Garcia Joaquin Torres Paintings & Artwork for Sale | Garcia Joaquin Torres Art Value Price Guide

Nov. 14, 2024
Joaquin Torres Garcia (Montevideo, 1874-1949) - Three figures
Est: €10,000 - €15,000
Watercolor on paper. Dimensions: 12 x 16 cm. Includes a certificate of authenticity from the artist's son. Exhibition catalog: Galeria Paco Rebés, Centro de Anticuarios, Barcelona, Spain, J. Torres-Garcia, May-June 1986, no. 26, illustrated, p. 28, Tres Figuras. Provenance: Important private Catalan collection.
Templum Fine Art Auctions
Sep. 25, 2024
Joaquín Torres García
Est: $200 - $300
JOAQUÍN TORRES GARCÍA (Uruguayan School, 1874-1949) "The abstract rule". Ellena Editions. Rosario, 1967. Copy numbered 8 of 403. In original binding and box. Includes two engraving "Constructive in black and white, 1931", one of them with small damage. 30.8 x 23.8 cm. JOAQUÍN TORRES GARCÍA (Escuela uruguaya, 1874-1949) “La regla abstracta” Ediciones Ellena. Rosario, 1967. Ejemplar numerado 8 de 403. En encuadernación y caja originales. Incluye dos grabados “Constructivo en negro y blanco, 1931”, uno con pequeña avería. 30.8 x 23.8 cm.
Zorrilla Subastas
Sep. 25, 2024
Joaquín Torres García
Est: $350 - $450
JOAQUÍN TORRES GARCÍA (Uruguayan School, 1874-1949) "Constructive Universalism. Contribution to the unification of the art and culture of America." Editorial Poseidon. Buenos Aires, 1944. 1.011 p. JOAQUÍN TORRES GARCÍA (Escuela uruguaya, 1874-1949) “Universalismo constructivo. Contribución a la unificación del arte y la cultura de América” Editorial Poseidón. Buenos Aires, 1944. 1.011 p.
Zorrilla Subastas
Sep. 25, 2024
Joaquín Torres García
Est: $300 - $350
JOAQUÍN TORRES GARCÍA (Uruguayan School, 1874-1949) "History of my life". Publications of the Constructive Art Association. Montevideo, 1939. 303 p. JOAQUÍN TORRES GARCÍA (Escuela uruguaya, 1874-1949) “Historia de mi vida” Publicaciones de la Asociación de Arte Constructivo. Montevideo, 1939. 303 p.
Zorrilla Subastas
Sep. 25, 2024
Joaquín Torres García ( Four books )
Est: $450 - $550
JOAQUÍN TORRES GARCÍA (Uruguayan School, 1874-1949) Four volumes "History of my life." Constructive Art Association. Montevideo, 1939. 308 p. "Mystique of painting." Asociación de Arte Constructivo. Montevideo, 1947. 48 p. "Pére Soleil." Torres Garcia Foundation. Montevideo, 1974. 64 p. "Torres García. Works destroyed in the fire at the Museum of Modern Art in Rio de Janeiro." Torres García Foundation. Montevideo, 1981. 110 p. JOAQUÍN TORRES GARCÍA (Escuela uruguaya, 1874-1949) Cuatro tomos “Historia de mi vida.” Asociación de Arte Constructivo. Montevideo, 1939. 308 p. “Mística de la pintura.” Asociación de Arte Constructivo. Montevideo, 1947. 48 p. “Pére Soleil.” Fundación Torres García. Montevideo, 1974. 64 p. “Torres García. Obras destruidas en el incendio del Museo de Arte Moderno de Río de Janeiro.” Fundación Torres García. Montevideo, 1981. 110 p.
Zorrilla Subastas
Sep. 25, 2024
Joaquín Torres García
Est: $40,000 - $45,000
JOAQUÍN TORRES GARCÍA (Uruguayan School, 1874-1949) Oil on cardboard "Tête blanche d'homme avec chapeau noir". Signed and dated "1928" above 37,5 x 26,5 cm Provenance: Artist's succession. Collection Manolita Piña de Torres de García, Montevideo. Private collection, Montevideo. Bibliography: Walter E. Laroche. "Uruguayan painters in Spain. 1900-1930." Galería de la Matriz. Montevideo, 1992. Reproduced on p. 148. Work included under No. 1928.178 in the catalog raisonné "Joaquín Torres García Online" directed by Cecilia de Torres (www.torresgarcia.com). JOAQUÍN TORRES GARCÍA (Escuela uruguaya, 1874-1949) Óleo sobre cartón “Tête blanche d'homme avec chapeau noir” Firmado y fechado "1928" arriba 37,5 x 26,5 cm Proveniencia: Sucesión del artista. Colección Manolita Piña de Torres de García, Montevideo. Colección privada, Montevideo. Bibliografía: Walter E. Laroche. “Pintores uruguayos en España. 1900-1930.” Galería de la Matriz. Montevideo, 1992. Reproducido en p. 148. Obra incluida con el No. 1928.178 en el catálogo razonado “Joaquín Torres García Online” dirigido por Cecilia de Torres (www.torresgarcia.com).
Zorrilla Subastas
Jun. 12, 2024
JOAQUIN TORRES GARCIA (1874 -1949) Constructivo, c.a. 1943 Lápiz sobre papel Medidas: 13.7 x 19.7 cm
Est: -
Certificado por Marcos Torres Andrada. Buen estado de conservación. Procedencia: Colección particular
Lefebre Subastas
Feb. 19, 2024
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Landscape of Florence", 1945. Oil on canvas. Signed with initials and dated in the lower margin.
Est: €40,000 - €45,000
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Landscape of Florence", 1945. Oil on canvas. Signed with initials and dated in the lower margin. Provenance: -Palatina Gallery, Buenos Aires, 1978. -Purchased at Sotheby's New York, May 2008. Work included in the Catalogue Raisonné by Cecilia de Torres (nº 1945.09). Measurements: 68,5 x 52,4 cm; 102 x 86 cm (frame). This is a late work by Torres García. The painter had already explored numerous languages and inaugurated styles and movements which would be key to the 20th century. In this view of a Florentine street, we are no longer faced with the reduction of reality to abstract planes, but the free brushstrokes plunge us once again into a figurative scene, but the language is highly synthetic. The swarming urban agitation denotes the wisdom of a pulse, of a hand, which has travelled a long and daring road. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travelled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time on him and other famous pupils, such as Mir, Sunyer, Canals and Nonell. In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works executed in this technique, and entered into a dynamic of group work in which painters, musicians, sculptors and poets collaborated. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona was a turning point in his career. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus coming closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he founded the Sociedad de las Artes del Uruguay, whose aim was to integrate all the arts and act as a link between artists and the public.
Setdart Auction House
Mar. 28, 2023
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Camperols vora la mar", 1915. Oil on canvas. Signed in the lower right corner.
Est: €20,000 - €25,000
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Camperols vora la mar", 1915. Oil on canvas. Signed in the lower right corner. Work published in the artist's online Catalogue Raisonné: no. 1915.02. Bibliography: Jardí 1973, "Joaquín Torres García III" p.80 n.101. Exhibitions: "L'obra pictórica de Joaquín Torres García", Cercle Artístic de San Lluc, Barcelona, 1933. Invisible restoration on the back. Measurements: 40 x 73 cm; 44,5 x 77,5 cm (frame). A woman waiting for her pitcher to fill up with water, an old man sitting in profile next to an olive tree, and a peasant with his farming tool are situated against a background of coastal landscape. Despite their proximity to each other, each withdraws into his own silence. The water carrier, the bearded old man and the farmer are reduced to types rooted to the land (here the legacy of Noucentisme is evident), but a synthetic language has been used which prefigures the development of Torres García's work towards Constructivism. This is a painting belonging to a hinge period, a key period in the painter's production, yet we have not been able to find many examples of it. Hence the importance of this painting. The oil painting is a valuable link in the dazzling evolution of his work since his first triumphs in the Noucentista avant-garde in Barcelona. In this landscape with figures, although the imprint of the reinterpretation of classicism persists, the way in which the bodies are resolved and the colours are applied already indicate a search radically different from that carried out by the Catalan group. In the way of economising the forms, as well as in the adaptation of the palette to a range of ochre and sienna tones, a Cezannian heartbeat can be appreciated. All this presages his great contribution to the history of modern art as the creator of Constructivism. In this carefully composed landscape, the three bodies are enclosed in their own gestures and thoughts, while at the same time they fit harmoniously into the scene, which is compartmentalised by the tree and the marina. The architectural detail has been described with the same eagerness to schematise the world, to reduce life to its essence. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travelled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time on him and other famous pupils, such as Mir, Sunyer, Canals and Nonell. In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works executed in this technique, and entered into a dynamic of group work in which painters, musicians, sculptors and poets collaborated. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona was a turning point in his career. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus coming closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he founded the Sociedad de las Artes del Uruguay, whose aim was to integrate all the arts and act as a link between artists and the public.
Setdart Auction House
Feb. 14, 2023
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Classical Figures", 1915. Tempera on canvas. Work published in the artist's online Catalogue Raisonné. 1915.03 (estate: 1025).
Est: €35,000 - €40,000
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Classical Figures", 1915. Tempera on canvas. Work published in the artist's online Catalogue Raisonné. 1915.03 (estate: 1025). With the label of the Dau al Set gallery (Barcelona) on the back. Provenance: Estate of the artist. Manolita Piña de Torres García, Montevideo. Private Collection. Dau al Set Gallery, Barcelona. Francesc Mestre Gallery, Barcelona. Sizes: 47 x 101 cm; 70 x 120 cm (frame). This painting is a valuable link in the dazzling evolution of Torres García's work since his first triumphs in the Noucentista avant-garde in Barcelona. In this landscape with figures, although the Noucentista imprint remains through the reinterpretation of classicism and the interest in situating the figures in a rural setting, the manner of resolving the bodies and applying the colours already indicate a radically different approach from that of the Catalan group. In the way of economising the forms and synthesising the line, as well as in the adaptation of the palette to a range of ochre and sienna tones, we can appreciate a certain Cezannian beat. All this presages his great contribution to the history of modern art as the creator of Constructivism. In this carefully composed landscape, with an olive tree compartmentalising the scene, the three bodies withdraw silently into themselves, enclosed in their own gestures and thoughts, while at the same time harmoniously moulding themselves to the scene. The houses have been described with the same eagerness to schematise the world, to reduce life to its essence. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travelled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time on him and other famous pupils, such as Mir, Sunyer, Canals and Nonell. In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works executed in this technique, and entered into a dynamic of group work in which painters, musicians, sculptors and poets collaborated. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which, as a turning point in his career, the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona (Barcelona Provincial Council) stands out. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus coming closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he creates the Sociedad de las Artes del Uruguay, whose aim is to integrate all the arts and to act as a link between artists and the public. He came into contact with Uruguayan pre-Columbian and indigenous art, and this aesthetic, new to him, was to have a crucial influence on his thinking. His work is held in the Thyssen-Bornemisza Museum, the Modern Art Museums of New York, San Francisco and Lille, the Museo Nacional Reina Sofía, the Museo Nacional de Arte de Cataluña, the Museo Torres García in Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the Museo Nacional de Bellas Artes in São Paulo, the Hirshhorn and Art of the Americas Museums in Washington DC, the Albright-Knox Gallery in Buffalo and the Los Angeles County Museum, among others.
Setdart Auction House
Dec. 19, 2022
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Constructivism", 1928. Oil on canvas. Signed and dated in the lower margin. With two labels from the Galería Dau al Set on the back.
Est: €100,000 - €120,000
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Constructivism", 1928. Oil on canvas. Signed and dated in the lower margin. With two labels of the Galería Dau al Set on the back. Exhibitions: "Torres García", at the Dau al Set gallery, Barcelona, 1976. Work referenced in the artist's online catalogue raisonné, with ref. no. 1928.81. Sizes: 34 x 45 cm; 53.5 x 64.5 cm (frame). Between 1926 and 1928, Torres García's work evolved at breakneck speed. Settled in Paris, he had definitively moved away from noucentista classicism and slipped into a very particular neoprimitivist painting. This Parisian cityscape dates from 1928. The Seine is crossed by boats with minimal strokes, as are the houses and figures, reduced to cubes and edges. The landscape undergoes a condensation and schematism that absorbs but transcends heterogeneous influences: Mondrian's neoplasticism and Ozenfant's purism leave a special mark on his planist compositions of those years. A thick black line accommodates shapes and colours applied flatly. The characteristic grey of the Parisian winter underlies the chromatic vivacity of the details. The "universal constructivism" with which Torres García would rise to the highest heights of modern art was already in the making. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travelled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts. There he came into contact with French Impressionism, the main influence at that time on him and other famous pupils such as Mir, Sunyer, Canals and Nonell. He also worked in decoration, a field in which his collaboration with Antoni Gaudí in the cathedral of Palma de Mallorca stands out. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona (Barcelona Provincial Council) was a turning point in his career. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, and thus came closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he creates the Sociedad de las Artes del Uruguay, whose aim is to integrate all the arts and act as a link between artists and the public. He came into contact with Uruguayan pre-Columbian and indigenous art, and this aesthetic, new to him, was to have a crucial influence on his thinking. He claimed that artists did not need to renounce being Latin American by pretending to be contemporary, and he brought a new dimension to the construction of the modern American language. Moreover, from this moment on, the cultural symbolism of his homeland took on a decisive importance in his work. His work can be found in the Thyssen-Bornemisza Museum, the museums of Modern Art in New York, San Francisco and Lille, the Museo Nacional Reina Sofía, the Museo Nacional de Arte de Cataluña, the Museo Torres García in Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the Museo Nacional de Bellas Artes in São Paulo, the Hirshhorn and Art of the Americas Museums in Washington DC, the Albright-Knox Gallery in Buffalo and the Los Angeles County Museum, among others.
Setdart Auction House
Nov. 24, 2022
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Classical Figures", 1915. Tempera on canvas.
Est: €55,000 - €60,000
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Classical Figures", 1915. Tempera on canvas. Work published in the artist's online Catalogue Raisonné. With the label of the Dau al Set gallery (Barcelona) on the back. Provenance: Estate of the artist. Manolita Piña de Torres García, Montevideo. Private Collection. Dau al Set Gallery, Barcelona. Francesc Mestre Gallery, Barcelona. Sizes: 47 x 101 cm; 70 x 120 cm (frame). This painting is a valuable link in the dazzling evolution of Torres García's work since his first triumphs in the Noucentista avant-garde in Barcelona. In this landscape with figures, although the Noucentista imprint remains through the reinterpretation of classicism and the interest in situating the figures in a rural setting, the manner of resolving the bodies and applying the colours already indicate a radically different approach from that of the Catalan group. In the way of economising the forms and synthesising the line, as well as in the adaptation of the palette to a range of ochre and sienna tones, we can appreciate a certain Cezannian beat. All this presages his great contribution to the history of modern art as the creator of Constructivism. In this carefully composed landscape, with an olive tree compartmentalising the scene, the three bodies withdraw silently into themselves, enclosed in their own gestures and thoughts, while at the same time harmoniously moulding themselves to the scene. The houses have been described with the same eagerness to schematise the world, to reduce life to its essence. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travelled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time on him and other famous pupils, such as Mir, Sunyer, Canals and Nonell. In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works executed in this technique, and entered into a dynamic of group work in which painters, musicians, sculptors and poets collaborated. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which, as a turning point in his career, the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona (Barcelona Provincial Council) stands out. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus coming closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he creates the Sociedad de las Artes del Uruguay, whose aim is to integrate all the arts and to act as a link between artists and the public. He came into contact with Uruguayan pre-Columbian and indigenous art, and this aesthetic, new to him, was to have a crucial influence on his thinking. His work is held in the Thyssen-Bornemisza Museum, the Modern Art Museums of New York, San Francisco and Lille, the Museo Nacional Reina Sofía, the Museo Nacional de Arte de Cataluña, the Museo Torres García in Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the Museo Nacional de Bellas Artes in São Paulo, the Hirshhorn and Art of the Americas Museums in Washington DC, the Albright-Knox Gallery in Buffalo and the Los Angeles County Museum, among others.
Setdart Auction House
Jun. 09, 2022
JOAQUÍN TORRES GARCÍA (MONTEVIDEO, 1874 - 1949)
Est: €15,000 - €18,000
Joaquín Torres García (Montevideo, 1874 - 1949) "Bruxelles" (Brussels) Oil on canvas. Signed and situated in Brussels. 27 x 35 cm. On the back is a label from the Dau al Set gallery in Barcelona, from the General Directors of Fine Art and the Generalitat of Catalonia. Exhibitions: - "Torres García". Museo Español de Arte Contemporáneo. Madrid, 1973. - "Torres García". Dau al Set gallery. Barcelona, 1986. - "Torres García". Museo Nacional de Artes Visuales de Montevideo, 1988. Exhibition organised by the Generalitat of Catalonia.
La Suite Subastas
Jun. 09, 2022
JOAQUÍN TORRES GARCÍA (MONTEVIDEO, 1874 - 1949)
Est: €4,000 - €6,000
Joaquín Torres García (Montevideo, 1874 - 1949) "Escena clásica" (Classical scene) Ink drawing on paper. Circa 1906. 8,6 x 12,8 cm. Certificate by Marcos Torres Andrada, the painter’s grandson, who indicates that the painting belonged to him and was inherited from his grandfather Joaquín Torres García. Dated 7th September 2010.
La Suite Subastas
May. 11, 2022
JOAQUIN TORRES GARCIA Montevideo (1874) / (1949) "Cosntructivo rayado con Hombre Universal", c.1940
Est: €3,000 - €4,000
Pencil on paper Attached is a certificate signed by Marcos Torres Andrada, reference 1345, signed in 2010, stating that he received the drawing as an inheritance from his grandfather .13 x 20 cm
Ansorena
May. 11, 2022
JOAQUIN TORRES GARCIA Montevideo (1874) / (1949) "Constructive abstract with circle", c.1935
Est: €1,500 - €2,000
Pencil on paper Attached is a certificate signed by Marcos Torres Andrada, with reference 306, signed in 2010, stating that he received the drawing as an inheritance from his grandfather .12.8 x 21.1 cm
Ansorena
Mar. 16, 2022
After Joaquin Torres García (Montevideo, Uruguay 1874 - 1949). "Constructive Composition II"
Est: €250 - €350
After Joaquin Torres García (Montevideo, Uruguay 1874 - 1949) "Constructive Composition II" Oil on canvas 32 x 24 cm 250 - 350 €
Greco Subastas
Mar. 05, 2022
JOAQUIN TORRES GARCIA (MANNER OF) URUGUAYAN 1874-1949
Est: $3,500 - $6,500
Composition, oil and sand on canvas, 25 x 36 in (63.5 x 91.4 cm), signed JTG lower middle, PROVENANCE: Private collector South Carolina
Trinity International Auctions & Appraisals, LLC
Jan. 11, 2022
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Fructus espiritus". Pencil on paper. Certificate of the Torres García Foundation, 1990, enclosed.
Est: €4,000 - €4,500
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Fructus espiritus". Pencil on paper. Certificate of the Torres García Foundation, 1990, enclosed. Measurements: 16.5 x 13 cm; 38 x 35 cm (frame). After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travelled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts. There he came into contact with French Impressionism, the main influence at that time on him and other famous pupils, such as Mir, Sunyer, Canals and Nonell. He combined this school with classes at the Baixas Academy, the most renowned at the time. From 1894 he took part in the General Exhibitions of Fine Arts, in the foreign section. During this decade he published several drawings in newspapers and magazines such as "La Vanguardia", "Iris", "Barcelona Cómica" and "La Saeta". In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works executed in this technique, and entered a group work dynamic in which painters, musicians, sculptors and poets collaborated. Years later he travelled to Italy to perfect his knowledge of this discipline. He also worked in decoration, a field in which his collaboration with Antoni Gaudí in the cathedral of Palma de Mallorca stands out. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona (Barcelona Provincial Council) was a turning point in his career. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus coming closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he creates the Sociedad de las Artes del Uruguay, whose aim is to integrate all the arts and act as a link between artists and the public. He came into contact with Uruguayan pre-Columbian and indigenous art, and this aesthetic, new to him, was to have a crucial influence on his thinking. He claimed that artists did not need to renounce being Latin American by pretending to be contemporary, and he brought a new dimension to the construction of the modern American language. Moreover, from this moment on, the cultural symbolism of his homeland took on a decisive importance in his work. His work can be found in the Thyssen-Bornemisza Museum, the museums of Modern Art in New York, San Francisco and Lille, the Museo Nacional Reina Sofía, the Museo Nacional de Arte de Cataluña, the Museo Torres García in Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the Museo Nacional de Bellas Artes in São Paulo, the Hirshhorn and Art of the Americas Museums in Washington DC, the Albright-Knox Gallery in Buffalo and the Los Angeles County Museum, among others.
Setdart Auction House
Nov. 16, 2021
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Fructus espiritus". Pencil on paper. Attached Certificate of the Torres García Foundation, 1990. Measurements: 16.5 x 13 cm; 38 x 35 cm (frame).
Est: €7,000 - €8,000
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Fructus espiritus". Pencil on paper. Attached Certificate of the Torres García Foundation, 1990. Measurements: 16.5 x 13 cm; 38 x 35 cm (frame). After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travels to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and entered the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time for him and other famous students, such as Mir, Sunyer, Canals and Nonell. He combined this school with classes at the Baixas Academy, the most reputable at the time. From 1894 he participated in the General Exhibitions of Fine Arts, in the foreign section. During this decade he published several drawings in newspapers and magazines such as "La Vanguardia", "Iris", "Barcelona Cómica" or "La Saeta". In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works made in this technique, and entered a dynamic group work in which painters, musicians, sculptors and poets collaborated. Years later he traveled to Italy to perfect his knowledge of this discipline. He also worked in decoration, a field in which his collaboration with Antoni Gaudí in the cathedral of Palma de Mallorca stands out. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona stands out as a turning point in his career. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Soon after he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus approaching abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he creates the Society of the Arts of Uruguay, whose aim was to integrate all the arts and act as a link between artists and the public. He came into contact with pre-Columbian and indigenous Uruguayan art, and this aesthetic, new to him, would have a crucial influence on his thinking. He claimed that artists did not need to renounce being Latin American by pretending to be contemporary, and he brought a new dimension to the construction of the modern American language. Moreover, from this moment on, the cultural symbology of his own land took on a decisive importance in his work. His work is preserved in the Thyssen-Bornemisza Museum, the Modern Art Museums of New York, San Francisco and Lille, the Reina Sofia National Museum, the National Art Museum of Catalonia, the Torres Garcia Museum of Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the National Museum of Fine Arts of São Paulo, the Hirshhorn and Art of the Americas Museums of Washington DC, the Albright-Knox Gallery of Buffalo and the Los Angeles County Museum, among others.
Setdart Auction House
Jul. 15, 2021
JOAQUÍN TORRES GARCÍA (1874-1949). "HISTORIA DE MI VIDA", 1939.
Est: €150 - €350
Montevideo, Publicaciones de la Asociación de Arte Constructivo, 304pp. With illustrations. Dedicated to Gustau Camps by Manolita de Torres García, the artist's wife, a friend of the collector: "To Mr Camps, with all my gratitude for everything he has done for the recovery of my husband's murals". This dedication refers to the paintings that Joaquín Torres-García painted for the building of Generalitat de Catalunya (1912-1918) commissioned by the government of La Mancomunitat, and which were removed when Primo de Rivera's dictatorship came to power. They were recovered in 1966, with the participation of the collector and promoter, Gustau Camps. 18 x 14 x 2.5 cm.
Subarna Subastas
May. 26, 2021
TORRES GARCÍA, Joaquín
Est: $4,500 - $5,500
TORRES GARCÍA, Joaquín (Uruguayan school, 1874-1949). Ink on cardboard. "Constructive composition with characters, houses and three." Signed and dated 1934 lower right. 7 x 28 cm. Made in joint composition with the ink manuscript of the story "El juguete del niño pobre" by Luis Varela Acevedo, signed "L.V.A." and dated "Dic. 8/934" at lower right. Overall size 49 x 31.5 cm. With damp stains. TORRES GARCÍA, Joaquín (escuela uruguaya, 1874-1949). Tinta sobre cartulina. "Composición constructiva con personajes, casas y tres." Firmado y fechado 1934 abajo a la derecha. 7 x 28 cm. Realizado en composición conjunta con el manuscrito en tinta del cuento "El juguete del niño pobre" de Luis Varela Acevedo, firmado "L.V.A." y fechado "Dic. 8/934" abajo a la derecha. Medida total 49 x 31.5 cm. Con manchas de humedad.
Zorrilla Subastas
May. 22, 2021
SIGNED JOAQUIN TORRES GARCIA CITYSCAPE PRINT
Est: $200 - $300
This is a wonderful estate found print by Spanish/Uruguayan artist Joaquin Torres Garcia (1874-1949). This limited edition print features a view of a cityscape, and bridge. It is signed by the artist and numbered 20/100. Framed under glass. - 20 x 16" with a sight view of 18 1/2 x 14 1/2"
Mark Lawson Antiques, Inc.
May. 13, 2021
JOAQUÍN TORRES GARCÍA (1874-1949). "MANIFIESTO Nº 3", 1940.
Est: €350 - €800
Montevideo, Publicaciones de la Asociación de Arte Constructivo. Fold-out with illustrations. 19.5 x 14.2 cm.
Subarna Subastas
Apr. 09, 2021
JOAQUIN TORRES GARCIA (1875 / 1949) "Urban landscape", 1943
Est: €45,000 - €60,000
Signed and dated at the bottom Included in the artist's online catalog raisonné with nº1943-109 Provenance: -Private collection, Madrid -Castell & Castells, Montevideo, Uruguaand -Private collection, Montevideo
Ansorena
Mar. 16, 2021
JOAQUIN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Still Life with Carrots", 1944. Oil on cardboard. Monogrammed (JTG) in the upper left corner. Dated in the upper right corner.
Est: €40,000 - €50,000
JOAQUIN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Still Life with Carrots", 1944. Oil on cardboard. Monogrammed (JTG) in the upper left corner. Dated in the upper right corner. Measurements: 43.5 x 52 cm. The work is registered in the online Reasoning Catalog, under the direction of Cecilia De Torres, with the reference 194416. Provenance: Collection of the artist- Horacio Torres, Juan Enrique Gomensoro, Montevideo, Uruguay, March 2, 2003, lot 112, ill. p. 61. Juan Enrique Gomensoro, Montevideo, Uruguay, June 3, 2003, National Painting, lot 59, ill. p. 18- Ansorena, 2004, Painting, lot 101- Private collection, Palma de Mallorca-Sotheby's, Paris, March 24, 2017, Art Impressioniste et Moderne, lot 63, ill. p. 95. This is a painting from the last period of Joaquín Torres García, a still life in which the orthogonal and synthetic framework that characterized his previous plastic art veers towards an intimate figuration. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He traveled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and entered the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time for him and other famous students, such as Mir, Sunyer, Canals and Nonell. From 1894 he participated in the General Exhibitions of Fine Arts, in the foreign section. During this decade he published several drawings in newspapers and magazines such as "La Vanguardia", "Iris", "Barcelona Cómica" or "La Saeta". In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works done in this technique. He also worked in decoration, a field in which his collaboration with Antoni Gaudí in the cathedral of Palma de Mallorca stands out. Around 1910 he began to introduce formal elements typical of Catalonia into his work. Several official commissions are related to this new approach, among them the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Soon after, he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus approaching abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he creates the Society of the Arts of Uruguay, whose aim was to integrate all the arts and act as a link between artists and the public. He came into contact with pre-Columbian and indigenous Uruguayan art, and this aesthetic, new to him, would have a crucial influence on his thinking. He claimed that artists did not need to renounce being Latin American by pretending to be contemporary, and he brought a new dimension to the construction of the modern American language. Furthermore, from this moment on, the cultural symbology of his own land took on a decisive importance in his work. His work is preserved in the Thyssen-Bornemisza Museum, the Modern Art Museums of New York, San Francisco and Lille, the Reina Sofia National Museum, the National Museum of Art of Catalonia, the Torres Garcia Museum in Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the National Museum of Fine Arts of São Paulo, the Hirshhorn and Art of the Americas Museums in Washington DC, the Albright-Knox Gallery in Buffalo and the Los Angeles Museum of Art in Los Angeles.
Setdart Auction House
Mar. 04, 2021
JOAQUÍN TORRES GARCÍA (1874-1949). "LO APARENTE Y LO CONCRETO EN EL ARTE. FASCÍCULO 5 (ÚLTIMO)", 1948.
Est: €140 - €225
Montevideo, Publicaciones de la Asociación de Arte Constructivo. Paperback binding. With illustrations on front and back cover; reproductions of works by the artist inside. Good condition. 20.8 x 16.5 cm; 64 pp.
Subarna Subastas
Dec. 17, 2020
JOAQUÍN TORRES GARCÍA (1874-1949). "RAISON ET NATURE", 1932.
Est: €400 - €520
Paris, Éditions Iman, s/p. (loose pages). With illustrations on most pages. Original folder in cardboard and cords, with cover illustrated by the author. In sackcloth cover. Good general condition, with slight foxing on the upper part of the sheets. 22.5 x 19 cm (including cover).
Subarna Subastas
Dec. 17, 2020
JOAQUÍN TORRES GARCÍA (1874-1949). "MANIFIESTO Nº 3", 1940.
Est: €350 - €460
Montevideo, Publicaciones de la Asociación de Arte Constructivo. Fold-out with illustrations. 19.5 x 14.2 cm.
Subarna Subastas
Dec. 17, 2020
JOAQUÍN TORRES GARCÍA (1874-1949). "LA CIUDAD SIN NOMBRE", 1941.
Est: €200 - €260
Montevideo, Publicaciones de la Asociación de Arte Constructivo,w/p. With illustrations. Defects on the spine. 15 x 11.5 x 1.3 cm.
Subarna Subastas
Dec. 17, 2020
JOAQUÍN TORRES GARCÍA (1874-1949). "MANIFIESTO 2 CONSTRUCTIVO 100%", 1938.
Est: €200 - €260
Montevideo, Publicaciones de la Asociación de Arte Constructivo, 15 p. 19.5 x 14.2 cm.
Subarna Subastas
Dec. 06, 2020
JOAQUÍN TORRES GARCÍA (1874-1949) La rivière calme 1927 Huile sur toile Mo
Est: €17,000 - €20,000
JOAQUÍN TORRES GARCÍA (1874-1949) La rivière calme 1927 Huile sur toile Monogrammé en haut en gauche daté en haut à droite contresigné au verso 33 x 46 cm Étiquettes au verso : - The peaceful river / J. Torres Garcia / Villa Jeanne à Villefranche sur Mer - Carnegie Institute Pittsburgh PA USA Bibliographie : Cette oeuvre est incluse dans le catalogue raisonné en ligne de Madame Cecilia De Torres sous le numéro 1927.110
Osenat
Jul. 21, 2020
Joaquín TORRES GARCIA (Uruguayan, 1874 - 1949)
Est: $1,500 - $2,000
Joaquín TORRES GARCIA (Uruguayan, 1874 - 1949) Still life with bottle, 1928 Pencil on paper Dated lower right 4.3 x 3.5 in. - 11 x 9 cm.
Fine Art Auctions Miami
Jul. 05, 2020
Joaquín TORRES GARCIA (Uruguayan, 1874 - 1949)
Est: $1,500 - $2,000
Joaquín TORRES GARCIA (Uruguayan, 1874 - 1949) Still life with bottle, 1928 Pencil on paper Dated lower right 4.3 x 3.5 in. - 11 x 9 cm.
Fine Art Auctions Miami
Apr. 17, 2020
Joaquín TORRES GARCIA (Uruguayan, 1874 - 1949) Still life with bottle, 1928 Pencil on paper Dated lower right 4.3 x 3.5 in. - 11 x 9 cm.
Est: $1,500 - $2,000
Still life with bottle, 1928 Pencil on paper Dated lower right 4.3 x 3.5 in. - 11 x 9 cm.
Fine Art Auctions Miami
Jun. 27, 2019
Joaquín Torres García (Montevideo, 1874 - 1949)
Est: €40,000 - €50,000
Joaquín Torres García (Montevideo, 1874 - 1949) "Still life" Oil on canvas. Signed and dated 1928. On the back is a label from the Madrid Biosca Gallery, dated 10th May 1974. 20th Century. 35 x 30, 5 cm.
La Suite Subastas
May. 07, 2019
Joaquín Torres García (Montevideo, 1874 - 1949) - "Frigate"
Est: -
Joaquín Torres García (Montevideo, 1874 - 1949) "Frigate" Oil on canvas Signed 48 x 34 cm 12.000 - 15.000 €
Goya Subastas
Feb. 26, 2019
JOAQUIN TORRES GARCIA (Montevideo, Uruguay, 1874-1949) Constructivo con formas. Circa 1942. Pencil drawing on paper
Est: -
JOAQUIN TORRES GARCIA (Montevideo, Uruguay, 1874-1949) Constructivo con formas. Circa 1942. Pencil drawing on paper JOAQUIN TORRES GARCIA (Montevideo, Uruguay, 1874-1949) Constructivo con formas. Circa 1942 Dibujo a lápiz sobre papel de 13,1 x 20,4 cm. Adjunta certificado emitido por el nieto del artista, D. Marcos Torres Andrada y Jorge W. Moreira.
Sala Retiro Subastas
Dec. 19, 2018
Joaquín Torres García
Est: -
Joaquín Torres García (Montevideo, 1874-1949). "Bodegón" (1927), óleo sobre lienzo, 38,5x70,5 cm.
Sala de Ventas
Dec. 08, 2018
JOAQUIN TORRES GARCÍA
Est: CHF1,800 - CHF2,400
JOAQUIN TORRES GARCÍA (1874 Montevideo 1949) Untitled. 1934. Woodcut. From an unknown edition. Signed in pencil lower right: J. Torres-Garcia, also dated in the block lower right: 34 and monogrammed lower left: J.TG. Image 17.5 x 13.3 cm on Japan laid paper 27.8 x 25 cm. --------------- JOAQUIN TORRES GARCÍA (1874 Montevideo 1949) Ohne Titel. 1934. Holzschnitt. Aus einer unbekannten Auflage. Unten rechts mit Bleistift signiert: J. Torres -Garcia, sowie im Block unten rechts datiert: 34 und unten links monogrammiert: J.TG. Darstellung 17,5 x 13,3 cm auf Japan 27,8 x 25 cm.
Koller Auctions
Jun. 02, 2018
JOAQUIN TORRES-GARCIA CONSTRUCCION OIL ON BOARD
Est: $800 - $1,200
Oil painting on cardboard attributed to Joaquin Torres Garcia (Uruguayan, 1874-1949). Titled 'Construcción', (sketch for the St. Bois Mural). Signed lower left and dated 1944 lower right. Measures 11 1/4" (28.5cm) x 7 3/4" (19.7cm) + 3 1/4" (8.2cm) mat & frame.
Antiques & Modern Auction Gallery
Apr. 25, 2018
JOAQUIN TORRES GARCIA (Montevideo, 1874 - 1949) Forma
Est: -
Pencil drawing on paper of 10 x 13.5 cm. Made around 1938. On the back, label of the Guillermo de Osma Gallery, Madrid. Procedence: - Joaquín Torres García, Montevideo.- Marcos Torres Andrada, grandchild of the artist, New York. Attached certificate of authenticity signed by Marco Torres Andrada.
Sala Retiro Subastas
Feb. 22, 2018
Joaquín Torres García (Montevideo, 1874 - 1949) - Ink drawing on paper.
Est: €7,000 - €10,000
Joaquín Torres García (Montevideo, 1874 - 1949) Ink drawing on paper. Signed with initials and dated 1932. 15 x 9,5 cm. Modern Art
La Suite Subastas
Jun. 15, 2016
JOAQUÍN TORRES GARCÍA (Montevideo, 1874-1949) Retrato de violonchelista
Est: -
JOAQUÍN TORRES GARCÍA (Montevideo, 1874-1949) Retrato de violonchelista Óleo sobre tabla de 47 x 36 cm. Firmado.
Sala Retiro Subastas
Aug. 29, 2015
Joaquín TORRES GARCIA (1874-1949) (Attributed) Uruguayan artist
Est: $1,000 - $2,000
Joaquín TORRES GARCIA (1874-1949) (Attributed) Uruguayan artist. 33 3/8" H x 18 1/8” W frame included. Shipping in USA is $ 80.00. International bidders ask before bid.
Antiques Supermarket
Jul. 15, 2015
Attributed to Joaquín TORRES GARCIA (1874-1949) Uruguayan artist drawing
Est: $400 - $800
Attributed to Joaquín TORRES GARCIA (1874-1949) Uruguayan artist drawing, signed without certificate. 13 3/4" H x 12 3/8” W. Shipping in USA is $ 35.00. International bidders ask before bid.
Antiques Supermarket
Jan. 24, 2015
JOAQUIN TORRES GARCIA URUGUAYAN 1874-1949
Est: $1,200 - $1,800
Taba , engraving on copper plate , 7 7/8 x 6 1/4 in (19.9 x 15.9 cm) , signed lower left, ED 3/3, dated '34 lower right
Trinity International Auctions & Appraisals, LLC
Jan. 21, 2015
Joaquím Torres García Montevideo 1874 - 1949 "Raison et Nature""
Est: €600 -
Joaquím Torres García Montevideo 1874 - 1949 "Raison et Nature"" Éditions Imán, Paris, 1932. Original folder bound in boards with strings, with 45 folios, most of them illustrated with drawings by the author. Hessian cover 22x18 cm Joaquín Torres García Montevideo 1874 - 1949 "Raison et Nature" Libro de artista Éditions Imán, París, 1932. Carpeta original en cartoné con cordones, con 45 folios, la mayoría ilustrados con dibujos del autor. Funda de arpillera 22x18 cm Joaquín Torres García Montevideo 1874 - 1949 "Raison et Nature" Éditions Imán, Paris, 1932. Originalmappe aus Karton mit Kordeln, mit 45 Folios, die Merhheit mit Zeichnungen des Autors illustriert. Hülle aus Sackleinen 22x18 cm
Balclis