Charles Ragland Bunnell

"Birth" 1940s Surrealist Abstract Watercolor Painting, Gray Scale Female Figure

1943

Hand of Ishmael by Tony Fitzpatrick (born 1958). An original aquatint etching with Chine-collé. Design elements include a hand with red nails and numerous tattoos, birds, celestial elements, eyes and thorns. Dominant colors include yellow, blue, black, red and white. Signed, titled and dated, lower margin in pencil by the artist. Presented in a custom frame with all archival materials, outer dimensions measure 29 ½ x 23 ½ x ¾ inches. Image size is 13 ¾ x 17 ¾ inches. About the Artist: Born in 1958, Tony Fitzpatrick lives in Chicago and is well known for his fine art prints, paintings and drawings. He has found inspiration from the street culture of Chicago, tattoo designs, folk art and places...

1985 original signed oil painting titled 'The Four Winter Months' by Denver modernist, Edward Marecak (1919-1993) with four abstract/stylized figures painted with colors of red, black, green, gray, blue, and orange. Referential abstraction painted in oil on canvas, signed and dated lower right, titled verso. Presented in a vintage frame, outer dimensions measure 24 ½ x 30 ½ x 1 ¼ inches. Image size is 23 ¾ x 30 inches. Provenance: Estate of the artist, Edward Marecak About the Artist: Born Ohio 1919 Died Colorado 1993 Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks, and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. His junior and senior high projects earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute. Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy...

Nahum Tschacbasov Lovers and Others (Two Unique Works), 1978-1979 Gouache on Two-sided Paper (Two Signed Works) Hand signed twice: once on each side 11 × 15 inches (each side) A rare...

David Hare Summer Land, 1970 Acrylic or oil paint and collage on board Dimensions: 26 X 36 inches. Framed measuring 29 x 38 inches. Hand signed, dated and titled on tape to verso 'Summer Land 1970 Hare'. Provenance: Hamilton Gallery of Contemporary Art, New York David Hare (1917 – 1992) was an American artist, associated with the Surrealist movement. He is primarily known for his sculpture, though he also worked extensively in photography and oil painting. The VVV Surrealism Magazine was first published and edited by Hare in 1942. Born March 10, 1917 in New York City, New York to father Meredith Hare, a lawyer and mother Elizabeth Sage Goodwin, an art collector. In the 1920s the family moved first to Santa Fe, New Mexico and later to Colorado Springs, Colorado, in hope that the fresh air would help heal Meredith Hare's tuberculosis. His mother founded the Fountain Valley School, where David attended high school. After high school Hare married and moved to Roxbury, Connecticut where he worked as a color photographer. He attended Bard College in Annandale-on-Hudson from 1936 to 1937, studying biology and chemistry. In the late 1930s, with no previous artistic training, he began to experiment with color photography. Using his previous education in chemistry Hare developed an automatist technique called "heatage" in which he heated the unfixed negative from an 8 by 10-inch plate, causing the image to ripple and distort. Hare's Surrealist experiments in photography were only one of his many projects. In 1938 he met Susanna Winslow Wilson and the couple soon married. Both David and Susanna pursued their interests in Surrealism and regularly attended Surrealist gatherings in New York Larre French restaurant on 56th street and at Breton's Greenwich Village apartment. In 1940 he received a commission from the American Museum of Natural History to document the Pueblo Indians of the American Southwest, for which he eventually produced 20 prints developed using Eastman Kodak's then-new dye transfer process (a time-consuming and complicated technique). In the same year, he also opened his own commercial photography studio in New York City and exhibited his photographs in a solo show at the Julien Levy Gallery. In the next few years, through his cousin the painter Kay Sage, he came into contact with a number of Surrealist artists who had fled their native Europe because of World War II. Hare became closely involved with the émigré Surrealist movement and collaborated closely with them on projects such as the Surrealist journal VVV, which he co founded and edited from 1941 to 1944 with André Breton, Max Ernst, and Marcel Duchamp. With numerous illustrations by Breton, Leonora Carrington, Marc Chagall, Roberto Matta, Giorgio de Chirico, MarcelDuchamp, Max Ernst, Andre Masson, Joan Miro, Enrico Donati, Dorothea Tanning, and others. Published in only four issues between 1942-44, VVV was an experimental New York-based magazine devoted to the dissemination of Surrealism. Edited by David Hare, the short-lived magazine featured contributions from some of the leading avant-garde artists of the period. David and Susanna divorce in 1945 and Breton’s wife Jacqueline Lamba...