Vase with Zinnias and Geraniums, 1886
Vincent van Gogh
Dutch, 1853 - 1890
oil on canvas
61 x 45.9 cm
National Gallery of Canada (no. 5045)
Arriving in Paris in spring 1886, Van Gogh was exposed to Impressionist and New-Impressionist painting for the first time. He abandoned his dark, sombre palette, which he had used in the Netherlands, and began using bright colours. Among his early Parisian paintings are several still lifes of flowers which reveal, in their rich application of colour, the influence of Adolphe Monticelli, a contemporary painter from Marseilles whose work Van Gogh admired and collected.
Marks and Labels
– Stedelijk Museum. Amsterdam Historisch Museum
“No.13, Coll. Dressman
Broikleen: M.Y.R. Dressman
Besl. B en W., 11 Nov. 1927, No 368K
Geteekend: c/o Vincent
Schilder: Vincent van Gogh
Maten: 61cm breed 46 cm”
– Goudstikker–label: 18 Feb.- 26 Mar. 1933, No. 120
– Wisselingh label, stock number: 810 X (“from coll. M.Y.R. Dressman”)
– Dreesmann collection stamp
– stamp: “AJK” or “AJH” [same as on Bonnard The Port of Cannes, NGC, no. 5879]
– Manchester Art Gallery, no. 5797
C.M. van Gogh Gallery, Amsterdam, The Netherlands 
J. Hidde Nijland (1856–1931), Dordrecht, The Netherlands 
Wilhelmus Josephus Rudolphus Dreesmann (1885–1954), Amsterdam 
E.J. Van Wisselingh & Co., Amsterdam, purchased from Dreesmann 
National Gallery of Canada, purchased from Van Wisselingh 
The main source for this provenance is de la Faille's catalogue raisonné, cat. no. 241 [de la Faille, Jacob-Baart. “The works of Vincent van Gogh: his paintings and drawings.” Paris and Brussels 1928, reprint New York: Reynal, in association with Morrow, 1970]. Exceptions and other supporting documents are noted.
 The Amsterdam art dealer Cornelius Marinus van Gogh (1824–1908) was the uncle of the artist. The sales catalogue “Tentoonstelling van schilderijen, teekeningen, etsen, enz. van de firma C.M. van Gogh.” [Amsterdam: M.J.P. van Santen, Jan.4, 1896] includes a painting by van Gogh, titled Bloemen as no. 13, but no dimensions are given and no reproduction is included.
 Hidde Nijland, ship-builder and founder of the Hidde Nijland Museum in Hindeloopen, The Netherlands, was an avid art collector, who owned a large collection of Van Gogh drawings. The stock book of the Amsterdam art dealer E. J. Van Wisselingh & Co. mentions him and as a former owner of the work [Wisselingh archive, stock number S 7107, Rijksbureau voor Kunsthistorische Dokumentatie, The Hague, The Netherlands].
 W.J.R. Dreesmann, son of A.C.R. Dreesmann, co-founder of the Dutch department store Vroom & Dreesmann was an active art and antiques collector. The stretcher of the painting bears the stamp “Collectie Dreesmann”, as well as an exhibition label by the Stedelijk Museum/ Amsterdam Historisch Museum, dated November 11, 1927, mentioning Dreesmann as lender [copy in NGC curatorial file; Dreesmann's name is misspelled Dressman: Inv. no. 368K]. Dreesmann is also recorded in the stock book of E.J. Van Wisselingh & Co. as owning the work until 1950 [see note 2]. While in Dreesmann's possession, the painting was shown at various international exhibitions ["Dutch Art 1450–1900.” Royal Academy, Burlington House, London, January–March 1929, cat. no. 448; "Vincent van Gogh en zijn tijdgenooten.” Stedelijk Museum, September 6 – November 2, 1930, no. 4; "Vincent van Gogh, loan collection of paintings & drawings." City of Manchester Art Gallery, October 13 – 27 November, 1932; "Het Stilleven ten bate van de Vereeniging "Rembrandt" in de zalen van den Kunsthandel J. Goudstikker.” Amsterdam, February 18–March 19, 1933, cat. no. 120; "Vincent van Gogh: een documentaire tentoonstelling in het Stedelijk Museum Amsterdam, 1945." Stedelijk Museum, Amsterdam, Mai 1945, p. 12].
 The Van Wisselingh stock book notes that the painting was purchased from Dreesmann in 1950 and sold to the National Gallery of Canada the same year [See note 2].
 Accession Log [NGC curatorial file].Provenance completed
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