Pyke Koch Paintings & Artwork for Sale | Pyke Koch Art Value Price Guide

May. 30, 2024
Pyke Koch (toegeschreven)
Est: €2,000 - €3,000
Portret
Richard ter Borg kunsthandel
May. 28, 2024
Pyke Koch (1901-1991)
Est: €120,000 - €180,000
Still life with pears and lemons, Exhibited:-Rotterdam, Museum Boijmans Van Beuningen, 'Pyke Koch. Schilderijen en Tekeningen', 26 February-14 May 1995, no. 49.-Lausanne, Musée cantonal des Beaux-Arts, 'Pyke Koch. Réalisme magique aux Pays-Bas', 18 June-27 August 1995, no. 24.-Paris, Musée d'Art Moderne de la Ville de Paris, ‘Charley Toorop’, 19 February-9 May 2010, no. 94.Literature:-Talitha Schoon, Carel Blotkamp, Dory Kicken and Karel Schampers, ‘Pyke Koch, schilderijen en tekeningen', Rotterdam 1995, ill. p. 63, no. 49.-Jörg F. Zutter, Bram Kempers and John Steen, ‘Pyke Koch, réalisme magique aux Pays-Bas’, Lausanne 1995, ill. no. 24.-Marja Bosma, Carel Blotkamp and Catherine Gonnard, ‘Charley Toorop’, Musée d'Art Moderne de la Ville de Paris 2010, ill. 222, no. 94.Provenance:-Acquired directly from the artist by Jacob Mees (1885-1970), thence by descent to the present owner.-Collection Museum Boijmans Van Beuningen, Rotterdam, 2007-2024 (on loan), This work will be included in the Catalogue Raisonné of Pyke Koch-paintings in the forthcoming monograph, currently being prepared by Mieke Rijnders (Waanders Uitgevers, Zwolle). The still life is one of the cornerstones of the Western art world. The genre grew from an exercise for new artists to a way for established artists to showcase their talents. As an artist, Pyke Koch would exclusively create figure paintings, but he too would make an exception for a small collection of still lifes.Pyke Koch was a self-taught painter, born in the Netherlands. He chose to study Law but would quit just before his final exam. Instead, he found the painting supplies gifted to him by his sister years earlier and would create his first artworks. While some sources claim his interest in art was born when he met artist Charley Toorop, others say his art career started when he convinced a woman in a café to pose for him by claiming to be an artist. When asked about the situation, Koch’s only answer was “I had just ended an engagement and met another woman, older than me, a mature woman. She was fantastic in a variety of ways. That is when I started painting.”Koch had no official art education: he learned from books, talked with befriended artists, and followed several courses at the Utrechtse Kunsthistorisch Instituut to learn more about painting materials and chemistry. His self-study focused on the Italian Renaissance, and he emulated the realistic look and highly detailed execution of this era in his own work.Alongside the amazing level of detail in his work, he was known for his style: magic realism. This art style was a rebellion against the abstract movement and is characterised by its life-like execution, its mysterious atmosphere and an eerie dissonance between the various real-world elements depicted in the work. The viewer can feel that something is not right, although they cannot always discern what seems to be off about the painting.In this composition, each bump, dimple and spot in the fruit has been lovingly painted in such a realistic manner that it seems easy to reach out and grab a juicy pear from the wooden table. Koch is said to have been inspired by early the Flemish Primitives and Italian Renaissance artists such as Pierro della Francesca and Andrea Mantegna. In this work he combined the attention for detail of these fifteenth century artists with the Chiaroscuro technique. A singular excessive light source in the foreground illuminates the still life, contrasting with the dark, looming background. The obscure Italianate landscape also refers to the Italian Renaissance masters that Koch was so inspired by.As the results of his talents show, Koch had a desire for perfection. Since he destroyed every artwork he deemed flawed, his oeuvre shrunk to around one hundred paintings, about ten of which were still lifes. Many of these still lifes were painted on small canvases and were created just after the war. Plagued by heavy allegations of wartime collaboration, many of these works were used to trade for food, coffee, or tobacco. However, the painting in this auction would have a different fate: it was immediately acquired by Jacob Mees, an insurance broker, banker, and known patron of Koch. The awe-inspiring painting would stay in the family for the remainder of the century and will be on the market for the very first time in our upcoming auction. , oil on canvas, 23,5x35 cm, signed and dated 'P. Koch 45' (lower right), Pyke Koch (1901-1991)
Venduehuis der Notarissen
Mar. 08, 2024
PYKE KOCH (ZUGESCHRIEBEN)
Est: €5,000 - €10,000
PYKE KOCH (ATTRIBUTED) ('Pieter Frans Christiaan Koch') 1901 Beek - 1991 Wassenaar GITARRIST Oil on wood. 62 x 46.5 cm (R. 76 x 60.5 cm). Inscribed 'Pyke Koch' lower right. Part. very slightly abraided. Frame. PYKE KOCH (ZUGESCHRIEBEN) ('Pieter Frans Christiaan Koch') 1901 Beek - 1991 Wassenaar GITARRIST Öl auf Holz. 62 x 46,5 cm (R. 76 x 60,5 cm). Unten rechts bezeichnet 'Pyke Koch'. Part. sehr min. ber. Rahmen.
Hargesheimer Kunstauktionen Düsseldorf
Feb. 04, 2020
PYKE KOCH | Florentijnse tuin (Florentine Garden)
Est: £200,000 - £300,000
oil on canvas
Sotheby's
Nov. 23, 2016
[Art]. Koch, Pyke (1901-1991). AUTOGRAPH LETTER SI
Est: €100 - €150
[Art]. Koch, Pyke (1901-1991). AUTOGRAPH LETTER SIGNED "Pyke Koch" to "Dear Mr Ferntree", dated "Friday Sept. 2 '66", pen and ink, 1 leaf, recto and verso, 2p. - WITH: an original photogr. portrait of Pyke Koch with autograph dedication in pen and ink: "to Mr Ferntree" (14,5x11 cm.). - Letter folded twice. = Interesting letter in English to an otherwise unknown admirer named Mr Ferntree [Edgar Fernhout??], who had apparently sent Pyke Koch a letter that had made a strong impression on him. Koch i.a. writes about the manner in which he works: "(...) My pictures (of which there are only very few (60 or 70)) I am only able to make, after carrying the plan in my mind often for many years - And I loose weeks - and sometimes even months - in just looking at them. (...) I have three new pictures (of large size) one of them being in Tokio but it will be back before winter. I wish I could show them to you (...)." SEE ILLUSTRATION PLATE LXIV.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
May. 29, 2013
Pyke Koch (1901-1991)
Est: -
Pyke Koch (1901-1991) Golflinks I-II the first signed with initials 'P.K.' (lower left); the latter signed and dated ''57 P. Koch' (lower right) oil on canvas each 30 x 20 cm. Painted in 1957. (2)
Christie's
Dec. 04, 2012
Pyke Koch (1901-1991)
Est: €150,000 - €200,000
Pyke Koch (1901-1991) Het signaal signed with initials 'PK' (lower left and right) oil on canvas 46 x 37.5 cm. Painted in 1975.
Christie's
Jun. 05, 2012
Pyke Koch (1901-1991)
Est: €18,000 - €25,000
Pyke Koch (1901-1991) Leeuw; lion signed, dated and inscribed 'Pyke Koch/juni 1944/Utrecht' (on the reverse) oil and gold foil on panel 27.5 x 27 cm. Painted in 1944.
Christie's
May. 18, 2011
Pyke Koch (1901-1991) Sterrenbeeld Leeuw in dorso
Est: €10,000 - €15,000
Pyke Koch (1901-1991) Sterrenbeeld Leeuw in dorso get. en "juni 1944, Utrecht" paneel, z.l., 27,5x27 cm Vergelijk dit werk met de "Steenbok" uit dezelfde serie van "Tekens van de Dierenriem" (veiling Christie's Amsterdam, 28 mei 2002, lotnr. 191), met dezelfde afmeting en datering. Deze "Steenbok" is afgebeeld in de Catalogue raisonné, exh. Cat. Pyke Koch, Boymans van Beuningen, Rotterdam 1995, no.43 ill. op p.61. Op p.218 staan uit deze zelfde serie afbeeldingen van de Boogschutter, Waterman en Weegschaal.
Venduehuis der Notarissen
Nov. 17, 2010
Pyke Koch (1901-1991)
Est: €30,000 - €50,000
Pyke Koch (1901-1991) Stilleven met twee flessen: bottles in an open window signed and dated 'Pyke Koch 1933.' (lower right) and inscribed 'Utr O.Gr 341' (lower left) oil on canvas 56.5 x 35 cm.
Christie's
Dec. 02, 2008
Pyke Koch (DUTCH, 1901-1991)
Est: €5,000 - €7,000
Pyke Koch (DUTCH, 1901-1991) Portrait of Ronnie signed and inscribed 'To Bertie/from Pyke' (lower right), and inscribed 'Drawing by Pyke Koch/which Bertie L returned to me' (on the reverse of the passepartout) pencil and chalk on paper, unframed 28.5 x 32 cm. Executed in the late 1940s.
Christie's
Jun. 25, 2008
Pyke Koch , 1901-1991 Rozen oil on panel
Est: €30,000 - €50,000
signed v.P v.P. oil on panel
Sotheby's
Jun. 25, 2008
Pyke Koch , 1901-1991 Cypres oil on canvas
Est: €50,000 - €70,000
signed voor Ock van Pyke and dated 1969 oil on canvas
Sotheby's
Nov. 29, 2005
Pyke Koch (Dutch, 1901-1991)
Est: €70,000 - €90,000
Het uur U II signed and dated 'Pyke Koch '63' (lower right) oil on canvas 30.5 x 55 cm.
Christie's
Dec. 02, 2003
PYKE KOCH (1901-1991)
Est: €50,000 - €70,000
SIGNED AND DATED (MAKER'S MARKS) signed and dated ´59
Sotheby's
May. 28, 2002
Pyke Koch (1901-1991)
Est: $16,920 - $20,680
Steenbok - Capricorn oil on panel 25.5 x 25.5 cm. Executed in 1944 LITERATURE Catalogue raisonn‚ Pyke Koch, exh.cat. Pyke Koch, Boymans van Beuningen, Rotterdam 1995, p. 218, no. 43 (ill.). EXHIBITION Arnhem, Gemeentemuseum, Pyke Koch, 4 June - 5 September 1966, cat.no. 17. Rotterdam, Museum Boymans-Van Beuningen, Pyke Koch, 26 February - 14 May 1995, no. 43.
Christie's
Apr. 16, 2002
Pyke Koch (Beek 1901-1991 Wassenaar)
Est: $30,800 - $39,600
Dode jongen tempera on canvas laid down on panel 35.5 x 38 cm. (14 x 15 in.) Executed in 1936. PROVENANCE A. Bloembergen, Bilthoven. Anonymous Sale; Christie's, Amsterdam, 23 May 1989, lot 183 (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. C-191). LITERATURE Jan Engelman, Pyke Koch, Amsterdam 1941, p. 33. Carel Blotkamp, Pyke Koch, Amsterdam 1972, p. 163. Catalogue of exhibition, Rotterdam, Museum Boymans-Van Beuningen, Pyke Koch Schilderijen en Tekeningen, 1995, p. 52, illustrated, p. 79, no. 28, illustrated. EXHIBITION Paris, Institut N‚erlandais, Pyke Koch, 14 October 28 November 1982, no. 14. Arnhem, Gemeentemuseum Arnhem, Pyke Koch, 11 December 1982 16 January 1983, no. 14. Lieges, Mus‚e d'Art Moderne, Pyke Koch, 28 January 14 March 1983. Paris, Mus‚e d'Art Moderne de la ville de Paris, La beaut‚ exacte de Van Gogh et Mondrian - Art Pays-Bas-XXe siŠcle, 1994, no. 64. Rotterdam, Museum Boymans-Van Beuningen, Pyke Koch, schilderijen en tekeningen, 26 February 14 May 1995, no. 28. Lausanne, Mus‚e des Beaux Arts, Pyke Koch, R‚alisme magique aux Pays-Bas, 18 June 27 August 1995, cat. no. 17, p. 57. NOTES The dead boy depicted in the present lot was a son of the eldest sister of Koch who died of tuberculoses. Until recently Koch did not want this painting to be illustrated or exhibited. It was exhibited for the first time in solo exhibitions in France and Belgium in 1982. As Carel Blotkamp pointed out in the catalogue, the picture is a posthumous portrait painted from a photograph..' Although, in terms of subject matter, the portrait is unique in Koch's oeuvre, it relates in certain ways to some of his other works, notably the self portraits, which he painted during the same years. The head is totally isolated and very plastic, almost like a relief on a coin, rendered against a monochrome background; there is no spacial or atmospheric relationship between the two. All attention is drawn to the expression of the face'... (Blotkamp, op. cit, p. 52) See for a preliminairy drawing of the same subject: catalogue of exhibition, Pyke Koch, Boymans van Beuningen, Rotterdam, 1995, no. 134.
Christie's
Nov. 30, 2000
Pyke Koch (1901-1991)
Est: $46,000 - $69,000
Cypress signed lower right van Pyke, and dated lower centre 1969, and dedicated lower left voor Ock oil on canvas 55 x 30 cm LITERATURE Museum Boymans van Beuningen, Pyke Koch, Rotterdam 1995, p. 236, no. 106 (ill.).
Christie's
Nov. 30, 2000
Pyke Koch (1901-1991)
Est: $82,800 - $115,000
Daphne inscribed on the reverse NB Pas op licht oil and tempera canvas laid down on panel 28 x 28 cm PROVENANCE T.J. Botke, Maastricht A gift from the above to the present owner in 1980 LITERATURE C. Blotkamp, Pyke Koch, Amsterdam 1972, p.100-107, no. 167 (ill.) C. Blotkamp, Pyke Koch, Utrecht 1982, p. 67-69 Bram Kempers, 'De 'wonderboy' van Pyke Koch. Contorsionisten, travestieten en andere maskerades', in: Jong Holland, 8 (1992) 2, p. 18 (ill.) Exh.cat. Pyke Koch, schilderijen en tekeningen, Museum Boymans van Beuningen, Rotterdam, 1995, no. 56, p. 86 (ill.), p. 87-88, p. 148 (ill.) Louis van Tilborgh, 'Freudiaanse motieven in het oeuvre van Pyke Koch. Voor Daphne, die nog altijd lacht', in: Exh.cat. Museum Boymans van Beuningen Rotterdam, Pyke Koch, 1995, p.148-167 (ill. on p. 148) EXHIBITION Maastricht, House of T.J. Botke, Pyke Koch, September 1951 Arnhem, Gemeente museum, Pyke Koch, 4 June - 5 September 1966, no.16 Amstelveen, Aemstelle, Vijftig jaar Nederlandse realistische kunst, 28 March - 20 April 1970 Parijs, Institut Ne‚rlandais, Pyke Koch, 14 October - 28 November 1982, no.20 NOTES In 1946 and 1947 Koch treated the Daphne theme three times. In the first version, Daphne is represented standing, in full length in an Italian landscape (Caldic Collection, Rotterdam, cat.no. 53); the later versions only show Daphne's head. They are only slightly different. In one of them (cat. 55) Daphne is looking down with a leaf that seems to sprout from her mouth. The other version, the present lot, shows her head tilted upwards and her traits are far more refined. Again, the influence of early Renaissance painting and of Botticelli is clear in the soft, pale colours and the linear treatment of the hair and the leaves. On the other hand, the face itself is quite portrait like, even modern and realist. C. Blotkamp published a photo of Koch's mother, to which Daphne bears a convincing resemblance (Blotkamp op.cit., 1982). Koch had a deep-rooted desire for self-expression. He often took his inner life as a guide for the creation of enigmatic images. Knowledge of his personal life is indispensable for a proper understanding of his art. As Louis van Tilborgh has stated, Koch's oeuvre appears in large part to be a sort of autobiography into which he has worked aspects of his personality in an inventive but covert fashion. The underlying artistic approach was based on the Freudian ideas with which he came in contact in 1920's. Koch was fascinated by Freuds concept of the Oedipus complex, since it 'cherished incest' as his friend Cola Debrot remarked in 1972. Koch was extremely attached to his mother. The present painting can be interpreted as the expression of this affective relationship. It shows the nymph at the very moment of metamorphosis in a laurel tree in order to escape the advances of Apollo. Daphne was the first love of Apollo. According Louis van Tilborgh, this painting shows the artist's feelings for his mother. The son saw his first love, but his desire remained unfulfilled. (Louis van Tilborgh, p.149-150). SALESROOM NOTICE Please note that the entry should read: inscribed on the reverse ophangen met: NB licht van links.
Christie's