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Frida Kahlo

(1907 -  1954 ) Wikipedia® : Frida Kahlo
KAHLO Frida Frida Con Señor Y Niño.

Galerias Louis C. Morton /Jul 10, 2013
181.42 - 241.90
Not Sold

Find artworks, auction results, sale prices and pictures of Frida Kahlo at auctions worldwide.
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Variants on Artist's name :

Frida

 

Artworks in Arcadja
40

Some works of Frida Kahlo

Extracted between 40 works in the catalog of Arcadja
Frida Kahlo - Dos Desnudos En El Bosque

Frida Kahlo - Dos Desnudos En El Bosque

Original 1939
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Gross Price
Lot number: 21C
Other WORKS AT AUCTION
Description:
Frida Kahlo (1907-1954) Dos desnudos en el bosque (La tierra misma) signed and dated 'FRIDA KAHLO 1939' (lower right) oil on metal 9 7/8 x 11 7/8 in. (25 x 30.2 cm.) Painted in 1939 Provenance Dolores del Río, Mexico (gift from the artist). Lewis A. Riley, Newport Beach, California (by descent from the above, circa 1983); Christie's, New York, 21 November 1989, lot 17. Mary-Anne Martin/Fine Art, New York (acquired at the above sale). Acquired from the above by the present owner. Saleroom Notice Please note this painting has been requested on loan by the Philadelphia Museum of Art for the upcoming exhibition, Paint the Revolution: Mexican Modernism, 1910-1950, scheduled to open in October 2016 and travelling to the Palacio de Bellas Artes, Mexico City in 2017. Pre-Lot Text Property of a Distinguished American Collection Literature I. Buck, Frida Kahlo in Courage, Berlin, vol. 7, no. 4, April 1982, p. 27 (illustrated). H. Herrera, Frida, A Biography of Frida Kahlo, New York, Harper & Row, 1983, p. 198 (Illustrated). W. Chadwick, Women Artists and the Surrealist Movement , Boston, London and New York, 1985, p. 127 (illustrated). M. Zamora, Frida el pincel de la angustia , Mexico City, 1987, p. 307 (illustrated). E. Bartra, Mujer, ideologi´a y arte: ideologi´a y poli´tica en Frida Kahlo y Diego Rivera, Barcelona, 1987 (illustrated). H. Prignitz-Poda, et. al., Frida Kahlo: Das Gesamtwerk , Frankfurt am main, 1988, p. 151, no. 69 (illustrated in color). M. Zamora, trans. M.S. Smith, Frida Kahlo: The Brush of Anguish, San Francisco, 1990, p. 67 (illustrated in color). H. Herrera, Frida Kahlo: The Paintings , New York, 1991, p. 127 (illustrated). A. Kettenmann, Frida Kahlo: 1907-1954, Leid und Leidenschaft , Cologne, 1992, p. 56 (illustrated in color). E. Herausgegeben, Das Blaue Haus, Die Welt Der Frida Kahlo , Frankfurt, Schirn Kunsthalle, 1993, p. 127, no. 43 (illustrated in color). M. Weller, "I Paint My Own Reality" Frida Kahlo , San Francisco, 1995, p. 37 (illustrated in color and in notecard). L. M. Lozano, Frida Kahlo, Mexico City, Spanish Edition, 2000, p. 154 (illustrated in color). L. M. Lozano, Frida Kahlo, Milan, Italian Edition, 2001, p. 154 (illustrated in color). H. Prignitz-Poda, Frida Kahlo: The Painter and Her Work , New York, Schirmer/Mosel, 2003, p. 133, no. 15 (illustrated in color). R. Casanova, et. al., Frida's Frida , Mexico City, Fomento Cultural Banamex, 2007, pp. 190-191 (illustrated in color). G. Souter, Kahlo, New York, 2011, p. 119 (illustrated). Exhibited Mexico City, Galería de Arte Contemporáneo, April 1953, no. 24. Chicago, Museum of Contemporary Art; La Jolla, Mandeville Art Gallery, University of California; Phoenix Art Museum; Austin, University Art Museum, The University of Texas; Houston, The Sarah Campbell Blaffer Gallery, University of Houston; and Purchase, The Neuberger Museum, State University of New York, Frida Kahlo (1910-1954) , January 1978–January 1979, p. 10 (illustrated). Madrid, Salas Pablo Ruiz Picasso, Frida Kahlo (1907-1954) , April–June 1985, p. 50 (illustrated). Paris, Printemps Haussmann, Frida Kahlo , February–March 1992, p. 32 (illustrated). Mexico City, Centro Cultural Arte Contemporáneo, Visión de mujeres-Europalia , October-December 1993. Madrid, Sala de Exposiciones de la Fundación “la Caixa” and Barcelona, Centre Cultural de la Fundació “la Caixa”, Tarsila do Amaral, Frida Kahlo, Amelia Peláez , February–July 1997, p. 130, no. 37 (illustrated in color). Martigny, Fondation Pierre Gianadda, Diego Rivera and Frida Kahlo , January-June 1998, no. 22. Tokyo, The Bunkamura Museum of Art; Osaka, Suntory Museum; Nagoya City Art Museum; and Kochi, The Museum of Art, Women Surrealists in Mexico , July 2003-February 2004, p. 81, no. 26 (illustrated in color). London, Tate Modern, Frida Kahlo , June–October 2005, p. 115, no. 27 (illustrated in color). Minneapolis, Walker Art Center; Philadelphia Museum of Art; and San Francisco Museum of Art, Frida Kahlo , October 2007–January 2008, p. 176, no. 38 (illustrated in color). Bronx, The New York Botanical Garden, Frida Kahlo: Art, Garden, Life , May-November 2015, p. 69, no. 6 (illustrated in color). View Lot Notes >
Frida Kahlo - Frida Kahlo

Frida Kahlo - Frida Kahlo

Original 1941
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Lot number: 6347
Other WORKS AT AUCTION
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Description: Rupert Garcia (American, b. 1941), "Frida Kahlo," 1990, exhibition poster for the show, "Rupert Garcia; Prints and Posters 1967-1990," at the California Palace of the Legion of Honor, 1991, screenprint in colors, image: 31.5"h x 20"w, sheet: 34"h x 22"w. Provenance: From the private collection of Jose Ramon Lerma (American, b. 1930)
Frida Kahlo - Portrait Of Miriam Penansky

Frida Kahlo - Portrait Of Miriam Penansky

Original 1929
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Lot number: 45
Other WORKS AT AUCTION
Description:
Frida Kahlo (1910-1954) PORTRAIT OF MIRIAM PENANSKY signed and dated AGOSTO 1929 upper left oil on canvas 24 by 18 in. 60 by 47 cm Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Commissioned by Salomon Hale, Mexico Miriam Penansky, Chicago Gift of the above to the previous owner Thence by descent Private Collection, Chicago Exhibited Rome, Scuderie del Quirinale, Frida Kahlo, March 20 – August 31, 2014, p. 26, illustrated in color Literature Salomon Grimberg, Jane C. H. Jacob, and Laurent Sozzani, “Two Frida Kahlo Portraits: One Found, One Confirmed”, IFAR Journal, vol. 14, no. 3, 2013, pp. 22-30, illustrated in color Miriam Penansky, the subject in this recently discovered portrait by Frida Kahlo, was the youngest child of Polish immigrants Evan Ginzburg and Charles Penansky. Born in Chicago in 1908, Miriam traveled to Mexico City in 1929 where she lived with her sister and brother in law, modern art collector Salomon Hale. As a prominent member of the Jewish community in Mexico City, it was Hale who introduced Miriam to Frida Kahlo. The two young women quickly developed an intimate friendship, now immortalized in this recently discovered painting. Once finished, Kahlo photographed the work and inscribed on the back the name "Salomón Hale." This photograph, filed in her personal photographic archive, would later become the key to confirming its existance. Portrait of Miriam Penansky is one of Frida Kahlo’’s earliest attempts at portraiture, the genre she would come to master as one of Mexico’’s most celebrated artists. Painted in 1929, the seminal year in which she married Diego Rivera and joined the Communist party, Portrait of Miriam Penansky encapsulates the beginnings of Kahlo’’s idiosyncratic style. Although she had only been painting for four years, one can already perceive the deeply introspective quality of her work. Equally present are the lessons learned from Mexican Muralism with its characteristic contours and bright colors —influences no doubt internalized through her relationship with Rivera. Once married, Kahlo’’s style continued to evolve. According to her, moving to Coyoacán had “a huge influence as she began making paintings with backgrounds and Mexican things in them.” (1) While she dedicated much of this time to accompanying Rivera on numerous commisions, she managed to complete two other important canvases in 1929: Time Flies and Woman in White, another recently discovered composition. While Kahlo was certainly an innovative artist, her art is not without pictorial sources. It is well known that Kahlo and Rivera shared an interest in Pre-Columbian sculpture and Mexican folk art. Less well-known however are the rich influences that nineteenth-century Mexican portraiture and Spanish colonial painting had in her early work. Kahlo’’s interest in retablo painting, particularly the ex-voto tradition of producing artworks as offerings or give thanks for miracles performed, is evident throughout her work. Another highly popular painting tradition in nineteenth-century Mexico was the very genre of portraiture, as demonstrated by the careers of artists such as José Maria Estrada (1811-62) and Hermenegildo Bustos (1832-1907). The portraiture of Bustos, in particular, was made to commemorate special occasions, and they possess a frankness and immediacy that provide an air of authenticity. Neither the sitters nor the artist appear pretentious, and it is this spirit and tradition that guide Kahlo in her portraits from 1930 to 1939. 1 Frida Kahlo, Song of Herself, Salomon Grimberg, New York, 2008, p. 75. Fig. 1 Frida Kahlo © 1931, 2014 The Imogen Cunningham Trust This work is still stretched on its original stretcher. The paint layer is stable. It shows very slight cracking throughout. Under ultraviolet light it is hard to identify any retouches, but there are 2 or 3 spots of retouch in the upper left – one above and to the right of the signature. The condition overall is good. The painting has been carefully cleaned and no further restoration is recommended. (This condition report has been provided courtesy of Simon Parkes Art Conservation, Inc.) In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Frida Kahlo - Frida Con Señor Y Niño.

Frida Kahlo - Frida Con Señor Y Niño.

Original
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Lot number: 58
Other WORKS AT AUCTION
Description:
Previous Lot Next Lot Click to enlarge Auction 676, Lot # 58 Kahlo, Frida. Ampliación fotográfica, blanco y negro. Frida con señor y niño. 1 x 1 m. Enmarcada. Estimado $3,000-4,000 Return to Catalogue Lot Inquiry Back
Frida Kahlo - Autorretrato En Miniatura

Frida Kahlo - Autorretrato En Miniatura

Original
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Lot number: 12
Other WORKS AT AUCTION
Description:
LOT 12 FRIDA KAHLO (1910-1954) AUTORRETRATO EN MINIATURA signed Mara and dedicated Para Bartoli con amor on thereverse oil on thin panel with tin border 800,000—1,200,000 USD measurements measurements 2 by 1 5/8 in. alternate measurements 5 by 4.2 cm Description signed Mara and dedicated Para Bartoli con amor on thereverse oil on thin panel with tin border PROVENANCE José Bartoli, New York (gift of the artist)Sale: Sotheby's, New York, Latin American Art, November 20, 2000,lot 11, illustrated in color EXHIBITED London, Tate Modern, Frida Kahlo, June 9-October 9, 2005Minneapolis, Walker Art Center, Frida Kahlo, October 27,2007-January 20, 2008; Philadelphia, Philadelphia Museum of Art,February 20-May 18, 2008; San Francisco, San Francisco Museum ofArt, June 16-September 28, 2008, no. 65, p. 211, illustrated incolor LITERATURE AND REFERENCES Hayden Herrera, Frida, A Biography of Frida Kahlo, New York,1983, p. 370Martha Zamora, El Pincel de la Angustia, Mexico City, 1987, p.385Helga Pringnitz-Poda, Salomon Grimberg and Andrea Kettenmann, FridaKahlo, Das Gesamtwerl, Frankfurt, 1988, p. 160, no. 114,illustrated in color, p. 257Hayden Herrera, Frida Kahlo, The Paintings, New York, 1991, p. 116,illustrated in color, p. 242, 254Hayden Herrera, Frida Kahlo, New York, 2007, no. 65, p. 211,illustrated in color CATALOGUE NOTE Frida Kahlo's oval Autorretrato en miniatura is thesmallest painting she ever made. It is also one of her mostpowerful. The power does not come, as it does in her portraits ofherself injured or in tears, from the urgency with which shepresents her predicament. Rather it comes from the force of herpresence. Within this tiny oval she has packed a charge of energythat brings to mind the Surrealist poet André Breton's descriptionof her art as "a ribbon around a bomb." Dressed fit to kill in a red Tehuana blouse, ornate silverearrings and an exotic necklace, Frida looks ready to take on theworld. Her sartorial choices had complex motives. When she marriedthe muralist Diego Rivera in 1929 she began to dress in nativeMexican costumes, in part to please her husband, in part to asserther Mexican identity and her allegiance to la raza , and inpart to hide her slight limp cause by a childhood bout with polioand a bus accident at the age of eighteen. No less important, sheloved the sensation her picturesque clothes made as she playedbeauty to Rivera's beast. Frida's long black hair, braided and pinned to her head, istopped by an outlandish bunch of poppy-like flowers with darkcenters. The flowers are arranged so that they look visceral. Inthe top center of the miniature Autorretrato en miniatura red petals come together to form a dark crevasse that suggestsfemale genitals. In Kahlo's work such fleshy flowers could signifypain or joy. In the case of the miniature, I believe they stand forpassion. The way Kahlo painted the flowers out onto the picture'sframe makes her presence immediate and palpable. She bursts out ofthe picture and into our space. That is where she wanted to be; unlike paintings in which Kahloconfronts the viewer (and her own self) with her sufferings, thistiny self-portrait had a happy purpose. It was almost certainlymade as a gift for a friend, but not necessarily for the friend,artist José Bartoli, to whom she finally gave it. Her self-portraitwas a substitute Frida that placed her close to someone she loved.In that way it recalls the oval photographic portraits of theVictorian era, especially to photographs which were inserted inlockets. Kahlo's photographer father must sometimes have taken suchportraits and, as his assistant, Kahlo must have learned to retouchthem. Some time in the mid-1940s Frida Kahlo gave this miniatureAutorretrato en miniatura to her lover, Catalonian artistJose Bartoli (1910-1995) who lived in Mexico from 1942 to 1946.Bartoli was handsome, intelligent, humorous, and passionatelypolitical. His voice was deep and soft; he is remembered as havingbeen e
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