Friday 19 Apr at : 14:00 (CEST)

Twentieth century art

Côte Basque Enchères Lelièvre - Cabarrouy - - Email CVV

8, rue Dominique-Larréa, Z.A. Layatz 64500 Saint-Jean-de-Luz, France
Exhibition of lots
mercredi 17 avril - 10:00/12:00, SARL Côte Basque Enchères
mercredi 17 avril - 14:00/18:00, SARL Côte Basque Enchères
jeudi 18 avril - 14:00/18:00, SARL Côte Basque Enchères
jeudi 18 avril - 10:00/12:00, SARL Côte Basque Enchères
vendredi 19 avril - 10:00/12:00, SARL Côte Basque Enchères
Information Conditions of sale
221 results

Lot 70 - Kumi SUGAI (1919-1996) Urban landscape, 1954 Oil on canvas signed lower right. Signed twice and dated on the back. 29.5 x 29.5 cm Exhibition: Kumi Sugaï, Paris, Galerie Craven, 1954 (Gallery stamp on back). Theoretically integrated into the "very young School of Paris" by Michel Ragon in 1954, and attached to Franco-French movements like many other artists of the time, Kumi Sugaï's work nevertheless responds to very personal criteria and is of a rare inventiveness. Influenced from an early age by Japanese prints and the lyricism that accompanies them, Sugaï left his native Japan to settle in Paris in 1953. He soon became part of the artistic circle of the time, and his first group show - organized by John Craven - took place from October 1 to 29, 1953, in tribute to Francis Picabia (who died a month later after a long illness). On this occasion, Sugaï presented L'Oiseau, a figurative and already abstract painting of a bird that made up his bestiary from 1953 to 1954. Only a year later, and as the critic Jean-Clarence Lambert - author of the artist's first monograph - points out, this group show opened the door to his first solo exhibition. In 1954. Again at John Craven's, where our painting will be exhibited. At this exhibition, the artist met Jean-Clarence Lambert and André-Pieyre de Mandiargues. They were immediately intrigued and convinced of the young Japanese artist's potential. Roger Van Gindertael, another Belgian art critic, saw in Sugaï's work a clear influence of Paul Klee. At first glance, our canvas may seem to be an obvious example of abstract expressionism. However, it is to the figurative period of the artist's Landscapes that this canvas should be linked. The urban scenes that make up these landscapes are, as Paul Klee put it, "abstract images with memories", organized in the manner of a Japanese garden. A native of Kobe, the artist integrated his personal history and chose the city as his subject of inspiration, at the expense of the countryside, which he found boring. Mandiargues would describe these paintings as "city-landscapes, mixing the vertical with the (predominantly) horizontal point of view". Floating, off-the-ground landscapes, then, perhaps in continuity with those famous images of a floating world (ukiyo-e) so beloved of the Goncourt brothers.

Estim. 4 000 - 6 000 EUR

Lot 79 - Gerardo MURILLO, known as Dr. ATL (1875-1964) Volcanes, XX Estenciles - Vol. I, 1928 SET OF EIGHTEEN monogrammed stencils, in sheets in folders or framed, depicting volcanic landscapes. Each stencil monogrammed. The folder is monogrammed and numbered 8.2 in ink. Overall frame: 158 x 87 cm - Stencil: 25 x 26 cm (when viewed) Sheets: 49 x 31 cm Gerardo MURILLO, known as Dr. ATL (1875-1964), was a precursor of Mexican muralism. Appointed Director of the Academy of Fine Arts in Mexico City in 1914, he advocated a break with the teaching of the Barbizon school, then prevalent in Mexico. His teaching was based on the social aspect of art and its mix with politics. For Murillo, the artist must be "the political instrument of revolutionary propaganda". Naturally, he was a great influence on the trinity of Mexican muralism: Diego Rivera, Juan Clemente Orozco and David Alfonso Siquieros. Alongside this political activism, he was also passionate about nature and volcanoes. His major work Cómo nace y crece un volcán, el Paricutín (1950) shows how the volcano was a powerful image for the artist, and the fruit of a passion that would lead to his downfall. The originality and rarity of these stencils lies in the fact that they were produced very early in the artist's career. They are probably part of a series of works produced in the early 1920s, depicting the picturesque and popular life of post-revolutionary Mexico. Diego Rivera began painting his Epic of the Mexican People in 1929.

Estim. 1 500 - 2 000 EUR