Vincent van Gogh (1853-1890)
Christie's is pleased to offer this fine collection of fifteen paintings and works on paper from the Collection of Charles and Sylvia P. Gilman. This superb group of works, ten of which are being sold on behalf of Tel Aviv University and The Tel Aviv Museum of Art, and five by the Estate of Sylvia P. Gilman, includes examples of Impressionist and Post-Impressionist art as well as School of Paris artists. Highlights include two wonderful Degas pastels--Le petit déjeuner après le bain (Jeune femme s'essuyant), circa 1894 and Femme s'essuyant, circa 1906, two vibrant van Gogh oils--L'Avenue au parc de Voyer-d'Argenson à Asnières and L'entrèe de parc de Voyer-d'Argenson à Asnières, both painted in the summer of 1887 when van Gogh first arrived in Paris, and a Vuillard interior, Les enfants, painted in 1909. The Gilman Collection is completed by excellent examples by Renoir, Vlaminck, Laurencin, Utrillo, Dufy and Rouault. The proceeds from the sales of these works will benefit Tel Aviv University, The Tel Aviv Museum and The Howard Gilman Foundation. Charles and Sylvia Gilman were great collectors as well as passionate and generous patrons of the arts and culture of Israel. They expressed their respect for Israel and its cultural life through their ongoing support of Tel Aviv University and The Tel Aviv Museum. Philanthropic activity was also important to their son, Howard Gilman, who founded The Howard Gilman Foundation in 1981. The Foundation was created to support a wide variety of artistic, educational and medical endeavors. Under the guidance of Howard Gilman, the Foundation's programming was modified to include support for specific areas of the fine and performing arts (with an emphasis on dance, a passion of Howard Gilman's), medical research in the fields of HIV/AIDS and cardiology and the conservation of endangered species. The Gilman family has been intimately involved with Tel Aviv University from its inception in the 1960s, and has continued the relationship throughout the last forty years. The Isaac and Rose Gilman Faculty of Humanities Building, named for Charles Gilman's parents, was the first building constructed specifically for Tel Aviv University. The Gilmans have been enthusiastic supporters of the University ever since, as has The Howard Gilman Foundation since 1981. Tel Aviv University plans to use their portion of the proceeds from this sale to endow a major project in the basic sciences. The Gilmans' relationship with The Tel Aviv Museum started in the early 1980s through the introduction of Yona Ettinger, a close family friend and one of the founding fathers of The Tel Aviv Museum. Impressed with the work of the museum, the Gilman family generously decided to donate ten works from their collection to the Museum and University, jointly, and, in honor of the Museum's 50th Anniversary celebrations, all fifteen works in the Gilman Collection were included in the Jubilee exhibition Masters of Modern Art: Impressionist, Post-Impressionist and 20th Century Artist-Private Collectors salute the Tel Aviv Museum. This exhibition gave the Israeli public an opportunity to preview these outstanding paintings that would eventually help fund future endeavors of both the Tel Aviv Museum's and Tel Aviv University's collections. Following this important exhibition and gift, Howard Gilman's involvement with the Museum greatly increased as he became a member of the International Board of Governors and established the Howard Gilman--Yona Ettinger Acquisition Fund. The revenues garnered from the sale of the Museum's portion of the Gilman works will go to fund future acquisitions for the Tel Aviv Museum's permanent collection. The Gilmans' intentions were clear--they viewed Tel Aviv University and Tel Aviv Museum as vital academic and cultural institutions worthy of great consideration. The generosity of their important gift to Tel Aviv, as well as the mission of The Howard Gilman Foundation, amplifies the Gilman family's great love and staunch support of Israel, scientific development, and the arts. Christie's is honored to be the temporary custodians of such a fine collection that will benefit these worthy institutions. Property from the Estate of Sylvia P. Gilman, to benefit The Howard Gilman Foundation
Vincent van Gogh (1853-1890)

L'Entrée de parc de Voyer-d'Argenson à Asnières

Details
Vincent van Gogh (1853-1890)
L'Entrée de parc de Voyer-d'Argenson à Asnières
oil on canvas
21½ x 26¼ in. (54.6 x 66.7 cm.)
Painted in 1887
Provenance
M.-C. Hoogendijk, The Hague; sale, Frederik Muller & Cie., Amsterdam, 21 May 1912, lot 29.
A.M. Baron van Tuyll van Serooskerken, Amsterdam.
Marcel Kapférer, Paris (1938).
Wildenstein & Co., Inc., New York (1942).
Mr. and Mrs. Charles Gilman, New York (1955).
Literature
J.-B. de la Faille, L'Oeuvre de Vincent van Gogh, catalogue raisonné, Paris, 1928, vol. I, p. 87, no. 305 (illustrated, vol. II, pl. LXXXIII; as Entrée de parc).
J.-B. de la Faille, Vincent van Gogh, Paris, 1939, p. 260, no. 351 (illustrated; as Entrée de parc).
P. Leprohon, Tel fut van Gogh, Paris, 1964, p. 414 (as Voyer-d'Argenson Park at Asnières).
J.-B. de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, Amsterdam, 1970, p. 150, no. F305 (illustrated).
B. Welsh-Ovcharov, Vincent van Gogh, His Paris Period 1886-1888, Utrecht & The Hague, 1976, p. 234.
J. Hulsker, The Complete van Gogh, Paintings, Drawings, Sketches, Amsterdam, 1977, p. 283, no. 1265 (illustrated; as Two Ladies at the Gate of a Public Park at Asnières).
H. Henkels, "Cézanne en Van Gogh in het Rijksmuseum in Amsterdam; De collectie van Cornelis Hoogendijk (1866-1911)," Bulletin van het Rijksmuseum, 1993, 41, pp. 155-287 (illustrated, p. 183).
I.F. Walther and R. Metzger, Vincent van Gogh: The Complete Paintings, Cologne, 1993, vol. I (Etten, April 1881--Paris, February 1888), p. 246 (illustrated).
J. Hulsker, The New Complete van Gogh, Paintings, Drawings, Sketches, Amsterdam, 1996, p. 282, no. 1265 (illustrated, p. 283).
Exhibited
Amsterdam, Rijksmuseum, 1907-1912 (on loan).
London, Leicester Galleries, Artists Who Died Young, March-April 1938, no. 28 (as Entrée du parc).
The Baltimore Museum of Art; and The Worcester Museum of Art, Paintings by Vincent van Gogh, September-November 1942, p. 14, no. 5 (as Park Entrance).
New York, Wildenstein & Co., Inc., The Art and Life of Vincent van Gogh, October-November 1943, p. 55, no. 13 (illustrated; as Park Entrance).
New York, Wildenstein & Co., Inc., Loan Exhibition Van Gogh, for the Benefit of the Public Education Association, March-April 1955, p. 20, no. 16 (illustrated, p. 38; as Park Entrance).

Lot Essay

Vincent van Gogh arrived in Paris in March 1886 and remained there sharing an apartment with his brother Theo until February 1888. During this time he painted well over two hundred canvases and his style underwent tremendous changes under the influence of both the Impressionist masters and the rising generation of Post-Impressionist artists. Writing to his friend Levens, the newly arrived Van Gogh seemed uncertain as to what he was seeking, but confident he would find it in Paris:

What is to be gained is progress and what the deuce that is, it is to be found here. I dare say as certain anyone who has a solid position elsewhere let him stay where he is. But for adventurers as myself, I
think they lose nothing in risking more. Especially as in my case I am not an adventurer by choice but by fate (V. van Gogh, The Complete Letters of Vincent van Gogh, London, 1958, LT459a).

In Paris, Van Gogh immersed himself in the well-established Impressionist subject matter of contemporary life, and in the summer of 1887 he painted a series of images of sun-drenched parks and gardens, including this work and the following lot. Van Gogh was directly inspired by the work of the Impressionists, familiar with them through the exhibitions his brother organized. The pure colors, energetic brushwork, and short parallel strokes used to develop forms within the picture all reflect the influence of Pissarro and Monet.

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