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Some works sold by Aguttes

Edouard Jean Baptiste Detaille - Bonaparte En Egypte

Edouard Jean Baptiste Detaille - Bonaparte En Egypte

1908
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Lot number: 98
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Edouard DETAILLE (Paris 1848 - 1912) Bonaparte en Egypte en 1798 Toile 194 x 104cm Signé et daté en bas à droite Edouard Detaille 1908 Bonaparte in Egypt in 1798 Oil on canvas, signed on the lower right and dated 1908 194 x 107 cm (76,3 x 42,1 inches) PROVENANCE: Vente anonyme, Londres, Sotheby's, 19 novembre 2002, n° 201, reproduit.
Suzanne Eisendieck - Oliveraie Près De Peillon

Suzanne Eisendieck - Oliveraie Près De Peillon

Original
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Lot number: 2
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Suzanne EISENDIECK (1908-1998) *Oliveraie près de Peillon Huile sur toile, signée en bas à gauche, titrée au dos 54 x 73 cm - 21 x 28 3/4 in. Oil on canvas, signed lower left, titled on reverse PROVENANCE The Paris American Art Company, Paris Dominion Gallery, Montréal Collection privée, Canada
Le Pho - Maternité

Le Pho - Maternité

Original
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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.
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