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Mira Schendel

Brazil (1919 -  1988 )
SCHENDEL Mira Untitled

Sotheby's
Nov 22, 2016
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Along with Mira Schendel, our clients also searched for the following authors:
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Artworks in Arcadja
265

Some works of Mira Schendel

Extracted between 265 works in the catalog of Arcadja
Mira Schendel - Untitled (from The Series: Silver And Gold Small Squares/quadradinho De Oura E Prata)

Mira Schendel - Untitled (from The Series: Silver And Gold Small Squares/quadradinho De Oura E Prata)

Original 1982
Estimate:

Price:

Gross Price
Lot number: 3492
Other WORKS AT AUCTION
Description:
MIRA SCHENDEL (Zurich 1919 - 1988 São Paulo) Untitled (from the series: Silver and gold small squares/Quadradinho de oura e prata). 1982. Gold leaf, charcoal and oil on firm paper. Signed and dated lower right: Mira 82. 38 x 23.5 cm. Provenance: - Purchased from the artist, private collection Brasil. - By descent to the present owner, since then private collection USA. Born in Zurich in 1919 to a Jewish family of Italian-German origins, Myrrha Dagmar Dub grew up in Milan. The growth of Fascism in Europe forced her to flee first to Sofia in 1930 and then later to Sarajevo. In 1944 she returned to Italy and then emigrated to Brazil in 1949. Only then did the former philosophy student begin to dedicate herself to art. In Brazil in the 1950s there raged a passionate debate about the significance of art in a modern post war society. On the one side stood the defenders of figurative art, which was seen as the symbol of nationalism and revolution; on the other side were the supporters of abstraction, which was seen as a unique opportunity for the renewal of art after the experiences of the war. Mira Schendel was influenced by both sides, but in the end turned to neither group. Starting with figurative work, she turned again and again to abstraction, in which her distinct interest in materiality played a great role. Above all, for her the making of a work – the handmade element – represented a connection between the real world and the artist. The present work from 1982 powerfully demonstrates her love of experimentation, with the use of various types of paper, and the meaning of materiality within her work. Alongside Lygia Clark and Hélio Oiticica, Mira Schendel is one of the most important Brazilian artists of the second half of the 20th century.
Mira Schendel - Untitled

Mira Schendel - Untitled

Original 1972
Estimate:
Starting price:

Price:

Gross Price
Lot number: 3513
Other WORKS AT AUCTION
Description:
Description: MIRA SCHENDEL (Zurich 1919 - 1988 Sao Paulo) Untitled. 1972. Mixed media on paper, collaged. Signed and dated lower right: Mira 72. 48.7 x 25 cm. Provenance: - Purchased in 1980 in Brazil. - By descent to the present owner, since then private collection USA. Born in Zurich in 1919 to a Jewish family of Italian-German origins, Myrrha Dagmar Dub grew up in Milan. The growth of Fascism in Europe forced her to flee first to Sofia in 1930 and then later to Sarajevo. In 1944 she returned to Italy and then emigrated to Brazil in 1949. Only then did the former philosophy student begin to dedicate herself to art. In Brazil in the 1950s there raged a passionate debate about the significance of art in a modern post war society. On the one side stood the defenders of figurative art, which was seen as the symbol of nationalism and revolution; on the other side were the supporters of abstraction, which was seen as a unique opportunity for the renewal of art after the experiences of the war. Mira Schendel was influenced by both sides, but in the end turned to neither group. Starting with figurative work, she turned again and again to abstraction, in which her distinct interest in materiality played a great role. Above all, for her the making of a work – the handmade element – represented a connection between the real world and the artist. The present work from 1982 powerfully demonstrates her love of experimentation, with the use of various types of paper, and the meaning of materiality within her work. The present piece from 1972 is a fine example of her expert use \“of a reduced concrete formal language, in order to fathom the existential dimensions of emptiness, of the ephemeral and of stillness.\” (quote Philipp Meier, in: Neue Zürcher Zeitung, Südliche Spielarten, 19.12.2009). Alongside Lygia Clark and Hélio Oiticica, Mira Schendel is one of the most important Brazilian artists of the second half of the 20th century. --------------- MIRA SCHENDEL (Zürich 1919 - 1988 Sao Paulo) Ohne Titel. 1972. Mischtechnik auf Papier, collagiert. Unten rechts signiert und datiert: Mira 72. 48,7 x 25 cm. Provenienz: - 1980 in Brasilien erworben. - Durch Erbschaft an den heutigen Besitzer, seitdem Privatsammlung USA. 1919 in Zürich in eine jüdische Familie mit italienisch-deutschen Wurzel geboren, wächst Myrrha Dagmar Dub in Mailand auf. Der Faschismus in Europa zwingt sie 1939 zur Flucht erst nach Sofia und dann weiter nach Sarajevo. 1944 kehrt sie nach Italien zurück und wandert 1949 nach Braslien aus. Erst hier beginnt die ehemalige Philosophie-Studentin, sich der Kunst zu verschreiben. Im Brasilien der 1950er Jahre tobt eine leidenschaftliche Diskussion über den Stellenwert der Kunst in der modernen Nachkriegsgesellschaft. Auf der einen Seite stehen die Verfechter der figurativen Kunst, die als Symbol des Nationalimus und der Revolution gesehen wird; auf der anderen Seite die Anhänger der Abstraktion, die als einzige Möglichkeit gesehen wird, den Kunstbetrieb, auch nach den Erfahrungen des Krieges, zu erneuern. Mira Schendel wird von beiden Seiten beeinflusst, wendet sich aber letztendlich keiner Gruppe zu. Beginnend mit figurativen Werken widmet sie sich immer mehr der Abstraktion, wobei ihr ausgeprägtes Interesse an der Materialität eine grosse Rolle spielt. Darüberhinaus bedeutet für sie das „Machen\“ – die handwerkliche Arbeit also – eine Verbindung zwischen der realen Welt und dem Künstler. Die vorliegende Arbeit von 1972 ist exemplarisch für ihren meisterhaften Einsatz „einer reduzierten konkreten Formensprache, um die existenziellen Dimensionen der Leere, des Ephemeren und der Stille auszuloten\“ (zit. Philipp Meier, in: Neue Zürcher Zeitung, Südliche Spielarten, 19.12.2009). Neben Lygia Clark und Hélio Oiticica gehört Mira Schendel zu den bedeutendsten brasilianischen Künstlern der zweiten Hälfte des 20. Jahrhunderts.
Mira Schendel -  Untitled

Mira Schendel - Untitled

Original 1982
Estimate:
Starting price:

Price:

Gross Price
Lot number: 3517
Other WORKS AT AUCTION
Description:
Description: MIRA SCHENDEL (Zurich 1919 - 1988 Sao Paulo) Untitled (from the series: Silver and gold small squares/Quadradinho de oura e prata). 1982. Silver leaf, charcoal and oil on firm paper. Signed and dated lower right: Mira 82. 32 x 21 cm. The work is recorded in the Estate of Mira Schendel, New York. We thank the Estate for their kind support. Provenance: - Purchased directly from the artist in 1983 by the previous owner. - By descent to the present owner, since then privatly owned USA. Born in Zurich in 1919 to a Jewish family of Italian-German origins, Myrrha Dagmar Dub grew up in Milan. The growth of Fascism in Europe forced her to flee first to Sofia in 1930 and then later to Sarajevo. In 1944 she returned to Italy and then emigrated to Brazil in 1949. Only then did the former philosophy student begin to dedicate herself to art. In Brazil in the 1950s there raged a passionate debate about the significance of art in a modern post war society. On the one side stood the defenders of figurative art, which was seen as the symbol of nationalism and revolution; on the other side were the supporters of abstraction, which was seen as a unique opportunity for the renewal of art after the experiences of the war. Mira Schendel was influenced by both sides, but in the end turned to neither group. Starting with figurative work, she turned again and again to abstraction, in which her distinct interest in materiality played a great role. Above all, for her the making of a work – the handmade element – represented a connection between the real world and the artist. The present work from 1982 powerfully demonstrates her love of experimentation, with the use of various types of paper, and the meaning of materiality within her work. Alongside Lygia Clark and Hélio Oiticica, Mira Schendel is one of the most important Brazilian artists of the second half of the 20th century. --------------- MIRA SCHENDEL (Zürich 1919 - 1988 Sao Paulo) Ohne Titel (aus der Serie: Silver and gold small squares/Quadradinho de oura e prata). 1982. Blattsilber, Kohle und Öl auf festem Papier. Unten rechts signiert und datiert: Mira 82. 32 x 21 cm. Das Werk ist verzeichnet im Estate of Mira Schendel, New York. Wir danken dem Estate für die freundliche Unterstützung. Provenienz: - Vom Vorbesitzer 1983 direkt bei der Künstlerin erworben. - Durch Erbschaft an den heutigen Besitzer, seitdem Privatbesitz USA. 1919 in Zürich in eine jüdische Familie mit italienisch-deutschen Wurzeln geboren, wächst Myrrha Dagmar Dub in Mailand auf. Der zunehmende Faschismus in Europa zwingt sie 1939 zur Flucht erst nach Sofia und dann weiter nach Sarajevo. 1944 kehrt sie nach Italien zurück und wandert 1949 nach Braslien aus. Erst hier beginnt die ehemalige Philosophie-Studentin, sich der Kunst zu verschreiben. Im Brasilien der 1950er Jahre tobt eine leidenschaftliche Diskussion über den Stellenwert der Kunst in der modernen Nachkriegsgesellschaft. Auf der einen Seite stehen die Verfechter der figurativen Kunst, die als Symbol des Nationalimus und der Revolution gesehen wird; auf der anderen Seite die Anhänger der Abstraktion, die als einzige Möglichkeit gesehen wird, den Kunstbetrieb, auch nach den Erfahrungen des Krieges zu erneuern. Mira Schendel wird von beiden Seiten beeinflusst, tritt aber letztendlich keiner Gruppe bei. Beginnend mit figurativen Werken, wendet sie sich immer mehr der Abstraktion zu, wobei ihr ausgeprägtes Interesse an der Materialität eine grosse Rolle spielt. Darüberhinaus bedeutet für sie das „Machen“ – die handwerkliche Arbeit also – eine Verbindung zwischen der realen Welt und dem Künstler. Die vorliegende Arbeit von 1982 zeigt eindrucksvoll ihre Expertimentierfreude mit unterschiedlichen Papieren und die Bedeutung der Materialiät in ihrem Werk. Neben Lygia Clark und Hélio Oiticica gehört Mira Schendel zu den bedeutendsten brasilianischen Künstlern der zweiten Hälfte des 20. Jahrhunderts.
Mira Schendel - Senza Titolo

Mira Schendel - Senza Titolo

Original 1997
Estimate:

Price:

Gross Price
Lot number: 40
Other WORKS AT AUCTION
Description:
PROPERTY OF PATRICIA PHELPS DE CISNEROS, WITH 100% OF THE GROSS PROCEEDS TO BENEFIT THE PATRICIA PHELPS DE CISNEROS RESEARCH INSTITUTE FOR THE STUDY OF ART FROM LATIN AMERICA AT THE MUSEUM OF MODERN ART, NEW YORK Mira Schendel rice paper 26 1/4 by 10 1/4 by 6 3/16 in. 66.7 by 26 by 15.7 cm. Executed in 1966. Ada Clara Dub Schendel Bento,São Paulo Galleria Millan, São Paulo Acquired by the present owner from the above in 1997 Exhibited Los Angeles, The Museum of Contemporary Art, The Experimental Exercise of Freedom: Lygia Clark, Hélio Oiticica, Gego, Mathias Goeritz and Mira Schendel, October 1999 - January 2000 Cambridge, Fogg Art Museum,Geometric Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection, March - November 2001, p. 219, illustrated in color São Paulo, Museu de Arte Moderna de São Paulo; and Rio de Janeiro, Museu de Arte Moderna de Rio de Janeiro,Paralelos: Arte Brasileira da Segunda Metade do Século XX em Contexto: Collección Cisneros, March - September 2002, p. 85, illustrated in color (São Paulo), p. 58, illustrated in color (Caracas) Buenos Aires,Museo de Arte Latinoamericano de Buenos Aires; and Montevideo, Museo Nacional de Artes Visuales de Montevideo,Geo-metrías: Abstracción Geométrica Latinoamericana en la Colleción Cisneros,March - October2003, p. 99, illustrated in color (Buenos Aires), p. 56, p. 90, illustrated in color (Montevideo) Lima, Museo de Arte de Lima; Santiago de Chile, Museo de Bellas Artes de Santiago de Chile; and Bogotá, Museo de Arte Moderno de Bogotá,Diálogos: Arte Latinoamericano desde laColleción Cisneros, July 2004 - June 2005, p. 129 (text) Ciudad de México, Museo del Palacio de Bellas Artes,Cruce de Miradas: Visiones de América Latina en la Colleción Patricia Phelps de Cisneros, August - October 2006, p. 124, illustrated in color, and pp. 125-126 (text) Austin, Blanton Museum of Art,The Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros Collection, February - April2007, pp. 210-212, no. 45, illustrated in color, and pp. 322-323 (text) Kassel, Documenta Kassel, Documenta 12, June - September 2007, pp. 74-75, illustrated in color New York, The Museum of Modern Art, Tangled Alphabets: León Ferrari and Mira Schendel, April - June 2009, p. 113, illustrated in color Porto Alegre, Brazil, Fundação Iberê Camargo,Desenhar no Espaço: Artistas abstratos do Brasil e da Venezuela na Coleçáo Patricia Phelps de Cisneros, November 2010 - February 2011, p. 111, illustrated in color Madrid, Museo Nacional Centro de Arte Reina Sofía,Concrete Invention: Collección Patricia Phelps de Cisneros, Reflections on Geometric Abstraction from Latin America and its Legacy, January - September 2013, p. 163, illustrated in color London, Tate Modern,Mira Schendel, September 2013 - January 2014, p. 121, no. 89, illustrated in color Literature
Mira Schendel - Untitled

Mira Schendel - Untitled

Original 1963
Estimate:

Price:

Gross Price
Lot number: 39
Other WORKS AT AUCTION
Description:
Mira Schendel (1919-1988)

UNTITLED

signed and dated 1963 on the reverse mixed media on masonite 47 3/4 by 23 3/4 in. 121 by 60 cm

Provenance

Galeria de Arte Paula Vasconcellos, São Paulo Acquired from the above, 1988 Sale: Sotheby's, New York, Latin American Art, May 28, 2013, lot 37, illustrated in color Private Collection, New York

Catalogue Note

Beginning in 1962, Mira Schendel turned her attention to painting. Executed in oil and tempera mixed with sand, polymer, and plaster, this shortly lived and yet highly accomplished series presents a compelling group of monochromatic works. Given their intensely textural and saturated surfaces painted in earthy tones, these subdued compositions seem to materialize Schendel's intellectual quest for abstraction. Untitled (1963) is an exemplary work from this series wherein organic shapes reminiscent of the "void" transcend into primal forms of expression. Writing about this body of work first exhibited at Galeria de Arte São Luiz in São Paulo in 1963, Mario Pedrosa noted: "Formerly, the line which divided the rectangle into multiple or successive, repetitive, regular shapes also divided it into figure and background. Its rectangular shapes stood out, here and there, so that the rest of the picture served as a backdrop. Form left off being form, living form, plastic form, in order to be composite form. As for color, it is no longer circumscribed and one does not distinguish it; it is even less than a nuance, it is material. This goes on to act as presence, not only because of its more evident and quantifiable property, that of extension, but because of the especially sensitive quality of intensity. The concretism thickens, and gains another dimension, that of a subjective expressiveness, with real emotional impact." (1) (1) No vazio do mundo, Mira Schendel, Galeria de Arte do SESI, São Paulo, 1996, p. 87

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