James Brown 1951 Los Angeles-2020 Messico
Study for Capodimonte I signed, dated …

Description

James Brown 1951 Los Angeles-2020 Messico Study for Capodimonte I signed, dated and titled on back W. 80 - H. 102 cm gouache on paper Galeria Nasoni, Lisbon Private collection, Turin

212

James Brown 1951 Los Angeles-2020 Messico

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Estim. 110 - 165 EUR

Hans Paap, Hafenpartie View of a harbour with boats landing, in front of it two cottages with thatched roofs, in whose front gardens magnificent red flower bushes bloom, minimally impasto study in friendly colours, oil on canvas, mid 20th century, signed "HANS PAAP" lower right, early shrinkage cracks and retouches, folded dimensions approx. 35.5 x 43 cm. Artist information: German painter (1894 Hamburg - 1966 Pacific Island), initially worked for the film industry in Berlin for two years, after World War I emigrated to South America and the Pacific. Emigrated to South America after World War I and worked in Brazil and Argentina for 13 years, moved to Hollywood in 1928, worked in Southern California in the 1930s, later moved to New Mexico and became a member of the Taos artists' colony, known for his portraits of the Native American inhabitants of Taos Pueblo, worked for a time in Mallorca and Santo Domingo, exhibited in Los Angeles and at the Pasadena Art Institute, source: Internet.

Estim. 1 200 - 1 500 EUR

RAFAEL ZABALETA FUENTES (Quesada, Jaén, 1907 - 1960). "Female portrait". Ink and pencil drawing on paper. Signed in the lower right corner. Provenance: Biosca Gallery (1975). The paper has stains. Measurements: 33 x 24 cm; 53 x 44 cm (frame). Rafael Zabaleta studied in the Superior School of Fine Arts of San Fernando, and in 1932 he participates for the first time in a collective exhibition, the one of the students of this school. Three years later he made his first trip to Paris, where he met and studied the works of the masters of contemporary painting. In 1937 he was appointed delegate of the National Artistic Treasury. At the end of the war he was imprisoned, after which he settled in Madrid in 1940. Two years later he held his first solo exhibition at the Biosca Gallery in the capital, after being rejected at the National Exhibition of Fine Arts. However, the following year he took part in the First Salón de los Once and became a member of the Academia Breve de Crítica de Arte de Eugenio d'Ors, taking part in most of its Salones de los Once and anthological exhibitions. In 1945 he takes part in the collective exhibition "Floreros y bodegones" held at the National Museum of Modern Art, while he continues to exhibit individually and collectively in galleries in Madrid. In 1947 he holds his first personal exhibition in Barcelona, at the Argos Gallery, and his first monograph is published. Two years later he travels again to Paris, coming into contact with Picasso, Óscar Domínguez, M. Ángeles Ortiz and others. The year of his definitive consecration will be 1951, when he holds a solo exhibition at the Museum of Modern Art in Madrid. In 1955 he obtained the UNESCO Prize at the Hispano-American Biennial in Barcelona. That same year he participates in the Biennial of the Mediterranean held in Alexandria, and holds a solo exhibition in Bilbao. During his last years Zabaleta will be an artist already fully recognized, invited to the most important exhibitions and salons both in Spain and in foreign cities of the importance of Paris. The most important collection of his work is in the Zabaleta Museum of Quesada, although it is also present in the most prestigious museums of the world, in cities such as Buenos Aires, New York or Tokyo.

Estim. 700 - 1 400 EUR

A JADE TONGUE AMULET IN THE FORM OF A CICADA, HAN DYNASTY A JADE TONGUE AMULET IN THE FORM OF A CICADA, HAN DYNASTY China, 206 BC to 220 AD. Of flattened form, skillfully modelled in the form of a stylized cicada with protruding eyes and elongated wings, decorated on both sides with incised details. The stone of pale creamy-white color with beige inclusions, as well as traces of calcification. Provenance: A private collection in France. Condition: Very good condition, commensurate with age. Signs of weathering and erosion. Weight: 13.4 g Dimensions: Length 5.4 cm Cicada’s unusual long lifecycle as an insect has made it a popular subject in ancient Chinese jades, symbolizing rebirth and immortality. The Chinese believed that jade had the special power to preserve the body from natural decay after death. In the Han dynasty, the corpse’s nine orifices were plugged with jade. The cicada was placed on the tongue, plaques covered the eyes and plugs filled the nose and ears. Literature comparison: Compare a closely related jade cicada, dated to the Han dynasty, in the collection of the Metropolitan Museum of Art, accession number 30.120.135. Compare a closely related jade funerary tongue amulet cicada in the collection of the Montreal Museum of Fine Arts. Auction result comparison: Type: Closely related Auction: Bonhams Los Angeles, 14 December 2020, lot 415 Price: USD 2,040 or approx. EUR 2,300 converted and adjusted for inflation at the time of writing Description: A white jade cicada carving, Han dynasty Expert remark: Compare the closely related form and similar incisions and protruding eyes. Note the similar size (5.6 cm).

Estim. 200 - 300 EUR

Barbara Kruger, American b.1945- Untitled (flag), 2020; screenprint in colours on cotton, from Artists Band Together, published by the Los Angeles Museum of Art, contained within original black envelope, overall dimensions: 56 x 56 cm (unframed)

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