Peggy BACON (1895-1987), 'Aesthetic Pleasure', nach 1936
Technique: Offset print…

Description

Peggy BACON (1895-1987), 'Aesthetic Pleasure', nach 1936 Technique: Offset print after etching, on cardboard, Signature: Signature and title printed below, Dimensions: 22.5 x 28.5 cm, Condition: good, sporadic foxing

456294

Peggy BACON (1895-1987), 'Aesthetic Pleasure', nach 1936 Technique: Offset print after etching, on cardboard, Signature: Signature and title printed below, Dimensions: 22.5 x 28.5 cm, Condition: good, sporadic foxing

Auction is over for this lot. See the results

You may also like

Estim. 600 - 800 EUR

TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

Estim. 600 - 800 EUR

TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

Estim. 600 - 800 EUR

TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

Estim. 250 - 500 EUR

A LIU QING ‘KINGFISHER AND LOTUS’ BAMBOO WRISTREST BY XU YAN, CHINA, DATED 1944 A LIU QING ‘KINGFISHER AND LOTUS’ BAMBOO WRISTREST BY XU YAN, CHINA, DATED 1944 Expert’s note: The highly intricate technique of liu qing demands an exceptional level of skill, leaving absolutely no margin for error as the artist delicately carves away the negative space of the yellow-green skin to unveil the desired scene amongst the darker and more fibrous inner layer. The stunning result creates an effect of traditional Chinese brush and ink painting. Exquisitely carved on the convex side in the liu qing technique, partially reserving the bamboo skin, to depict a resting kingfisher beside a pond with a large lotus blossom as well as furled leaves, lily pads, and two fish. Inscriptions: Left, signed and dated ‘Xu Yan in the Spring of 1944’, and titled ‘Lotus Pond Pleasure’. Two seals of the artist. Lower right, one seal of the artist. Provenance: Chicago trade. Condition: Good condition with minor old wear, expected age cracks, few tiny losses. Weight: 193.4 g Dimensions: Length 32.2 cm Wristrests have been used for centuries in Chinese calligraphy and painting, and they continue to be valued by artists who practice these traditional art forms. They serve as practical tools allowing the artist to make delicate brushstrokes or intricate calligraphy, also alleviating fatigue by providing a comfortable position and reducing strain on the muscles and tendons of the hand and wrist. The pairing of a kingfisher and lotus has been a popular theme in Chinese art and literature for centuries. The kingfisher, revered for its vibrant and iridescent feathers, is seen as an auspicious symbol of prosperity and believed to possess protective qualities against evil spirits and misfortune. The lotus, with its ability to emerge from murky waters and blossom into a beautiful flower, is seen as a metaphor for resilience and strength in the face of adversity. Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 26 May 2013, lot 11 Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A finely carved bamboo 'bird and lotus' wristrest, signed Xu Subai (1909-1975) Expert remark: Compare the closely related wrist rest form, bird and lotus subject, and liu qing technique. Note the smaller size (27 cm).

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]