Lola Alvarez Bravo (1903-1993, Mexican) Four portraits of Frida Kahlo Each: Gelatin silver print on paper Each: Signed in pencil, verso: Lola Alvarez Bravo; one work inscribed partially indistinctly in pencil, verso: During her lifetime after ***; four works
LOLA ALVAREZ BRAVO (Lagos de Moreno 1907-Città del Messico 1993). Gelatin silver print "MATERNITY, 1960s". Signature in pen on the back. LOLA ALVAREZ BRAVO (Lagos de Moreno 1907-Città del Messico 1993). Stampa alla gelatina ai sali d'argento "MATERNITA', ANNI '60". Firma a penna sul retro.
LOLA ÁLVAREZ BRAVO (1907–1993)| Hommage a Salvador Toscano, Mexico 1949 Image Size: 18,2 x 22,8 cm English: Gelatin silver print, printed in the 1960s on double-weight semi-matte paper, flush-mounted on original cardboard 40,5 x 35,6 cm, in excellent condition. Signed by the photographer on the lower mount in pencil, titled, annotated "Acapulco", and several numbers in pencil on the reverse. The photographer created this image under the impression of the fatal plane crash of a fellow artist friend, Salvador Toscano. She found the dead crane floating in the water during a boat trip and then carefully arranged it in the sand. The pictorial conception shows her orientation to surrealism. Deutsch: Silbergelatineabzug, geprintet in den 1960er Jahren auf halbmattem "double-weight" Papier, kaschiert auf originalem Untersatzkarton 40,5 x 35,6 cm, in ausgezeichnetem Zustand. Am Karton unterhalb des Bildes mit Bleistift signiert, rückseitig betitelt, bezeichnet "Acapulco" sowie diverse Nummernvermerke mit Bleistift. Diese Aufnahme schuf die Fotografin unter dem Eindruck des tödlichen Flugzeugabsturzes eines befreundeten Künstlerkollegen, Salvador Toscano. Den toten Kranich fand sie während eines Bootsausfluges im Wasser treibend und arrangierte ihn anschließend sorgfältig im Sand. Die Bildkonzeption zeigt ihre Orientierung am Surrealismus.
LOLA ALVAREZ BRAVO (Lagos de Moreno, 1907 - Città del Messico, 1993). Stampa alla gelatina ai sali d'argento "MATERNITA', ANNI '60". Firma a penna sul retro.LOLA ALVAREZ BRAVO (Lagos de Moreno, 1907 - Città del Messico, 1993). Gelatin-silver print "MATERNITA', ANNI '60". Signed in pen on the back.
Lola Álvarez Bravo (1907 – 1993) Lot of Four Various sizes All Untitled, c. 1940s Vintage silver gelatin prints Signed on front/stamped on verso Image: 6 x 9 ¼ inches Card: 8 ½ x 12 inches Image: 6 x 9 ¼ Card: 8 ½ x 12 inches Image: 6 ½ x 4 ⅜ inches Card: 12 x 8 ½ Image: 6 ⅝ x 4 ½ Card: 9 ⅛ x 6 inches
Lola Álvarez Bravo (1903 – 1993) Photo of Manuel Álvaraz Bravo Silver gelatin print Stamped on verso – signed on recto Image: 9 x 7 ⅝ inches Mount: 13 ⅞ x 12 ⅞ inches (hinged)
Untitled, Vintage Silver gelatin print mounted on card Signed in pencil on recto; stamped on verso Image: 4.375 x 6.5 inches; Image mounted on board: 7.125 x 9.75 inches Untitled, Vintage Silver gelatin print mounted on card Signed in ink on recto; stamped on verso Image: 4 x 5.875 inches; Image mounted on board: 7.25 x 8.875 inches Untitled, Vintage Silver gelatin print mounted on card Signed in pencil on recto; stamped on verso Image: 3.75 x 5.5 inches; Image mounted on board: 5.75 x 9.875 inches
LOLA ALVAREZ BRAVO (1903-1993) PHOTO OF A WALDEMAR SJOLANDER PAINTING. SIGNED. 8" X 10" Lola Álvarez Bravo (3 April 1903 – 31 July 1993) was the first Mexican female photographer and a key figure in the post-revolution Mexican renaissance. Known for her high level of skill in composition, her works were seen by her peers as fine art. She was recognized in 1964 with the Premio José Clemente Orozco (José Clemente Orozco Prize), by the State of Jalisco, for her contributions to photography and her efforts to preserve the culture of Mexico. Her works are included in the permanent collections of international museums, including the Museum of Modern Art in New York City. Álvarez was born in a small town in Jalisco, but moved to Mexico City with her father when her parents separated around 1906. For a decade, she lived with her father in a large mansion, but upon his death was taken in by her older half-brother, who sent her to boarding school. After completing a traditional education, in 1922 she enrolled in the Escuela Nacional Preparatoria, where she met her lifelong friend, Frida Kahlo. A friendship with another of her childhood friends, Manuel Álvarez Bravo, blossomed into romance around the same time and the two married in 1925. Her husband taught her photography, as well as development techniques, and for nearly a decade, she acted as his assistant. As she sought to explore her own creativity and was unhappy in the marriage, the couple separated in 1934. Beginning her career as a teacher, Álvarez took photographic assignments for magazines and newspapers, developing a reputation as one of the only women photojournalists working in Mexico City. She chose to portray subjects candidly, revealing the deeper meaning of culture and social significance, rather than seeking newsworthy work. In 1935, she began cataloging photographs in the Department of Education and two years later was hired to run the photography workshops of the National Autonomous University of Mexico, where she remained until her retirement in 1971. In addition to her contributions to advertising and photojournalism, Álvarez took many photographs of her artistic friends, and in 1951 opened the Galeria de Arte Contemporáneo (Gallery of Contemporary Art) to promote their work. In 1953 at the Galeria, she hosted the only exhibition of Frida Kahlo's works held in Mexico during the artist's life. From the late 1970s until her death in 1993, she gained international recognition for her body of work. Her photo archive is located at the Center for Creative Photography in Tucson, Arizona, United States. Álvarez exclusively employed black and white film for her pictures, rather than color photography, as a means of allowing fuller development between monochrome contrasts. Color did not suit her documentary style of composition. As a photojournalist, Álvarez focused on candid revelations, seeking to impart the social meaning, without duplicating other photographers' work. For example, in one assignment where she went to Papantla, in Veracruz, to shoot the Danza de los Voladores, she ignored the dancers photographed by others, instead taking pictures of pilgrims coming to attend the ritual, the processional entrance of the sacred pole, and an animal sacrifice. The distance between herself and the subject candidly captures them in a manner that intimately captures their experience without judgment. Her preference was to avoid "the news", instead documenting her surroundings in their historical context. In her advertising work, Álvarez used chiaroscuro techniques to highlight aspects of the products, as if they were still life paintings. From 1936, she produced photomontages, always using her own photographs to make the composite, rather than images from the published work of others. Many of the photomontages from her later career were posters. Many of Álvarez's works were grouped into specific themes, which she returned to time and again. They included representations of indigenous and peasant women, mothers, children, women of varying social classes as well as the women involved as avant-garde participants in the Mexican muralism and intellectual renaissance movement of the interwar period. Besides the images of her friend Frida Kahlo, for whom she was known internationally later in her career, are portraits of artists, such as Lilia Carrillo, Olga Costa, Marion Greenwood, María Izquierdo, Alice Rahon, and Cordelia Urueta; cultural preservationists, including Pita Amor, Anita Brenner, and Judith Martínez Ortega; and writers, such as Rosario Castellanos, and Elena Poniatowska.[55] She also created a series of nude portraits, which were unique in their depiction of women as "alegorías de la condición femenina en el contexto de la sociedad patriarchal mexicana (allegories of the female condition in the context of Mexican patriarchal society)". These included her nude image of the dancer Maudelle Bass, and the heavily-pregnant artist Julia López. Her contemporary male photographers, when depicting motherhood, captured more traditionally domestic images. Her street photography focused on people's daily lives as she strove to expose beauty, as well as the misery, and the irony of the human condition. Her work displayed an instant in time and did not have any symbolic or underlying meaning but instead was a way of preserving a moment in life. Álvarez's photography focused on documenting Mexico and its people during her lifetime, with a humanistic perspective. Her images document the industrialization of the country which occurred after the Mexican Revolution as well as the effects of 20th century technology. She did not like stylized studio shots, but wandered with her camera, searching for poignant moments and arresting compositions, which depicted the landscape, people and customs of Mexico. Typical are her photographs of indigenous women, like Un descanso, llanto e indiferencia (A Rest, Weeping and Indifference), from 1940, which portrays the exploitation and lonely suffering of its subject, or El sueño de los pobres 2 (The Dream of the Poor, 2), in which a young boy lies sleeping amidst a collection of sandals. Álvarez noted that only the wealthy could dream of sweets, as young, poor Mexicans dreamed only of having shoes. Many of her works explore the intersections of light and shade, which she employed repeatedly as a metaphor in her works. In "Unos suben y otros bajan" (Some Go Up and Others Go Down), she used contrast to demonstrate mechanical patterns. In her 1950 work "En su propia cárcel" (In Her Own Prison), she used the cross-hatched shadows as an allegory for prison bars, trapping the young woman who leaned on a windowsill. In both "Tríptico del martirio" (Tryptych of Martyrdom, 1949), a series of photographs of prostitutes, and an untitled photograph of a masked gay rights activist (1982), Álvarez used the play of light and shadow to suggest erotic tension, as well as a social critique by obscuring the faces in darkness. Lola Alvarez Bravo is responsible for capturing the photograph titled La Visitacion in 1954. The photograph shows two women holding each other in the corridor of a home. It represents a metaphor for unity connecting two Indigenous women of different eras who have shared common struggles. The title La Visitacion translates to "The Visit" and alludes to a religious implication. The image shows a contrast of lighting, shadows, and the shapes of the women in front of the house. The medium present in the photo is a gelatin silver print. One of Lola Álvarez Bravo's photographs that encapsulates her recurring theme of motherhood in Mexico is her striking photo De Generación en generación (Generation to Generation, ca. 1950), a gelatin silver print. The photograph features an indigenous woman who is holding her stoic daughter while her back faces the camera, revealing the intricate details of her braid, and Álvarez Bravo's signature way of capturing the light that plays on the body of the mother. The unsmiling face of the baby along with the traditional garb that the mother is wearing, depict the unique niche of Álvarez Bravo's work that focused on the hard lives of the indigenous people of Mexico, and attempted to relay the raw reality of their lives to the viewers.This documentation of the indigenous and cultural traditions of Mexico is something that tied in with the larger art movement that swept throughout the country during the post-revolutionary period, emphasizing identities of Mexicans, and in essence what it means to be Mexican. Because of her enduring friendship with Frida Kahlo, Álvarez took some of the most revealing photographs of the artist. Álvarez enjoyed photographing Kahlo and found Kahlo aesthetic. Álvarez herself stated, "...she always looked very natural. I never saw Frida too made up or ridiculous. She believed Kahlo was a special being and became very close to her personally and through her work. During Kahlo's final years when she was plagued by illness, Álvarez and her camera provided respite from Kahlo's pain and the two women collaborated on both still images and a Surrealistic film. The film was not completed because of Kahlo's death, but a series of photographs evoke the dual and dueling aspects of Kahlo's exterior façade and interior turmoil. Frida looking at herself in the mirror in the patio of Casa Azul and Frida leaning against a tree, both taken in 1942, encapsulate Kahlo's tentative hold on tranquillity. In Álvarez's 1944 image The Two Fridas, Kahlo approached a mirror and Álvarez captured the beautiful, elegantly-clad artist, and her reflection, riddled with interior pain from her accident as well as unhappiness from her troubled marriage. Álvarez stated (about her pieces of Kahlo) "I wanted to show something of her internal life.""Frida Kahlo Following Amputation of Her Right Leg", taken in 1953, and the interaction Kahlo and Álvarez had before taking it displays the relationship the two female artists had with each other. Kahlo would call Álvarez "manita", meaning little sister. The last photograph taken of Kahlo, Frida Kahlo on her deathbed, was taken by Álvarez in 1954. According to Kahlo's wishes, she was dressed in an outfit she had selected, her nails were painted and hair braided and her favorite jewelry adorned her neck and fingers. One of her most iconic images, and a personal favorite of Álvarez's, was Entierro de Yalalag (Burial at Yalalag), created in 1946. The photograph captures a funeral procession in which Zapotec women in traditional dress somberly accompany a coffin. Their faces are obscured, their heads are covered with scarves, and they humbly gaze toward their feet, separated from the queue of male mourners, bordering the group of women. The care with which the composition was made, contrasting the white flowing garments against the dark landscape and coffin, establishes a "rhythmic, lyrical pattern, creating an otherworldly effect". Demonstrating both her respect for indigenous cultureand desire to document Mexican rituals, Álvarez also captured a deeper social meaning in the photograph. The lack of individual identity for the women and their seeming anonymity, represents the societal constraints upon them and their perceived interchangeability. All items Located in Hollywood Florida Warehouse. Thank you for your inquiry about shipping your precious item/items purchased at Puckett Auctions. Please note that we are a family owned and operated UPS Store since 1991, we are located 1/2 mile from the Gallery and have daily pickups at the Gallery. Puckett Auctions has trusted us in being their preferred shipper and we ask that you do the same. Being that we are a family run store, my brother and I will always be the ones to pick up your items from the Gallery. We hand pack the items ourselves to ensure all packing and shipping guidelines are followed so your items arrive intact and to the correct location. Please also note that we provide all Puckett Auction customers our family discount and our quote below shall reflect such. You are more than welcome to call Brian or Mark with any questions at 954.963.2222
LOLA ÁLVAREZ BRAVO (1907–1993) | ‘El reposo’ (The Rest), 1945 | Gelatin silver print, printed 1970s, double-weight semi-matte paper, mounted on cardboard, excellent condition 22,3 x 18,2 cm Signed by the photographer in pencil on the mount, several notations on reverse
LOLA ALVAREZ BRAVO (Mexican 1907 - 1993) Frida Kahlo Silver-gelatin print Signed in pencil on verso 9.5 inches x 9.5 inches (24.2 x 24.2 cm) Provenance: Acquired by the present owner directly from Fine Arts of Ancient Lands, Inc., New York, New York, and accompanied with a copy of original receipt of purchase dated April 23, 1993. SHIPPING NOTICE: Jackson's is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction.com or call 1-800-665-6743. Jackson's can expertly pack and ship to meet any of your needs. To ensure quality control Jackson's DOES NOT release to third party shippers.
‘El reposo’ (The rest), 1945 Gelatin silver print, printed in the 1960s, mounted on cardboard 22,3 x 18,2 cm (8.8 x 7.2 in) Signed by the photographer in pencil on the mount The buyers premium for all items exported out of E.C. (European Community) is 25%. For items marked with *, sold and/or shipped within the E.C. the premium is 25% plus 20% VAT on hammer price and premium. For all other items (without *) sold and/or shipped within the E.C. (European Community) the premium is 30% (including VAT).
LOLA ÁLVAREZ BRAVO (1907-1993) Maria. Silver print, the image measuring 9 1/2x7 1/2 inches (24.1x19.1 cm.), the mount 16x14 inches (40.6x10.1 cm.), with Álvarez Bravo's signature, in pencil, on mount recto. Circa 1950; printed 1980s
LOLA ÁLVAREZ BRAVO (Lagos de Moreno, Jalisco, 1907 - 1993) Jazzamoart Sin firma Fotografía plata sobre gelatina Con sello de la artista y de Archivo de Mañana la revista de México al reverso. 13 x 19.5 cm / 9.4 x 7 pulgadas Estimado $10,000-20,000
LOLA ÁLVAREZ BRAVO (Lagos de Moreno, Jalisco, 1907 - 1993) Carlos Mérida, 1981 Sin firma Fotografía plata sobre gelatina Publicada en: CARDOZA ARAGÓN, Luis. Carlos Mérida. Color y forma. México. CONACULTA. Ediciones ERA. 1992, Pág. 40. Con anotaciones al reverso. Carlos Mérida fue un escultor y pintor guatemalteco que mantuvo gran interés por el muralismo mexicano, actualmente se considera uno de los exponentes del movimiento. Colaboró con grandes maestros como José Clemente Orozco, Diego Rivera y David Alfaro Siqueiros, además mantuvo contacto con Paul Klee, Kandinsky, Miró, así como otros constructivistas, quienes influyeron en gran medida en su estilo figurativo y abstracto. Son varias constantes las que caracterizan su obra, se inspiró en sus viajes a México y Europa, en otras ocasiones representó motivos o mitología prehispánica, en este sentido procuró rescatar valores autóctonos con un fluido manejo del color, además fue un gran dibujante con un notable Interés e influencia en la arquitectura. Fuente consultada: LARA ELIZONDO, Lupina. Resumen. Pintores y pintura mexicana . México. Promoción de Arte Mexicano, 1996, pp. 4-13. 24 x 17.8 cm / 9.4 x 7 pulgadas Estimado $20,000-30,000
LOLA ÁLVAREZ BRAVO (Lagos de Moreno, Jalisco, 1907 - 1993) Retrato de María Izquierdo Sin firma Plata sobre gelatina Con etiqueta de Galería Juan Martín. Publicada en: FERRER, Elizabeth. Lola Álvarez Bravo . México. Fondo de Cultura Económica, 2006. Pág. 141. María Izqueirdo asistió a la Academia de San Carlos, estudió con Manuel Toussaint, Germán Gedovius y Rufino Tamayo con quien compartió estudio por un periodo y mantuvo una relación sentimental. Asistió a las escuelas de pintura al aire libre. Fue una artista representante del periodo posrevolucionario y de vanguardia. Fuente consultada: SCHNEIDER, Luis Mario et ál. María Izquierdo. México. Casa del Bolsa Cremi, 1986, Pág. 52. 22.5 x 17.5 cm / 8.8 x 6.8 pulgadas Estimado $80,000-120,000
LOLA ÁLVAREZ BRAVO (Lagos de Moreno, Jalisco, 1907 - 1993) Retrato de Chucho Reyes Sin firma Plata sobre gelatina Considerada como la primera fotógrafa de México, fue esposa del maestro Manuel Álvarez Bravo, quien fungió como responsable del Departamento de Fotografía del INBA por tres décadas, documentando las actividades de danza, exposiciones y eventos del recinto. Durante su matrimonio con el fotógrafo aprendió las actividades del cuarto oscuro, sin embargo siempre manifestó un gran interés por la cámara. Puede ser que Tina Modotti haya servido de inspiración, ya que en esa época la actividad era realizada casi en totalidad por varones. Impartió clases de fotografía en la Escuela Nacional de Artes Plásticas, en 1936 tuvo su primer muestra individual en el Palacio de Bellas Artes. Lola Álvarez Bravo fue una fotógrafa que documentó una fracción cultural importante de su época, cuya visualidad enmarcó la actividad femenina, retrató a personajes de la cultura, festividades y en ocasiones realizó finas composiciones arquitectónicas con juegos de contraluz. Como sus contemporáneos fotógrafos se preocupó por retratar a grupos indígenas y campesinos."Busco la esencia de los seres y de las cosas, su espíritu, su realidad. El interés, la experiencia propia, el compromiso ético y estético forman el tercer ojo del fotógrafo. Hay quien lo enfoca hacia el paisaje, yo me siento atraída por los seres humanos". Lola Álvarez Bravo. Fuente consultada: FERRER, Elizabeth, Lola Álvarez Bravo. México. Fondo de Cultura Económica, 2006. pp. 9-21 y 43. 24 x 18.5 cm / 9.4 x 7.2 pulgadas Estimado $80,000-120,000
LOLA ÁLVAREZ BRAVO, En su propia cárcel (11:00 am), 1950, Signed, Gelatin silver print, 19 x 22 cm / 7.4 x 8.6 inches. Estimado $ 75,000-100,000 LOLA ÁLVAREZ BRAVO (Lagos de Moreno, Jalisco, 1907 - 1993) En su propia cárcel (11:00 am) - 1950 Firmada Plata sobre gelatina Publicada en: FERRER, Elizabeth. Lola Álvarez Bravo. México. Fondo de Cultura Económica, 2006. Pág. 67, catalogada 39. Considerada como la primera fotógrafa de México, fue esposa de uno del maestro, Manuel Álvarez Bravo, quien fungió como responsable del Departamento de Fotografía del INBA por tres décadas, documentando las actividades de danza, exposiciones y eventos del recinto. Durante su matrimonio con el fotógrafo aprende las actividades del cuarto oscuro, sin embargo siempre manifestó un gran interés por la cámara. Puede ser que Tina Modotti haya servido de inspiración, ya que en esa época la actividad era realizada casi en totalidad por varones. Impartió clases de fotografía en la Escuela Nacional de Artes Plásticas, en 1936 tuvo su primer muestra individual en el Palacio de Bellas Artes. Lola Álvarez Bravo fue una fotógrafa que documentó una fracción cultural importante de su época, cuya visualidad enmarca la actividad femenina, retrató a personajes de la cultura, festividades y en ocasiones realizó finas composiciones arquitectónicas con juegos de contraluz. Como sus contemporáneos fotógrafos se preocupó por retratar a grupos indígenas y campesinos."Busco la esencia de los seres y de las cosas, su espíritu, su realidad. El interés, la experiencia propia, el compromiso ético y estético forman el tercer ojo del fotógrafo. Hay quien lo enfoca hacia el paisaje, yo me siento atraída por los seres humanos"Lola Álvarez Bravo Fuente consultada: FERRER, Elizabeth, Lola Álvarez Bravo. México.Fondo de Cultura Económica, 2006. pp. 9-21 y 43. 19 x 22 cm USD $4,000-$5,400
LOLA ÁLVAREZ BRAVO, El ensueño, Retrato de Isabel Villaseñor, 1941, Unsigned, Gelatin silver print, 20.5 x 25.5 cm / 8 x 10 inches Estimado $ 75,000-100,000 LOLA ÁLVAREZ BRAVO (Lagos de Moreno, Jalisco, 1907 - 1993) El ensueño, Retrato de Isabel Villaseñor, 1941 Sin firma Plata sobre gelatina Con sello Foto Lola Álvarez Bravo. Lola Álvarez Bravo fue la primera fotógrafa reconocida en el medio mexicano, derrumbando el estereotipo de las mujeres artistas. Su variada carrera se extendió en diversos intereses, destacando las imágenes documentales de la vida cotidiana de los pueblos mexicanos, las calles de la las ciudades, esculturas prehispánicas, arquitectura, retratos de políticos y artistas. La complejidad de su obra revela su interés por el surrealismo y el uso de medios vanguardistas, más aún con la influencia de sus amistades, entre ellas María Izquierdo, Frida Kahlo y David Alfaro Siqueiros. También, fue inspirada por el trabajo de Edward Weston y Tina Modotti. Entre sus series más difundidas se encuentra la que realizó entre 1944 y 1946 a Frida Kahlo en la Casa Azul en Coyoacán. En estas imágenes, Lola reflejó de una manera muy específica el dolor emocional y físico de Kahlo durante el periodo en el que sufrió las operaciones. Con ella incursionó en su primer y único intento cinematográfico, mismo que no llegó a concluirse. También, fotografió a otras mujeres creadoras, entre ellas Ruth Rivera Marín e Isabel "Chela" Villaseñor, una polifacética pintora, muralista, actriz, y compositora de corridos mexicana. Fuente consultada: sitio oficial de la Colección Fotográfica de Fundación Televisa http://fotografica.mx 20.5 x 25.5 cm / 8 x 10 pulgadas USD $4,050-$5,400
LOLA ÁLVAREZ BRAVO (ATTRIB.), Playa, Unsigned, Gelatin silver print, 15.5 x 23.3 cm / 6.1 x 9.1 inches Estimado $ 25,000-35,000 LOLA ÁLVAREZ BRAVO (ATRIB.) (Lagos de Moreno, Jalisco, 1907 - 1993) Playa Sin firma Plata sobre gelatina Con sellos de Foto Lola Álvarez Bravo y del Archivo de Mañana, la revista de México al reverso. Presenta detalles de conservación. Dolores Martínez Anda, mejor conocida como Lola llegó a la Ciudad de México en 1916, donde tuvo como vecino a Manuel Álvarez Bravo, quien ya era amigo de su hermano y con quien contrajo nupcias en 1925, adquiriendo así los apellidos Álvarez Bravo. Después de un año de casados se fueron a vivir a Oaxaca, lugar donde Lola realizó sus primeras fotografías y donde nació su hijo Manuel. Durante un tiempo compartió taller con su esposo, no obstante en 1934 decidieron separarse y Lola compartió casa con María Izquierdo, época en la cual se convirtió en la iniciadora del fotomontaje en México. De 1935 a 1936, formó parte del equipo de trabajo del Departamento de Prensa y Publicaciones de la Secretaría de Educación Pública y trabajó en el Laboratorio de arte del Instituto de Investigaciones Estéticas de la UNAM, el cual desapareció a principios de los años 40. En 1939 fue nombrada jefa del departamento de fotografía de la Dirección de Educación Extraescolar y Estética, hoy en día el Instituto Nacional de Bellas Artes y Literatura. Con el apoyo de su amigo Juan Soriano creó su propio estudio de fotografía, en donde ocasionalmente montaba exposiciones. En 1964 el Presidente Adolfo López Mateos le entregó la placa conmemorativa Clemente Orozco, la cual es otorgada por el estado de Jalisco y el Comité del Año de las Artes Plásticas de Jalisco. En honor a su trabajo, en 1985 se colocó una placa con su nombre en el Teatro Degollado de Guadalajara, Jalisco. A lo largo de más de 50 años Lola se consagró como una figura de suma importancia para el arte contemporáneo mexicano siendo una de las fotógrafas más importantes del siglo XX. Su trabajo ha sido publicado y expuesto en un sinfín de muestras en destacados museos y galerías de México y el extranjero, y forman parte de innumerables colecciones públicas y privadas. Fuente consultada: sitio oficial de la Colección Fotográfica de Fundación Televisa http://fotografica.mx 15.5 x 23.3 cm / 6.1 x 9.1 pulgadas USD $1,350-$1,890
LOLA ALVAREZ BRAVO (1907-1993): TRIPTICO DE LOS MARTIRIOS Gelatin silver print, signed in pencil on the mount, with label from Cavin-Morris, Inc., NY. 8 7/8 x 7 1/2 in. (image), 20 1/2 x 16 1/2 in. (frame).
LOLA ALVAREZ BRAVO (1907-1993) , MEXICANA VER QUIÉN ME OYE (¿ME OIRÁN?), (WILL THEY HEAR ME? / TO SEE WHO WILL HEAR ME), 1939Gelatin silver print mounted to a Super T-99 Show-Card; signed in pencil to the mount, titled and numbered “LAB 7:3” in pencil verso. Printed later, circa 1960. Matted and unframed.Image 9.1" x 6.7" — 23 x 17 cm.
Lola ALVAREZ BRAVO 1907 - 1933 TRIPTICO DE LOS MARTIRIOS III - 1950 Tirage argentique d'époque monté sur carton Signé au crayon sur la montage h: 20,30 w: 15 cm Bibliographie : M. Rebuzzini, Mirrors of the Magic Muse, Éditions Style Book, Monte-Carlo, 2013, p. 114 Commentaire : VINTAGE GELATIN SILVER PRINT MOUNTED TO BOARD; SIGNED IN PENCIL ON THE MOUNT
Lola ALVAREZ BRAVO 1907 - 1933 FRIDA KAHLO - VERS 1945 Trois tirages argentiques montés en tryptique Signé des initiales de l'artiste au crayon au dos de chaque tirage h: 21,80 w: 16,70 cm Bibliographie : M. Rebuzzini, Mirrors of the Magic Muse, Éditions Style Book, Monte-Carlo, 2013, p. 110 Commentaire : THREE GELATIN SILVER PRINTS; SIGNED WITH INITIALS ON VERSO OF EACH PRINT
4 1.2 x 6 glossy gelatin silver print. NOTE STAMP. This is unlike much of her best known work. For a time she was involved with photographing modern furniture in L.A. There is no indication of scale here, but it is a fine example of clean effective lighting and composition.
6 x 4 5.8- inch gelatin silver print, ferrotyped, with her "Taler de Fotografia" stamp verso. It's a close view of the kitchen of an adobe house. Prevenance: Throckmorton Fine Art to consignor.
BRAVO, LOLA ALVAREZ (1907-1993) "Frida with arm around bedpost, Casa Azul, Mexico." Silver print, 9 3/4x7 1/4 inches (24.8x18.4 cm.), with Bravo's signature, in pencil, on verso. Circa 1943; printed 1980s
LOLA ÁLVAREZ BRAVO (1907-1993) Selected Images, Mexico 1940s-1960s 25 Gelatin silver prints 8 of the prints initialized by the photographer in pencil on the reverse, one with the photographer's copyright stamp, some annotated in pencil (most likely by the photographer) on the reverse PROVENANCE Private Collection, Italy, acquired directly from the photographer
Alvarez Bravo, Lola. Madero e Hijo. Firmada en lápiz. Fotografía en blanco y negro, 23.5 x 19 cm. Pegada sobre cartón. Lola Álvarez Bravo (Dolores Martínez de Anda; Lagos de Moreno, Jalisco, 1907 - 1993). En 1930, Tina Modotti, amiga de Manuel, fue deportada. Necesitaba dinero con urgencia y Manuel y ella le compraron dos de sus cámaras fotográficas; una, la Graflex, fue desde entonces completamente suya. Poco después, en 1931, Manuel cayó gravemente enfermo; Lola debió sacar adelante el trabajo que él hacía en la revista "Mexican Folkways". Así pudo completar su formación y dedicarse a la fotografía como oficio para siempre.
LOLA ÁLVAREZ BRAVO, El soldador, Sin firma Fotografía plata sobre gelatina, 18.5 x 23.5 cm. LOLA ÁLVAREZ BRAVO El soldador Sin firma Fotografía plata sobre gelatina Nace en Lagos de Moreno, Jalisco en 1907. Muere en 1993. Dolores Martínez de Anda se casa con Manuel Álvarez Bravo en 1925, de quien aprende la técnica fotográfica y toma su apellido, el cual conserva incluso después de separarse en 1935. Ésta era una manera de reconocer sus orígenes, no sólo sentimentales, sino profesionales también; con ello, adoptó una línea de conducta, un estilo y, sobre todo, una ética. A los que la entrevistaron, Lola Álvarez Bravo repetía la misma frase: "Si algún valor tienen mis fotos, es porque muestran un México que ya no existe". Los estudios de Lola Álvarez Bravo sobre el cuerpo humano, masculino o femenino, son sobre todo estudios de forma y composición. Las líneas marcadas y los contrastes dramáticos de luz caracterizan algunas de sus obras. La fuerza de las mujeres de Lola emana de sus cuerpos; son dueñas de sí mismas y su físico es un estandarte de vitalidad personal y psíquica. Fue una figura clave junto con Tina Modotti, Frida Kahlo, Diego Rivera y su esposo, Manuel Álvarez Bravo en el renacimiento post-revolucionario de México. www.artmuseum.gov.mo 18.5 x 23.5 cm.
LOLA ÁLVAREZ BRAVO Frida Kahlo Sin firma Fotografía en blanco y negro Nace en Jalisco, México en 1907. Muere en 1993. Fue una fotógrafa y figura clave, junto con Tina Modotti, Frida Kahlo, Diego Rivera y su esposo Manuel Álvarez Bravo) en el renacimiento post-revolucionario en México. Los estudios de Alvarez Bravo sobre el cuerpo humano, masculino y femenino, son sobre todo estudios de la forma y la composición. Las líneas marcadas y los contrastes dramáticos de luz caracterizan unas de sus obras. Cabe hacer notar que la fuerza de las mujeres de Lola emana de sus cuerpos; son dueñas de sí mismas y su físico es un estandarte de vitalidad personal y síquica. Véase: www.artmuseum.gov.mo 20 x 25 cm.
Lola Alvarez Bravo Serie Frida Kahlo # 1 Fotografía B/N 1940-1949 31 x 24 cm. Ferrer, Elizabeth. Lola Álvarez Bravo. Aperture. Center for Creative Photography. Universidad de Arizona. Tucson. 2005. p.150 y portada (Ilustrada)
Lola Alvarez Bravo Serie Frida kahlo # 1 Fotografía B/N 1950 31 X 24 cm. Manuel Álvarez Martínez Juan Martin Gallery, México Mother Jones, International Fund for Documentary Photography Ramón Grandal Colección Privada-Caracas
Various Photographers Mother Jones International Fund for Documentary Photography: Portafolio de las Mujeres C. 1994 Each Approx.: 13 x 10 inches ( 330.8 x 254.5 mm ) A portfolio containing five photographs, each with the photographers' signatures, edition number 33/50, contained in original gray linen portfolio with stamped title in silver ink. Photographers & Titles: Lola Alvarez Bravo, Frida Kahlo, c. 1952; Tina Modotti, Woman with Flag, 1928; Flor Garduno, Virgin of the Angels, 1987; Mariana Yampolsky, The Caress, 1989; Graciela Iturbide, Fallen from the Sky, Chalma, Mexico, 1990.
Lola Alvarez Bravo La Soledad 1982 6 3/4 x 9 3/4 inches ( 171.8 x 248.1 mm ) Gelatin silver print, with the photographer's signature and title in pencil on verso, framed.
