Previously seized by the Nazis, it was later returned to the Rothschild family after the conclusion of World War II.
Scheduled to be showcased at Sotheby’s in New York on May 16, the painting “Garden in front of the Debray Farm” (July-August 1887) is anticipated to fetch between $20 and $30 million. Created within walking distance of Vincent Van Gogh’s residence in Montmartre, the artwork features towering sunflower plants as its focal point.
It wasn’t until a year later, in Provence, that Van Gogh would produce his famous Sunflower still lifes. The painting depicts the garden of the Debray family’s 18th-century farmhouse, former owners of Montmartre’s windmills. Despite the conversion of the mills into the Moulin de la Galette during Van Gogh’s time, the artist portrays the garden as a serene rural retreat.
A photograph from 1887 shows the farmhouse atop the hill, overlooking Paris. The barren backyard in the photo, taken the same year as the painting, highlights Van Gogh’s imaginative interpretation, transforming it into a picturesque scene. While no sunflowers are evident in the photo, it may have been captured outside their blooming season.
In 1937, Miriam Alexandrine de Rothschild (1884-1965), a prominent art collector and member of the French Jewish banking dynasty, acquired “Garden in front of the Debray Farm.” Before World War II erupted, she safeguarded the Van Gogh, along with other artworks, in a Parisian bank vault, later fleeing to Switzerland.
Following the German occupation of France in December 1941, the painting was confiscated by the Nazis from the bank vault and sent to Berlin for Hermann Göring, Hitler’s deputy. Göring traded Van Gogh and 24 other looted artworks for a Rembrandt and two rugs.
Subsequently, the painting was sent to Galerie Fischer in Lucerne, seemingly bypassing customs restrictions through diplomatic channels. In April 1942, Theodore Fischer sold “Garden in Front of the Debray Farm” to Swiss arms producer and collector Emil Bührle.
After the war, de Rothschild legally pursued the painting’s restitution. In 1948, Swiss courts instructed Bührle to return the artwork to her. Later, it passed to her sister-in-law Lucy Spiegl, who sold it in 1965. Importantly, “Garden in front of the Debray Farm” was duly returned, resolving any concerns regarding its Nazi-era looting.
De Rothschild also owned another significant Van Gogh piece, a watercolor of “Wheatstacks” (June 1888), which the Nazis also seized but was not returned post-war. Christie’s recently facilitated a complex transaction involving de Rothschild’s heirs and another previous Jewish owner, Max Meirowsky, along with the heirs of Edwin Cox. This led to the 2021 sale of “Wheatstacks” for $35.9 million. Her third Van Gogh, “Harvest in Provence” (June 1888), remained in her possession and was eventually donated to the Israel Museum in Jerusalem.
By the early 1990s, Sotheby’s “Garden in front of the Debray Farm” was in the possession of Japanese paper manufacturer and collector Ryoei Saito, who passed away in 1996. Saito is best known for acquiring Van Gogh’s “Portrait of Dr. Gachet” (June 1890) for a record-breaking $82.5 million at an auction in 1990. Despite Saito’s expressed desire to have the portrait burned with him after his death, this wish was not fulfilled. “Portrait of Dr. Gachet” has since disappeared into an undisclosed private collection.
One of the main attractions for potential buyers at the upcoming Sotheby’s auction of “Garden in front of the Debray Farm” on May 16 will be its vibrant color palette, reflecting the impressionist influence on Van Gogh’s art. The vivid yellows in the foreground foreshadow his later works created in Provence, where he relocated just six months after painting this scene in Montmartre.
This upcoming auction at Sotheby’s presents art enthusiasts and Van Gogh admirers with a rare opportunity to own a piece of art history. As “Garden in front of the Debray Farm” goes under the hammer, its vivid colors and historical significance are poised to enthrall bidders. The painting not only offers insight into Van Gogh’s artistic journey but also carries a compelling narrative of wartime confiscation and rightful restitution. It serves as a testament to the enduring value and cultural importance of art, transcending time and historical adversities.