LATIN AMERICAN ART

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 LATIN AMERICAN ART
THURSDAY 30 JULY 2020

PROPERTIES FROM AUCTION

A Distinguished Collection Thursday 30 July 2020, at 11.00 am

A Distinguished Family Collection
An Important New York Estate
20 Rockefeller Plaza

The Collection Of Dr Leonard D. New York, NY 10020

Hamilton
The Collection Of Rosa María García VIEWING
Sarduy
Viewing by appointments only from 25-29 July.
The Collection Of Wallace Campbell
Please contact [email protected]
The Estate Of Jacquelyn Miller Matisse
Being Sold To Benefit Charities or +1 212 636 2161
The Modern Art Museum Of Fort
Worth, Sold To Benefit The Museum AUCTIONEERS

The William Louis-Dreyfus Foundation Diana Bramham (#1464939)

A Gentleman
An Important American Collection

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INTERNATIONAL LATIN AMERICAN ART DEPARTMENT

Virgilio Garza Marysol Nieves Kristen France Diana Bramham Emma Thomas
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WORLDWIDE MEXICO CITY

SPECIALISTS FOR THIS AUCTION
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Front Cover pages 8-9

Lot 30 © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris Lot 60 © Roberto Fabelo

Inside Front Cover Spread opposite Sale Info page

Lot 27 © 2020 Tamayo Heirs / Mexico / Licensed by VAGA at Artists Lot 20 © Carmen Herrera.
Rights Society (ARS), NY
opposite Specialist Page
page 2 Lot 50 Courtesy of the family of Francisco Toledo, 2020
© 2020 Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico,
D.F. / Artists Rights Society (ARS), New York. Live sale divider
Lot 6 © Fernando Botero, reproduced by permission.
page 3
© Alfredo Ramos Martínez Research Project, reproduced by permission. Online divider
Lot 76 © The Estate of Belkis Ayón
page 4-5
Lot 35 © Tomas Sanchez: “Buscador de paisiajes”, 2005, acrylic on canvas, Inside Back Cover
48 1/8 x 56 5/8 in. Lot 26 © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris

page 6-7 Back Cover

Lot 101 © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris Lot 4 © The Estate of Claudio Bravo, courtesy Marlborough Gallery, New York.

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 LATIN AMERICAN ART
Thursday, 30 July 2020
aT 11.00 am
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TOMÁS SÁNCHEZ (B. 1948)
Meditación frente a la cascada
signed and dated 'Tomás Sánchez, 93' (lower right) signed, dated and titled
'Tomás Sánchez, MEDITACION FRENTE A LA CASCADA, 1993' (on the
reverse)
acrylic on canvas
17¡ x 8¬ in. (44 x 22 cm.)
Painted in 1993.

$40,000-60,000

PROVENANCE:

Acquired directly from the artist.

This work is accompanied by a certificate of authenticity signed by the artist,
dated 15 February 2018.

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OSWALDO GUAYASAMÍN (1919-1999) “Oswaldo Guayasamín, whose art springs from the earth and the people, is
The Violinist not merely an artist who draws on the past, the traditions and the civilization
of Ecuador,” Federico Mayor, former Director-General of UNESCO, once
signed ‘GUAYASAMIN’ (lower right)
observed. “His paintings are the expression and symbol of the universal
oil on canvas
51æ x 19æ in. (131.4 x 50.2 cm.) American who has turned art into the tool of solidarity amongst men.”1 The
Painted in 1967. eldest of ten children, Guayasamín graduated from Quito’s Escuela de Bellas
Artes in 1941 and drew early acclaim for his defiant, emotional images of
$70,000-90,000
an oppressed and tragic humanity. His searing portrayals of indigenous
PROVENANCE: subjects, drawn from the working classes of the Americas and exemplified in
Prof. Israel Drapkin (acquired directly from the artist, 1967). his early series, Huacayñán (“Trail of Tears”), belong within the expressionist
By descent from the above to the present owner. lineage of El Greco, Goya, Picasso, and the great Mexican muralist José
This work is accompanied by a certificate of authenticity from the Fundación Clemente Orozco, with whom he spent time in 1943. In the wake of travel to
Guayasamín signed by Pablo Guayasamín, dated 8 April 2020. Cuba, China, and the Soviet Union in the early 1960s, Guayasamín’s work
became more expressly polemical, castigating imperialist exploitation and
brutality across the twentieth century. These drawings and paintings defined
his epic, decades-long cycle, La edad de la ira (“Age of Anger”), registering
the cruelties of the human condition and the universality of rage, unrest, and
alienation.

Born in Rosario, Argentina, Israel Drapkin (1906–1990), was a criminologist The Violinist emanates the stark, visceral intensity characteristic of
and physician who pioneered criminological studies in Latin America. In 1936 Guayasamín’s Age of Anger series, to which it belongs. Skeletal and ashen,
he established the first Criminological Institute in Chile, and in 1950 the chair the body of its eponymous subject is compressed in the narrow, vertical
of criminology at the University of Chile. He advised on the establishment of composition, its spindly frame bent in pinched, uncomfortable angles. His
other national institutes of criminology, particularly in Venezuela, Costa Rica, posture anticipates that of the defeated, slumping figures portrayed in La
and Mexico. Drapkin settled in Israel in 1959 and established the chair of espera VIII and La espera X (1968-69), who rest their heads in their hands,
criminology and the Institute of Criminology at the Hebrew University. their wait interminable. But here the violin—a brilliant orange interlude within
the artist’s typically limited, grisaille palette—suggests a lyrical respite
During his frequent travels to Latin America, including the city of Quito he from the miseries of modern servitude. The player cradles his head against
befriended the Ecuadorian artist Oswaldo Guayasamín and his family. It was the curved frame of his instrument; four bony fingers, eerily elongated and
during one such visit to the artist’s home in Quito in May 1967, that Drapkin disembodied, wrap around the neck of the violin. His gnarled, oversized
commissioned the present lot after seeing a similar painting of a violinist in hands, a leitmotif of Guayasamín’s work, here convey not only the age-old
the artist’s studio. Guayasamín painted just two violinists, the present lot and abuses of labor, but the liberating means of musical expression, as well.
the aforementioned painting which remains in the collection of the artist’s
estate in Quito. Guayasamín learned to play the guitar from his mother, and his noted
sensibility to both classical and Latin American music provides rare glimpses
of joy, as in The Violinist, as well as expressive visual cadence. “Rhythm is
immediately noticed in his work,” Claude Sabsay has remarked. “The artist
himself looks for it, since he always listens to music while working. He
chooses the adequate tune for his work, which is invariably repeated until the
work is finished. In this way, the brush or knife ‘dances’ in the artist’s hand.
Consequently, the work is rhythmic, in fact it almost transcends ‘sound’
too.”2 The syncopation of song is mirrored here in a kind of modified, seated
contrapposto: the violinist’s body frames the instrument in a series of subtle
angles, rising from long, slanting tibiae to the skeletal torso and clavicle to
the tilted, ovoid head. The wiry lines of the bow echo the graphic rendering of
the rib cage, whose scrawled bones are counterbalanced by the fingers of the
left hand, their placement dramatically low.

“Each painting is a finished work of the series,” Guayasamín declared of the

Age of Anger, which ultimately encompassed more than 250 paintings. “But
taken together they form a whole,” he explained. “As the viewer passes from
one painting to another, he sees each as connected with the others and gets
an integral picture.” Like his occasional depictions of guitar players, The
Violinist suggests a reprieve from the brutal and mundane oppressions of the
world, its pensive subject permitted an exhilarating, if ephemeral freedom of
expression. “Its underlying message is the tragedy of people in the modern
bourgeois world,” Guayasamín insisted of the series. “I will end that cycle
only when violence is ended,” he pronounced in the early 1980s, with the
grudging acknowledgement: “But it is not all that easy to accomplish. For
that reason, as long as I live I shall go on painting canvases.”3

Abby McEwen, Assistant Professor, University of Maryland, College Park

1 Federico Mayor, Guayasamín: UNESCO (Nürnberg: DA Verlag Das Andere, 1994), 14.
2 Claude Sabsay, “Guayasamín and his Work,” in Oswaldo Guayasamín, ed. Jacques Lassaigne
(Barcelona: Nauta, 1977), 9.
The artist (second from left) and Prof. Israel Drapkin (second from right), Quito, July 1967.
3 Oswaldo Guayasamín, quoted in A. Sukhostat, “The Artist in the Ranks of Fighters,” World Marxist
Photo courtesy Drapkin family archives.
Review 26 (June 1983): 68-9.
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ARMANDO MORALES (1927-2011)
Adios a Sandino, I
signed and dated 'MORALES/85' (lower right)
oil on canvas
79¡ x 63æ in (202 x 162 cm.)
Painted in 1985.

$180,000-220,000

PROVENANCE:

Galerie Claude Bernard, Paris.

Acquired from the above by the present owner.

EXHIBITED:

Paris, Galerie Claude Bernard, Armando Morales: Peintures, May-June 1986,

no. 39.
Barcelona, Artistas de Nicaragua Al Tinell, September 1988, p. 18 (illustrated
in color).
Mexico, Museo Rufino Tamayo, Pintura, April-September 1990, p. 54, no.
24 (illustrated in color). This exhibition also traveled to Monterrey, Museo de
Monterrey.

LITERATURE:

O. Baddeley and V. Fraser, Drawing the Line, Art and Cultural Identity in
Contemporary Latin America, London and New York, Verso Edition, 1984, no. 15
(illustrated in color).
R. del Naranco, "Armando Morales entre amarillos violentos y ocres
evocadores," Elite, Caracas, 1 April 1986, vol. IX, no. 3152, p. 76 (illustrated in
color).
X. Xiaosheng, "Armando Morales pintor nicaragüense: Una conversación con
Morales," Shijiemeishu, Beijing, 1986 (illustrated in color).
D. Altamirano, "Armando Morales, das Nicaraguanische und das Universale"
and R. del Naranco, "Ich bin ein sandinist von herzen," Bildende Kunst, Berlin,
1987, no. 4, p. 1 (illustrated in color).
D. Craven, "Armando Morales," Latin American Art, New York, 1989, vol. 1, no. 2,
p. 49 (illustrated in color).
D.Romeo Keith, "Neofiguración latinoamericana," Mira, Mexico, 25 July 1990,
no. 24 (illustrated in color).
A. Leal, "Toca a los artistas de Nicaragua mostrar que la mejor expresión se da
con la revolución," UnoMásUno, Mexico, D.F., 12 July 1990 (illustrated in color).
L. Kassner, Morales, Banco Central de Nicaragua Américo Arte Ediciones,
1995, p. 165, no. 139 (illustrated in color).
X. Xiaosheng, Morales, Beijing, Art Edition Jiangxi, 1995, p. 25 (illustrated in
color).
A. J. Cruz Porras and L. Carrión, "El regimen Sandinista," Cultura de Paz,
Managua, April-June 1996, vol. 2, no. 8, p. 31 (illustrated).
D. Torres, "Una aclaración necesaria," El País, Nicaragua, 1997, no. 37, p. 75
(illustrated in color).
L. L. Elizondo, "Armando Morales rescatando la luz interior," Resumen,
Pintores y pintura latinoamericana, Mexico, May-June 2003, vol. 8, no. 63, p. 23
(illustrated in color).
Crítica de arte, Colección Cultural de Centro América, Serie Pablo Antonio
Cuadra, April 2005, no. 9, p. 168, fig. 47 (illustrated).
C. Loewer, Armando Morales: Monograph & Catalogue Raisonné, Volume II
1984-1993, Vaumarcus, ArtAcatos, 2010, p. 141, no. 1985.4 (illustrated in color).
R. Tibol and C. Loewer, Armandos Morales, Monograph and Catalogue
Raisonné 1974-2004, Vol. II 1984-1993, Manchester, Vermont, Hudson Hills,
2011, p. 140 (illustrated in color).

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“All of my pictures have something to do with my background—with my The overthrow of the brutal Somoza dynasty in 1979 brought the Sandinistas
homeland,” Morales reflected. “I was born in Granada, Nicaragua. In my to power, and their martyred namesake endures as a symbol of anti-
art I constantly mix memories of different times and places in my Central imperial resistance and liberation. Morales began to address Sandino in
American past and elsewhere but I always return—indirectly sometimes, but his work around this time, notably in the monumental Mujeres de Puerto
inevitably—to the theme of life in my native country.” 1 Nicaragua’s preeminent Cabezas (1984), which paid tribute to the women who assisted his first
painter and printmaker of the twentieth century, Morales frequently turned military incursion—the seizure of rifles and ammunition—in 1926. “I prefer
his gaze toward his homeland from parts abroad, conjuring the sensuality to call them paintings of the uprising rather than the revolution,” Morales
and, at times, the violence of the tropics. He studied at Managua’s Escuela once clarified. “The real revolution will come to Nicaragua when peace has
Nacional de Bellas Artes under Rodrigo Peñalba, a foundational figure returned and life has become stable. Then a reconstruction can take place
within modern Nicaraguan art, and with grants from the Guggenheim and true revolutionary change can come about in the country. This has, of
Foundation and the Organization of the American States he rose quickly course, already begun with the vast and effective forms carried out by the
to international prominence. In 1959, he won the Ernst Wolf Prize at the V Sandinista government with which I am in complete sympathy.”4 Morales
São Paulo Bienal, awarded to an outstanding Latin American artist. Morales later reprised Adiós a Sandino in one of seven lithographs included in the
found early success with expressionist paintings characterized by chromatic portfolio, La saga de Sandino (1993), which cast his protagonist within a
sobriety and the specter of death, notably in the series Guerrillero muerto and heroic narrative of Nicaragua’s modern history.
Tauromachia. By the late 1960s, he had evolved out of lyrical abstraction as
his painting took a more metaphysical turn, exploring the reaches of “magical Sandino stands at the center of the present painting, flanked by five of
realism” in the landscapes, still lifes, and female nudes for which he is his generals and tightly framed by an archaizing, architectural backdrop
renowned. Morales received the Order of Rubén Darío, his country’s highest bathed in prismatic light and shadow. His jacket open, he clasps his hands
honor, from the Sandinista government in 1982, the same year that he settled behind him in a pose likely informed by a period photograph; his steady
in Paris and was named Nicaragua’s alternate delegate to UNESCO. gaze, visible beneath the low brim of his trademark Stetson, and relaxed
contrapposto convey a hard-gained and gallant composure. His men betray
“Eventually Morales returned, symbolically, to his homeland,” critic Dore greater wariness, perceptible in the tanned, veiny hands that bend around
Ashton wrote in her introduction to his solo show at Galerie Claude Bernard the bandoliers at their waists and in the dusty red neckerchiefs knotted
in 1986, in which the present Adiós a Sandino was exhibited. “Perhaps the at their throats. Morales describes the group’s well-worn field uniforms in
remote snapshots that emerge in the recent work arrived in his memory dim, variegated tones of ocher and brown; the flecked patina of their khaki
unheralded during all those wandering years—the one, for instance, of garments, no less of the sidewalk and walls around them, is meticulously
the guerrilleros led by Sandino who posed one day in 1934 for a group rendered with the fine, cross-hatched scrapes of a razor blade drawn across
photograph across the street from his father’s hardware store.”2 Morales the canvas.
often recalled this childhood memory of the ragtag bandoleros, seen just
before the assassination of Augusto César Sandino, the insurgent leader The surface effects created by this “elaborate, old-masterish technique”
who had dauntlessly resisted the “gunboat diplomacy” of the United States. sustain a “quality of remoteness,” Ashton observed, whose “nostalgic
“I don’t know if it was that same night that they were killed but, in any case, dimness does not change the fact that most of these paintings refer to
it must have been very close in time,” Morales later remarked. “Hence the dreams that can only be dreamed by a man whose psychic inventory derives
title,” he explained of the present work, “the adiós of a seven-year-old boy from Managua, Granada, Puerto Cabezas, Corinto. . . .” Like “his great poetic
who didn’t know that he was saying goodbye to someone who, a few decades predecessor” Rubén Darío, she continued, “Morales deliberately sets out
later, would be his hero among heroes.”3 to evoke pastness, fusing his love for the past of his own art—a past that
encompasses the great painting tradition of the West from Velásquez and
the Flemish painters to Cézanne and Picasso—with his love for his personal
past.”5 Indeed, Morales directly related the “dream-like Adiós a Sandino” to
Francisco de Goya’s famous Third of May 1808 in Madrid (1814), a harrowing
commemoration of the Spanish loyalists executed for their insurrection
against the invading Napoleonic army, according to the art critic and
historian David Craven. Morales sought to portray Sandino as “‘a figurative
apparition already threatened’ with martyrdom,” Craven further noted,
quoting the artist. “The result,” he concluded, “is a poignant glimpse of a
figure who signifies an uneven historical process that, while interrupted, also
has proved irrepressible.”6 The great romantic-tragic figure of Nicaraguan
history, Sandino is here superbly immortalized on the eve of his capture
and execution, his legend burnished by a mystical chiaroscuro awash with
glimmers of turquoise and vermilion.

Abby McEwen, Assistant Professor, University of Maryland, College Park

1 Armando Morales, quoted in Edward J. Sullivan, “Armando Morales: Southern Visions of the Mind,” Arts
Magazine 61 (November 1987): 62.
2 Dore Ashton, “…y los sueños son,” in Armando Morales: peintures (Paris: Galerie Claude Bernard, 1986),
n.p.
3 Morales, quoted in Raquel Tibol, “Cronología,” in La saga de Sandino: litografías (Mexico City: INBA,
1994), 27.
4 Morales, quoted in Sullivan, “Armando Morales,” 63.
5 Ashton, “…y los sueños son,” n.p.
6 David Craven, “Armando Morales,” Latin American Art 1, no. 2 (Fall 1989): 49.

Francisco de Goya y Lucientes, The 3rd of May 1808 in Madrid, or “The Executions”, 1814.
©Photographic Archive Museo Nacional del Prado

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CLAUDIO BRAVO (1936-2011)
Package
signed 'CLAUDIO BRAVO' (lower left) dated 'MCMLXIX' (lower right)
oil and pastel on paper mounted on board
43º x 29/1/2 in. (109.9 x 74.9 cm.)
Executed in 1969.

$300,000-500,000

PROVENANCE:

Private collection (acquired directly from the artist in 1969).

Acquired from the above by the present owner.

“Amazing is the word for the paintings by Claudio Bravo,” raved the critic day after day returned to his apartment with shopping bags filled with their
John Canaday, for The New York Times, in his review of the paintings and purchases. Piqued by the amorphous dimensions and material surfaces
drawings of wrapped packages first exhibited at the Staempfli Gallery in of the packages, he began to describe the tones and textures of wrapping
1970. “Amazing. Really amazing. So amazing that the question as to whether paper and string. The intrigue of the packaging ultimately hinged less on
these paintings are works of art or only staggering technical exercises is the objects they concealed, Bravo later implied, than on the means of the
beside the point. Which must mean that works of art is exactly what they concealment itself: “There’s some mystery in the wrapped packages, but
are.” 1 A consummate realist, Bravo brought remarkable technical virtuosity what I really wanted to paint was the wrapping. I wanted to give a sense
to bear on his now iconic renderings of paper-wrapped packages tied with of trompe l’oeil tactility. I’m constantly realistic.”4 The critic Artirnomis
string. The series marked his first serious preoccupation with still-life recognized this sensation in her review of the first Staempfli show, writing
painting following his success as a society portraitist in Madrid, where that “like the apples on the tree of knowledge,” the packages “are meant
he had established residence in 1961. Informed by the Spanish School as an enticement, a lure, a trap, by the very fact of existing. Bravo’s careful
of painting, particularly Diego Velázquez and Francisco de Zurbarán, the rendering of folded, wrapped, and crumpled packages is essentially abstract
package pictures emerged in the late 1960s and continued through the mid- trompe-l’oeil, with a poetic message.”5
1970s; latter-day bodegones, they were reprised in the late 1990s and rank
among Bravo’s most celebrated and influential works. Many of the early packages, particularly those drawn in pastel, chalk,
and conté crayon on paper, explore techniques of grisaille, and Bravo’s
A touchstone for his subsequent still-life and vanitas paintings, the first facility with monochrome and fine-grained realism is exemplified in the
packages provided Bravo with a medium through which to revisit age-old present work. The drawing distills Bravo’s extended allegory on the nature
problems of illusion, mimesis, and abstraction. “At first, my work was very of representation into the mundane, irregular geometry of a package, its
realistic,” he explained. “Later on, when I had shows in New York, I started wrinkled underside here revealed as a surreal, sculptural topography of cast
becoming a little more abstract. I’ve been aligning myself more with the shadows and shapeless volumes held in place by two taut, vertical lengths
priorities of modern art without ever forgetting the fact that I’m a realist. As of string. The exquisite tactility of the wrapping—the velvety sheen of the
you get older, you become younger. . . . I’ve taken a trip through the history paper, its subtle creases and indentations, its superb chiaroscuro—heightens
of art in my paintings.”2 A riff on the classical still-life tradition and on the artifice of the illusion, an effect amplified by the ambiguity and mystery
contemporary abstraction, the packages are cognizant of Christo’s wrapped of the very thing that the paper conceals. Package ultimately transforms its
objects and Roy Lichtenstein’s paintings of stretcher frames, no less of the seemingly commonplace subject into a strange and extraordinary semblance
camera reality of the American Photorealists and the mythmaking bravado of itself, probing the essential veracity of art and artifice.
of the Color Field artists. “I think that I was originally inspired to do these
pictures after looking at some works by Antoni Tàpies, whom I greatly Abby McEwen, Assistant Professor, University of Maryland, College Park
admired,” Bravo reflected. “He’d done paintings with string that resembled
1 John Canaday, “Art: The Amazing Paintings of Claudio Bravo,” New York Times (November 21, 1970).
wrapped objects. Rothko’s work was also instrumental, but in a more indirect
2 Claudio Bravo, “A Conversation with Claudio Bravo,” Claudio Bravo (Naples, Fla.: Naples Museum of
way.”3 Art, 2006), 8.
3 Bravo, quoted in Edward J. Sullivan, Claudio Bravo (New York: Rizzoli, 1985), 36.
Though well pedigreed within the Western canon, the packages originated, 4 Ibid., 37.
at least anecdotally, from an unexpectedly pedestrian source. In the 1960s, 5 Artirnomis, “Staempfli gallery, New York; exhibit,” Arts Magazine 45 (November 1970): 60.
when Bravo lived for a time in New York, three of his sisters visited him and

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FERNANDO BOTERO (B. 1932)
Woman on a Horse
signed and numbered 'Botero 1/6' (on the base)
bronze
23 x 11 x 15 ¾ in. (58.4 x 27.9 x 40 cm.)
Executed in 2012.
Edition one of six.

$300,000-400,000

PROVENANCE:
Contini Galleria D'Arte, Venice.
Acquired from the above by the present owner.

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FERNANDO BOTERO (B. 1932)
Good Morning
signed and dated 'Botero 06' (lower right)
oil on canvas
51º x 59º in. (130.2 x 150.5 cm.)
Painted in 2006.

$500,000-700,000

PROVENANCE:

Marlborough Gallery, New York.

Acquired from the above (5 January, 2007).

For more than six decades, Fernando Botero has passionately devoted himself
to the study of volume and form. This lifelong pursuit has resulted in a unified
body of work that is now immediately recognizable throughout the world.
Whether painting, drawing or sculpting the human or animal figure, landscapes
or still-lifes, Botero always plays with proportion and perspective, inflating
his forms to an intentionally improbable magnitude. This singular style has
solidified Botero’s place in the canon of art history and made him one of the
most successful artists working today.

In Good Morning, Botero’s familiar figures greet one another on a neighborhood

street that recalls those found in the artist’s native Medellín. Although today
transformed into a modern metropolis, Medellín, Colombia’s second largest
city, still retains aspects of its colonial architectural past. And, perhaps
nowhere is the city's bygone era of colorful, cobblestone streets and quaint
terracotta-roofed houses better represented than in the work of Botero, its
most famous son. Reflecting on the importance of Colombia in his work,
Botero has said, “The artist’s first twenty years have an enormous visual
repercussion on the evolution of his work. It appears that nostalgia for certain
moments of his life will come to the fore. One always paints what is best
known, and it is rooted in childhood and adolescence. That is the world I paint.
I have done nothing else.” 1 He has further acknowledged, “I paint Colombia
the way I want it to be. It’s an imaginary Colombia—like Colombia but, at
the same time, not like it. . . . It’s a kind of nostalgia.”2 Good Morning, with its
brightly painted homes, papered with perhaps a community announcement, on
a quiet cobblestone street, nestled beneath a lush green mountainside, is an
unmistakable nostalgic tribute to that imaginary Colombia.

As in the best of the artist’s work, in Good Morning, Botero suggests a

narrative, but leaves the viewer to fill in the details. A friendly encounter
between a man and woman on the street could be an innocent neighborly
exchange or is this an amorous rendezvous? Their impassive expressions
give nothing away. The open door behind the woman is inviting and provides
a glimpse into her modest home, yet reveals little of her life or the scene
unfolding here. What is clear is that these two are perfectly in sync, as Botero
has left nothing to chance. They are of the same height and proportions and
the man’s green tie matches perfectly with the woman’s form fitting dress
and bauble earring. This same green echoes behind them in the mountainside
peeking above the rooftops. These plays of color harmonies continue in the red
of the woman’s hair bow and painted fingernails that repeats in the remnants
of the paper announcement on the wall behind the man. Here color becomes a
unifying principle, underscoring the importance of community connection that
we see between the man and woman and their town, and is at the heart of this
painting.

1 Botero, quoted in Ana María Escallón, “From the Inside Out: An Interview with Fernando Botero,” in Botero:
New Works on Canvas (New York: Rizzoli, 1997), 10.
2 Botero, quoted in Werner Spies, “‘I’m the most Colombian of Colombian artists’: A Conversation with
Fernando Botero,” in Fernando Botero: Paintings and Drawings (Munich: Prestel-Verlag, 1992), 158.

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RUFINO TAMAYO (1899-1991)
Paisaje soleado
signed and dated 'Tamayo O-60' (upper left)
oil and sand on canvas
15 x 18º in. (38.1 x 46.4 cm.)
Painted in 1960.

$50,000-70,000

PROVENANCE:

Galerie de France, Paris.

Private collection, Stuttgart.
Daimaru Tokyo Fine Art Department, Tokyo.
Acquired from the above by the present owner.

EXHIBITED:

London, Gallery One, Tamayo, May-June 1961, no. 11.

We are grateful to art historian Juan Carlos Pereda for his assistance
cataloguing this work.

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MATHIAS GOERITZ (1915-1990)
Mensaje
signed 'M G' (on the reverse)
perforated sheet metal and nails on painted wood
24 x 48 in. (61 x 121.9 cm.)

$120,000-180,000

PROVENANCE:

Teodoro Césarmen collection, Mexico City

(acquired from the artist).
Mario Uvence, Mexico City.
Galería Enrique Guerrero, Mexico City.
Acquired from the above by the present owner.

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GUNTHER GERZSO (1915-2000)
Mitología
signed and dated 'GERZSO 61' (lower right) signed and dated again
and titled 'MITOLOGÍA, GERZSÓ, VIII.61' (on the reverse)
oil on canvas
21Ω x 32 in. (54.6 x 81.3 cm.)
Painted in 1961.

$80,000-120,000

PROVENANCE:

Private collection, Texas.

Sotheby's, New York, 21 November 1988, lot 64.
Private collection, Los Angeles.
Private collection, New York.
Mary-Anne Martin/Fine Art, New York.
Private collection, Montecito.
Anon. sale, Christie's, New York, 17 November 2009, lot 56.
Acquired from the above by the present owner.

EXHIBITED:

New York, Mary-Anne Martin/Fine Art, Gunther Gerzso: 80th Birthday

Show, 28 September- 28 October 1995, no. 11, p. 12 (illustrated in color).
This exhibition later traveled to Zurich, Galerie Rahn, March-June 1996.
New York, Mary-Anne Martin/Fine Art, Gunther Gerzso: In His Memory,
12 October- 11 November 2000, no. 21, p. 46-47 (illustrated in color).
Santa Barbara, Santa Barbara Museum of Art, Risking the Abstract:
Mexican Modernism and the Art of Gunther Gerzso, July - October 2003,
no. 57 (illustrated in color). This exhibition later traveled to Mexico City,
Museo de Arte Moderno, November 2003 - February 2004; Chicago,
Mexican Fine Arts Center Museum, March - June 2004.

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MATTA (1911-2002)
Les orienteurs
signed and titled 'Matta, Les Orienteurs' (lower right)
oil on canvas
45¿ x 57¿ in. (114.6 x 145.1 cm.)
Painted in 1964.

$100,000-150,000

PROVENANCE:

J.L. Hudson Gallery, New York.

Anon. sale, Sotheby's New York, 25 May 2006, lot 130.
Gary Nader Fine Art, Miami.
Acquired from the above by the present owner.
This work is accompanied by a certificate of authenticity fom the Archives de
l'œuvre de Matta signed by Alisée Matta, dated 25 January 2020. This work
is registerd in the Matta archives under no. 64/18.

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MARIO CARREÑO (1913-1999)
Totem siglo XX
signed and dated 'carreño 73' (lower left)
oil on canvas
33Ω x 47¿ in. (85 x 120 cm.)
Painted in 1973.

$40,000-60,000

PROVENANCE:

Private collection, Santiago (acquired directly from the artist, 1990s).

EXHIBITED:

Santiago, Galería Imagen Skriba, Carreño, 2-30 October 1976, no. 20.
Caracas, Museo de Bellas Artes, Mario Carreño, Pinturas, July 1978, no. 1.
Santiago, Museo Nacional de Bellas Artes, Mario Carreño, Exposición
retrospectiva, 1945-1991, 9 October - 1 November 1991, no. 78.

LITERATURE:

Mario Carreño, Cronología del recuerdo, Santiago, Editorial Antártica, S.A.,

1991, p. 138-39 (illustrated in color).

It’s possible that here in this South American

country that my paintings have somehow
become more universal. [Through works
like these], I allude to atomic war and other
global and national conflicts that represent
a constant threat of violence around the
world. The media, including radio, television,
broadcast, and print journalism cannot ignore
this phenomenon or bury their heads in the
sand like ostriches given the sheer evidence.
For this reason, the arts become a reflection
of our times, and the artist a witness to
humanity.
Against this extreme climate of violence, only
the power of love and mutual understanding
can extinguish the ashes that would threaten
the planet. That is, if something survives ...
–Mario Carreño

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ARMANDO MORALES (1927-2011)
Étude: Forêt tropicale III
faintly signed and dated 'MORALES 86' (lower right)
oil on canvas
19Ω x 24 in. (49.5 x 61 cm.)
Painted in 1986.

$60,000-80,000

PROVENANCE:

Galerie Claude Bernard, Paris.

Acquired from the above by the present owner.

LITERATURE:

C. Loewer, Armando Morales: Monograph & Catalogue Raisonné, Volume II

1984-1993, Vaumarcus, ArtAcatos, 2010, p. 170, no. 1986.18 (illustrated in
color, image flipped and incorrectly catalogued as oil on paper laid on canvas).

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PABLO ATCHUGARRY (B. 1954)
Untitled
signed 'ATCHUGARRY' (near the base)
white Carrara marble
51º x 17Ω x 9Ω in. (130.2 x 44.5 x 24.1 cm.)

$80,000-120,000

PROVENANCE:

Acquired from the artist.

There is always a vertical stress in my works...all these

vertical works of mine, all those points, are nothing
but invocations, a questioning, a going forth to see the
stars, to hear them take part in our lives. Like a prayer,
an invocation to the infinite.
–Pablo Atchugarry

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FERNANDO BOTERO (B. 1932)
Bather
signed and dated 'Botero 04' (lower right)
oil on canvas
52 x 39 in. (132.1 x 99.1 cm.)
Painted in 2004.

$300,000-400,000

PROVENANCE:

Tornabuoni Art, Paris.

Acquired from the above by the present owner.

EXHIBITED:

Milan, Palazzo Reale, Botero, 6 July-16 September 2007, no. 52 (illustrated in

color).

LITERATURE:

Botero, la pintura: Los últimos 15 años, Bogotá, Ediciones Gamma, 2012, p. 172
(illustrated in color).

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OLGA DE AMARAL (B. 1932)
Sol cuadrado 10
signed, dated, numbered and titled 'Olga de Amaral, "Sol Cuadrado 10,"
Mayo/1994, 745' (on label affixed to reverse)
gold leaf, gesso and linen
35Ω x 35Ω in. (90 x 90 cm.)
Executed in 1994.

$120,000-180,000

PROVENANCE:
Galería Espacio Continuo, Bogotá.
Galería Duque Arango, Medellín.
Private collection, Miami.
This work is catalogued in the artist's archives with reference number
OA0745.

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FERNANDO BOTERO (B. 1932)
Reclining Woman
signed and numbered 'Botero 6/6' (on the base)
bronze
41 x 66 x 27 in. (104.1 x 167.6 x 68.6 cm.)
Executed in 2002.
Edition six of six.

$600,000-800,000

PROVENANCE:
Millenia Fine Art, Orlando.
Acquired from the above by the present owner (8 December 2006).

LITERATURE:

Fernando Botero, The Grand Show, Paintings, Drawings and Sculpture, Miami,
Gary Nader Editions, 2010 (another cast illustrated).

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BEATRIZ GONZÁLEZ (B. 1938)
Gardel
signed and dated ‘B. González – 72’ (center shelf right)
synthetic enamel paint on metal night stand
24 x 15 x 15 in. (62 x 38.1 x 38.1 cm.)
Painted in 1972.

$120,000-180,000

PROVENANCE:

Artist's studio, Bogotá.

Private collection, Medellín.
Galería La Cometa, Bogotá.

EXHIBITED:

New York, El Museo del Barrio, Señor presidente, qué honor estar con usted en
este momento histórico, 1998, pp. 35 and 68, no. 21 (illustrated in color).
Medellín, Museo de Arte Moderno, Beatriz González, La comedia y la tragedia,
Retrospectiva 1948-2010, 23 November 2011- 4 March 2012, p. 65 (illustrated
in color).
Frankfurt, Museum für Moderne Kunst, A Tale of Two Worlds, Experimental
Latin American Art in Dialogue with the MMK Collection 1940s-1980s, 23
November 2017 – 15 April 2018, p. 293 (illustrated in color). This exhibition also
traveled to Buenos Aires, Museo de Arte Moderno, 13 July- 14 October 2018.

LITERATURE:

M. Calderón, ed., Beatriz González: Una pintora de provincia, Bogotá, Carlos

Valencia Editores, 1988, p. 104, no. 155 (illustrated in color).
C. M. Jaramillo, Beatriz González, Bogotá, Villegas Editores, Seguros Bolívar,
2005, p. 78 (illustrated in color).
"Gardel," Catálogo Razonado Beatriz González, accessed June 21, 2020,
https://bga.uniandes.edu.co/catalogo/items/show/587.

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“I have always worked with memory, but my memory comes from the with furniture, beginning with a metal bed—a kind of readymade, or objet
media,” González recently explained of her practice. “It amazes me how fast trouvé—and eventually encompassing cribs, cabinets, and tables that she
people forget the images from the news. The way that I fight against or try customized and had made at a factory. The furniture pieces served as frames
to prevent the memories from disappearing as fast is to use those images for brightly colored enamel paintings that riff on mass-media images of
in my drawings and in my work. This process culminates in a work with a motley subjects, among them a Degas bather and Da Vinci’s Mona Lisa, the
popular character, a monument but an ephemeral one.” 1 Since the mid- Sun-Maid girl and Simón Bolívar.
1960s, González has assembled an archive of newspaper cuttings, graphics,
and fine art reproductions—now numbering more than 8,000 pieces—that “I represent something that, though already there in a photograph or a
encompass crime scenes and society pages, Old Master engravings and reproduction, is, after all, a meta-representation—a representation of a
global icons from Pope John Paul II to British royalty. These clippings have representation,” González has remarked of her recycled furniture pieces. “I
served as source images for paintings that broach kitsch and social satire, surround these paintings with large frames that contain suggestions about
at times drawing comparisons to the Pop art of Andy Warhol and Gerhard the paintings themselves. They are big frames, like colonial altarpieces." 3
Richter in their mediated critique of social pretention, good taste, and mass Here, an unremarkable metal nightstand provides a garish, three-dimensional
consumerism. A protégé of the noted art critic Marta Traba, González frame to a painting of the legendary Argentine tango singer and matinee
occupies a place between Fernando Botero and Doris Salcedo, her work idol Carlos Gardel, who died when his plane crashed in Medellín in 1935.
evolving from parodies of pop-cultural identity to sobering attestations Based on a stock photo, the painting portrays Gardel in three-quarter view:
to Colombia’s chronic political violence, a turn prompted by the Palace of his dazzling smile, revealing a row of perfect, mint-green teeth, and sharply
Justice siege in Bogotá (1985) and a new imperative to preserve her country’s slicked-back hair belie the melancholy of his ballads, suffused with sultry
collective and historical memory. yearning, sadness, and sentimentalism. González reflects upon Gardel’s
enduring celebrity, encapsulated in the popular saying “cada día canta mejor,”
González began to work with news cutouts in 1965 in a series of drawings of in this work, pondering the culture and commercialization of fame as well as
Lyndon B. Johnson and in Los suicidas del Sisga, iconic paintings based on a “the power of simulation,” implicated as well by the frame.
grainy, black-and-white photograph of two religious fanatics who drowned
themselves in a suicide pact meant to preserve the purity of their love. “I was very interested in factory painters’ ability to mimic wood and marble
The couple was memorialized by a portrait photograph, widely circulated [on metal],” González recalls, particularly “the ‘falsification of materials:’
in the papers, that they had commissioned before their fateful jump from wood wasn’t wood; marble wasn’t marble.”4 The faux wood panels that
the Sisga dam. “The quality, or ‘the bad quality’ of the image, awoke my surround Gardel bear a strong resemblance to those in Kennedy (John
interest,” González recalls. “I was attracted by the plain quality of the Fitzgerald), político demócrata norteamericano (1917-1963) presidente de los
printed image, the simplification of the facial features, almost deformed by Estados Unidos en 1961. Murió asesinado (1971); the nightstand appears with
the discrepancy.”2 She first adapted the flattened, schematized style of the slight variations in Saluti da San Pietro. Trisagio (1971), based on a postcard
newspaper images to paintings on canvas, but by 1970 she began to work of the Vatican, and in Retrato de un conocido (1973). Across these works and
their seemingly incongruous subjects, the artifice of the medium—metal
masquerading as wood—and the use of enamel paint, with its industrial
connotations, exposes the simulacrum of representation and memory.
Instantly immortal, Gardel lives on in González’s ersatz nightstand, his smile
and stardom framed as a parodic monument to popular idolatry.

Abby McEwen, Assistant Professor, University of Maryland, College Park

1 Beatriz González, quoted in Hans Ulrich Obrist, Conversations in Colombia: Anañam-Yoh-Reya (Bogotá:
La Oficina del Doctor, 2015), 40.
2 González, “Artist Interview” (September 2015), https://www.tate.org.uk/whats-on/tate-modern/
exhibition/ey-exhibition-world-goes-pop/artist-interview/beatriz-gonzalez.

The present lot on view, A Tale of Two Worlds, Experimental Latin American Art 3 González, quoted in Marta Traba, “Furniture as Frame,” in Inverted Utopias: Avant-Garde Art in Latin
in Dialogue with the MMK Collection 1940s-1980s, Museum für Moderne Kunst, America, ed. Mari Carmen Ramírez and Héctor Olea (New Haven: Yale University Press, 2004), 152.
Frankfurt, 23 November 2017 – 15 April 2018. © Beatriz González Photo: Axel 4 González, “Artist Interview.”
Schneider, Frankfurt am Main.
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JORGE DE LA VEGA (1930-1971)
Untitled
signed and dated ‘de la Vega, 68’ (center right)
acrylic on canvas
39Ω x 39Ω in. (100 x 100 cm.)
Painted in 1968.

$200,000-300,000

PROVENANCE:

Justo Solsona collection, Buenos Aires (acquired directly from the artist). The present Untitled belongs to a series of black-and-white works, made
Private collection, Italy (acquired from the above). both on paper and in acrylic on canvas, that began in 1966 and culminated
LITERATURE: with the large-scale Rompecabezas (1969-70), comprised of interchangeable
“De Compras en la Feria,” La Nación, Arte BA, 14 May 2005 (illustrated on panels that portray male and female faces among other body parts. Like
cover). the Rompecabezas panels and paintings such as Psicomatización (1967)
This work is accompanied by a certificate of authenticity signed by Marcelo and Me quiere no me quiere (1968), Untitled shows the stylized face of a
Pacheco and Mercedes Casanegra, dated 16 May 2006. young woman, her face tilted seductively as in an advertisement. But here
in a departure from the delirious, giddily grinning faces seen in many other
“If you don’t do what you must in painting, then where are you going to do “puzzle pieces,” she does not smile; her downcast gaze, through mascaraed
it?” 1 Pitched at the crux of freedom and aesthetics, de la Vega’s question eyes, begins to crack open the charade of happiness, exposing the darkness
epitomized the emancipatory, countercultural impulse that fueled Argentina’s beneath a blindingly white veneer. “Looking at my own paintings, I think
rising avant-garde in the 1960s. Self-taught, he improvised a highly that one can undoubtedly tell that a crime has occurred; because these
idiosyncratic visual language based on transformation and anamorphosis, people, first of all, have lost all their color,” de la Vega remarked during the
developing a new artistic syntax taken from the objects and symbols of installation of Rompecabezas at Galería Carmen Waugh in September 1970.
the contemporary world—plastic tokens and children’s toys, pop culture “And also, there is not the slightest doubt that they are all dismembered.
and magazine advertising. De la Vega was a member of Argentina’s Nueva . . . And certainly this crime is quite mysterious, because it seems that
Figuración group, active between 1961 and 1965, and alongside Luis Felipe the victims are thrilled to have been assassinated. I think that tonight the
Noé, Rómulo Macció, and Ernesto Deira he evolved an expressionist idiom mystery will lie in this: I will try to explain how it could be that they were all
rooted in the period’s existential and anti-aesthetic convictions. He turned killed, that they are thrilled to be dismembered, and that they have not yet
searchingly toward Pop and psychedelia—as well as to music—in later noticed that they are all dead.”4
years, seeking alternative and creative means of communication at a time of
mounting authoritarianism and political disorder. Whatever the unwitting criminality of de la Vega’s black-and-white
protagonists, his contemporary lyrics suggested a brighter, hippie-inspired
Central to this final evolution of de la Vega’s work was his residence outlook, emphatically in the song “Proximity” (1968) and its call for unity and
in the United States between October 1965 and April 1967. Invited to communication:
teach at Cornell University through the Latin American Year program, he
spent considerable time in New York, where he saw Noé as well as fellow To be close, to be near each other,
Argentines Antonio Berni, Marta Minujín, Liliana Porter, and critic Jorge to come together, to hold and embrace each other,
Romero Brest. “The North American world is so potent and artificial that to brush against each other,
the human being stands out more against it,” de la Vega observed upon his to skirt and mingle with each other,
arrival. “Everything is real, super-real; reality strikes you and forces you out of to hold tight and squeeze each other,
the unreality that you live in here [in Argentina]. Here we live in mythology.” to huddle and cuddle together,
The “little animals and monsters” that populated his earlier series, Monstruos to gather breath, to approach and be included,
(or Bestiario), soon ceded to “images [that] became more human,” if hardly to pile up, wrapped and knotted together,
less grotesque, as de la Vega “devoted [himself] to painting the happiness and renew, settle, and coexist together.
of Americans.”2 His Pop paintings projected a mordant critique of consumer Against the backdrop of student revolts and political radicalization, in
culture and popular media stereotypes, exposing the hyperreality of Argentina and around the world, in the late 1960s, de la Vega’s protest
capitalism—its advertising and alienation, its banal mindlessness—and songs registered the vicissitudes of modern life with quixotic humor,
piercing its false mirage of happiness. hope, and irony. If the alienated visages of his Pop-psychedelic paintings
exude consumerism run amok, he nevertheless believed in the redemptive
De la Vega found meaningful international recognition during this time, possibility of social reintegration, drolly venturing in the song’s final line to
highlighted by the Special Prize for Argentine painting at the III Córdoba “imagine how much people could do if the dictionary were less imposing.”5
Bienal in 1966. American critic and curator Sam Hunter, one of the jurors,
declared him “one of the few powerfully original artists in the Bienal,” Abby McEwen, Assistant Professor, University of Maryland, College Park
able to combine “the mechanically repeating imagery and grinning masks
1 Jorge de la Vega, quoted in Luis Felipe Noé, “Anti-Aesthetics,” in Listen, Here, Now! Argentine Art of the
of Warhol’s movie idol cult with expressionist violence, distortion, and 1960s: Writings of the Avant-Garde, ed. Inés Katzenstein (New York: The Museum of Modern Art, 2004),
a grotesque suggestion that is one of the few authentic notes in the 66.

exhibition.”3 These works led to in an early iteration of Rompecabezas that 2 De la Vega, quoted in Patrick Frank, Painting in a State of Exception: New Figuration in Argentina, 1960-
1965 (Gainesville: University Press of Florida, 2017), 148.
he debuted at his homecoming exhibition, Blanco y negro: obras recientes de
3 Sam Hunter, “The Córdoba Bienal,” Art in America 55, no. 2 (March-April 1967): 87.
Jorge de la Vega, which drew an ecstatic audience of nearly 18,000 to the
4 De la Vega, quoted in Frank, Painting in a State of Exception, 153-54.
Instituto Di Tella over three weeks in November 1967. Back in Buenos Aires,
5 De la Vega, “Proximity,” in Inverted Utopias: Avant-Garde Art in Latin America, ed. Mari Carmen Ramírez
de la Vega began to work across media, collaborating on a comic strip with and Héctor Olea (New Haven: Yale University Press, 2004), 482.
the poet Federico González Frías, taking a position at the Cícero advertising
agency, and reinventing himself as a singer-songwriter; he released the
album, El Gusanito en persona, at Galería Bonino in 1968.

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 PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

19
CARLOS CRUZ-DIEZ (1923-2019)
Physichromie No. 2266
signed, dated, titled and initialed 'CRUZ-DIEZ, AGOSTO 1989,
PHYSICHROMIE No. 2266, CD' (on the verso)
painted PVC and acrylic strips mounted on wood with aluminum frame
31æ x 94æ x 1Ω in. (80 x 240 x 3.8 cm.)
Executed in 1989.

$200,000-300,000

PROVENANCE:

Acquired from the artist.

Anon. sale, Christie's, New York, 19 November 2009, lot 67.
Private collection, Puerto Rico.
Anon. sale, Christie's, New York, 19 November 2013, lot 61.
Acquired from the above by the present owner.

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CARMEN HERRERA (B. 1915)
Noche de Salamanca (Castilla)
signed, dated and titled ‘Carmen Herrera, NOCHE DE SALAMANCA, 2009’
(on each panel, on the reverse)
acrylic on canvas
72 x 72 in. (183 x 183 cm.) overall
Painted in 2009.
Diptych.

$700,000-900,000

PROVENANCE:

Frederico Sève Gallery, New York.

Private collection, San Francisco (acquired from the above by the present
owner, 2010).

“I was looking for a pictorial vocabulary and I found it there,” Herrera has range of optical illusions, Herrera has since asserted architectural values,
reflected of the time, between 1948 and 1954, that she and her husband perhaps most explicitly in the monumental works Ávila, Escorial, and Almagro
spent in Paris. “But when we moved back to New York, this type of art (1974), all associated with places in Spain.
was not acceptable. Abstract Expressionism was in fashion. I couldn’t
get a gallery.” 1 Some seventy years later, amid a resurgence of interest in Noche de Salamanca (Castilla) suggestively revisits the earlier Spanish series,
geometric abstraction from Latin America, Herrera is finally receiving her citing the Castilian kingdom and its storied “golden city,” celebrated for
historical due. Feted on the occasion of her one-hundredth birthday in May the baroque splendor of its eighteenth-century Plaza Mayor. Salamanca’s
2015 with an acclaimed documentary—The 100 Years Picture Show—starring architectural grandeur is here elegantly schematized into pure geometry:
Carmen Herrera, directed by Alison Klayman—and a major retrospective an irregular black polygon is centered on a square diptych, its shape in
that opened at the Whitney Museum of American Art the following year, she dialogue with the white planes formed at each side. The stability of the
has doubtless asserted her place within the history of postwar abstraction. vertical line that establishes its long right edge is countered by the angular
“There’s a saying that you wait for the bus and it will come,” Herrera recently zigzag at the left, creating a dynamic asymmetry that stretches across the
observed, before exclaiming, “I waited almost a hundred years!”2 centerline of the painting, the shape seeming to resist its taut rectilinearity.
Herrera’s architectonic impulse is at once austere and strikingly animate; the
Belated though her recognition may be, Herrera has worked almost juxtaposition of massive shapes and colors conveys an essential dramatic
continuously throughout her career, beginning with crucial periods spent in unity, stark and meticulously rendered with her characteristic economy of
Havana and Paris. She studied briefly at the Lyceum, the institutional haven means.
of Cuba’s historical vanguardia, in the early 1930s, before beginning to train
as an architect at the University of Havana in 1938. “There, an extraordinary Herrera’s star has remained ascendant in the years since her black-and-
world opened up to me that never closed,” she reminisces. “The world of white paintings appeared at El Museo, and she continues to work in the
straight lines, which has interested me until this very day.”3 Her studies Gramercy loft where she has lived since 1967. The resilience of her painting
were interrupted by political upheaval and by her marriage, in 1939, to Jesse across decades of critical indifference is testament to its visual force
Loewenthal, an English teacher at Manhattan’s Stuyvesant High School, and and contemporaneity amid sustained interest in Minimalism and in the
their subsequent departure for New York. During their extended sabbatical field of Latin American abstraction. Although Herrera had little contact
in Paris, Herrera began to engage the legacies of early twentieth-century with the group Los Diez Pintores Concretos, which emerged in the late
Constructivism from the Bauhaus through the Salon des Réalités Nouvelles, 1950s in Havana, she belongs to that generation as well; her transatlantic
a bastion of postwar geometric abstraction. “Albers’ paintings touched me,” encounters with abstraction paralleled those of the concretos, among
Herrera recalls. “I was able to see more work by the Bauhaus. I felt that them Loló Soldevilla and Sandú Darié. “I see my paintings at a crossroads,”
this was the kind of painting that I wanted to do. I had found my path as a Herrera acknowledges. “They have much in common with geometry, with
painter.”4 While abroad, she encountered the School of Paris—represented minimalism, yet they are neither. To me they are good paintings that do
by the Salon’s creative force, Auguste Herbin, as well as Jean Arp and Sonia not fit into easy categories.”6 Now in the last stages of her career, she has
Delaunay—alongside an international contingent that included Jesús Rafael remained steadfast in her commitment to her practice, which has seen new
Soto, Alejandro Otero, Victor Vasarely, and Ellsworth Kelly. developments in drawing and sculpture. “I do it because I have to do it; it’s a
compulsion that also gives me pleasure,” Herrera allows. “Only my love of the
Herrera’s first black-and-white works date to these formative years in straight line keeps me going.” 7
Paris, and they have reappeared at intervals throughout her career, often
at transitional moments and between other chromatic series. “Color is Abby McEwen, Assistant Professor, University of Maryland, College Park
the essence of my painting,” she declared, emphasizing its structural and
1 Carmen Herrera, quoted in Deborah Sontag, “At 94, She’s the Hot New Thing in Painting,” New York
expressive significance before an exhibition of her black-and-white paintings Times, December 19, 2009.
at El Museo del Barrio in 1998. “What starts to happen to it as you reduce its 2 Herrera, quoted in Phoebe Hoban, “Works in Progress: One Hundred Years of Fortitude,” New York
numbers and come down to two colors, then there is a subtlety, an intensity Times, May 15, 2015.

in the way two colors relate to each other. Yet I am not interested in optical 3 Herrera, quoted in Gustavo Valdés, Jr., “El color de la palabra: 32 artistas cubanos,” Stet Magazine 1, no.
2 (Winter 1992): 21.
effects as these are simplistic to my mind. . . . For me, black and white are
4 Herrera, quoted in Alejandro Anreus, “Carmen Herrera in the Context of Modern Painting in Cuba,” in
colors. I do not see them as anything but colors. These paintings are about Carmen Herrera: The Black and White Paintings, 1951-1989, ed. Carolina Ponce de León (New York: El
rigor, about setting up a challenge for myself as a painter.”5 While early Museo del Barrio, 1998), 18.

paintings, such as Black and White (1952) and Verticales (1952), do elicit a 5 Ibid., 18, 20.
6 Ibid., 20.
7 Herrera, quoted in Sontag, “At 94, She’s the Hot New Thing in Painting.”

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TOMÁS SÁNCHEZ (B. 1948)
Contemplación compartida en la laguna
signed and dated 'Tomás Sánchez, 94' (lower right) signed and dated again
and titled 'Tomás Sánchez, CONTEMPLACION COMPARTIDA EN LA
LAGUNA, 1994' (on the reverse)
acrylic on canvas
12 x 36 in. (30.5 x 91.4 cm.)
Painted in 1994.

$70,000-90,000

PROVENANCE:

Acquired directly from the artist.

This work is accompanied by a certificate of authenticity signed by the artist,

dated 18 September 2019.

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22
FERNANDO DE SZYSZLO (1924-2017)
Paracas
signed 'Szyszlo' (lower right), titled and dated '"PARACAS,' ORRANTIA/02'
(on the reverse)
oil on canvas
59 x 47º in. (150 x 120 cm.)
Painted in Orrantia in 2002.

$60,000-80,000

PROVENANCE:

Aninat Galería, Santiago.

Acquired from the above by the present owner (November 2016).

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PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

24
WIFREDO LAM (1902-1982)
Untitled
gouache on paper laid down on canvas
38Ω x 29Ω in. (98 x 74.9 cm.)
Painted circa 1937.

$250,000-350,000

PROVENANCE:

Private collection, Barcelona.

Anon. sale, Sotheby's New York, 29 May 2003, lot 27.
Acquired from the above by the present owner.

LITERATURE:

L. Laurin-Lam and E. Lam, Wifredo Lam Catalogue Raisonné of the Painted

Work, Volume II 1961-1982, Laussane, Acatos, 2002, p. 244, no. 37.49
(illustrated).

“Every night in the shelter—bombs are falling everywhere: Lesseps, La extravagance of buying a book on Henri Matisse, whose influence can be
Bonanovia, Catalonia Square,” Lam wrote in the midst of the Spanish Civil seen in such works as Doble desnuda, I (1937) and Autoportrait, I (1937),
War. “Barcelona has been bombed seventeen times in thirty-six hours, but in which he wears a silk dressing gown that channels the garb worn by
the morale is high.” 1 Lam had settled in Barcelona in July 1937 following Matisse’s odalisques. “It must be said that his surroundings were altogether
intense months of volunteer service in the Republican army and a period Matissean,” Maria-Lluïsa Borràs has noted of his apartment on the Príncipe
of convalescence, likely from dysentery, in nearby Caldes. The time that he de Asturias. “Lam lived in a setting of glass and earthenware, the walls
spent in Catalonia before his departure for Paris, in April 1938, marked his and floors of his apartment covered in geometric mosaics and a veranda
decisive return to painting after the doldrums and anxiety that had plagued with a wall in colored glass. Moreover, from the window, he gazed out at
his last years in Madrid. Lam had arrived in Spain in late 1923 on a grant the Vicenç house with its warm ocher tones that alternate with the richly
from the Cuban government, studying initially with Fernando Álvarez de decorative ‘azulejos.’ The house was designed by Gaudi in a Mozarabic
Sotomayor and taking in the Spanish school, from El Greco to Goya, at the style, commissioned by a manufacturer of mosaic tiles.”3 The decorative,
Prado. Early work in portraiture, sometimes with Symbolist character, turned Matissean geometry of Lam’s domestic space is softly distilled in the present
to still lifes and landscapes by the early 1930s, but he struggled with self- Untitled, in which a woman sits before a paned window, framed by a wall of
doubt at mid-decade, producing little until his recovery in Caldes. “For the diamond-shaped azulejos and a vase with flowers. Serene and faceless, in
first time in my life,” he recounted of the Catalan period, “I am happy about defiance of the surrounding chaos of civil war, the figure is shaped by heavy
what I’ve made, not because it’s perfect but because it’s so much better than black lines; flat and abstracted, the space recalls not only Matisse but none
what I produced in Madrid. I have managed to vanquish all my headaches other than his great rival Pablo Picasso, whom Lam would soon meet after
and concerns about my profession and with magnificent results. . . . Today, I much anticipation in Paris.
know what I should do and I have learned the value of the poetic and plastic
aspects of painting.”2 Abby McEwen, Assistant Professor, University of Maryland, College Park

1 Wifredo Lam, quoted in Maria-Lluïsa Borràs, “Lam in Spain,” in Lou Laurin-Lam, Wifredo Lam:
Lam resumed painting with new fervency in Barcelona, attending tertulias at Catalogue Raisonné of the Painted Work, vol. 1 (Lausanne: Acatos, 1996), 48.
a café near Lesseps Square and joining the painting and sculpture section 2 Ibid., 40.
of the Ateneo Socialista. In September, he permitted himself the wartime 3 Borràs, “Lam in Spain,” 45.

70
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PROPERTY FROM THE ESTATE OF JACQUELYN MILLER MATISSE BEING SOLD TO
BENEFIT CHARITIES

25
LEONORA CARRINGTON (1917-2011)
La joie de patinage (The Joy of Skating)
signed and dated ’LEONORA CARRINGTON. 11-12-41.’ (lower right)
oil on canvas
18 x 24 in. (45.72 x 60.96 cm.)
Painted 11 December 1941 in New York.

$400,000-600,000

PROVENANCE:

Alexina Duchamp, France.

Pierre-Noël Matisse, Paris (by descent from the above).
By descent from the above to the late owner.

LITERATURE:

S. Grimberg, “Traveling Toward the Unknown, Leonora Carrington Stopped in

New York,” Women’s Art Journal, Fall/Winter, 2017, vol. 38, p. 1, no. 2 (illustrated
and illustrated in color on cover).
S. van Raay, et. al., Leonora Carrington: Magical Tales, Mexico City, Instituto
Nacional de Bellas Artes and Museo del Palacio de Bellas Artes, 2018, p. 84,
no. 16 (illustrated in color).

We are grateful to Dr. Salomon Grimberg for his assistance cataloguing this
work.

I put my being into my painting. For me, the value of a work is the
labor it takes to become yourself, making something honest. It’s the
work of a lifetime.- -Leonora Carrington1
75
“Can I light your cigarette?” offers the interviewer as he bent forward, Italy for nine months in 1932 regularly visiting the Uffizi and major museums
Bic lighter in hand. “I prefer to light my own” rebuffed the then-94-year- in Siena, Rome and Venice viewing paintings and frescoes. She then honed
old artist Leonora Carrington in courteous, yet firm, British-accented her drawing skills as Amadée Ozenfant’s first student in London in 1936; his
English. 2 Carrington was her own person always, succinctly described as a academy “was very important because we did exact line drawings. We had
“nonconforming feminist.”3 The only daughter of four children born to the to study with a single drawing and a single model for many weeks. Foremost,
Irish Mairi Moorhead and English textile magnate Harold Carrington, she the model was an apple and as long as the drawing was not perfect in line,
resisted the social mold she was expected to fit into. Her self-described exact, there we were contemplating the apple, until the apple dried out,” she
“allergy to cooperation,” got the schoolgirl expelled by the Mother Superior, recalls.9 When she broke with family, church, and state, escaping England
twice.4 As Carrington recalls, at the convent she was deemed neither at age 20 to join her married, older lover Max Ernst (1891-1976) and the
“capable of study or play,”5 and had only “managed” with karate.6 When Surrealist movement first in Paris, and then New York City, she remained
presented as a debutante at the court of King George V at Buckingham unwilling to become anyone’s muse. She was equally uncompromising in her
Palace, bored, Carrington remembered having spent the evening reading, search on canvas for freedom from this world’s gravity.
apropos, the entirety of Aldous Huxley’s novel Eyeless in Gaza.7 Today, her
non-compliant behavior might have been named Oppositional Defiant In her mind Carrington would forever wander the rooms of Crookhey Hall,
Disorder, but it was her determination and strong sense of self-preservation the mansion built in 1874 in Lancashire, England where she lived from
that supported her life-long artistic production where beast and human ages 3 to 10 under the care of her Irish nana Mary Kavanaugh and a French
commune in imagined worlds. governess.10 Late in life she described Crookhey Hall as a “rather dark,
exciting place” where north of the house “there was a lake. We had the myth
“Does anyone escape their childhood? I don’t think we do,” Carrington that it was bottomless and we weren’t allowed to go there alone.”11 Perhaps it
answered her own question. 8 Telling of where her child’s imagination resided, was on that lake that Carrington’s La joie de patinage was set, a Cockerham
in grade school she created a book with lined paper, titling it “Animals of a farmhouse in the distance.
Different Planit by M.L. Carrington.” She filled it with invented creatures,
planets, and distant lands; on one page, for example, accompanying a green Carrington was resistant to explaining her artwork. Her close study of self
animated bird, forked legs reaching skyward, eye fixed on its bug prey are through her artistic expression, as she indicates in the above epigraph, was
the carefully penciled words, “The Hootdum is found in east Loogo. flies a spiritually esoteric, experiential one. She also warned against intellectual
up-side-down. Eats insects.” Primarily self-taught, she studied in Florence, games as a path to understanding the meaning of her imagery; but
rather, she encouraged visual readings of her artwork, and that the viewer
concentrate on their feelings for a canvas, while also considering the visual
relationship of its objects in space.12 Even so, Carrington acknowledged that
all of her writing was autobiographical.13 At times she built bridges between
her writing—elusive, provocative, biting in its dark humor—and her visual art;
case in point are the frequent parallels scholars draw between her short story
The Debutante of 1937-38 and her contemporaneous self-portrait Inn of the
Dawn Horse. But neither Carrington’s writing or her artwork is illustration,
description, or direct narrative; rather, it is fragmentary, puzzle-like, and
relational. She identified as Surrealist, her imagery emerging from a dream-
like, limbatic place; her texts appeared intuitive, born from free association
and automatic writing, yet grounded in subtle, and at times grizzly, satirical
wit.

Tentative connections can be found between La joie de patinage and

Carrington’s writing. In the novella Little Francis of 1938 “During Ubriaco’s
(Ernst’s) long silences, Francis (Carrington) would amuse himself (herself)

Leonora Carrington, Bird Superior , Portrait of Max

Ernst, ca. 1939. Scottish National Gallery Of Modern
Art, Purchased with assistance from the Henry and
Sula Walton Fund and the Art Fund, 2018. © Estate of
Leonora Carrington / ARS, NY and DACS, London 2018

76
by looking back at the brighter periods of his (her) life spent at Crackwood 1 Angélica Abelleyra interviewing the artist between 1993-96 as quoted in “Leonora Carrington:
Discovering Diverging Worlds,” in Voices of Mexico 53(Mexico City, 2000): 39.
(Crookhey Hall). They were not many. He (she) remembered skating on the
2 “Leonora Carrington: La novia del viento.” YouTube video, 7:00, “Andrea di Castro,” September 4, 2011.
lake north of Crackwood one hard winter.”14 At the core of Waiting, a short https://www.youtube.com/watch?v=nBa5Uy9Yl0I. My translation.
story Carrington wrote concurrently with La joie de patinage’s painting 3 Justin Goodman, “Down Below,” Cleaver: Philadelphia’s International Literary Magazine https://www.
during her stay in New York City late-July 1941 to January 1942, is a romantic cleavermagazine.com/down-below-a-memoir-by-leonora-carrington-reviewed-by-justin-goodman/.
Accessed May 30, 2020.
conflict between two women, Elizabeth and Margaret (Peggy Guggenheim
4 “Leonora Carrington: The Lost Surrealist.” YouTube video, 60:00, “BBC4,” January 31, 2018. https://
and Carrington) over Fernando (Ernst). The painting foregrounds two figures, www.youtube.com/watch?v=SxEF1bjgt5Q&t=1s.
one bears three heads (recalling in form Salvador Dali’s Soft Self-Portrait of 5 “Leonora Carrington: The Lost Surrealist.”
1941 as well as Carrington’s long-necked horse-women of her The Meal of 6 Beatriz Espejo, “Leonora Carrington (1917-2011): Lo demonico y lo divino,” Revista de la Universidad de
Lord Candlestick15 of 1938), a black soay sheep, jaguar fur, and two British México 89(Mexico City, 2011): 39. “Pude solamente con el karate.” My translation.

red foxes. Wrapped loosely in a green cloak, the other figure is masked and 7 If the ball took place in 1935 and the book was published in 1936, this statement by Carrington late in life
may be a self-conscious reworking of facts, however, Carrington is consistent in the personal details that
bare-breasted with the legs of a dark soay sheep. Les patineurs (the skaters)
she shares with her interviewers, straight-forward in accountings, instilling trust. Her hands are obviously
balance on their right leg, left leg raised in a balletic arabesque.16 Six horses empty in the stunning photograph of she and her mother taken at the ball, but one could imagine
cavort on the snowy bank as Carrington’s darkened white horse avatar Carrington stashing the book somewhere. Huxley’s book fittingly champions spirituality and critiques
British high society.
(perhaps), is a fixed weathervane.
8 “Leonora Carrington: The Lost Surrealist.”
9 “Leonora Carrington.” YouTube video, 26:57. “Secretaria de Educación Pública,” May 26, 2011. https://
Significantly, La joie de patinage’s turquoise-hued winter landscape echoes www.youtube.com/watch?time_continue=321&v=wkKRPPrN5KE&feature=emb_logo.
that of her Bird Superior: Portrait of Max Ernst, painted circa 1939 at the 10 As named by Elena Poniatowska in Chapter 1 “Crookhey Hall” of her novel Leonora, translated by
farmhouse where she had lived with Ernst in Saint Martin d’Ardèche, France. Amanda Hopkinson (London: Serpent’s Tail, 2014).

The fish-tailed Ernst’s incongruous, single yellow sock with its horizontal 11 “Leonora Carrington: The Lost Surrealist.”

green stripes curiously complements the skater’s loud, fuschia skirt with its 12 “Leonora Carrington: Britain’s Lost Surrealist,” YouTube video, 9:43. “TateShots,” March 26, 2015.
https://www.youtube.com/watch?v=Guit8Yum8q4. Carrington interviewed by her cousin Joanna
flowing sea green bands. The two paintings belong to the same mindscape. Moorehead.
Bird Superior was almost certainly in Carrington’s hands in New York City 13 Paul Laity, “The Surreal Life of Leonora Carrington by Joanna Moorhead,” The Guardian, April 5, 2017.
in 1941 as she painted, signed and dated (11-12-41) La joie de patinage.17 https://www.theguardian.com/books/2017/apr/05/the-surreal-life-of-leonora-carrington-joanna-
moorhead-review.
Together they can be read as companion pieces telling a tale of complex
14 Leonora Carrington, The House of Fear Notes from Down Below (New York: E.P. Dutton, 1988), 118.
relationships, loss, love, and Carrington’s journey towards independence.
See Annette Shandler Levitt, “The Bestial Fictions of Leonora Carrington,” Journal of Modern Literature,
20.1(Summer 1996), 65-74 for close analysis of this and other of Carrington’s short stories.
The artist’s time in New York City was one of healing. She had suffered and 15 This was the first canvas Carrington sold and to Peggy Guggenheim in 1938. See Solomon Grinberg,
survived a tremendous crisis the previous year when forcibly interned in a “Traveling Toward the Unknown: Leonora Carrington Stopped in New York,” Woman’s Art Journal (Fall/
Winter 2017): 13.
psychiatric hospital in Santander, Spain for six-months following Ernst’s
16 Frederick Ashton’s ballet Les Patineurs was first presented at Sadler-Wells Theatre in London in 1937.
arrest by the Nazis. There she was inhumanely injected multiple times with
17 Max Ernst rescued this painting after his release from Les Milles concentration camp in July of 1940
the barbiturate Luminal and the seizure-inducing Cardiazol.18 As her family from the farmhouse in Saint Martin d’Ardèche, had it with him at Bel Air in Marseilles, and must have
maneuvered to move Carrington to an institution in South Africa, she foiled taken it with him when he left Europe from Lisbon, Portugal for New York City by airplane. By March of
1942 in New York City Ernst exchanged with Carrington his portrait of her Leonora in the Morning Light of
them, escaping war-torn Europe for the Americas by marrying the diplomat
1940 for her Bird Superior: Portrait of Max Ernst. For a detailed account see “Talks and Lectures: Leonora
Renato Leduc. In 1942, she again leapt into unknown territory, leaving Carrington’s Portrait of Max Ernst.” YouTube video, 46:39. “National Galleries of Scotland,” September
New York to head south to Mexico City, where she built a life, a family, and 11, 2018.

populated a fantastic, ethereal world on canvas. 18 See Leonora Carrington’s account of her experience in her Down Below, first published in French in
1944 and recently published by New York Review Books Classics in 2017.

Teresa Eckmann, Associate Professor of Contemporary Latin American Art

History, University of Texas at San Antonio

77
PROPERTY FROM AN IMPORTANT NEW YORK ESTATE

26
MATTA (1911-2002)
Youniverse
signed, dated, and titled 'Matta, Youniverse, 1955' (on the reverse)
oil on canvas
45¿ x 57¿ in. (114.6 x 145.1 cm.)
Painted in 1955.

$100,000-150,000

PROVENANCE:

Anon. sale, Sotheby's, New York, 21 November 1995, lot 52.

Acquired from the above by the present owner.
This work is accompanied by a certificate of authenticity from the Archives
de l'œuvre de Matta, signed by Aliseé Matta, dated 14 July 2020.
 There currently exist two opposed tendencies in Mexican art. One is social realism and the
other is poetic realism, to which I pertain. I do not trust a strictly national attitude…I lean
towards universality, which undoubtedly isolates me in some way from Mexicans and is at
the root of an increasingly heated controversy.
–Rufino Tamayo, 19501

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

27
RUFINO TAMAYO (1899-1991)
Dos amantes contemplando la luna
signed and dated 'TAMAYO 0-50' lower right
oil on canvas
31√ x 39ƒin. (81 x 100 cm.)
Painted in 1950.

$2,000,000-3,000,000

PROVENANCE:

Knoedler Gallery, New York.

George R. Fearing, Cuernavaca, Mexico.
Bernard Lewin Collection, Palm Springs, California.
Latin American Masters, Los Angeles, California.
Private collection, Mexico.
Anon. sale, Christie's, New York, 21 November 2000, lot 12.
Acquired from the above by the present owner.

EXHIBITED:

Paris, Galerie des Beaux Arts, Tamayo, 8 November - 9 December 1950, no. 10. This exhibition
also traveled to Brussels, Palais des Beaux – Arts, 22 December 1950 - 7 January 1951.
San Francisco, California Palace of the Legion of Honor, Rufino Tamayo Paintings, 10 May - 10
June 1951, no. 16.
New York, Knoedler & Co. Gallery, Tamayo Recent Works, 19 November - 15 December 1951, no.
4.
Fort Worth, Texas, Fort Worth Art Museum, Tamayo, 7 January - 2 February 1951, no. 17.
Chicago, The Arts Club of Chicago, Tamayo, 4 - 28 April 1952, no. 5.
Washington D.C., Pan American Union, Tamayo, 14 October - 15 November 1952, no. 23.
São Paulo, 2nd Biennial São Paulo Brazil, Rufino Tamayo, December 1953 - February 1954, p.
252, no. 17.
Mexico City, 2nd Inter-American Biennial de México, 50 obras de Tamayo, 1960, n.p., n. 29
(illustrated)
Phoenix, Arizona, Phoenix Art Museum , Rufino Tamayo, March 1968, no. 50.
Santa Barbara, California, Santa Barbara Museum of Art, The Art of Modern Mexico, August -
October 1970, no. 61.
San Antonio, Texas, San Antonio Museum of Art, Tamayo, December 1985 - January 1986. This
exhibition also traveled to Monterrey, Mexico, Museo de Monterrey, January - March 1986.
Santa Ana, California, Museum of Modern Art, Rufino Tamayo, 19 September - 30 November
1987, p. 24, no. 13.
B. Lewin, Rufino Tamayo, B. Lewin Galleries, Beverly Hills, p. 47B, n.n. (illustrated in color)

LITERATURE:

C. Raimont, Rufino Tamayo Collection Artist de Ce Temps, Paris, 1951, no. 4 (illustrated).
P. Westheim, Tamayo una investigación estética, Mexico City, Ediciones Artes de México, 1957
(illustrated in color).
J. Goméz Sicre, Four Artists of the Americas: Burle-Marx, Calder, Peláez, Tamayo, Washington
D.C., Pan American Union, 1957, p. 83 (illustrated).
O. Paz, "Tamayo en la pintura mexicana colección de arte," Universidad Nacional Autónoma de
México Dirección General de Publicaciones, 1959, p. 59, no. 64 (illustrated).
T. del Conde et al., Tamayo, Mexico City, Américo Arte Editores S.A. de C.V., 1998, p. 64,
(illustrated in color).
A. Graham-Dixon, The Art Definitive Visual Guide, London, Editorial Consultant, 2008, p. 498
(illustrated in color).
L.I. Sainz, "Los rasgos plásticos de Rufino Tamayo," Casa del tiempo, vol. 1, época III, no. 11-12,
December 1999 - January 2000, p. 68 (illustrated in color).
We are grateful to art historian Juan Carlos Pereda for his assistance cataloguing this work.

78
79
 School of Paris was formed in large part by foreigners, that it is universal and
not Parisian…That understood, the roots of my painting are Mexican, but my
plastic language is universal.4

Repeatedly Tamayo insisted that Mexican art needed to grow beyond

Siqueiros’ infamous 1944 claim in defense of politicized muralism, “No
hay más ruta que la nuestra (There is no other path but ours).” For Tamayo,
truly revolutionary art was one open to experimentation, a rebellious one,
dissatisfied, produced by artists both courageous in making mistakes and
finding solutions, and not formulaic.5

This long-running dispute was not simply a theoretical one; as art historian
James Oles points out, at mid-century Mexico’s state-run Instituto Nacional
de Bellas Artes commissioned a large canvas from Olga Costa to be included
in an exhibition curated by Fernando Gamboa for Paris’ Musée D’Art
Moderne. La vendedora de frutas (The Fruit Seller) presented a costumbrista
(genre) painting of a bronze-skinned laborer behind a market fruit stand, a
bounty of detailed, lush, Mexican native fruits laid out before her to tempt the
viewer’s palate. Painted in the highly naturalistic manner of Hermenegildo
Bustos’ 19th Century still lifes, what was representational, narrative, easily
recognized as the exotic fruits of the land—not abstraction, not formal
concerns—is what was considered representative of “The Mexican School”
and official mexicanidad (Mexicanness).6

Tamayo maintained that he expressed his inherent Mexicanness in his

painting, but not through legible, iconic subject-matter. He affirmed, “My
painting, in addition to being Mexican in spirit and in essence, is international
and contemporary.” 7 Neither narrative or naturalistic, Dos amantes
exemplifies the artist’s self-identified “poetic realism” that he named in
the epigraph above, as he painted the everyday, absent of demagoguery.
Additionally, an avid guitar player and singer of Mexican ballads, he brought
Rufino Tamayo, Women Reaching for the Moon, ca. 1946. © 2019 Tamayo Heirs his love of music and sense of rhythm to his paintings, the two lovers’
/ Mexico / Licensed by VAGA at Artists Rights Society / (ARS), NY bodies recalling upright instruments. As a student and collector of pre-
Columbian art, Tamayo further charged his abstracted figures with his study
and knowledge of sculptural form, notably the thick bodied, short limbed
ceramic animal and warrior figurines of Jalisco and Colima in West Mexico.
Whereas, in La vendedora Costa meticulously illustrated calabazas, papaya,
A public display of acrimony between Rufino Tamayo and the “Three
coco, tunas, cacahuate, jicama, piña, mango, aguacate, platano macho and
Greats” (Mexican muralists David Alfaro Siqueiros, Diego Rivera and
tobasco, zapote, guanabana, tamarindo, mamey, and more, Tamayo ingested
José Clemente Orozco) played out in Mexico City’s local newspaper El
local color and texture, translating experience onto the canvas, sometimes
Nacional in the fall of 1947 upon Tamayo’s return to Mexico following
hot and aggressive as with his Niña atacada por un pajaro extraño of 1947,
more than a decade of his self-exile in New York City as headlines
and sometimes, as is the case here with Dos amantes, cool and subdued,
read: “Mexican Painting is in a State of Decadence Says Tamayo,
while anthropomorphically provocative.
Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros in
Decline”; “Orozco Doesn’t Change, Investigate, He Always Repeats
It was in Europe that Tamayo likely painted Dos amantes given that he had
Himself: Tamayo is Ready to Defend Himself and the Controversy
left New York in the summer of 1949 setting off on his first trip to Europe,
Continues its Course”; “I Am Not a Copyist Says Tamayo”; and
where he would remain for nearly two years visiting England, Italy, Holland,
“Tamayo is a Bombastic Sufficiency Says Siqueiros: Mexican Painting
Belgium, Spain, and France, making Paris his home base.8 1950 was a
is Not Sick or Decadent.”2 Three years later, in 1950, the very year
banner year for the artist; in addition to his participation in the XXV Venice
that Tamayo painted Dos amantes contemplando la luna, the debate
Biennial from June 8-October 15, he presented a solo exhibition at the M.
continued as these four artists were selected to represent Mexico
Knoedler & Co. Gallery in New York from April to May, with subsequent
in the country’s first time ever invitation to participate in the Venice
iterations of the exhibition at the Galerie de Beaux-Arts in Paris in November-
Biennial.
December of the same year, and at the Palais des Beaux-Arts in Brussels
from December 1950 to January 1951.9 Dos amantes was included in the
At the Mexican Pavilion, 16 of Tamayo’s paintings hung in a room
latter two exhibitions as confirmed by Juan Carlos Pereda, Chief Curator at
dedicated solely to his work. His loss of a Biennial award to his
the Tamayo Museum in Mexico City through his committed research.10 It was
anathema Siqueiros only propelled Tamayo to further advocate for an
in the Paris catalogue that Octavio Paz published his groundbreaking essay
opening in Mexican art; Tamayo called for a movement away from a
“Tamayo en la pintura mexicana,” where he acknowledged Tamayo’s role as
closed, nationalist, social realist, political, picturesque and folkloric
a “black sheep” who would renovate the arts of Mexico.11 Indeed, Tamayo’s
art of epic scale as he envisioned Mexican art expanding in stylistic
mid-century stance against “gangsterismo” in Mexican art pioneered the way
diversity. “Mexico’s art is not uniform, limited to a single modality,
for a younger generation of artists such as José Luis Cuevas, Juan Soriano,
rather, it is multifaceted, diverse,” he argued.3 Summarizing his
and the group Nueva Presencia to rebel against The Mexican School and the
position he stated:
“ruta única” bringing about, in the late 1950s and 60s, the Ruptura (Break) in
I believe that we should contribute with the Mexican experience to Mexican art.12
this universal current. The fundamental point is that we are part of
Teresa Eckmann, Associate Professor of Contemporary Latin American Art
everything, not an independent island. We know very well that the
History, University of Texas at San Antonio

80
 The artist with the present lot, Galerie des Beaux Arts, Paris, 1950. Photographer
unknown. Photo courtesy the Archivo Tamayo.

1 “El realismo poético: Reciente escuela pictórica nacida en México que aceptan gustosos en París." Visión (December 26, 1950): 30. My
translation. Available through the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, Documents of 20th-
Century Latin American and Latino Art. https://icaadocs.mfah.org/s/en/page/home. Accessed June 15, 2020.
2 My translation. These articles can be individually searched through the International Center for the Arts of the Americas at the Museum
of Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. https://icaadocs.mfah.org/s/en/page/home. They are
discussed together in Teresa Del Conde, Tamayo (Mexico City: Grupo Financiero Bital,1998), 107.
3 Victor Alba, “Tamayo habla a Hoy desde Paris! Respaldado por su tiunfo en Europa habla con olímpico desprecio de Diego Rivera y Siqueiros,”
Hoy 723(December 30, 1950): 24-25. My translation. Available through the International Center for the Arts of the Americas at the Museum of
Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. https://icaadocs.mfah.org/s/en/page/home. Accessed June
1, 2020.
4 Juan B. Climent, “¡Tamayo se rebela!”Mañana: La revista de México 411(July 14, 1951): 49. My translation. Available through the International
Center for the Arts of the Americas at the Museum of Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. https://
icaadocs.mfah.org/s/en/page/home. Accessed June 10, 2020.
5 Rufino Tamayo, “¿Cuál es la pintura revolucionaria?” Mañana, 642(December 17, 1955): 49. My translation. Available through the International
Center for the Arts of the Americas at the Museum of Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. https://
icaadocs.mfah.org/s/en/page/home. Accessed June 15, 2020.
6 See James Oles, “Chapter 9 IV. International Horizons,” in Art and Architecture in Mexico, (London: Thames & Hudson, 2013), 340-349.
7 Rosa Castro, “Rufino Tamayo: Ha influido Europa en su arte?” in Excélsior (June 17, 1951):7. My translation. Available through the International
Center for the Arts of the Americas at the Museum of Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. https://
icaadocs.mfah.org/s/en/page/home. Accessed June 18, 2020.
8 Rosa Castro, “Rufino Tamayo: Ha influido Europa en su arte?”
9 See Ingrid Suckaer, “Chronology,” in Tamayo: A Modern Icon Reinterpreted (Santa Barbara: Santa Barbara Museum of Art, 2007), 421.
10 Working bibliography and exhibition history on the painting Dos amantes contemplando la luna provided by Juan Carlos Pereda to Christie’s,
and shared with author, June 29, 2020.
11 This text is reproduced in “Pequeña antología,” in Tamayo: 70 años de creación (Mexico City: Museo de Arte Contemporáneo Internacional
Rufino Tamayo, 1987), 92-99.
12 See Rufino Tamayo, “Gangsterismo en la pintura mexicana,” Excélsior (November 14, 1950). Available through the International Center for
the Arts of the Americas at the Museum of Fine Arts, Houston, Documents of 20th-Century Latin American and Latino Art. https://icaadocs.
mfah.org/s/en/page/home. Accessed June 20, 2020.

81
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

28
AGUSTÍN CÁRDENAS (1927-2001)
Lui
signed with initials and dated 'A.C. 69' (on the base)
burnt oak
110º x 19 x 14º in. (280 x 48 x 36 cm.) including base
Executed in 1969.
Unique

$200,000-300,000

PROVENANCE:

Museo de Bellas Artes, Caracas.

Property from the Collection of Milagros Maldonado, Paris, sale,
Sotheby's, New York, 20 November 2001, lot 6.
Private collection, New York.
Anon. sale, Christie's, New York, 26 May 2011, lot 18.
Acquired from the above by the present owner.

EXHIBITED:

Paris, Fondation Nationale des Arts Graphiques et Plastiques, Cárdenas,

16 June - 30 September 1981, no. 11.
Caracas, Museo de Bellas Artes, Agustín Cárdenas: Esculturas 1957-1981,
August 1982, no. 15.

LITERATURE:

J. Pierre, La Sculpture de Cárdenas, Bruxelles, La Connaissance, 1971, no.

105 (illustrated).

"In Paris I discovered what a man is, what African culture is, what it is to has remarked. "It is the elements of the anatomy, stylized and abstracted,
be a Negro," Cárdenas declared in 1967, twelve years after his arrival on which, entwined to form a new aesthetic anatomy, represent the mounting or
Christmas Day of 1955.1 For Cárdenas, as for Wifredo Lam a generation habitation of beings and things by invisible powers." 2
before, his encounter with West African culture in Europe would be a
watershed moment in the development of his sculptural practice. Although A totem of a male warrior, the present work embodies a powerful virility
the presence of African culture was ubiquitous in Cuba, spread through the in the striking angularity of its interpenetrating forms and in the erotic
santería and palo monte religious cults, very few visual remnants survived transfiguration of anatomic volumes. The towering vertical energy of this
the colonial period. Cárdenas had first encountered a Dogon totem in a work, suggestively calibrated through organic contours and hollowed space,
published reference in Cuba, but only in Paris did he discover firsthand the creates an integral plastic rhythm that breathes masculine energy into the
vitality of Africa's artistic tradition, powerfully awakened through his search blackened grain of the wood. A muscular counterpart to Cárdenas's many
for dynamic and universal form. female totems, Lui projects an aggressive monumentality: skeletal forms
ascend upward in a syncopated rhythm, joints and tissues puncturing the
Cárdenas arrived at his first "totems" in 1954-55, and totemic preoccupations opened volumes with powerful centripetal force. Cárdenas blackened the
persisted through the following decades as his sculpture evolved upward wood of Lui by burning it, imparting as a result a rough luminosity to its
and took on myriad archetypal and anatomical dimensions. The articulate surface: the accentuated veins of the wood echo the verticality of the totem
alternation of fullness and void, elongated in the vital upward impulse of his itself and nod to an innate relationship with the material and its looming
mature work, suggests important sources in the visual traditions of African figural presence.
and Oceanic tribal arts. Yet Cárdenas's sculptures also make reference to the
humanist and existential concerns of the postwar period, evoked in their fluid Abby McEwen, Assistant Professor, University of Maryland, College Park.
dissections of the figure and organic syntax of bone and tissue. "The overall
1 A. Cárdenas, quoted in J. Pierre, La sculpture de Cárdenas, Brussels, La Connaissance, 1971, 132.
formal silhouette of the figure or object is pierced by positive and negative
2 R. Pau-Llosa, "The Prism of Universality: An Approach to the Sculptures of Agustín Cárdenas," Agustín
spaces both equally conceived in biomorphic forms," Ricardo Pau-Llosa Cárdenas, Coral Gables, Gary Nader, 2000.

82
83
 PROPERTY FROM THE COLLECTION OF
WALLACE CAMPBELL

A successful businessman, entrepreneur, philanthropist, and art collector, Wallace Ransford

Campbell (1940-2020) was a stalwart in the Jamaican arts community. Formerly the General
Director of Grace Kennedy’s Merchandise Division, he went on to own and operate the Lenn
Happ supermarket for nearly 30 years. He served as a member of the National Gallery of
Jamaica’s Board of Directors from 1992 to 2011 and played a significant role in the Edna
Manley College Arts Foundation, which seeks to advocate for the arts both locally and
internationally through scholarships, community engagement, and outreach programs.

Campbell’s interest in painting began in his youth, and as his passion for the visual arts
grew into adulthood, he began collecting art more seriously and in greater depth. Campbell
amassed the largest private art collection in Jamaica, comprising over 1,500 works, including
such leading Jamaican artists as Alvin Marriot, Gloria Escoffery, Albert Huie, Barrington
Watson, and Kapo, among others. The collection also features outstanding works by Cuban
and Haitian artists. Among the Cuban highlights are modernists works by such vanguard
artists as Wifredo Lam, Mario Carreño, Agustín Cárdenas, and Amelia Peláez as well as
contemporary artists Manuel Mendive, Armando Mariño, and Belkis Ayón. Haitian art is well
represented with stellar examples by Hector Hyppolite, Philomé Obin, Seneque Obin, Rigaud
Benoit, Wilson Bigaud, Andre Pierre, St Brice, Valcin, Philippe-Auguste, and Castera Bazille.
Campbell’s passion and commitment for collecting Caribbean art played a significant role in
the development and study of art history as a discipline in the region, influencing the culture
of connoisseurship within the local Jamaican artistic community.

Throughout his life, Campbell demonstrated an unwavering support of local arts institutions
such as the National Gallery of Jamaica, which was instrumental in expanding his own
understanding of Jamaican art history. He conducted his own independent research into
Jamaican and Caribbean art history, hoping to one day establish a museum of Caribbean art
to bring together artists and artwork from across the region, particularly Jamaica, Haiti, and
Cuba. Campbell used his art collection to help support community development, donating
works to support local organizations while also using his platform to engage with and mentor
young art collectors. In 2013, Campbell was awarded by the Government of Jamaica for his
“Outstanding Contribution to the Private Sector and the Promotion of the Arts.” Campbell
was not only a leading art collector in the region but also singular in his desire to empower
those around him through his passion for Jamaican and Caribbean art. Christie’s is honored to
be offering a selection of modern and contemporary Cuban works from this outstanding and
unique collection amassed by a truly visionary collector.
85
PROPERTY FROM THE COLLECTION OF
WALLACE CAMPBELL
29
MARIO CARREÑO (1913-1999)
Figuras en el palmar (also known as Under the Palm Trees)
signed and dated 'Carreño-47' (lower right)
oil on canvas
20 x 24 in. (51 x 61 cm.)
Painted in 1947.

$180,000-220,000

PROVENANCE:

Perls Galleries, New York.

Anon. sale, Sotheby's, New York, 26 November 1985, lot 71.
Aquired from the above sale by the present owner.

EXHIBITED:

New York, Perls Galleries, Carreño: Recent Paintings, 10 November-6

December 1947, no. 16.
Santiago, Sala del Pacífico, Carreño: Exposición de óleos, gouaches,
pasteles y dibujos, 21 June-10 July 1948, no. 5.
Buenos Aires, Galería Samos, Mario Carreño, 27 June-12 July 1949, p. 12,
no. 2 (illustrated).

LITERATURE:

J.Fernández Torna, Mario Carreño Selected Works/ Obras selectas, 1936-

1957, Miami, Torna & Prado Fine Art, 2012, pp. 158-159 (illustrated in color).

Verdant, heart-shaped leaves in vibrant pinks, purples, and greens provide a scene. However, in contrast from Carreño’s earlier, volumetrically rendered
lush canopy for the two figures in Cuban artist Mario Carreño’s Figuras en el allegorical images of the late 1930s and early 1940s, Figuras en el palmar
palmar. Depicted at leisure within the shaded grove, the women are enrobed exhibits flattened, geometric forms that blend lyrical abstraction with
in schematically rendered drapery, whose light tones seem to reflect the light Cubism. These faceted forms shape the leaves and trunks of the Edenic
filtering through the foliage. While one woman stands, the other reclines landscape, whose composition evinces an oneiric sensibility that seems to
on the ground, her elongated shape seeming to mimic that of a stringed reflect the influence of Surrealism. Indeed, interspersed and camouflaged
instrument. Perhaps a reference to Carreño’s childhood studies of the violin, amidst the palms are smiling serpent-like creatures, whose presence recalls
the woman’s enigmatic figure lends an air of musicality to the scene, whose the animal and vegetal hybrid forms found in paintings like The Jungle by
colors and forms seem to pulse to a syncopated, internal rhythm. Carreño’s compatriot, Wifredo Lam. Such multifold associations were noted
by curator José Gómez Sicre. Writing for an exhibition catalogue produced
Declared “the most versatile, learned, and courageous” of the younger by the Pan American Union in the same year that Figuras en el Palmar
generation of Cuban modern artists by curator Alfred Barr, Carreño painted was created, he inscribed the artist within a contemporary, international
Figuras en el palmar during his nearly ten-year long sojourn in New York City pantheon: “this new phase of Carreño is more in line with a conceptual
the 1940s. While there, he taught at the New School for Social Research approach to painting, a search for inner meanings. His work is now more
and participated in six exhibitions at the Museum of Modern Art, including abstract and more organic, re-creating an elemental aesthetic world
the groundbreaking Modern Cuban Painters exhibition in 1944. Though still somewhat like that discovered by Paul Klee and Joan Miró in Europe, or
relatively young, the artist had already traveled extensively to Spain, Mexico, Carlos Mérida and Rufino Tamayo in Latin America.” 1
France, and Italy, where he had absorbed and participated in the artistic
circles that each scene had to offer. These experiences, coupled with his Significantly, both Lam and Carreño exhibited at the prestigious Perls
early studies at Havana’s Academia de San Alejandro and his pioneering role Gallery, where FIguras en el palmar was first debuted as part of Carreño’s
within the Cuban avant-garde, propelled Carreño’s exploration of various 1947 solo presentation. There, the painting’s dreamy, reverie-like quality was
artistic languages over the course of his career. complemented by other classically-inspired compositions with such names
as La Siesta, Nereid, and The Three Graces. Showcasing the artist’s most
Figuras en el palmar reflects a synthesis of the artist’s to-date recent production, the exhibition represented the artist’s fourth show at the
experimentation with contemporary trends gleaned from his many travels. gallery, and serves as evidence of Carreño’s prolific and successful stay in
The enrobed figures in the canvas reflect the artist’s interest in classicism; New York City, before his ultimate return to Cuba in late 1951. Perhaps it was
in fact, the painting presents a tropicalized version of a canonical pastoral memories of home that influenced the creation of Figuras en el palmar, which
seems to blend exotic fantasy with the tropical lushness of the Caribbean.

Susanna Temkin, Ph.D., Curator, El Museo del Barrio, New York

1 José Gómez Sicre, Carreño, Washington D.C.: Pan American Union, 1947.

86
87
PROPERTY FROM THE COLLECTION OF
WALLACE CAMPBELL

30
WIFREDO LAM (1902-1982)
Femme Cheval
faintly signed and dated 'Wifredo Lam, 1950' (lower right)
oil on canvas
51 x 37º in. (130 x 94.7 cm.)
Painted in 1950.

$2,000,000-3,000,000

PROVENANCE:

Acquired directly from the artist, Sotheby's, New York, 12 May 1983, lot 37.
Acquired from the above sale by the present owner.

LITERATURE:

L. Laurin-Lam and E. Lam, Wifredo Lam: Catalogue Raisonne of the Painted

Work, Volume I, 1923-1960, Lausanne, Acatos, 1996, p. 422, no. 50.07
(illustrated).

88
89
“My return to Cuba meant, above all, a great stimulation of my imagination, She is distinguished by a variety of head shapes—round, trumpet, detached,
as well as the exteriorization of my world,” Lam recounted of his celebrated hatted, doubled, spiked—and anatomical stylizations, whose references
homecoming in 1941. “I responded always to the presence of factors span Santería (the horned Eleggua head) and traditional Spanish dress (the
which emanated from our history and our geography, tropical flowers, and mantilla). As a personification of ritual possession in Santería, the femme
black culture.” His embrace of what he termed “la cosa negra” came to cheval evinces the lush carnality of the feminine body and its supernatural
define his re-acquaintance with the island, after eighteen years in Europe, powers. “The endowing of the femme cheval with an animal head is most
and informed the syncretic cubanidad of his work over the decade that often interpreted literally as a representation of the devotee of the orishas as
followed.1“I wanted with all my heart to paint the drama of my country, but the ‘horse’ of the deity, who mounts the believer during ritual ceremonies,”
by thoroughly expressing the negro spirit, the beauty of the plastic art of noted Lam scholar Lowery Stokes Sims explains, describing the figure’s
the blacks,” he later reflected. “In this way I could act as a Trojan horse that given role. Yet the femme cheval also stands as an “emblem of Surrealist
would spew forth hallucinating figures with the power to surprise, to disturb hybridity—the minotaur,” she continues, simultaneously rendered through
the dreams of the exploiters. . . . A true picture has the power to set the a transposition of gender in which the artist shifts “the power focus of
imagination to work, even if it takes time.”2 His seminal paintings from this Surrealism (and Picasso) from the male principle to the female.”4
period, among them the paradigmatic Jungle (1943), teem with transgressive
figures of the kind Lam describes, beings that emanate from the rich The year 1950 saw Lam open solo exhibitions at Pierre Matisse Gallery in
Afro-Cuban imaginary to which he was exposed. Exemplary among them New York and at Havana’s Parque Central, earning international plaudits as
are his inimitable femmes cheval, or horse-headed women, whose hybrid he further cultivated his femmes cheval. ARTnews profiled him in the regular
morphology elegantly elides Surrealist subversion and Santería ceremonial “Artist Paints a Picture” series and documented his work on Horse-Headed
practice. Woman (1950), a work similar in composition to the present Femme Cheval as
well as to the handsome Zambezia, Zambezia (1950; Guggenheim Museum).
Lam’s arrival in Cuba dovetailed with rising interest in Caribbean vernacular “The face of the figure becomes a generalized mask or abstraction, spiked
culture, spanning the Négritude movement led by his friend Aimé Césaire, and aggressive in contrast to the vulnerable, soft breast and buttocks,
the Martinican poet, and the pioneering ethnographic and anthropological flattened into a two-dimensional motif,” wrote Geri Trotta. “The tusk on the
studies of Lydia Cabrera and Fernando Ortiz. Their recuperation of Afro- mane connotes to the artist the budding banana,” she reported; Lam referred
Cuban culture, particularly its folklore and religious customs, paralleled to the “more Oriental arrangement of light and dark shapes,” here expressed
Lam’s own engagement with the Lucumí, or Santería, religion, which he as the brown, winged entity lurking in the background, as “diabolical birds.”5
had studied as a child with his godmother Ma’Antonica Wilson, a Yoruba These spectral presences variously materialized in his work of this decade,
priestess. “Lam began to create his atmosphere,” the writer Alejo Carpentier their shadowy apparitions suggestive of a menacing, multidimensional
observed, “using figures in which the human, the animal, and the vegetal reality. “All art is tragedy,” Lam declared, eliding the torment of his chimerical
mixed without boundaries, animating a world of primitive myths with femme cheval with the existential drama of painting itself. “For me,” he
something ecumenically Antillean, bound deeply not only to the soil of Cuba, conceded, “painting is a torment.”
but to the larger chain of islands.” In his commingling of “all that is magical,
imponderable, mysterious in our midst,” Lam invoked the sacred, animistic A classic incarnation, the present Femme Cheval bears a familiar trumpet-
universe of Santería, to which his metamorphosing bodies and landscapes shaped head, elongated and seen in profile, that ends in four horizontal
partly belong.3 spikes that mirror the thorny or horned elements that splay out around
and behind her. Sinuous and velvety grey, her body is drawn in a seductive
The femme cheval first appeared in Lam’s Fata Morgana drawings (1940-41), state of transfiguration that extends from the lower torso, drawn in a slight
made to illustrate André Breton’s Surrealist poem, but her evolved expression three-quarter view, through the elegant curves of her back and neck. A
in his paintings from 1947 to 1950 marks the apotheosis of her persona. single long limb angles downward to the left; its linearity is offset by a spiky,
tasseled extension—a hybridized mane or tail—sketched with charcoal, which
falls to her other side. Elegantly hieratic, she stands before the enveloping
appendages of an immense “diabolical bird” who emerges out of a dimly
luminously black ground, horned and crowned by an open, diamond-shaped
element. These mystical and metaphysical attributes illuminate the shape-
shifting magic embodied in Lam’s femme cheval, avatar of Afro-Cuba in the
words of Césaire, in the closing stanza of a poem he addressed to his friend:

avatars however of a god keen on destruction

monsters taking flight
in the combats of justice I recognized
the rare laughter of your magical weapons
the vertigo of your blood
and the law of your name.6

Abby McEwen, Assistant Professor, University of Maryland, College Park

1 Wifredo Lam, quoted in Lowery Stokes Sims, Wifredo Lam and the International Avant-Garde, 1923-1982
(Austin: University of Texas Press, 2002), 35.
2 Lam, quoted in Max-Pol Fouchet, Wifredo Lam (New York: Rizzoli, 1976), 188-89.
3 Alejo Carpentier, “Reflexiones acerca de la pintura de Wifredo Lam,” Gaceta del Caribe 5 (July 1944): 27.
4 Sims, Wifredo Lam and the International Avant-Garde, 117.
Wifredo Lam, Zambezia, Zambezia, 1950. 5 Geri Trotta, “Wifredo Lam Paints a Picture,” ARTnews 49, no. 5 (September 1950): 42, 51-2.
Solomon R. Guggenheim Museum, New York Gift, Mr. Joseph Cantor, 1974
6 Aimé Césaire, “Wifredo Lam…” (1983), trans. Clayton Eshleman and Annette Smith, in Callaloo 24, no.
© 2020 Artists Rights Society (ARS), New York/ADAGP, Paris 3 (Summer 2001): 712.

90
The femme cheval stands as an emblem of surrealist hybridity--the
minotaur, simultaneously rendered through a transposition of gender
in which the artist shifts the power focus of Surrealism (and Picasso)
from the male principle to the female. –Lowery Sims

91
PROPERTY FROM THE COLLECTION OF
WALLACE CAMPBELL
31 Afro-Cuban culture to inform a sense of cubanidad, or national identity.
Such interest is reflected in the studies of musicologist Fernando Ortiz and
MARIO CARREÑO (1913-1999)
anthropologist Lydia Cabrera, as well as texts by authors Nicolás Guillén
Mujer con aguacate
and Alejo Carpentier. In the visual arts, artists and sculptors similarly turned
signed and dated 'Carreño-43' (upper left) to Afro-Cuban subjects, incorporating symbols linked with Afro-Cuban
gouache on paper
traditions in their artworks. While informed by the specific history and
30¬ x 22¿ in. (77.8 x 56.2 cm.)
population of Cuba, such newfound interest also reflects the influence of
Executed in 1943.
European modern artists such as Picasso, who freely cited from the so-called
$100,000-150,000 “primitive” cultures of Africa and Oceania to fuel his work. Echoes of Picasso
are additionally present in Carreño’s Mujer con aguacate, whose theme and
PROVENANCE:

Perls Galleries, New York. sculptural quality seems to recall the Spaniard’s classicizing portraits from
Private collection, New York. the 1920s of seated women.
Anon. sale, Christie's, New York, 18 May 1993, lot 110.
Acquired from the above sale by the present owner. Carreño’s Mujer con aguacate was featured in the Museum of Modern Art’s
1944 Modern Cuban Painters exhibition. This show, which later traveled
EXHIBITED:
throughout the United States, essentially provided the first introduction of
New York, The Museum of Modern Art, Modern Cuban Painters, 17 March-
the island’s modern artists to U.S. audiences. Carreño played a central role in
7 May 1944.
the exhibition, having assisted in hosting Alfred Barr during his research trip
LITERATURE: to Cuba, where the museum curator was fêted by the artist’s then wife, María
J. Fernández Torna, Mario Carreño Selected Works/ Obras selectas, 1936- Luisa Gómez Peña. As proclaimed in the exhibition text, Barr considered
1957, Miami, Torna & Prado Fine Art, 2012, pp. 144-145 (illustrated in color). Carreño to be among the best of Cuba’s contemporary generation, and a
total of eleven of his works were included in the show – a number higher than
any other artist besides Amelia Peláez, who exhibited the same number of
Mujer con aguacate is a serene, three-quarter length portrait by Cuban
pieces.
painter Mario Carreño. A prolific and experimental artist, Carreño was a
prominent member of the younger generation of the Cuban vanguardia Archival photographs from the exhibition reveals that Mujer con aguacate
that emerged in the 1930s and 1940s. Having studied as an adolescent was hung on a wall perpendicular to Carreño’s canonical ducco paintings,
at Havana’s Academia de San Alejandro, Carreño traveled throughout Sugar Cane Cutters and Danza Afrocubana. Such placement positions these
Europe, Mexico, and New York, where he lived for much of the 1940s. These works as a study in contrasts, as they depart from one another in terms of
experiences brought him into first-hand contact with such diverse practices subject, composition, and palette. Depicting scenes of the zafra or sugar
as the Mexican mural movement, the European avant-garde, and the Italian cane harvest, Sugar Cane Cutters and Danza Afrocubana take place in the
quattrocento, which, coupled with his personal engagement with the Cuban fields, as opposed to the interior setting of Mujer con aguacate, whose
art world, informed his painterly practice. These manifold influences are ornately rendered chair is emblematic of Cuban colonial architecture. The
present in Mujer con aguacate, which blends the tradition of portraiture with chair’s curvilinear design is replicated in the woman’s coiffed hair, as well
international contemporary trends, as well as visual references specific to as the rounded forms of her body and clutched avocado. This suppleness
Cuban culture. in shape contrasts with the faceted geometry of Danza Afrocubana, whose
bare breasted female figure starkly departs from the gracefully seated
Seated against an undifferentiated background, the unknown protagonist
woman. Indeed, while the keyed-up tones of the rural scene convey a sense
of Mujer con aguacatate is of Afro-Cuban descent. Her skin is portrayed in
of frenetic energy, Mujer con aguacate is executed in a more subdued color
lush grey-blue tones with accented areas in vibrant blue and purple on her
palette, endowing the composition and its protagonist with an air of serene
arms and hand. This anonymous portrait reflects a wider interest among
calm. In fact, the carefully arranged posture and steady, unperturbed stare
Cuban avant-garde artists and intellectuals of the period, who looked to
of Carreño’s seated figure conveys a sense of regal authority. This is further
emphasized by the embellished chair, which reads like a majestic throne
upon which the woman is perched.

However, more than mere furniture, the chair takes on additional relevance
as a significant subject in Cuban modern art. The same year that Carreño
painted Mujer con aguacate, his compatriot Wifredo Lam executed the
plainly titled painting, La silla (The chair). Now part of the collection of the
Museo Nacional de Bellas Artes in Havana, this is one of Lam’s masterworks,
created after the artist’s return to Cuba after many years abroad. The
painting depicts a relatively humble wooden chair in a dense, tropical
landscape. Bearing a vase bursting with flowers on its seat, Lam’s La silla
has been interpreted in terms of a syncretic melding of European modernist
forms with Afro-Cuban religious associations. Surely aware of this work by
his compatriot with whom he would later share the same New York gallery
representation, Carreño’s Mujer con aguacate reads as an inversion of La silla.
By replacing Lam’s floral vase with his female sitter, Carreño reinserts the
human figure as a substitute for the absent fertile landscape, an association
that is further echoed via the presence of the ripe, green avocado at center.

Susanna Temkin, Ph.D., Curator, El Museo del Barrio, New York

The present lot on view, Modern Cuban Painters, 17 March 1944–7 May 1944.
Photographic Archive. The Museum of Modern Art Archives, New York. IN255.12.
Photograph by Soichi Sunami.

92
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PROPERTY FROM THE COLLECTION OF
WALLACE CAMPBELL

32
AMELIA PELÁEZ (1896-1968)
Still Life
signed and dated 'A. PELAEZ 54' (lower right)
gouache on paper laid on board
30Ω x 40 in. (77.5 x 102 cm.)
Executed in 1954.

$50,000-70,000

PROVENANCE:

José Martínez Cañas, Miami.

Property from a Subsidiary of PepisiCo., Inc., Sotheby's, New York,
29 November 1984, lot 307.
Acquired from the above sale by the present owner.

EXHIBITED:

Miami, Metropolitan Museum and Art Center, Martínez Cañas

Collection, 1977.
Miami, Cuban Museum of Art and Culture / Museo Cubano de Arte
y Cultura, Amelia Peláez, 15 July-15 August 1988, no. 37.
We are grateful to Fundación Arte Cubano for their assistance
cataloguing this work.

[In Peláez’s work] we find not an admiration for the products of

industry . . . but antithetically the magnification of artisanal products,
which become a constant presence; not a taste for what is produced
today, but an admiration for what preceding generations, the forgers
of our nationality, left behind us : the vitrales (stained-glass windows),
the columns, the lacework of the iron grilles, of the tablecloths, all
made grand, all placed in contact with the organic luxury of tropical
fruits and flowers that are often transposed into the handmade works
of the artisan.
—Alejandro Alonso, Pintores Cubanos: Amelia Peláez,1988.

96
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PROPERTY FROM THE COLLECTION OF
WALLACE CAMPBELL

33
WIFREDO LAM (1902-1982)
El gallo y la gallina
signed and dated 'Wifredo Lam, 1955' (lower left)
ink and gouache on canvas
24º x 31 in. (62 x 79 cm.)
Painted in 1955.

$180,000-220,000

PROVENANCE:

Mr. & Mrs. Bernard F. Gimbel, Greenwich.

Anon. sale, Sotheby's, New York, 20 May 1986, lot 29.
Acquired from the above sale by the present owner.

EXHIBITED:

New York, The American Federation of Arts, Cuban Painting Today, September
1956-September 1957, no. 20. This exhibition travelled to Atlanta, Atlanta
Public Library; Nashville, Fisk University; Georgetown, TX, Southwestern
University; Indianapolis, John Herron Institute; Pittsburgh, Chatahn College;
Corpus Christi, TX, Corpus Christi Art Foundation; and Houston, Foley's.

LITERATURE:

M.-P. Fouchet, Wifredo Lam, First Edition, Ediciones Polígrafa, Barcelona,

1976, p. 237, no. 457 (illustrated, titled Dos and incorrectly dated 1956).
M.-P. Fouchet, Wifredo Lam, Second Edition, Ediciones Polígrafa, Barcelona,
1989, p. 257, no. 489 (illustrated, titled Two and incorrectly dated 1956).
L. Laurin-Lam and E. Lam, Wifredo Lam: Catalogue Raisonné of the Painted
Work, Volume I, 1923-1960, Lausanne, Acatos, 1996, p. 459, no. 55.28
(illustrated).

98
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34
FERNANDO BOTERO (B. 1932)
Still Life with Bananas
signed and dated 'Botero 78' (lower right)
oil on canvas
30Ω x 35Ω in. (77.5 x 90.2 cm.)
Painted in 1978.

$250,000-350,000

PROVENANCE:

Galerie Daniel Varenne, Geneva.

Private collection, Switzerland.
Private collection, Belgium.

LITERATURE:

E. J. Sullivan and J.-M. Tasset, Fernando Botero: Monograph

& Catalogue Raisonné 1975-1990, Lausanne, Acatos, 2000,
p. 273, no. 1978.32 (illustrated in color).

100
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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

35
TOMÁS SÁNCHEZ (B. 1948)
Buscador de paisajes
signed and dated 'Tomás Sánchez 05' (lower right) signed and dated again
and titled 'Tomás Sánchez, 2005, BUSCADOR DE PAISAJES' (on the
reverse)
acrylic on canvas
48 1/8 x 66 5/8 in. (122.2 x 169.2 cm.)
Painted in 2005.

$500,000-700,000

PROVENANCE:

Marlborough Gallery, New York.

Private collection, New Jersey.
Anon. sale, Christie's, New York, 20 November 2012, lot 39.
Acquired from the above by the present owner.

EXHIBITED:

New York, Marlborough Gallery, Tomás Sánchez: Buscador de paisajes, New

Paintings and Drawings, 2005, p. 2, no. 1 (illustrated in color).
Monterrey, Museo de Arte Contemporáneo de Monterrey, Tomás Sánchez,
May – September 2008, no. 21 (illustrated in color).

This work is accompanied by a certificate of authenticity signed by the

artist, dated 9 July 2020.

Tomás Sánchez is best known for his ultra-lush, light-filled landscapes of

his native Cuba and other tropical destinations that lend themselves to
his deft ability to render paradisiacal spaces that appear as if suspended
in time. Rendered with nearly imperceptible brushwork, his hyper-realistic
paintings capture our imagination--as much for their contemplative and
spiritual qualities as for their exuberance and seductive power. Executed
from memory, his landscapes rarely refer to a specific site, but rather are a
synthesis of numerous places, both real and imagined, intended to evoke a
bygone era or an increasingly fleeting natural environ.

Executed in 2005, Buscador de paisajes contains many of the fundamental

elements that have come to exemplify Sánchez's production--the use
of a panoramic or sweeping vista that imbues the painting with a sense
of drama and monumentality, the emphasis on linear perspective and
the structuring of the composition along a horizontal axis that further
accentuates the sense of expansiveness and depth as well as the
magnetic force of the work which pulls the viewer into the painting, and
finally the contemplador--typically the image of a man with his back to
the viewer--perhaps the artist himself or a metaphor for all mankind.
Rendered as a miniscule figure in relation to the vast expanse before
him the contemplador gazes at his surroundings in silence overcome
with a profound sense of wonderment and a feeling of oneness with
nature. A sentiment not unlike that expressed by Sánchez in the following
statement, "I look at [the] landscape with a sense of reverence, but I feel
totally included within it. What is inside is also outside. I feel as if I am
outside looking at what is inside." 1

1 As quoted in "Interview with Tomás Sánchez," in Edward J. Sullivan, Tomás

Sánchez, Milan: Skira Editore, 2003, 19.

103
PROPERTY FROM THE THOMAS J. KLUTZNICK COLLECTION

36
CLAUDIO BRAVO (1936-2011)
Calabazas verdes
signed and dated 'CLAUDIO BRAVO MCMXCII' (lower left)
oil on canvas
37æ x 51 in. (95.9 x 129.5 cm.)
Painted in 1992.

$200,000-300,000

PROVENANCE:

Marlborough Gallery, New York.

Acquired from the above by the present owner 16 October 1992.

LITERATURE:

P. Bowles & M. Vargas Llosa, Claudio Bravo: Paintings and Drawings, New York,
Abbeville Press, 1997, p. 199 (illustrated in color).
P. Bowles et al., Claudio Bravo: Paintings and Drawings 1964-2004, New York,
Rizzoli, 2005, p. 223 (illustrated in color).

“If I had to choose an age into which I’d fit,” Bravo considered, “it would have A paradigmatic example of his still lifes, Calabazas verdes displays the
to be the 17th century. During that time artists copied nature in a conceptual intense naturalism, flawless technique, and metaphysical gravity for which
way. They transformed the reality of their time as I try to transform the Bravo is celebrated. A suitably ordinary and recurring subject throughout his
reality of ours.” During his formative years in Madrid, from 1961 to 1972, he career, pumpkins appear variously in the company of other gourds and with
found spiritual kinship with the Baroque painters of the Spanish Golden decorative objects, among them a leopard skin and an inlaid Renaissance
Age, among them Juan Sánchez Cotán, Diego Velázquez, and Francisco box. Four of the pumpkins portrayed in the present work may also be seen in
de Zurburán. In the classicism and dramatic verisimilitude of their still-life a smaller pastel from the same year, but the complexity of their arrangement
paintings, or bodegones, Bravo recognized affinities with the luminous, here introduces far greater visual interest. Wrinkled and striated, the gourds
philosophical realism that already described his own work. “The objects in rest atop a wooden table, their variegated, yellow- and dark-green flesh
these still life paintings transcend reality,” he remarked. “I use light a bit like meticulously modeled and illuminated against a warm, wood-paneled wall.
Zurbarán did. He was one of the few painters that gave true transcendent Set on a shallow foreground plane, the triangular composition dramatizes
meanings to objects. This treatment of the light makes things seem more its vegetal subjects, imparting a loose order to their lumpy, irregular forms;
than they are…their essence is greater. . . . When I paint something I want to their curving, indented ribs and animated asymmetry counter the underlying
paint its true being.” 1 Bravo’s still lifes elicit questions of ontology—of being, geometry established by the wall and table. “I don’t want my compositions to
of abstract and material reality—and of perception, probing the illusions of look as if they’d been artificially composed,” Bravo explained. “I want them to
appearance and the universal transience of all things. look de-composed, that is to say, natural.”3

Bravo first brought his remarkable technical virtuosity to bear on still-life “Object reality is undoubtedly a matter of fascination and importance
painting in the late 1960s with his iconic series of paper-wrapped packages for him, but in his pictures there is usually a higher order of meaning as
tied with string. Yet his work encompassed subjects both conventional and well,” curator Charles S. Moffett observed of Bravo’s early still lifes. “The
novel, from vanitas and foodstuffs to draped cloth and meditative rocks, the accumulation of details that frustrate a precise and regular composition
latter inspired by his interest in Japanese Zen. “I am very much interested in provides an enlivening tension by keeping the composition from locking
the unusual, the unexpected, the strange,” Bravo explained. “I like to make into a predictable pattern of repeats and echoes. Bravo flirts with order
pictures based on the things that we generally see around us in daily life, and precision in every detail of the picture, beginning with the vertical and
but then take them in unexpected directions. . . . Much of my recent work horizontal axes of the picture plane and including all formal and pictorial
has been in the genre of still life. And in these works it is again the most elements in a fabric of checks and balances. The ‘order’ that the composition
unusual aspects that I seek, I try very hard to go beyond appearances of settles into is, however, a matter of idea and mindset that resists diagrams
things, to capture the rarity in nature.” In tabletop compositions such as and Euclidean thinking.”[4] Calabazas verdes exemplifies this dynamic
Calabazas verdes, Bravo both nods to traditional bodegones and suggestively equilibrium and the radical realism it broaches: more than mimesis, Bravo’s
modernizes the genre, incorporating experiments with space and perspective painting imbues its ever slightly akilter subjects with exquisite and expressive
and approximations of the abstract. “I have always been conscious of the life.
fact that the classic still life concerns objects on a table,” he noted. “But I
have always been interested in the fact that the artist does not seem to care Abby McEwen, Assistant Professor, University of Maryland, College Park
about what happens beneath, above or at the side of the table. I have begun
1 Claudio Bravo, quoted in Edward J. Sullivan, Claudio Bravo (New York: Rizzoli, 1985), 13, 42, 45.
to conceptualize the still life as a larger entity than the things we are used
2 Bravo, quoted in “Conversation with Edward Sullivan,” Claudio Bravo: Paintings and Drawings
to seeing. . . . In my experiments with the still life it occurs to me that my art (1964/2004), 144-45, 147.
really does look very modern; it sometimes almost looks abstract.”2 3 Bravo, quoted in Sullivan, Claudio Bravo, 45.
4 Charles S. Moffett, “On Claudio Bravo’s Realism, 1971-1973,” Art International 19, no. 7 (July 1975): 7-8.

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

37
FERNANDO BOTERO (B. 1932)
Horse
signed and numbered 'Botero 2/6' and stamped with foundry mark
'FONDERIA ARTISTICA, DA PRATO, PIETRASANTA ITALY' (on the base)
bronze
38æ x 37 x 20 in. (98.4 x 94 x 50.8 cm.)
Executed in 2003.
Edition two of six.

$500,000-700,000

PROVENANCE:

Private collection, Miami.

Anon. sale, Christie's, New York, 23 May 2006, lot 56.
Acquired from the above by the present owner.

106
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PROPERTY FROM THE MODERN ART MUSEUM OF FORT WORTH, SOLD TO BENEFIT
THE MUSEUM

38
PROVENANCE:
DIEGO RIVERA (1886-1957)
William E. Scott Foundation collection, Fort Worth, Texas.
Narcissus Market Gifted from the above to the present owner in 1963.
signed and dated 'Diego Rivera 1950' (lower center) We are grateful to Professor Luis-Martín Lozano for his assistance
watercolor on paper
cataloguing this work.
15Ω x 10æ in. (39.4 x 27.3 cm.)
Executed in 1950.

$70,000-90,000

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39
PROVENANCE:
DIEGO RIVERA (1886-1957)
Private collection, Bogotá.
Puesto de frutas Anon sale, Chrisite's, New York, 15 May 1991, lot 8.
signed and dated 'Diego Rivera 1941' (lower left) Acquired from the above by the present owner.
watercolor and gouache on paper
We are grateful to Professor Luis-Martín Lozano for his assistance
11 x 15º in. (27.9 x 38.7 cm.)
cataloguing this work.
Executed in 1941.

$60,000-80,000 This is a market scene in Huejotzingo, Mexico.

109
 The most obscure, the most retiring, the most self-effacing, and
yet the most important man in the Mexican Renaissance is Alfredo
Ramos Martínez.
–Brooke Waring, Hollywood movie scenic painter, 1935.1

40
ALFREDO RAMOS MARTÍNEZ (1871-1946) Alfredo Ramos Martínez spent his childhood surrounded by the natural
La India beauty of his grandfather’s vast terrain, the Hacienda Larraldeña in Sabinas
Hidalgo, north of Monterrey in the border state of Nuevo León. 2 Born here
signed “RAMOS MARTÍNEZ’ (lower left)
in 1871, as a boy he would have played under the gnarled, majestic sabinas
oil on canvas
49√ x 42¿ in. (127 x 107 cm.) (cypress trees) and swum during hot summers in the Ojo de Agua natural
Executed circa 1930s. springs or at the Charco del Lobo water hole among purple sage and
Mexican olive trees with the prominent silhouette of the area’s landmark,
$800,000-1,200,000
the Pico mountain, visible in the distance. It was the beginning of the long
PROVENANCE: Porfirian dictatorship that ended in the outbreak of the Mexican Revolution
Edith Head, Los Angeles. of 1910-20, an era during which the economic and social differences between
Private collection, Los Angeles (gift from the above to the present owner, 1981). the privileged hacendado (landowner) and the Indian peon were extreme,
the latter’s subjugation and assimilation a goal of the ruling elite’s positivist
LITERATURE:

G. R. Small, Ramos Martínez, His Life and Art, Westlake Village, California, F&J stance with a push for industrial progress and a proclaimed love of all things
Publishing Corp., 1975, p. 108 (illustrated in color). French. Ramos Martínez’s family were merchants by trade. Growing up on
the hacienda he would have witnessed the widening class and racial divide
Louis Stern has confirmed the authenticity of this work. It will be included in
between peasant and landowner as the central government privatized Indian
the catalogue raisonné of paintings, to be published by the Alfredo Ramos
communal ejidos to sell off to foreign mining and railroad developers.
Martínez Research Project.
The talented young artist would leave this natural oasis behind when
he won a drawing competition, the prize a scholarship to study at the
Academia de San Carlos in the country’s historic capital.3 The institution’s
conservative pedagogy based in mimesis, the study of plaster reproductions
of Greek and Roman classical sculpture, and heavily costumed models,
produced grand history paintings such as Leandro Izaguirre’s monumental
Torture of Cuauhtémoc of 1893, indebted to Jacques Louis David’s French
neoclassicism. And while Ramos Martínez excelled at the Academy winning
competitive awards, he often skipped classes compelled to escape the
colonial building to draw outdoors, directly from nature; he mastered
the then-uncommon mediums of pastel and watercolor through close
observation of flowers and indigenous laborers in the outlying neighborhoods
of Coyoacán, where his family lived, Chimalistac, and Churubusco.4

The artist’s floral painting of tablecloths and/or menus for a dinner party
President Porfirio Diaz threw in honor of visitor Phoebe Apperson Hearst,
mother to the famous media magnate, William Randolph Hearst, caught
the philanthropist’s attention; she then sponsored Ramos Martínez’ voyage
to Europe gifting him a monthly stipend that ended six years later in 1906
when he won the first prize at the Paris Salon d’Automne for Le Printemps,
a large Botticelli-inspired canvas of young fête galante maidens bearing
floral bouquets.5 His contemporaneous pastel drawings on newspaper of
pious Breton devotees in northwest France echoed Post-Impressionist Paul
Gauguin in subject, unnaturalistic color, and the play between figure and
ground; this approach pointed to the artist’s future mature indigenismo that
he would develop in the 1930s in southern California through fresco murals,
pastels, and oils such as La India.

110
111
An accomplished artist after spending a decade in Europe, with the outbreak The self-made fashion diva must have identified with the monumental,
of the Mexican Revolution in 1910 Ramos Martínez returned home to propel golden-hued La India, her noble, uncompromising visage filling the
the artistic revolution; he, in fact, initiated Mexican modernism as the canvas; Head also shared much in common with La India’s painter Ramos
Academy’s newly appointed director of painting by establishing the first Martínez, from her petite stature, strong work ethic, resourcefulness, high
Escuela de Pintura al Aire Libre (EPAL, Open Air Painting School) in Santa accomplishments, to her grand ambition. The San Bernardino-native, who
Anita Ixtapalapa. There in a rented house on the edges of the chinampas mythologized her origins by claiming at times to have been born and raised
(floating gardens) disadvantaged students created a national art that was in Mexico, embraced difference for herself while fashioning on-screen
“free, fresh, and avant-garde contrasting with what was produced in the ideals; Ramos Martínez, displaced from his native Mexico late in life, now a
San Carlos studios.”6 While nicknamed “Barbizon” after the mid-19th committed proponent of indigenismo on canvas and fresco, fed Hollywood’s
Century French artist pioneers who painted from nature in the Forest of vision of a Mexican paradise as he fashioned, in works such as La India, an
Fontainebleau south of Paris using the village of Barbizon as their base- enduring image of Deep Mexico.14
camp, the lush gardens and local peasants surrounding Santa Anita likely
reminded Ramos Martínez of his childhood home, Hacienda Larraldeña. Teresa Eckmann, Associate Professor of Contemporary Latin American Art
Such students as Fernando Leal and Ramón Cano Manilla attending History, University of Texas at San Antonio
additional EPAL schools established under Ramos Martínez’s direction in the
1 Brooke Waring, “Martínez and Mexico’s Renaissance,” The North American Review 240.3 (December
1920s would produce vanguard, anti-academic, and intuitive painting. Typical 1935): 445.
of the latter were sculptural, frontal, native figures pressed against shallow 2 See Héctor Jaime Treviño Villarreal, “El sabinense Alfredo Ramos Martínez, padre de la pintura moderna
backdrops of foliage under dappled, Impressionist lighting; to detail native mexicana” in Historias de Sabinas published 15 June 2012 for an account of the artists’ childhood home.
https://www.sabinashidalgo.net/articulos/historias-de-sabinas/8362-el-sabinense-alfredo-ramos-
dress and fruit, they used a bright color palette drawn from indigenous, arte martinez-padre-de-la-pintura-moderna-mexicana Accessed May 15, 2020.
popular ceramics and textiles. Painted in this manner, Ramos Martínez’s 3 This story is often repeated by the artist’s biographers that somewhere between the age of nine and
Indian Couple with Watermelon of 1914 foretold of his later California fourteen, he won an art contest held in San Antonio, Texas for his drawing of the governor of Nuevo León
with either a prize, or the prize money later used, to study at the Academia de San Carlos in Mexico City.
production to which La India belongs.
4 As reported by the artist when interviewed by the editor of the Coronado Citizen in 1938 (Volume II,
Numer 1, November 3) “Creator of Avenida Murals Greatest Mexican Artist.” Digitized and available
Stylistically eclectic in personal work and portrait commissions that he online: https://cdnc.ucr.edu/cgi-bin/cdnc?a=d=CTZN19381103.2.65=-------en--20--1--txt-
produced between 1910 and 1930, Ramos Martínez leaned on lessons txIN--------1 Accessed May 20, 2020. Additionally, the art historian Fausto Ramirez recounts in “Alfredo
Ramos Martínez A Stylistic Itinerary” in the catalogue Un homenaje a Alfredo Ramos Martínez (Monterrey:
learned from the dark Spanish Symbolist Ignacio Zuloaga and the luminosity Museo de Arte Contemporáneo de Monterrey, 1997) on p. 52 that the Academy director, Román S. de
and loose brushwork of Joaquín Sorolla. He further studied Goya’s portraiture Lascuráin at the time wrote a letter of complaint to the governor General Bernardo Reyes of Nuevo León
regarding both the artist’s truancy, talent for watercolor, and plein air outings to these suburbs.
from postures to delicately pointed feet, while absorbing Gauguin’s
5 This biographical anecdote is recounted often by scholars. See, for example, Israel Cavazos Garza’s
primitivizing, “othering” aesthetic; even so, the common thread throughout “Alfredo Ramos Martínez The Man” in the catalogue Un homenaje a Alfredo Ramos Martínez (Monterrey:
his figurative work was his persistent exploration of female typologies such Museo de Arte Contemporáneo de Monterrey, 1997), p. 75. Most often biographers identify the menus for
the dinner party as decorated by the artist. However, historian Treviño Villarreal in “El sabinense Alfredo
as the femme fatale, the china poblana, Eve, la Malinche, the Virgin Mary,
Ramos Martínez” states that the artist was commissioned to decorate “manteles,” or tablecloths, which
and La India.7 logically, because of their scale, might garner more attention than paper menus.
6 Laura Gonzalez Matute, “Barbizon o Santa Anita. La primera Escuela de Pintura al Aire Libre. 1913,” in
Newly married, with an infant who needed medical attention, and a Piso 9 investigación y archivo de artes visuales. My translation. https://piso9.net/barbizon-o-santa-anita-
la-primera-escuela-de-pintura-al-aire-libre-1913/ Accessed May 18, 2020.
Hollywood market eager to acquire the artist’s romantic view of a feminine,
7 See for example Rick A. López’s discussion of La India (Bonita) typology, as well as the Tehuana and
native and floral Mexico, Ramos Martínez moved his wife and daughter china poblana in “The India Bonita Contest of 1921 and the Ethnicization of Mexican National Culture”
permanently to Los Angeles in 1929. The artist soon found contract work as in Hispanic American Historical Review 82.2(2002), 291-328. Additionally, for an overview of typologies
see the introduction to Tara Zanardi and Lynda Klich, Eds. Visual Typologies from the Early Modern to the
a set designer for various movie studios;8 it was at Paramount Pictures that
Contemporary: Local Contexts and Global Practices (New York and London: Routledge, 2019), p. 1-12.
he likely came into contact with art director Bill (Wiard Boppo) Inhen, who,
8 Héctor Jaime Treviño Villarreal, “El sabinense Alfredo Ramos Martínez,” https://www.sabinashidalgo.
remarkably, had assisted David Alfaro Siqueiros in painting his infamous net/articulos/historias-de-sabinas/8362-el-sabinense-alfredo-ramos-martinez-padre-de-la-pintura-
mural America Trópical of 1932 on Olvera Street, 9 as well as Edith Head, moderna-mexicana Accessed May 15, 2020.

who started at Paramount as a sketch artist in 1923 working her way up 9 See Shifra M. Goldman, “Siqueiros and Three Early Murals in Los Angeles,” Art Journal 33.4 (Summer,
1974), p. 327, footnote 26.
to chief designer by 1938. Bill and Edith would marry in 1940 and live in
10 There are varying dates given for the year that Edith Head purchased Casa Ladera, but the film actress
her California “hacienda style” adobe farmhouse in Beverly Hills that she Carrie Fisher, who purchased the house in 1992 credibly recounts Casa Ladera’s history naming the
purchased in 1933 and named Casa Ladera.10 year 1933 as the move in date for Edith Head. This is important because it is likely that Head, or Ihnen,
acquired the painting from Ramos Martínez in the early-to-mid 1930s and hung it at Casa Ladera.
See Nancy Collins, “Inside Carrie Fisher’s House in Beverly Hills,” Architectural Digest, https://www.
For nearly half a century, Ramos Martínez’s imposing La India would hang as architecturaldigest.com/story/carrie-fisher-los-angeles-home-article Accessed May 23, 2020.
the centerpiece of Casa Ladera’s ample patio, above rustic wicker furniture 11 See the short video, “Edith Head and Wiard Ihnen: Person to Person” available at:
from Portugal, next to a wall displaying an impressive collection of Mexican https://www.oscars.org/collection-highlights/edith-head Accessed May 25, 2020.
ceramic ollas (cookware).11 When, in 1978 Head asked photographer Bill 12 Telephone conversation between the author and Bill Childers, May 11, 2020. Although, the
Childers to capture her seated before the painting, she, like La India was photographer recalls having been able to make Edith Head smile, something she was not known to do.
13 Ibid. Also see the photographs of Edith Head at home dressed in Mexican garments published in
a timeless, stoic icon; as Childers described her, the fashionista was in a
the section “Casa Ladera” in Jay Jorgensen, Edith Head: The Fifty Year Career of Hollywood’s Greatest
word, “formidable.”12 Her severe “look” of round glasses, straight bangs, and Costume Designer (Lebanon: Running Press, 2010), np.
“schoolmarm attire,” so distinct as to give life to Edna Mode, Disney/Pixar’s 14 As Jorge Castañeda explains in The Mexican Shock: Its Meaning for the United States (New York: The
Incredibles’ seamstress of superhero costumes, constructed a public persona New Press, 1995) “The utterly destitute minority of what in colonial times was called the ‘Republic of
Indians’—the indigenous peoples of Chiapas, Oaxaca, Tabasco, Michoacán, Guerrero, Puebla, Chihuahua,
for this author of The Dress Doctor and thirty-time nominee/eight-time and Sonora, (are) all known today as el México profundo: deep Mexico,” p. 38.
Oscar winner, while at her Casa Ladera home she dressed herself in colorful
Mexican garments and jewelry.13

112
 113
Edith Head, pictured with Ramos Martinez’s La India, at Casa Ladera in
Coldwater Canyon, Los Angeles, 1978. Photo © Michael Childers
41
PROVENANCE:
RUFINO TAMAYO (1899-1991)
Private collection, Greenwich.
Dos mujeres sentadas
signed and dated 'Tamayo 40' (lower left) We are grateful to art historian Juan Carlos Pereda for his assistance
watercolor and pencil on paper
cataloguing this work.
13æ x 16æ in. (34.9 x 42.6 cm.)
Executed in 1940.

$40,000-60,000

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42
PROVENANCE:
MARÍA IZQUIERDO (1902-1955)
Humberto Arellana Garza, Mexico City.
Sirenas Anon. sale, Butterfields, San Francisco, 24 October 1996, lot 2213.
signed and dated 'M Izquierdo.38' (lower left) Mary-Anne Martin|Fine Art, New York.
watercolor on paper Acquired from the above by the present owner.
8¿ x 10√ in. (20.8 x 27.6 cm.)
EXHIBITED:
Executed in 1938.
Mexico City, Centro Cultural Arte Contemporáneo, María Izquierdo, November
$20,000-25,000 1988- February 1989, p. 145 and p. 314, no. 23 (illustrated in color, p. 145).
New York, Americas Society, The True Poetry: The Art of María Izquierdo, 6 May
-27 July 1997, p. 39, no. 13 (illustrated in color). This exhibition also traveled to
Santa Barbara, Santa Barbara Museum of Art, 27 September - 28 December
1997, Corpus Christi, Texas, Art Museum of South Texas, 13 January - 8 March
1998.

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PROPERTY FROM THE ESTATE OF MARTHA HANES AND CALDER WILLINGHAM
WOMBLE

43
DIEGO RIVERA (1886-1957)
Retrato de Inesita Martínez
inscribed ‘Inesita Martínez a los tres años de edad, la pintó Diego Rivera el
mes de marzo de 1939’ (along the upper edge)
oil on canvas
32 x 24Ω in. (81.3 x 62.2 cm.)
Painted in 1939.

$250,000-350,000

PROVENANCE:

Ralph and Dewitt Hanes collection, Winston-Salem (acquired directly from

the artist).
Martha Hanes and Calder Willingham Womble collection, Winston Salem
(gift from the above).
The Estate of Martha Womble, Winston-Salem.

LITERATURE:

A. Souza, "Los niños mexicanos pintados por Diego Rivera," Artes de México,
vol. 5, no. 27, 1959, no. 30 (illustrated).
Diego Rivera, catálogo general de obra de caballete, Mexico, Instituto Nacional
de Bellas Artes, Dirección General de Publicaciones,1989, no. 1501, p. 197
(illustrated).

When Diego Rivera returned to Mexico in 1921 after a fourteen-year sojourn An important group of works were the portraits of young children that are
in Europe, he launched the most definitive period of his artistic production as part of the tradition of nineteenth-century portraiture, a genre he and his
a painter. This was not only the result of his many al fresco murals executed wife Frida Kahlo valued and personally collected. Often these enchanting
throughout public buildings, but rather, he also set his aspirations towards paintings by popular masters such as José María Estrada and Hermenegildo
becoming a modern painter committed to the ideals of social justice and Bustos, professed a certain pleasure in representing their innocence as
equality for all those dispossessed people, such as those in Mexico that had a metaphor for the children’s spontaneity untouched by the demands of
undergone a social revolution at the beginning of the twentieth century. The modern life. These works move the viewer much the way the naif paintings
substantive shift that occurred between Europe and Mexico was rooted of Henri Rousseau, whose works were so admired by Picasso, as by Rivera
in his understanding of the ultimate mission that art could play in the throughout his time in Paris. This is precisely one of the qualities apparent in
transformation of a modern society. When he lived in Paris, his concerns Retrato de Inesita Martínez, depicted at the age of three, seated on the floor
regarding his work were certainly linked to concepts and theories related to on a mat made of petate palm as if she were a Mexican popular crafts doll.
art. But from the moment he became immersed in the post-revolutionary Rivera renders her as a Mexican girl with brown little hands and bare feet,
Mexican cultural renaissance, Rivera recognized that art was part of an with intelligent, inquisitive eyes in an arresting gaze. Everything about her
ideology, and that under a Marxist ideal, he was on the road to altering alludes to her race’s dignity—her blue dress, her well-combed hair, and her
people’s lives and reclaiming their dignity as human beings. Diego Rivera’s flirty pink bow evoking the cherry atop a sweet dessert or cupcake. For Diego
many works such as his murals depicting historical narratives, as well as Rivera, these children, like Inesita, represented tomorrow’s promise for a
the numerous easel paintings he executed up until 1957, can be understood Mexican society in which the pursuit of happiness was a social right.
under these idealistic principles.
Professor Luis-Martín Lozano, art historian, Mexico City

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BENITO QUINQUELA MARTÍN (1890-1977) In part through the patronage of Argentina’s President Marcelo T. de Alvear,
Buque en descarga (En pleno trabajo) Quinquela was able to travel abroad, and from Madrid to Paris, Rome, and
London he unveiled paintings of La Boca, his singular and indefatigable
signed 'B. quinquela MARTIN' (lower right) signed again and titled 'quinquela
subject. “Very seldom indeed have the turbulent and heterogeneous sights
MARTIN, Buque en descarga' (on the reverse)
oil on canvas in the ports been put on canvas with such vigour and spiritual perception
51º x 55¡ in. (130.1 x 140.7 cm.) as those of Quinquela Martín,” wrote the Spanish critic José Francés of his
Painted in 1923. exhibition at Madrid’s Círculo de Bellas Artes, in which the present work
was shown. “The austerity and the sobriety of Quinquela’s high idealism
$180,000-200,000
profoundly surprised me,” Francisco Alcántara concurred. “I wish to extol
PROVENANCE: the revealing power of his sentimental intimacies,” he continued, “and I
Dr. Sánchez de Rivera, Madrid. wish to give his heroic action the highest relief.” Buque en descarga also
Sale, Battaglia, Buenos Aires, 1954. numbered among the canvases shown at Galerie Charpentier in March 1926.
Dr. and Mrs. S. Gurovich. “Argentina—a friendly country seeking always our artistic guidance—has
Suzette Gurovich, Los Angeles. never before sent us an envoy so distinctly individual as Benito Quinquela
Anon. sale, Sotheby's, New York, 25 May 2011, lot 51.
Martín,” the French writer Camille Mauclair proclaimed. “It is all his universe,”
Acquired from the above by the present owner.
he remarked of the port thematized in “this symphonic series,” noting the
EXHIBITED: “audacity” with which the artist’s palette knife rendered a “romantic fugue”
Madrid, Círculo de Bellas Artes, 1923, no. 12 (illustrated). out of “the vivid vermilion, the violent cadmiums, the deep blues and the rich
Paris, Galerie Charpentier, Oeuvres de peintre argentine Benito Quinquela and sombre greens, side by side.”2
Martín, 1926.

LITERATURE:
Buque en descarga describes a teeming port scene, astir with dockhands
Benito Quinquela Martín, pintor argentino, Obras pertenecientes a museos y offloading cargo in a workaday choreography circumscribed by rope mooring
galerías, Buenos Aires, 1934, p. 33 (llustrated). lines and wooden boards that link the boats to the harbor. A tall, tapering
José de España, Quinquela Martín, Pintor, Buenos Aires, Ediciones Gay Saber, mast anchors the left-hand side of the image; its furled sails reveal weblike
1945, p. 148, illustrated. lines of rigging, dark and well defined against the softly atmospheric sky
Rafael Squirru and Ignacio Guttiérrez Zaldívar, Catálogo Razonado de la Obra and waterfront in the background. Rows of colorful, silhouetted ships, masts
de Benito Quinquela Martín, Buenos Aires, 1990, no. 2307, p. 78 (illustrated). pointed gracefully upward and smoke billowing from their stacks, line each
Ignacio Guttiérrez Zaldívar, Quinquela Martín, Buenos Aires, Zurbarán
side of the harbor, stretching toward the horizon. The waterway gleams
Ediciones, 2000, p. 73, (illustrated in color).
distantly between them, its glassy surface reflecting a pale, pinkish early
morning light. Stately in their bearing, Quinquela’s ships project a romantic
His “life-story is romantic enough to provide the ‘Diurnals’ with columns vision of modern industry, their steam-powered energy pulsing through lively,
of ‘copy,’” opined the English critic Herbert Furst of Quinquela Martín, but parallel brushstrokes that describe the rippling effects of light on water.
“his paintings can, so to speak, hang on their own hooks.” Quinquela shot Toiling in the shadow of the ships, the dockworkers appear comparatively
to international acclaim in the 1920s, rising from humble beginnings on the diminutive, their backs laden with cargo as they serve the mercantile
docks of La Boca, the port district of Buenos Aires, to an improbably fêted interests of La Boca and Argentina’s growing export economy. “The port
European tour. Abandoned at birth and later adopted by a dockworker, he is my great theme,” Quinquela recognized, its steamers and longshoremen
grew up hustling coal, drawing with bits of charcoal before he could read or his vital and enduring subjects for more than seventy years. “The essential
write. Largely self-taught as an artist, Quinquela adapted an idiosyncratic point,” he reflected, “is to not reconstruct the themes without reconditioning
Impressionism over his career, eschewing avant-garde experimentation for oneself at the same time, within the themes, to create new worlds without
emotionally charged renderings of the waterfront, brought to life in the bustle leaving the old behind.”3
of the ships and the hardworking dockhands attending them. “They paint
three apples on a plate and call it ‘modern art,’” he demurred in 1930. “But Abby McEwen, Assistant Professor, University of Maryland, College Park
how is this modern? The steam-engine, the electric power, wireless, motor-
1 Herbert Furst, “Exhibition, New Burlington Galleries,” Apollo XI, no. 66 (June 1930): 486, 488.
cars, flying machines—that is modern.” Praised as “the painter-in-ordinary to
2 José Francés [La Espera, Madrid, April 1923], Francisco Alcántara [El Sol, Madrid, 1923], and Camille
the genius loci,” he generously and repeatedly gave back to the boquenses Mauclair [Paris, March 1926], quoted in Exhibition of the Works of the Argentine Painter Benito Quinquela
as his career ascended, building a local grade school and leaving a legacy Martín (Buenos Aires: A. García, 1926), n.p.
3 Benito Quinquela Martín, quoted in Fermín Fèvre, Quinquela (Buenos Aires: Editorial El Ateneo, 2001),
of museums and a bounty of his own work, honored at the waterside Museo
4.
Quinquela Martín.1

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 DR LEONARD D. HAMILTON
SUPPLIER OF DNA USED IN
THE DISCOVERY OF THE DOUBLE HELIX

B
orn in Manchester, England, Dr. Leonard D. Hamilton graduated from Balliol College, Oxford
University (B.A. 1943, B.M. 1945, M.A. 1946, D.M. 1951), and completed his graduate studies in
biochemistry at Trinity College, Cambridge (M.A. 1948, Ph.D. 1952). He married a fellow Oxford
student Ann Twynam Blake in 1945, and they came to Salt Lake City in 1949 on a one-year fellowship
at the University of Utah. They decided to stay in the US when he was offered a position at Memorial
Hospital/Sloan-Kettering Institute in New York City.

Dr. Hamilton worked as a physician and medical researcher during his career, at Memorial/Sloan-
Kettering and, from 1964 onwards, at Brookhaven National Laboratory. He was also a consultant to the
United Nations while living in Manhattan and collaborated extensively with colleagues overseas. He
traveled to Brazil several times in connection with his work.

In the late 1940s and early 1950s, Dr. Hamilton developed techniques for extracting and purifying
mammalian DNA, which he supplied, by air, to Maurice Wilkins and his associates at Kings College,
London, England. From these samples they were able to generate X-ray crystallography images from
which the double helical structure of DNA was inferred - the discovery for which Wilkins, James Watson
and Francis Crick shared a Nobel Prize. As Wilkins mentioned in his autobiography, The Third Man of the
Double Helix.

“And just a few days later, my friend Leonard Hamilton (another art enthusiast) who worked at the Sloan
Kettering Cancer Institute in New York, sent us excellent quality human DNA from his lab. Leonard was
to become our main supplier of DNA.”

Dr. Hamilton was an avid art collector and he met and befriended a number of leading artists. Over
the years he assembled a collection that included works by Lowry, Alechinksky, Hodgkins, Portinari,
Krajcberg, Mabe, Stamos, Epstein, Thornton, Whistler, Matisse, Masson, Wood, Picasso, Bonnard,
Blackwood, Corinth and others. In later life these works adorned his house outside New York, designed
by noted New York architects Julian and Barbara Neski, which featured in Record Houses of 1968 and
House Beautiful magazine.

Candido Portinari’s Untitled is a new discovery, and fresh to the market, having been in Dr. Hamilton’s
personal collection since its conception. The work was gifted to Dr. Hamilton, arranged as a thank you
from Brazilian diplomat, Jayme de Chermont, for treating his wife, Zaide de Chermont. Dr. Hamilton made
several trips to Brazil for work, the last of which he stayed on for five weeks at Ambassador Chermont’s
residences in Rio while he was featured as a guest lecturer at the Universidade do Brasil. Indeed, Brazilian
culture left an indelible mark on Dr. Hamilton; he loved the art and music of that time, and brought back
many Bossa Nova and Samba records upon his return to the US, which he played often. In a letter to
Portinari, dated 10 July 1961, Dr. Hamilton thanks Portinari for his generous gift and writes, “The painting
is very moving and evocative, it will be a pleasure to share our life with it…Words obviously do not begin to
convey the creativity in your art and your generosity. Through them, I will always remember my brief visit
to Rio and the glimpse I had of the spirit of Brazil.”

Dr. Leonard Hamilton (left) with Dr. Jayme Chermont, Brazilian diplomat
and friend, Rio, ca. 1960. Photo courtesy the family.
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Dr. Leonard D. Hamilton, circa 1960. © Erich Hartmann/Magnum Photos.
PROPERTY FROM THE COLLECTION OF DR LEONARD D. HAMILTON

45
CANDIDO PORTINARI (1903-1962)
Untitled
inscribed 'Para O Dr. Leonard Hamilton, con a maior simpatia de PORTINARI
RIO, Junho da 961 BRAZIL' (lower left)
oil on canvas
24º x 19æ in. (61.6 x 50.2 cm.)
Painted in 1961.

$200,000-300,000

PROVENANCE:

Gift from the artist.

“A child of the people, his true education was received out of doors, in direct retirantes sparked by the severe drought of 1958. Major works from this time
contact with the hard work that was the lot of immigrants, among the coffee include the Tiradentes panel (1948-49), installed at the Oscar Niemeyer-
trees growing in the red earth,” the Brazilian critic Mário Pedrosa noted of designed Cataguases School and honoring the famed, eighteenth-century
Portinari’s modest beginnings. “His childhood was one of poverty,” Pedrosa independence hero from Minas Gerais, and The Arrival of Dom João VI to
allowed, but “from those years he has retained, besides the images of his Bahia (1952), commissioned by the Banco da Bahia. Brazil honored him
childhood, his attachment to his home circle and love for his relatives, with exhibitions at the Museu de Arte Moderna in Rio de Janeiro (1953) and
his sympathy for the common people and for the day laborer, a certain at the Museu de Arte de São Paulo (1954). In 1959, the V São Paulo Bienal
roughness of manner and a touch of the shrewdness native to the country mounted an acclaimed retrospective of more than one hundred paintings and
folk of São Paulo.”1 Among Brazil’s foremost modern artists, Portinari drawings. “He finds his subjects not in his own frustrations and tensions but
enacted his practice as a form of protest and critique for more than forty in the annals of the poor and the anguish of the bereft,” wrote critic Emily
years, bringing new visibility to the working and immigrant classes who Genauer in 1959. “Yet to the interpretation of these melancholy themes
toiled on São Paulo’s coffee fazendas and in the drought-ridden states of the he brings a palette of stunning brilliance and luminosity, composition as
Northeast. deceptively simple as it is daring.”3 Portinari was diagnosed with lead
poisoning, caused by his experiments with oil paints, in the early 1950s, but
The son of poor Italian immigrants, Portinari left home at the age of fifteen against the warning of his doctor he continued to work through his illness.
to attend the National School of Fine Arts in Rio de Janeiro, and in 1928 he
was awarded a scholarship to study in Europe. His return to Brazil in 1931 The present Untitled, painted in the last year of his life, reprises the destitute
coincided with rising nationalist sentiment, and his paintings and murals retirantes of his celebrated, humanitarian canvases from the past two
began to encode the complexity of the social and racial fabric of his country decades. “I am a son of the red earth,” Portinari proudly acknowledged.
as it modernized under the Getúlio Vargas regime. His now iconic renderings “I decided to paint the Brazilian reality, naked and crude as it is.”4 The
of Afro-Brazilian labor, such as Mestiço (1934) and Café (1935), drew early impoverishment of the reddish drylands, parched under a cloudless sky,
Pan-American acclaim, and Portinari was lauded with a solo exhibition at frames the family group shown here, their figures gaunt and despondent
New York’s Museum of Modern Art in 1940 and, soon after, a commission against an unforgiving desert horizon. Flagging and frightened, they clutch
to execute four murals for the Hispanic Reading Room at the Library of each other and their worldly possessions, reduced to a few small sacks, in
Congress in Washington, D.C. His monumental murals War and Peace, a gift their arms and hands. Their oversized feet recall the similarly exaggerated
from Brazil to the United Nations, were inaugurated at the organization’s hands and feet of Portinari’s rugged plantation laborers of the 1930s; here,
New York Headquarters in 1957. they underscore the arduous journey—sometimes stretching to hundreds
of drought-stricken miles—that the family, representing thousands of other
Portinari’s work of the 1940s encompassed his most strident polemics, refugees, has undertaken on foot. Their abjection, painfully apparent in the
conveyed in paintings that portray the staggering poverty of northeastern sunken, sunburned cheeks and wasted limbs of the two youngest children,
Brazil and the aggravating agonies of endemic drought and mass migration. renders the human tragedy of famine and underdevelopment in unsparingly
Distraught by the onset of the Second World War and the rise of the desolate, expressionist terms.
authoritarian Estado Novo, Portinari took an increasingly activist stance,
running unsuccessfully for political office on the Communist Party ticket Portinari gave this work to Dr. Leonard Hamilton, a medical researcher at
in 1945 and 1947. His powerful Retirantes (“Emigrants”) cycle of 1944, what is now Memorial Sloan Kettering Cancer Center in New York as well
which includes Retirantes, Criança morta, and Enterro na rede, exposed the as a consultant to the United Nations, whom he met in Rio de Janeiro in the
desperation of the drought refugees, famished and forlorn, with homely summer of 1961. Brazilian Ambassador Jayme Sloan Chermont delivered the
pathos and intensity. Portinari returned annually to his rural hometown, canvas to Hamilton, who wrote to Portinari in July to express his thanks for
Brodowski, in the state of São Paulo, TIME magazine reported in 1947, the “very moving and evocative” painting.5
“storing his mind with fresh images of the poverty-worn Negro and mulatto
coffee workers among the red-brown hills” for months at a time. “But now Abby McEwen, Assistant Professor, University of Maryland, College Park
I don’t feel so much like painting happy pictures,” Portinari admitted. “I feel
1 Mário Pedrosa, “Portinari: From Brodowski to the Library of Congress,” Bulletin of the Pan-American
more like sad pictures.” But above all, he insisted, “I paint to teach my people Union 76, no. 4 (April 1942): 199.
what is wrong.”2 2 “Sad Pictures,” TIME, July 28, 1947, 48.
3 Emily Genauer, quoted in “Portinari’s Death Great Loss to Brazil,” Brazilian Bulletin, March 27, 1962, 2.
Portinari entered voluntary exile, amid heightened persecution of 4 Portinari, quoted in “Candido Portinari Dies at 58,” New York Times, February 8, 1962.
Communists, in late 1947, but he returned to Brazil the following year 5 Leonard Hamilton to Candido Portinari, July 10, 1961, https://artsandculture.google.com/asset/letter-
and continued his social protest, notably in new paintings of the blighted leonard-hamilton/KwFvA8bt1tOQ8Q?.

124
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MATTA (1911-2002)
L'exampleur
signed 'Matta' (lower right)
oil on canvas
56¿ x 78º in. (142.6 x 198.8 cm.)
Painted in 1949.

$280,000-350,000

PROVENANCE:

Peter Watson, London.

Roland Penrose, London.
Mary-Anne Martin/Fine Art, New York.
Private collection, Aspen, Sotheby's, New York, 16 November 2010, lot 13.
Acquired from the above after the sale.

EXHIBITED:

London, Hayward Gallery / Arts Council of Great Britain, Dada and Surrealism
Reviewed, 1978, no. 17.29.

This work is accompanied by a certificate of authenticity signed by Germana

Matta Ferrari, dated 27 March 1993, and is registered in the archives under
no. 49/5.

126
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47
WIFREDO LAM (1902-1982)
Untitled (also known as Cabeza adornada con pájaro)
faintly signed and dated 'W.Lam 1972' (on the reverse)
oil on canvas
13æ x 17¬in. (35 x 44.5cm.)
Painted in 1972.

$60,000-80,000

PROVENANCE:

Private collection, Viareggio, Italy.

Whitehall Gallery, New York.
Private collection, Caracas.
Anon. sale, Christie's, New York, 16 May 1991, lot 94.
Acquired from the above sale by the present owner.

LITERATURE:

M.P. Fouchet, Wifredo Lam, First Edition, Barcelona, Ediciones Polígrafa, S.A.,
1967, p. 248, no. 635 (illustrated, dated 1973).
M.P. Fouchet, Wifredo Lam, Second Edition, Barcelona, Ediciones Polígrafa,
S.A., 1989, p. 268, no. 667 (illustrated, dated 1973).
L. Laurin-Lam and E. Lam, Wifredo Lam: Catalogue Raisonné of the Painted
Work, Volume II, 1961-1982, Lausanne, Acatos, 2002, p. 366, no. 72.48
(illustrated).

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PROPERTY FROM AN IMPORTANT NEW YORK ESTATE

48
MATTA (1911-2002)
Untitled
oil on canvas
24º x 28æ in. (61.6 x 73 cm.)
Painted circa 1954.

$50,000-70,000

PROVENANCE:

Acquired from the artist (1954).

Private collection, Lima.
Anon. sale, Sotheby's, New York, 18-19 November 1987, lot 202.
Private collection, New York.

A certificate of authenticity from the Archives de l'œuvre de Matta is

forthcoming.

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PROPERTY OF A GENTLEMAN

49
GUNTHER GERZSO (1915-2000)
Trópico calizo
signed and dated 'Gerzso 92' (lower right); signed, dated and titled 'Tropico
calizo Gerzso I.-VII. 92' (on the reverse)
oil on canvas
32 x 39Ω in. (81.3 x 100.3 cm.)
Painted in 1992.

$70,000-90,000

PROVENANCE:

López Quiroga Galería, Mexico City.

Acquired from the above by the present owner.

LITERATURE:

R. Eder, Gunther Gerzso: El esplendor de la muralla, Mexico City, Ediciones

ERA, 1994, p. 116 (illustrated in color).
D. Ashton, Gunther Gerzso, Beverly Hills, California, Latin American Masters,
1995, p. 119 (illustrated in color).
Gunther Gerzso: Una década 1990-2000, Mexico City, Galería López Quiroga,
2000, p. 39 (illustrated in color).

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50
FRANCISCO TOLEDO (1940-2018)
Vaca en un laberinto
oil and sand on canvas
81¿ x 59 in. (206 x 150 cm.)
Painted in 1970.

$700,000-900,000

PROVENANCE:

Galería Juan Martín, Mexico City.

Acquired from the above by the present owner.

LITERATURE:

Francisco Toledo, Mexico, Museo de Arte Moderno, Instituto Nacional de

Bellas Artes, 1981, p. 59 (illustrated in color).

Toledo’s work swarms with the fauna of the natural and

phantasmagorical worlds. His animals inhabit a charmed reality
and they became, over the course of his career, an extended
metaphor for the supernatural mysteries of the world.

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“Toledo paints as a man who lives in harmony with nature,” the poet Luis “Toledo’s work is painting transformed into a body,” pronounced the poet
Cardoza y Aragón, a longtime friend, once reflected. “In whose eyes the Verónica Volkow. “Surfaces become tissue, the swelling of volumes are
memory of time immemorial burns and continuously renews itself.” 1 The almost pregnant, the objects suddenly are reproduced endlessly. There is
beginnings of Toledo’s animistic worldview date to his adolescent years, a materiality that acquires the expressive definiteness, the strength, and
redolent with memories of roaming the land and encounters with the the surprising versatility of the body.” The space of the painting “suddenly
storied creatures—monkeys and crabs, grasshoppers and crocodiles—held becomes also a labyrinth or an intestine, a mouth or a uterus,” Volkow
sacred within Oaxacan lore. Toledo studied lithography at the Taller Libre continued. “Space envelops us, caresses, devours, threatens, seduces, guides
de Grabado in Mexico City in the late 1950s before moving in 1960 to Paris, us and is always alive, injected with the body’s sap.”4 Peculiarly suspended in
where he met Octavio Paz and Rufino Tamayo; he returned to Juchitán, his the present work, Toledo’s enchanted cow faces the viewer, its mien placid
birthplace, in 1965. Associated with the postwar Ruptura generation, which and gentle, as its body glides diagonally downward, defying gravity as it
broke with the political mission of Mexican muralism in favor of experimental hovers in a strangely somatic, labyrinthine space. A palimpsest of vestigial
and sometimes abstract expressionism, his work is contemporary with such lines and patterns, their spiral arrangements reminiscent of both the cosmos
artists as Pedro Coronel, Alberto Gironella, and Rodolfo Nieto. Like Tamayo and the whorls of a fingerprint, the picture surface commingles celestial and
and Rodolfo Morales deeply invested in the cultural patrimony of the Isthmus earthly bodies, their forms percolating through allusive deposits of sand and
and Pacific coast, Toledo based himself in Oaxaca, his work and identity rich, red and brown ocher pigments. The eponymous cow materializes out
richly imbricated within the region’s historical landscape and ecology. of this cosmic flux, its presence at once animating and primal, an abiding
Fondly known as El Maestro, he lent sizable support to local institutions, connection to a collective and prehistoric past. Inflected with lambent
notably the Instituto de Artes Gráficas de Oaxaca and the Museo de Arte grains of sand, the mineral substrate of the natural world, and inlaid with
Contemporáneo de Oaxaca, as well as to libraries and the cultural and esoteric linear designs, Toledo’s floating bovine body connotes the reciprocity
environmental conservancy Pro-OAX. of figure and ground, past and present, heavens and earth. As a visual
abstraction of natural history, the painting embodies the sacred oneness
of Toledo’s universe, a world given imaginative dimension by the Borgesian
labyrinth and its classic themes of infinite regression, circular time, and
universal mythology.

The erudite and metaliterary writings of Jorge Luis Borges long served as
a touchstone for Toledo, who illustrated his marvelous Manual de zoología
fantástica (1957) in the 1980s and founded a library for the blind, in Oaxaca,
in his name. Borges’s writings abound with references to labyrinths,
often taking their spiraling, recursive form. His short story, “The House of
Asterion” (1947), returns to the archetypal labyrinth of ancient Greece and
its monstrous inhabitant, the Minotaur—part man and part bull—from whose
perspective a revisionist, postmodern tale of redemption is told. “I thought
of a labyrinth of labyrinths, of one sinuous spreading labyrinth that would
encompass the past and the future and in some way involve the stars,”
reflects the narrator of “The Garden of Forking Paths” (1941), a story-within-
a-story in which text, labyrinth, and universe become one. “I felt that the
world was a labyrinth, from which it was impossible to flee.”5 Vaca en un
laberinto pays splendid homage to this Borgesian, labyrinthine metareality:
Francisco Toledo, circa 2002. © Rogelio Cuéllar
Toledo’s cow happily stands in for the beleaguered Minotaur, casting adrift in
a ruddy, sand-specked labyrinth of its own, a metaphor for the natural world,
the mystery of creation and, possibly, the quest to find the center of the
Toledo drew amply from ancient American mythology and its fantastic
artist’s own true self. “Through the years, a man peoples a space with images
zoology, populating his images with sagacious and otherworldly
of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, tools,
anthropomorphic beings. “The pre-Hispanic world has been a source of
stars, horses, and people,” Borges wrote in the epilogue to Dreamtigers.
inspiration,” he explained. “There are certain solutions that are decorative
“Shortly before his death, he discovers that the patient labyrinth of lines
that come from pre-Hispanic art and at the same time there is much
traces the image of his own face.”6
primitive art that is refined or simple but also very modern. It also comes
from what I read—many fables from the Americas and other parts of the Abby McEwen, Assistant Professor, University of Maryland, College Park
world.”2 His paintings celebrate the syncretic spirituality of the indigenous
world, depicting extraordinary creatures in myriad states of metamorphosis 1 Luis Cardoza y Aragón, quoted in Erika Billeter, “In the Cosmos of the Animals—The Adventure of the
Fantasy,” in Zoología Fantástica (Mexico City: Prisma Editorial, 2003), 27.
and in intimate rituals of creation and consummation. Animals were
2 Francisco Toledo, quoted in George Mead Moore, “Francisco Toledo,” Bomb 70 (Winter 2000): 115.
privileged and miraculous beings in Zapotec legend, the “connecting link
3 Billeter, “In the Cosmos of the Animals,” 25.
between nature and society, mediators between man and the sacred
4 Verónica Volkow, “In the Beginning, the World Became Body,” in Francisco Toledo (Los Morales Polanco,
energies of the natural ambience,” art historian Erika Billeter has noted. Mex.: Smurfit Cartón y Papel de México, 2002), 40, 42-3.
“Animals were the real character of the myth, the sublimation of a whole 5 Jorge Luis Borges, “The Garden of Forking Paths,” in Labyrinths: Selected Stories & Other Writings (New
cosmic imagination.”3 Toledo’s work swarms with the fauna of the natural York: New Directions, 1964), 23, 85.

and phantasmagorical worlds. His animals inhabit a charmed reality and 6 Borges, Dreamtigers (Austin: University of Texas Press, 1964), 93.

they became, over the course of his career, an extended metaphor for the
supernatural mysteries of the world.

138
139
51
GUNTHER GERZSO (1915-2000) LITERATURE:

Gunther Gerzso: 80th Birthday Show, New York, Mary-Anne Martin/Fine Art,
Tollán 1995, p.16, no. 34 (another example illustrated).
signed, dated and numbered 'Gerzso 90 6/6' (lower center)
This is one of a series of sculptures commissioned from the artist and
copper alloy with unique patina
published by Hine Editions, San Francisco. The artist was in residence in San
20Ω x 17 x 7 in. (52.1 x 43.2 x 17.8 cm), including base
Executed in 1990. Francisco for several months, supervising all stages of the production. Each
Edition six of six. Published by Hine Editions, San Francisco. sculpture was cut and assembled at the studio of the Joyce Brothers, in San
Francisco. The edition was authorized for one artist's proof and six additional
$20,000-25,000
examples.
PROVENANCE:

Hine Editions, San Francisco, (commissioned from the artist).

Acquired from the above by the present owner.

140
52
RUFINO TAMAYO (1899-1991) PROVENANCE:

Galería de Arte Misrachi, Mexico.

Paisaje Roger Blanchard, Paris.
signed 'Tamayo O-60' (lower right) Acquired from the above by the present owner.
oil on canvas
We are grateful to art historian Juan Carlos Pereda for his assistance
13 x 21Ω in. (33.02 x 54.61 cm.)
cataloguing this work.
Painted in 1960.

$70,000-90,000

141
53
ALICE RAHON (1904-1987) “In earliest times painting was magical,” Rahon once wrote. “It was the key to
Luna de octubre the invisible. In those days the value of a work lay in its powers of conjuration,
a power that talent alone could not achieve. Like the shaman, the sybil and
signed and dated 'Alice Rahon 48' (lower right)
oil on canvas the wizard, the painter had to make himself humble, so that he could share in
32 x 39º in. (81.3 x 99.7 cm.) the manifestation of spirits and forms.” Like her Surrealist friends and fellow
Painted in 1948. émigrés Leonora Carrington and Remedios Varo, Rahon believed in the
transformative potential, and power, of painting. She rooted this alchemical
$60,000-80,000
metaphor in nature—“I use a lot of elements of nature that push like the wind,
PROVENANCE: tragic things in the life of nature”—and evoked its ritual magic in a number of
Acquired directly from the artist by the present owner. allusive, prismatic landscapes, among them Feu d’herbes (1945), Papaloapan
River (1947), and The Wind (1954). 2 Although the craggy coast and prehistoric
EXHIBITED:
standing stones of Brittany, where she summered as a child, remained an
Mexico City, Pablo Goebel Fine Arts, Laboratorio de sueños: la diáspora del
Surrealismo en México, 23 September - 18 December 2014. enduring reference, Rahon found new enchantments as she traveled through
Mexico, and her paintings evoke memories of the Tepozteco mountains (The
Night at Tepoztlán, 1964) and Lake Pátzcuaro (Inner City, n.d.), a favored
retreat for the period’s Surrealist circle, among them André Breton and
Gordon Onslow Ford.
“I met her today at an exhibition,” Anaïs Nin wrote in her diary of Rahon
on the day, in May 1945, that the artist’s solo exhibition opened at Peggy Like all of Rahon’s landscapes, many of which feature “silhouettes of the
Guggenheim’s gallery, Art of This Century, in New York. “She is striking in pyramids, the profiles of underlying volcanos,” Luna de octubre is based on
appearance. Tall, dark-haired, sunburned, she looks like a Mexican-Indian a specific experience, unmistakably here of the Mexican altiplano under
woman. But she was born in France.” Rahon had arrived in Mexico in 1939, a glowing harvest moon.3 The mountains, suggestively sand swept and
at the invitation of Frida Kahlo and Diego Rivera, with her husband, the artist shimmering, stimulated the chromatic palette of both her painting and her
Wolfgang Paalen, and the Swiss photographer Eva Sulzer. A protégé of poetry, notably in a tribute to the famed volcano Iztaccíhuatl, “forever a
André Breton, who published her first book of poetry, A même la terre (1936), young giant, white lover of snow and ancient dawns, magical mirror on the
Rahon had earlier circulated among the Parisian avant-garde, posing for scale of the grandest dreams where man has seen himself.” Printed in the
Man Ray, designing with Elsa Schiaparelli, and entering into a memorable first issue of DYN, an art magazine founded by Paalen to which she regularly
affair with Pablo Picasso. She turned to painting around the time of her contributed, the poem teems with sensory color: “amaranth,” “roses,”
emigration to Mexico, channeling the chromatic abstraction of her poetry “unlivable gold.”4 That vivid colorism unfolds in Luna de octubre as well, its
onto canvases that embraced the land and its prehistoric past. “Her paintings autumnal landscape—cast in shadows of amber, auburn, and maroon—set
are completely drawn from subterranean worlds, while her descriptions of against a swirling violet-blue sky specked with powdery white and mineral
Mexico are violent with color, drama, and joy,” Nin concluded of Rahon, who light.
would become a close friend.1 Rahon responded to the postnuclear world in
creative work during the mid-1940s—a ballet libretto and, with her second Following the debut of her painting at the landmark Exposición internacional
husband Edward Fitzgerald, an experimental film—and she continued to del surrealismo, held at the Galería de Arte Mexicano in 1940, Rahon showed
paint, her themes encompassing natural, imaginary, and animal worlds, often steadily over the next three decades across the United States and Mexico.
rooted in Mexican lore. Likening her “mysterious, imaginative language of line and color” to that of
Paul Klee, a reviewer for ARTnews observed that “in her almost exclusively
rectangular canvases, she has perfected a horizontal expression that lends
itself particularly to her dominant interest in landscape. Mixing pigment with
fine sand, she achieves shimmering nuances of color and a texture as fragile
as snow.”5 In June 1955, she opened her first and only solo exhibition in Paris,
at the Galerie la Cour d’Ingres, a noted Surrealist haunt connected to her
sister, Geo Dupin; well received, the paintings then traveled to New York
and were shown at the Willard Gallery in October. Marvelously iridescent,
Rahon’s landscapes from this time radiate cosmic light and wonder, an
alchemical allegory exquisitely rendered in Luna de octubre.

Abby McEwen, Assistant Professor, University of Maryland, College Park

1 Anaïs Nin, The Diary of Anaïs Nin, ed. Gunther Stuhlmann, vol. 4, 1944-1947 (New York: Harcourt Brace
Jovanovich, 1971), 58.
2 Alice Rahon, quoted in Nancy Deffebach, “Alice Rahon: Poems of Light and Shadow, Painting in Free
Verse,” Onthebus, nos. 8-9 (1991): 180, 186
3 Rahon, quoted in Tere Arcq, “Alice Rahon: Following the Trail of the Marvelous,” in Alice Rahon: Poetic
Invocations (North Miami: Museum of Contemporary Art, 2019), 13.
4 Rahon [Alice Paalen], “À l’Ixtaccihuatl,” DYN no. 1 (April-May 1942): 44-5.
5 “Exhibition, Nierendorf Gallery,” ARTnews 45 (December 1946): 43-4.
Alice Rahon, February 1984. © Rogelio Cuéllar

142
143
PROPERTY OF A GENTLEMAN

54
PROVENANCE:
RODOLFO MORALES (1925-2001) Estela Gómez Pompa collection.
Untitled Acquired from the above by the present owner.
signed and dated 'Morales Lopez 75' (lower right)
LITERATURE:
oil on canvas
A. Rodríguez and M.L. Mendoza, Rodolfo Morales, Mexico City, La Fundación
25æ x 31Ω in. (65.4 x 80 cm.)
Ingeniero Alejo Peralta y Díaz Ceballos, 2000, p. 43, no. 16 (illustrated in color).
Painted in 1975.
G. Sepúlveda, et al., Rodolfo Morales: Maestro de los sueños, Mexico City,
$60,000-80,000 Lunwerg Editores, 2005, p. 202 (illustrated in color).

144
PROPERTY FROM THE COLLECTION OF MARINA OPPENHEIMER

55
RODOLFO MORALES (1925-2001)
Pájaro azul
signed 'Rodolfo Morales' (lower right); signed, dated and inscribed 'Rodolfo
Morales 7/21/98 Para Andres y Marina' (on the reverse)
oil on canvas
31Ω x 39 in. (80 x 99 cm.)
Painted in 1998.

$60,000-80,000

PROVENANCE:

Acquired from the artist by the present owner.

145
56
RENÉ PORTOCARRERO (1912-1985)
Catedral
signed and dated 'PORTOCARRERO, 60' (lower left)
oil on canvas
35√ x 24 in. (91 x 61 cm.)
Painted in 1960.

$30,000-40,000

PROVENANCE:
Angel Gaztelu, Havana.
Private collection, Miami.
This work is accompanied with a certificate of authenticity from the
Fundación Arte Cubano signed by Ramón Vázquez Díaz, dated 21 January
2019.

146
57
VICTOR MANUEL (1897-1969)
Muchacha con gato blanco
singed 'Victor Manuel' (lower left)
oil on canvas
20¬ x 17√ in. (52.5 x 45.2 cm.)

$25,000-35,000

PROVENANCE:

Mrs. T. V. Moore and M. Hiram Cole Houghton, Iowa.

Sara Faes Cortina, Havana.
Private collection, Miami (acquired from the above).

This work is accompanied by a certificate of authenticity from the Fundación

Arte Cubano, signed by Ramón Vásquez, dated 30 August 2019.

147
58
MANUEL MENDIVE (B. 1944)
Untitled (from the series Energia vital)
signed and numbered 'MENDIVE 2/7' (on the base)
bronze
64Ω x 35 x 23¬ in. (163.8 x 88.9 x 60 cm.)
Executed in 2014.
Edition two of seven.

$25,000-30,000

PROVENANCE:

Acquired directly from the artist.

148
59
MANUEL MENDIVE (B. 1944)
La Virgen Mambisa
signed and dated 'MENDIVE, 2016' (lower right)
acrylic on canvas, wood, metal, and cowrie shells
65æ x 53æ in. (167 x 136.5 cm.)
Painted in 2016.

$60,000-80,000

PROVENANCE:

Acquired directly from the artist.

149
60
ROBERTO FABELO (B. 1950)
Viaje al jardín fantástico
signed, dated and titled 'Fabelo 2016, Viaje al
jardín fantástico' (lower right)
oil on canvas
80æ x 140º in. (205.1 x 356.2 cm.)
Painted in 2016.

$150,000-200,000

PROVENANCE:
Acquired directly from the artist.
This work is accompanied by a certificate of
authenticity signed by the artist.

150
61
ÁNGEL BOTELLO (1913-1986)
Coup de Vent II
signed and numbered 'BOTELLO 8/10' and inscribed with foundry
mark (near base)
bronze
48 x 20 x 12 in. (122 x 51 x 30.4 cm.)
Executed circa 1975.
Edition eight of ten.

$50,000-70,000

PROVENANCE:

Galería Botello, San Juan.

Private collection, Port Washington, New York (acquired from the
above).

LITERATURE:

Botello, Paintings and Sculptures, San Juan, Galería Botello, 1978

(another cast illustrated).
We are grateful to Juan Botello for his assistance confirming the
authenticity of this work.

152
153
PROPERTY FROM A DISTINGUISHED SPANISH LADY

•62
JOAQUÍN TORRES-GARCÍA (1874-1949)
Untitled
signed 'J. Torres-Garcia' (lower left)
oil on cardboard
10º x 13º in. (26 x 33.7 cm.)
Painted circa 1919-20.

$10,000-15,000

This lot is sold without a reserve.

PROVENANCE:

Berkowitsch Subastas de Arte, Madrid.

Private collection, Madrid.

LITERATURE:

C. de Torres and S.V. Temkin, "Unknown, c. 1919-20, (1919.22)" in Joaquín

Torres-García Catalogue Raisonné, http://www.torresgarcia.com/catalogue/
entry.php?id=2828 (accessed 16 March 2017).

154
63
JOSE GURVICH (1927-1974) PROVENANCE:

Estate of the artist.

Untitled Cecilia de Torres, LTD., New York.
inscribed 'TTG' (lower center) and dated '52' (center right) Acquired from the above by the present owner in 2013.
oil on paper laid down on panel
20º x 15Ω in. (51.4 x 39.4 cm.)
Executed in 1952.

$20,000-25,000

155
64
BENITO QUINQUELA MARTÍN (1890-1977)
Llegada de veleros
signed 'quinquela MARTÍN' (lower right), again signed 'quinquela MARTÍN',
dated and titled '1944, LLEGADA DE VELEROS' (on the reverse)
oil on Masonite
23¬ x 27¬ in. (60 x 70.2 cm)
Painted in 1944.

$20,000-25,000

PROVENANCE:

Francis Folsom, Colorado (acquired directly from the artist, circa 1968).
Acquired from the above by the previous owner.
Anon. sale, Sotheby's, New York, 25 May 2011, lot 82.
Acquired from the above sale by the present owner.

156
65
BENITO QUINQUELA MARTÍN (1890-1977)
Sunny Day on the Boca
signed, dated and dedicated ‘a mi amigo R. CHISMAM, quinquela MARTÍN,
1930’ (lower right)
oil on board
19æ x 27æ in. (50.2 x 70.5 cm.)
Painted in 1930.

$20,000-25,000

PROVENANCE:

Charles Robert Chisman, London (acquired directly from the artist).

By descent from the above to the present owner.

157
66
ALFREDO RAMOS MARTINEZ (1871-1946) PROVENANCE:

Estate of the artist.

Las trenzas Private collection, Los Angeles.
signed 'Ramos Martínez' (lower left)
tempera on newsprint
Louis Stern has confirmed the authenticity of this work. It will be included
22æ x 16º in. (57.8 x 41.3 cm.)
Executed in 1945. in the catalogue raisonné of works on paper, to be published by the Alfredo
Ramos Martínez Research Project.
$30,000-50,000

158
67
ALFREDO RAMOS MARTINEZ (1871-1946) PROVENANCE:

Estate of the artist.

Tres hermanos Private collection, Los Angeles.
signed 'Ramos Martínez' (lower right)
tempera on newsprint
Louis Stern has confirmed the authenticity of this work. It will be included
20 x 16 in. (50.8 x 40.6 cm.)
Executed circa 1938. in the catalogue raisonné of works on paper, to be published by the Alfredo
Ramos Martínez Research Project.
$30,000-50,000

159
PROPERTY FROM A DISTINGUISHED COLLECTION

68
RUFINO TAMAYO (1899-1991)
Domingo en Chapultepec
signed and dated 'Tamayo 34' (upper right)
gouache on paper
9Ω x 12 in. (24.1 x 30.5 cm.)
Executed in 1934.

$40,000-60,000

PROVENANCE:

Valentine Gallery, New York.

Clifford Odets, New York.
Clifford Odets sale, Sotheby's, New York, 15 May 1969, lot 52.
Acquired from the above the present owner.

EXHIBITED:

New York, Julien Levy Gallery, Rufino Tamayo: Paintings, Gouaches, Drawings,
12 - 30 January 1937, no. 8.
Chicago, The Arts Club Chicago, Tamayo, 4 - 31 May 1945, no. 23.

LITERATURE:

L. Cardoza y Aragón, Rufino Tamayo, Mexico City, Galería de Artistas

Contemporáneos Publicaciones del Palacio de Bellas Artes, 1934, no. 21
(illustrated).
E. Genauer, Rufino Tamayo, New York, Harry N. Abrams Inc., 1974, no. 37
(illustrated in color).

We are grateful to art historian Juan Carlos Pereda for his assistance
cataloguing this work.

160
161
69
DIEGO RIVERA (1886-1957) PROVENANCE:

Hans Treichart, Chicago (acquired directly from the artist).

Panchito con una naranja
Hammer Galleries, New York.
signed and dated 'Diego Rivera 1945' (lower right) Private collection, Puerto Rico.
watercolor on paper Acquired from the above by the present owner.
15 x 10Ω in (38.1 x 26.7 cm.)
Executed in 1945. LITERATURE:

S. Ramos, Diego Rivera, Mexico City, Universidad Nacional Autónoma de

$35,000-45,000 México, Dirección General de Publicaciones, 1958, no. 9 (illustrated).

We are grateful to Professor Luis-Martín Lozano for his assistance

162 cataloguing this work.
PROPERTY FROM THE MODERN ART MUSEUM OF FORT WORTH, SOLD TO BENEFIT
THE MUSEUM

70
DIEGO RIVERA (1886-1957) PROVENANCE:

Private collection, Fort Worth, Texas.

Peasant Woman
Gift from the above to the present owner in 1959.
signed and dated 'Diego Rivera 1949' (lower left)
watercolor and pencil on paper
We are grateful to Professor Luis-Martín Lozano for his assistance
5º x 4 in. (13.3 x 10.2 cm)
Executed in 1949. cataloguing this work.

$20,000-25,000

163
 PROPERTY FROM A DISTINGUISHED FAMILY COLLECTION

71
FRANCISCO ZÚÑIGA (1912-1998)
Evelia con batón y mano levantada
signed, dated and numbered 'Zúñiga, III/VI, 1978' (on back
of base)
bronze
25 x 7 x 7¡ in. (64 x 19 x 15 cm.); granite base Ω x 6æ x 6æ in.
(1.2 x 17 x 17 cm.)
Executed in 1978. Edition three of six.

$25,000-35,000

LITERATURE:

Francisco Zúñiga: Catálogo razonado volumen I, escultura

1923-1993, Mexico City, Albedrío & Fundación Zúñiga
Laborde, 1999, p. 485, no. 834 (another cast illustrated).

164
72
DIEGO RIVERA (1886-1957) PROVENANCE:

Archibald Brown, collection.

Mujer sentada (also known as Vendedora de cocos) Anon. sale; Christie's, New York, 18 May 1992, lot 2.
signed 'Diego Rivera' (lower right) Acquired from the above by the present owner.
watercolor and gouache on paper
LITERATURE:
11 x 15 in. (27.9 x 38.1 cm.)
Executed in 1935. Diego Rivera: Catálogo General de Obra de Caballete, Instituto Nacional
de Bellas Artes, Mexico City, 1989, p. 158, no. 1197 (illustrated and titled
$40,000-60,000 Vendedora de cocos).

We are grateful to Professor Luis-Martín Lozano for his assistance

cataloguing this work.

165
166
167
PROPERTY FROM A DISTINGUISHED COLLECTION

73
FRANCISCO ZÚÑIGA (1912-1998)
Emelia
signed and dated 'ZUÑIGA, 1972' (on the left thigh)

bronze
29Ω x 43 x 35 in. (74.9 x 109.2 x 88.9 cm.)
Executed in 1972.
Edition of five.

$60,000-80,000

LITERATURE:

Francisco Zúñiga: Catálogo razonado volumen I, escultura 1923-1993, Mexico

City, Albedrío & Fundación Zúñiga Laborde, 1999, p. 357, no. 607 (another
edition illustrated).

168
169
74
EDUARDO KINGMAN (1913-1997)
El espejo
signed and dated 'E. KINGMAN 46' (lower right) signed and dated again and
titled 'EL ESPEJO, óleo de EDUARDO KINGMAN, SAN FRANCISCO, CAL.
1946' (on the reverse)
oil on canvas
19 x 19 in. (48.3 x 48.3 cm.)
Painted in 1946.

$25,000-35,000

PROVENANCE:

Acquired from the artist.

Private collection, Vienna.
Gift from the above.
Anon. sale, Christie's, New York, 17 November 2009, lot 2.
Acquired from the above by the present owner.

We are grateful to Soledad Kingman from the Fundación Kingman for her
assistance confirming the authenticity of this work.

170
171
75
FRANCISCO ZÚÑIGA (1912-1988)
Vieja maya
signed, dated and numbered 'Zúñiga 1982, IV/VI' (near the base)
bronze
14Ω x 9Ω x 8æ in. (36.5 x 26.5 x 24 cm.)
Executed in 1982.
Edition four of six.

$20,000-25,000

PROVENANCE:

Anon. sale, Sotheby's New York, 25 May 2006, lot 100.

Acquired from the above by the present owner.

LITERATURE:

Francisco Zúñiga: Cátalogo razonado, Volumen

I, Escultura, 1923-1993, Mexico City, Albedrío &
Fundación Zúñiga Laborde, 1999, p. 527, No. 915,
(another example illustrated).
76
JOSÉ CHÁVEZ MORADO (1909-2002)
Dos mujeres
signed and dated 'CHAVEZ MORADO, 1949' (lower right)
oil on masonite
36 x 30 in. (91.4 x 76.2 cm.)
Painted in 1949.

$25,000-30,000

PROVENANCE:

Private collection, Point Richmond, CA (acquired in Mexico City, late 1950s).

Private collection, Bellingham, WA (acquired from the above, 2002).

173
77
FERNANDO BOTERO (B. 1932)
Homenaje a Bonnard
signed, dated and titled 'Botero/70, HOMENAJE A BONNARD' (lower right)
pencil on paper
16√ x 13√ in. (43 x 35 cm.)
Executed in 1970.

$20,000-30,000

PROVENANCE:

René Withofs, Brussels.

Anon. sale, Sotheby's, New York, 4 June 1999, lot 239.
Mary-Anne Martin|Fine Art, New York
Acquired from the above by the present owner.

174
PROPERTY OF AN IMPORTANT AMERICAN COLLECTION

78
PROVENANCE:
DARÍO MORALES (1944-1988)
Private collection, New York.
Woman Bathing Anon. sale, Christie's, New York, 18 November 2009, lot 253.
signed, dated and numbered 'Morales - 87, 5/8' (on the base) Acquired from the above by the present owner.
bronze
EXHIBITED:
26 x 21¡ x 21¡ in. (66 x 54 x 54 cm.)
New York, Aberbach Fine Art, Darío Morales: Sculptures 1980-1988, 1988, no. 3
Executed in 1987.
(illustrated on the cover and in the catalogue).
Edition five of eight.
LITERATURE:
$20,000-25,000
Exhibition catalogue, Darío Morales, Bogotá, Galería Diners, 1995 (another
cast illustrated).

175
79
WIFREDO LAM (1902-1982)
Untitled
signed and dated 'Wifredo Lam, 1949' (lower right)
ink and watercolor on paper
18√ x 12¡ in. (48 x 31.4 cm.)
Executed in 1949.

$35,000-45,000

PROVENANCE:

Anon. sale, Sotheby's, New York, 16 November 1994, lot 380.

Mary-Anne Martin|Fine Art, New York.
Acquired from the above by the present owner.

176
80
WIFREDO LAM (1902-1982)
Femme cheval
signed 'Wifredo Lam' (lower left) signed again and dated 'Wifredo Lam, 1970'
(on the verso)
pastel and charcoal on heavy paper
30 x 22 in. (76.2 x 55.9 cm.)
Executed in 1970.

$30,000-50,000

PROVENANCE:

Galerie Barbero, Paris.

Anon. sale, Christie's, New York, 19 May 1992, lot 77.
Anon. sale, Sotheby's, New York, 21 November 2006, lot 157.
Acquired from the above by the present owner.

177
PROPERTY FROM AN IMPORTANT NEW YORK ESTATE

81
MATTA (1911-2002)
Presence d'espait
titled and inscribed 'Presence d'espait, Londre No. D'Archivo 78/20'
(on the reverse)
oil on linen
35Ω x 40º in. (90.2 x 102.2 cm.)
Painted in 1958.

$35,000-45,000

PROVENANCE:

Private collection, Lima.

Anon. sale, Christie's, New York, 15, May 1991, lot 90.
Private collection, New York.

A certificate of authenticity from the Archives de l'œuvre de Matta is

forthcoming.

178
179
82
MATTA (1911-2002)
La bête incendiée (also known as The Incendiary Beast, Study for
On the Fringes of Dreaming)
oil on canvas
31æ x 39º in. (80.7 x 99.7 cm.)
Painted in 1957.

$80,000-120,000

PROVENANCE:

American Friends of the Hebrew University.

David Kluger collection, New York.
Anon. sale, Parke-Bernet Galleries, New York, 26 April 1961, lot 108.
Joseph H. Hirshhorn.
Hirschhorn Museum and Sculpture Garden, Sold by the Order of the Trustees
to Benefit its Acquisitions Program, Christie's, New York, 28 May 2015, lot 156
(gift from the above).
Acquired from the above by the present owner.

This work is accompanied by a certificate of authenticity signed by Germana

Matta Ferrari, dated 7 April 2015.

180
181
83
LILIA CARRILLO (1930-1974) PROVENANCE:

Galería Antonio Souza, Mexico City

Puentes varios No. 1 Private collection, Mexico.
signed and dated 'Lilia Carrillo, 57' (lower right) By descent from the above to the present owner.
oil on canvas
27Ω x 39º in. (70 x 100 cm.)
Painted in 1957.

$25,000-35,000

182
84
FERNANDO DE SZYSZLO (B. 1925) PROVENANCE:

Private collection, Lima.

Villac Umu (from the series Cámara ritual) Iturralde Gallery, Los Angeles.
signed 'Szyszlo' (lower right) dated 'Orrantia 86' (on the reverse) Private collection, Mexico City.
acrylic on canvas
39Ω x 39Ω in. (100 x 100 cm.) EXHIBITED:

Painted in 1986. Mexico City, Palacio de Iturbide, Fomento Cultural Banamex, La libertad y la
vida, March-April 2010.
$30,000-40,000
LITERATURE:

M. Vargas Llosa, Fernando de Szyszlo, Bogotá, Ediciones Alfred Wild, 1991, p.

53 (illustrated in color).

183
85
ROBERTO MATTA (1911-2002)
Untitled
oil on canvas
100 x 164æ in. (254 x 418.5 cm.)
Painted in 1969

$120,000-180,000

PROVENANCE:

Malitte Pope Matta.

Acquired from the above by the present owner.

This work is accompanied by a certificate of

authenticity from the Archives de l'œuvre de
Matta, signed by Alisée Matta, dated 7 May 2019.

184
86
LEONORA CARRINGTON (1917-2011) AND JOSÉ HORNA (1909- PROVENANCE:

1963) Acquired directly from the artist by the present owner.

Ruleta EXHIBITED:

wood and offset lithograph Mexico City, Museo Nacional de Arte, Los sentidos de las cosas: el mundo de
11º in. (28.6 cm) diameter, 1æ in. (4.4 cm) height Kati y José Horna, July 2003 - April 2004, p. 38 (illustrated in color).
Mexico City, Museo de Arte Moderno, Leonora Carrington: Magical Tales, 21
Executed circa 1954. April - 23 September 2018, p. 253 no. 156 (illustrated in color). This exhibition
Unique. also traveled to Monterrey, Mexico, Museo de Arte Contemporáneo de
Monterrey, 12 October 2018 - 3 February 2019.
$20,000-25,000
The work is encased in a cardboard box and accompanied with instructions for
use designed by the artists.
186
87
SARAH GRILO (1920-2007) PROVENANCE:

Private collection, Madrid (acquired directly from the artist).

Gris arriba
signed 'Sarah Grilo' (center right), titled 'gris arriba' (on the reverse)
This work is catalogued in the artist’s personal notebooks under
oil, ink and graphite on canvas
51º x 44√ in. (130.2 x 114 cm.) the reference number #170.
Painted in 1969.
We are grateful to Mateo Fernández-Muro from the Estate of
$40,000-60,000 Sarah Grilo for his assistance cataloguing this work.

187
PROPERTY FROM AN IMPORTANT NEW YORK ESTATE

88
MATTA (1911-2002)
Une douleur nécessaire
signed, dated, and titled 'Matta, 59, Un douleur nécessaire' (on the reverse)
oil on canvas
31æ x 39º in. (80.7 x 99.7 cm.)
Painted in 1959.

$60,000-80,000

PROVENANCE:

Galeries Daniel Cordie, Paris.

Irvin Levick, Esq., London.
Anon. sale, Christie's, New York, 22 May 1986, lot 50.
Acquired from the above by the present owner.

EXHIBITED:

London, Gimpel Fils Gallery, Matta, May 1961, no. 18.

Le Mans, Musée de Tessé, Cent ans de peinture moderne de Claude Monet à
Arman, 6 June-3 July 1975.

A certificate of authenticity from the Archives de l'œuvre de Matta is

forthcoming.

188
189
 89

PROPERTY OF THE LOS ANGELES COUNTY MUSEUM OF ART, SOLD TO BENEFIT PROPERTY OF THE LOS ANGELES COUNTY MUSEUM OF ART, SOLD TO BENEFIT
ACQUISITIONS OF LATIN AMERICAN ART ACQUISITIONS OF LATIN AMERICAN ART

89 90
RAFAEL CORONEL (1931-2019) RAFAEL CORONEL (1931-2019)
Bernabe el zapatero The Jingling of Segovia
signed 'RAFAEL CORONEL' (lower right) signed again, dated, and titled signed and dated 'RAFAEL CORONEL 65' (lower right)
'RAFAEL CORONEL, MEX 1966, BERNABE EL ZAPATERO' (on the reverse) oil on canvas
oil on canvas 55º x 39Ω in. (140.3 x 100.3 cm.)
47æ x 39Ω in. (121.3 x 100.3 cm.) Painted in 1965.
Painted in 1966.
$20,000-30,000
$20,000-30,000
PROVENANCE:

PROVENANCE: Bernard and Edith Lewin Collection of Mexican Art, Palm Springs, California.
Bernard and Edith Lewin Collection of Mexican Art, Palm Springs, California. Gift from the above to the present owner.
Gift from the above to the present owner.

190
90

191
Δ91
FERNANDO DE SZYSZLO (1924-2017)
Ciudad prohibida (IV)
signed 'Szyszlo' (lower right) dated and titled 'Orrantia/76, Cuidad prohibida'
(on the reverse)
acrylic on canvas
58√ x 47¡ in. (149.4 x 120.2 cm.)
Painted in 1976.

$30,000-40,000

PROVENANCE:

Galería Adler Castillo, Caracas.

Anon. sale, Christie's, New York, 23 November 1999, lot 164 (sold since sale).
Acquired from the above.
Private collection, Paris.

We are grateful to Vicente de Szyszlo for his assistance confirming the

authenticity of this work.

192
92
ALEJANDRO OBREGÓN (1920-1992)
Flor carnívora
signed 'Obregón' (lower right), titled and dated 'Flor carnívora, 77' (on the
reverse)
oil on wood
21Ω x 16Ω in. (55 x 42 cm.)
Painted in 1977.

$20,000-25,000

PROVENANCE:

Private collection, Bogotá (acquired directly from the artist, circa late 1970s).
By descent from the above to the present owner.

A certificate of authenticity signed by Catalina Obregón, and registered by

the artist’s estate under number 00297, is forthcoming.

193
93
JORGE EIELSON (1924-2006)
Hay nudos / Que no son nudos / Y nudos que solamente / Son nudos.
Quipus 79b
signed, dated, and titled 'J. Eielson, QUIPUS 79B, I began to knot colored fabric in 1963…My first gesture was decidedly
MILANO 1978' (on the reverse)
instinctive. I later discovered that this gesture obeyed an intimate
painted canvas over wood
35¡ x 48¡ x 6 in. (89.9 x 122.9 x 15.2 cm.) desire of mine to communicate in a form different from written
Painted in 1978. language. Continuing my investigation into the symbolism of color
$50,000-70,000 and the study of the ancient quipus of the Andes, I established a code
that has served me ever since.
PROVENANCE:
-Jorge Eielson
Galería Adler/Castillo, Caracas.
Acquired from the above by the present owner.
94
FERNANDO DE SZYSZLO (1924-2017)
Punchao
signed 'szyszlo' (lower center, left) dated and titled 'ORRANTIA/83,
PUNCHAO' (on the reverse)
acrylic on canvas
58º x 46Ω in. (148 x 118.1 cm.)
Painted in 1983.

$40,000-60,000

195
95
ARNALDO ROCHE RABELL (1955-2018)
La bienvenida
signed and dated 'ARNALDO ROCHE-RABELL, 1989' (lower right)
oil on canvas
77Ω x 78 in. (196.9 x 198.1 cm.)
Painted in 1989.

$30,000-40,000

PROVENANCE:

Private collection, San Juan.

196
197
PROPERTY FROM THE COLLECTION OF
ROSA MARÍA GARCÍA SARDUY
96
ZILIA SÁNCHEZ (B. 1928) furthered her “emotional connection with Dau al Set,” Cortázar observes,
Untitled (Agua) adding that “the increasingly hot Cold War may have fed those paintings.” In
a review from the time, she described the works as “proclaiming a world of
signed and dated 'Zilia Sánchez, 1961' (lower right)
strange violences, savage rebellions. . . . the texture of the work acquires an
oil on canvas
38º x 37√ in. (97.2 x 96 cm.) absolute value and manages to imbue objects with sensory qualities they had
Painted in 1961. not previously possessed.” 1 Like the “tapias de Tàpies,” in which accretions of
matter (marble dust, pigment, sand) approximate timeworn walls, Sánchez’s
$50,000-70,000
paintings from this period cogitate over the make-up of the cosmos, a
PROVENANCE: postwar (and post-atomic) preoccupation implied by their titles: Tierra, Agua,
Acquired directly from the artist. Fusión, Desintegración, Densidades concéntricas.

EXHIBITED:
“Zilia’s process of composition, at the time, involved sticking a variety of
Washington, D.C. Phillips Collection, Zilia Sánchez, Soy Isla, 16 February-19
textured materials on a large canvas using resins and glues,” Cortázar
May 2019, p. 95, no. 12 (illustrated in color). This exhibition also traveled to
recollects. “The palette comprised a somber array of black, brown, and
Ponce, Museo de Arte de Ponce, 15 June-21 October 2019, New York, El Museo
del Barrio, 20 November 2019-22 March 2020. sometimes blue.” Sánchez worked from her apartment, at first located
downtown but by mid-decade on East 81st Street, a space that she shared
with Rosa María García Sarduy, Severo’s cousin. Cortázar describes her
Born in Havana but long resident abroad, in New York through the 1960s and
studio as “a small room at the front of the apartment, where unsold canvases
since 1971 in Puerto Rico, Sánchez numbers among an untold generation
reclined against the wall.” There, close to the East River and “working mostly
of artists recently brought to light within the history of modern Cuban art.
at night under artificial light,” Sánchez “sat on the floor and moved around
After graduating from Havana’s Escuela Nacional de Bellas Artes in 1948,
the canvas. She ‘painted’ with the gestures of a church organist operating
she held her first solo exhibition at the venerable Lyceum in 1953 and
keys and stops, grabbing the materials she had sorted out and put in
participated in major group exhibitions, including with the vanguard group
strategically placed brown paper bags. She scooted and crawled, reaching
Los Once, through the remainder of the decade. Well abreast of postwar
here and there to deposit the stuff that she had carefully collected for
Expressionism, Sánchez’s early practice is distinguished by a gestural,
inclusion in the piece.”2
painterly architectonics, a direction reinforced during her first trip to Madrid
in 1957. Influenced in part by Art Informel, her abstraction acquired an Untitled (Agua) and Untitled (lot 97), made in Sánchez’s New York studio, are
increasingly textured, convulsive materiality that would characterize her outstanding examples of her informel work from the 1960s. Mixing pigments
painting over the following decade. Sánchez moved to New York in 1960, with wood pulp and other materials, she built textured surfaces that suggest
settling among the emergent émigré community and working in a range of at once the brittle crust of the earth and the pulverization of matter, rendered
print media as her painting evolved toward the Minimalist monochrome and as a gaping, shapeless void, as seen in Untitled, and as dense, aqueous fog
modularity that has long since defined her practice. A beloved teacher at in Untitled (Agua). “For these paintings of Zilia Sánchez are concerned with
the Escuela de Artes Plásticas de San Juan in later years, she worked largely no less than organically encompassing in serial parallels the sum total of
under the radar as her practice matured into the shaped, and sometimes creation,” wrote Eleanor Hakim in the catalogue for her solo exhibition at
“tattooed” paintings and serial structures christened “erotic topologies” by Zegrí Gallery in 1966. “The microscopic and macroscopic worlds become
Severo Sarduy, the Cuban writer and her longtime friend. An acclaimed analogies of one another; internal and external phenomena become
exhibition at Artist’s Space in 2013 marked her triumphant return to the reflections of one another; movements of consciousness are represented
New York scene, and her remarkable, late-career ascendance was crowned as a part of nature, as are the processes of social change.” In this sense, the
by the major retrospective, Zilia Sánchez: Soy Isla, organized by The Phillips layered accretions of Untitled (lot 97) and Untitled (Agua) convey not only “the
Collection in Washington, D.C. in 2019. cosmological dialectics of worlds,” but also the very worldly, existential agita
that Sánchez faced as she struggled to support herself and her painting in
The present lot and Untitled (lot 97) date to Sánchez’s critical decade in
New York.3
New York, a period informed by her continuing engagement with informel
expressionism. “Her inspiration had come from her earlier trips to Spain, In 1969, Rosa María inaugurated Sarduy Gallery at 207 East 85th Street
where the anti-Franco group Dau al Set was active in Barcelona,” recalls her with the group exhibition, Cuban Painting in New York, which included works
friend and fellow Cuban Mercedes Cortázar, a poet who arrived in New York by Sánchez. “It was very close to where we lived on the Upper East Side,”
in 1962. “She was particularly drawn to the work of Antoni Tàpies, whose use Sánchez remembers. “It was a community place for many Cuban artists and
of matter was an explosive protest against the continued repression in Spain poets to meet and exchange ideas.” Sarduy Gallery mounted solo shows for
that prevailed as a tragic result of the Spanish Civil War.” Sánchez had come such artists as Baruj Salinas and Julio Matilla; Zilia Sánchez: Structures and
of age under the Batista dictatorship in Cuba, an experience that may have Prints opened in July 1970. Friends since childhood, Sánchez and Severo
Sarduy remained close through and beyond these years. Sarduy’s association
with the Tel Quel group in Paris and its structuralist criticism, registered in
his seminal book of essays, Escrito sobre un cuerpo (1968), suggest keys to
the eroticism of her later work, particularly its abstractions of the body in
pieces. “He was extremely supportive of me,” Sánchez notes, “and wrote
beautifully about my work. He was an exceptional person.”4

Abby McEwen, Assistant Professor, University of Maryland, College Park

1 Mercedes Cortázar, “Personal Encounter: Zilia Sánchez in 1960s New York,” in Zilia Sánchez: Soy Isla
(New Haven: Yale University Press, 2019), 72.
2 Ibid., 72.
3 Eleanor Hakim, “Zilia Sánchez: Metaphoric Visualizations of Reality,” in Zilia Sánchez: Paintings (New
York: Zegrí Gallery, 1966), n.p.
4 Zilia Sánchez, quoted in Vesela Sretenović, “In Retrospect: Talking with Zilia Sánchez,” in Zilia Sánchez:
Soy Isla, 21-2.
The artist in her studio with Rosa María García
Sarduy, New York, circa 1961. Photo courtesy of
Rosa María García Sarduy.
199
PROPERTY FROM THE COLLECTION OF
ROSA MARÍA GARCÍA SARDUY

97
ZILIA SÁNCHEZ (B. 1928)
Untitled
signed and dated 'Zilia Sánchez/65' (lower right)
oil on canvas
33Ω x 36 in. (85.1 x 91.4 cm.)
Painted in 1965.

$50,000-70,000

PROVENANCE:

Acquired directly from the artist.

EXHIBITED:

Washington, D.C. Phillips Collection, Zilia Sánchez, Soy Isla, 16 February-19

May 2019, p. 96, no. 13 (illustrated in color). This exhibition also traveled to
Ponce, Museo de Arte de Ponce, 15 June-21 October 2019, New York, El Museo
del Barrio, 20 November 2019-22 March 2020.

For these paintings of Zilia Sánchez are concerned with no less than
organically encompassing in serial parallels the sum total of creation.
-Eleanor Hakim

Zilia Sánchez (center) with friends Rosa María García Sarduy (left) and
Severo Sarduy, Paris, c. 1960. Photo courtesy of Rosa María García Sarduy.

200
201
98
FERNANDO DE SZYSZLO (1924-2017)
La habitación no. 23
signed 'szyszlo' (lower center, right)
acrylic on canvas
39¡ x 39¡ in. (99.8 x 99.8 cm.)
Painted in 1994.

$30,000-40,000

PROVENANCE:

Durban Segnini Gallery, Caracas.

Acquired from the above by the present owner.

LITERATURE:

D. Ashton, Fernando de Szyszlo, Barcelona, Ediciones Polígrafa,

2003, p. 248 (illustrated in color).
99
OLGA ALBIZU (1924-2005)
Untitled
signed 'ALBIZU' (lower right), inscribed 'ALBIZU' (on stretcher bar)
oil on canvas
42 x 42 in. (107 x 107 cm.)
Painted in 1971.

$50,000-70,000

PROVENANCE:

Galeria del Parque, San Juan.

Private collection, San Juan (acquired from the above, February 2005).
Acquired from the above by the present owner.

“A man does not enter priesthood to become Pope, but because he feels however, was clear from the beginning. “Although still a very young painter,”
the religious vocation,” Albizu once reasoned. “A painter becomes a painter Dore Ashton noted in a review of her first solo exhibition, at Panoras Gallery
because he feels the urge to paint, not to become a famous artist.” 1 If fame in midtown Manhattan, “Miss Albizu shows considerable range in her
once eluded her, Albizu is lately recognized among the great women of handling of singing colors, putting them together in dense masses composed
American Abstract Expressionism and may be considered the movement’s of heavy but sure strokes…her work has the mark of promise.”3
most outstanding representative from Puerto Rico. She trained under the
Spanish-born abstractionist Esteban Vicente, in San Juan from 1945 to 1947, Albizu’s mature paintings possess a radiant equanimity and power. Freer
and grew close to him and his second wife, the Puerto Rican intellectual in their paint handling and color arrangements than her earlier works, they
María Teresa Babín. She followed them to New York in 1948, continuing resound with a chromatic intensity whose harmonies rise and fall, richly
her studies there under Hans Hofmann, the preeminent teacher of the calibrated through hue and texture. Made through gestural and densely
New York School, and at the Art Students League. Albizu’s arrival came compacted slabs of pigment, they rhapsodize color through an inside-out
on the eve of what has been described as a triumphal moment for postwar layering of surfaces in shallow pictorial space. As Gómez Sicre recognized,
American painting, just months after the first exhibitions of Jackson Pollock’s the synaesthetic quality of her painting, in which strokes of color take on an
“drip” paintings and of Willem de Kooning’s breakthrough black-and-white expressive musicality, yields an internal incandescence and rich emotional
abstractions. Although long occluded from period accounts of Abstract timbre, delivered beautifully in the present Untitled. Here, pure colors interact
Expressionism, she evolved an exuberant, painterly practice of abstraction dynamically across the surface, the staccato passages of paint—red, yellow,
from the 1950s through the 1970s whose lyricism and chromatic brilliance green, turquoise, blue, purple, white—dramatized against a rare black
mark an entirely original contribution to American and Puerto Rican art ground. Albizu used a palette knife to give dimensional depth to these jagged
history. rectangles of color, laid both in broad applications—notably, in Untitled, in the
two vertical red swaths that anchor the center of the canvas—and in smaller
Albizu remains perhaps best-known today as the artist behind the taches of pigment, lively and vigorously overlapping within the image. The
celebrated album covers produced by Verve and RCA Victor for Stan Getz, all-over flux of colors and shapes is additive and suggestively syncretic, a
João Gilberto, and many others identified with Brazilian Bossa Nova. “The mosaic of polyphonic and tactile values.
association is not accidental,” wrote José Gómez Sicre, Chief of the Visual
Arts Division at the Pan American Union, at the time of her solo show at the “I don’t believe the artist should give clues to his work,” Albizu maintained,
PAU in June 1966. “The flat splashes of pure color, rhythmically distributed explaining her reluctance to title her paintings. “It is up to the viewer to react
across the surfaces, while in no sense a literal translation of musical ideas, without any guidelines.” She allowed only that her abstractions described
are nonetheless suggestive of syncopation.”2 Albizu’s associations with “a dialogue between myself and my work,” advising, “The art viewer must
RCA were also of a practical kind: she supported herself from time to time introduce his own conversation into that dialogue to complete the circle.”4
through secretarial jobs there, and through a remarkable connection—a
friend who worked as assistant to the head of the record division, who Abby McEwen, Assistant Professor, University of Maryland, College Park
displayed her work in the office—at least ten of her paintings were chosen 1 Olga Albizu, quoted in Bridge Between Islands: Retrospective Works by Six Puerto Rican Artists in New
for contemporary album covers. Albizu’s financial and professional struggles York, exh. cat. (New York: Henry Street Settlement, 1978), 6.

as a woman artist were, unsurprisingly, of a piece with her time; like peers 2 José Gómez Sicre, Olga Albizu of Puerto Rico, June 13 to 28, exh. cat. (Washington, D.C.: Pan American
Union, 1966), n.p.
from Carmen Herrera to Joan Mitchell and Elaine de Kooning, she lacked
3 D. A. [Dore Ashton], “Simpson-Middleman Paintings on View,” New York Times, 19 December 1956.
institutional support and regular exhibition opportunities. Her aptitude,
4 Albizu, quoted in Carolyn Lewis, “Puerto Rican Sculptor: Making Machines into Humans,” Washington
Post, Times Herald, 15 June 1966.

204
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100
OLGA ALBIZU (1924-2005)
Untitled
signed 'Albizu' (lower right) signed and dated 'Albizu 63' (on the reverse)
oil on canvas
46 x 50 in. (116.8 x 127 cm.)
Painted in 1963.

$35,000-45,000

PROVENANCE:

Private collection, Yonkers (acquired in 1990).

206
207
208
209
101
CARLOS CRUZ-DIEZ (1923-2019)
Physichromie 2232
signed, dated, titled 'CRUZ-DIEZ, PHYSICHROMIE 2232, AGOSTO 1988,
C.D.' (on a metal plaque affixed to the verso)
silkscreen, painted PVC and acrylic strips in aluminum frame
19æ x 78æ x 1¬ in. (50 x 200 x 4.1 cm.)
Executed in August 1988.

$200,000-300,000

PROVENANCE:

Galería Slato, Caracas.

Acquired from the above by the present owner (1998).

210
211
102
OMAR RAYO (1928-2010) PROVENANCE:

Velamen del Wayúu VIII Yaco Garcia Arte Latinoamericano, Panamá.

signed, dated, and titled 'OMAR RAYO, 1992, ROLDAYORK, VELAMEN DEL
WAYUÚ VIII' (on the reverse) This work is accompanied by a certificate of authenticity from the Fundación
acrylic on canvas Museo Rayo, signed by Agueda Pizarro Rayo.
55 x 55 in. (139.7 x 139.7 cm.) dimensions when installed
39æ x 39æ in. (98.4 x 98.4 cm.) square
Painted in 1992.

$25,000-35,000

212
103
OMAR RAYO (1928-2010) PROVENANCE:

Private collection, Bogotá.

Chami Anon. sale, Christie's, New York, 21 November 2015, lot 235.
signed, dated, and titled 'OMAR RAYO, NEW YORK, 1970-74, CHAMI' (on the Acquired from the above by the present owner.
reverse)
acrylic on canvas
This work is accompanied by a certificate of authenticity from the Museo
56 1/4 x 56 1/4 in. ( 142.9 x 142.9 cm.) dimensions when installed
Rayo signed by Agueda Pizarro Rayo.
39 3/4 x 39 3/4 in. (101 x 101 cm.) square
Painted in 1970-74.

$30,000-40,000

213
104
CARLOS CRUZ-DIEZ (1923-2019)
Physichromie 1345
signed, dated, and titled 'CRUZ-DIEZ, PHYSICHROMIE 1345, PARIS MAI
2001, C.D.' (on the verso)
silkscreen, paintd PVC and acrylic strips on wood with aluminum frame
16æ x 19√ x 1¬ in. (42.5 x 50.5 x 4.1 cm.)
Executed in Paris in 2001.

$40,000-60,000

PROVENANCE:
Acquired directly from the artist.
Anon. sale, Christie's, New York, 18 November 2009, lot 211.
Acquired from the above sale by the present owner.

214
215
105
MERCEDES PARDO (1921-2005)
Untitled
signed and dated 'Mercedes Pardo, 1980' (on the reverse)
acrylic on canvas
32º x 32º in. (81.9 x 81.9 cm.)
Painted in 1980.

$30,000-40,000

PROVENANCE:

Private collection, South America.

Acquired from the above by the present owner.
This work is accompanied by a certificate of authenticity from the Fundación
Otero/Pardo signed by Prof. Mercedes Otero, dated 5.28.2018, and is
registered in archives under number MPP-000400.
106
ARCANGELO IANELLI (1922-2009)
Untitled
signed and dated 'Ianelli, 1976' (lower right)
oil on canvas
71 x 51 in. (180.3 x 129.5 cm.)
Painted in 1976.

$40,000-60,000

PROVENANCE:

Galería Espacio, San Salvador.

Acquired from the above by the present owner.

216
107
SANDRA CINTO (B. 1968)
A ponte impossível
automotive paint on wood and medium-density fiberboard (MDF),
in three parts
47º x 118¿ x 19º in. (120 x 300 x 48.9 cm.)
Executed in 1998.
Edition three of five.

$18,000-22,000

PROVENANCE:

Casa Triangulo, São Paulo.

Acquired from the above by the present owner.

217
108
MARIANA PALMA (B. 1979)
Untitled
oil and acrylic on canvas
39Ω x 39º in. (100.3 x 99.7 cm.)
Painted in 2013.

$20,000-30,000

PROVENANCE:

Casa Triangulo, São Paulo.

Acquired from the above by the present owner.

LITERATURE:

G. Ermakoff, ed., Mariana Palma, São Paulo, 2013, p. 244 (illustrated).

218
219
 109
PABLO ATCHUGARRY (B. 1954)
Untitled
signed 'ATCHUGARRY' (near the base)
white Carrara marble
31º x 12 x 7 in. (79.4 x 30.5 x 17.8 cm.)

$40,000-60,000

PROVENANCE:

Acquired from the artist.

220
110
ANA MERCEDES HOYOS (1942-2014)
Bodegón
signed and dated 'hoyos -1987' (lower left)
oil on canvas
59 x 59 in. (150 x 150 cm.)
Painted in 1987.

$40,000-60,000

PROVENANCE:

Galería Alfred Wild, Bogotá.

Private collection, Bogotá.
Private collection, Miami.

221
 111
ABIGAIL VARELA (B. 1948)
El bostezo
incised with initials and numbered 'AV, 1/8' (on the figure's
backside)
bronze
14Ω x 23 x 11 in. (36.8 x 58.4 x 27.9 cm.)
Executed in 1998.
Edition one of eight.

$10,000-15,000

PROVENANCE:

Galería Freites, Caracas.

Acquired from the above by the present owner.
This work is accompanied by a certificate of authenticity
signed by the artist, dated 17 June 1999.

222
112
ABIGAIL VARELA (B. 1948)
Mujer equilibrista y niño
incised with initials and numbered 'AV, 1/8' (on the
curved bench)
bronze
20Ω x 16 x 13 in. (52.1 x 40.6 x 33 cm.)
Executed in 1997.
Edition one of eight.

$40,000-60,000

PROVENANCE:

Galería Freites, Caracas.

Acquired from the above by the present owner.
This work is accompanied by a certificate of
authenticity signed by the artist, dated 19 March 1999.

223
224
225
113
ANTONIO SEGUI (B. 1934)
Untitled
signed and dated 'Seguí 92 (lower left)
oil, newsprint and paper on canvas
19 1/2 x 58 3/4 in. (49.5 x 150 cm.)
Painted in 1992.

$25,000-30,000

PROVENANCE:

Private collection, San Juan (acquired directly from the artist).

Anon sale, Christie's, New York, 26 May 2016, lot 194.
Acquired from the above by the present owner.

226
114
ANTONIO SEGUÍ (B. 1934)
Texture
signed and dated 'Seguí 91' (upper left), signed and dated again
'Seguí, 2.1.1990, "TEXTURE" (on the reverse)
acrylic and fabric collage on canvas
51¿ x 63æ in. (130 x 162 cm.)
Painted in 1990-91.

$60,000-80,000

PROVENANCE:

Private collection, Paris.

EXHIBITED:

Mont-de-Marsan, France, Centre d'Art Contemporain, Antonio Seguí,

23 April-31 May 1992.
La Hulpe, Belgium, Fondation Folon, Antonio Seguí, 14 October 2017-
4 February 2018, p. 37 (illustrated in color).

227
115
PROVENANCE:
THE MERGER
Private collection, Havana.
Trabajando por la libertad Acquired from the above by the present owner, 2015.
polychrome aluminum and quartz base
This work is accompanied by a certificate of authenticity signed by the
13 x 50 x 4 in. (33 x 127 x 10.2 cm.) including base
artists, dated 1 January 2019.
Executed in 2010.
Unnumbered from an edition of seven plus three artist's proofs.

$30,000-40,000

228
229
116
ROBERTO FABELO (B. 1950)
Sirena
signed and dated twice 'Fabelo 2013' and titled 'SIRENA' (lower right)
acrylic on embroidered silk
59 x 39 in. (150 x 100 cm.)
Painted in 2013.

$40,000-60,000

PROVENANCE:

Private collection, Havana.

Acquired from the above by the present owner, 2013.
This work is accompanied by a certificate of authenticity signed by the artist,
dated 4 May 2018.

230
•117
ARMANDO MORALES (1927-2011) PROVENANCE:

Paysage: Deux nus, bicyclettes, trois bateaux au fond Galerie Claude Bernard, Paris.
Acquired from the above by the present owner.
signed and dated ‘Morales 82-88’ (lower right)
LITERATURE:
oil and beeswax on canvas C. Loewer, Armando Morales: Monograph & Catalogue Raisonné, Volume III
16 1/8 x 13 in. (41 x 33 cm.) 1974-2004, Vaumarcus, ArtAcatos 2010, p. 242, no. 1988.36 (illustrated).
Painted in 1982-88.

$20,000-25,000

This lot is sold without a reserve.

231
118
JULIO LARRAZ (B. 1944)
a.) Matters of State
signed 'Larraz' (upper right)
pastel on paper
27 x 38Ω in. (68.6 x 97.8 cm.)

232
b.) Overview, Study for the Sitting
signed 'Larraz' (lower right)
pastel on paper
27 x 38Ω in. (68.6 x 97.8 cm.)
Executed in 2001. Two in one lot.

$50,000-70,000

PROVENANCE:

Marlborough Gallery, New York.

Acquired from the above by the present owner.

233
119
LUIS DE RIAÑO (1596-1667)
Saint Michael Archangel
faintly signed and dated 'Luis de Riaño, fa. año de 1640' (lower right)
oil on canvas
81 x 56 in. (205.7 x 142.2 cm.)
Painted in 1640.

$40,000-60,000

PROVENANCE:

Private collection, Caracas.

Gift from the above to the present owner.

According to Judeo-Christian tradition, the Archangel Michael led the in the present work, the criollo artist Luis de Riaño (1596-1667) has rendered
celestial armies to victory over Satan and his rebel angels, vanquishing the iconic figure with great pomp conveyed through the ornamental details
them forever to the bowels of Hell. During the Counter Reformation, the of his lavish costume but also serene dignity through his fearless appearance
Archangel and his fellow angels became potent symbols as defenders of as a formidable warrior. Born in Lima to Spanish parents, Captain Juan
the faith combating Protestant and pagan heresies. Fantastically costumed de Riaño and Ana de Cáceres, Riaño trained in Lima at the workshop of
archangels were one of the most popular subjects to develop in the art of Angelino Medoro (1557-1631), an Italian master who had lived and worked
the Spanish colonies, especially in the Andes. Attired in a dazzling brightly in Seville before traveling to Lima in or about 1600. The young Riaño began
colored flowing mantle that resembles those of ancient Roman military his apprenticeship at the age of fifteen in 1611 and stayed for six years. The
leaders and with powerful wings that enhance his martial appearance, St. artist is an important link between the Italians such as Bernado Bitti, Mateo
Michael descends from the heavens. He tramples the demon and snakes de Alesio, and his own master, Medoro, and later styles in the Viceroyalty of
which recoil under his feet while holding a palm branch, a badge of triumph Peru. It is his generation that begins the path to what has been referred to
over death in his right hand and with his left, holds a staff with cross and as the “Cuzco School” or el barroco mestizo. 2 By 1626 Riaño was in Cuzco
banderole with the words Quien Como Dios as he asks Satan scornfully. where he made his home and was considered at this time both painter and
His monumental presence overwhelms the composition against the dark sculptor and in demand by the local churches and other religious institutions.
landscape which resembles the aftermath of a battlefield. In the New World, One of his most important commissions was part of the murals for the San
the figure of a heavenly creature such as an archangel was one of the primary Pedro Apóstol Church in Andahuaylillas (1626-1630) including the The Path
Christian iconographies that were easily accepted as the native populations to Heaven and Hell.
and their local leaders adopted this saintly soldier. They identified with St.
Michael and these otherworldly beings as they too did battle and recognized Margarita J. Aguilar, Art Historian
aspects of their manner of dress, such as their wings, thus associating with
1 F. Cossio del Pomar, Peruvian Colonial Art: The Cuzco School of Painting, New York: Wittenberg and
them as valiant warriors.1 Both the Church which used images of angels Company, 1964.
to evangelize and decorate their parishes, monasteries and convents, and 2 J. De Mesa and T. Gisbert de Mesa, Historia de la pintura cuzqueña, Lima: Fundación A.N. Wiese, Banco
private citizens who clamored for paintings of angels for private devotion, Wiese, 1982, 29-44.

commissioned these highly desirable images.

120
ANONYMOUS (PERUVIAN SCHOOL, EARLY 18TH CENTURY)
Nuestra Señora de Copacabana
oil on canvas
53 x 60º in. (134.6 x 153 cm.)

$30,000-40,000

PROVENANCE:

Robert A. Haden (acquired circa 1930).

Cornelia Haden Brewer, Chester, Vermont (by descent from the above, circa
1980).
Sale, Sotheby's New York, 20 May 1992, lot 71.
George Belcher Gallery, New York (acquired from the above).
Private collection, New York (acquired from the above in 1994).

EXHIBITED:

Miami, Spanish Cultural Institute, Colonial Art from the Andes, 23 September -
31 October 1997 (illustrated).
Anneville, Pennsylvania, Suzanne H. Arnold Gallery, Lebanon Valley College,
Viceregal Visions: Spanish Colonial Paintings, January - February, 2005.

Although imported from Spain, the so-called “sculpture painting” genre or paintings
of Christian statues, especially the Virgin Mary, became popular beginning in the
middle of the seventeenth century from the workshops of painters of the Cuzco and
Andean region.1 The large number of European prints available since the 1600s was
also a factor in the proliferation of such images. These large compositions depict
carved figures of the Blessed Virgin on a church altar or under a canopy, surrounded by
candles in shimmering golden splendor. Their strict symmetry, rich colors and vibrant
patterning in these unusual paintings, aided the devotee in veneration whether in a
public space or at home. The present painting of the Nuestra Señora de Copacabana,
also known as the Virgin of Candlemas or Candelaria, is a splendid example of this
unusual rendering of holy sculptures. The innovative Andean painters, however, re-
invented the genre in their numerous interpretations as the figure of the Holy Virgin is
often animated through subtle facial expressions.

Located on the shores of Lake Titicaca, Copacabana is a municipality in modern-

day Bolivia. The lake was a sacred site to the Aymara who preceded and influenced
the Inca who conquered them. They revered it as being the home of the Sun and
the Moon and held ancient myths about a creator, and other spirits as part of their
spiritual beliefs. As part of their evangelization, the Christian friars who arrived with the
Spanish, built churches and monasteries throughout the Altiplano and a small church
devoted to the Virgin of Copacabana, was built in this area in 1583. The cult to the
Virgin spread throughout the Andean regions but also to Spain where the playwright
Pedro Calderón de la Barca was inspired to write La aurora de Copacabana with a cast
that included the Pizarro brothers and Francisco Tito Yupanqui, a descendant of Inca
ruler Huayna Capac, and is said to have carved a sculpture of the Virgin. 2

This monumental composition is replete with didactic vignettes which served to

instruct the would-be converts. In the upper registers, a procession of the sculpture
of the Virgin appears on the left and a scene on the shores of Lake Titicaca with
merchants and their wares is noted on the right. The Virgin floats on a cloud reaching
out to a kneeling man on the lower right, perhaps the donor who commissioned the
painting; on the left, she stands before a seated Christ who holds a large cross perhaps
referring to the Cross of Carabuco myth which tells of the Apostle Bartholomew
bringing the Holy Cross to the Andes. The holy figures of the Virgin and Child are
resplendent in the finest brocades trimmed in lace within a carved niche flanked by
Solomonic columns and decorative scrolls which emphasize their divinity. The Virgin
wears precious jewels and a crown as befitting the Queen of Heaven.

Margarita J. Aguilar, Art Historian

1 L. A. Alcalá & J. Brown, “Painting in the Viceroyalty of Peru, New Granada (from 1717) and Río de la Plata (from 1776),”
Painting in Latin America, 1550-1820, New Haven & London: Yale University Press, 2014, 345-363.
2 S. Gallego, ed. La aurora en Copacabana, La Paz, Bolivia: Bruño, 1992. Calderón de la Barca based his work on the
Royal Commentaries of the Inca by Inca Garcilaso de la Vega published in London in 1609 and the Augustinian Friar
Alonso Ramos Gavilán’s Historia de Nuestra Señora de Copacabana.
 121
ATTRIBUTED TO BERNARDO DE LEGARDA
(QUITO SCHOOL, CIRCA 1700-1773)
Immaculate Conception
gilt and painted wood with metal and glass
12 x 8 x 4 in. (30.5 x 20.3 x 10.2 cm.)

$25,000-30,000

PROVENANCE:
Michael Haskell Antiques, Montecito, California.
Acquired from the above by the present owner.

238
122
SEBASTIÁN SALCEDO (ACTIVE LATE 18TH CENTURY)
Mater Dolorosa
signed 'Sebastián Salcedo fecit' (lower right) inscribed 'MATER DOLOROSA
O.P.N.' (along the lower edge)
oil on copper
25¿ x 19¿ in. (63.8 x 48.6 cm.)

$6,000-8,000

PROVENANCE:

Frances Sharon and Richard Allen Bowen collection (acquired circa 1970).
Thence to the Estate of Frances Sharon and Richard Allen Bowen.
123
ANONYMOUS (MEXICAN SCHOOL, C. 1780)
Virgin of the Apocalypse
oil on copper
17√ x 13 in. (45.2 x 33 cm.)

$15,000-20,000

PROVENANCE:

Private collection, Spain.

Acquired from the above by the present owner.
124
ANONYMOUS (PERUVIAN, 18TH CENTURY)
Archangel Asiel (Arcabucero)
oil on canvas
65Ω x 43Ω in. (166.4 x 110.5 cm.)

$15,000-20,000

PROVENANCE:

Private collection, Caracas.

Gift from the above to the present owner.

In eighteenth century Peru, extraordinary depictions of ángeles arcabuceros

or angels bearing muskets or “arquebuses" flourished, most notably in the
artistic centers of Cuzco and the Altiplano regon of Calamarca. Numerous
accounts tell of workshops in the region that employed foreign and local
artisans, apprentices and others that were dedicated to the creation of
religious paintings, sculptures and decorations for churches, convents and
monastaries. Evangelization fueled this manufacture and consumption of
sacred images and objects.

The subect of ángeles arcabuseros, was a novel subject in the 18th century,
and a distinctly new world phenomenon. These armed angels, clothed in
sumptuous garments that mimicked the aristocratic fashion of the time,
proved potent didactic images that resonated with the evangelical mission
in the Americas. The harquebus was a firearm at the vanguard of weaponry
technology and had been used in European wars since the early seventeenth
century, inspiring awe and commanding power. The native population which
included the Inca royalty could also identify with these exalted creatures
who, like them, were warriors. Their abundant plumage-adorned hats and
their exquisite feathered wings conveyed a supernatural manifestation which
encouraged pious veneration. This dazzling portrayal of a fearless angelic
soldier continued to be used as a powerful symbol of the Church Militant
during the Counter Reformation in the Americas. The stunning winged
creatures were God’s army and defenders of the faith and all Christians
against heresy that included Protestant ideology and the pantheon of Inca
gods. Here, Asiel is brilliantly pictured along with his specific attribute of fire,
as he was entrusted by God to cleanse and purify the faithful of their sins.
125
ANONYMOUS (CUZCO SCHOOL, 18TH CENTURY)
Adoration of the Shepherds
oil on canvas
41.1.2 x 50Ω in. (105.4 x 128.3 cm.)

$15,000-20,000

PROVENANCE:

Private collection, Caracas.

Gift from the above to the present owner.
126
ANONYMOUS (ANDEAN, 18TH CENTURY)
Nuestra Señora de la Merced, La Peregrina
oil on canvas
56º x 39º in. (142.9 x 99.7 cm.)

$20,000-25,000

PROVENANCE:

Private collection, Caracas.

Gift from the above to the present owner.

In the 18th century, images of the Virgin of Mercy were used by Mercedarian
missionaries in the consecration of new devotional sites across the Andes.
Unlike the European-derived versions of the Virgin of Mercy, where she is
depicted with her outspread cloak used to shelter her devotees, the Andean
Virgin of Mercy, known also as La Peregrina, or "The Pilgrim," is deeply rooted
in New World visual traditions, namely that of the pilgrimage--a concept that
would have resonated deeply for the local inhabitants of European heritage
and moreover for the indigeous peoples in the region. Here, the Virgin is
shown wearing a sumptuous gown adorned with gold brocading and floral
motifs, and lace-trimmed sleeves, typical of other Marian devotional images
venerated across the region. On her breast she wears the emblem of the
Mercedarian order, and in her hand, the scapulars bear the same. The broad-
brimmed hat that adorns both Virgin and child denote her significance as
"Sacred Pilgrim," and protectress of both physical and spiritual journeys in
the New World.
127
ANONYMOUS (PERUVIAN, 18TH CENTURY) Images of the Virgin of Mercy were among the most popular subjects
Virgen de la Merced depicted in Spanish colonial art. While the origins of The Virgin of Mercy
as visual type—that of a deity with arms outstretched to shelter devotees—
oil on canvas
can be traced as far back as ancient Rome, the earliest Christian accounts
61 x 47Ω in. (154.9 x 120.7 cm.)
associated with this devotional image date to the early 13th century.1 The
$20,000-25,000 Madonna of Mercy later gained importance in the Iberian peninsula during
PROVENANCE:
the late Middle Ages, and proved a powerful symbol in the propagation of
Anon. sale, Sotheby's New York, 7 May 1981, lot 41. the Christian message in the Americas. The rising popularity of Marian
Private collection, Caracas (acquired at the above sale). devotional images is in large part attributed to mendicant orders, namely
Gift from the above to the present owner. the Mercedarians, Franciscans and Dominicans, all of whom recognized the
persuasive power of the so-called “cult of the Virgin” and were instrumental
in the establishment of Spain’s territories in the Americas beginning in the
16th century.

In the present work, the Virgin stands, arms outspread, her cloak held up
on either side by angels. God the Father, flanked by angels, is visible in the
upper register, while ecclesiastical figures kneel below in devotion; here, the
Virgin is thus presented as a visual link between the earth and heaven, or
Church and Faith. The iconography in the scene places this work well-within
the tradition of the Mercedarian Virgin of Mercy. Founded in the 13th century,
by Saint Peter Nolasco and Saint Raymond Peñafort, Mercedarians originally
dedicated themselves to saving Christians captured by the Moors and held
for ransom in North Africa. The order grew in importance in subsequent
years throughout the Iberian peninsula, which for centuries had been the site
of brutal conflict and religious persecution under Moorish rule. By the 15th
century, when Granada, the last Muslim stronghold of Al-Andalus, was taken
by the Christians in the Reconquista, the Virgin of Mercy was extolled as a
reminder of the Church’s struggle and eventual triumph in the region. During
the Age of Exploration, and conquest and colonization of the Americas, the
Virgin of Mercy took on new meaning, as guardian of the perilous voyage
across the Atlantic and into the new world. By the 18th century, the Virgin of
Mercy was widely venerated throughout the viceroyalty of Peru, her image
used often in the consecration of churches and religious sites across the
region, and also as commissioned paintings for private devotion. Certainly,
her image would have resonated with the local clergy, to further legitimize
Spain’s divinely-ordained mission in the land once ruled by the Incas and
their many great gods. Indeed, this tender but commanding vision of the
Virgin as heavenly mother, arms open to shelter and protect God’s children,
serves as a persuasive evangelizing message, confirming the triumph of the
Christian faith over all else, and offering the pious a promise of protection in
this life and the next.

1 See for instance, S. Solway, “A Numismatic Source of the Madonna of Mercy,” The Art Bulletin, Vol. 67,
No. 3 (Sep., 1985), pp. 359-368.
128
ANONYMOUS (CUZCO SCHOOL, 18TH CENTURY)
La Virgen del Rosario
oil on canvas
73Ω x 61 in. (186.7 x 154.9 cm.)

$30,000-40,000

PROVENANCE:

Private collection, Caracas.

Gift from the above to the present owner.

The Virgin Mary became a powerful female symbol during the evangelization
of the native peoples throughout the Spanish held colonies. In the Viceroyalty
of Peru, the image of a motherly figure holding a child held great appeal for
the various Andean groups who associated her with Pachamama or Mother
Earth. The Dominican friars, who were the first to organize missionary
expeditions to Peru as early as the sixteenth century, advocated devotion
to her cult and the rosary. Indeed, Saint Dominic, the founder of the order
in 1215, is said to have received the rosary from the hands of the Virgin in a
mystical encounter when she instructed him to meditate on the mysteries of
the rosary and seek salvation for mankind through prayer. The word ‘rosary’
originally meant a rose garden and later referred to a garland of roses. Thus
the rosary may be considered a garland of prayers to the Virgin as each bead
represents a prayer.

This didactic image was a compelling icon which visually explained the
Christian dogma through the representation of the Virgin as mediator
between God and his people. The history of the faith and the road to
redemption are illustrated through the mysteries or stories in the rosary.
According to Church doctrine, each reveals five events in the life of Christ.
The Joyful Mysteries foretell his birth and follow his early life; the Sorrowful,
portray his Passion; and the Glorious hail his Resurrection, Ascension to
Heaven followed by the Descent of the Holy Spirit upon his people with the
Holy Virgin’s Assumption and her Coronation by God the Father. Executed
by an unknown but highly skilled Cuzco master, the inspiring monumental
composition is nevertheless a compelling portrayal of the holy persons who
appear other worldly amidst the luminous rays such as the Father and Holy
Spirit as they crown Mary’s towering figure. The Virgin is framed by delicate
medallions bordered with ivy, a symbol of everlasting life. These describe
the events in her life and that of her Divine Son; the two closest to her face
are the Annunciation on the uppermost left and her Coronation on the
right. The Joyful and Glorious mysteries which are on the left and right of
the composition are resplendent while on the lower register, the Sorrowful
Mysteries portray Christ’s Passion almost in darkness.

A popular subject in the Viceroyalty of Peru, paintings of Our Lady of the

Rosary were frequently commissioned for public and private devotion in
important centers such as Lima, Cuzco and La Paz. A composition similar
to the present lot by the artist Antonio Vilca who was active (1769-1803) in
Cuzco, is part of the collection of Banco de Crédito del Perú in Lima.

Margarita J. Aguilar, Art Historian

129
ANONYMOUS (PERUVIAN, 18TH CENTURY)
Saint Apollonia
oil on canvas
62 x 43 in. (157.5 x 109.2 cm.)

$20,000-25,000

PROVENANCE:

Anon. sale, Century´s Arte e Leilão, Rio de Janeiro, September 2002, lot 826.
Acquired from the above by the present owner.
130
ANONYMOUS (PERUVIAN, 18TH CENTURY)
a)
Saint Michael, Archangel
oil on canvas
56 x 40 in. (142 x 102 cm.)
b)
Guardian Angel
oil on canvas
56 x 40 in. (142 x 102 cm.)

$60,000-80,000

PROVENANCE:

Private collection, Spain.

Acquired from the above by the present owner.
131
ANONYMOUS (MEXICAN SCHOOL, 18TH CENTURY)
Nuestra Señora de Guadalupe
oil on canvas
66 x 43 in. (167.6 x 109.2 cm.)

$30,000-40,000

PROVENANCE:

Private collection, Spain.

Acquired from the above by the present owner.

Revered throughout the region, the Virgin of Guadalupe is one of the most
sacred images in Latin America, and today she is recognized by people
across the globe. Derived from Spanish sources, the Virgin of Guadalupe
quickly became a powerful image of the crown’s mission in the new world.
In 1531, a decade after Hernán Cortés took control of the Aztec capital of
Tenochtitlan (what is modern-day Mexico City) founding the Viceroyalty
of New Spain, La Guadalupana performed her first miracle. According to
legend, the Virgin Mary appeared to the native Juan Diego on Tepeyac Hill.
Speaking to him in his natal tongue of Náhuatl, the Virgin instructed Juan
Diego to go to the bishop and tell him of her miraculous appearance and of
her desire for a shrine to be built in her honor on the hill. The bishop however
did not believe Juan Diego and so the Virgin appeared to him twice more,
imploring him to repeat her request. Again in disbelief, the bishop rejected
the appeal, asking for proof of these supposed apparitions. Upon her next
appearance to Juan Diego, the Virgin instructed him to gather the flowers
that were unseasonably in bloom from Tepeyac Hill. Using his tilma or cloak
as a sack, Juan Diego collected the flowers and brought them to the bishop;
upon opening his cloak, the flowers poured out, leaving the Virgin’s image
miraculously imprinted on the cloth—irrefutable proof of Juan Diego’s visions.

The present work depicts the Virgin Mary, framed by scenes recounting her
many miraculous appearances to Juan Diego. A sweet-faced, pious young
woman, surrounded by golden rays of the heavens and an abundance of
flowers, the Virgin here appears like a tender mother figure, not terribly unlike
the Aztec goddess of fertility and the earth, Tonantzin. Indeed, Tepayac
Hill, what became the site of the Basilica of Our Lady of Guadalupe, was an
important Aztec place of worship for this “sacred mother.” The syncretism
of the legend of La Guadalupana, which linked New Spain’s colonial present
to the indigenous past, helped to legitimize the Spanish crown’s so-called
“divinely-ordained” mission in the Americas. Images of the Virgin were
venerated and promoted throughout the region, providing a firm foundation
upon which the church and crown were able to expand their reach. But
La Guadalupana was also fiercely embraced as source of pride by the new
mestizo culture in the Americas, born out of the complex mixing of vastly
different peoples. Later, in the 19th century her image garnered new power
as she was heralded as an emblem of Mexico’s fight for independence from
Spain. Today her image far surpasses her religious significance and has
become intrinsically linked to notions of Mexican national identity.
 LATIN AMERICAN ART / ONLINE
256
LATIN AMERICAN ART ONLINE

257
21 JULY - 4 AUGUST 2020
christies.com/latinamericanartonline
1 2 3
MARINA NUÑEZ DEL PRADO (1910-1996) NICOLÁS GARCÍA URIBURU (1937-2016) MARIO SEGUNDO PÉREZ (1960-2018)
Untitled (Pear and Pomegranate) Pescadores
Mother and Child oil on canvas oil on canvas
each: 23 x 17 in. (60.3 x 45.1 cm.) 24 x 32 in. (61 x 81.3 cm.)
guayacan wood
Painted in 1963 Painted in 1998.
10 x 10 x 9 in. (26 x 25.4 x 22.9 cm.)
Two in one lot.
$3,000-4,000
$5,000-7,000
$18,000-22,000

4 5 No Lot 6
FLORENCIO MOLINA CAMPOS (1891- FLORENCIO MOLINA CAMPOS (1891-
1959) 1959)
Untitled (The Mail Coach) Haciendo leña
gouache on heavy paper gouache on paper laid on board
12 x 19 in. (32.4 x 50 cm.) 13 x 19 in. (34 x 50 cm.)
Executed in 1947. Executed in 1951.

$12,000-18,000 $12,000-18,000

LATIN AMERICAN ART / ONLINE

7 8 9
EMILIO SÁNCHEZ (1921-1999) EMILIO SÁNCHEZ (1921-1999) EMILIO SÁNCHEZ (1921-1999)
Untitled (Cityscape) Untitled (Skyline) New Skyscraper
watercolor on heavy paper watercolor on paper watercolor on heavy paper
40 x 59 in. (102 x 152 cm.) 40 x 40 in. (102 x 102 cm.) 59 x 40 in. (151.1 x 102 cm.)

$6,000-8,000 $5,000-7,000 $6,000-8,000

10 11 12
OSCAR MUÑOZ (B. 1951) TONICO LEMOS AUAD (B. 1968) ALEXANDRE DA CUNHA (B. 1969)
Horizonte from the series Impresiones Sandcastle 1345041010
débiles linen and cotton in purple heart wood frame concrete, sand and glass
charcoal dust print on methacrylate 25 x 25 x 1 in. (64.1 x 64.8 x 2.9 cm.) 12 x 8 x 7 in. (32.4 x 20.3 x 19.7 cm.)
19 x 48 in. (48.3 x 122 cm.) Executed in 2016. Executed in 2010.
Executed in 2011. Unique.
Edition two of three plus two artist's proofs. $6,000-8,000
$2,500-3,500

$15,000-20,000
•13 14 •15
JOSÉ GURVICH (1927-1974) JULIO ALPUY (1919-2009) JULIO ALPUY (1919-2009)
Cunitas The Sea Untitled
watercolor on paper incised and painted wood with collage wood assemblage
16 x 12 in. (40.6 x 31.1 cm.) 22 x 20 in. (57.4 x 52.1 cm.) 24 x 32 x 2 in. (62.2 x 81.3 x 6.4 cm.)
Executed in 1966. Executed in 1965. Executed in 1964

$5,000-7,000 $15,000-20,000 $8,000-12,000

No Reserve No Reserve

PROPERTY FROM A DISTINGUISHED COLLECTION

•16 17
JOSÉ GURVICH (1927-1974) AUGUSTO TORRES (1913-1992) 18
Tejados Constructivo PETER VON ARTENS (1937-2003)
watercolor and pencil on paper oil on cardboard Lemons
10 x 7 in. (25.4 x 17.8 cm.) 16 x 20 in. (43.2 x 50.8 cm) oil on canvas
Executed in 1952. Painted circa 1980. 31 x 28 in. (80 x 71.8 cm.)
Painted in 1993.
$3,000-5,000 $10,000-15,000
$10,000-15,000
No Reserve

LATIN AMERICAN ART / ONLINE

260
•19 20 21
MAURICIO BARBATO (B. 1964) RENATO MEZIAT (B. 1952) MAIKEL MARTINEZ (B. 1977)
Canal de Beagle e Cordiilheira dos Andes Vase With Yellow Flowers The Lost Landscapes
(Darwin) oil on canvas
oil on canvas
oil on canvas 39 x 31 in. (100 x 80 cm.) 20 x 30 in. (51.1 x 76.2 cm.)
13 x 18 in. (33 x 45.8 cm.) Painted in 2001. Painted in 2018.
Painted in 2013.
$4,000-6,000 $8,000-12,000
$2,000-3,000

No Reserve

22 23
24
LUIS GONZÁLEZ PALMA (B. 1957) JOSÉ PEDRO COSTIGLIOLO (1902–1985)
ARY BRIZZI (1930-2014)
La fidelidad del dolor Triángulos
hand-painted gelatin silver print, ribbon oil on canvas
Nucleo 4
19 x 39 in. (50.4 x 99.9 cm.) 19 x 19 in. (50.4 x 50.4 cm) acrylic on canvas
Executed in 1991. Painted in 1981. 19 x 19 in. (48.9 x 48.9 cm.)
Edition of five. Painted in 1985.
$8,000-12,000
$4,000-6,000 $2,000-3,000

261
25 26 •27
PABLO SIQUIER (B. 1961) GRACIELA HASPER (B. 1966) LEON FERRARI (1920-2013)
9719 Untitled Untitled
acrylic on canvas acrylic on canvas ink on paper
26 x 38 in. (66 x 96.5 cm.) 70 x 36 in. (178 x 91.4 cm.) 10 x 8 in. (26.7 x 21 cm.)
Painted in 1997. Painted in 2007. Executed in 1962.

$10,000-15,000 $6,000-8,000 $6,000-8,000

No Reserve

28 29 30
CORNELIA VARGAS (B. 1933) RICARDO CÁRDENAS (B. 1966) BENITO QUINQUELA MARTÍN (1890-
Teselado de polígonos III Lluvia azul 1977)
acrylic on canvas painted aluminum Reflejos plateados
39 x 39 in. (100.3 x 100.3 cm.) 43 x 43 x 9 in. (110 x 110 x 23.5 cm.) oil on masonite
Painted in 2018. Executed in 2020. 23 x 27 in. (60 x 69.9 cm.)
Painted in 1947.
$5,000-7,000 $10,000-15,000
$12,000-18,000

LATIN AMERICAN ART / ONLINE

262
31 32 33
LEONORA CARRINGTON (1917-2011) PEDRO FIGARI (1861-1938) ALICE RAHON (1904-1987)
Preparing the Boat Nostalgias salvajes Pájaros
oil on canvas-board oil on board colored pencil and gouache on paper
14 x 18 in. (35.6 x 45.7 cm.) 10 x 6 in. (25.4 x 16.5 cm.) 8 x 5 in (21.6 x 14 cm.)
Painted circa 1935-36. Painted in 1932. Executed in 1961.

$5,000-7,000 $4,000-6,000 $5,000-7,000

34 PROPERTY FROM THE COLLECTION OF DR LEONARD

D. HAMILTON
36
VARIOUS GRAPHIC ARTISTS MANABU MABE (1924-1997)
35
A Collection of Forty-Eight Cuban Film No. 656
Posters FRANS KRAJCBERG (1921-2017)
oil on canvas
silkscreen posters Waves 31 x 29 in. (80.9 x 75.6 cm.)
approximately 30 x 20 in. (76.2 x 50.8 cm.) each pigment on molded paper laid on canvas Painted in 1965.
Executed in 1968-1982. 22 x 16 in. (57.2 x 41.3 cm.)
Forty-eight in one lot. $7,000-9,000
Executed in 1961.
$10,000-15,000 $12,000-18,000

263
37 38 PROPERTY FROM THE COLLECTION OF DR LEONARD
D. HAMILTON
CÍCERO DIAS (1907-2003) ARCANGELO IANELLI (1922-2009)
39
Composition III Untitled
MANABU MABE (1924-1997)
oil on canvas oil on canvas
39 x 31 in. (100 x 81 cm.) 51 x 39 in. (130 x 100.3 cm.) Untitled
Painted in 1970. Painted in 1984. oil on canvas
15 x 19 in. (40 x 49.9 cm.)
$15,000-20,000 $10,000-15,000
Painted in 1962.

$3,000-4,000

40 41 42
JUAN DOWNEY (1940-1993) JORGE EIELSON (1924–2006) LILIANA PORTER (B. 1941)
A Multiple: Against Shadows and A Nodo Dialogue (with Pinocchio)
Multiple: Do Your Own Concert painted wrapped canvas silver gelatin print
graphite, gouache, pastel, and collage on paper 5 x 11 x 11 in. (14.6 x 30.1 x 30.1 cm.) overall dimensions: 24 x 40 in. (61 x 101.6 cm.)
20 x 30 in. (50.8 x 76.2 cm.) Executed in 1971. each print: 24 x 19 in. (61 x 50.2 cm.)
Executed in 1969. Executed in 1995. Edition of five.
$12,000-18,000
Diptych.
$10,000-15,000
$4,000-6,000

LATIN AMERICAN ART / ONLINE

264
43 44 45
OLGA ALBIZU (1924-2005) ISABEL DE OBALDÍA (B. 1957) ÁNGEL BOTELLO (1913-1986)
Untitled Torito Untitled (Desnudo)
oil on board sand cast glass engraved with diamond wheels oil on wood panel
9 x 6 in. (23.2 x 17.2 cm.) 12 x 8 x 2 in. (31.1 x 20.3 x 6.4 cm.) 30 x 48 in. (76.2 x 121.9 cm.)
with base: 24 x 8 x 8 in. (61 x 21 x 21 cm.)
$8,000-12,000 $15,000-20,000
Executed in 2005.
Unique.

$6,000-8,000

PROPERTY FROM A DISTINGUISHED FAMILY PROPERTY FROM A DISTINGUISHED FAMILY PROPERTY FROM A DISTINGUISHED FAMILY
COLLECTION COLLECTION COLLECTION

46 47 48
GUSTAVO MONTOYA (1905-2003) FELIPE CASTAÑEDA (B. 1933) FELIPE CASTAÑEDA (B. 1933)
a) Niña con pájaro
Mujer reclinada Mujer con rebozo
oil on canvas
21æ x 18 in. (55 x 46 cm.) white marble bronze with green patina
Painted circa 1960s-1980s 15 x 15 x 9 in. (38.1 x 38.1 x 23. 4 cm.) 17 x 11 x 11 in. (43.2 x 27.9 x 27.9 cm.)
Executed in 1986. Executed in 1982.
b) Niña con rebozo Unique. Edition one of seven.
oil on canvas
21æ x 17. 3/4 in. (55 x 45 cm.) $15,000-20,000 $6,000-8,000
Painted circa 1960s-1980s Two in one lot

$25,000-30,000

265
PROPERTY FROM THE LOS ANGELES COUNTY PROPERTY FROM THE LOS ANGELES COUNTY PROPERTY FROM THE LOS ANGELES COUNTY
MUSEUM OF ART, SOLD TO BENEFIT ACQUISITIONS OF MUSEUM OF ART, SOLD TO BENEFIT ACQUISITIONS OF MUSEUM OF ART, SOLD TO BENEFIT ACQUISITIONS OF
LATIN AMERICAN ART LATIN AMERICAN ART LATIN AMERICAN ART

49 50 51
RUFINO TAMAYO (1899-1991) RUFINO TAMAYO (1899-1991) RUFINO TAMAYO (1899-1991)
Hombre en la ventana Protesta Perfil con sombrero
Mixografía® in colors, on handmade paper Mixografía® in colors, on handmade paper Mixografía® in colors, on handmade paper
35 ¼ x 27 ½ in. (89.5 x 69.9 cm.) image: 30 ½ x 22 ¾ in. (77.5 x 57.8 cm.) image: 31 ½ x 23 ½ in. (80 x 59.7 mm.)
Executed in 1980. sheet: 38 ¾ x 30 ½ in. (98.4 x 77.5 cm.) sheet: 37 ¼ x 30 ¼ in. (94.6 x 76.8 cm.)
Edition 88 of 100 plus 25 artist's proofs and 10 Executed in 1983. Executed in 1982.
handling copies. Edition 64 of 100 plus 20 artist's proofs and 10 Edition 86 of 100 plus 25 artist's proofs and 10
Published by the Taller de Gráfica Mexicana, handling copies. handling copies.
Mexico City. Published by the Taller de Gráfica Mexicana, Published by the Taller de Gráfica Mexicana,
Mexico City. Mexico City.
$3,000-5,000
$3,000-5,000 $3,000-5,000

PROPERTY FROM THE LOS ANGELES COUNTY PROPERTY OF THE LOS ANGELES COUNTY MUSEUM PROPERTY FROM THE LOS ANGELES COUNTY
MUSEUM OF ART, SOLD TO BENEFIT ACQUISITIONS OF OF ART, SOLD TO BENEFIT ACQUISITIONS OF LATIN MUSEUM OF ART, SOLD TO BENEFIT ACQUISITIONS OF
LATIN AMERICAN ART AMERICAN ART LATIN AMERICAN ART

52 53 54
RUFINO TAMAYO (1899-1991) RUFINO TAMAYO (1899-1991) RUFINO TAMAYO (1899-1991)
Personajes con pájaros Busto en rojo Cabeza sobre fondo azul
Mixografía® in colors, on handmade paper Mixografía® in colors, on handmade paper Mixografía® in colors, on handmade paper
43 ¾ x 35 ½ in. (111.1 x 90.2 cm.) image: 22 3/8 x 30 ¼ in. (56.8 x 76.8 cm.) image: 30 x 22 ½ in. (76.2 x 57.2 cm.)
Executed in 1988. sheet: 26 ½ x 33 ¾ in. (67.3 x 85.7 cm.) sheet: 35 ½ x 27 in. (90.2 x 68.6 cm.)
Edition 63 of 100 plus 27 artist's proofs and 18 Executed in 1984. Executed in 1984.
handling copies. Edition 88 of 100 plus 20 artist's proofs and 10 Edition 88 of 100 plus 20 artist's proofs and 10
Published by the Taller de Gráfica Mexicana, handling copies. handling copies.
Mexico City. Published by the Taller de Gráfica Mexicana, Published by the Taller de Gráfica Mexicana,
Mexico City. Mexico City.
$3,000-5,000
$3,000-5,000 $3,000-5,000

LATIN AMERICAN ART / ONLINE

266
PROPERTY OF THE LOS ANGELES COUNTY MUSEUM PROPERTY FROM THE LOS ANGELES COUNTY PROPERTY FROM THE LOS ANGELES COUNTY
OF ART, SOLD TO BENEFIT ACQUISITIONS OF LATIN MUSEUM OF ART, SOLD TO BENEFIT ACQUISITIONS OF MUSEUM OF ART, SOLD TO BENEFIT ACQUISITIONS OF
AMERICAN ART LATIN AMERICAN ART LATIN AMERICAN ART

55 56 57
RUFINO TAMAYO (1899-1991) RUFINO TAMAYO (1899-1991) RUFINO TAMAYO (1899-1991)
Vergonzoso Perfil en oro Figura en rojo
Mixografía® in colors, on handmade paper Mixografía® in colors, on handmade paper Mixografía® in colors, on handmade paper
image: 34 x 26 in. (87 x 68.3 cm.) image: 32 1/8 x 24 ½ in. (81.6 x 62 cm.) image: 22 5/8 x 30 1/8 in. (57.5 x 76.5 cm.)
sheet: 37 x 29 in. (96 x 76 cm.) sheet: 35 ½ x 28 in. (90.2 x 71.1 cm.) sheet: 28 ¼ x 35 ½ in. (71.8 x 90.2 cm.)
Executed in 1983. Executed in 1979. Executed in 1989.
Edition 64 of 100 plus 20 artist's proofs. Edition 84 of 100 plus 10 artist's proofs and 10 Edition 67 of 100 plus 30 artist's proofs and 30
Published by the Taller de Gráfica Mexicana, workshop proofs. handling copies.
Mexico City. Published by the Taller de Gráfica Mexicana, Published by the Taller de Gráfica Mexicana,
Mexico City. Mexico City.

$3,000-5,000 $3,000-5,000 $3,000-5,000

PROPERTY OF THE LOS ANGELES COUNTY MUSEUM PROPERTY OF THE LOS ANGELES COUNTY MUSEUM PROPERTY OF THE LOS ANGELES COUNTY MUSEUM
OF ART, SOLD TO BENEFIT ACQUISITIONS OF LATIN OF ART, SOLD TO BENEFIT ACQUISITIONS OF LATIN OF ART, SOLD TO BENEFIT ACQUISITIONS OF LATIN
AMERICAN ART AMERICAN ART AMERICAN ART

58 59 60
CARLOS MÉRIDA (1891-1984) CARLOS MÉRIDA (1891-1984) CARLOS MÉRIDA (1891-1984)
Three Women Proyectos para los murales del Banco de Untitled
watercolor on tracing paper Guatemala watercolor on amate paper
15 x 11 in. (40 x 28.6 cm.) watercolor, gouache and ink on paper 16 x 12 in. (42.6 x 30.5 cm.)
Executed in 1948. 17 x 58 in. (43.5 x 148 cm.) Executed in 1961.
Executed in 1963.
$8,000-12,000 $10,000-15,000
$10,000-15,000

267
 PROPERTY OF THE LOS ANGELES COUNTY MUSEUM PROPERTY OF THE LOS ANGELES COUNTY MUSEUM 63
OF ART, SOLD TO BENEFIT ACQUISITIONS OF LATIN OF ART, SOLD TO BENEFIT ACQUISITIONS OF LATIN
AMERICAN ART AMERICAN ART FRANCISCO ZÚÑIGA (1912-1998)

61 62 Yalalteca (also known as Woman from

Yalala)
RAFAEL CORONEL (1931-2019) RAFAEL CORONEL (1931-2019)
brown onyx
Untitled Untitled 24 x 17 x 12 in. (62.8 x 43.1 x 32.3 cm.)
oil on canvas oil on canvas Executed in 1968.
59 x 80 in. (151.8 x 204.5 cm.) 40 x 30 in. (102.2 x 76.2 cm.) Unique.

$10,000-15,000 $15,000-20,000 $25,000-30,000

64 65 66
FRANCISCO ZÚÑIGA (1912-1998) FRANCISCO ZÚÑIGA (1912-1998) FRANCISCO ZÚÑIGA (1912-1998)
Dos mujeres de pie Evelia en un butaque Desnudo acostado
bronze bronze yellow onyx
22 x 14 x 7 in. (58 x 37 x 19 cm.) 12 x 11 x 14 in. (32 x 28.9 x 36.2 cm.) 7 x 19 x 9 in. (17.7 x 48.2 x 23 cm.)
Executed in 1965. Executed in 1972. Executed in 1966.
Edition three of five. Edition six of six. Unique.

$10,000-15,000 $20,000-25,000 $20,000-25,000

LATIN AMERICAN ART / ONLINE

268
67 68 69
FRANCISCO ZÚÑIGA (1912-1998) AGUSTÍN FERNÁNDEZ (1928-2006) RENÉ PORTOCARRERO (1912–1985)
Mujer sentada La mesa Catedral
bronze oil on cavnas tempera on heavy paper
9 x 10 x 10 in. (24 x 25.5 x 27.5 cm.) 34 x 48.25 in. (86.4 x 122.6 cm.) 22 x 17 in. (55.9 x 43.8 cm.)
Executed in 1956. Painted circa 1954. Executed in 1963.
Edition two of three.
$8,000-12,000 $12,000-18,000
$8,000-12,000

•70 71 72
VICTOR MANUEL (1897-1969) AGUSTÍN CÁRDENAS (1927-2001) RENÉ PORTOCARRERO (1912–1985)
Mujer The Family Dos mujeres y palomas
sanguine and graphite on paper bronze tempera on heavy paper
25 x 19 in. (64.8 x 49.9 cm.) 14 x 10 x 8 in. (37 x 27 x 22 cm.) 23 x 29 in. (58.9 x 75.6 cm.)
Executed in 1968. Executed in 1983-85. Executed in 1976.
Edition four of six.
$8,000-12,000 $15,000-20,000
$10,000-15,000
No Reserve

269
PROPERTY FROM THE COLLECTION OF WALLACE PROPERTY FROM THE COLLECTION OF WALLACE PROPERTY FROM THE COLLECTION OF WALLACE
CAMPBELL CAMPBELL CAMPBELL

73 74 75
MARCELO POGOLOTTI (1902-1988) AGUSTÍN CÁRDENAS (1927-2001) BELKIS AYÓN (1967-1999)
Mitin (also known as Meeting) Figure Assise Untitled
ink on paper bronze collograph on paper
15 x 21 in. (38.4 x 55 cm.) 17 x 10 x 4 in. (43.2 x 27.3 x 13 cm.) 28 x 37 in. (72.4 x 94.3 cm.)
Executed in 1936. Executed in 1983-85. Executed in 1993.
Unnumbered artist's proof. Edition five of six.
$15,000-20,000
$15,000-20,000 $8,000-12,000

PROPERTY FROM THE COLLECTION OF WALLACE PROPERTY FROM THE COLLECTION OF WALLACE PROPERTY FROM THE COLLECTION OF WALLACE
CAMPBELL CAMPBELL CAMPBELL

76 77 78
MANUEL MENDIVE (B. 1944) ARMANDO MARIÑO (B. 1968) MANUEL MENDIVE (B. 1944)
Untitled El restaurador Untitled
oil on canvas oil on canvas oil on canvas
21 x 26 in. (54 x 66 cm.) 58 x 48 in. (147.9 x 123.2 cm.) 28 x 24 in. (71.2 x 62 cm.)
Painted in 2005. Panted in Havana in 1997. Painted in 1994.

$15,000-20,000 $2,000-3,000 $15,000-20,000

LATIN AMERICAN ART / ONLINE

270
PROPERTY FROM THE COLLECTION OF WALLACE •80 81
CAMPBELL
ROBERTO FABELO (B. 1950) ROBERTO FABELO (B. 1950)
79
Tres parejas El gallo de Tomasa
BELKIS AYÓN (1967-1999)
watercolor on paper bronze
Sikán 11 x 16 in. (29.2 x 41.9 cm.) 23 x 28 x 18 in. (59.7 x 71.1 x 47 cm.)
collograph on paper Executed in 1999. Executed in 2007.
29 x 16 in. (76 x 42.2 cm.) Edition three of four.
$3,000-4,000
Executed in 1993.
$20,000-25,000
Edition two of three. Second edition.
No Reserve
$12,000-18,000

82 83 84
ISABEL DE OBALDÍA (B. 1957) LEONORA CARRINGTON (1917-2011) MIGUEL COVARRUBIAS (1904-1957)
Águila Head Chandler Christy vs. Pablo Picasso
sand cast glass engraved with diamond wheels wood from the Vanity Fair Series Impossible
12 x 8 x 2 in. (31.1 x 20.3 x 5.1 cm.) 3 x 2 x 1 in. (8 x 7 x 3 cm.) Conversations
with base: 24 x 8 x 8 in. (61 x 21 x 21 cm.) Executed circa 1954. gouache on board
Unique. 9 x 8 in. (23.2 x 22 cm.)
Executed circa 1930.
Executed in 2005. $10,000-15,000
Unique. $8,000-12,000

$6,000-8,000

271
SYMBOLS USED IN THIS CATALOGUE
The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed ‘Conditions of Sale’

º ♦ ~
Christie’s has a direct financial interest in the lot. Christie’s has a direct financial interest in the lot and Lot incorporates material from endangered species
See Important Notices and Explanation of Cataloguing has funded all or part of our interest with the help of which could result in export restrictions. See
Practice. someone else. See Important Notices and Explanation Paragraph H2(b) of the Conditions of Sale.
of Cataloguing Practice.
∆ ■
Owned by Christie’s or another Christie’s Group ¤ See Storage and Collection pages in the catalogue.
company in whole or part. See Important Notices and Bidding by interested parties
Explanation of Cataloguing Practice. Ψ
• Lot incorporates material from endangered species that
Lot offered without reserve which will be sold to the is not for sale and shown for display purposes only.
highest bidder regardless of the pre-sale estimate in the See Paragraph H2(g) of the Conditions of Sale.
catalogue.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.

29/03/19

IMPORTANT NOTICES AND EXPLANATION OF

CATALOGUING PRACTICE
IMPORTANT NOTICES Post-catalogue notifications The date given for Old Master, Modern and Contemporary Prints is the
date (or approximate date when prefixed with ‘circa’) on which the matrix
∆ Property Owned in part or in full by Christie’s In certain instances, after the catalogue has been published, Christie’s may
was worked and not necessarily the date when the impression was printed
enter into an arrangement or become aware of bidding that would have
From time to time, Christie’s may offer a lot which it owns in whole or in or published.
required a catalogue symbol. In those instances, a pre-sale or pre-lot
part. Such property is identified in the catalogue with the symbol ∆ next
announcement will be made. *This term and its definition in this Explanation of Cataloguing Practice
to its lot number. Where Christie’s has an ownership or financial interest
are a qualified statement as to authorship. While the use of this term
in every lot in the catalogue, Christie’s will not designate each lot with a Other Arrangements is based upon careful study and represents the opinion of specialists,
symbol, but will state its interest in the front of the catalogue.
Christie’s may enter into other arrangements not involving bids. These Christie’s and the seller assume no risk, liability and responsibility for the
º Minimum Price Guarantees include arrangements where Christie’s has given the Seller an Advance on authenticity of authorship of any lot in this catalogue described by this
the proceeds of sale of the lot or where Christie’s has shared the risk of a term, and the Authenticity Warranty shall not be available with respect
On occasion, Christie’s has a direct financial interest in the outcome of to lots described using this term.
guarantee with a partner without the partner being required to place an
the sale of certain lots consigned for sale. This will usually be where it has
irrevocable written bid or otherwise participating in the bidding on the lot.
guaranteed to the Seller that whatever the outcome of the auction, the
Because such arrangements are unrelated to the bidding process they are not POST 1950 FURNITURE
Seller will receive a minimum sale price for the work. This is known as a
marked with a symbol in the catalogue. All items of post-1950 furniture included in this sale are items either
minimum price guarantee. Where Christie’s holds such financial interest
we identify such lots with the symbol º next to the lot number. not originally supplied for use in a private home or now offered solely
as works of art. These items may not comply with the provisions of the
º ♦ Third Party Guarantees/Irrevocable bids FOR PICTURES, DRAWINGS, PRINTS Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended
AND MINIATURES in 1989 and 1993, the “Regulations”). Accordingly, these items should
Where Christie’s has provided a Minimum Price Guarantee it is at risk of
Terms used in this catalogue have the meanings ascribed to them below. not be used as furniture in your home in their current condition. If you do
making a loss if the lot fails to sell. Christie’s sometimes chooses to share
Please note that all statements in this catalogue as to authorship are made intend to use such items for this purpose, you must first ensure that they
that risk with a third party who agrees prior to the auction to place an
subject to the provisions of the Conditions of Sale and authenticity are reupholstered, restuffed and/or recovered (as appropriate) in order that
irrevocable written bid on the lot. If there are no other higher bids, the
warranty. Buyers are advised to inspect the property themselves. Written they comply with the provisions of the Regulations.These will vary by
third party commits to buy the lot at the level of their irrevocable written
condition reports are usually available on request. department.
bid. In doing so, the third party takes on all or part of the risk of the lot not
being sold. Lots which are subject to a third party guarantee arrangement
are identified in the catalogue with the symbol º ♦. QUALIFIED HEADINGS
In Christie’s opinion a work by the artist.
In most cases, Christie’s compensates the third party in exchange for *“Attributed to …”
accepting this risk. Where the third party is the successful bidder, the third In Christie’s qualified opinion probably a work by the artist in whole or
party’s remuneration is based on a fixed financing fee. If the third party is in part.
not the successful bidder, the remuneration may either be based on a fixed *“Studio of …”/ “Workshop of …”
fee or is an amount calculated against the hammer price. The third party In Christie’s qualified opinion a work executed in the studio or workshop
may continue to bid for the lot above the irrevocable written bid. Where of the artist, possibly under his supervision.
the third party is the successful bidder, Christie’s will report the purchase *“Circle of …”
price net of the fixed financing fee. In Christie’s qualified opinion a work of the period of the artist and
Third party guarantors are required by us to disclose to anyone they are showing his influence.
advising their financial interest in any lots they are guaranteeing. However, *“Follower of …”
for the avoidance of any doubt, if you are advised by or bidding through In Christie’s qualified opinion a work executed in the artist’s style but not
an agent on a lot identified as being subject to a third party guarantee, you necessarily by a pupil.
should always ask your agent to confirm whether or not he or she has a *“Manner of …”
financial interest in relation to the lot In Christie’s qualified opinion a work executed in the artist’s style but of
a later date.
¤ Bidding by interested parties
*“After …”
When a party with a direct or indirect interest in the lot who may have In Christie’s qualified opinion a copy (of any date) of a work of the artist.
knowledge of the lot’s reserve or other material information may be “Signed …”/“Dated …”/
bidding on the lot, we will mark the lot with this symbol ¤. This interest “Inscribed …”
can include beneficiaries of an estate that consigned the lot or a joint owner In Christie’s qualified opinion the work has been signed/dated/inscribed
of a lot. Any interested party that successfully bids on a lot must comply by the artist.
with Christie’s Conditions of Sale, including paying the lot’s full Buyer’s “With signature …”/ “With date …”/
Premium plus applicable taxes. “With inscription …”
In Christie’s qualified opinion the signature/ 29/03/19
date/inscription appears to be by a hand other than that of the artist.

272
STORAGE AND COLLECTION

PAYMENT OF ANY CHARGES DUE COLLECTION AND CONTACT DETAILS

Specified lots (sold and unsold) marked with a filled square (■) not collected from Lots will only be released on payment of all charges due and on production of a
Christie’s by 5.00pm on the day of the sale will, at our option, be removed to Christie’s Collection Form from Christie’s. Charges may be paid in advance or at the time of
Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Christie’s will inform you if the collection. We may charge fees for storage if your lot is not collected within thirty days
lot has been sent offsite. from the sale. Please see paragraph G of the Conditions of Sale for further detail.

If the lot is transferred to Christie’s Fine Art Storage Services, it will be available for Tel: +1 212 636 2650
collection after the third business day following the sale. Email: [email protected]
Please contact Christie’s Post-Sale Service 24 hours in advance to book a collection time
at Christie’s Fine Art Services. All collections from Christie’s Fine Art Services will be by
pre-booked appointment only. SHIPPING AND DELIVERY
Please be advised that after 50 days from the auction date property may be moved at Christie’s Post-Sale Service can organize domestic deliveries or international freight.
Christie’s discretion. Please contact Post-Sale Services to confirm the location of your Please contact them on +1 212 636 2650 or [email protected].
property prior to collection.

Tel: +1 212 636 2650

Email: [email protected]
Operation hours for both Christie’s Rockefeller and Christie’s Fine Art Storage are from
9:30 am to 5:00 pm, Monday – Friday.

Long-term storage solutions are also available per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality.
Please contact CFASS New York for details and rates: +1 212 636 2070 or [email protected]

STREET MAP OF CHRISTIE’S NEW YORK LOCATIONS

Christie’s Rockefeller Center Christie’s Fine Art Storage Services (CFASS)

20 Rockefeller Plaza, New York 10020 62-100 Imlay Street, Brooklyn, NY 11231
Tel: +1 212 636 2000 Tel: +1 212 974 4500
[email protected] [email protected]
Main Entrance on 49th Street Main Entrance on Corner of Imlay and Bowne St
Receiving/Shipping Entrance on 48th Street Hours: 9.30 AM - 5.00 PM
Hours: 9.30 AM - 5.00 PM Monday-Friday except Public Holidays
Monday-Friday except Public Holidays

02/08/19

273
IDENTITY VERIFICATION
From January 2020, new anti-money laundering regulations require Christie’s and
other art businesses to verify the identity of all clients. To register as a new client,
you will need to provide the following documents, or if you are an existing client, you
will be prompted to provide any outstanding documents the next time you transact.

Private individuals:
• A copy of your passport or other government-issued photo ID
• Proof of your residential address (such as a bank statement or utility bill)
dated within the last three months
Please upload your documents through your christies.com account:
click ‘My Account’ followed by ‘Complete Profle’. You can also email your
documents to [email protected] or provide them in person.

Organisations:
• Formal documents showing the company’s incorporation, its registered ofice
and business address, and its oficers, members and ultimate benefcial owners
• A passport or other government-issued photo ID for each authorised user
Please email your documents to [email protected] or provide them in person.
WORLDWIDE SALEROOMS AND OFFICES AND SERVICES

ARGENTINA GERMANY MEXICO TAIWAN AUCTION SERVICES

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+54 11 43 93 42 22 +49 (0)21 14 91 59 352 +52 55 5281 5446 +886 2 2736 3356 ESTIMATES
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Christiane Gräfin TURKEY
VIENNA +31 (0)20 57 55 255 ISTANBUL ESTATES AND APPRAISALS
+43 (0)1 533 881214 zu Rantzau Arno Verkade Tel: +1 212 636 2400
+90 (532) 558 7514
Angela Baillou MUNICH Eda Kehale Argün Fax: +1 212 636 2370
+49 (0)89 24 20 96 80 NORWAY Email: [email protected]
BELGIUM OSLO (Consultant)
BRUSSELS Marie Christine Gräfin Huyn MUSEUM SERVICES
+47 949 89 294 UNITED ARAB EMIRATES
+32 (0)2 512 88 30 STUTTGART Cornelia Svedman Tel: +1 212 636 2620
Roland de Lathuy +49 (0)71 12 26 96 99 •DUBAI Fax: +1 212 636 4931
(Consultant) +971 (0)4 425 5647
BRAZIL Eva Susanne Schweizer Email: [email protected]
PEOPLES REPUBLIC UNITED KINGDOM
SÃO PAULO INDIA OF CHINA •LONDON OTHER SERVICES
+55 21 3500 8944 MUMBAI BEIJING
Marina Bertoldi +91 (22) 2280 7905 +44 (0)20 7839 9060 CHRISTIE’S EDUCATION
+86 (0)10 8583 1766
Sonal Singh Julia Hu NORTH AND NORTHEAST New York
CANADA Tel: +1 212 355 1501
TORONTO INDONESIA +44 (0)20 3219 6010
JAKARTA •HONG KONG Thomas Scott Fax: +1 212 355 7370
+1 647 519 0957 +852 2760 1766 Email: [email protected]
Brett Sherlock (Consultant) +62 (0)21 7278 6278
NORTHWEST
Charmie Hamami •SHANGHAI Hong Kong
CHILE AND WALES
ISRAEL +86 (0)21 6355 1766 +44 (0)20 7752 3033 Tel: +852 2978 6768
SANTIAGO Julia Hu Fax: +852 2525 3856
+56 2 2 2631642 TEL AVIV Jane Blood
+972 (0)3 695 0695 Email: [email protected]
Denise Ratinoff de Lira PORTUGAL SOUTH
Roni Gilat-Baharaff LISBON London
COLOMBIA +44 (0)1730 814 300
ITALY +351 919 317 233 Tel: +44 (0)20 7665 4350
BOGOTA Mark Wrey
•MILAN Mafalda Pereira Coutinho Fax: +44 (0)20 7665 4351
+571 635 54 00
+39 02 303 2831 (Consultant) SCOTLAND Email: [email protected]
Juanita Madrinan
Cristiano De Lorenzo +44 (0)131 225 4756 CHRISTIE’S
(Consultant) RUSSIA Bernard Williams INTERNATIONAL
DENMARK ROME MOSCOW Robert Lagneau REAL ESTATE
COPENHAGEN +39 06 686 3333 +7 495 937 6364 David Bowes-Lyon (Consultant)
+45 3962 2377 Marina Cicogna +44 20 7389 2318 New York
Birgitta Hillingso (Consultant) Zain Talyarkhan ISLE OF MAN Tel: +1 212 468 7182
+ 45 2612 0092 NORTH ITALY +44 (0)20 7389 2032 Fax: +1 212 468 7141
+39 348 3131 021 SINGAPORE Email:
Rikke Juel Brandt (Consultant) CHANNEL ISLANDS
Paola Gradi (Consultant) SINGAPORE [email protected]
FINLAND AND +65 6735 1766 +44 (0)20 7389 2032
THE BALTIC STATES TURIN Jane Ngiam London
+39 347 2211 541 IRELAND Tel: +44 (0)20 7389 2551
HELSINKI +353 (0)87 638 0996
+358 40 5837945 Chiara Massimello SOUTH AFRICA Fax: +44 (0)20 7389 2168
(Consultant) WESTERN CAPE Christine Ryall (Consultant) Email:
Barbro Schauman
(Consultant) +27 (44) 533 5178 UNITED STATES [email protected]
VENICE Annabelle Conyngham
FRANCE +39 041 277 0086 Hong Kong
(Independent Consultant) CHICAGO Tel: +852 2978 6788
BRITTANY AND Bianca Arrivabene Valenti +1 312 787 2765
THE LOIRE VALLEY Gonzaga (Consultant) SOUTH KOREA Fax: +852 2760 1767
Cathy Busch Email:
+33 (0)6 09 44 90 78 BOLOGNA SEOUL
Virginie Greggory (Consultant) +82 2 720 5266 DALLAS [email protected]
+39 051 265 154 +1 214 599 0735
GREATER Benedetta Possati Vittori Jun Lee CHRISTIE’S FINE ART
Capera Ryan STORAGE SERVICES
EASTERN FRANCE Venenti (Consultant) SPAIN
+33 (0)6 07 16 34 25 MADRID HOUSTON New York
Jean-Louis Janin Daviet GENOA +1 713 802 0191 Tel: +1 212 974 4579
+39 010 245 3747 +34 (0)91 532 6626
(Consultant) Carmen Schjaer Jessica Phifer Email: [email protected]
Rachele Guicciardi
NORD-PAS DE CALAIS Dalia Padilla CHRISTIE’S REDSTONE
(Consultant) LOS ANGELES
+33 (0)6 09 63 21 02 SWEDEN +1 310 385 2600 Tel: +1 212 974 4500
Jean-Louis Brémilts FLORENCE Sonya Roth
+39 055 219 012 STOCKHOLM
(Consultant)
Alessandra Niccolini di +46 (0)73 645 2891 MIAMI
•PARIS Camugliano (Consultant) Claire Ahman (Consultant) +1 305 445 1487
+33 (0)1 40 76 85 85 +46 (0)70 9369 201 Jessica Katz
CENTRAL & Louise Dyhlén (Consultant)
PROVENCE - SOUTHERN ITALY •NEW YORK
ALPES CÔTE D’AZUR +39 348 520 2974 SWITZERLAND +1 212 636 2000
+33 (0)6 71 99 97 67 Alessandra Allaria •GENEVA
Fabienne Albertini-Cohen (Consultant) +41 (0)22 319 1766 PALM BEACH
RHÔNE ALPES Eveline de Proyart +1 561 777 4275
+33 (0)6 61 81 82 53 JAPAN David G. Ober (Consultant)
TOKYO •ZURICH
Dominique Pierron +41 (0)44 268 1010 SAN FRANCISCO
(Consultant) +81 (0)3 6267 1766
Katsura Yamaguchi Jutta Nixdorf +1 415 982 0982
Ellanor Notides
MALAYSIA
KUALA LUMPUR
+62 (0)21 7278 6278
Charmie Hamami

• DENOTES SALEROOM
15/11/19
ENQUIRIES?— Call the Saleroom or Office EMAIL— [email protected]
For a complete salerooms & offices listing go to christies.com
CHRISTIE’S

CHRISTIE’S INTERNATIONAL PLC CHRISTIE’S AMERICAS

François Pinault, Chairman SENIOR VICE PRESIDENTS ASSOCIATE VICE PRESIDENTS
Guillaume Cerutti, Chief Executive Officer Kelly Ayers, Diane Baldwin, Heather Barnhart, Nishad Avari, Caroline Baker, Anna Bar,
Stephen Brooks, Deputy Chief Executive Officer Alyson Barnes, Michael Bass, G. Max Bernheimer, Alexandra Bass, Laura Betrián, Bernadine Boisson,
Jussi Pylkkänen, Global President Rita Boyle, Catherine Busch, Max Carter, Vanessa Booher, Tristan Bruck, Ally Butler,
François Curiel, Chairman, Europe Ana Maria Celis, Veronique Chagnon-Burke, Michelle Carpanzano, Michelle Cha, Laura DeMartis,
Jean-François Palus Angelina Chen, Sandra Cobden, Dan Conn, Alessandro Diotallevi, Julie Drennan, Sarah El-Tamer,
Stéphanie Renault Kathy Coumou, Deborah Coy, Francois de Poortere, Caroline Ervin, Jill Farquharson, Paola Saracino Fendi,
Héloïse Temple-Boyer Carrie Dillon, Yasaman Djunic, Monica Dugot, Danielle Finn, William Fischer, Sara Fox,
Sophie Carter, Company Secretary Lydia Fenet, Jessica Fertig, Dani Finkel, Kristen France, Juarez Francis, Hilary Friedman,
Johanna Flaum, Marcus Fox, Sayuri Ganepola, Jacqueline Gascoigne, Douglas Goldberg, Julia Gray,
Virgilio Garza, Benjamin Gore, Helena Grubesic, Abbey Green, John Hawley, Courtney Heisen,
INTERNATIONAL CHAIRMEN Jennifer K. Hall, Bill Hamm, William Haydock, Amy Indyke, Stephen Jones, Larry Kalmikoff,
Stephen Lash, Chairman Emeritus, Americas Allison Heilman, Darius Himes, Margaret Hoag, Paige Kestenman, Sibyl Lafontant, Isabella Lauria,
The Earl of Snowdon, Honorary Chairman, EMERI Erik Jansson, Michael Jefferson, Rahul Kadakia, Madeline Lazaris, David Lieu, Anita Martignetti,
Charles Cator, Deputy Chairman, Christie’s Int. Kathy Kaplan, Jessica Katz, Julie Kim, Stefan Kist, Laura Mathis, Christopher Mendoza,
Xin Li-Cohen, Deputy Chairman, Christie’s Int. Deepanjana Klein, David Kleiweg de Zwaan, Camille Massaro-Menz, Leo Montan, Megan Murphy,
Susan Kloman, Samantha Koslow, Daphne Lingon, Taylor Murtishaw, Margaret O’Connor,
CHRISTIE’S AMERICAS Gabriela Lobo, Rebecca MacGuire, Erin McAndrew, Alexandra O’Neill, Vicki Paloympis, Daniel Peros,
Marc Porter, Chairman Rick Moeser, Illysa Ortsman, Tash Perrin, Amy Peterson, Jessica Phifer, Nell Plumfield,
Jennifer Zatorski, President Jason Pollack, Denise Ratinoff, Sonya Roth, Claibourne Poindexter, Furio Rinaldi,
Raj Sargule, Emily Sarokin, Caroline Sayan, Rebecca Roundtree, Reed Ryan, Nicole Sales,
Elise de la Selle, Will Strafford, Gemma Sudlow, Emily Salzberg, Jill Sieffert, Jason Simonds,
CHAIRMAN’S OFFICE Sarah Vandeweerdt, Cara Walsh, Amy Wexler, Alexa Smith, Hilary Smith, Victoria Solivan,
Ben Hall, Chairman Joey Steigelman, Laura Sumser, Victoria Tudor,
Allison Whiting, Marissa Wilcox, Jody Wilkie,
Alexander Rotter, Chairman Grace Voges, Izzie Wang, Seth Watsky,
Zackary Wright, Steven J. Zick
Bonnie Brennan, Deputy Chairman Heather Weintraub, Rachael White Young,
Cyanne Chutkow, Deputy Chairman Kathryn Widing, Elizabeth Wight, Gretchen Yagielski
Sheri Farber, Deputy Chairman VICE PRESIDENTS
Sara Friedlander, Deputy Chairman Tylee Abbott, Nicole Arnot,
John Hays, Deputy Chairman Christine Layng Aschwald, Danielle Austin, AMERICAS REPRESENTATIVES
Conor Jordan, Deputy Chairman Victoria Ayers, Marina Bertoldi, Diana Bramham, Lisa Cavanaugh, Lydia Kimball, Juanita Madrinan,
Richard Lloyd, Deputy Chairman Eileen Brankovic, Meghan Bunting, David G. Ober, Nancy Rome, Brett Sherlock
Maria C. Los, Deputy Chairman Maryum Busby, Cristina Carlisle, Lauren Carlucci,
Andrew Massad, Deputy Chairman Michelle Cheng, Kristen de Bruyn, Aubrey Daval,
Adrien Meyer, Co-Chairman Cathy Delany, Jacqueline Dennis Subhash,
Ellanor Notides, Chairman, West Coast Christine Donahue, Caitlin Donovan,
Jonathan Rendell, Deputy Chairman Abby Farha, Lauren Frank, Vanessa Fusco,
Margot Rosenberg, Deputy Chairman Christina Geiger, Joshua Glazer, Lisa Gluck,
Capera Ryan, Deputy Chairman Peggy Gottlieb, Lindsay Griffith, Emily Grimball,
Barrett White, Deputy Chairman Margaret Gristina, Izabela Grocholski,
Eric Widing, Deputy Chairman James Hamilton, Olivia Hamilton,
Athena Zonars, Co-Chairman Natalie Hamrick, Minna Hanninen, Anne Hargrave,
Sima Jalili, Heather Jobin, Emily Kaplan,
Sumako Kawai, Marisa Kayyem, Caroline Kelly,
Bennett Jackson, Jerome Kerr-Jarrett,
Peter Klarnet, Alexis Klein, Noah Kupferman,
Abbey Lambek, Alexandra Lenobel,
Andrew Lick, Alexander Locke, Ryan Ludgate,
Samantha Margolis, Alex Marshall, Adam McCoy,
Nina Milbank, Michael Moore, Melissa Morris,
Danielle Mosse, Christopher Munro,
Takaaki Murakami, Libia Nahas, Laura Nagle,
Marysol Nieves, Remi Nouailles, Jonquil O’Reilly,
Rachel Orkin-Ramey, Joanna Ostrem,
Sam Pedder-Smith, Carleigh Queenth,
Joseph Quigley, Prakash Ramdas, Daphne Riou,
Casey Rogers, Thomas Root, William Russell,
Arianna Savage, Stacey Sayer, Morris Scardigno,
Morgan Schoonhoven, Alexa Shitanishi,
Hannah Solomon, Natalie Stagnitti-White,
Edwina Stitt, Bliss Summers, Joanna Szymkowiak,
Bo Tan, Arianna Tosto, Lillian Vasquez, Jill Waddell,
Michal Ward, Ben Whine, Jennifer Wright,
Cara Zimmerman

© Christie, Manson & Woods Ltd. (2020)

06/07/20
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