MEXICAN MASTER FRIDA KAHLO ORIGINAL DRAWING
ESPECTACULAR PENCIL DRAWING ON PAPER
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USD 58,000.00 |
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USD 58,000.00 |
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| Start Time |
Thursday, May 08, 2008 |
| End Time |
Sunday, May 18, 2008 |
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BROWNSVILLE, TX |
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Description
I AM OFFERING AN ORIGINAL DRAWING PAINTED BY THE HAND OF MEXICAN FRIDA KAHLO....THIS IS A PENCIL DRAWING ON PAPER..THE SIZE OF SUPPORT IS: 8.50 INCHES X 11 INCHES ( 21.50 CMS X 28 CMS APROX) TITLE: "SUEÑOS EN EL HOSPITAL HENRY FORD" YEAR OF CREATION: 1932. SIGNED AND DATED LOWER RIGHT BY FRIDA KAHLO . CERTIFICATE OF AUTHENTICITY ISSUED BY FRIDA KAHLO´S CURATOR AND EXPERT DON ARTURO GARCIA BUSTOS... ARTURO GARCIA BUSTOS WAS FRIDA KAHLO´S FAVORITE STUDENT AND PERSONAL FRIEND. HE BELONGED TO THE FAMOUS GROUP CALLED THE "FRIDOS" LETTER FROM MUSEUM DOLORES OLMEDO IN MEXICO CITY. PROVENANCE: MR. ALBER LASKER ART COLLECTION, NEW YORK, MRS LAFLAMME ART COLLECTION, NEW YORK, JOHN MC WHINNIE ART COLLECTION, NEW YORK, PRIVATE COLLECTION, TEXAS. Photo 45 of 56Frida Kahlo with art students Fanny Rabel, Arturo Estrada and Arturo Garcia Bustos. This group would later be referred to as Los Fridos.1941« back : next » « go back to Friends, Family and Others Gallery page Life of Frida : Works of Art : Understanding Frida Today : Educational Guides : About the Film : ResourcesCopyright © 2005 WETA. All rights reserved. : Published March 2005PBS Privacy Policy : Site Credits Revelations of the heart of FridaBy Suzanne Ludekens, Sept, 15, 2006 Can anything new be discovered about Mexico’s most famous artist, Frida Kahlo? Since the publication of Hayden Herrera’s biography of Frida Kahlo in 1983, an international best-seller, Kahlo and her art have taken on legendary proportions. Her face and artwork appear on every imaginable item, from t-shirts and shopping bags to fridge magnets. Her life—tortured by physical pain and tormented by her deep love for her husband, muralist Diego Rivera—is the subject of films, theater productions and even musicals. Her work has inspired numerous imitations in the art world. Yet there remains more to discover of her, and there is now a unique opportunity in San Miguel to pursue personal insights into the life and work of this exceptional and intricately self-aware woman.On the top floor of the 16th-century building that is home to the store Casa Maxwell is “The Heart of Frida”—the new, private gallery presenting an exclusive exhibit of original love letters and drawings by Frida Kahlo. The exhibit comprises six ink drawings and the remarkable contents of a small wooden box of 37 articles, including 8 letters in self-addressed envelopes, 27 notes and 2 postcards. The love letters and notes offer a passionate view of the main themes of Kahlo’s life—her health, politics and above all her love for Diego. Finding the heart of Frida San Miguel residents Graeme and Joanne Howard acquired the collection in September 2005 and immediately found themselves immersed in the world of Kahlo. “The collection was Graeme’s dream,” recalls Joanne. “He would spend all day in his office going over the pieces, he was so involved.” The exploration of the letters took the couple on a privileged journey into the world of Mexican art and culture. They met art historians, translators and even ex-students of Kahlo in preparation for creating the gallery. From the moment Graeme purchased the drawings and the letters contained in a small, decorated wooden box with “Coyocan, Frida Kahlo, 1950” painted on the inside of the lid, he envisioned a public exhibit of the works. “I sensed that this collection was private,” said Graeme. “That it was not meant to be public, unlike her diary that was always kept on her bedside for all to see, and that it held enormous value for residents and tourists of San Miguel.”Since September 19, 2005, when Graeme took possession of the letters, he worked with several translators to find the most accurate interpretation of the pieces. For three months Graeme worked with Carlos Vasquez, who transcribed the pieces and faced the arduous task of interpreting Kahlo’s language to create an English translation. More time passed as James Frey, Nitza Ruiz, Pakina Lagenscheidt, Elena Brown and Kris Kegel reviewed the translations.Reproductions of the letters, notes and drawings were collected in the book The Wounded Eagle: The Courage and Creativity of Frida Kahlo to document the collection and to begin authentication. Fernando Diaz, a San Miguel gallery owner and art history professor at the National Institute of Bellas Artes (INBA), put Graeme in contact with Mexico City artist Arturo García Bustos, who was one of Kahlo’s students—one of “Los Fridos.” García followed Kahlo to paint with her at her home after poor health forced her to give up teaching at the public art school La Esmeralda in 1943. A renowned and highly respected painter, García authenticated the collection early in 2006.García wrote about the collection: “I can express…my observations about the authenticity of this material because during that time it was possible for me to get to know her unique personality, writing and her pictorial techniques ….I am pleased to be able to affirm and place my reputation upon 43 authentic pieces of the twentieth century artist of great importance, Frida Kahlo, for which purpose this letter of authenticity attests the originality of these pictorial works, notes, letters and writings that make up the portfolio ‘The Wounded Eagle.’”An emotional journey of love and painAccording to biographer Herrera, “Frida’s intelligence and humor shone through those eyes; they … revealed her mood: devouring, bewitching, or skeptical and withering.” Those very moods are reflected in the poetic content of the letters and notes of the exhibit. But don’t expect sweet expressions of undying love; the sentiments range from explosive sensual passion to caustic impulsive accusations of betrayal. Exposing the tormented depths of Frida’s love for her husband, these secret documents reveal her complex nature filled with ambiguities and contradiction and disclose other aspects of this woman who lived her life with such intensity that it renders our lives pale in comparison. Kris Kegel, the manager of the exhibition pointed out that the pieces are categorized in two sections: “Secret Drawings” and “Secret Letters.” Several of the Secret Drawings are on the back of losing lottery tickets, testimony to Frida’s love of popular Mexican culture and depicting her portrait as an impaled butterfly or a crippled eagle. The juxtaposition with her note “The Earthquake” suggests a cascading, sensual passion that ends with the bitter accusation that she made a person of Diego—as she tells him he will sink in a tide of evil. Throughout the exhibit, the pieces move the viewer through powerful emotions, making it both an artistic experience and a highly charged emotional experience.The pieces in the “Secret Letters” show Frida’s sadness, confusion and anger with irony and powerful suffering. Local author Lulu Torbert recently saw a preview of the exhibit and said, “I was bowled over by ‘The Heart of Frida.’ It is a gem of a show. Graeme Howard has created an exquisite showcase for this recently discovered trove of Frida Kahlo’s letters and drawings. Visitors will surely take great pleasure in the setting and the browsable library and will appreciate the meticulous presentation and documentation. This small museum sets a high standard for art exhibition in San Miguel. It’s a great addition to our town.”The exhibit opens to the public on Monday, October 2. There is no admission cost, but the exhibition is dedicated to the Red Cross, and Graeme and Joanne hope the public will reflect their enjoyment through generous donations. They hope to raise 750,000 pesos for the indispensable Red Cross emergency service that handles up to 100 calls weekly. The funds will be used to increase staff salaries and hire more desperately needed staff. To make online reservations, visit http://www.frida2007.com/ Inicio (La colección) Comentarios Frida y Diego Autenticidad Reportajes de Prensa Biografia de Frida Exhibición Itinerario Lugar de la Premiére Agradecimientos Cruz Roja SMA Contáctenos English Inicio Comentarios Frida y Diego Autenticidad Reportajes de Prensa Biografía de Frida Exhibición Horarios Arturo García BustosMexico City Friday, 6 March 2006 [Translation] To whom it may concern: Joanne and Graeme Howard revealed to me what they call the [“Heart of Frida” collection, formerly known as “The Crippled Eagle” portfolio], soliciting my opinion about the authenticity of the documents, with the knowledge that I had spent eleven years of my youth close to the great Mexican Painter Frida Kahlo, and that as a disciple of hers, I am able to express my observations on the authenticity of this material to them; for during that time it was possible for me to get to know her unique personality, handwriting, and her pictorial technique as well as a part of the ambiance in which she lived in the “casa azul (blue house)”. On the Howard’s second visit, they showed me the originals of these drawing and letters which they kept folded inside a beautiful Mexican crafted box in which Frida Kahlo’s signature can be read. The box contains 37 important documents, of which 8 are letters written by Frida Kahlo inside envelopes addressed to herself, 27 are notes, almost all signed, and 2 are post cards from the city of Paris written by her, one them signed FK. Neither of them was ever mailed. In addition they showed me 6 drawings on paper of different sizes done in ink, watercolor and charcoal signed by Frida Kahlo. I am pleased to be able to affirm and testify that these are 43 authentic pieces of the very important twentieth Century artist Frida Kahlo, therefore I extend this letter of authenticity that attests the originality of these pictorial works, notes, letters and manuscripts that make up the [“Heart of Frida” collection, formerly known as “The Crippled Eagle”], property of the Howards. Attentively, Arturo García BustosNumbered Member of the Academy of Arts 2007-09-19 00:00:00Note corresponding to the publication of the day 19 Wednesdays of of September of 2007CULTURE I To 100 YEARS OF ITS BIRTH"the Fridos", those disciples of Frida KahloThe muralista Arturo Garci'a Busts belongs to a recognized group of students of the magnificent Mexican artist. Between the festejos by the hundred of his birth, the artist of 81 years, remembered it like a "great painter who from simple and the authentic thing expressed human values and arrived at the heart from all". By Mercedes Ezquiaga, special shipmentIn the middle of the numerous tributes in Mexico by the centenary of the birth of Frida Kahlo, the muralista Arturo Garci'a Busts, known in this city like one of "fridos" - disciples of the artist -, remembered the "great painter who from simple and the authentic thing expressed human values and arrived at the heart from all"."Frida was a young teacher when it arrived for the first time at the Emerald, in 1943, and as the school were very poor gave classes in the same hall another great painter, Agustín Bow, of that I was student, sure by the enchantment of the teacher and its fantastic personality, because in the little short while already he was more student of Frida than of Bow", she remembered Busts in dialogue with Télam. Cheer, amiable and with an intact memory, to the 81 years Busts remembers the anecdotes and the atmosphere of Mexico of years 40, while it took a tea in living from his house of century XVII, called House of the Malinche, where the Hernán Spanish resided Courteous to his arrival to these earth and that now is filled with art works, in the center of the pretty district of Coyoacán. "Bustitos", as Frida called affectionately - according to it counted - integrated the group of four students along with Guillermo Monroy, Fanny Rabel and Arturo Estrada, that were known here like "the fridos ones", that worked under their trusteeship for more than ten years, until its death in 1954, in the district where now it resides the artist and where the muralista art was developed."Here Merciful Jose Orozco, the family of Frida Kahlo lived, Diego Creek, Rufino Tamayo, the teachers of that time, who chose this place because he was pretty, he was not expensive, was not the district of super fashionable luxury nor. This era a place of work and enthusiasm ", graficó. "At that wonderful moment at which I was very young and was near the teachers, Coyoacán still was a pueblecito, with its day of market, an immense pedregal who arrived from here until San Angel and who formed a gorgeous stone sea, with a vegetation of cactacias, serpents and scorpions; he was impressive ", evoked the artist. Muralista, engraver and painter.Busts integrated the Factory of the Popular Graph, Bow married with the Guatemalan artist Rinza (disciple as well of Diego Creek), and made important murals, like the one of the room of ethnography of the National Museum of Anthropology or the one of the Palace of Government of Oaxaca, in addition of which they were written more than twenty books around his work. "Boys, I am not masterful, am learning just as you", remember the artist who said Frida "by his deep modestia. He was a very original personage, very enthusiastic of the life of Mexico ", emphasized Busts. "Although it not could to do it by his limitations physical, Frida said us that we do painting mural, that is art that leaves al encounter life, that not is of nobody, which commerce is outside del, that takes into account al Mexican town and which we thought that it served al change and al triumph as the socialist revolution that we watched in the horizon", indicated. One of the first "fridos" works of was the decoration of the murals of pulquería the Rosita, (where pulque drinks), under the artistic direction of the great painter who asked permission the owner of the establishment to paint their walls and soon would come the laundries public from Coyoacán, where the humble women were going to gain some cents. "That work, that unfortunately does not exist more, we did it under the direction of Frida, that was not more than the enthusiasm, the direction, and although it made see the wealth us of the colorful one, for example, it gave absolute freedom us and it never put a color sample or it corrected a drawing to us. She was a great teacher of which one caught the lessons in the daily life ". "I was in Guatemala the year in which Frida died, in 1954, I returned to Mexico and I immediately went to greet the teacher, who few days before had gone in wheelchair to a manifestation against the American intervention in Guatemala. I was several afternoons with her, she was very decayed and no longer she was same the glad one and animated of always. To the few days it died ", related.Busts assured that, throughout his life, it was definitive influence in his work to have collaborated with Creek, to be disciple of Frida, to be friend of Siqueiros and shared salary scaffolds with Merciful Jose Orozco. "With them I shared the passion by the painting mural, to look for the spirit of the town and desire to create a dumb one of peace and better conditions of life for the Mexicans". CULTURA I A 100 AÑOS DE SU NACIMIENTO“Los Fridos”, aquellos discípulos de Frida KahloEl muralista Arturo García Bustos pertenece a un reconocido grupo de alumnos de la magnífica artista mexicana. Entre los festejos por el centenar de su nacimiento, el artista de 81 años, la recordó como una “gran pintora que desde lo sencillo y auténtico expresó valores humanos y llegó al corazón de todos". Por Mercedes Ezquiaga, enviada especialEn medio de los numerosos homenajes en México por el centenario del nacimiento de Frida Kahlo, el muralista Arturo García Bustos, conocido en esta ciudad como uno de los "fridos" -discípulos de la artista-, recordó a la "gran pintora que desde lo sencillo y auténtico expresó valores humanos y llegó al corazón de todos"."Frida era una joven maestra cuando llegó a la Esmeralda por primera vez, en 1943, y como la escuela era muy pobre impartía clases en el mismo salón de otro gran pintor, Agustín Lazo, de quien yo era alumno, pero claro, por el encanto de la maestra y por su personalidad fantástica, pues al poco rato ya era más alumno de Frida que de Lazo", recordó Bustos en diálogo con Télam. Alegre, amable y con una memoria intacta, a los 81 años Bustos recuerda las anécdotas y el ambiente de México de los años 40, mientras tomaba un té en el living de su vivienda del siglo XVII, llamada Casa de La Malinche, donde residió el español Hernán Cortés a su llegada a estas tierras y que ahora está repleta de obras de arte, en el centro del bonito barrio de Coyoacán. "Bustitos", como lo llamaba Frida cariñosamente -según contó- integró el grupo de cuatro alumnos junto con Guillermo Monroy, Fanny Rabel y Arturo Estrada, que aquí se conoció como "Los fridos", quienes trabajaron bajo su tutela durante más de diez años, hasta su muerte en 1954, en el barrio donde ahora reside el artista y donde se gestó el arte muralista."Aquí vivía José Clemente Orozco, la familia de Frida Kahlo, Diego Rivera, Rufino Tamayo, los maestros de ese tiempo, que elegían este lugar porque era bonito, no era costoso, no era el barrio de super lujo ni de moda. Este era un lugar de trabajo y entusiasmo", graficó. "En aquel maravilloso momento en que yo era muy joven y estaba cerca de los maestros, Coyoacán todavía era un pueblecito, con su día de mercado, un inmenso pedregal que llegaba de aquí hasta San Angel y que formaba un mar de piedra bellísimo, con una vegetación de cactacias, serpientes y alacranes; era impresionante", evocó el artista. Muralista, grabador y pintor.Bustos integró el Taller de la Gráfica Popular, se casó con la artista guatemalteca Rinza Lazo (discípula a su vez de Diego Rivera), y realizó importantes murales, como el de la sala de etnografía del Museo Nacional de Antropología o el del Palacio de Gobierno de Oaxaca, además de que se escribieron más de veinte libros en torno a su obra. "Muchachos, yo no soy maestra, estoy aprendiendo igual que ustedes", recuerda el artista que decía Frida "por su profunda modestia. Era un personaje muy original, muy apasionado de la vida de México", resaltó Bustos. "Aunque ella no podía hacerlo por sus limitaciones físicas, Frida nos decía que hagamos pintura mural, que es un arte que sale al encuentro de la vida, que no es de nadie, que está fuera del comercio, que toma en cuenta al pueblo mexicano y que pensábamos que servía al cambio y al triunfo de la revolución socialista que mirábamos en el horizonte", señaló. Uno de los primeros trabajos de los "fridos" fue la decoración de los murales de la pulquería La Rosita, (donde se bebe pulque), bajo la dirección artística de la gran pintora quien pidió permiso al dueño del establecimiento para pintar sus paredes y luego vendrían los lavaderos públicos de Coyoacán, donde las mujeres humildes iban a ganar algunos centavos. "Ese trabajo, que desgraciadamente no existe más, lo hicimos bajo la dirección de Frida, que no era más que el entusiasmo, la orientación, y aunque nos hacía ver la riqueza del colorido, por ejemplo, nos daba absoluta libertad y jamás puso una muestra de color o nos corrigió un dibujo. Era una gran maestra de la que uno captaba las lecciones en la vida diaria". "Yo estaba en Guatemala el año en que Frida murió, en 1954, regresé a México y fui inmediatamente a saludar a la maestra, que pocos días antes había acudido en silla de ruedas a una manifestación contra la intervención estadounidense en Guatemala. Estuve varias tardes con ella, estaba muy decaída y ya no era la misma alegre y animada de siempre. A los pocos días murió", relató.Bustos aseguró que, a lo largo de su vida, fue influencia definitiva en su obra haber colaborado con Rivera, ser discípulo de Frida, ser amigo de Siqueiros y haber compartido andamios con José Clemente Orozco. "Con ellos compartí la pasión por la pintura mural, por buscar el espíritu del pueblo y el deseo de crear un mudo de paz y de mejores condiciones de vida para los mexicanos". MR ALBERT LASKER INFORMATION: White Roses longIn the 1950s, when Vincent Van Gogh's famous painting of several vertical white roses was discovered in Germany, the noted art collector Albert Lasker became bent on its acquisition. When the painting turned up in a bank vault in America, Emery Reves, who was in New York at the time, passed the news on to Lasker, who was in California. Lasker in turn directed his wife Mary to go and see it, hoping that she would buy it at once Georges BraqueFrench, 1882-1963Fruits and Stringed Instrument, 1938 Oil and sand on canvas 32 x 39 3/8 in. (81.3 x 100 cm)Signed, l.l.: " G. Braque/38"Gift of Mrs. Albert D. Lasker in memory of her husband, Albert D. Lasker, 1959.505 Department: Medieval to Modern European Painting and Sculpture Provenance The artist to Paul Rosenberg and Company, London and New York, 1938 [London 1938]; sold to Mr. and Mrs. Albert D. Lasker, New York, January 1947; given to the Art Institute, 1959. Exhibition HistoryLondon, Rosenberg and Helft, Exhibition: Recent Works of Braque, June 13–July 13, 1938, cat. 19, as Nature Morte, Fruits, Guitare.Dallas, Tex., Museum of Fine Arts, An Exhibition of Sixty-Nine Paintings from the Collection of Mrs. Albert D. Lasker, March 6–29, 1953, cat. 7 (ill.), as Fruits and Guitar.San Francisco, California Palace of the Legion of Honor, An Exhibition of Sixty-Seven Paintings From the Collection of Mrs. Albert D. Lasker For the Benefit of The American Cancer Society InMmemory of Albert D. Lasker (1880–1952), March 17–April 4, 1954, n. p., cat. 10 (ill.), as Fruits and Guitar.New York, Paul Rosenberg and Company, Braque: An American Tribute, April 7–May 2, 1964, cat. 33 (ill.), as Fruit and Mandolin, 1937–38. Publication History Wallace Brockway and Alfred Frankfurter, The Albert D. Lasker Collection: Renoir to Matisse (New York: Simon and Schuster, 1957), pp. 77-78 (ill.), as Fruits and Guitar.The Art Institute of Chicago Quarterly LIII & LIV (February 1960), pp. 12-13 (ill.), as Fruits and Guitar.Catalogue de l'Oeuvre de Georges Braque: Peintures 1936-1941 (Paris: Maeght, 1961), n. p., no. 34 (ill.), as Nature Morte a la Guitare (rideaux rouges), 1937–1938.The Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: The Art Institute of Chicago, 1961), p. 58, as Fruits and Guitar.A. James Speyer, "Twentieth-Century European Paintings and Sculpture," Apollo LXXXIV (September 1966), p. 225, as Guitar and Fruits.Instituto de Arte de Chicago (El Mundo de los Museos) (Buenos Aires: Editorial Codex, 1967), pp. 14 and 71, fig. 1, no. 57, as Frutas y guitarra.Atsushi Miyagawa, L'Art du Monde: Braque/Leger 18 (Japan: Kawade Shobo, 1968), p. 105, pl. 26, as Fruits and guitare.Sandra Grung, Supplement to Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: The Art Institute of Chicago, 1971), p. 58A.A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago: University of Chicago Press, 1980), pp. 33–34, no. 1B11, as Fruits and Guitar. Albert Lasker From Wikipedia, the free encyclopedia Jump to: navigation, search Albert Lasker (1880-1952) is often considered to be the founder of modern advertising. He started out as a newspaper reporter while a teenager, but moved to Chicago and started working at Lord & Thomas advertising agency which he owned by the age of 20. He remained its chief executive for more than forty years before selling out to three staff members, Foote, Cone & Belding. Lasker started out as an office boy at Lord & Thomas in 1898. A year later, one of the agency's salesmen left, and Lasker accquired his territory. It was during this time that Lasker created his first campaign. He hired a friend, Eugene Katz, to write the copy for a series of Wilson Ear Drum Company ads. They featured a photograph of a man cupping his ear. George Wilson, president of the Ear Drum company, adopted the ads and sales increased. Monday, Jan. 06, 1958 COLLECTOR'S PRIZE HOW long has this been going on?" asked the late advertising tycoon Albert Davis Lasker (onetime head of Lord & Thomas), one afternoon in 1943. Before him, set up on easels in Manhattan's Wildenstein galleries, stood a $70,000 Gauguin and a $45,000 Renoir. For the man who made such products as Lucky Strike, Palmolive, Pepsodent, Kleenex and Kotex into household words, the world of art was opening. On hand to coach and whet his appetite was his wife Mary, who had majored in art at Radcliffe, gone on to help run a Manhattan gallery. Adman Lasker at 64 plunged into the market, convinced that the world of advertising art had all along been drawing its ideas from the prime originators of modern painting. In the next eight years he amassed a spectacular collection ranging from an 1834 Corot to a 1950 Joán Miró. The results, shown by the 60 color plates of The Albert D. Lasker Collection (Simon & Schuster; $20), make one of the handsomest art books of the season. The painter Lasker selected as "the man I'll bet on" was Matisse; his collection has nine Matisse oils, and he hedged his hunch by buying eleven Picassos and four Braques. Endowed with a natural flair for color and design, Lasker was delighted to find that his eye automatically picked out the best of the lots shown him by dealers. He also discovered: "One not only has to pay the highest prices, but also a premium for the privilege of paying the highest prices." Lasker's last major purchase before his death in 1952 was one of his happiest: Vincent van Gogh's White Roses (opposite). Along with its companion piece on the same subject, owned by New York's Governor Averell Harriman, it is one of the most serene, glowing and untroubled canvases Van Gogh ever painted. It carries with it Van Gogh's sense of joyous (though temporary) release from an attack of madness that the painter described when he wrote to his brother from Saint-Rémy two months before his suicide: "That horrible attack has disappeared like a storm, and I work with calm and steady ardor to do a few last things here." Our Auctions come with a 100% Satisfaction Guaranteed.
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