Christie's /May 29, 2013
€113,713.90 - €151,618.53
Artworks in Arcadja312
Some works of Joaquin Torres-GarciaExtracted between 312 works in the catalog of Arcadja
Auction: Sotheby's -Nov 20, 2013 - New YorkLot number: 24
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This work will be included in the forthcoming Catalogue Raisonné being prepared by Cecilia de Torres listed as N o 1935.11. Gift from the artist, 1946 Private Collection, Italy Thence by descent to the present owner 24 Joaquín Torres-García (1874-1949) PINTURA CONSTRUCTIVA signed lower left and dated 35 lower right oil on cardboard 20 by 16 5/8 in. 50.5 by 42.5 cm Estimate 500,000 - 700,000 USD Print This work on a thin piece of artist board is unbroken and unreinforced on the reverse. The paint layer is probably slightly dirty but has not been cleaned. Beneath the R in the center right, there is a small dent in the board, which may have always been there but can be corrected. There are no losses. The work is unvarnished. There do not seem to be any retouches. This is a work which has been very carefully preserved, and it is recommended that it be framed behind glass to keep its pristine condition. (This condition report has been provided courtesy of Simon Parkes Art Conservation, Inc.)
Auction: Christie's -Nov 19, 2013 - New YorkLot number: 5
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Joaquín Torres-García (Uruguayan 1874-1949) Naturaleza muerta con olla y caja blanca signed with initials 'JTG' (lower left) and dated '47' (lower right) oil on cardboard 19 5/8 x 23½ in. (49.8 x 59.7 cm.) Painted in 1947. Estate of the artist, no.334. Ifigenia Torres, Montevideo. Private collection, Barcelona (acquired in 1973). E. Jardí, Torres García, Barcelona, Ediciones Polígrafa, 1973, p. 382 (illustrated in color). J. M. Faerna García-Bermejo, Joaquín Torres-García, Barcelona, Ediciones Polígrafa, 2002, no. 69 (illustrated). Barcelona, Dau al Set, Torres García (1874-1949): Exposición homenaje centenario de su nacimiento, February 1974, ills. no. 24. We are grateful to Cecilia de Torres for her assistance cataloguing this work.
Auction: Christie's -Nov 4, 2013 - New YorkLot number: 25
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Lot Description Joaquín Torres-García (1874-1949) Composition signed with initials 'JTG' (lower left) and dated '29' (lower center) oil on board 15½ x 10¾ in. (39.5 x 27.3 cm.) painted in 1929 Provenance Primo Conti collection. Private collection, Forte dei Marmi. Private collection, Italy (by descent from the above); sale, Christie's, New York, 21 November 2006, lot 10. Jan Krugier, acquired at the above sale. Exhibited Munich, Kunsthalle der Hypo-Kulturstiftung, Das ewige Auge: Von Rembrandt bis Picasso, Meisterwerke aus der Sammlung Jan Krugier und Marie Anne Krugier-Poniatowski, July-October 2007, p. 327, no. 155 (illustrated in color). View Lot Notes > We are grateful to Mrs. Cecilia de Torres for her assistance cataloguing the present work. This work is sold with a certificate of authenticity signed by Alejandra Torres and dated 31 July 2013. "As the painter Torres-García says, we must live within the universal," Theo van Doesburg wrote in 1929 of his friend, with whom he shared a commitment to the Neo-Plastic vision of a timeless and universal art. "Quite simply, we met within the universal," he explained of their intellectual synergies. "That is the palette which Torres-García uses" (quoted in Torres-García, exh. cat., Arts Council of Great Britain, London, 1985, p. 101). Following stints in New York, Italy, and southern France, Torres-García moved to Paris in September 1926 and quickly gravitated toward a group of artists exploring paths within geometric abstraction--among them, Piet Mondrian, Georges Vantongerloo, and van Doesburg. He drew closest to van Doesburg, whose progressions within abstraction and humanist universalism suggested a natural, philosophical kinship. Torres-García's first constructivist paintings of 1929, to which the present work belongs, evolved out of his engagement with this international avant-garde, which culminated in his co-founding, with Michel Seuphor, of the group Cercle et Carré in 1929. "Creating with no intermediary but the means specific to painting gives us the only freedom worthy of the universal spirit," van Doesburg declared of Torres-García's early constructivist practice. "At this stage of plastic expression, we go beyond the world of things that can be weighed and measured. Structure and structure alone sustains the painting." (quoted in ibid., p. 102). Both van Doesburg and Torres-García used the Golden Section to structure their work from this period, and the present Composition may well have been organized according to this ratio. A mathematical proportion known to have existed in the classical world, the Golden Section postulates that the subdivision of space into certain ratios connotes structural parallels with the universal cosmos. Torres-García's affinity for the Golden Section, prevalent in his works beginning in 1929, underscores the importance that he ascribed from the beginning to the metaphysics of abstraction and to the constructivist grid. Working characteristically here with the primary colors, along with white and black, Torres-García shows his fluency in the formal syntax of Neo-Plasticism. As in contemporary works by Mondrian and van Doesburg, the cardboard rectangle is broken down into vertical and horizontal modules that describe a balanced and unified visual field. "There is no time, no space, no matter," Torres-García remarked around this time, as he considered the eternal and universal dimensions of his art. "There is no relationship between things, no separation. Far away from any fatherland, there lies the universal, the place where art, science, religion are one and the same." (quoted in ibid., p. 101.) Although the gridded blocks of color do not yet contain pictographic symbols, which appeared in the next stage of his practice, the surface of Composition is noticeably mottled with visible brushstrokes and indentations--subtle, but intentional traces of the artist's hand and a marked contrast to the smooth, almost lacquer-like finish seen in the work of many of his contemporaries. This surface handling anticipates Torres-García's rejection the following year of Neo-Plasticism's purist aesthetics as he broke with the Cercle et Carré group and began to build his theory and practice of Constructive Universalism. Abby McEwen, Assistant Professor, University of Maryland, College Park. Joaquín Torres-García in his Paris studio, circa 1930. BARCODE: 29668472
Auction: Christie's -May 29, 2013 - New YorkLot number: 10
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Lot Description Joaquín Torres-García (Uruguayan 1874-1949) Composición signed with initials and dated 'JTG 44' (lower right) oil on cardboard 10¼ x 13 1/8 in. (26 x 33.3 cm.) Painted in Montevideo in 1944. Provenance Estate of the artist. Rose Fried Gallery, New York. Emilio Ellena collection, Santiago. By descent to the present owners. Pre-Lot Text PROPERTY OF A GENTLEMAN Literature C. Schaefer, Torres-García, Buenos Aires, Poseidon, 1945, plate II (illustrated). Exhibition catalogue, Joaquín Torres-García 1874-1949: 15th Memorial Exhibition, New York, Rose Fried Gallery, 1964 (illustrated). E. Jardí, Torres García, Barcelona, Ediciones Polígrafa, 1973, p. 249, no. 364 (illustrated in color). Exhibition catalogue, Voces de ultramar: Arte en América Latina 1910-1960, Madrid, Turner Libros, S.A., 1992, p. 122, no. 44 (illustrated in color). Exhibition catalogue, Joaquín Torres-García, Santiago, Corporación Cultural de las Condes, 1994 (illustrated in color). R. Bindis, "El constructivismo Torres-García: El lenguaje de las cosas y del mundo" in La Tercera, Santiago, 17 April 1994. A.M. Maslach, Joaquín Torres-García: Sol y luna del arcano, Caracas, UNESCO, 1998, p. 579, no. 378 (illustrated). J.M. Sanguinetti, "Joaquín Torres-García: El lenguaje de las cosas y del mundo" in Clasica: Arte & Cultura, Buenos Aires, No. 134, October 1999, p. 73 (illustrated). Exhibited New York, Rose Fried Gallery, Joaquín Torres-García 1874-1949: 15th Memorial Exhibition, 6 January- 13 February 1964. Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno, Voces de ultramar: Arte en América Latina y Canarias, 1910-1960, 7 September- 8 November 1992, no. 44. This exhibition also travelled to Madrid, Casa de América, 10 December 1992- 31 January 1993. Santiago, Corporación Cultural Las Condes, Joaquín Torres-García, 7- 24 April 1994. View Lot Notes > We are grateful to Cecilia de Torres for her assistance cataloguing this work; registered under archive number P1944.32.
Auction: Christie's -Nov 20, 2012 - New YorkLot number: 15
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Joaquín Torres-García (Uruguayan 1874-1949) Puerto, popa del barco España oil on cardboard laid on canvas 18 1/8 x 9 1/8 in. (46 x 23.2 cm.) Painted in 1925. Francisco Matto collection. Manuel Mayoral Alabedra, Barcelona. This work is sold with a certificate of authenticity signed by Cecilia de Torres and dated New York, May 2003 and is registered under archive number P1925-3.