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Frida Kahlo

(1907 -  1954 ) Wikipedia® : Frida Kahlo
KAHLO Frida Portfolio

Dec 1, 2016
Find artworks, auction results, sale prices and pictures of Frida Kahlo at auctions worldwide.
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Artworks in Arcadja

Some works of Frida Kahlo

Extracted between 56 works in the catalog of Arcadja
Frida Kahlo - Self Portrait

Frida Kahlo - Self Portrait



Lot number: 86
Lot # : 86 - Frida Kahlo Mexican 1907-1954 Mixed Media Portrait Mixed media on board, self portrait. Signed and attr. Frida Kahlo (Mexican, 1907-1954) on upper left corner. 9.75 x 7.5 in (24.8 x 19.1 cm). Julien Levy gallery label on verso. Frida Kahlo\’s life has become as iconic as her work, in no small part because she was her own most popular subject: roughly one third of her entire oeuvre is self-portraits. Her works were intensely personal and political, often reflecting her turbulent personal life, her illness, and her relationship with the revolutionary muralist Diego Rivera. Kahlo dedicated her life and her art to the Mexican Revolution and the simultaneous artistic renaissance it engendered. Her style of painting has been widely categorized; Rivera considered her a realist, while André Breton considered her a Surrealist, and Kahlo eschewed labels entirely. \“I paint my own reality,\” she wrote. \“The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration.\” She identified most strongly with Mexican popular and folk art, also evidenced in her habit of dressing elaborately in Tehuana costumes. PROVENANCE: Acquired by a private collector. Acquired from the above (Upper New York Estate).
Frida Kahlo - Portfolio

Frida Kahlo - Portfolio

Original 1944
Starting price:


Lot number: 40
Lot 40: Leo Matiz, Frida Kahlo, Portfolio, 1944-46

Portfolio comprising 11 pigment prints on wove paper; posthumous prints Leo Matiz (1917-1998) – Colombian photographer Each numbered ‘3/40’ in pencil, each signed by the artist’s daughter ‘a. matiz’ and partly inscribed/dated in pencil Published by Alejandra Matiz, Leo Matiz Foundation, Bogotá, Colombia (with their blindstamp) Image dimensions: each 10 x 9.1 cm; sheet dimensions: 15.5 x 10.5 cm In fabric-covered portfolio box: 17 x 11.5 x 2.5 cm Provenance: Private collection, Eastern Germany The 11 small pigment prints, of which nine are depicting the Mexican painter Frida Kahlo and one each her husband Diego Riviera and both artists together, are contained in a portfolio box that is with the fabric of a "rebozo" in reference to Frida Kahlo. This typical Mexican shawl was worn by the artist, too.Condition:The 11 pigment prints as well as the fabric-covered portfolio box are in very good condition.Leo Matiz (1917-1998)Leo Matiz was born in Aracataca, Colombia. As a teenager, he worked for a newspaper in Bogotà, where he became acquainted with the life of the Bohème. He drew cartoons, began to photograph and earned a recognition as a photojournalist. He traveled extensively and met numerous artists. He was especially friendly with Frieda Kahlo and Diego Riveras. (fea) Auctionata charges the resale rights tax pursuant to Section 26 of the German Copyright Act (UrhG) towards the buyer in case of the sale of an original work of art or photography prior to 70 years having lapsed since the death of their creator. Therefore, Auctionata charges when purchasing a good – if a protection as an original work of art or photography is given – starting from a hammer price of EUR 400 an additional amount, which is calculated according to Section 26 (2) German Copyright Act (UrhG) and which does not exceed the amount of EUR 12,500. You can find more information about resale rights tax in Auctionata´s table of fees and T&C.
Frida Kahlo - Dos Desnudos En El Bosque

Frida Kahlo - Dos Desnudos En El Bosque

Original 1939


Gross Price
Lot number: 21C
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


Dolores del Río, Mexico (gift from the artist).
Lewis A. Riley, Newport Beach, California (by descent from the above,

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


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,

New York, 2011, p. 119 (illustrated).


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
Starting price:


Lot number: 6347

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


Lot number: 45
Frida Kahlo



signed and dated AGOSTO 1929 upper left

oil on canvas

24 by 18 in.

60 by 47 cm

Read Condition Report Read Condition Report

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Saleroom Notice


Commissioned by Salomon Hale, Mexico

Miriam Penansky, Chicago

Gift of the above to the previous owner

Thence by descent

Private Collection, Chicago


Rome, Scuderie del Quirinale, Frida Kahlo, March 20 – August 31, 2014, p. 26, illustrated in color


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.
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