Private Collection, Mexico

It seems that the work is in perfect condition. This work is unlined, well stretched, clean and varnished. No retouches are visible under ultraviolet light or to the naked eye. (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.

Juan Soriano painted this surreal fantasy to honor one of his best friends, photographer Lola Álvarez Bravo. Lola first met Soriano in a group exhibition when the young painter was fourteen years old. It was Lola and her good friend María Izquierdo who suggested that the young Soriano should leave his native Guadalajara and move to Mexico City.

By the 1940´s, Soriano was at the peak of his career. It was then that he produced his most recognizable works: drea🍸mlike landscapes populated by fantastic creatures interacting with a set of characters under ominous skies.

Such is the case of Retrato de Lola Álvarez Bravo con Juan Soriano niño, 1944. In this surreal composition, considered by critics as one of the best works by the artist, Soriano paints himself as a young child with Lola in her role of protective figure. As he stands in front of a table, Lola looks down at him tenderly reaching out to touch his hand. At the same time, the boy raises his left arm to salute a floating figure dressed in red. By looking at the elabꩵorate chignon of these two women, we become aware t🐼hat they are in fact the same person. The standing figure is a photographer, Lola, the professional artist, holding a bellows camera. Strangely, instead of photographing the child, Lola is aiming her camera at a window that opens to an undescriptive landscape in reds and blues. The table is dressed with green and gold clothing, the kind of props one could expect crystal balls readers or stage magicians to use. 

Ultimately, the interpretation of this Surrealist composition is left to the viewer. Notwithstanding, the dominant red palette and psychological distance amongst these three figures certainly suggests an atmosphere of susp⛎ense and fearful alienation.