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Impressionist and Modern Art
|
- Sale 6379
Live
| New York
Oct 28 | 11:00 AM EDT
Live
| New York
Sale 6379
| New York
| New York
Estimate$20,000 – $30,000
We wish to thank Professor Luis–Martín Lozano for his kind assistance in the research and cataloguing of the present lot.
Provenance:
Christie's, London, sale of December 10, 1968, lot 227.
Acquired directly from the above sale by the family of the present owner.
Exhibited:
Exposición de Pintura y Escultura, [unknown gallery], Santa Clara Street, Mexico City, Mexico, May 7 - May 14, 1906, cat. no. 13 (organized by painter Gerardo Murillo for the Savia Moderna monthly art magazine).
Lot Essay:
As a student, Rivera became well acquainted with European Post-Impressionist and Symbolist trends, largely through his professors Germán Gedovius and Julio Ruelas, who had studied in Munich and Karlsruhe. While firmly grounded in academic training, he was equally eager to explore contemporary movements and engaged actively with writers, poets, intellectuals, architects, and fellow artists of his generation. In this way, he embodied the spirit of his era, a product of Mexican Modernism at the close of the Porfirio Díaz regime (1907–1910). His first solo exhibition coincidentally opened during the Centennial Celebrations of Mexican Independence, marking a symbolic convergence of artistic and national transformation.
By 1905, Rivera sought to continue his studies in Europe. Though he initially lacked formal funding from the National School of Fine Arts, he eventually secured financial support from the Governor of Veracruz, Don Teodoro Dehesa, enabling him to sail to Spain in 1907. He later settled in Paris and traveled throughout Northern Europe, deepening his exposure to contemporary European art.
The present work dates from 1906, just before Rivera’s departure to Europe and the beginning of his broader artistic experimentation. By this time, he had already earned high praise from local critics and intellectuals, with poet José Juan Tablada lauding his mastery of charcoal. Although executed in Mexico, the work channels the art of European masters Rivera deeply admired, including Arnold Böcklin, Franz von Stuck, Pierre Puvis de Chavannes, James Ensor, and Jan Toorop. It shares aesthetic, formal, and technical affinities with Dead Horse (gouache and charcoal on paper, MoMA collection), also executed in 1906 and signed in the same manner. Both works reflect Rivera’s early ability to balance rigorous academic training with the innovative spirit of European modernism, which he was yet to fully encounter.
To request further details about this lot, please email [email protected]
In overall fair condition. The (brittle) sheet is entirely affixed to the verso of the linen mat via several strips of old brown tape, placed alongside all outer edges verso. The sheet stays flat. The main condition issue consists of a two folds extending from top to bottom, and left to right, to meet in the middle just above the body of the lying man. Each fold is quite pronounced, and accompanied by minor losses and rubbing (fading), especially visibly at center right, just above the setting sun. Small tear (as a result) at bottom center in the grass, underneath the couple. Another one is viable, based on our inspection of the verso of the sheet at upper center left in the sky (only visible verso, as the mat covers the front). Another, minor, fold is visible just above the aforementioned one at upper center, running horizontally across the three tree trunks and the woman's back. Minor poking fold at upper center left, close to the left edge and running across the extreme left tree trunk (less than 1 in.). Minor losses are visible in the lightly gouached sky (at upper left, above the doves) as well at center right and upper right in the sky. The sheet appears slightly faded and toned, with evidence of handling and surface soiling in the sky at upper right quadrant. Additional images available upon request.
The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold "AS IS," in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot's condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition. Condition reports prepared by Freeman's staff are provided as a convenience and may be requested from the Department prior to bidding.
The absence of a posted condition report on the Freeman's website or in our catalogues should not be interpreted as commentary on an item's condition. Prospective buyers are responsible for inspecting a lot or sending their agent or conservator to inspect the lot on their behalf, and for ensuring that they have requested, received and understood any condition report provided by Freeman's.
Please email [email protected] for any additional information or questions you may have regarding this lot.
