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Vincent Van Gogh

(1853 -  1890 ) Wikipedia® : Vincent Van Gogh
GOGH van Vincent Wever Naar Rechts Gekeerd

Christie's /Nov 16, 2016
649,531.41 - 927,902.01
2,137,440.00

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Variants on Artist's name :

Van Gogh Vincent

 

Artworks in Arcadja
471

Some works of Vincent Van Gogh

Extracted between 471 works in the catalog of Arcadja
Vincent Van Gogh - Un Coin De Jardin À Arles

Vincent Van Gogh - Un Coin De Jardin À Arles

Original
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Lot number: 16
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PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION Vincent van Gogh UN COIN DE JARDIN À ARLES signed Vincent (lower left) reed pen and brown ink and pencil on paper with the artist's marbleised paper fictive frame 24.2 by 31.6cm. 9 1/2 by 12 1/2 in. Executed at Arles in 1888. Emile Bernard (a gift from the artist on 15th July 1888) Julien Tanguy, Paris (acquired from the above by 1892) Johan Rohde, Copenhagen (acquired from the above in 1892) Mrs Asa Johan Rohde, Copenhagen (by descent from the above. Sold by her estate: Sotheby's, London, 6th July 1960, lot 160) M.F. Feheley, Toronto (sold: Sotheby's, London, 28th June 1972, lot 5) J.S. Lewis, New York (purchased at the above sale) Wildenstein & Co., New York Acquired from the above by the present owner in June 2009 Copenhagen, Halmtorv, Frie udstilling, 1893, no. 197 Copenhagen, Ny Carlsberg Glyptotek, Fransk Kunst, Maleri og Skulptur fra det 19. og 20. Aarhundrede, 1945, no. 113 (titled Landsskabstudie. Motiv fra Arles) New York, The Metropolitan Museum of Art, Van Gogh in Arles, 1984, no. 72, illustrated in colour in the catalogue (titled Garden with Weeping Tree) Martigny, Fondation Pierre Gianadda, Van Gogh, 2000, no. 65, illustrated in colour in the catalogue (titled Jardin à l'arbre pleureur) Amsterdam, Van Gogh Museum & New York, The Metropolitan Museum of Art, Vincent Van Gogh: The Drawings, 2005, no. 88, illustrated in colour in the catalogue, illustrated as an infrared reflectogram in the catalogue London, Royal Academy of Arts, The Real Van Gogh: The Artist and His Letters, 2010, no. 103, illustrated in colour in the catalogue (titled The Garden: A Corner of a Garden in the Place Lamartine) Jacob-Baart de la Faille, L'Œuvre de Vincent van Gogh, Catalogue raisonné, Paris & Brussels, 1928, vol. III, no. 1450, catalogued p. 137; vol. IV, no. 1450, illustrated pl. CLVII Johan Rohde, Journal fra en Rejse i 1892, Copenhagen, 1955, illustrated p. 89 Jacob-Baart de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, Amsterdam, 1970, no. F1450, illustrated p. 507 Paolo Lecaldano, Tout l'œuvre peint de Van Gogh, Paris, 1971, vol. II, no. 571 B, illustrated p. 212 Mark W. Roskill, \\\‘Van Gogh's exchanges of work with Emile Bernard in 1888\\\’, in Oud Holland, vol. 86, Issue 1, 1971, illustrated p. 145 (titled A Park in Arles) Charles W. Millard, 'A Chronology for Van Gogh's Drawings of 1888\\\’, in Master Drawings, XII, no. 2, 1974, discussed pp. 160-164 Jan Hulsker, 'The Poet\\\’s Garden\\\’, in Vincent. Bulletin of the Rijksmuseum Vincent van Gogh, no. 1, 1974, illustrated p. 23 Jan Hulsker, The Complete Van Gogh: Paintings, Drawings, Sketches, New York, 1980, no. 1509, illustrated p. 344 Jan Hulsker, The Complete Van Gogh: Paintings, Drawings, Sketches, New York, 1984, no. 1509, illustrated p. 344 (titled Newly Mowed Lawn with Weeping Tree) Gauguin og van Gogh i Kobenhavn i 1893 (exhibition catalogue), Ordrupgaardsamlingen, Copenhagen, 1984, no. 64, illustrated p. 115 Susan Alyson Stein (ed.), Van Gogh: A Retrospective, New York, 1986, illustrated p. 290 (titled Garden with Weeping Tree) Van Gogh et Arles, Exposition du Centenaire (exhibition catalogue), Ancien Hôpital Van Gogh, Arles, 1989, mentioned p. 48 Vincent van Gogh, Drawings (exhibition catalogue), Rijksmuseum Kröller-Müller, Otterlo, 1990, mentioned pp. 231 & 238 Jacob-Baart de la Faille, Vincent van Gogh: The Complete Works on Paper, Catalogue Raisonné, San Francisco, 1992, vol. I, no. 1450, catalogued p. 378; vol. II, no. 1450, illustrated pl. CLVII Liesbeth Heenk, Vincent van Gogh's Drawings, An Analysis of Their Production and Uses, London, 1995, mentioned pp. 170, 171 & 240 Jan Hulsker, The New Complete Van Gogh: Paintings, Drawings, Sketches, Amsterdam & Philadelphia, 1996, no. 1509, illustrated p. 344 (titled Newly Mowed Lawn with Weeping Tree) Marije Vellekoop & Roelie Zwikker, Vincent van Gogh, Drawings, Amsterdam, 2007, vol. 4, p. 86 Leo Jansen, Hans Luijten & Nienke Bakker (eds.), Vincent van Gogh: The Letters, London, 2009, vol. 4, illustrated in colour pp. 176, 305 & 307 Van Gogh\\\’s Un Coin de jardin à Arles belongs to a group of fifteen drawings executed in the early summer months of 1888 which he sent to his friend Emile Bernard in a burst of intense creativity which now provides a succinct impression of his increasing artistic confidence and ambition. Bernard and Van Gogh had met during the latter\\\’s stay in Paris in 1889-87 and quickly cemented a strong friendship. They kept up an animated correspondence when they went their separate ways, exchanging ideas about painting and eventually works of art themselves. Bernard sent Van Gogh a group of pen and ink sketches in the Spring of 1888 and Van Gogh responded with a selection of his own drawings, sending an initial group of six on the 15th July (including the present work) and sending a further group of nine a few days later. Un Coin de jardin à Arles was the pre-eminent work among these and the only one that van Gogh referred to explicitly in his letters. He also emphasised its importance in the way he presented it to Bernard; Susan Alyson Stein describes how Van Gogh, \\\‘often gave thought to the presentation of his works – even those being shown informally to friends or family\\\’, going on to explain how in the case of the present work, \\\‘he affixed a marbleized paper border, giving the motif – which he had already singled out by mentioning it in his cover letter – the distinction of having a frame, albeit a makeshift one, apparently cobbled together from bits of book endpapers, portfolio or wrapping paper\\\’ (S. A. Stein in Vincent Van Gogh. The Drawings, op. cit., p. 272). The subject of Un Coin de jardin à Arles was obviously of some fascination to Van Gogh, who described it to his brother Theo in a letter written around 5th July 1888: \\\‘Here is a new subject. A corner of a garden with clipped shrubs and a weeping tree, and in the background some clumps of oleanders. And the lawn just cut with some long trails of hay drying in the sun, and a little corner of blue-green sky at the top\\\’ (Vincent van Gogh: The Letters, op. cit., vol. IV, letter no. 636, p. 160). The motif, which was taken from one of the gardens in the Place Lamartine which Van Gogh could see from the Yellow House, was repeated in two further drawings, one included in a letter to Theo and another which was sent to the Australian painter John Peter Russell. The present view directly relates to the oil painting Pelouse ensoleillée: Jardin public de la Place Lamartine and the garden appears again from a slightly different viewpoint in Le Jardin du Poète which is now in the collection of The Art Institute of Chicago. The drawings were executed after the oil and in sending them to his brother and friends Van Gogh hoped to offer a snapshot of the themes and concerns he was pursuing in his painting. However, these pen and ink drawings had an appeal for the artist that was separate to their relationship with his oil painting; as he observed in a letter of 1883, working in this way, \\\‘makes it possible to put effects on paper in a relatively short time which would lose something of what people call their \\\‘spontaneity\\\’ if done in another way\\\’ (Vincent van Gogh: The Letters, op. cit., vol. II, letter no. 307, p. 255). That spontaneity is immediately apparent in the present work which combines a remarkable control and concision in the handling with a vivid sense of the moment in an exquisite example of Van Gogh\\\’s work in this medium.
Vincent Van Gogh - People Sitting On A Bench In Bezuidenhout, The Hague

Vincent Van Gogh - People Sitting On A Bench In Bezuidenhout, The Hague

Original 1882
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Gross Price
Lot number: 46
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Vincent van Gogh PEOPLE SITTING ON A BENCH IN BEZUIDENHOUT, THE HAGUE 1853 - 1890 Signed Vincent (lower left) Watercolor heightened with gouache on paper 10 3/4 by 15 in. 27.3 by 38.1 cm Executed in The Hague in September 1882. The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam. (probably) Anna Cornelia van Gogh-Carbentus, Nuenen/Breda (mother of the artist) Janus Schrauwen, Breda (acquired from the above in 1888) Jan C. Couvreur, Breda (acquired from the above on August 14, 1902) Kees Mouwen Jr. & Willem van Bakel, Breda (acquired from the above in 1902-03) Sebald Rudolf Steinmetz, Amsterdam R. Th. Steinmetz, Ellecom, Netherlands (by descent from the above) R. Steinmetz, The Hague (by descent from the above by 1969) Private Collection, Germany (by descent from the above and sold: Sotheby's Parke Bernet, London, June 30, 1976, lot 95) Private Collection, New York (acquired at the above sale) Thence by descent to the present owner Exhibited Rotterdam, Kunstzalen, Oldenzeel, Vincent Van Gogh, 1903, no. 70 Rotterdam, Kunstzalen, Oldenzeel, Vincent Van Gogh, 1904, no. 49 Amsterdam, Kunsthandel E. J. Van Wisselingh, Vincent Van Gogh: Quelques Oeuvres de l'Epoque 1881-86, provenant de collections particulières néerlandaises, 1956, no. 5 (titled Pêcheurs de Scheveningue assis sur un banc) Amsterdam, Kunsthandel E. J. Van Wisselingh, Vincent Van Gogh: aquarelles et dessins de l'époque 1881-85 provenant de collections particulières néerlandaises, 1961, no. 15, illustrated in the catalogue (titled Pêcheurs de Schevinggue assis sur un banc) Literature Jacob Baart de la Faille, Vincent Van Gogh, Paris & Brussels, 1928, vol. III, no. F951, catalogued p. 30; vol. IV, no. F951, illustrated pl. XXVII (titled Pêcheurs de Scheveningue assis sur un banc) Walther Vanbeselaere, De Hollandasche periode (1880-85) in het werk van Vincent Van Gogh (1853-1890), Antwerp, 1937, mentioned pp. 85, 162 & 408 Catalogue of 271 Works by Vincent van Gogh Belonging to the Collection of the State Museum Kröller-Müller, Otterlo, 1956, discussed p. 9 Jacob Baart de la Faille, The Works of Vincent Van Gogh, Amsterdam, 1970, no. F951, illustrated p. 355 Jan Hulsker, The Complete Van Gogh, Paintings, Drawings, Sketches, New York, 1980, no. 197, illustrated p. 53 (titled Bench with Four Persons (and Baby)) Van Gogh en den Haag (exhibition catalogue), Haags Historisch Museum, The Hague, 1990, illustrated p. 138 (titled Bank mit vier personen en een baby) Jacob Baart de la Faille, Vincent Van Gogh, The Complete Works on Paper, Catalogue Raisonné, San Francisco, 1992, vol. I, no. 951, catalogued p. 245; vol. II, illustrated pl. XXVII Jan Hulsker, The New Complete Van Gogh, Paintings, Drawings, Sketches, 1996, no. 197, illustrated p. 53 (titled Bench with Four Persons (and Baby)) Sjraar van Heugten, Vincent Van Gogh, Drawings, The Early Years 1880-1883, Amsterdam & London, 1996, vol. I, illustrated p. 126 (titled Four People Sitting on a Bench) Leo Jansen, Hans Luijten & Nienke Bakker, Vincent van Gogh, The Letters, The Complete Illustrated and Annotated Edition, Volume 2: The Hague, 1881-1883, London, 2009, illustrated pp. 151 & 153-54 During the time Van Gogh spent in The Hague between 1881-1883 he was both inspired and compelled to take the working men and women around him as his subjects, producing a series of acutely-observed works documenting their daily lives. Executed in 1882, People Sitting on a Bench in Bezuidenhout, The Hague is a delicate and evocative example of his work from this period and the largest and most complex of four related studies that show the same bench and tree with various arrangements of figures beneath. Van Gogh included two versions of the scene in a letter to his brother Theo on September 11, 1882 explaining: \“I drew the bench after a larger watercolour [the present work] that I'm working on in which the tones are deeper ...\” (quoted in L. Jansen, H. Luijten & N. Bakker, op. cit., p. 150).  Responding to an earlier suggestion of Theo\’\’\’\’s, he goes on to propose that the engaging subject and his use of watercolor might prove more appealing to potential buyers. The present work certainly reveals the artist\’\’\’\’s growing facility in the medium of watercolor with the figures on the bench rendered in fluid strokes of paint heightened by the delicate details of the pipe and glasses of the furthest figure. Equally the subject, capturing a brief moment of leisure, illustrates the artist\’\’\’\’s enthusiasm for these scenes, as he explained later in the same letter: \“I love it so much, sketching on the street, and, as I wrote in my last letter, I\’\’\’\’m determined to achieve a certain standard in it.… I'm full of new pleasure in things because I have fresh hope of myself being able to make something with some soul in it\” (quoted in ibid., pp. 150-51).
Vincent Van Gogh - Studies Of Peasants Working: Sowers And Diggers

Vincent Van Gogh - Studies Of Peasants Working: Sowers And Diggers

Original 1890
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Gross Price
Lot number: 19
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Description:
Vincent van Gogh (1853-1890) Studies of Peasants Working: Sowers and Diggers (recto); A Man in front of a Farmstead: Other Sketches (verso) pencil on paper (recto); chalk on paper (verso) 9 3/8 x 12 1/2 in. (23.7 x 31.7 cm.) Executed in Saint-Rémy in January - April 1890 (recto) and spring 1890 (verso) During the opening months of 1890, Vincent van Gogh found himself in increasingly ill health, confined to his room at the psychiatric asylum in Saint Rémy-de-Provence to which he had committed himself the previous May. During this time, his doctors advised against painting, fearful that the swirling colours and expressive force of his compositions were adversely affecting his mental state. As a result, Van Gogh turned to drawing as a creative outlet, working from his imagination and memory, often reverting back to themes which had fascinated him several years earlier in the Netherlands. Perhaps most importantly, he returned to making copies of paintings by some of his favourite artists of the Nineteenth Century, primarily those of Jean-François Millet, working from black-and-white reproductions that he had brought with him to Saint-Rémy. In a letter to his brother Theo, dated 13 January 1890, Van Gogh expressed his admiration for this artist: ‘I find it a very happy thing that in this century there have been painters like Millet … who cannot be surpassed’’’’’’’’ (Van Gogh, quoted in Vincent van Gogh: The Letters, vol. 5, London, 2009, p. 184). Detailing his renewed interest in these paintings, Van Gogh explained to Theo that the works he was producing were not exact copies, but rather ‘translations’’’’’’’’ inspired by the central themes of Millet’’’’’’’’s works. The present sheet contains various studies of figures in action, primarily diggers and sowers, two leitmotifs which correspond directly to Millet’’’’’’’’s representations of the rural working class. For Van Gogh, as with Millet, these diggers embodied the hard life of the peasant, toiling in the fields, turning the soil by hand, as they tried to eke out a living on the land. While some of the figures are indicated by contours alone, there are several, most notably the two diggers in the centre of the upper register, whose bodies are constructed using Van Gogh’’’’’’’’s distinctive parallel hatching of short, powerful lines. A signature technique seen in numerous paintings of this period, these strokes curve slightly as they echo the outlines of the men’’’’’’’’s bodies, lending the two figures an enhanced sense of energy and movement. On the verso, another quick sketch in soft chalk is visible, its lines much looser, its subject less defined than those seen on the recto. A small thatched cottage is just visible along the left hand side, while a farm labourer carrying his tools over his shoulder can be seen walking along a pathway at the centre. Exploring an assortment of poses in a variety of different scales, Van Gogh’’’’’’’’s drawings show his intense fascination with the subject of the working classes, with each graphic stroke offering an insight into the artist’’’’’’’’s unstoppable creative energy at this time, as he sought an alternative means of artistic expression in the face of his own personal suffering.
Vincent Van Gogh - Wever Naar Rechts Gekeerd

Vincent Van Gogh - Wever Naar Rechts Gekeerd

Original 1884
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Lot number: 47B
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Vincent Van Gogh (1853-1890) Wever naar rechts gekeerd (Weaver Facing Right) oil on canvas laid down on panel 14 3/8 x 17 5/8 in. (36.6 x 45 cm.) Painted in 1884 In Drenthe during the final months of 1883, Van Gogh claimed that “painting comes more easily to me; I feel the urge to tackle all sorts of things that I left undone until today” (Letter no. 367; to Theo van Gogh, 16 October 1883). But desperately short of money, he left in early December to live with his parents in Nuenen. He was keen to continue working in oils, and took up an idea he had been pondering since 1880, a series of pictures depicting local weavers engaged in their work. The world-renowned textile industry in Brabant had fallen on hard times, yielding foreign markets to more efficient competition from fully mechanized English manufacturers, while becoming dependent on less lucrative domestic consumption. Most Dutch weavers were independent rural artisans working at home, few of whom could keep up with advances in technology and the consolidation of resources in the cities. Many such erstwhile entrepreneurs, having lost ownership of their looms, joined a growing army of wage-earning workers, who were poorly paid and lived in squalid slums. Van Gogh sought to capture a traditional way of life and a quality of handiwork that was rapidly disappearing. “When I am not with Ma, I’’’’’’’’m at a weaver’’’’’’’’s nearby, where I am working on two painted studies” (Letter no. 427; to Theo, between about 21 and 24 January 1884; probably referring to the present painting and Faille, no. 26). Within a few months Van Gogh completed nearly twenty drawings and watercolors, and seven oil paintings of weavers, including the present canvas. A second group, together with a series of spinners, followed that summer. The slatted wooden looms fascinated Van Gogh; he preferred the oldest pre-industrial examples he could find—some dated from the 18th century. “I’’’’’’’’ll have a lot more hard graft on these looms, but in reality the things are such almighty beautiful affairs... I certainly believe it’’’’’’’’s right that they should be painted” (Letter no. 445; to Theo, 30 April 1884). “Every day I paint studies of the weavers here, which I think are better in technique than the painted studies from Drenthe that I sent you” (Letter no. 428; to Theo, on or about 3 February 1884). The skills that Van Gogh refined while painting this series proved invaluable when he began the two versions of the famous Potato Eaters (Faille, nos. 78 and 82), the masterpieces of his Dutch period, which he completed in April and May 1885.
Vincent Van Gogh - Nature Morte: Vase Aux Glaïeuls

Vincent Van Gogh - Nature Morte: Vase Aux Glaïeuls

Original 1886
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Gross Price
Lot number: 8
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Description:
Vincent van Gogh NATURE MORTE: VASE AUX GLAÏEULS 1853 - 1890 Signed Vincent (lower right) Oil on canvas 20 1/8 by 15 3/8 in 51.2 by 38.8 cm Painted in Paris in the summer of 1886. Authentication The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam. Théodore Duret, Paris Paul Cassirer, Berlin (acquired from the above in March 1912) Galerie Bernheim-Jeune, Paris Alden Brooks, Paris (acquired by 1928) Private Collection, Los Angeles (and sold: Sotheby Parke-Bernet, New York, May 18, 1983, lot 35) Elwin Litchfield Phillips Jr., Jacksonville, Florida (acquired at the above sale and sold by the Estate: Sotheby’’’’’’’’s, New York, May 11, 1999, lot 129)Acquired at the above sale by the present owner
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