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Vineyards at Auvers

Vincent van Gogh, Dutch, 1853–1890
June 1890
Oil on canvas
Made in
Auvers-sur-Oise, Île-de-France, Western Europe, France, Europe
Auvers-sur-Oise, Île-de-France, Western Europe, France, Europe
Current Location
On View, Gallery 218
25 5/8 x 31 5/8 in. (65.1 x 80.3 cm)
framed: 39 1/4 x 44 7/8 x 5 1/4 in. (99.7 x 114 x 13.3 cm)
Credit Line
Funds given by Mrs. Mark C. Steinberg
Public Domain
Object Number
This canvas focuses on the twisted forms of grapevines depicted with Vincent van Gogh’s characteristic, heavily loaded brushstroke. Red poppies animate the composition, as do the red roofs in the distance. In May 1890, after spending two years in the south of France, Van Gogh moved to the village of Auvers, just to the north of Paris. He spent two prolific months there, producing about 70 paintings before his suicide.
1890 - 1905
Theodorus (Theo) van Gogh (1857-1891), Amsterdam, The Netherlands, by inheritance from the artist; Johanna van Gogh-Bonger (1871-1926), Amsterdam, The Netherlands [1]

Paul Cassirer Gallery (1871-1926), Berlin, Germany, purchased from Johanna van Gogh-Bonger [2]

1905 - 1911
Hugo von Tschudi (1851-1911), Berlin, Germany; Munich, Germany, purchased from Paul Cassirer [3]

1911 - 1928/1929
Angela von Tschudi, Munich, Germany, by inheritance [4]

1928/1929 - still in 1939
Paul Rosenberg Gallery (Paul Rosenberg), Paris, France, purchased from Angela von Tschudi [5]

- 1950
Captain Edward Henry Molyneux (1891-1974), Paris, France; London, England, purchased from Paul Rosenberg Gallery [6]

1950 - 1953
Paul Rosenberg & Co. (Paul Rosenberg), New York, NY, USA, purchased from Captain Edward Henry Molyneux [7]

1953 -
Saint Louis Art Museum, purchased from Paul Rosenberg & Co. [8]

The main source for this provenance is de la Faille's catalogue raisonné, the 1970 revised edition, cat. no. 762 [Faille, J.-B. de la. "The Works of Vincent van Gogh: His Paintings and Drawings." Amsterdam, Meulenhoff International, 1970]. Exceptions and other supporting documents are noted.

[1] Johanna (Jo) van Gogh-Bonger inherited this picture from her husband, Theo van Gogh, upon his death on January 25, 1891. Theo van Gogh had inherited the picture from his brother, the artist Vincent van Gogh, in 1890.

[2] According to the study of Paul Cassirer by Walter Feilchenfeldt, Cassirer owned the painting from September 1905 until November 1905 [Feilchenfeldt, Walter. "Vincent van Gogh & Paul Cassirer, Berlin: The Reception of van Gogh in Germany from 1901 to 1914." Zwolle: Waanders, 1988, p. 118]. The account book of Theo van Gogh and Jo van Gogh-Bonger confirms that Cassirer purchased the painting in September 1905 [Stolwijk, Chris, and Han Veenenbos. "The account book of Theo van Gogh and Jo van Gogh-Bonger." Amsterdam: Van Gogh Museum, 2002, p. 189].

[3] This painting, acquired in November 1905, is one of seven van Gogh works purchased by Hugo von Tschudi in 1903 and 1905 with the intention of proposing them for the Nationalgalerie in Berlin [Berlin Staatliche Museen Preußischer Kulturbesitz, Zentralarchiv and Feilchenfeldt, p. 118]. Instead, the painting was taken with Tschudi to Munich in 1906 [Hohenzollern, Johann Georg, Prinz von and Schuster, Peter-Klaus, eds. "Manet bis Van Gogh: Hugo von Tschudi und der Kampf um die Moderne." München, New York: Prestel, 1996, p. 134-136]. It was also included in a 1906 exhibition in Vienna, as from a private collection in Berlin ["Vincent van Gogh Kollektiv Ausstellung." Vienna: H. O. Miethke, 1906, cat. 22].

[4] After Hugo von Tschudi's death in 1911, this painting remained in the possession of Tschudi's widow, Angela. She eventually sold the painting on the art market. Although the exact date of the sale is not known, it must have been sold between 1928 and 1929. The 1928 first edition of de la Faille's catalogue raisonné of Vincent van Gogh lists the painting as being in Angela von Tschudi's collection, and indicates that she placed it on extended loan to the Neue Staatsgalerie in Munich [Faille, J.-B. de la. "L'oeuvre de Vincent van Gogh: catalogue raisonné." Paris; Bruxelles: Les Éditions G. van Oest, 1928]. In 1929, however, the work is included in an inventory card of the Paul Rosenberg Gallery in Paris, numbered 2395, and it is also included in a separate Rosenberg inventory list dated 1930 (see note [7]).

[5] See note [4]. The painting was published as lent by Paul Rosenberg in a 1930 exhibition catalogue ["Modern French Art: Rhode Island School of Design." Providence, RI: Akerman-Standard Co., March 11 - 31, 1930, cat. 43]; this exhibition is included in the 1970 de la Faille catalogue raisonné as well. The painting was also published as being in the collection of Paul Rosenberg Gallery, Paris in the 1939 edition of de la Faille [Faille, J.B. de la. "Vincent van Gogh." Paris: Hyperion Press, 1939, cat. no. F762]. It was also included in a 1937 exhibition at Rosenberg & Helft Gallery in London, which Paul Rosenberg (1881-1959) established with his brother-in-law Jacques Helft. Mme. von Tschudi is the only name listed in the provenance in the accompanying publication ["Ingres to Picasso." London: Rosenberg & Helft Gallery, June 15 - July 3, 1937, no. 33].

[6] Captain Molyneux was a leading fashion designer and avid collector of art. He built up his collection of primarily Impressionist artwork in the 1930s [National Gallery of Art, Provenance website,, accessed February 18, 2010; Bailey, Martin. "Van Gogh and Britain: Pioneer Collectors." Edinburgh: National Gallery of Scotland, 2006, p. 112, 124]. See note [7].

[7] Paul Rosenberg left Paris in 1939 and opened a gallery in New York the following year. The gallery has records of their direct repurchase of this painting from Captain Edward H. Molyneux in June 1950. In December 2000, Elaine Rosenberg, who maintains the Rosenberg records, confirmed that the painting went from Rosenberg to Molyneux and back to Rosenberg, although the Rosenberg papers did not contain any documentation on the date of sale to Molyneux [research notes compiled by provenance specialist Laurie Stein, SLAM document files]. In a sheet provided to the Museum by Paul Rosenberg when the painting was acquired in 1953, this picture was catalogued as No. 5395, a different number than the one on the 1929 inventory card [SLAM document files]. The difference in numbers on the pre- and post-war gallery records is typical of Rosenberg cases in which a work was repurchased and resold by the gallery. They did not use the older numbers but reassigned new numbers for the New York branch.

[8] The painting was purchased from Paul Rosenberg & Co. by the Museum with funds provided by Mrs. Marc C. Steinberg [invoice dated September 10, 1953, SLAM document files]. Minutes of the Administrative Board of Control of the City Art Museum, February 5, 1953.
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