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Maria Blanchard

Spain (1881 -  1932 )
BLANCHARD Maria Cartes

Christie's /Feb 8, 2012
96,333.32 - 144,499.98
159,593.52

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Variants on Artist's name :

Gutierrez Blanchard María

Blanchard Marí­a

 

Along with Maria Blanchard, our clients also searched for the following authors:
Maurice De Vlaminck, Raoul Dufy, Pablo Picasso, Henri Laurens, Edouard Vuillard, Jean Metzinger, Georges Braque
Artworks in Arcadja
71

Some works of Maria Blanchard

Extracted between 71 works in the catalog of Arcadja
Maria Blanchard - La Cuisiniére

Maria Blanchard - La Cuisiniére

Original 1923
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Lot number: 435
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Description:
María Blanchard (1881-1932) La cuisiniére signed ' M BLANCHARD ' (lower left) oil on canvas 39 3/8 x 29 1/8 in. (100 x 74 cm.) Painted in 1923 Provenance The estate of Gautrat de Lompré, Paris; sale, Tajan, Paris, 26 June 1986, lot 101. Private collection, Geneva. Musée du Petit-Palais, Geneva (inv. no. 14778). Private Collection, London, by whom acquired in November 2012. Literature L. Caffin Madaule, María Blanchard, catalogue raisonné, vol. I, London, 1992, pp. 119 & 252 (illustrated p. 252; dated '1924'). G. Balbona, 'María Blanchard' in Diario Montañés, Santander, 22 January 1998, p. 82. Exh. cat., María Blanchard, Malaga, March 1998, p. 8. M. J. Salazar, María Blanchard, catálogo razonado, pintura 1889-1932, Madrid, 2004, no. 136, p. 310 (illustrated p. 311). Exhibited Bilbao, Banco Bilbao Vizcaya, María Blanchard y otras individualistas del Cubismo, April - May 1989, p. 23 (illustrated). Pamplona, Castillo de Maya, María Blanchard, January - February 1998, p. 29 (illustrated). Madrid, Museo Nacional Centro de Arte Reina Sofia, María Blanchard, October 2012 - February 2013, pp. 92 & 194 (illustrated on both pages).
Maria Blanchard - Bodegón

Maria Blanchard - Bodegón

Original 1918
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Lot number: 54
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Maria Blanchard (1881-1935) Bodegón pencil on paper laid down on paper 30¼ x 24 7/8 in. (73.5 x 62 cm.) Executed in 1918 Edmund Peel Fine Art, Madrid. Acquired from the above by the present owner in 1988. The Property of a European Family Collection. L. Caffin Madaule, Catalogue raisonné des oeuvres de Maria Blanchard, London, 1992 (illustrated).
Maria Blanchard - Nu

Maria Blanchard - Nu

Original 1925
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Lot number: 184
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Lot Description Maria Blanchard (1881-1935) Nu signed 'MBLANCHARD (lower left) pastel on paper 31 3/8 x 22½ in. (79.8 x 57 cm.) Executed circa 1925 Provenance Private collection, Belgium, by whom acquired directly from the artist. Acquired from the above by the present owner in 2002. Literature L. Caffin-Madaule, Catalogue raisonné des oeuvres de Maria Blanchard, London, 1992, p. 297 (illustrated).
Maria Blanchard - Cartes

Maria Blanchard - Cartes

Original 1925
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Lot number: 488
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Description:
Maria Blanchard (1881-1935) La tireuse de cartes signed 'M BLANCHARD' (lower left) oil on canvas laid down on board 35¼ x 45 5/8 in. (89.4 x 115.7 cm.) Painted in 1925 Acquired by the grandfather of the present owner and thence by descent. THE PROPERTY OF A PRIVATE EUROPEAN COLLECTOR The present work is related to the 1925 work of the same title located in the Petit-Palais, Geneva. To be included in the forthcoming supplement to the Maria Blanchard catalogue raisonné being prepared by Mrs Liliane Caffin-Madaule.
Maria Blanchard - Femme Assise

Maria Blanchard - Femme Assise

Original 1917
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Lot number: 111
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Description:
Measurements 43 3/4 by 30 1/4 in. alternate measurements 111.2 by 77 cm DESCRIPTION Painted circa 1917. Signed M. Blanchard (lower left) Oil on canvas The authenticity of this work has been confirmed by LilianeCaffin Madaule. PROVENANCE Galerie Philippe Reichenbach, HoustonPrivate Collection, acquired from the above in 1960Thence by descent to the present owners CATALOGUE NOTE María Blanchard first met Juan Gris in Montparnasse in 1915 andwithin a year quickly adopted the Cubist idiom in her pictoriallexicon. At that time Gris introduced Blanchard to the milieu ofPicasso, Braque, Metzinger, and others. However, it was LéonceRosenberg who, in 1916, recognized Blanchard's talent and securedher financial future. "He was one of the famous art dealers, such as Durand-Ruel,Vollard, Kahnweiler, etc. He either gave me monthly arrears, orbought my paintings in advance, i.e. virtually the totality of myproduction. Don't forget that I worked slowly. The American buyers,such as Gertrude Stein and her brother, or Germans like WilhelmUhde, Russians with Tchoukine, and the often omitted Zborowski,Modigliani and Soutine's dealer, or again the Swiss Herman Ruff,did not visit my studio, which my painter friends were cautious notto tell him: i.e.: Gris, Rivera, Picasso and even Lhote" (LilianeCaffin Madaule, Catalogue raisonné des oeuvres de MaríaBlanchard , France, 2007, p. 49). However, if Rosenberg provided the financial support thatBlanchard required, it was Juan Gris who proved to be her artisticand emotional devotee. Blanchard states of her relationship withGris, "During several years, our friendship was like the symbiosisof our cubist style. I owe him a lot, but I think I gave him someform of sensibility in his rigor. "I knew [Gris] mainly since my last trip in 1915 thanks toJacques (Lipchitz) who was a close friend of his. In 1918, webecame more intimate. Gris was handsome with his very dark hair andskin, and very rare eyes with the whites having a blue hue; hisstub nose, thick black eyebrows reinforced the welcoming glance ofhis eyes, and full reassuring lips were like an offering. He wassuccessful with Rivera, but unlike Rivera, he know how to hide it.Our complicity fulfilled me" (op cit ., p. 50). "1916: I painted mainly on canvas and I still do, but at thattime Gris convinced me to paint on plywood. 'It's more solid andcheaper,' he said (letter of June 11, 1916). I have to admit toadmiring his work and vocation as a cubist from which he neverswerved. People used to say that he had become a cubist as onewould become a monk – all of this affected me, my head spun to thegreat benefit of my painting!... His influence in 1917, 1918, and1919 was a determining factor for my painting" (op. cit ., p.51). Confident in her ability to refract her subject matter withkaleidoscopic results, Femme assise is a textbook example ofSynthetic Cubism. Painted during Blanchard's apex working in thatgenre, the present work depicts a woman seated on a rattan chair infront of carved wainscoting that envelops the sitter from fourangles, whose vanishing points careen off the canvas. The thickapplication of paint and dizzying geometric patterns contribute tothe success of the composition. Devoid of breasts or other visualcues, the figure's shoulder-length hair and repeated floral patternin her dress are the only attributes that evidence the sitter'ssex. Fig. 1 María Blanchard, Sois sage - Jeanne d'Arc, circa1916-1917, Musée National d'Art Moderne, Centre GeorgesPompidou
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