Artist: BOZE
Date: Unknown
Medium: Oil on canvas
Signature: Not Visible
Dimensions: 29 × 37 cm

This portrait depicts a dog rendered with human posture and expression, dressed in a green beret marked by a red star and a red jacket. The work playfully merges animal imagery with revolutionary iconography, creating a figure that is at once humorous, and quietly unsettling. Rich, warm tones define the face, while energetic splatters of paint animate the background, adding movement and contemporary edge.

Artistic Context:
BOZE is known for creating expressive, figurative paintings that blend humor, symbolism, and social commentary. Working primarily in oil on canvas, the artist often uses animals as stand-ins for human characters, allowing complex political or emotional ideas to be explored with irony and warmth. BOZE’s style combines strong draftsmanship with painterly textures and contemporary pop references, resulting in works that are immediately approachable yet layered in meaning.

Armando Morales (1927–2011)
Oil on canvas

Dimensions: 35 × 28 cm

Composition by Nicaraguan painter Armando Morales depicting three nude figures gathered at the edge of a cascading waterfall, immersed in a timeless ritual of bathing. Executed in his characteristic painterly style, Morales layers earthy and muted green-blue tones, capturing both the sensuality of the human form and the raw vitality of nature.

Morales, renowned for his fusion of figuration and abstraction, frequently revisited themes of memory, myth, and sensuality. In this work, the tactile impasto brushwork conveys both movement and intimacy, as the figures appear simultaneously rooted in their environment and dreamlike in presence. The interplay between shadow and light accentuates the mystery of the scene, suggesting a timeless moment of communion between humanity and nature.

Artist: Armando Morales (Nicaraguan, 1927–2011)
Date: 1993
Medium: Oil on canvas
Signature: Signed and dated lower right, Morales / 93
Dimensions: 29 × 37 cm

Oil on canvas from 1993, Armando Morales presents three nude female figures set within a monumental architectural setting that opens onto a distant seascape. Painted in a restrained, cool-toned palette dominated by muted blues, greens, and greys, the figures emerge with sculptural solidity, their contours modeled with both softness and precision. One central figure holds a striking red staff, a vivid vertical accent that disrupts the otherwise harmonious tonal composition..

Artistic Context:
Armando Morales is celebrated as one of Latin America’s foremost modern painters, renowned for merging realist figuration with surrealist and symbolic elements. His paintings often combine nudes, still lifes, and landscapes in enigmatic, timeless environments. This work exemplifies Morales’s mature style of the late 1970s, in which the human form is reimagined within architecturally inspired, almost stage-like settings that invite multiple readings—mythological, allegorical, or psychological.

UNKNOWN ARTIST. “Opium Den” 19th Century Oil Painting

Year: 19th Century

Title:Opium Den
Artist: Unknown
Date: Late 19th to early 20th century
Medium: Oil on canvas
Dimensions: 115 X 145 cm
Collection: Private Collection

Description:
Painting presenting a hauntingly atmospheric glimpse into an opium den, most likely located in East Asia during the height of the opium trade and its social consequences. The composition captures a richly detailed interior—a semi-private chamber adorned with carved wooden panels and dimly lit by a hanging lantern. The subdued color palette, dominated by deep browns, ochres, and dark greens, intensifies the somber mood.

The artist’s attention to costume, architecture, and gesture suggests not only a documentary interest but also a critical lens, hinting at themes of escapism, colonial trade, and social decay. The use of directed light—illuminating the figures on the bed while casting the rest of the room into shadow—enhances the psychological depth of the composition.

While the artist remains unidentified, the painting offers rare insight into the cultural and historical context of opium use in the East during a tumultuous period shaped by imperialism, addiction, and moral ambiguity.

BOZE Oil painting.

Title:Opium Smoker
Artist: BOZE (French, 20th century)
Medium: Acrylic on canvas
Dimensions: 39 × 50 cm

Description:
Original painting by BOZE depicting a reclining man smoking opium. The figure is stylized with mechanical and abstract forms, combining human anatomy with components reminiscent of gears, levers, and tubes. Rendered in warm reds, oranges, and blues against a soft yellow background, the scene evokes both dreamlike detachment and physical ritual.

Boze’s work reinterprets traditional opium-smoking imagery through a surreal and modern lens. The composition reflects the introspective and isolating nature of the opium experience, while the mechanical details suggest the ritual’s repetition and systemic place in society.

RAIMUNDO MADRAZO. Original Oil painting. Signed top left

Artist: Raimundo de Madrazo y Garreta (1841–1920)
Date: Late 19th century
Medium: Oil on canvas

Dimensions: 32 × 21 cm

Museum Description:
Painting by Raimundo Madrazo showing a scene with two women and one man dressed in 18th-century clothing. One woman is wearing a dark gown and a mask, while the man, dressed in a green coat.

Madrazo was known for painting elegant and romantic scenes. This artwork captures a moment with great attention to costume and detail.

Raimundo Madrazo was known for his depictions of refined interiors and courtly figures. His work often draws on themes of flirtation, gallantry, and historical nostalgia, making this painting a quintessential example of his richly romantic style.

MARIANO FORTUNY. Oil painting. Signed bottom left

Artist: Mariano Fortuny y Marsal (1838–1874)
Date: c. 1860s
Medium: Oil on canvas

Dimensions: 17 × 31 cm

Museum Description:
Mariano Fortuny captures a quiet riverside scene with several figures in traditional clothing. The background features a broad landscape and distant hills under a soft blue sky, while the foreground shows figures walking or gathering near the water and ruins.

Fortuny was known for his detailed brushwork and vivid use of light. This painting combines everyday life with architectural remnants.

Acrylic on board by Cesar LEAL JIMENEZ. Dated and signed bottom right “C LEAL 91”

“FUNDATIONS OF CUBA”

Year: 1991

Artist: César Leal Jiménez
Medium: Oil on canvas

Dimensions: 80 × 60 cm

Description:
Painting by César Leal Jiménez blenings elements of Cubism and surrealism to depict a woman emerging from an architectural pedestal. Her fragmented, geometric form emphasizes both strength and sensuality, with her body serving as both structure and symbol. A cup of steaming coffee and a cigar rest upon her chest, their smoke entwining with her flowing white hair, linking pleasure, ritual, and identity.

César Leal Jiménez’s work often explores the complexity of feminine identity through bold symbolism and architectural references. Here, the female figure becomes both temple and totem—embodying power, allure, and cultural resonance in a single enigmatic composition.

ANTONIO HENRIQUE AMARAL. Acrylic on canevas. Signed bottom right

Title:Untitled
Artist: Antonio Enrique Amaral (1935–2006)
Medium: Pastel and mixed media on paper
Dimensions: 102 × 102 cm

Description:
Composition by Antonio Enrique Amaral fusing human anatomy with elements of nature, depicting a breast-shaped volcano rising from stylized turquoise waves. The volcano erupts with radiant energy into a deep blue sky, where a crescent moon and cloud float nearby, reinforcing the dreamlike quality of the work. Amaral's use of bold color, curved lines, and sensual forms evokes a playful yet symbolic narrative of creation, nature, and transformation.

A prominent figure in Latin American modernism, Amaral often explored themes of power, identity, and the body through surreal allegories. This work reflects his signature fusion of political symbolism and poetic imagery, offering a visual meditation on the intersection of the natural world and the human form.

Year: 1943

Title:Montevideo
Artist: Joaquín Torres-García (1874–1949)
Medium: Oil on board
Dimensions: 52 × 65 cm

Description:
Composition by Joaquín Torres-García rendering the city of Montevideo through a symbolic and constructivist lens. Geometric forms—houses, trains, arrows, clocks, and abstracted figures—are arranged in a structured grid, evoking both urban dynamism and spiritual balance. The palette of primary colors (red, blue, yellow) paired with black and white reflects his characteristic visual language.

A leading figure in Latin American modernism, Torres-García sought to merge European avant-garde principles with indigenous and universal symbolism. His philosophy of Constructive Universalism aimed to connect ancient traditions with modern abstraction. Painted upon his return to Uruguay, this piece is a visual testament to his cultural synthesis—placing Montevideo at the crossroads of memory, identity, and modern thought.

Title:Portrait of Pablo Picasso
Artist: Brassaï (Hungarian-French, 1899–1984)
Medium: Charcoal and pigment on canvas
Dimensions: 32 × 28 cm
Signed: Lower right, "Brassaï"

Description:
Portrait of Pablo Picasso by Brassaï revealing an introspective and intense depiction of one of the most influential artists of the 20th century. Rendered in a restrained yet striking palette of burnt sienna and black, the image radiates a quiet force. .

Better known for his photography, Brassaï was deeply immersed in the artistic circles of Paris and held a close friendship with Picasso, whom he photographed extensively over several decades. This rare painted work demonstrates Brassaï’s deep understanding of his subject, capturing Picasso not only as an iconic figure of modern art but also as a man immersed in thought and creative gravity.

This portrait stands as a powerful testament to the mutual admiration and artistic dialogue between Brassaï and Picasso. With its hauntingly intimate perspective, the painting bridges the realms of photography, painting, and psychological portraiture, showcasing Brassaï’s ability to capture the essence of a person with profound sensitivity.