Sotheby's /May 28, 2014
€291,651.48 - €437,477.21
Artworks in Arcadja592
Some works of Diego RiveraExtracted between 592 works in the catalog of Arcadja
Other WORKS AT AUCTION
DIEGO RIVERA Fruits of Labor. Lithograph, 1932. 417x298 mm; 16 1/2x1 3/4 inches, full margins. Signed, dated and numbered 72/100 in pencil, lower margin. A superb impression of this very scarce, important lithograph. Diego Rivera (1886-1957), the painter who helped establish the Mexico Mural Movement and was a leading figure in Social Realism, was born in Guanajuato in North-Central Mexico. His well-to-do family encouraged Rivera's artistic avidity from a young age; his parents installed chalkboards and canvases around the house after coming home one afternoon to find the walls covered in their toddler's drawings. In 1897, Rivera began studying at the oldest art school in Latin America, the Academy of San Carlos in Mexico City (now the Escuela Nacional de Bellas Artes). He stayed until 1907 (three years before the start of the Mexican Revolution) at which point Rivera left for Europe to continue his studies. Rivera spent the better part of the next 14 years abroad, mainly in Paris, where he was deeply involved in the thriving avant-garde art scene. Rivera was submerged in the artistic circle in Montparnasse and was good friends with Modigliani, who painted several portraits of him in 1914.. Despite being away from Mexico, Rivera intently followed the political situation at home. The Mexican Revolution officially ended in 1920, after a decade of bloodshed and political upheaval. The new government, led by Álvaro Obregón, decided to utilize art as a vehicle to unify society and promote their values of equality. Rivera was recruited for this effort; he was asked by the government to first take a tour Italy to study Renaissance frescoes (this classical influence is easily detected in his work) and then to return to Mexico as a muralist. The country's Minister of Education commissioned local artists, among them Rivera, to create murals around Mexico City to celebrate the lives of the working class and the indigenous people. Rivera embraced the projects and, as a result of them, quickly gained recognition and prominence as a leading muralist in Mexico.. Simultaneously, Rivera was garnering the attention of the Soviet Union for his outspoken support of Communism. In 1928, while in Russia on an invitation from the government, Rivera met and befriended Alfred J. Barr, future director of the Museum of Modern Art. This friendship, as well as the admiration and patronage of Abby Aldrich Rockefeller, an avid collector of his work and one of the founding members of the museum, helped led to Rivera's one-man show at MoMA in 1931, an event that brought the artist into the American mainstream. The show was the museum's second solo exhibition, after only Matisse's, since the museum's 1929 inception. Rivera created five "portable murals" specifically for the exhibition, completing them in the six weeks between his arrival in the city and the exhibition's opening. The show caused a buzz with the press and was a huge hit with the public, solidifying Rivera's status in America. His work was so well received that he completed three additional murals of New York scenes after the show's opening and received numerous additional mural commissions across America (notably the Detroit Industry Murals, 1932-33, for the Ford Motor Company). Carl Zigrosser, director of the Weyhe Gallery and advocate of modern Mexican art, met the artist while Rivera was in New York for his MoMA show. Zigrosser recognized the artist's rising popularity and encouraged Rivera to embrace lithography as a way to make money and disseminate his art. Imagery used in his murals inspired (and in some cases was replicated in) his prints, such as meditations on his heritage and identity, Mexican history, political strife, and the celebration of the working class. Rivera also made several intimate portraits of his then-wife, Frida Kahlo. The artist created only fourteen prints in his entire career, mainly lithographs published by the Weyhe Gallery, as well as one linoleum cut in the late 1930s in Mexico.
Auction: Skinner -Sep 19, 2014 - BostonLot number: 592
Other WORKS AT AUCTION
Diego Rivera (Mexican, 1886-1957) Portrait of a Woman Holding a Child, Possibly The Mexican Mart Signed and dated "Diego Rivera 1934" l.r. Watercolor and conté crayon on Japan paper, sheet size approx. 15 x 11 in. (38.1 x 27.9 cm), framed. Condition: Subtle rippling/paper irregularities, sandwiched between window mat and backing sheet. Provenance: Collection of David L. Neumann (b. 1902), long-time Santa Fe dealer and scholar on Navajo turquoise, Navajo silversmithing, and American Spanish Colonial crafts. Following his graduation from the University of Michigan in 1925, Neumann attended the Académie Julian and resided in Paris's Montparnasse. Around 1928, Neumann returned to the United States, where he traveled extensively through the American Southwest, trading on reservations and in Mexico in the 1930s and 1940s. From 1932 to 1954, Neumann contributed a series of articles to the venerable El Palacio magazine on the status of Navajo Indian silverwork. Photographer Manuel Álvarez Bravo documented the work of Mexican mural painters including Diego Rivera. While the subject of the present work is unknown, it may depict a patron at Neumann's retail shop in Miami, Florida, called "The Mexican Mart," which he operated from the early to mid-1930s. N.B. Eight gelatin silver prints (seven by Bravo, two stamped and five unstamped) including one depicting the present work inscribed "Mr. David Newman [ sic ]--/'The Mexican Mart' Oct-9-34." on the reverse, accompany the lot. The edges of the sheet are not visible as the front mat is affixed to the backing mat all the way around, although the sheet itself is rippled so it is not laid down. There are no other issues to report. All seven of the photographs by Bravo depict Diego Rivera works; the eighth photograph by an unidentified photographer depicts a work by Carlos Camarra.
Other WORKS AT AUCTION
PROPERTY FROM THE COLLECTION OF CEIL AND MICHAEL PULITZER Diego Rivera Turkey Market, circa 1935 watercolor on rice paper 15 x 10 7/8 in. (38.1 x 27.6 cm.) Signed "Diego Rivera" upper edge. Provenance Mary-Anne Martin Fine Art, New York Acquired from the above by the present owner, 2005 "The earliest memory I have is that I was drawing ." Diego Rivera One of the greatest Mexican artists of the Twentieth century, Diego Rivera is widely celebrated as a seminal figure in Latin American Modernism. His dynamic compositions and vibrant palettes masterfully depict Mexico’’s native culture and landscape, frequently alluding to stark socioeconomic and political realities. During the artist’’s youth, his father worked as a government official, dealing with social reforms to help the working poor. His family’’s commitment to the plight of the working class was a major influence in Rivera’’s life, ultimately becoming the focus of his creative production. As a child, Rivera spent hours covering the walls of his home with drawings, foreshadowing the prolific artist he would become. He later attended the San Carlos Academy of Fine Arts in Mexico City and continued his education in Europe. During his time in Paris, Rivera was exposed to the avant-garde proposals of Piet Mondrian, Amadeo Modigliani and Pablo Picasso. Fascinated by Cubism, Rivera stated, "Everything about the movement fascinated and intrigued me. It was a revolutionary movement, questioning everything that had been said and done in art." After his return to Mexico, Rivera merged his interest in artistic innovation with his passion for furthering social change. The present lot, Turkey Market, 1935, exemplifies Rivera’’s move away from Cubism towards a realism that communicates the essence of his native Mexico, tinged with the socio-political concerns that he actively voiced throughout his life. His subject in Turkey Market is a woman carrying a child on her back while determinedly going about the business of the day. Her direct gaze and robust features convey a hard-working, dignified individual, noble in her determination to rise above the plight of her socio-economic conditions.
Auction: Sotheby's -May 28, 2014 - New YorkLot number: 41
Other WORKS AT AUCTION
We wish to thank Professor Luis-Martín Lozano for his kind assistance in confirming the authenticity of this lot. Provenance Acquired from the artist Estate of Emile Delobre, Alforteville (1964) Newton McMahan, New York (1964) Lerner-Heller, Gallery New York (1974) Private Collection, Caracas Sale: Sotheby's, New York, Latin American Art, November 20, 2000, lot 28, illustrated in color New York Private Collector Exhibited Phoenix, Phoenix Art Museum, March 9-April 29, 1984; New York, IBM Gallery of Science and Art, June 13-August 8, 1984; San Francisco, San Francisco Museum of Modern Art, September 27-November 11, 1984, Diego Rivera: The Cubist Years, no. 52, p. 118, illustrated PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION Diego Rivera (1886-1957) NATURALEZA MUERTA CON LIMONES signed and dated Paris 1916 on the reverse oil on canvas 11 1/4 by 15 in. 28.6 by 38.1 cm This oil on canvas has been reinforced around the edges, but is unlined nonetheless. The canvas is still slightly uneven, but the impasto is good and the paint layer is stable. The work is varnished and may be slightly dirty in places, but this conservative cleaning is welcome in this case. The varnish may be a little shiny, but the condition of the painting is certainly very good. No retouches are visible under ultraviolet light, except for possibly a few spots in the black section in the upper center. (This condition report has been provided courtesy of Simon Parkes Art Conservation, Inc.)
Auction: Christie's -May 28, 2014 - New YorkLot number: 82
Other WORKS AT AUCTION
Diego Rivera (Mexican 1886-1957) Man with Hat signed 'Diego Rivera' (upper left) charcoal and pastel on paper 24 3/8 x 19 in. (61.9 x 48.3 cm.) Mel Ferrer collection, Santa Barbara (acquired from the artist circa mid 1940s). Estate of Mel Ferrer, Santa Barbara. Mrs. Lisa Soukhotine-Ferrer, Santa Barbara (gifted from the above). PROPERTY FROM THE ESTATE OF LISA SOUKHOTINE-FERRER