ProvenanceAnon. sale, Veduehuis, The Hague, 22 June 1960
Willem Brinkman, Schipluiden, The Netherlands, acquired at the above sale, and until at least 1970
Anon. sale, Sotheby & Co., London, 21 April 1971, lot 23
Kunsthandel Ivo Bouwman, The Hague, by 2002
Eric Brecher, Sydney, by 2005
M.S. Rau Antiques, New Orleans
Private Collection, United States
Sale, Christie’s, New York, 6 October 2020, 20th Century Evening Sale, lot 46
Private Collection, Kentucky, United States
LiteratureHaagsch Dagblad, 7 July 1960 (illu...More...strated).
C. Wentinck, "Veilingen," in Elseviers Weekblad, 9 July 1960 (illustrated).
J.-B. de la Faille, The Works of Vincent Van Gogh: His Paintings and Drawings, Amsterdam, 1970, no. SD 1680 (illustrated).
J. Hulsker, The Complete Van Gogh: Paintings, Drawings, Sketches, New York, 1980, p. 32, no. 97 illustrated).
J.-B. de la Faille, Vincent van Gogh: The Complete Works on Paper, Catalogue Raisonne, San Francisco 1992, vol. I, p. 448, no. 1680 (illustrated, vol. II, pl. CCXLVI).
J. Hulsker, The New Complete Van Gogh: Paintings, Drawings, Sketches, Amsterdam, 1996, p. 32, no. 97 (illustrated).
When Vincent van Gogh arrived unexpectedly at the home of his cousin-in-law, Anton Mauve, on November 27, 1881, it was as much a surprise to Mauve as it was to his brother Theo. For his part, Mauve, the prominent realist painter associated with the Hague School, was more gracious than Vincent had any right to expect. He took the young Vincent under his wing and with all due haste ‘installed (Vincent) in front of a still life consisting of a couple of old clogs and other objects.’ He then set the newcomer to gaining likenesses from models to which Vincent gushed, “how marvelous watercolor is for expressing space and airiness, allowing the figure to be part of the atmosphere and life to enter it!”
Courtesy of Mauve’s generous loan, by early January Vincent had his own studio. “Drawing is becoming more and more of a passion…Mauve has shown me a new way to make something, namely watercolors. Well, now I’m immersed in that, I’m daubing and washing out, in short, seeking and striving. For one must make desperate attempts because there is something diabolical about the execution of a watercolor.” In addition to a couple small watercolors, Vincent started a large one that ‘did not automatically go so well and easily straightaway.’ But it seems the rest of January would be devoted entirely to working with watercolor only — mostly in the service of achieving a reasonable facsimile of any model he could afford to hire.
It was against the backdrop of severe financial difficulties that Vincent engaged in several drawings including Uitzicht over Den Haag met de Nieuwe Kerk. Dr. Jan Hulsker author of The Complete van Gogh catalogued it as Vincent’s 97th work, a placement suggesting it could be attributed to a date as early as late February. It is known, however that during the month of March he did a considerable amount of drawing in the streets, often in the company of painter George Hendrick Breitner. Either date establishes this as one of his earliest efforts challenging his ability to intensify color without losing the most alluring quality of pigment and binder suspended in water: its transparency. In appreciation of Mauve’s patient encouragement, he wrote to Theo that “this is what Mauve says to console me when my drawings turn out heavy, thick, muddy, black, dead: ‘if you were already working thinly now, it would only be being stylish and later your work would probably become thick. Now, though, you’re struggling and it becomes heavy, but later it will become quick and thin. If indeed it turns out like that, I have nothing against it.”
Notwithstanding Vincent’s highly motivated exigency of ‘getting on with it’ and despite severe financial distress and strained familial relations, progress was almost immediate under Mauve’s direction. Vincent’s draftsmanship could be frighteningly uneven at this stage of his development but in light of the modest compositional demands of Uitzicht over Den Haag met de Nieuwe Kerk, as a study in color it is most impressive; a direct and honest work unburdened by any overzealous attention to detail. It is surely one of his most successful early forays working color into his drawings.
Vincent van Gogh, “Old Street, The Paddemoes” (1882)
Vincent van Gogh, “Cluster of Old Houses with the New Church in The Hague,” (September 1882), oil on canvas laid to cardboard
Vincent Van Gogh, “Bleaching Ground at Scheveningen” (July 1882), watercolor heightened with white gouache
Anthonij (Anton) Rudolf Mauve (1838 – 1888)
Vincent van Gogh, “Souvenir de Mauve” (c. March 1888) oil on canvas, Kröller-Müller Museum
- The graph prepared by Art Market Research shows that since 1976, paintings by Vincent van Gogh have increased at an 8.9% rate of return.
- Demand for original and unique artworks by Vincent van Gogh is high. Combined with a limited and dwindling supply, works by Van Gogh have increased in value over time. This is particularly true for museum-quality artworks.
- This was one of Van Gogh’s earliest watercolors. He began working in the medium the year prior, in 1881.
- A similar watercolor from same year is in the collection of the Van Gogh Museum, and comparable works on paper from similar year and size have sold for over $4.7M at auction.
Top Van Gogh Works on Paper at Auction
Comparable Works on Paper Sold at Auction
- This work was completed in the same year as the available work.
- It also comprises a similar color palette and medium as Uitzicht over Den Haag met de Nieuwe Kerk.
- The present work has a similar medium and subject as the work available for sale.
- This painting is from the exact year as Heather James’ piece.
- This work is similar in scale, medium, and monochromatic palette as the painting for sale.
- The present work was painted in the same year as Uitzicht over Den Haag met de Nieuwe Kerk.
- Like the painting available at Heather James, it is a darkly colored work on paper.
Similar Artworks in Museum Collections