NEW YORK, NY.- Sothebys
announced their Evening Sales of Latin America: Modern Art and Latin America: Contemporary Art on 25 May in New York. Leading the Modern Art auction are Rufino Tamayos iconic The Bird Charmer (Encantador de pájaros) (estimate $3/5 million) and Diego Riveras arresting masterpiece, Retrato de la Actriz Matilde Palou (estimate $2/3 million). Both works appear in the market during a time of renewed interest in Mexican Modernism, with recent exhibitions at both the Philadelphia Museum of Art and the Dallas Museum of Art in the US, the Grand Palais in Paris, and at the Palacio de Bellas Artes in Mexico City.
Further highlights include an outstanding Surrealist sequence, topped by Remedios Varos The Troubadour (El Trovador) (estimate $1/1.5 million), Wifredo Lams Portrait de Madame Nena Azpiazu (estimate $400/600,000) and Leonora Carringtons Untitled (The White Goddess) (estimate $700/900,000). Exceptional modern sculptures on offer this May include Agustín Cárdenass Dogon (estimate $125/175,000) and several works by Fernando Botero, including the monumental Donna Seduta (estimate $700/900,000).
Masterworks of 20th century abstraction lead the Evening Sale of Latin American Contemporary Art, with Gegos 1969 masterpiece Columna Reticulárea (estimate $1/1.5 million), Joaquín Torres-Garcías elegant and recently re-discovered Sin Título (estimate $200/250,000), and Jesús Rafael Sotos Construcción en Blanco (estimate $500/700,000) rounding out the sales compelling narrative of kinetic works. Additionally, in a sign of the growing prominence of Latin American artists on the global stage, Sothebys marquee Contemporary Art Evening Sale includes works by Brazilian artists Sergio Camargo and Mira Schendel.
Sothebys inaugural online sales of Latin America: Modern Art and Latin America: Contemporary Art, open now, will be exhibited in our York Avenue galleries, alongside works from both Evening Sales, beginning on 20 May.
A champion of modernism, Rufino Tamayos fervent apolitical approach to his work is among the artists defining attributes. Unlike his contemporaries, Tamayo shirked political activism and moved to New York at the peak of the Mexican Muralist Movement, knowing that his unpopular opinion would stifle his artistic progression in his homeland.
New York afforded Tamayo the artistic freedom to create some of his most iconic works, including The Bird Charmer (1945). The painting was exhibited during the artists fourth individual show at the famed Valentine Gallery in 1946, where it was acquired by distinguished collectors, John and Dominique de Menil. The title suggests Tamayos optimism following the War years, which is magnified by the subject joyfully playing an instrument, as birds fly in undefined infinity above.
In stark contrast to Tamayos apolitical work, Diego Riveras Retrato de la Actriz Matilde Palou is an emblematic representation of the artists steadfast Mexicanidad. Regarded as a one of Riveras finest portraits to have appeared at auction, the monumental work depicts the Mexican Golden Age film star in a relaxed pose, dressed in an elaborate costume flush with unmistakable Mexican symbolism. The portrait last appeared at auction in 1988 at Sothebys, and was exhibited for the first time in nearly 30 years this March at Sothebys Los Angeles. Separate release available.
The sales Surrealist sequence is led by The Troubadour (El Trovador), a canonical example of Remedios Varos complex visual lexicon. Executed in 1959, the work is a poetic display of Varos remarkable creativity and the matrix of influences that serve as the foundation and iconography for her paintings, such as medieval history, Greek mythology, scientific reason, music and nature. In the present work, Varo situates a troubadour within a siren-esque boat surrounded by a striking dense forest and swarming birdsechoing the epic length of the Orinoco River, one of the largest river systems in the world, and its rich wildlife.
The work, filled with the awe and mysteries of the natural world, comes to Sothebys from The Estate of Henry Willard Lende, Jr. As an engineer, philanthropist and land steward, Mr. Lende found endless fascination in the natural world a life-long passion made manifest in his enduring legacy: the 644-acre natural habitat laboratory known as the Cibolo Preserve.
Located just east of Boerne in Kendall County, Texas, the Cibolo Preserve is a unique cross-section of history and nature dedicated to research and education. Celebrated for its extraordinary natural beauty, among various other traits, the Preserve is an active area of study for scientists from the University of Texas at San Antonio, along with other respected institutions. The sale of The Troubadour serves to ensure the continuity of the Cibolo Preserve and maintain Mr. Lendes promise to this remarkable landscape.
Painted in 1941, Wifredo Lams Portrait de Madame Nena Azpiazu emerged as the artist returned to his native Cuba, after 18 years abroad. His homecoming would mark one of the most prodigious turning points in his career as he rediscovered and reclaimed his Afro-Cuban identity and roots. The sale comes just months after the critically acclaimed exhibition of Lams work at Tate Modern.
Maria Luisa (Nena) Azpiazu, who frequented social circles of cultural giants such as Picasso, Igor Stravinsky, and Ernest Hemingway, commissioned the work from Lam in 1941, after which it remained in her collection for 50 years.
Leonora Carringtons Untitled (The White Goddess) is an exemplary work showcasing the complexity of the artists unique visual vocabulary informed by her Celtic heritage. Executed circa 1958 in Mexico, the painting is situated within a pivotal period of productivity for Carrington and depicts a white spiritual figure wading in a spring, surrounded by a troupe of animals within a forest setting. Carringtons polytheistic worldview is fully conceived in this magical realm, exploring the morphing of reality with centuries-old fairytales and folklore. In true Surrealist fashion, Carrington denies the viewer vital clues on the works meaning, instead leaving subtle suggestions and hints.
Seraphim (White, Yellow, and Green), Claudio Bravos exquisite oil on canvas, unveils the artist's life-long devotion to mundane materials capable of transforming their shapes through human manipulation. Painted in 1999, the present work exemplifies Bravos technical mastery of trompe-l'oeil effects and exudes a marvelous virtuosity unmatched in twentieth-century Latin American paintings.
The Evening Sale of Latin America: Contemporary Art is led by Gegos Columna Reticuláreathe most seminal work by the artist to have ever been offered at auction. Gegos Reticulárea series remains one of the greatest exercises of aesthetic freedom and experimentation in 20th century art. Executed in 1969, the exquisitely commanding work is an outstanding preview to the artists iconic Reticulárea series.
The hand-crafted, hanging installation supports an artisanal aesthetic that counters the principles of her Constructivist background. The present work encapsulates Gegos most defiant visual gestures: the erasure of any trace of geometricized parallel lines and her shattering of the modernist grid, proclaiming her avant-garde originality.
Jesús Rafael Sotos Construcción en Blanco, created in 1974, is a captivating and monumental example of the artists highly sought-after kinetic works. Measuring over 2 meters both in height and length, the large-scale installation, comprised of painted wood with entangled nylon cord and metal wires, explores the Venezuelan artists exploration of space and movement.
Newly discovered and never-before seen until this May, Joaquín Torres-Garcías Sin Título from 1931 boasts distinguished provenance, having once been in the collection of Max Pellequer, the financial advisor to Picasso. Regarded as the founder of Universal Constructivism, Torres-García began experimenting with Constructivism during the latter half of the 1920s while living in Paris, after a serendipitous meeting with Piet Mondrian that would enable the artist to establish his new visual language. The newly discovered picture depicts a symbolic iconography emblematic to Torres-Garcías visual vocabulary. An elegant earth-colored palette inspired by the tonalities of pre-Hispanic ceramics, including hints of yellow, blue, red and even a suggestion of pink, highlight the works modernist character.