MANCHU JACKET, SECOND HALF OF THE 20TH CENTURY.

Long-sleeved shirt, fastens at the front. Silk floral embroidery. 43x70 cm.

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MANCHU JACKET, SECOND HALF OF THE 20TH CENTURY.

Estimate 160 - 300 EUR

Starting price 160 EUR

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For sale on Thursday 18 Jul : 16:00 (CEST)

barcelone, Spain

Subarna
+34932156518

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AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007). "Emeraude". Oil on canvas. Signed in the lower left corner. Signed, titled and located on the back. Measurements: 131 x 162 cm; 135 x 166 cm (frame). Surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcazar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he settled in Paris, thanks to a scholarship from the French Institute. After winning two consecutive prizes in the Young French Painting Contest, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Gold Mill of the XXI Manchegan Exhibition of Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca Gallery in Madrid, to the United States, the world center of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Ubeda continued to receive important awards throughout his long career, especially highlighting the Grand Prize for Painting of the Circle of Fine Arts in 1980. Likewise, in 1998 the Centro Cultural de la Villa de Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition of thirty-five paintings at the Caja de San Fernando in Seville, dedicated to three of his constant themes: the landscape, the female nude and the still life. Agustín Úbeda has held individual exhibitions in several Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the Villa in Geneva and Paris, the Museum of Fine Arts in Jaen, the Museum of Contemporary Art in Badajoz, the Museum of Modern Art in Valdepeñas, the Museum of Engraving in Marbella, the Municipal Museum in Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum in Zaragoza, the Provincial Museum in Ciudad Real and, in the United States, the Museums of New Mexico, San Diego, Phoenix, Lowe in Miami and Evansille in Indiana.

Lot 75

Estim. 1 200 - 1 800 EUR

ALEX KATZ (Brooklyn, New York, July 24, 1927). "Vincent," 1972. Lithograph on paper. Copy 50/120. Enclosed certificate from the Composition Gallery, Georgia. Signed in the lower left corner. Measurements: 38, 1 x 53,3 cm; 73,5 x 82,5 cm (frame). In this work you can see the portrait of the artist's son who was portrayed on numerous occasions by his father. In fact, in the exhibition that the Guggenheim Museum dedicated to Alex Katz, his son, now an art critic, stated, "What's interesting, you know, being a kid and being portrayed, because you just think it's something you have to do, like, 'How long do I have to pose for this?' And he's very quick at painting. So it's a painless process at all." Alex Katz born into a Jewish family in Brooklyn, in 1928 moved with his family to Queens, where. From 1946 to 1949 Katz studied at The Cooper Union in New York, and from 1949 to 1950 he studied at the Skowhegan School of Painting and Sculpture, Maine. An education that proved instrumental in his development as a painter and remains a staple of his practices today. Katz explains that painting outdoors at Skowhegan gave him a reason to dedicate his life to painting. Katz's paintings fall almost equally into the genres of portraiture and landscapes. Since the 1960s he has painted views of New York (especially his immediate surroundings in Soho), the landscapes of Maine, where he spends several months each year, as well as portraits of family members, artists, writers and leading figures in New York society. His paintings are defined by their flatness of color and form, their economy of line, and their fresh yet evocative emotional detachment. A key source of inspiration is the woodblock prints produced by the Japanese artist Kitagawa Utamaro. In the early 1960s, influenced by films, television and advertising posters, Katz began to paint large-scale paintings, often with dramatically cropped faces. Most of his works depict close-ups, showing front and back views of the head of the same figure or figures looking at each other from opposite edges of the support. Since 1951, Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions throughout the United States and internationally Katz's first solo exhibition was an exhibition of paintings at Roko Gallery in New York in 1954. In 1974, the Whitney Museum of American Art showed Alex Katz Prints, followed by a retrospective exhibition of paintings and cut-outs entitled Alex Katz in 1986. Katz has had numerous retrospectives at museums including the Whitney Museum of American Art, New York; Brooklyn Museum, New York; the Jewish Museum, New York; the Irish Museum of Modern Art, Dublin; Colby College Museum of Art, Maine; Staaliche Kunsthalle, Baden-Baden; Fondazione Bevilacqua La Masa, Venice, Centro de Arte Contemporaneo de Malaga and Saatchi Gallery, London (1998). Katz's work is in the collections of more than 100 public institutions worldwide, including the Honolulu Museum of Art, Museum of Modern Art, New York, Metropolitan Museum of Art, New York; Whitney Museum of American Art, NY; Smithsonian Institution, Washington, D .C .; Carnegie Museum of Art; the Art Institute of Chicago; Cleveland Museum of Art; the Tate Gallery, London; the Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Metropolitan Museum of Art, Tokyo; the Nationalgalerie, Berlin; and the Brandhorst Museum, Munich, among others. Attached is a certificate from the Composition Gallery, Georgia.

Lot 365

Estim. 500 - 550 EUR

Chinese "thousand faces" fan, 19th Century. Painted paper leaves and bone sticks With carved wood case and painted silk interior 30 cm long sticks. Some defects and flaws on the leaves.

Lot 514

Estim. 350 - 400 EUR

ALIX DE FAUTEREAU-VASSEL. "Yunnanfou. Eleven xylographs stuck to paper. Signed and numbered 10/50. Titled on the passe-partouts. Made circa 1925, they were part of the suite of twelve prints, of which an issue of 50 copies was made. 33x25 cm In 1920, Alix Aymé accompanied her husband Paul de Fautereau-Vassel, professor of letters, to Shanghai and then to Hanoi. The continuous transfers awakened in her a true passion for Asian culture. During the twenty years she lived on the Asian continent, Aymé took advantage of her free time to travel around different countries. In parallel, he taught art at the Lycée Français in Hanoi between 1925 and 1926. After marrying Lieutenant Colonel Georges Aymé in a second marriage, he joined the faculty of the Indochina School of Fine Arts in 1934, together with Joseph Inguimberty. Combining her Nabis heritage with her passion for lacquer, Aymé created works of great delicacy, focused on human subjects, especially women and children with a religious air similar to that of the Madonnas, influenced by her training in the Sacred Art workshops of Maurice Denis. In addition to his mastery of lacquer, he dedicated himself to painting on silk and drawing, developing a unique style characterized by its delicacy and a refined color palette. This distinctive style made Alix Aymé a pioneering artist at the Indochina School of Fine Arts. Rust.

MANCHU JACKET, SECOND HALF OF THE 20TH CENTURY.

Long-sleeved shirt, fastens at the front. Silk floral embroidery. 43x70 cm.

MANCHU JACKET, SECOND HALF OF THE 20TH CENTURY.

Chinese "thousand faces" fan, 19th Century. Painted paper leaves and bone sticks With carved wood case and painted silk interior 30 cm long sticks. Some defects and flaws on the leaves.

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