# Binz on Rugen by Wassily Kandinsky (1901) Canonical article: https://www.artifact-archive.com/archive/binz-on-rugen-wassily-kandinsky-1901 - **Painting:** Binz on Rugen - **Artist:** Wassily Kandinsky - **Date:** 1901 - **Medium:** Oil - **Dimensions:** 33 cm x 24 cm - **Current location:** Christie's, New York City, United States - **Period:** Post-Impressionism - **Culture:** German A small 1901 oil by Wassily Kandinsky shows the beach at Binz on the island of Rügen, with a lone figure facing the sea, a dark boulder in the foreground and a wooded headland across the bay. This docent tour reads the painting's colour and handling closely, while keeping the limits of the available record in view. ## High-resolution image [Binz on Rugen by Wassily Kandinsky (1901) | High-resolution image](https://upload.wikimedia.org/wikipedia/commons/0/03/Kandinski_binz-r%C3%BCgen.jpg) ## Artwork presentation record Artwork accent colour: #26444E. Original-image hero position: 50% horizontal, 50% vertical. Decorative crops use the original artwork image; they are not technical examination images. ## Details to notice ### Artist Signature Detail ID: artist_signature. A reddish signature at the lower left, visible against the yellow ground. It supports the attribution and provides a close identity detail for verification. Original-image crop (%): x 3.5000000000000004, y 91.5, width 14.000000000000002, height 7.000000000000001. ### Rügen Coastal Headland Detail ID: rugen_coastal_headland. A dark, wooded headland with exposed ochre and violet cliff faces across the turquoise bay. It identifies the coastal setting and frames the horizon. Original-image crop (%): x 20, y 9, width 76, height 17. ### Multicolored Pebble Mosaic Detail ID: multicolored_pebble_mosaic. A dense field of blue, red, pink, ochre, and white stones rendered in thick dabs. It creates the painting's animated surface rhythm and reveals the artist's handling of color. Original-image crop (%): x 18, y 62, width 60, height 28.000000000000004. ## The story This is Wassily Kandinsky's painting Binz on Rugen, dated 1901, an oil showing the beach at Binz on the island of Rügen, in Germany. A solitary figure stands at the shoreline, seen from behind. She wears a yellow hat and a pink top, and she faces out toward the water. Evidence: documented. Source references: source-1. In front of her lies a wide field of stones. Blue, red, pink, ochre and white pebbles are laid down in thick dabs, so the ground seems to flicker rather than sit still. Nearer to us, a large rounded boulder rises out of that scatter. Dark blue, black and brown strokes swirl across its surface, and the lighter stones around it make it read as a heavy, separate presence. Evidence: observation. Source references: source-1. Beyond the beach, a turquoise bay opens out. Across the water stands a dark, wooded headland, with ochre and violet cliff faces showing where the rock is exposed. That headland frames the horizon and pins the scene to a particular coast. It also gives the figure somewhere to look, so her turned back becomes the quiet centre of the composition. Evidence: observation. Source references: source-1. The painting divides its attention between near and far, and between stillness and movement. The boulder anchors the foreground, while the scattered stones keep the surface lively. The figure in her bright hat and pink top sits between those two energies. Her small scale against the bay and headland makes the landscape feel larger than she is, without making her seem lost. Evidence: interpretation. Source references: source-1. Seen together, the thick handling of the stones, the dark weight of the boulder and the distant headland turn a simple beach view into a study of colour and distance. What stays with you is that single figure at the water's edge, held between the busy shore and the calm bay beyond. Evidence: observation. Source references: source-1. ## About the artist ### Wassily Kandinsky 1866 to 1944 Wassily Kandinsky was an avant-garde painter of Russian origin (1866–1944). Their work is associated with Expressionism; Symbolism; Bauhaus. Their recorded places of work include Paris; Munich; Weimar; Rapallo; The Hague; Russia; Stockholm; Switzerland; Tunis. - **Born:** 1866 - **Died:** 1944 - **Nationality:** Russian Empire; Russian Soviet Federative Socialist Republic; Soviet Union; France; Germany - **Birthplace:** Moscow - **Died in:** Neuilly-sur-Seine ![Artist portrait of Wassily Kandinsky]() Artist portrait. Image credit: 未知上傳者. [Image source](). [Licence: Public domain](). - [Wikidata: Wassily Kandinsky]() ## Research and reference record ### Structured catalogue record #### Title Field ID: title. Binz on Rugen Source IDs: none linked in the published record. #### Artist or attribution Field ID: artist. Wassily Kandinsky Source IDs: none linked in the published record. #### Object date Field ID: date. 1901 Source IDs: none linked in the published record. #### Medium and support Field ID: medium. Oil Source IDs: none linked in the published record. #### Dimensions Field ID: dimensions. 33 cm x 24 cm Source IDs: none linked in the published record. #### Current collection or location Field ID: location. Christie's, New York City, United States Source IDs: none linked in the published record. #### Movement or period Field ID: period. Post-Impressionism Source IDs: none linked in the published record. #### Country or culture Field ID: culture. German Source IDs: none linked in the published record. #### Depicted subject Field ID: subject-summary. The painting shows a beach on the island of Rügen, with a solitary figure at the shoreline, a large dark boulder in the foreground, and a wooded headland across the bay. Source IDs: none linked in the published record. #### Title variants Field ID: title-variants. Beach of Rugen Source IDs: none linked in the published record. #### Inscriptions Field ID: inscriptions. Reddish signature at the lower left Source IDs: none linked in the published record. ### Identity and catalogue Research section ID: catalogue. #### Catalogue particulars Claim ID: archive-08cc4a15aafd50e0a919. Evidence: documented. The object is catalogued under the title "Binz on Rugen" and is dated 1901. The attribution recorded with the file is to Wassily Kandinsky. The same record gives the dimensions as 33 cm by 24 cm. These particulars belong to a single descriptive record, a Wikimedia Commons file page whose annotation identifies it as a discovery aid rather than an official museum record; that qualification should travel with the attribution, the title and the measurements in any reuse of them. Nothing in the supplied evidence establishes the support, the inscription, an accession number or a provenance history, so those elements of a full catalogue entry remain open. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: archive-8ff691f4a2fffd13f479. Evidence: documented. The subject is a scene at Binz on the island of Rügen, on the German coast, as the record states, and the composition is legible in those terms. A solitary figure seen from behind, wearing a yellow hat and a pink top, stands at the shoreline facing the water. A dense field of blue, red, pink, ochre and white stones is laid in thick dabs, producing an animated surface rhythm and making the artist's handling of colour readable across the foreground. A large rounded boulder in the nearer ground carries swirling dark blue, black and brown strokes that contrast with the brighter stones around it, while across the turquoise bay a dark wooded headland with exposed ochre and violet cliff faces frames the horizon and fixes the coastal setting. A reddish signature at the lower left against the yellow ground is recorded as supporting the attribution. The physical description therefore corroborates the identification of the place and the presence of the painter's hand, but it does not independently confirm the 1901 date or the 33 by 24 cm measurements, which rest on the catalogue record alone. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-identity-1. Evidence: identity. The artwork is titled 'Binz on Rugen' and is dated 1901. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-identity-2. Evidence: identity. The artist is Wassily Kandinsky. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-identity-3. Evidence: identity. The dimensions are 33 cm by 24 cm. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] ### Subject and iconography Research section ID: subject. #### Composition, setting and handling Claim ID: archive-561b6d9875988018b311. Evidence: observation. The composition is organized around three zones that the recorded description distinguishes clearly. In the foreground, a large rounded boulder is painted with swirling dark blue, black, and brown strokes, and these dark tonal passages are set against bright stones around it, so the boulder reads as a massed, separate form rather than as part of the scatter. Around and in front of it lies a dense field of blue, red, pink, ochre, and white stones, rendered in thick dabs that create an animated surface rhythm and make the artist's handling of color legible as a sequence of discrete touches. Beyond this near ground, a turquoise bay opens toward a dark, wooded headland whose exposed cliff faces are described as ochre and violet; the headland both identifies the coastal setting and frames the horizon. Within this arrangement a solitary figure in a yellow hat and pink top stands at the shoreline, seen from behind. The scene depicted is identified as Binz on the island of Rügen, Germany, and the work is executed in oil. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: archive-9b7f12828e59445e2770. Evidence: interpretation. Among these elements, only some belong to direct observation of the painted surface as recorded, while others are identifications layered onto it. The figure's yellow hat and pink top, her position at the shoreline and her orientation away from the viewer, the dark swirls of the boulder, the color range of the stone field, and the headland with its ochre and violet faces are all described as visible features. The naming of the place as Binz on Rügen is a documented identification of the setting rather than a reading of paint alone, and it is what allows the wooded headland and turquoise bay to be understood as a specific coast rather than an unnamed shoreline. The observation that the headland "identifies the coastal setting and frames the horizon" likewise joins a visual function, framing, to a geographic one. Keeping these levels distinct matters for how the picture is used as evidence: the composition can be described from the surface, but its anchorage in a named Baltic resort on Rügen depends on the external identification of the subject. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] #### Signature and attribution Claim ID: fact11. Evidence: observation. The attribution is supported by a visible mark as well as by external record. A reddish signature is visible at the lower left of the composition, set against the yellow ground, and this inscription is described as supporting the attribution of the work. The signature therefore functions as internal visual evidence that can be checked against the documented title, artist, date and medium supplied for the painting. Because the surviving description does not transcribe the inscription's wording or detail its condition, the signature's evidential weight here rests on its presence and placement at lower left rather than on a reading of its text. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: archive-69a679ea338ea249f4b0. Evidence: interpretation. Taken together, the described features make the painting a compact study in the separation of near and far through color and touch. The thick dabs of the stone field and the swirling dark strokes of the boulder concentrate attention and texture at the closest plane, while the smoother expanse of the turquoise bay and the darker mass of the headland establish distance. The solitary figure, small against the bay and headland and turned away from the viewer, sits between the busy shore and the framed horizon. This reading is an interpretation of the recorded arrangement rather than a claim about the artist's intentions, and it should be weighed as such; what the evidence establishes is the arrangement of these elements and their described contrasts, not the meaning the painter assigned to them. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-1. Evidence: visual_observation. A solitary figure in a yellow hat and pink top stands at the shoreline, seen from behind. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-2. Evidence: visual_observation. A large rounded boulder in the foreground is painted with swirling dark blue, black, and brown strokes, contrasting with bright stones around it. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-3. Evidence: visual_observation. A dense field of blue, red, pink, ochre, and white stones rendered in thick dabs creates an animated surface rhythm and reveals the artist's handling of color. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-4. Evidence: visual_observation. A dark, wooded headland with exposed ochre and violet cliff faces appears across the turquoise bay, identifying the coastal setting and framing the horizon. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-5. Evidence: visual_observation. A reddish signature is visible at the lower left against the yellow ground, supporting the attribution. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] ### Historical context Research section ID: context. #### Documented Identification and Its Limits Claim ID: archive-9fa9c9bc8d9fd293d319. Evidence: observation. The subject of this oil painting is a beach scene at Binz, on the island of Rügen, on the German Baltic coast. The Wikimedia Commons file record that supplies the object's basic data gives the work the title Binz on Rugen, dates it 1901, names Wassily Kandinsky as the artist, identifies the medium as oil, records dimensions of 33 by 24 cm, and lists the painting as in the collection of Christie's, New York City. These particulars establish what the object is taken to be and where it is currently recorded, but they do not by themselves document who commissioned the work, under what circumstances it was made, or the route by which it reached its present holding. Because the record is a discovery aid rather than an official museum catalogue entry, the commissioning history of a small coastal panel of this kind should be treated as unsettled until documentary or institutional records supply it. What can be said with the available evidence is narrower and firmer: a dated oil view of a named German seaside resort, signed by its maker. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] #### The Painted Scene and the Social World of the Resort Claim ID: archive-fff8733a0105d4498936. Evidence: interpretation. The choice of Binz as subject situates the painting within the leisure culture of the German Baltic coast at the turn of the twentieth century. The figure is presented as a holidaymaker at the water's edge, and the painting's attention falls as much on the shore she stands on, its stones rendered with conspicuous variety of color and touch, as on any narrative incident. In this reading the object belongs less to the tradition of portraiture or narrative genre than to the depiction of summer resort life, where a named beach and a single anonymous bather or stroller supply the human scale. The evidence does not identify the figure, name a patron, or establish whether the scene records a particular visit, so the social content is inferred from the depicted setting rather than documented in the record, and the interpretation should be weighed accordingly. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] #### Form, Locale and the Larger History of Coastal Painting Claim ID: archive-162ff248ae3ed27d69e4. Evidence: interpretation. The object matters within a broader material and art-historical account because it joins a specific, named locale to a small-scale oil format of modest dimensions, 33 by 24 cm, painted in 1901 and carrying the artist's reddish signature at the lower left. A signed, dated coastal view of this size can function as a record of a place, as a marketable picture, and as an exercise in the coloristic handling of stone, water and cliff. The available evidence supports the first two functions only by implication and documents the third visually; it does not record an exhibition history, a provenance chain, or critical reception. The painting's significance therefore rests on what the file establishes about its subject, date, maker, medium and dimensions, together with what can be seen in its composition, and later accounts or fuller institutional records would be needed before any further claim about its place in the artist's development or in the collecting of Baltic resort views could be sustained. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-context-1. Evidence: historical_context. The painting depicts a scene at Binz on the island of Rügen, Germany. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] ### Materials and technique Research section ID: materials. #### The Documented Medium Claim ID: fact3. Evidence: documented. The technical record for this painting establishes one basic material fact: the work is executed in oil. The medium is recorded in the same source that supplies the title Binz on Rugen, the date 1901, the attribution to Wassily Kandinsky, the dimensions of 33 by 24 cm and the collection history at Christie's, New York. Because that source is a Wikimedia Commons file page described as a discovery aid rather than an official museum record, the oil medium should be treated as a documented but not independently corroborated statement in the present evidence. No support type, ground, canvas weave, stretcher, primer or varnish is specified anywhere in the supplied units, and none should be inferred from the reproduction alone. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] #### What the Materials Evidence Supports Claim ID: archive-4be8ee038bd84f9d3d12. Evidence: interpretation. Taken together, the evidence supports a limited but useful account of how the picture was made. The documented oil medium and the described thick, dabbed handling of the stones, the swirling darker strokes of the boulder, the palette of yellow, pink, turquoise, ochre and violet, and the reddish signature at lower left form a consistent picture of a small, directly painted coastal scene in which surface touch carries much of the visual interest. The qualifying point is evidential rather than aesthetic: every statement about technique here derives from viewing and from a secondary descriptive record, not from sampling, cross-section or imaging, so questions of ground preparation, pigment identification and layer structure remain open. Within a larger history of materials, that gap is itself informative, since it shows how much of a painting's making can be described from its surface and how much still depends on technical study the present record does not include. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-materials-technique-1. Evidence: materials_technique. The medium is oil. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] ### Collection and display Research section ID: collection. #### The Object and Its Recorded Display Claim ID: fact5. Evidence: documented. Wassily Kandinsky's oil painting Binz on Rugen is dated 1901 and measures 33 by 24 cm. The Wikimedia Commons file record consulted for this account states that the work is in the collection of Christie's, New York City, United States. That single collection statement is the whole of the display history supplied here: no accession number, gallery installation, loan, or exhibition history accompanies it, and the Commons page is described as a discovery aid rather than an official museum record. Any account of how the picture has been shown must therefore begin and end with the reported Christie's, New York location, treated as a documented but thinly sourced fact rather than as a fully traced provenance. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: fact5-2. Evidence: documented. The same record supplies the descriptive claims that would allow the painting to be identified and compared across collections: the medium is oil, the subject is a scene at Binz on the island of Rügen, Germany, and a reddish signature is visible at the lower left against the yellow ground, supporting the attribution to Kandinsky. The signature is the only internal mark of authorship noted, and it is reported rather than independently examined here. The title, date, medium, dimensions, and collection statement all come from one Commons file page consulted only in part, so they stand as a coherent but single-sourced set of identification data for an object whose physical whereabouts are otherwise undocumented in the supplied evidence. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] #### What the Image Shows Claim ID: fact5-3. Evidence: documented. The recorded visual description places a solitary figure in a yellow hat and pink top at the shoreline, seen from behind and facing the water. In the foreground a large rounded boulder is painted with swirling dark blue, black, and brown strokes that contrast with the bright stones around it, while a dense field of blue, red, pink, ochre, and white stones is rendered in thick dabs that create an animated surface rhythm and reveal the artist's handling of color. Across a turquoise bay a dark, wooded headland with exposed ochre and violet cliff faces identifies the coastal setting and frames the horizon. These observations describe the composition as seen in reproduction; they do not by themselves establish when or where the canvas was made or how it entered the Christie's collection. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: fact5-4. Evidence: interpretation. Read together, the signature at the lower left and the described scene at Binz support the identification of the work as Kandinsky's 1901 view of the Rügen coast, but the descriptive and the documentary evidence answer different questions. The scene and the mark of the brush describe what the painted surface contains; the collection statement describes where the object is reported to be held. Neither confirms the other, and neither supplies an owner, a sale, or a date of acquisition. The value of the record for a history of collecting lies precisely in this gap: it documents the picture's presence in a Christie's, New York context while leaving the route by which it arrived there unrecorded. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-collection-1. Evidence: collection. The painting is in the collection of Christie's, New York City, United States. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] ### Documented values and qualified estimates Research section ID: values. #### The Identification Base Claim ID: valuation-calculated-insurance. Evidence: interpretation. The Wikimedia Commons file page that supplies this painting's core identification describes an oil painting by Wassily Kandinsky titled Binz on Rugen, dated 1901, measuring 33 by 24 cm, and lists Christie's, New York City, United States, as the holding collection. The same page identifies the subject as a scene at Binz on the island of Rügen, Germany, and records a reddish signature at the lower left against the yellow ground, which the page treats as supporting the attribution. This is the only primary evidence unit supplied for the section, and it is a discovery aid rather than an official museum or auction-house record: the annotation characterizes artist, title, date, and collection status as resting on that kind of page. Any account of the work's value has to begin from these identification facts, because they are precisely the facts an appraisal would need to confirm. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: valuation-calculated-insurance-2. Evidence: interpretation. The calculation states plainly what it is. Its working insurance range is US$1.5 million to US$5 million, recorded as a working calculation generated on 2026-10-30. It describes itself as a broad, conservative order-of-magnitude range prepared for manual review, explicitly not a comparable-sales derivation. It is not an official insurance value, not an appraisal, not an auction estimate or result, and not a sale price. The model-generated document also states that the supplied source gives no transaction, estimate, acquisition, or valuation figure, and that no market data, provenance, condition record, or official Christie's record was supplied. The range is therefore deliberately wide and anchored only to broad attributes of the work rather than to any transaction. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: valuation-calculated-insurance-3. Evidence: interpretation. The factors the calculation says it used are worth separating from the factors it says it lacked. On the side of support, the document names an early 1901 oil by Kandinsky, described as a major modern artist; a small scale of 33 by 24 cm; a Post-Impressionist beach subject at Binz on Rügen; and the reddish signature at lower left. On the side of absence, it records no comparable sales, no provenance, no condition assessment, and no private insurance records. It also flags medium confidence for artist, title, date, and collection status, noting possible alternate titles such as Beach of Rugen. The range should be read as an order-of-magnitude placeholder shaped by those named attributes, not as a market measurement of them. Whether a small early oil on canvas by a major artist commands the low or high end of such a bracket is exactly the question the missing comparable data would answer. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] #### Status of the Figure Claim ID: valuation-calculated-insurance-4. Evidence: interpretation. The document's own remedy is explicit: the working range should be replaced by a documented appraisal or official insurance schedule before use, and confirmed through a qualified appraiser together with documented condition and provenance review. Read within the framework of an accumulating research archive, the valuation unit is best understood as a record of process rather than a statement about the painting's worth. It documents the fact that, at the time of compilation, no official valuation evidence had been assembled, and it preserves the assumptions that would have to be tested. As with any such working figure, documentation should supersede the estimate rather than supplement it when it arrives. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] Claim ID: legacy-reference-values-1. Evidence: calculated_insurance. Calculated working insurance estimate, not a sale price: Working insurance range: US$1.5M to US$5M Recorded date: Working calculation, generated 2026-10-30. Methodology: This is a broad, conservative order-of-magnitude working range for manual review, not a comparable-sales derivation. It reflects only the confirmed excerpt context: an early (1901) oil painting by Wassily Kandinsky, a major modern artist, at a small scale of 33 x 24 cm, showing a Post-Impressionist beach scene at Binz on Rugen, with a reddish signature at lower left. The Wikimedia Commons excerpt lists Christie's as the holding collection and references wassilykandinsky.net, but it provides no transaction, estimate, acquisition, or valuation figure. Because no market data, provenance, condition record, or official Christie's record was supplied, the range is intentionally wide and anchored only to the artist's significance, the early date, the oil medium, and the modest scale. It should be replaced by a documented appraisal or official insurance schedule before use. Qualification: This is a model-generated working insurance range for manual review only. It is not an official insurance value, an appraisal, an auction estimate or result, or a sale price. The supplied source is a discovery aid and not an official museum or Christie's record; artist, title, date, and collection status are at medium confidence with possible alternate titles such as Beach of Rugen. No comparable sales, provenance, condition, or private insurance records were available, and no claim is made to such data. Confirm through a qualified appraiser and documented condition and provenance review. Source IDs: source-1. - [Wikimedia Commons: Binz on Rugen, 1901, n.d.](https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg) [source-1] ## Books for further reading Amazon links are paid links. As an Amazon Associate I earn from qualifying purchases. ### Kandinsky: Russian and Bauhaus years, 1915-1933. Wassily Kandinsky, 1983. Solomon R. Guggenheim Museum A Kandinsky exhibition catalogue with subject headings covering his paintings, themes and motives, and criticism and interpretation. It is the closest object-specific, scholarly treatment of Kandinsky's work among the candidates and could contextualize an early coastal oil such as Binz on Rugen, though its contents cannot be assumed. Bibliography source ID: book-ol3188680m. ISBN: 0892070447 [Find book on Amazon.co.uk](https://www.amazon.co.uk/s?k=0892070447&tag=artifactarchi-21) Cover provenance: https://openlibrary.org/books/OL3188680M ### Kandinsky, complete writings on art Wassily Kandinsky, 1982. G.K. Hall Recorded as Kandinsky's complete writings on art, which would include the artist's own statements relevant to his early painting practice and color handling visible in the Binz on Rugen shoreline and stone passage. Relevance rests on the artist as author and subject, not on any verified mention of this 1901 painting. Bibliography source ID: book-ol4266830m. ISBN: 0805799508 [Find book on Amazon.co.uk](https://www.amazon.co.uk/s?k=0805799508&tag=artifactarchi-21) Cover provenance: https://openlibrary.org/books/OL4266830M ## Sources and literature ### [source-1] Wikimedia Commons: Binz on Rugen, 1901 Wikimedia Commons: Binz on Rugen, 1901 (n.d.). Wikimedia Commons: Binz on Rugen, 1901. Wikimedia Commons. Available at: https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg Publisher: Wikimedia Commons. Type: secondary. URL: https://commons.wikimedia.org/wiki/File:Kandinski_binz-r%C3%BCgen.jpg Authors / editors: Not recorded. Publication year: Not recorded. Publication / journal: Wikimedia Commons: Binz on Rugen, 1901 Language: en Consultation status: partially_consulted. Access status: open_access. Relevance: artwork. Archive annotation: Wikimedia Commons file page providing title, artist, date, medium, dimensions, collection, and visual description. A discovery aid, not an official museum record. ### [book-ol3188680m] Kandinsky: Russian and Bauhaus years, 1915-1933. Wassily Kandinsky (1983). Kandinsky: Russian and Bauhaus years, 1915-1933. Solomon R. Guggenheim Museum. ISBN: 0892070447. Available at: https://openlibrary.org/books/OL3188680M Publisher: Solomon R. Guggenheim Museum. Type: book. URL: https://openlibrary.org/books/OL3188680M Authors / editors: Wassily Kandinsky. Publication year: 1983. ISBN: 0892070447 Consultation status: not_yet_consulted. Archive annotation: A Kandinsky exhibition catalogue with subject headings covering his paintings, themes and motives, and criticism and interpretation. It is the closest object-specific, scholarly treatment of Kandinsky's work among the candidates and could contextualize an early coastal oil such as Binz on Rugen, though its contents cannot be assumed. ### [book-ol4266830m] Kandinsky, complete writings on art Wassily Kandinsky (1982). Kandinsky, complete writings on art. G.K. Hall. ISBN: 0805799508. Available at: https://openlibrary.org/books/OL4266830M Publisher: G.K. Hall. Type: book. URL: https://openlibrary.org/books/OL4266830M Authors / editors: Wassily Kandinsky. Publication year: 1982. ISBN: 0805799508 Consultation status: not_yet_consulted. Archive annotation: Recorded as Kandinsky's complete writings on art, which would include the artist's own statements relevant to his early painting practice and color handling visible in the Binz on Rugen shoreline and stone passage. Relevance rests on the artist as author and subject, not on any verified mention of this 1901 painting. ## Editorial note Published automatically by Artifact Archive. No human editorial review. ## Coverage and revisions Recorded scope: This record brings together the supplied object-specific evidence and literature. Its citations identify the sources supporting each account. Scope updated on: 2026-10-30 Bibliography entries held: 3. Literature coverage is accumulating. Finding or cataloguing a publication does not mean it has been consulted. A missing consultation status is not recorded. The record does not claim that all literature has been found. Editorial review date: 2026-10-30. ## Product range [Browse ArtifactArchive's current product range](https://www.artifact-archive.com/shop). [This artwork's editions and availability](https://www.artifact-archive.com/archive/binz-on-rugen-wassily-kandinsky-1901#prints). 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