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Amelia Pelaez Sold at Auction Prices

b. 1896 - d. 1968

Amelia Peláez del Casal (5 January 1896 – 8 April 1968) was an important Cuban painter of the Avant-garde generation.

Salón de Mayo, 1967. Sidewalk insert in front of Radiocentro CMQ Building by Amelia Peláez.

Amelia Peláez was born in 1896 in Yaguajay, in the former Cuban province of Las Villas (now Sancti Spíritus Province). She was the fifth born of eleven siblings in a family that was part of the Cuban-Creole middle class. Her father was a doctor, Manuel Pelaez y Laredo, and her mother, Maria del Carmen del Casal y Lastra, stayed at home with her children. Amelia's uncle was Julian del Casal, who was a poet and included her family in Cuba's intellectual circles.

In 1917, her family moved to Havana, to the La Víbora district, and this gave her the opportunity to enter the Escuela Nacional de Bellas Artes "San Alejandro" at the rather late age of 20 years (students at this academy usually start at 12–13 years of age). She was among Leopoldo Romañach's favourite students. In 1924 she graduated from San Alejandro, and exhibited her paintings for the first time, along with another Cuban female painter, María Pepa Lamarque, at the Association of Painters and Sculptors in Havana. Receiving a small government grant, she travelled to New York City in the Summer of 1924 and began six months of study at the Art Students' League. In 1927, after being awarded a larger grant, she began studying in France, while paying short visits to Spain, Italy, and other countries.


Pelaez moved to Paris, accompanied by Cuban writer Lydia Cabrera, after she received a grant from the government in order to pursue art. Both took painting and art history courses at École Nationale Supérieure des Beaux-Arts. She also took drawing and art history courses at the Académie de la Grande Chaumière and the École du Louvre. In 1931 Pelaez enrolled, along with Cabrera, in Fernand Léger's Academie Contemporaine. She then began studying with Russian painter Alexandra Exter, whose friendship and classes in color theory and design were an important influence.

Galerie Zak hosted a solo-exhibition of her paintings in 1933, where she exhibited thirty-eight works. In that same year, she participated in the eleventh Salon des Tuileries and “was also included in an exhibition of illustrated manuscripts by the calligrapher Guido at the Galerie Myrbor”, in which she illustrated Sept Poemes of Leon Paul Fargue. In her years in Paris, her work was highly praised by French critics.


In 1934, following a showing at the Salon des Independants, Pelaez returned to live in her mother’s colonial-style house in Cuba. The Cuba Pelaez returned to was in a state of economic uncertainty and political unrest. Beginning in the late 1920s, Cuba was searching for a new art that would reflect the national identity. In response, Pelaez departed from earlier vanguard strategies and turned to new approaches that involved depictions of Afro-Cuban and guajiro (peasant) subjects, while representing them in the adoption of European modernism. According to Ingrid Williams Elliot, Pelaez’s vibrant colors as well as thick lines are derived from Spanish-colonial architecture “integrating domestic objects with architectural decorations”. Peláez uses "Baroque ornamentation in her use of domestic colonial interiors to engage and merge multiple histories and assorted styles -- past and present -- to arrive at a contemporary Cuban idiom.”

In 1935, Pelaez had a solo exhibition at a women’s club in Havana called the Lyceum, which helped gain exposure of her new modernist Cuban style.

During this time, in the mid-thirties, Peláez was experimenting with "patterns, shapes and geometric relationships of tablecloths and fruit dishes, laying the groundwork for the geometric constructions and rhythmic patterns that have been associated with her architectural ornamentation in her work in the forties”, it also shows her awareness of Cubism. Her signature still life paintings were praised for the use of native fruits and flora referencing her Cuban roots.

In 1935-1936, Pelaez focused much of her paintings and drawings to the use of ink and pencil. The treatment of these drawings differs than her previous oil works, by distorting and exaggerating the figure with "sinuous line and light shading" that reference Cubism and European Modernism.

Peláez received a prize in the National Exposition of Painters and Sculptors in 1938, and collaborated on several art magazines in Cuba, such as Orígenes, Nadie Parecía, and Espuela de Plata. In 1950 she opened a workshop at San Antonio de los Baños, a small city near Havana, where she dedicated herself, until 1962, to her favourite pastime of pottery. She sent her paintings to the São Paulo Art Biennial in 1951 and 1957, and participated in 1952's Venice Biennale. In 1958 she was a guest of honour and jury member at the First Inter-American Biennial of Painting and Printmaking in Mexico City,[2] although she pulled out of the raucous and controversial jury discussions based on what she reported to be “an openly Communist bias in the decisions.”[8] Aside from painting and pottery, she dedicated time to murals, located mainly at different schools in Cuba. Her most important works of this type are a ceramic mural at the Tribunal de Cuentas in Havana (1953) and the facade of the Habana Hilton hotel (1957).She had a hard time selling her paintings as a living artists—she and her paintings, later named Amelias, achieved fame much later in life.

Peláez died in Havana in 1968.


Amelia lived in her mother's house, which was a mix between a neoclassical design and a more traditional Cuban Creole architectural style house, for the rest of her years after her return to Havana, Cuba. Her house was a main source of inspiration after returning to a reclusive domestic lifestyle. The house was built in 1912, filled with colonial furniture of the baroque style. The house contained marble, crystal, wood, and ceramics in its interior. Amelia would also hang her paintings as decor.

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            • AMELIA PELAEZ - Untitled
              Feb. 06, 2024

              AMELIA PELAEZ - Untitled

              Est: -

              AMELIA PELAEZ Cuba 1896-1968 Untitled. 1964 Gouache on paper Signed and dated 1964 Measurements 27.5 x 37 cm PROVENANCE Edmund Peel Collection

              Subastas Segre
            • Attr. To Amelia Pelaez (Cuban, 1896-1968) Ceramic Vase
              Jan. 09, 2024

              Attr. To Amelia Pelaez (Cuban, 1896-1968) Ceramic Vase

              Est: $1,000 - $6,000

              DESCRIPTION: Ceramic vase attributed to Amelia Pelaez painted with architectural, lattice, and abstract patterns in various colors. CIRCA: Early to mid-20th Century ORIGIN: Cuba DIMENSIONS: H: 57.5" D: 19.5" CONDITION: In great condition Unless otherwise stated, all information provided is the opinion of our specialists. Should you have any specific questions regarding the condition of this lot, please use the ask question button or send us an email.

              Akiba Galleries
            • Amelia (Y Del Casal) Pelaez (Cuban 1897 - 1968), "Figura" (Cubist Figure), 1949, Gouache on paper mounted to board, Signed and dated lower right A. Pelaez 1949, label on verso with artist name and title, 42" x 27 3/4"...
              Jan. 01, 2024

              Amelia (Y Del Casal) Pelaez (Cuban 1897 - 1968), "Figura" (Cubist Figure), 1949, Gouache on paper mounted to board, Signed and dated lower right A. Pelaez 1949, label on verso with artist name and title, 42" x 27 3/4"...

              Est: $40,000 - $80,000

              Amelia (Y Del Casal) Pelaez (Cuban 1897 - 1968) "Figura" (Cubist Figure), 1949 Gouache on paper mounted to board Signed and dated lower right A. Pelaez 1949, label on verso with artist name and title 42" x 27 3/4" Provenance: "The Mortimer and Mimi Levitt Estate, founders of The Custom Shirtmakers, and later the Mortimer and Mimi Levitt Foundation." Condition: overall good condition

              Nadeau's Auction Gallery
            • AMELIA PELÁEZ (Cuba, 1896 – 1968). “Composition”, 1958. Engraving on paper. Copy 62/200. Signed and dated in the lower right area. Justified in pencil in the lower left area.
              Dec. 12, 2023

              AMELIA PELÁEZ (Cuba, 1896 – 1968). “Composition”, 1958. Engraving on paper. Copy 62/200. Signed and dated in the lower right area. Justified in pencil in the lower left area.

              Est: €300 - €400

              AMELIA PELÁEZ (Cuba, 1896 - 1968). "Composición", 1958. Etching on paper. Copy 62/200. Signed and dated on the lower right. Justified in pencil at the bottom left. Measurements: 30 x 44 cm. Provenance: Manuel Reguera Saumell collection, recognised as one of the great Cuban writers and playwrights of the 20th century. As the set of photographs that accompany this collection testify, Reguera forged a close friendship with the most outstanding exponents of Cuban art during the years he spent in his native country. It was then that Reguera, backed by the bond that united him with Amelia Peláez, Rene Portocarrero, Carlos Abela and Antonia Eiriz, began his facet as a collector, giving birth to what would become his personal collection. Considered a pioneer of modernism in Cuba, Amelia Peláez trained at the Escuela Nacional de San Alejandro in Havana, where she was influenced by impressionism under her teacher, Leopoldo Romañach. In 1924 she graduated and held her first exhibition, and shortly afterwards went to New York, where she completed her training at the Art Students League, thanks to a scholarship from the San Fernando Association. In 1927 he travelled to Europe and settled in Paris. During this period he travelled to Italy, Spain, Germany and Hungary, and studied with the Russian Cubist painter Alexandra Exter, as well as attending the Ecole Nationale Supérieure des Beaux-Arts and the Ecole du Louvre, both in Paris. In 1933 he held a solo exhibition at the Zak gallery, thus making a name for himself in the French capital. However, a year later she returned to Cuba, committed to the Revolution, and took an active part in the movement of modern Cuban artists. Throughout her career Peláez received numerous awards, including the National Salon in Havana, and in 1943 she was given a major retrospective exhibition. He travelled twice more to Europe, and in addition to easel painting worked in ceramics and murals. She is currently represented at the MoMA in New York, the Museo Nacional de Bellas Artes in Havana and other Cuban and international museums.

              Setdart Auction House
            • AMELIA PELÁEZ (Cuba, 1896 - 1968). "Composition", 1958. Etching on paper. Exemplary 19/200. Signed and dated in plate in the lower right area. Justified in pencil in the left inferior zone.
              Dec. 12, 2023

              AMELIA PELÁEZ (Cuba, 1896 - 1968). "Composition", 1958. Etching on paper. Exemplary 19/200. Signed and dated in plate in the lower right area. Justified in pencil in the left inferior zone.

              Est: €300 - €400

              AMELIA PELÁEZ (Cuba, 1896 - 1968). "Composition", 1958. Etching on paper. Exemplary 19/200. Signed and dated in plate in the lower right area. Justified in pencil in the left inferior zone. Measurements: 30 x 44 cm. Provenance: Manuel Reguera Saumell collection, recognized as one of the great Cuban writers and playwrights of the 20th century. As the set of photographs that accompany this collection testify, Reguera forged a close friendship with the most outstanding exponents of Cuban art during the years he remained in his native country. It was then when Reguera, supported by the bond that united him with Amelia Peláez, Rene Portocarrero, Carlos Abela or Antonia Eiriz, began his facet as a collector, giving birth to what would become his personal collection. Considered a pioneer of modernism in Cuba, Amelia Peláez studied at the San Alejandro National School in Havana, where she was influenced by impressionism under the guidance of her teacher, Leopoldo Romañach. In 1924 she graduated and held her first exhibition, and soon after she went to New York, where she completed her training at the Art Students League, thanks to a scholarship from the San Fernando Association. In 1927 he travels to Europe and settles in Paris. During this period he travels through Italy, Spain, Germany and Hungary, and studies with the Russian cubist painter Alexandra Exter, as well as attending the Ecole Nationale Supérieure des Beaux-Arts and the Louvre, both in Paris. In 1933 he exhibited individually at the Zak Gallery, thus becoming known in the French capital. However, a year later she returned to Cuba, committed to the Revolution, and actively participated in the movement of modern Cuban artists. Throughout her career Peláez received numerous awards, such as the National Salon of Havana, and in 1943 an important retrospective exhibition was dedicated to her. She will travel twice more to Europe, and in addition to easel painting she worked in ceramics and murals. She is currently represented at the MoMA in New York, the National Museum of Fine Arts in Havana and other Cuban and international museums.

              Setdart Auction House
            • AMELIA PELÁEZ (Cuba, 1896 – 1968). “Salon”, 1953. Ink drawing on paper. Signed, dated and dedicated in the lower right area.
              Dec. 12, 2023

              AMELIA PELÁEZ (Cuba, 1896 – 1968). “Salon”, 1953. Ink drawing on paper. Signed, dated and dedicated in the lower right area.

              Est: €3,500 - €4,500

              AMELIA PELÁEZ (Cuba, 1896 - 1968). "Salon", 1953. Ink drawing on paper. Signed, dated and dedicated in the lower right-hand corner. Size: 24,5 x 24,5 cm. Provenance: Manuel Reguera Saumell collection, recognised as one of the great Cuban writers and playwrights of the 20th century. As the set of photographs accompanying this collection testify, Reguera forged close friendships with the most outstanding exponents of Cuban art during the years he spent in his native country. It was then that Reguera, backed by the bond that united him with Amelia Peláez, Rene Portocarrero, Carlos Abela and Antonia Eiriz, began his facet as a collector, giving birth to what would become his personal collection. In this work the author plays with geometry, constructing an image in which the interior and exterior merge in such a way that the forms become the protagonists. Despite the apparent compositional simplicity of the drawing, the work reveals the mastery of the author's brushstroke, which is evident in the play of shadows and the spatial sensation she achieves with her highly defined strokes. Amelia Peláez painted her most interesting works during her maturity. At first her aesthetic was closely linked to the academy. In 1916 she began her studies at the San Alejandro Academy and in 1921 she went to New York. She initially commented that the United States brought her nothing, but there she came into contact with modernity, coming into contact with different, new and avant-garde art. She finally returned to the San Alejandro Academy, graduating in 1926 with honours from the hand of Romanach, that is to say, from the hand of the most academic art. He then travelled to Paris in 1927 and stayed there for seven years. She arrived with a state commission to investigate the schools and to find out how the art scene was constituted. During this period Amalia immersed herself in art, which for her was a renewal. She enrolled at the Louvre school, also in that classical environment, and in 1931 she entered a newly opened academy, the contemporary academy of Fernand Léger, where she met a teacher who was an artistic revelation for Amelia. Alejandra Exter (1882-1949), a Russian painter and designer who followed the ideas of constructivism and had a great influence on Amelia's education. Through her geometric works and superimpositions of planes. Amelia found in avant-garde Europe not the purism of the avant-garde, but something more post-modern, but she was still interested in it because it was a whole world of suggestions for her to assimilate and create a new aesthetic. In an article she wrote in a Paris newspaper about Cuban painters, she said that they were interested in the great masters of the contemporary in order to create a revolution in Havana. Those who returned to Cuba assimilated the classical tradition, but were inspired by the themes of their country, although they were also interested in Gauguin and the art of the blacks. In Paris he assimilated what he was seeing and produced paintings of this type, with a strong emphasis on figuration and post-avant-gardism. He opted for geometric rigour and broke with conventional space, opting for a purely plastic vision, typical of the avant-garde. In 1934 he returned to Havana in the midst of political change, when Batista was coming to power. He confined himself to his studio and devoted himself to shaping his definitive work. He eliminated his academic burdens belatedly. When the catharsis of arriving in her homeland took place, she began to produce her own language, as it was in Havana that she realised that she did not want to be a simple painter of the School of Paris, but a modern, avant-garde Cuban artist. She came into contact with Wilfredo Lam, who had a deep knowledge of Afro-Cuban traditions after coming from Paris, and she herself ended up finding her style, looking at her city.

              Setdart Auction House
            • AMELIA PELÁEZ (Cuba, 1896 – 1968). Plato, 1956. Glazed ceramic. Present restorations in fracture lines located at the base. Signed and dated on the base.
              Dec. 12, 2023

              AMELIA PELÁEZ (Cuba, 1896 – 1968). Plato, 1956. Glazed ceramic. Present restorations in fracture lines located at the base. Signed and dated on the base.

              Est: €3,500 - €4,000

              AMELIA PELÁEZ (Cuba, 1896 - 1968). Dish, 1956. Glazed ceramic. With restorations on fracture lines on the base. Signed and dated on the base. Measurements: 48 cm (diameter). Provenance: Manuel Reguera Saumell collection, recognised as one of the great Cuban writers and playwrights of the 20th century. As the set of photographs accompanying this collection testify, Reguera forged close friendships with the most outstanding exponents of Cuban art during the years he spent in his native country. It was then that Reguera, backed by the bond that united him with Amelia Peláez, Rene Portocarrero, Carlos Abela and Antonia Eiriz, began his facet as a collector, giving birth to what would become his personal collection. It was the distinctive, homely quality of Cuban domestic life that Pelaéz celebrated in her work, a theme she elevated as the true meaning of Cuban identity. In 1950 Amelia Pelaéz, opened a studio in San Antonio de los Baños, a small town near Havana, where she devoted herself, until 1962, to her favourite pastime, pottery making. Amelia Peláez painted her most interesting works during her maturity. At first her aesthetic was closely linked to the academy. In 1916 she began her studies at the San Alejandro Academy and in 1921 she left for New York. She commented at first that the United States brought her nothing, but there she came into contact with modernity, coming into contact with different, new and avant-garde art. She finally returned to the San Alejandro Academy, graduating in 1926 with honours from the hand of Romanach, that is to say, from the hand of the most academic art. He then travelled to Paris in 1927 and stayed there for seven years. She arrived with a state commission to investigate the schools and to find out how the art scene was constituted. During this period Amalia immersed herself in art, which for her was a renewal. She enrolled at the Louvre school, also in that classical environment, and in 1931 she entered a newly opened academy, the contemporary academy of Fernand Léger, where she met a teacher who was an artistic revelation for Amelia. Alejandra Exter (1882-1949), a Russian painter and designer who followed the ideas of constructivism and had a great influence on Amelia's education. Through her works of geometric character and superimpositions of planes. Amelia found in avant-garde Europe not the purism of the avant-garde, but something more post-modern, but she was still interested in it because it was a whole world of suggestions for her to assimilate and create a new aesthetic. In an article she wrote in a Paris newspaper about Cuban painters, she said that they were interested in the great masters of the contemporary in order to create a revolution in Havana. Those who returned to Cuba assimilated the classical tradition, but were inspired by the themes of their country, although they were also interested in Gauguin and the art of the blacks. In Paris he assimilated what he was seeing and produced paintings of this type, with a strong emphasis on figuration and post-avant-gardism. He opted for geometric rigour and broke with conventional space, opting for a purely plastic vision, typical of the avant-garde. In 1934 he returned to Havana in the midst of political change, when Batista was coming to power. He confined himself to his studio and devoted himself to shaping his definitive work. He eliminated his academic burdens belatedly. When the catharsis of arriving in her homeland took place, she began to produce her own language, as it was in Havana that she realised that she did not want to be a simple painter of the School of Paris, but a modern, avant-garde Cuban artist. She came into contact with Wilfredo Lam, who had a deep knowledge of Afro-Cuban traditions after coming from Paris, and she herself ended up finding her style, looking at her city.

              Setdart Auction House
            • AMELIA PELÁEZ (Cuba, 1896 – 1968). Vase, 1958. Glazed ceramic. Signed and dated on the base.
              Dec. 12, 2023

              AMELIA PELÁEZ (Cuba, 1896 – 1968). Vase, 1958. Glazed ceramic. Signed and dated on the base.

              Est: €3,500 - €4,500

              AMELIA PELÁEZ (Cuba, 1896 - 1968). Vase, 1958. Glazed ceramic. Signed and dated on the base. Measurements: 38 cm (height). Provenance: Manuel Reguera Saumell collection, recognised as one of the great Cuban writers and playwrights of the 20th century. As the set of photographs accompanying this collection testify, Reguera forged a close friendship with the most outstanding exponents of Cuban art during the years he spent in his native country. It was then that Reguera, backed by the bond that united him with Amelia Peláez, Rene Portocarrero, Carlos Abela and Antonia Eiriz, began his facet as a collector, giving birth to what would become his personal collection. In 1950 Amelia Pelaéz opened a workshop in San Antonio de los Baños, a small town near Havana, where she devoted herself to her favourite hobby, pottery, until 1962. Vases, cups and bowls form part of his ceramic production to which he applied his visionary aesthetic language. This piece is a unique example of the pottery production of Peláez, who never abandoned techniques linked to the artistic tradition of his native land. Amelia Peláez painted her most interesting works during her maturity. At first her aesthetic was closely linked to the academy. In 1916 she began her studies at the Academy of San Alejandro and in 1921 she went to New York. She initially commented that the United States brought her nothing, but there she came into contact with modernity, coming into contact with different, new and avant-garde art. She finally returned to the San Alejandro Academy, graduating in 1926 with honours from the hand of Romanach, that is to say, from the hand of the most academic art. He then travelled to Paris in 1927 and stayed there for seven years. She arrived with a state commission to investigate the schools and to find out how the art scene was constituted. During this period Amalia immersed herself in art, which for her was a renewal. She enrolled at the Louvre school, also in that classical environment, and in 1931 she entered a newly opened academy, the contemporary academy of Fernand Léger, where she met a teacher who was an artistic revelation for Amelia. Alejandra Exter (1882-1949), a Russian painter and designer who followed the ideas of constructivism and had a great influence on Amelia's education. Through her geometric works and superimpositions of planes. Amelia found in avant-garde Europe not the purism of the avant-garde, but something more post-modern, but she was still interested in it because it was a whole world of suggestions for her to assimilate and create a new aesthetic. In an article she wrote in a Paris newspaper about Cuban painters, she said that they were interested in the great masters of the contemporary in order to create a revolution in Havana. Those who returned to Cuba assimilated the classical tradition, but were inspired by the themes of their country, although they were also interested in Gauguin and the art of the blacks. In Paris he assimilated what he was seeing and produced paintings of this type, with a strong emphasis on figuration and post-avant-gardism. He opted for geometric rigour and broke with conventional space, opting for a purely plastic vision, typical of the avant-garde. In 1934 he returned to Havana in the midst of political change, when Batista was coming to power. He confined himself to his studio and devoted himself to shaping his definitive work. He eliminated his academic burdens belatedly. When the catharsis of arriving in her homeland took place, she began to produce her own language, as it was in Havana that she realised that she did not want to be a simple painter of the School of Paris, but a modern, avant-garde Cuban artist. She came into contact with Wilfredo Lam, who had a deep knowledge of Afro-Cuban traditions after coming from Paris, and she herself ended up finding her style, looking at her city.

              Setdart Auction House
            • AMELIA PELÁEZ (Cuba, 1896 – 1968). “Composition”, 1958. Watercolor and gouache on paper. Signed, dated and dedicated in the lower right corner.
              Dec. 12, 2023

              AMELIA PELÁEZ (Cuba, 1896 – 1968). “Composition”, 1958. Watercolor and gouache on paper. Signed, dated and dedicated in the lower right corner.

              Est: €7,000 - €9,000

              AMELIA PELÁEZ (Cuba, 1896 - 1968). "Composition", 1958. Watercolour and gouache on paper. Signed, dated and dedicated in the lower right corner. Size: 26 x 31 cm. Provenance: Manuel Reguera Saumell collection, recognised as one of the great Cuban writers and playwrights of the 20th century. As the set of photographs that accompany this collection testify, Reguera forged a close friendship with the most outstanding exponents of Cuban art during the years he spent in his native country. It was then that Reguera, backed by the bond that united him with Amelia Peláez, Rene Portocarrero, Carlos Abela and Antonia Eiriz, began his facet as a collector, giving birth to what would become his personal collection. The National Museum of Cuba has in its collection a work very similar to the present one, made by the Cuban artist in 1958. In this particular case, the artist gives greater prominence to the support, although she maintains the same composition dominated by two schematic fish in the centre. Amelia Peláez painted her most interesting works during her maturity. At first her aesthetic was closely linked to the academy. In 1916 she began her studies at the Academy of San Alejandro and in 1921 she went to New York. She initially commented that the United States brought her nothing, but there she came into contact with modernity, coming into contact with different, new and avant-garde art. She finally returned to the San Alejandro Academy, graduating in 1926 with honours from the hand of Romanach, that is to say, from the hand of the most academic art. He then travelled to Paris in 1927 and stayed there for seven years. She arrived with a state commission to investigate the schools and to find out how the art scene was constituted. During this period Amalia immersed herself in art, which for her was a renewal. She enrolled at the Louvre school, also in that classical environment, and in 1931 she entered a newly opened academy, the contemporary academy of Fernand Léger, where she met a teacher who was an artistic revelation for Amelia. Alejandra Exter (1882-1949), a Russian painter and designer who followed the ideas of constructivism and had a great influence on Amelia's education. Through her geometric works and superimpositions of planes. Amelia found in avant-garde Europe not the purism of the avant-garde, but something more post-modern, but she was still interested in it because it was a whole world of suggestions for her to assimilate and create a new aesthetic. In an article she wrote in a Paris newspaper about Cuban painters, she said that they were interested in the great masters of the contemporary in order to create a revolution in Havana. Those who returned to Cuba assimilated the classical tradition, but were inspired by the themes of their country, although they were also interested in Gauguin and the art of the blacks. In Paris he assimilated what he was seeing and produced paintings of this type, with a strong emphasis on figuration and post-avant-gardism. He opted for geometric rigour and broke with conventional space, opting for a purely plastic vision, typical of the avant-garde. In 1934 he returned to Havana in the midst of political change, when Batista was coming to power. He confined himself to his studio and devoted himself to shaping his definitive work. He eliminated his academic burdens belatedly. When the catharsis of arriving in her homeland took place, she began to produce her own language, as it was in Havana that she realised that she did not want to be a simple painter of the School of Paris, but a modern, avant-garde Cuban artist. She came into contact with Wilfredo Lam, who had a deep knowledge of Afro-Cuban traditions after coming from Paris, and she herself ended up finding her style, looking at her city.

              Setdart Auction House
            • AMELIA PELÁEZ (Cuba, 1896 - 1968). "Composition in black and yellow". Oil on paper. Signed and dedicated on the back.
              Dec. 12, 2023

              AMELIA PELÁEZ (Cuba, 1896 - 1968). "Composition in black and yellow". Oil on paper. Signed and dedicated on the back.

              Est: €18,000 - €20,000

              AMELIA PELÁEZ (Cuba, 1896 - 1968). "Composition in black and yellow". Oil on paper. Signed and dedicated on the back. Measurements: 54 x 74 cm; 74 x 94 cm (frame). Provenance: Manuel Reguera Saumell collection, recognized as one of the great Cuban writers and playwrights of the 20th century. As the set of photographs accompanying this collection testify, Reguera forged a close friendship with the most outstanding exponents of Cuban art during the years he spent in his native country. It was then when Reguera, supported by the bond that united him with Amelia Peláez, Rene Portocarrero, Carlos Abela or Antonia Eiriz, began his facet as a collector, giving birth to what would become his personal collection. Amelia Peláez painted her most interesting works during her maturity. At first her aesthetics were closely linked to the academy. In 1916 she began her studies at the Academy of San Alejandro and in 1921 she went to New York. She commented at first that the United States did not bring her anything, but there she got in touch with modernity, coming into contact with different, new and avant-garde art. Finally she returned to the Academy of San Alejandro to finish graduating in 1926 with honors, and from the hand of Romanach, that is to say, from the hand of the most academic art. He then traveled to Paris in 1927 and stayed there for seven years. She arrived with a state commission, in order to investigate the schools and find out how the art scene was constituted. During this period Amalia immersed herself in art, which for her was a renewal. She enrolled at the Louvre school, also in that classical environment, and in 1931 she entered a newly opened academy, the contemporary academy of Fernand Léger, where there was a teacher who was an artistic revelation for Amelia. Alejandra Exter (1882-1949) Russian painter and designer, who followed the ideas of constructivism and exerted a great influence on the formation of Amalia. Through her works of geometric character and superimpositions of planes. Amelia found in the Europe of the avant-garde not the purism of these, but something more postmodern, but still interested her because it was a whole world of suggestions to assimilate and create a new aesthetic. In an article she wrote in a Paris newspaper about Cuban painters, she said that they were interested in the great masters of the contemporary in order to create a revolution in Havana. Those returning to Cuba assimilated the classical tradition, but were inspired by the themes of their country, although they were also interested in Gauguin, and the art of the blacks. In Paris he assimilated what he was seeing and made paintings of this type, with a strong weight based on figuration and post-avant-gardism. He opted for geometric rigor and broke with conventional space, opting for a purely plastic vision, typical of the avant-garde. In 1934 he returned to Havana, in the midst of political change, when Batista was coming to power. He secluded himself in his studio and dedicated himself to shaping his definitive work. He eliminated his academic burdens belatedly. When the catharsis of arriving in her homeland took place, she began to produce her own language, since it was in Havana where she realized that she did not want to be a simple painter of the School of Paris, but a modern and avant-garde Cuban artist. She got in touch with Wilfredo Lam, who knew in depth the Afro-Cuban traditions after coming from Paris, and she herself ended up finding her style, looking at her city.

              Setdart Auction House
            • AMELIA PELÁEZ (Cuba, 1896 – 1968). “Lady with a fan”, 1957. Tempera on paper. Signed and dated in the lower right corner.
              Dec. 12, 2023

              AMELIA PELÁEZ (Cuba, 1896 – 1968). “Lady with a fan”, 1957. Tempera on paper. Signed and dated in the lower right corner.

              Est: €28,000 - €30,000

              AMELIA PELÁEZ (Cuba, 1896 - 1968). "Lady with a Fan, 1957. Tempera on paper. Signed and dated in the lower right corner. Measurements: 57 x 54 cm. Provenance: Manuel Reguera Saumell collection, recognised as one of the great Cuban writers and playwrights of the 20th century. As the set of photographs that accompany this collection testify, Reguera forged a close friendship with the most outstanding exponents of Cuban art during the years he spent in his native country. It was then that Reguera, backed by the bond that united him with Amelia Peláez, Rene Portocarrero, Carlos Abela and Antonia Eiriz, began his facet as a collector, giving birth to what would become his personal collection. The present work belongs to the author's Baroque period, considered one of the most prolific of her career. In the image Peláez displays her characteristic pictorial imagery, offering the viewer a striking figurative composition made up of simplified lines that outline very marked contours. However, the painting does not abandon colour, which is the undisputed protagonist of the piece. Resembling a stained-glass window or a window that receives the light, it shows a lady whose contours are delimited by means of a thick, synthetic line. This resource, in the manner of stained-glass windows, favours a trompe l'oeil of light unique to the painting of Peláez, who, inspired by the architecture of her native Cuba, knew how to transform its cultural tradition into contemporaneity like no one else. Amelia Peláez painted her most interesting works during her maturity. At first her aesthetics were closely linked to the academy. In 1916 she began her studies at the Academy of San Alejandro and in 1921 she went to New York. She initially commented that the United States brought her nothing, but there she came into contact with modernity, coming into contact with different, new and avant-garde art. She finally returned to the San Alejandro Academy, graduating in 1926 with honours from the hand of Romanach, that is to say, from the hand of the most academic art. He then travelled to Paris in 1927 and stayed there for seven years. She arrived with a state commission to investigate the schools and to find out how the art scene was constituted. During this period Amalia immersed herself in art, which for her was a renewal. She enrolled at the Louvre school, also in that classical environment, and in 1931 she entered a newly opened academy, the contemporary academy of Fernand Léger, where she met a teacher who was an artistic revelation for Amelia. Alejandra Exter (1882-1949), a Russian painter and designer who followed the ideas of constructivism and had a great influence on Amelia's education. Through her works of geometric character and superimpositions of planes. Amelia found in avant-garde Europe not the purism of the avant-garde, but something more post-modern, but she was still interested in it because it was a whole world of suggestions for her to assimilate and create a new aesthetic. In an article she wrote in a Paris newspaper about Cuban painters, she said that they were interested in the great masters of the contemporary in order to create a revolution in Havana. Those who returned to Cuba assimilated the classical tradition, but were inspired by the themes of their country, although they were also interested in Gauguin and the art of the blacks. In Paris he assimilated what he was seeing and produced paintings of this type, with a strong emphasis on figuration and post-avant-gardism. He opted for geometric rigour and broke with conventional space, opting for a purely plastic vision, typical of the avant-garde. In 1934 he returned to Havana in the midst of political change, when Batista was coming to power. He confined himself to his studio and devoted himself to shaping his definitive work. He eliminated his academic burdens belatedly. When the catharsis of arriving in her homeland took place, she began to produce her own language, as it was in Havana that she realised that she did not want to be a simple painter of the School of Paris, but a modern, avant-garde Cuban artist. She came into contact with Wilfredo Lam, who had a deep knowledge of Afro-Cuban traditions after coming from Paris, and she herself ended up finding her style, looking at her city.

              Setdart Auction House
            • AMELIA PELAEZ WATERCOLOR ON PAPER WINDOW SCENE PAINTING
              Dec. 09, 2023

              AMELIA PELAEZ WATERCOLOR ON PAPER WINDOW SCENE PAINTING

              Est: $800 - $1,200

              AMELIA PELAEZ WATERCOLOR ON PAPER WINDOW SCENE PAINTING Amelia Peláez (Cuban, 1896-1968) watercolor painting on paper, scene in blue and red of people in an apartment window. Signed and dated 1964 in the lower right corner. Peláez is known as a prominent figure in the avant-garde generation of artists. She studied at Escuela Nacional de Bellas Artes, or "San Alejandro," in her 20s, going on to study in Paris alongside artists like Aleksandra Ekster, a famed Russian painter, stage designer, and costumer. Provenance: From the collection of Cuban sculptor, Fausto Ramos, who also acted as director at the famed Cuban art institute, "San Alejandro" or Escuela Nacional de Bellas Artes, from 1962-1963. Size - Viewable: 11 x 13.75"

              Omnia Auctions
            • Amelia Pelaez (1896-1968), Face of a Boy, 1928
              Nov. 24, 2023

              Amelia Pelaez (1896-1968), Face of a Boy, 1928

              Est: $5,000 - $6,000

              Ink on paper, 15 x 11 in; 38.1 x 27.9 cm. Signed and dated lower recto right "A. Peláez 1928, Paris", Unique

              PAAP Auctions
            • Naturaleza muerta
              May. 17, 2023

              Naturaleza muerta

              Est: $120,000 - $180,000

              Property from a Private Floridian Collection Amelia Peláez 1896 - 1968 Naturaleza muerta  gouache, watercolor and brush and ink on paper laid down on board laid down on canvas 37½ by 29¼ in. 95.2 by 74.3 cm. Executed in 1945.

              Sotheby's
            • Amelia Pelaez (1896-1968) "Stained Glass In Blue" Gouache
              May. 16, 2023

              Amelia Pelaez (1896-1968) "Stained Glass In Blue" Gouache

              Est: $200 - $2,000

              DESCRIPTION: Gouache on paper painting entitled "Stained Glass in Blue" ("Vitral en Azul") by Amelia Pelaez depicting a blue stained glass window. Initialed at lower right and dated "'64". Mounted in a black wooden frame; includes certificate of authenticity. CIRCA: 1964 ORIGIN: Cuba DIMENSIONS: (With Frame) H: 34.75" W: 1.75" L: 28.75" (Without Frame) H: 24" L: 18" Have a similar item to sell? Contact: [email protected]. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email ([email protected]) or SMS (305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.

              Akiba Galleries
            • Amelia Pelaez, Cuban (1896 - 1968)
              Apr. 26, 2023

              Amelia Pelaez, Cuban (1896 - 1968)

              Est: $1,000 - $3,000

              Amelia Pelaez, Cuban (1896 - 1968) "Still Life Interior Scene with Table Top Fruits" Mixed Media on Paper, Signed and Dated 1960 Lower Right. Sight measures 21-5/8" x 17-1/2". Frame measures 28-7/8" x 23-3/4". Estimate: $1000.00 - $3000.00 Domestic Shipping: $245.00 Condition: Good condition.

              Kodner Galleries
            • Amelia Pelaez. Still life
              Apr. 26, 2023

              Amelia Pelaez. Still life

              Est: -

              Mixed technique on paper. Signed and dated (63) in the lower right corner.

              Duran Arte y Subastas
            • Amelia Pelaez (Cuban 1896-1968), 'Untitled', 1965
              Mar. 29, 2023

              Amelia Pelaez (Cuban 1896-1968), 'Untitled', 1965

              Est: £2,000 - £3,000

              Amelia Pelaez (Cuban 1896-1968), 'Untitled', 1965, unique gouache on paper, Initially 'AP' and Dated '65' recto; 63 x 42cm inc frame

              Tate Ward Auctions
            • Amelia Pelaez (Cuban, 1896-1968) gouache on paper, sight size 29-1/2 x 21-1/2 inches overall framed size is 41 x 31 inches
              Mar. 28, 2023

              Amelia Pelaez (Cuban, 1896-1968) gouache on paper, sight size 29-1/2 x 21-1/2 inches overall framed size is 41 x 31 inches

              Est: $1,000 - $2,000

              Amelia Pelaez (Cuban, 1896-1968) gouache on paper, sight size 29-1/2 x 21-1/2 inches overall framed size is 41 x 31 inches

              Bill Hood & Sons Arts & Antiques Auctions
            • STILL LIFE OIL ON CANVAS AFTER AMELIA PELAEZ
              Mar. 18, 2023

              STILL LIFE OIL ON CANVAS AFTER AMELIA PELAEZ

              Est: $600 - $800

              Still life oil painting on canvas after Amelia (y del Casal) Pelaez (Cuban, 1896-1968). Signed lower right. Measures 26 1/2" x 19 1/2" + 3" frame.

              Antiques & Modern Auction Gallery
            • AMELIA PELÁEZ (1896-1968) Still Life oil on canvas 29 7/8 x 20 3/4 in. (75.
              Mar. 09, 2023

              AMELIA PELÁEZ (1896-1968) Still Life oil on canvas 29 7/8 x 20 3/4 in. (75.

              Est: $120,000 - $180,000

              AMELIA PELÁEZ (1896-1968) Still Life oil on canvas 29 7/8 x 20 3/4 in. (75.9 x 52.7 cm.)

              Christie's
            • Amelia Pelaez (Cuban, 1896-1968) "Vase of Flowers with Stained Glass" Oil on Canvas
              Mar. 07, 2023

              Amelia Pelaez (Cuban, 1896-1968) "Vase of Flowers with Stained Glass" Oil on Canvas

              Est: $500 - $2,500

              DESCRIPTION: Still life oil on Canvas painting by Cuban artist Amelia Pelaez (1896-1968) titled "Vase of Flowers with Stained Glass"; Depicting a vibrant and colorful scene of flowers set in front of a stained glass window. Signed lower right "APelaez 61". Mounted in a gilt wood frame with cord designs in relief around. Includes a Certificate of Authenticity from and signed by Luis F. Lastra "Historian and Art Critic, Associate Member I.S.A.". CIRCA: Early to Mid 20th Century ORIGIN: Cuba DIMENSIONS: Image H: 23.37" W: 17.25", & Frame H: 30" W: 23.75" Have a similar item to sell? Contact: [email protected]. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email ([email protected]) or SMS (305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.

              Akiba Galleries
            • Amelia Pelaez (Cuban,1896 - 1968) Pottery ,2pcs
              Feb. 19, 2023

              Amelia Pelaez (Cuban,1896 - 1968) Pottery ,2pcs

              Est: $100 - $500

              Two deep rimmed plates with abstract decoration, both initialed, one dated for 1950 and the other for 1951. Given as gift from the artist to another Cuban artist, Alberto Menocal and is directly from his family.

              Locati LLC
            • Amelia Pelaez (Cuban,1896 - 1968) Pottery, 2pcs
              Feb. 19, 2023

              Amelia Pelaez (Cuban,1896 - 1968) Pottery, 2pcs

              Est: $100 - $500

              Two deep rimmed plates with abstract figural decoration , both initialed and dated for 1951. Given as gift from the artist to another Cuban artist, Alberto Menocal and is directly from his family.

              Locati LLC
            • Amelia Pelaez (Cuban,1896 - 1968) Pottery
              Feb. 19, 2023

              Amelia Pelaez (Cuban,1896 - 1968) Pottery

              Est: $1,000 - $1,500

              A deep rimmed plate with abstract figural decoration , initialed and dated for 1951 verso. Given as gift from the artist to another Cuban artist, Alberto Menocal and is directly from his family.

              Locati LLC
            • Amelia Pelaez (Cuban,1896 - 1968) Pottery
              Feb. 19, 2023

              Amelia Pelaez (Cuban,1896 - 1968) Pottery

              Est: $1,500 - $2,000

              A deep rimmed plate with abstract figural decoration , initialed and dated for 1951 verso. Given as gift from the artist to another Cuban artist, Alberto Menocal and is directly from his family.

              Locati LLC
            • Amelia Pelaez (Cuban,1896 - 1968) Pottery
              Feb. 19, 2023

              Amelia Pelaez (Cuban,1896 - 1968) Pottery

              Est: $1,000 - $1,500

              A deep rimmed plate with abstract figural decoration , initialed and dated for 1951 verso. Given as gift from the artist to another Cuban artist, Alberto Menocal and is directly from his family.

              Locati LLC
            • Amelia Pelaez (Cuban,1896 - 1968) Pottery
              Feb. 19, 2023

              Amelia Pelaez (Cuban,1896 - 1968) Pottery

              Est: $1,500 - $2,000

              A deep rimmed plate with abstract figural decoration , initialed and dated for 1951 verso. Given as gift from the artist to another Cuban artist, Alberto Menocal and is directly from his family.

              Locati LLC
            • Amelia PELAEZ (1896-1968)
              Feb. 02, 2023

              Amelia PELAEZ (1896-1968)

              Est: €1,000 - €1,500

              Amelia PELAEZ (1896-1968) Fleurs Gouache et Aquarelle sur papier Signée AP en bas à droite 74 x 38 cm

              Fine Art Auctions Paris (FAAP)
            • Amelia PELAEZ (1896-1968)
              Feb. 02, 2023

              Amelia PELAEZ (1896-1968)

              Est: €1,000 - €1,500

              Amelia PELAEZ (1896-1968) Fleurs Gouache et Aquarelle sur papier Signée AP en bas à droite 74 x 38 cm

              Fine Art Auctions Paris (FAAP)
            • Amelia Pelaez Cuban, (1896 - 1968) Artwork
              Jan. 28, 2023

              Amelia Pelaez Cuban, (1896 - 1968) Artwork

              Est: $2,000 - $3,000

              Amelia Peláez del Casal was an important Cuban painter of the Avant-garde generation. Item in good condition for its age. Measures: 38" x 32" x 2"

              Joshua Kodner
            • Amelia Pelaez (Cuban, 1896-1968) Oil Painting
              Dec. 20, 2022

              Amelia Pelaez (Cuban, 1896-1968) Oil Painting

              Est: $500 - $5,000

              DESCRIPTION: An Amelia Pelaez painting features an array of patterns and shapes executed in vibrant hues, signed Pelaez and dated 1961. Completed in a Ebony and Gilt wooden frame. CIRCA: 1961 ORIGIN: Cuban DIMENSIONS: H: 28 " W: 31 Have a similar item to sell? Contact: [email protected]. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email ([email protected]) or SMS (305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.

              Akiba Galleries
            • Amelia Pelaez (Cuban, 1896-1968) Untitled, 1962
              Dec. 14, 2022

              Amelia Pelaez (Cuban, 1896-1968) Untitled, 1962

              Est: $3,000 - $5,000

              Amelia Pelaez (Cuban, 1896-1968) Untitled, 1962 mixed media on paper initialed AP and dated (lower right) 17 1/8 x 13 7/8 inches. Property from the Collection of Alexander Ingram, Chicago, Illinois

              Hindman
            • PELAEZ, AMELIA
              Dec. 12, 2022

              PELAEZ, AMELIA

              Est: CHF300 - CHF500

              (Provinz Villa Clara, Kuba 1896–1968 Havanna) Ohne Titel. 1963. Pochoir. Unten rechts im Druck signiert. Blattgrösse 26,3x35 cm. Gerahmt.

              Schuler Auktionen
            • CUBAN-AMELIA PELAEZ 1896-1968 ABSTRACT PAINTING SIGNED AND DATED
              Dec. 10, 2022

              CUBAN-AMELIA PELAEZ 1896-1968 ABSTRACT PAINTING SIGNED AND DATED

              Est: $1,500 - $2,500

              Cuban-Amelia Pelaez 1896-1968 Abstract Painting Signed And Dated. Frame Measure 41.5" X 34", Sight 38.5" X 31". Please carefully read our terms of sale, shipping information, and request any condition reports or photos prior to placing a bid. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. RBFineArts CFL INC. shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Please email for a condition report and photos, if desired. Emails should be received at least 48 hours in advance of the date of the auction. Please make sure you have read the Terms and Conditions* before you bid. ALL ITEMS ARE SOLD AS IS!. Any registration and/or bid placed by you guaranteed RBFineArts CFL Inc. you have read and will abide by the following Terms and Conditions of the sale. Transportation of buyer's items: For a charge of 15.00 per invoice, RBFineArts Shipping Inc. will pick up and transport your item's from the offices of RBFineArts CFL Inc. All OTHER transport to any other third party shipper there will be a 25.00 transport fee, there will be no exceptions for this condition. The buyer is responsible for paying for shipping, packing, and transport, etc. RBFineArts CFL Inc. is not responsible for packing, shipping, or transport of any items from buyer's invoice. *Please see terms and conditions for additional information on payment and shipping options. Please note shipping is NOT included in the sale, you will have to pay for shipping. If you are not satisfied with our shipping options, please arrange shipping for your item and contact us about the shipping details. SHIPPING AND PACKING & INSURANCE: RBFineArts uses a 3rd Party Preferred shipping and packing company. Arrangements and costs are the sole responsibility of the buyer. YOU MUST EMAIL [email protected] TO ADVISE OUR OFFICES OF THE COMPANY YOU WOULD PREFER TO PACK AND SHIP YOUR ITEM/S. No property will be released until payment is made in full and we have been advised of your preferred shipper. Please note that a shipping charge is not included in the sale price. Any costs associated with the shipping, packing, and transport of an item are the responsibility of the buyer. RBFineArts CFL Inc. is not responsible for packing, shipping, or transport of any items from buyer’s invoice. Items must be shipped within fourteen (14) days of payment. Items remaining at RBFineArts CFL Inc.'s offices at the expiration of fourteen (14) days past payment will be subject to storage fees of $10 per day per item. All storage fees must be paid before item/s will be released to a shipper. Any items remaining forty-five (45) calendar days following the date when the buyer completed payment on an invoice will be considered Abandoned Property of items on that invoice and will be subject to resale or disposal with no refund. Transportation of buyer's items: For a charge of 15.00 per invoice, RBFineArts Shipping Inc. will pick up and transport your items from the offices of RBFineArts CFL Inc. ALL OTHER transport to any other third-party shipper there will be a 25.00 transport fee, there will be no exceptions for this condition. Your item/s will be transported one time per week only. RBFineArts CFL Inc. is not responsible for any denied claims or damages from the shipping offices the buyer chooses. Any issues with shipping or insurance are between the shipping company and the buyer. Please note local packers and shippers in our area, RBFineArts CFL Inc. is not making any warranty, guarantee, or promise as to the performance of any shipper selected from the list.US Pak N Ship 252 W. Ardice Ave. Eustis, FL 32726 352-483-0405 or [email protected] ($25.00 fee charge for the delivery)RBFineArts Shipping 375 E Burleigh Blvd., Tavares, Fl 32778 [email protected] or 877-660-3243. ($15.00 fee charge for pick up).If you are not satisfied with our shipping options, please make other arrangements to ship your item and contact us about those shipping details. RBFineArts CFL Inc. (online auction) and RBFineArts Shipping Inc. (packing and shipping) are two separate companies and should NOT be assumed to be the same business.

              RB Fine Arts
            • Mixed media on cloth, attributed to Amelia Pelaez
              Oct. 05, 2022

              Mixed media on cloth, attributed to Amelia Pelaez

              Est: $150 - $350

              Mixed media on cloth "abstract", attributed to Amelia Pelaez (Cuba, France, 1896-1968), 28.5"x21.5"

              International Auction Gallery
            • Mixed media on cloth, attributed to Amelia Pelaez
              Oct. 05, 2022

              Mixed media on cloth, attributed to Amelia Pelaez

              Est: $150 - $350

              Mixed media on cloth "abstract", attributed to Amelia Pelaez (Cuba, France, 1896-1968), 27"x27.2"

              International Auction Gallery
            • PELAEZ, AMELIA
              Oct. 04, 2022

              PELAEZ, AMELIA

              Est: CHF500 - CHF800

              (Provinz Villa Clara, Kuba 1896–1968 Havanna) Ohne Titel. 1963. Pochoir. Unten rechts im Druck signiert. Blattgrösse 26,3x35 cm. Gerahmt. - Blatt mit Knitter und Krakeluren. Blatt leicht gebräunt und braunfleckig. Dunkler Lichtrand. Verso am oberen Rand an Passepartout montiert. Verso mit Klebrestspuren.

              Schuler Auktionen
            • PELAEZ, AMELIA
              Sep. 23, 2022

              PELAEZ, AMELIA

              Est: CHF500 - CHF800

              (Provinz Villa Clara, Kuba 1896–1968 Havanna) Ohne Titel. 1963. Pochoir. Unten rechts im Druck signiert. Blattgrösse 26,3x35 cm. Gerahmt. - Blatt mit Knitter und Krakeluren. Blatt leicht gebräunt und braunfleckig. Dunkler Lichtrand. Verso am oberen Rand an Passepartout montiert. Verso mit Klebrestspuren.

              Schuler Auktionen
            • Mixed media on cloth, attributed to Amelia Pelaez
              Aug. 08, 2022

              Mixed media on cloth, attributed to Amelia Pelaez

              Est: $600 - $900

              Mixed media on cloth "abstract", attributed to Amelia Pelaez (Cuba, France, 1896-1968), 27.5"x28"

              International Auction Gallery
            • Mixed media on cloth, attributed to Amelia Pelaez
              Aug. 08, 2022

              Mixed media on cloth, attributed to Amelia Pelaez

              Est: $600 - $900

              Mixed media on cloth "abstract", attributed to Amelia Pelaez (Cuba, France, 1896-1968), 28.5"x21.5"

              International Auction Gallery
            • Mixed media on cloth, attributed to Amelia Pelaez
              Aug. 08, 2022

              Mixed media on cloth, attributed to Amelia Pelaez

              Est: $600 - $900

              Mixed media on cloth "abstract", attributed to Amelia Pelaez (Cuba, France, 1896-1968), 27"x27.2"

              International Auction Gallery
            • Amelia Pelaez (Cuban b.1896-d.1968), Untitled, 1965
              Jul. 13, 2022

              Amelia Pelaez (Cuban b.1896-d.1968), Untitled, 1965

              Est: £3,500 - £4,500

              Amelia Pelaez (Cuban b.1896-d.1968), Untitled, 1965 Gouache on Cardboard 55.2 x 35.2 cm

              Tate Ward Auctions
            • Amelia Pelaez (Cuban 1896-1968) Fish Oil on Canvas Painting
              Jun. 07, 2022

              Amelia Pelaez (Cuban 1896-1968) Fish Oil on Canvas Painting

              Est: $200 - $2,000

              DESCRIPTION: Oil on canvas painting by Cuban artist Amelia Pelaez (1896-1968); In her traditional cubist style composed of blue hues depicting a face and a fish. Signed lower left "A. Pelaez 54". Mounted in carved stained wood frame. CIRCA: Mid 20th Century ORIGIN: Cuba DIMENSIONS: Image H: 15.75" X W: 19.5" & Frame H: 23.62" X W: 27.75" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email ([email protected]) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.

              Akiba Galleries
            • Signed Amelia Pelaez (1896-1968) Mid-Century Glazed Tile
              May. 31, 2022

              Signed Amelia Pelaez (1896-1968) Mid-Century Glazed Tile

              Est: $200 - $2,000

              DESCRIPTION: Amelia Pelaez (Cuban, 1896 - 1968) glazed tile art depicting a fountain. Signed "A. PELAEZ" on the right bottom corner and dated. Amelia Pelaez del Casal was an important Cuban painter of the avant-garde generation. CIRCA: 1957 ORIGIN: Cuba DIMENSIONS: H: 12" W: 0.75" L: 18" Have a similar item to sell? Contact: [email protected]. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email ([email protected]) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.

              Akiba Galleries
            • Amelia Pelaez "Untitled" 1965 watercolor and mixed media on paper cm 71x53.5 Signed and dated 65 lower right Provenance Gary Nader, Miami Private collection, Milan...
              May. 24, 2022

              Amelia Pelaez "Untitled" 1965 watercolor and mixed media on paper cm 71x53.5 Signed and dated 65 lower right Provenance Gary Nader, Miami Private collection, Milan...

              Est: €5,000 - €7,000

              (Yaguajay 1896 - L'Avana 1968) "Untitled" 1965 watercolor and mixed media on paper cm 71x53.5 Signed and dated 65 lower right Provenance Gary Nader, Miami Private collection, Milan IT "Senza titolo" 1965 acquerello e tecnica mista su carta cm 71x53,5 Siglato e datato 65 in basso a destra Provenienza Gary Nader, Miami Collezione privata, Milano

              Il Ponte Auction House
            • Amelia Pelaez Lithograph in Color
              May. 17, 2022

              Amelia Pelaez Lithograph in Color

              Est: $100 - $1,000

              DESCRIPTION: Lithograph by Amelia Pelaez depicting a lady on a balcony. Signed "AP 64" at bottom left and marked "21/25". Framed. CIRCA: 1964. ORIGIN: Cuba DIMENSIONS: L: 27.75" W: 1" H: 33.75". CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email ([email protected]) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.

              Akiba Galleries
            • Amelia Pelaez (Cuban, 1896) "Women On The Balcony" Gouache On Paper
              Feb. 01, 2022

              Amelia Pelaez (Cuban, 1896) "Women On The Balcony" Gouache On Paper

              Est: $500 - $5,000

              DESCRIPTION: An Amelia Pelaez (Cuban, 1896 - 1968) gouache on paper titled "Mujeres en el balcon" (Women on the balcony). Signed A. Pelaez on the lower right bottom corner. Amelia Pelaez del Casal was an important Cuban painter of the Avant-garde generation. With signed COA. CIRCA: 1960. ORIGIN: Cuba. DIMENSIONS: Gouache is H: 19 1/2" W: 15 1/2". Frame is H: 25 1/2" W: 21 1/4". Have a similar item to sell? Contact: [email protected]. CONDITION: Good condition. Frame with paint chips. See lot description for details on item condition. More detailed condition requests can be obtained via email ([email protected]) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."

              Akiba Galleries
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