Galerie Taménaga, Paris
Private Collection, Europe (and sold: Sotheby's, New York, May 9, 2007, lot 247)
Acquired at the above sale by the present owner

Very good condition. Original canvas. A few very thing cracks in the background at upper left. Under UV light, a few of these cracks have been filled and a one-inch repaired tear fluoresces in the central right tulip.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Van Dongen constantly returned to the subject of still lifes throughout and approached them with the same vigor as his portraits of women and Fauvist compositions which garnered him widespread recognition. Vase de tulipes, executed in the 1930s, is a quintessential example of how van Dongen evolved from his early Fauve works to develop a more commercially appealing palette. In the present work, he has transformed a rendering of tulips into a picture infused with iconography and personal history. 

Van Dongen came to Paris in 1900 and shortly thereafter achieved much commercial success. His work by the 1920s was well received by upper class Parisians and his finances and social status quickly improved. The current work, however, references the artist’s humble origins in Rotterdam, Holland, represented by the windmills in the background of the composition. Also, on the reverse of the work is the inscription De kinderdyck which is a region of Rotterdam known for its windmills. The flowers which dominate the center of the canvas are erupting from their vase and appear to be spilling over the edges of the canvas. The background comprised of blended pink and red muted tones is juxtaposed by the bolder red and yellow colors in the foreground which call to mind his Fauvist roots. Moreover, the work is carefully detailed and planned. The artist included two fallen petals and a book entitled The Narrow Corner, by Somerset Maugham (1932). Maugham, an English novelist, was immensely popular and was the world’s highest paid author of the 1930s. His books would be commonly seen in middle and upper-class homes in Europe during this period. In short, 🏅Van Dongen transforms a vase of unassuming flowers into a beautifully complicated and dynamic composition.