Alvar Sunol Munoz-Ramos Paintings

Chess Players WPA Depression Era Mid-20th Century American Scene Realism Modern. Signed upper right and verso 8 x 10 inches oil on board. BIO The son of a men's haberdasher, Mervin ...

"Blue Approach #2" - Hand-Augmented Collotype Delicate and layered collotype on both sides of heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of this piec...

A FEAST OF THE GODS WITH VENUS AND BACCHUS Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; John and Eileen Harris, acquired from the above, to 2015. Literature: Jacob Simon and Ellis Hillman, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, cat. no.12 (as by Louis Laguerre); Elizabeth Einberg (ed.), Manners and Morals: Hogarth and British Painting, 1700-1760, exh. cat., London (Tate Gallery), 1987, cat. no.10 (as by Louis Laguerre); Tabitha Barber and Tim Bachelor, British Baroque: Power and Illusion, exh. cat., London (Tate Britain), 2020. Exhibited: Twickenham, Marble Hill House, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, no.12 (as by Louis Laguerre); London, Tate Gallery, Manners and Morals: Hogarth and British Painting, 1700-1760, 1987, no.10 (as by Louis Laguerre); London, Tate Britain, British Baroque: Power and Illusion, cat. no 92, 2020. CUPID AND PSYCHE BEFORE JUPITER Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; Anthony Hobson, acquired from the above, to 2015. These recently re-united paintings are the most ambitious surviving baroque ceiling sketches made in Britain in the early eighteenth century. From the Restoration until the rise of Palladianism in the 1720s decorative history painting formed the preeminent artistic discipline in Britain. It was a field dominated by Continental artists including the Italian Antonio Verrio and the Frenchmen Louis Laguerre and Louis Chéron...

This lithograph is part of my private collection. It is limited in edition ,artist signed lower right and is in very good condition. Walter Becker was a German artist. Another impres...

Unique and stunning collotype triptych (3 panels) abstract composition of fabric and red ribbons draped over rods by Patricia A. Pearce (American, b. 1948). Unsigned. Purchased as pa...

Light and briefly executed genre scene depicts cozy domestic atmosphere with few people singing and playing guitars surrounded by listeners. All inhabitants of the moment are greatly...

Joseph Solman (1909-2008), Chair with Chinese Rug, oil paint on masonite, initialed JS on recto, titled and signed "J.S." verso, Dimensions 14" x 10" Framed to 21 X 17 Provenance...

Gold Sky with Silver Ribbon - Hand-Augmented Modern Collotype Print Delicate and layered collotype on heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of...

Signed lower right “Henningsen” and dated 1881 at reverse. Attributed by Erik Ludvig Henningsen (1855 - 1930) was a Danish painter and illustrator. Masterly painted genre scene “testing grandfather’s pipe” depicting lively domestic moment. The little prankster wants to be like his grandfather, but how can he not try his grandfather’s pipe, which he loves so much and does not let go of even in his sleep. The curious and brave sly man, despite the consequences, took off his shoes to approach quietly... One can imagine his disappointment and emotions after he accomplished what he had planned... The boy's faithful friend, a small dog, looks at all this with interest and curiosity. Loved and admired for his talent to realistically portray life and tell a story at the same time, Henningsen took great pride to never include any personal feelings or philosophy, but to stay neutral to the subject matter for whichever painting he was doing. Antique oil painting on canvas, signed, framed. Size: 43 cm x 35 cm (roughly 16.9 x 13.8 in), frame 52 x 43.5 cm (roughly 20.5 x 17.1 in). Very Good pristine condition with minimal wear. Please study good resolution images for cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 1 kg is going to measure some 2 kg packed for shipment. Erik Henningsen was educated at the Copenhagen Royal Academy of Art. He Traveled and studied in Germany, Italy, France and Holland, and received numerous awards and medals throughout Europe. He later became a member of the Royal Academy of Art. Exhibited in Charlottenborg, Copenhagen, Vienna, Paris, Berlin, Munich, Lubeck, and many more. Erik Henningsen is always mentioned in the same breath as his older brother, painter Frants Henningsen. Both with their traditionally classic approach to realism, anecdotal undertones and bold use of dark colors, they were the most loved and celebrated illustrators of life and times; often depicting the hardships and trials of that day and age. One of Erik Henningsen’s large...

Rare Judaica Art. Jewish genre scene. In the tradition of Moritz Oppenheim, Isidor Kauffman and Maurycy Gottlieb and later of Tully Filmus, Zalman Kleinman and Itshak Holtz the artist captures this Jewish scene with a particular sensitivity. Part of the Ecole De Paris The term "School of Paris" was used in 1925 by André Warnod (fr) to refer to the many foreign-born artists who had migrated to Paris. School of Paris artists were progressively marginalized. Beginning in 1935 art publications no longer wrote about Marc Chagall, just magazines for Jewish audiences, and by June 1940 when the Vichy government took power, School of Paris artists could no longer exhibit in Paris at all. The artists working in Paris between World War I and World War II experimented with various styles including Cubism, Orphism, Surrealism and Dada. Foreign and French artists working in Paris included Jean Arp, Joan Miró, Constantin Brâncuși, Raoul Dufy, Tsuguharu Foujita, artists from Belarus like Michel Kikoine, Pinchus Kremegne, and Jacques Lipchitz, the Polish artist Marek Szwarc and others such as Russian-born prince Alexis Arapoff. A significant subset, the Jewish artists, came to be known as the Jewish School of Paris or the School of Montparnasse. The "core members were almost all Jews, and the resentment expressed toward them by French critics in the 1930s was unquestionably fueled by anti-Semitism." One account points to the 1924 Salon des Indépendants, which decided to separate the works of French-born artists from those by immigrants; in response critic Roger Allard (fr) referred to them as the School of Paris. Jewish members of the group included Emmanuel Mané-Katz, Chaim Soutine, Adolphe Féder, Chagall, Moïse Kisling, Maxa Nordau...

The Demagogue or Tale in a Tub, 1952, oil on canvas, 20 x 24 inches, signed, titled, and dated verso About the Painting The Demagogue is an iconic Bendor Mark painting from the prime of his post-war period. Beginning early in his career, Mark was fascinated with depictions of the human figure and their capacity to tell stories of the world around him. Mark was a keen observer of his times and in The Demagogue we see Mark’s portrayal of a faithless politician holding up a “V” for victory sign as he appeals to the wanton desires and prejudices of the masses. Below the demagogue is a swirl of humanity representing the common man who is being pushed down by the powerful, while the robed figure of liberty with her scales of justice held high is brushed aside. Behind the demagogue, Mark places two other powerful supporting institutions which were often co-opted by the world’s dictators, the Church and the Military. Mark was an internationalist, so it is difficult to know exactly which demagogue inspired him to create this work, but in 1952 there were many to choose from. Whether depicting Argentina’s Peron (the demagogue and the women to the right resemble Juan and Eva Peron), Spain’s Franco or the United States’ homegrown fear mongers like Joseph McCarthy, Mark tells a universal story that unfolded in dramatic fashion during the post-war period as nations and their peoples grappled with authoritarianism and anti-democratic impulses. Stylistically, The Demagogue draws on the elements which make Mark’s work from this period immediately recognizable, a saturated palette, a closely packed and frenetic composition, exaggerated figuration and stylized facial features. But, above all, we see Mark’s ability to tell the stories of the rich and powerful and their ability to oppress. Like Mark’s work in the collection of the Whitney Museum of American Art (The Hourglass - 1950-51) and the Los Angeles County Museum of Art (Execution – 1940), The Demagogue pulls no punches, as the artist lays bare the threats to freedom and basic human rights. About the Artist Bendor Mark was an American modernist and social realist painter. Born as Bernard Marcus on June 5, 1912, in Brooklyn, New York, Mark trained at The Cooper Union during the 1920s where he studied with William Brantley van Ingen and became a prize-winning artist with a focus on painting the human figure. After his time at Cooper, Mark continued to live in New York and worked as a commercial artist and textile designer in addition to his pursuit of a career in painting. Like many Depression Era artists, Mark engaged with social progressives and in 1934, he joined the Artist’s Union which had the goal of advancing artists’ position as “worker.” Mark’s painting, Restaurant, which is now in the permanent collection of the Smithsonian American Art Museum, appeared in the February 1936 edition of the Union’s publication, Art Front, as part of a review of an exhibition at ACA Gallery in New York. Mark worked on the Federal Art Project and by the mid- to late-1930s, began a series of paintings exploring the working conditions and hazards of the mining industry. Mark believed that miners were “in the forefront of the struggle for emancipation” and that the mere “struggle for existence is like moving mountains.” He became passionate about the Spanish Civil War and painted sympathetic images in support of the Spanish Republic. Mark was a premature anti-fascist and throughout his career painted works critical of dictators and other oppressors. During the late 1930s, Mark entered mural competitions with designs influenced by the Mexican muralists, taught adult art education in Queens, New York, and was an instructor at the WPA’s Queensboro Art Center. He was so committed to socially progressive art that by 1934, he had changed his name to Bendor Mark, in part, to distinguish his social realist paintings from his earlier work. During World War II, Mark worked as an artist for military contractors. After the war, he was employed as a graphic artist and in the printing industry before moving to Southern California in 1948, where he returned to a fine art practice the following year with politically and socially charged images which reflected his view of the shortcomings of the post-War period, the continued threat of fascism, and the international tensions of the Cold War. As the mood of the country shifted towards the right during the McCarthy Era and the art world’s attention focused on abstraction at the expense of figuration, Mark’s career as a painter suffered. From the 1950s through the 1980s, Mark continued to depict the events that shaped the world around him, often employing a highly stylized approach characterized by dynamic multi-figure compositions, a subtle muted palette, and exaggerated expressive features. A review of Mark’s oeuvre suggests that few people escaped Mark’s attention. He painted presidents, prime ministers, royalty, evangelists, musicians, and dictators (and their henchman), along with miners, farm workers, the urban poor, protesters, the unemployed and dispossessed. He laid bare the arrogance, cruelty, and hypocrisy of the world’s elites. Mark noted, “A work of art cannot be fully appreciated or wholly understood without considering the socio-political and cultural ambience that gave it birth.” He continued, “I have the ability to foresee the direction of social and political events while they are actually taking place.” He was not himself a direct political activist, however. Although Mark commented, “It’s a misconception to separate art from the social aspect of life,” he viewed artists as being neutral. According to Mark, “An apolitical attitude reflects the fact that the artist is passive. . . An artist never affects society; he merely reflects it.” In addition to the Mexican Muralists, Mark was influenced by the old masters Rembrandt, Michelangelo, and Masaccio, as well as the more modern master, Van Gogh. Mark’s writings directly acknowledge these influences and archival material from his estate includes magazine articles, pamphlets and transparencies related to these artists. Mark also collected materials related to several of his social realist contemporaries, including Reginald Marsh, Ben Shahn, Leonard Baskin, and Raphael Soyer, who was Mark’s good friend. For years, Soyer sent Mark holiday cards and Soyer inscribed a message of friendship on a self-portrait he gifted to Mark in the 1970s, all of which are still held in the collection of Mark’s family. From the late 1920s through the mid-1950s, Mark’s work was well received. His paintings won prizes and were accepted into major juried exhibitions including at the Brooklyn Museum, the New York World’s Fair and the Metropolitan Museum of Art. He gained national recognition for paintings depicting the oppressed and the common worker. Despite the decline in popularity of representational art during the 1950s and 1960s, Mark stayed true to his interest in depicting the human figure and by the last two decades of his life, his work underwent a reassessment as curators included Mark’s paintings in exhibitions showcasing the role of labor in art during the Depression Era. This recognition continued in recent years when Mark was honored by having his work included in the Whitney Museum of American Art’s ground-breaking exhibition, Vida Americana, which explored the pioneering role that the Mexican muralists played in the development of modern American art during the inter-war period. The influence of Rivera, Siqueiros and Orozco on Mark is unmistakable and his paintings from the 1950s (and beyond) sit comfortably in dialogue with other Los Angeles artists who continued to paint in the social realist tradition long after the mainstream art world had moved toward abstraction. Mark’s concern for underserved Brown and Black communities was shared with artists such as Charles White and his ally, Edward Biberman...

Sylvie by Paul-Louis Bolot (French 1918-2003) signed & dated 1981 signed oil on canvas canvas: 22 x 15 inches original oil painting condition: very good an...