Alfredo Ramos Martínez (1872-1946)

Estimate

800,000 - 1,200,000 USD

bidding is closed

Description

Alfredo Ramos Martínez
La India de los floripondios
signed upper right; also signed indistinctly upper left
oil on canvas
30 by 24 in.
76.2 by 61 cm
Painted circa 1932.

Provenance

Dalzell Hatfield Galleries, Los Angeles
Private Collection, San Luis Obispo
Sale: Christie's, New York, Important Latin American Paintings, Drawings and Sculpture, May 18, 1992, lot 85, illustrated in color
Private Collection, California

Literature

George Raphael Small, Ramos Martínez, His Life & Art, Westlake Village, 1975, fig. 129, p. 133, illustrated; also p. 104 illustrated in color
The Alfredo Ramos Martínez Project, Margarita Nieto, PhD, Louis Stern, et. al., Alfredo Ramos Martínez & el Modernismo, Costa Mesa, 2009, p. 83, illustrated in color

Condition

This work is unlined and is still stretched on its original stretcher. The paint layer is clean and unvarnished. When viewed under ultraviolet light, no retouches can be identified. This painting is in excellent condition and should be hung as is. (This condition report has been provided courtesy of Simon Parkes Art Conservation, Inc.)
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

“What Ramos Martínez aimed to construct pictorially during his voluntary exile in California (1929 – 1946) was a sort of harmonious and organic utopia, a village populated by indigenous Mexicans, such as Gaugin would render in Polynesia or Rivera in his idyllic pre-Hispanic scenes and post-revolutionary pastorals. In a simulacrum of a highly fertile paradise, overflowing with flowers and fruit, the indigenous figures depicted by Ramos Martínez live their lives cycles in intimate communion with the rhythms of nature, involved in creative activities that seem indistinctive to them, removed from the pressures and anxieties of the contemporary world.”