where it was one of the first pictures by the artist to be sold in the United States. In 1928, it was sold by the Knoedler Gallery in New York in 1928 to A. Conger Goodyear. Known as one of the principal founders of the Museum of Modern Art, Goodyear kept this work in his family's private collection. It was eventually gifted by the Goodyear family in part to the Albright Knox Art Gallery in Buffalo, where it was on display to the public for over thirty years. Fig. 1 Vincent Van Gogh, Wheat Fields near Auvers, 1890, Österreichische Galerie Belvedere, Vienna Fig. 2 Vincent Van Gogh, Portrait of Dr. Gachet, 1890, Musée d’’’’ Orsay, Paris Fig. 3 Vincent Van Gogh to Paul Gauguin, Auvers-sur-Oise, June 17, 1890, Van Gogh Museum, Amsterdam Fig. 4 Vincent’’’’s small room at the Auberge Ravoux, where he died in July 1890 Fig. 5 Vincent Van Gogh, Twelve Sunflowers in a vase , 1988, Neue Pinakothek, Munich Fig. 6 Vincent Van Gogh, Vase with Field Flowers and Thistles, 1890, Private Collection Fig. 7 Anonymous, Paul Gachet’’’’s son in his Salon at Auvers circa 1935-40, Musée d’’’’Orsay, Paris Fig. 8 Paul Cézanne, Bouquet in a Small Delft Vase, circa 1873, Musée d’’’’Orsay, Paris (Formerly Gachet Collection) Fig. 9 Vincent Van Gogh, Garden in Auvers, 1890, Private Collection Fig. 10 Vincent Van Gogh, Mademoiselle Gachet in the Garden, 1890, Musée d’’’’Orsay, Paris Fig. 11 Vincent Van Gogh, Wheat Field with Crows, 1890, Van Gogh Museum, Amsterdam
Vincent Van Gogh - Vue De Montmajour

Vincent Van Gogh - Vue De Montmajour

Original
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Price:

Lot number: 19
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Description:
Lot Description Vincent Van Gogh (1853-1890) Vue de Montmajour indistinctly signed 'Vincent' (lower left), indistinctly inscribed 'Vue prise a Montmajour' (lower right) reed pen and ink and pencil on paper 12 1/8 x 18 3/4 in. (30.7 x 47.4 cm.) Executed in May 1888 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 Theo van Gogh, Paris (the seven drawings of the first Montmajour series were mailed to Theo by the artist on 26 May 1888). Johanna van Gogh-Bonger, Amsterdam, by descent from the above. Paul Cassirer, Berlin, by whom acquired from the above in November 1907. Alfred Walter von Heymel, Munich, by 1914. August Heye, Bremen. Fritz Nathan, Zurich; sale, Gutekunst & Klipstein, Bern, 24 November 1955, lot 11. J.B. Neumann, New York, by whom acquired at the above sale. Richard Feigen Gallery, New York. Harold Hecht – Gloria Hecht Desser, United States, by whom acquired from the above circa 1955. Duffy Hecht, by descent from the above, 1985. Acquired by the present owner in 2013. Pre-Lot Text THE PROPERTY OF A GENTLEMAN Literature J.B de la Faille, L'oeuvre de Vincent Van Gogh, Catalogue raisonné, Brussels, 1928, no. 1448, p. 137 (illustrated). Museum Boymans-van Beuningen ed., 'Vincent van Gogh', in Bulletin, vol. XVIII, Rotterdam, 1967, no. XVIII, p. 30 (illustrated). J.B de la Faille, The works of Vincent van Gogh, New York, 1970, no. F 1448 (illustrated). C.W. Millard, 'A chronology for Van Gogh's Drawings of 1888', in Master Drawings, vol. XII, no. 2, 1974, p. 158. J. Hulsker, The Complete Van Gogh, Paintings, Drawings, Sketches, Oxford, 1980, no. 1432, p. 324 (illustrated). W. Feilchenfeldt, Vincent van Gogh & Paul Cassirer, Berlin: the reception of Van Gogh in Germany from 1901 to 1914, Amsterdam, 1988, p. 132 (illustrated). J.B. de la Faille, Vincent Van Gogh, The Complete Works on Paper, vol. II, San Francisco, 1992, no. 1448, p. 377 (illustrated pl. CLV). J. Hulsker, The New Complete Van Gogh, Paintings, Drawings, Ketches: revised and enlarged edition of the catalogue raisonné of the works of Vincent Van Gogh, Amsterdam, 1996, no. 1432, pp. 318-324 (illustrated p. 324). Van Gogh Museum eds., The account book of Theo Van Gogh and Jo Van Gogh-Bonger, Amsterdam, 2002, p. 20. A. Robertis & M. Smolizza, Vincent van Gogh. Le Opere Disperse, Milan, 2005, p. 167. M. Vellekoop & M. Hageman, Vincent Van Gogh Drawings, Arles, Saint-Rémy & Auvers-sur-Oise 1888-1890, Amsterdam, 2007, pp. 109-113 (illustrated). Exh. cat., Vincent Van Gogh, The Drawings, New York, 2005, pp. 49, 55, 150 & 224. M. Vellekoop & R. Zwikker, Vincent Van Gogh, Drawings, vol. IV, Amsterdam, 2007, no. 335c, p. 109 (illustrated). Exhibited Leiden, Stedelijk Museum 'De Lakenhat', April 1893, no. 142. Groningen, Groningsch Museum, March - April 1897, no. 142. Berlin, Paul Cassirers Kunst-Verlag, Katalog der Vierzehneten Ausstellung der Berliner Secession, Zeichnende Künste, December 1907, no. 122. Munich, Moderne Kunsthandlung, 1908, no. 88. Dresden, Emil Richter Gallery, Vincent van Gogh: Paul Cezanne, April - May 1908, no. 92. Berlin, Paul Cassirer Gallery, Vincent van Gogh 1853-1890, May - June 1914, no. 102. Otterlo, Rijksmuseum, Vincent van Gogh: drawings, paintings, March - July 1990, pp. 221-222, 227; this exhibition later travelled to Amsterdam, Rijksmuseum. View Lot Notes >
Vincent Van Gogh - Prairie Avec Des Vaches

Vincent Van Gogh - Prairie Avec Des Vaches

Original 1883
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Gross Price
Lot number: 399
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Description:
The authenticity of this work has been confirmed by the Van Gogh Museum. Provenance H. Tutein Nolthenius, Delft Galerie d'Art Oldenzeel, Rotterdam Teresa & Paul Crommelin (acquired circa 1946-47, probably from the above) Private Collection (a gift from the above in 1991) Thence by descent to the present owner PROPERTY FROM A PRIVATE COLLECTION Vincent van Gogh 1853 - 1890 PRAIRIE AVEC DES VACHES oil on canvas 31 by 44cm., 12¼ by 17¼in. Painted in 1883. Oil on canvas laid down on panel. There is a layer of varnish preventing the UV light from penetrating. However, there are some scattered lines of retouching in the clouds, predominately in the upper half of the sky. A few further lines of retouching are visible in places to the lower part of the right edge. However, the impasto and texture are rich and there are some minor associated craquelure to the thickly painted clouds. This work is in overall 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Vincent Van Gogh - Tête De Paysanne À La Coiffe Blanche

Vincent Van Gogh - Tête De Paysanne À La Coiffe Blanche

Original 1884
Estimate:

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Gross Price
Lot number: 45
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Description:
Col. C. Mouwen Jr., Breda, The Netherlands Galerie d’’Art Oldenzeel, Rotterdam H. van Ogtrop-van Kempen, Aalst, The Netherlands (acquired by 1929) Mrs. H. van Ogtrop-van Kempen, Aalst, The Netherlands (by descent from the above) E.J. van Wisselingh, Amsterdam Private Collection, Spain (and sold: Sotheby's, London, June 30, 1981, lot 27a) Piccadilly Gallery, London (acquired at the above sale) Landau Fine Art, Montreal Acquired from the above in 1998 Rotterdam, Galerie d’’Art, Oldenzeel, Vincent van Gogh, 1903 45 PROPERTY FROM A DISTINGUISHED MIDWESTERN COLLECTION Vincent van Gogh 1853 - 1890 TÊTE DE PAYSANNE À LA COIFFE BLANCHE Oil on canvas mounted on panel 13 1/8 by 10 1/8 in. 33.3 by 25.7 cm Painted in Nuenen in December 1884. Estimate 1,200,000 - 1,800,000 USD Print Please notify me when the condition report is available
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