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Vincent Van Gogh

(1853 -  1890 ) Wikipedia® : Vincent Van Gogh
GOGH van Vincent Old Man Praying

Sotheby's /Feb 4, 2016
395,309.02 - 658,848.36
1,416,576.00

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Variants on Artist's name :

Van Gogh Vincent

 

Artworks in Arcadja
448

Some works of Vincent Van Gogh

Extracted between 448 works in the catalog of Arcadja
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 - Man With An Axe On His Shoulder

Vincent Van Gogh - Man With An Axe On His Shoulder

Original
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Lot number: 18
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Vincent van Gogh 1853 - 1890 MAN WITH AN AXE ON HIS SHOULDER signed Vincent (lower right) lithographic crayon, watercolour and pencil on paper 46 by 23.4cm. 18 1/8 by 9 1/4 in. Executed in The Hague between October and December 1882. Saleroom Notice Authentication The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam.Provenance (probably) Jacques Hageraats, The Hague L.C. Enthoven, Voorburg (probably acquired from the above in the 1900s. Sold: Fred Muller & Co., Amsterdam, 18th May 1920, lot 252) M.S. de Jong, Amsterdam (purchased at the above sale) A.P. de Jong, Johannesburg (by descent from the above) E. Rogoff, Johannesburg (sold: Sotheby's, Johannesburg, 10th May 1984, lot 78) Purchased at the above sale by the parents of the present owners Exhibited Treviso, Casa dei Carraresi, L'Impressionismo a l'età di Van Gogh , 2003, no. 128, illustrated in the catalogueLiterature Jacob Baart de la Faille, L'Œuvre de Vincent van Gogh, Catalogue raisonné , Paris & Brussels, 1928, vol. III, no. 987, catalogued p. 39; vol. IV, no. 987, illustrated pl. XLI Walther Vanbeselaere, De Hollandsche periode in het werk van Vincent van Gogh , Amsterdam, 1937, pp. 91, 170, 192 & 409 Jacob Baart de la Faille, The Works of Vincent van Gogh, His Paintings and Drawings , London, 1970, no. F987, illustrated p. 367 Jan Hulsker, The Complete Van Gogh. Paintings, Drawings, Sketches , New York, 1980, no. 303, illustrated p. 75 (as dating from December 1882 - January 1883) Jan Hulsker, The Complete Van Gogh. Paintings, Drawings, Sketches , New York, 1984, no. 303, illustrated p. 75 (as dating from December 1882 - January 1883) Jacob Baart de la Faille, Vincent van Gogh: The Complete Works on Paper. Catalogue Raisonné , San Francisco, 1992, vol. I, no. 987, catalogued p. 39; vol. II, no. 987, illustrated pl. XLI Jan Hulsker, The New Complete Van Gogh, Paintings, Drawings, Sketches , Amsterdam, 1996, no. 303, illustrated p. 75 (as dating from 1883) Executed in 1882, the present work is a wonderfully evocative drawing of an elderly miner walking through the streets at night - whether setting out to work before sunrise or returning home in the dark we cannot know. The figure trudges towards the viewer as if frozen in time, his pick axe resting heavily on his shoulder, lost in his reverie and seemingly unaware of the observer. Van Gogh's first encounter with coal miners and their families was in 1879 when he arrived in Borinage, a bleak coal-mining district near Mons, as a Protestant missionary and preacher. Upon his arrival in the village of Warmes he wrote to his brother Theo: 'It's a sombre place, and at first sight everything around it has something dismal and deathly about it. The workers there are usually people, emaciated and pale owing to fever, who look exhausted and haggard, weather-beaten and prematurely old [...]. All around the mine are poor miners’’’’’’’’ dwellings with a couple of dead trees, completely black from the smoke, and thorn-hedges, dung-heaps and rubbish dumps, mountains of unusable coal. [Dutch painter Jacob] Maris would make a beautiful painting of it' (quoted in Leo Jansen, Hans Luijten & Nienke Bakker (eds.), Vincent van Gogh. The Letters , New York, 2009, vol. I, letter no. 151, p. 239).   Van Gogh was just 26 years old and his experience living amongst the impoverished community affected him deeply. Inspired by their stoicism and in a bid to ease the burden of their lives, Van Gogh sought to abolish all distance between himself and his suffering neighbours, choosing to give away all his possessions and sleeping as they did on the floor of a hut. The Church strongly disapproved of what they deemed his excessive asceticism and Van Gogh was dismissed from his post after only six months. It was at this moment that Van Gogh discovered his true vocation as an artist, however, deciding to remain in the area for several more months to hone his skills as a draughtsman by drawing the miners and their families and chronicling the harsh conditions of their lives. He wrote to Theo: 'it was in this extreme poverty that I felt my energy return [...]. I couldn’’’’’’’’t tell you how happy I feel to have taken up drawing again' (quoted in ibid ., letter no. 158, p. 256). The empathy Van Gogh had felt for his models in these early, almost primitive, Borinage works is echoed in all of the artist’’’’’’’’s subsequent portraits of working men and women. Although the drawings became increasingly refined and emotion-laden, his subjects remained dignified and never sentimentalised. When Van Gogh took up the theme of miners again in October 1882 with drawings such as the present work, he was in fact living in The Hague and far from the coal mines themselves. His subject here is recognisable by his distinctive white whiskers as Adrianus Zuyderland, one of the artist’’’’’’’’s favourite models who lived in an almshouse nearby. A deaf, seventy-two-year-old pensioner, Zuyderland had small, heavy-lidded eyes, a hooked nose, and a bald pate; tufts of unruly white hair stuck out above his large, protruding ears, and dense mutton-chop whiskers covered his cheeks. ‘I'm very busy with drawings of an orphan man, as the almsmen are usually called here,’’’’’’’’ Van Gogh wrote to Anthon van Rappard. ‘Don’’’’’’’’t you think that the expressions orphan man and orphan woman are just right?’’’’’’’’ (quoted in ibid ., vol. II, letter no. 268, p. 164). Throughout the autumn and winter, Zuyderland came to Van Gogh’’’’’’’’s studio as often as he could. The artist never tired of drawing the old man’’’’’’’’s worn visage, irrevocably marked by adversity and sorrow; finally he had found a model commensurate to his boundless capacity for drawing. In some drawings, Van Gogh depicted Zuyderland standing proud and defiant; in others, the old man cradles his head in his hands in utter defeat. More often, however, Van Gogh captured his model in the midst of humble daily activities, poignant in their very predictability. It was after some experimentation with lithography in November 1882, that Van Gogh began to draw with lithographic crayons directly on paper. He even went back to work over older pencil drawings to add strength to expressive contours and a rich lustre to the shadows, as is believed to be the case in the present work, before applying highlights of opaque white watercolour. Remarkable for its striking monochrome palette with strong contrasts of light and dark,  Man with an Axe on his Shoulder  thus reveals the artist at his most psychologically poignant and technically sophisticated.
Vincent Van Gogh - Femme Semant/peasant Woman Sowing With A Basket

Vincent Van Gogh - Femme Semant/peasant Woman Sowing With A Basket

Original 1881
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Lot number: 304
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Lot 304: Vincent Van Gogh, Femme semant/Peasant Woman Sowing with a Basket, 1881 Condition Report: Professionally restored traces of age. Notes: VAT: Margin scheme Provenance: Jan Dona, The Hague; Galerie D. A. Hoogendyk, Amsterdam; Galerie Hermann Abels, Cologne; Private possession (since 1926) Dimensions: 62.2 x 47.2 cm Artist or Maker: Vincent Van Gogh Exhibited: Cologne 1925 (Kunstsalon Hermann Abels), Gemälde, Graphik, Plastik, cat. p. 44 f. with illus.; Amsterdam 1988/1989 (Rijksmuseum Vincent van Gogh), Van Gogh & Jean François Millet, cat. no. 69, p. 171 with colour illus. ("Zaiiende Vrouw"); until 2015 as a loan at Picasso-Museum, Münster Literature: Walther Vanbeselaere, De Hollandsche Periode (1880-1885) in het werk van Vincent van Gogh, Antwerp 1937, no. 883 (no illus.), p. 54, p. 408; Vincent van Gogh, Sämtliche Briefe, vol. 1. An den Bruder Theo, pub. by Fritz Erpel, Zurich 1967, Letter 150, p. 242 f.; The complete letters of Vincent van Gogh, pub. by New York Graphic Society, Boston 1978, p. 237 ff. Letter 149 ff., September 1881; Vincent van Gogh, De brieven, De volledige, geïllustreerde en geannoteerde uitgave, publ. by Van Gogh Museum, Amsterdam 2009, Deel 1, Brieven 166-193
Vincent Van Gogh - Old Man Praying

Vincent Van Gogh - Old Man Praying

Original 1882
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Lot number: 343
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Vincent van Gogh 1853 - 1890 OLD MAN PRAYING pencil and brush and ink on paper 66.1 by 52.9cm., 26 by 20 7/8 in. Executed in November-December 1882. Authentication The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam. Provenance Gallery Oldenzeel, Rotterdam (possibly) W. H. C. Bolleurs, Rotterdam Galerie Otto Wacker, Berlin Franz von Mendelssohn-Bartholdy, Berlin-Grunewald (acquired from the above in 1927) Acquired from the above by the family of the present owner circa 1960 Exhibited Berlin, Galerie Otto Wacker, Vincent van Gogh, Erste grosse Ausstellung seiner Zeichnungen, 1927, no. 98 Literature Jacob Baart de la Faille, The Works of Vincent van Gogh, His Paintings and Drawings, Amsterdam, 1970, no. F1027, illustrated p. 380 Jan Hulsker, The Complete Van Gogh, Paintings, Drawings, Sketches, Revised and Enlarged Edition of the Catalogue Raisonné of the Works of Vincent van Gogh, Amsterdam, 1996, no. 354, illustrated p. 85 Leo Jansen, Hans Luijten & Nienke Bakker (eds.), The Letters, The Complete Illustrated and Annotated Edition, 1881-1883, London, 2009, vol. II, illustrated p. 326 Catalogue Note Strikingly executed in a monochrome palette Old man praying is Van Gogh at his most psychologically poignant and authentic, and his expressive working is evident, even at this early point in his career, of the artist’’’’s daring manipulation and mastery of his medium. Depicted insistently close to the picture plane, the sitter is portrayed with dramatically lit face and hands, Van Gogh’’’’s subject kneels to pray at the most humble of altars. The result is an unflinchingly intimate and expressive portrait of an ordinary man in a moment of quiet solitude with faith. Executed in late April 1883, when the artist was living in The Hague, Old man praying is a powerful example of Van Gogh’’’’s early portraiture, undoubtedly among the most celebrated aspects of his œuvre. Having had difficulty finding models in his early career, Van Gogh found locals willing to pose for him regularly in The Hague and their everyday work and domestic activities became an important source of inspiration for the artist. Van Gogh sought to depict peasants as if he were an insider. Writing to his brother Theo, the famed Paris-based art dealer, Van Gogh remarked that 'peasants painted by city dwellers inevitably reminded one of the Paris suburbs,' and said that he preferred to live among peasants and share their sober lives (letter 400). On 30 th April 1883, Vincent wrote to report that he had been ‘working on a figure of a woman gathering peat on the heath and a kneeling figure of a man’’’’—almost certainly referring to the present work (letter 338). These expressive portraits of local people, often imbued with an exaggerated sense of isolation, reflect Van Gogh’’’’s own personal sense of solitude during this time. His letters reveal his anguished mental state and he wrote often to implore his brother to visit. Old man praying reflects this loneliness: the heavy, stoical posture of this subject—which is undoubtedly one of the most psychologically affecting of this series—reflects the melancholy of individual human struggle. The thick application of ink and charcoal in broad, deliberate strokes perfectly expresses the hardship of this man’’’’s daily life. These works were a projection of the artist's own internal struggles, a way for him to express his nervous introversion and solitude. According to Jan Hulsker, Van Gogh's intense focus on the studies of these subjects' heads and hands furthermore marks a key transition for the artist. He writes: 'In most of the portraits mentioned here the characterization of the heads is very well done, but what is most noteworthy is that he did things entirely his own way. He was not trying to achieve a romantic idealization of the subjects, but to render them forcefully and realistically, a striving that in a few months would culminate in his famous painting of the Potato Eaters' (J. Hulsker, op. cit., pp. 142 & 144).
Vincent Van Gogh - Landscape With Windswept Trees

Vincent Van Gogh - Landscape With Windswept Trees

Original 1884
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Lot number: 168
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Vincent van Gogh 1853 - 1890 LANDSCAPE WITH WINDSWEPT TREES Oil on paper laid down on panel 13 by 20 1/8 in. 33 by 51 cm Painted in November 1884. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication This work will be included in the new van Gogh catalogue raisonnné being prepared by the Rijksmuseum Vincent van Gogh, Amsterdam. Provenance Oldenzeel Gallery, Rotterdam Daimaru, Japan Private Collection, Japan (acquired from the above in the 1960s) Thence by descent Exhibited Rotterdam, Oldenzeel Gallery, Van Gogh, 1903 Literature Jacob Baart de la Faille, L'Oeuvre de Vincent Van Gogh, Catalogue raisonné, tableaux, vol. II, Paris, 1928, no. 196, illustrated pl. LIII Jan Hulsker, The New Complete Van Gogh, Paintings, Drawings, Sketches, Amsterdam, 1996, illustrated p. 211 Catalogue Note The nearly two years spent in Nuenen, in the southern Netherlands, were very productive in van Gogh’’s early artistic career. The present work was painted in 1885, at the very end of this period, just before his departure for Antwerp; his celebrated masterpiece De Aardappeleters (The Potato Eaters), now in the Van Gogh Museum, Amsterdam, was painted at this same time. In March of 1885, van Gogh’’s father, the Reverend Theodorus van Gogh, collapsed on the threshold of the family home, where the artist still lived. The experience was profoundly influential on this transitional period in van Gogh’’s oeuvre. By May, following his father’’s death, the artist left the parsonage and rented a small studio and sleeping quarters on his own in town. “I have lately been making some studies of the fall landscape outdoors,” wrote van Gogh in October of 1885 (quoted in Jan Hulsker, op. cit., p. 208). The works created in October and November of this year, the present painting included, are all the more poignant and emotive when considered in context of the changes the artist experienced during this year, and the looser application of paint that defines the foliage prefigures the more fiercely dramatic brushwork so characteristic of his later pictures. Fig. 1 Vincent Van Gogh, Autumn Landscape with Four Trees , 1885, oil on canvas, Rijksmuseum Kröller-Müller, Otterlo, Netherlands See More See Less
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