Vincent Van Gogh, Jacques Villon Vase with Pink Roses, 1927, after Van Gogh
|Artist:||Vincent Van Gogh (1853 - 1890)|
|Title:||Jacques Villon Vase with Pink Roses, 1927, after Van Gogh|
|Reference:||Ginestet E 651|
|Medium:||Color Etching and Aquatint|
|Image Size:||19 1/2 in x 14 1/4 in (49.5 cm x 36.2 cm)|
|Sheet Size:||30 in x 22 1/2 in (76.2 cm x 57.2 cm)|
|Framed Size:||approx. 37 1/4 in x 33 3/8 in (94.6 cm x 84.8 cm)|
|Edition:||Numbered from the edition of 200 in pencil in the lower left margin. The names of the engraver and publisher appear in the plate along the upper margin of the work: 'Gravé par Jacques Villon 1921' and also noted in the plate in the lower right, 'Van Gogh.'|
|Signature:||This work is hand signed by Jacques Villon (Damville, Eure, 1875 - Puteaux, 1963) in pencil in the lower right margin.|
|Condition:||This work is in wonderful condition with bright colors throughout.|
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Item # 4291
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Historical Description of this artwork
Assaulting the senses, this image captures the floral beauty of the bouquet and intimates the presence of a caressing breeze. Villon captures both the subtleties of texture and tonality, delicately replicating van Gogh’s poetic composition.
Adapted from Vincent van Gogh’s 1890 composition, titled Vase with Pink Rose, Jacques Villon engraved this image in 1927. Bernheim-Jeune of Paris published the work out of the edition of 200. The name and address of the editor appear in the upper left of the plate and the name of the printer in the upper right. Hand signed by Jacques Villon in pencil in the lower right margin, the work is also marked with an ornate blind stamp that appears as overlapping “ADA” or “APA” in the lower left margin.
Painted in May of 1890, this work signifies van Gogh’s valiant recovery from an illness he suffered from between February and April of that same year. Upon his recovery, van Gogh, wrote to his brother stating that the beauty of his surroundings was so compelling he had little time to rest. Van Gogh’s new found strength and inherent agitation is discreetly sown into this composition. While the viewer enjoys the poetics of the delicate bouquet of roses, delighting in their haphazard arrangement and exuberant rendering, it is difficult to comprehend that this image was painted only two months before the artist’s death. Intended for his brother Theo, van Gogh created this work as an object of decoration, however, the symbolic nature of the image cannot be denied. Drawing upon his sensitive romantic nature, van Gogh delicately suggests the lace like forms of the roses. This delicate suggestion stresses the traditional symbolism of flowers as representations of purity and mortality. As we the viewer enjoy their beauty, the rose has already begun to decay, reminding us of our own transience
Catalogue Raisonné & COA:
This work is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices accompanying the final sale of the work):
1. Ginestet, Colette de and Pouillon, Catherine, Jacques Villon: Les Estampes et Les Illustrations Catalogue Raisonné, 1979 listed on page 404-405 listed as image E 651.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
Framed to archival museum grade conservation standards, this piece is framed in a complementary moulding with silk mats.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Vincent van Gogh Biography
“Vincent van Gogh was born near Brabant, the son of a minister. In 1869, he got a position at the art dealers, Goupil and Co. in The Hague, through his uncle, and worked with them until he was dismissed from the London office in 1873. He worked as a schoolmaster in England (1876), before training for the ministry at Amsterdam University (1877). After he failed to get a post in the Church, he went to live as an independent missionary among the Borinage miners.
“He was largely self-taught as an artist, although he received help from his cousin, Mauve. His first works were heavily painted, mud-colored and clumsy attempts to represent the life of the poor (e.g. Potato-Eaters, 1885, Amsterdam), influenced by one of his artistic heroes, Millet. He moved to Paris in 1886, living with his devoted brother, Theo, who as a dealer introduced him to artists like Gauguin, Pissarro, Seurat and Toulouse-Lautrec. In Paris, he discovered color as well as the divisionist ideas which helped to create the distinctive dashed brushstrokes of his later work (e.g. Pere Tanguy, 1887, Paris). He moved to Arles, in the south of France, in 1888, hoping to establish an artists’ colony there, and was immediately struck by the hot reds and yellows of the Mediterranean, which he increasingly used symbolically to represent his own moods (e.g. Sunflowers, 1888, London, National Gallery). He was joined briefly by Gauguin in October 1888, and managed in some works to combine his own ideas with the latter’s Synthetism (e.g. The Sower, 1888, Amsterdam), but the visit was not a success. A final argument led to the infamous episode in which Van Gogh mutilated his ear.
“In 1889, he became a voluntary patient at the St. Remy asylum, where he continued to paint, often making copies of artists he admired. His palette softened to mauves and pinks, but his brushwork was increasingly agitated, the dashes constructed into swirling, twisted shapes, often seen as symbolic of his mental state (e.g. Ravine, 1889, Otterlo). He moved to Auvers, to be closer to Theo in 1890 – his last 70 days spent in a hectic program of painting. He died, having sold only one work, following a botched suicide attempt. His life is detailed in a series of letters to his brother (published 1959).”