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Some works sold by Aguttes

Le Pho - Maternité

Le Pho - Maternité

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Lot number: 3
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LE PHO (1907 - 2001) Maternité Encre et couleurs sur soie, signée en haut à droite 59.5 x 48 cm - 23 1/2 x 18 7/8 in. Ink and color on silk, signed upper right Mực nho và màu nước trên lụa, ký tên ở góc trên bên phải PROVENANCE XUẤT XỨ Collection privée, Paris B? s?u t?p t? nhân, Paris Acquis vers 1940 et transmis familialement depuis Par une construction en triangle digne des maîtres de la Renaissance, le peintre se réapproprie ici la thématique de la Vierge à l'Enfant. Toutefois, soucieux de se détacher d'une tradition trop académique, il baigne ce portrait d'une spontanéité nouvelle. Un vent de fraicheur semble parcourir la scène, écartant les rideaux et faisant s'envoler le voile maternel, avec une volonté presque impertinente de moderniser le sfumato italien. Répondant aux préceptes des enseignements classiques italiens, l'oeuvre convoque également à elle tout le lexique de l'iconographie asiatique. Disséminés à divers endroits de la scène, l'éventail, le bouquet ou encore le voile clair font de cette soie une oeuvre riche d'allusions aux origines vietnamiennes de l'artiste. In this pyramidal composition worthy of the masters of the Renaissance, Le Pho adopts the theme of the Virgin and Child. Turning away from overly academic traditions, he endows the portrait with fresh spontaneity. A cool breeze seems to blow through the scene, opening the curtains and making the Mother's veil lift, with an almost brash desire to modernize the Italian sfumato. Responding to the classical Italian precepts, the work also summons the repertoire of Asian iconography. Dispersed across various parts of the scene, the fan, the bouquet, and the light veil make this silk work rich with allusions to the artist's Vietnamese origins. Le Pho, son of the Viceroy of Tonkin, was a Vietnamese artist born in 1907. Showing a keen interest and precocious talent for painting and drawing, he attended the Superior Fine Arts School of Indochina, where, from 1925 to 1930, he was part of the first class under the direction of Victor Tardieu. He was taught by various professors, including Joseph Inguimberty. These two men were to have a profound influence on Le Pho's painting. Initiated to Western techniques like oil painting on canvas, he was nonetheless encouraged to maintain an Asian identity in terms of style and creative process, such as using lacquer or painting on silk. In 1931, Victor Tardieu, taken by the young Vietnamese artist's talent, chose Le Pho as his assistant for the Paris Colonial Exhibition. During this time, Le Pho traveled to several European cities. He spent time at the École des Beaux-Arts in Paris around 1932. Traveling across the Netherlands, Italy, and Belgium allowed him to gain knowledge of Western art traditions. Discovering the Belgian and Italian Primitives as well as the great masters of the Renaissance had a profound effect on the developments and maturation process of the young artist's style. In 1933, Le Pho returned to Vietnam where he became a professor at the Hanoi College of Fine Arts. On a trip to Beijing in 1934, he discovered traditional Chinese painting, Song and Ming in particular, which was a revelation. Le Pho returned to Paris in 1937, where he settled and lived until the end of his life. There he discovered the painting of Dufy and Bonnard as well as of Marquet and Matisse, to whom he was respectively introduced in 1941 and 1943. Endowed with an astonishing ability to absorb and assimilate, Le Pho created a very original synthetic form of art which continuously developed throughout his career. He slowly steered away from classical Chinese and Italian Renaissance traditions to assert his affinities with more recent artists such as the eminent figures of the French avant-garde that he met. The works presented here provide an eloquent journey among the artist's most wanted years.
Salvador Dali - Dix Recettes D'immortalité

Salvador Dali - Dix Recettes D'immortalité

Original 1973
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Lot number: 74
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SALVADOR DALI (1904-1989) Dix Recettes D'immortalité, 1973 11 Eau-forte, drypoint, heliogravure, certaines en couleurs ou réhaussées d'or, papier, métal, plastique... Recueil signé, contresigné, numéroté 177/210. Edition des Presses des Ateliers Rigal, Fontenay aux Roses, 15 mai 1973 39,29 cm x 57,5 cm Provenance: Acquis en 1979 et conservé depuis. Collection privée, Neuilly-sur-Seine Bibliographie: L. Löpsinger, R. Michler, Salvador Dali, catalogue raisonné de l'oeuvre gravé, 1956 à 1980, vol. II, Munich, Prestel, 1995, p. 567-577 A. Field, The Offi cial Catalogue of The Graphic Work of Salvador Dali, Astoria, Salvador Dali Archives, 1996, n° 73-20
Joseph Inguimberty - Rizière

Joseph Inguimberty - Rizière

Original 1928
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Lot number: 4
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JOSEPH INGUIMBERTY (1896-1971) Rizière, 1928 Huile sur toile, signée et datée en bas à droite 73 x 100 cm - 28 7/8 x 39 3/8 in Oil on canvas, signed and dated lower right Joseph Inguimberty est un peintre français, d'origine marseillaise. Dès 1910, il intègre l'école supérieure des Beaux-Arts de Mar­seille, puis l'école nationale supérieure des Arts Décoratifs de Paris, en 1913. Dans les années 20, il effectue un voyage en Europe et en Belgique, où il peint des scènes principalement liées au monde du travail. En 1925, il est nommé professeur en Indochine, où il enseigne la peinture à l'huile, à l'école des Beaux-Arts de Hanoï. Émerveillé par la décoration des temples, il s'initie également à la laque. Joseph Inguimberty est un artiste qui aime à peindre sur le motif, en plein air, à l'image des impressionnistes. Ses thèmes de prédilection sont généralement les paysages du delta, les rizières, ou encore les femmes tonkinoises. Dans ses compositions, les formes sont sim­plifiées, les couleurs cernées et posées en aplats au pinceau, voire au couteau. Enfin, les tonalités dominantes sont le vert et l'ocre. Dès son arrivée à Hanoï, l'artiste choisit de se tourner vers la peinture de paysage, et notamment, comme cela est le cas sur cette toile, des rizières, plates et infinies. Les per­sonnages, le paysage ainsi que les animaux sont traités dans la même manière. Bien que l'artiste parte d'une pure observation, il n'en demeure pas moins que le rendu obtenu laisse place à une certaine souplesse du geste. Finalement, en 1946, il revient en France et s'installe à Menton. Les sujets de sa peinture changent, il se plaît alors à peindre des pay­sages provençaux tels que les calanques de Marseille, l'arrière-pays mentonnais, ou encore les Alpilles. Joseph Inguimberty was a French painter born in Marseille. In 1910, he entered the Ecole Supérieure des Beaux-Arts de Mar­seille, and in 1913, the Ecole Nationale Supérieure des Arts Décoratifs in Paris. During the 1920s he travelled in Europe and Belgium, mainly painting scenes of working life. In 1925 he was appointed as a teacher in Indochina, where he taught oil painting at the Hanoi Fine Arts School. Wonderstruck by the decoration of the temples there, he also learned the lacquer technique. Inguimberty was an artist who loved to paint outdoors from life, like the Impressionists. His favourite themes were delta landscapes, paddy fields and Tonkinese women. In his compositions, the forms are simplified, and the colours are outlined and laid on flat with a brush, and sometimes a knife. The dominant shades are green and ochre. When he arrived in Hanoi, he decided to focus on landscapes, as with this painting of flat, endless paddy fields. He treated all the figures, countryside and animals in the same way. Although the artist based his work on pure observation, the rendering still left room for a certain flexibility in his approach. He finally returned to France in 1946, and went to live in Menton. The subjects of his painting changed, and were now focused on the landscapes of Provence, including the rocky inlets of Marseille, the hinterland of Menton, and the Alpilles.
John St. Helier Lander - Portrait De Stuart Iii, Âgé De 3 Ans

John St. Helier Lander - Portrait De Stuart Iii, Âgé De 3 Ans

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Lot number: 61
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JOHN ST HELIER LANDER (1868-1944) Portrait de Stuart III, âgé de 3 ans Huile sur toile signée en bas à droite Toile d'origine portant l'inscription au revers: 1912 Stuart Rappelye Wiltsee, son at age 3, Princesse Emily Di Bitetto, Cito - Filomarino Painted by John St Helier Lander, ROI 25 P.P, 14 Harley Gardens, South Kensington, London. 130 x 97 cm Petits accidents
San Yu - Femme Nue Assise

San Yu - Femme Nue Assise

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Lot number: 5
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SANYU (1901-1966) 常玉 Femme nue assise Encre sur papier, signée en bas à droite 26.8 x 44.2 cm - 10 1/2 in x 17 1/2 in Ink on paper, signed lower right PROVENANCE: Collection privée, Paris (acquis vers fin juin 1996) BIBLIOGRAPHIE: Wong Rita, L'inventaire des dessins, Index of drawing, The li Ching cultural and educational foundation, Taiwan, 2015, D0027 p.10 Sanyu is an Asian painter who left China early in the 20th century to complete his artistic training in Paris, the capital of the avantgarde. The initial years of artistic effervescence in Montparnasse having come to an end, Sanyu benefitted from the support of a number of western patron friends and mentors. Little known in his lifetime, he was neither prolific nor did he particularly seek to promote his work, so he was forgotten by the end of the 1960s. Thanks to works reappearing on the market over the last twenty years, the talent of Sanyu has recently been brought to light. His art now receives attention from critics, and collectors see in Sanyu an unparalleled synthesis of the sense of forms both from Asia and the West. A Chinese childhood Sanyu came from a wealthy family in Sichuan Province where, according to recent research, he was probably born in 1895. His father, an animal painter specialized in lions an dhorses, taught his son the rudiments of his art and allowed him to follow the teaching of Zhao Xi, the renowned calligrapher. Sanyu\’s older brother encouraged his passion and supported him financially when, after a brief stay in Japan and inspired by a spate of students choosing to travel to France, Sanyu moved to Paris to study art in 1921. In China, which was struggling with modernization, these young idealists imagined they could revolutionize Chinese art through exposure to the western painters of the avant-garde. They knew how to portray reality as it was, as it physically appeared, and as they felt it. This was very much theopposite to their country\’s ancestral traditions which for millennia had prefered journeys of the mind without leaving room for individual perceptions of reality. A young Chinese painter in Paris Upon arriving in 1921, Sanyu signed up for classes at the Académie de la Grande Chaumière, where he spent time with his Chinese comrades, in particular with Xu Beihong and his wife, in the early 1920s. Comfortable financially thanks to his older brother\’s support, he gradually loosened ties with his companions to dedicate his time to academic figure drawing classes. This demonstrated his interest in an iconic subject of western painting, toward which he sought to move closer. He applied the method of Chinese calligraphy, which consisted of reproducing one character until perfect mastery, and made manifold sketches with distinctly defined brushstrokes. From 1925 onward, he exhibited at the Salon d\’Automne (in 1925 and 1928) and sometimes in Parisian galleries. He made his first oil paintings in 1929, thereby achieving complete integration while his fellow countrymen often kept to rice paper, silk, ink, and calligraphy brushes.
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