Latin America Theme Sale NY

L AT I N A ME RIC A 29 SEPTEMBER 2010 N E W YO R K NY0 0 0 510

P H I L L I P S D E P U R Y. C O M

29 SEPTEMBER 2010 NEW YORK

SALE INFORMATION

AUCTION

CATALOGUES

Wednesday 29 September 2010, 1pm

Leslie Pitts +1 212 940 1240 $35/€25/£22 at the gallery

VIEWING

catalogues@phillipsdepury.com

Saturday 25 September, 10am – 6pm Sunday 26 September, 12pm – 6pm

ABSENTEE AND TELEPHONE BIDS

Monday 27 September – Tuesday 28 September, 10am – 6pm

Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax

Wednesday 29 September, 10am – 12pm

Maureen Morrison, Bid Clerk +1 212 940 1228 bids@phillipsdepury.com

VIEWING & AUCTION LOCATION 450 West 15 Street New York 10011

CLIENT ACCOUNTING

SALE DESIGNATION

Buyers Accounts

In sending in written bids or making enquiries please refer

Nicole Rodriguez +1 212 940 1235

to this sale as NY000510 or Latin America.

Seller Accounts

Sylvia Leitao +1 212 940 1231

Barbara Doupal +1 212 940 1232 THEME SALES

Nadia Somwaru +1 212 940 1280

New York Corey Barr, Manager +1 212 940 1234

CLIENT SERVICES

Anne Huntington, Cataloguer +1 212 940 1210

+1 212 940 1200

Stephanie Max, Administrator +1 212 940 1301 London

SHIPPING

Arianna Jacobs, Specialist and Sales Coordinator +44 20 7318 4054

Beth Petriello +1 212 940 1373

Henry Highley, Administrator/Cataloguer +44 20 7318 4061

Jennifer Brennan +1 212 940 1372

Siobhan O’Conner, Senior Administrator +44 20 7318 4040 Consultant Steve Agin, Toy Art +1 908 475 1796 PROPERTY MANAGER Robert Weingart +1 212 940 1241 PHOTOGRAPHY Kent Pell, Matthew Kroening, Clint Blowers

All texts on works from The Kim Esteve Collection © Edward Leffingwell 2010

LOT 46. DESIREE DOLRON (DETAIL)

Back Cover Fernando Botero, Male Torso, 1992 Lot 184

lot 53. josÉ zanine caldas (detail)

lot 90. carlos cruz-diez (detail)

227%

lot 123. viK muniz (detail)

Contents

Simon de pury

Inspired by LATIN AMERICA, the Chairman’s letter ...page 11

César cervantes

…on bringing home the art (and annoying the neighbors) ...page 12

eduardo abAroa

The ringmaster of a parade of junk and ideas ...page 22

jorge pardo

The Cuban sculptor brings color to where art, architecture and design meet ...page 24

carmen herrera

The nonagenarian Cuban painter interviewed by Hans Ulrich Obrist ...page 30

francis alÿs

The Belgian multi-practitioner who can (literally) move mountains with faith ...page 38

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dr lakra

The Doctor takes the art of tattooing to new depths ...page 44

carlos amorales

From earthquakes to butterflies, Amorales talks us through his latest projects ...page 46

Object lesson

The shapely influences of Lot 169 ...page 54

News

What’s happening in the international art world ...page 56

1pm: latin america Lots 1 – 313 ...page 58

Buyers guide

How to buy and whom to contact at Phillips de Pury ...page 250

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Mexico City is a city which has captivated me. The people, the food, the music and the architecture all add to my enjoyment. Above all, it is the art that comes out of the city that makes me feel so alive. And this is true for Latin America in general – it has the most fantastic art scene, which this catalogue and this sale celebrate.

The square known as the Zócolo is the focus of downtown Mexico City. It is a square that in the past has been used both for bouncy castles and political protest, and has provided the setting for a major work by Francis Alÿs, who lives and works nearby. It was also the destination of Eduardo Abaroa’s parade of garbage, an artwork that carries with it a serious message to both Mexico and the world.

Mexico has great collectors, including César Cervantes, who buys not just the established stars of the scene but fearlessly commissions works by emerging artists. Minerva Cuevas’ white flag flying proudly over his El Pedregal property is a symbol of peace, although not necessarily perceived as one by his neighbors.

Carlos Amorales’ latest work was inspired by the 1985 earthquake, a tragedy that devastated much of Mexico City. Tools that were constructed from the image of shattered buildings are transformed into drawing machines.

There is a toughness of spirit demonstrated by all these artists and nowhere is this better illustrated than in the interview with the 94-year-old, Cuban-born painter Carmen Herrera. Her feisty responses to Hans Ulrich Obrist’s challenges are balanced by her beautifully contemplative paintings, many of which are now in some of the great Latin American and international collections. It is this spirit that I find the most inspiring, and that makes Latin American art so vibrant and exciting.

SIMON de PURY Chairman, Phillips de Pury & Company

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cĂŠsar cervantes a crush on contemporary art words Karen wright | Photographs livia corona

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CĂŠsar Cervantes photographed in El Pedregal in Mexico City, July 23, 2010 13

The dashing COLLECTOR César Cervantes, welcomes me into his stylish 1960s house in El Pedregal, the fashionable district of the sprawling group of former villages that together form Mexico City, the largest metropolis in Central America. I knew I had arrived when I am confronted on the street by a large Jimmie Durham work, a car that has apparently been flattened by an imposing boulder.

Entering the house, we pass a group of works by Daniel Guzmán, a Mexico City artist whom César is close to ‘both as a friend and collector’. César points out a glowing red tent by the front gate from which music throbs out, a work by Daniel: ‘I consider this work to be the heart of the collection.

I come down here and read the papers on Sunday morning.’

In César’s study, there’s more to look at. The floor is an über-shiny dance floor, complete with its own dancing pole, installed by the Thai artist Rirkrit Tiravanija, another of César’s favorites. We sit surrounded by shelves sagging under the weight of art books which are mainly on LatinAmerican artists, although I spy a sizeable group of books on Duchamp and Bruce Nauman.

César started his art collection when he was studying at university in Florida. He went to a local mall gallery and chose a large work (approximately three feet by five) by David Fenton for $3,500. His student dorm mates were nonplussed. ‘Who was this strange Mexican guy, who, instead of buying a new TV or beer, bought this painting, they wondered. In my room all that was left was ten inches on each side of the wall.’ When César decided to start collecting Mexican art, his reference materials were scanty; he relied largely on social magazines like Hola! The recurring names were of Mexican figurative artists, among them Rafael Cuadro and Gustavo Aceves: ‘The house of every important politician or entrepreneur would have paintings by these artists,’ he says. César followed suit. ‘Later, I remember asking one of these artists about an artist I had heard about - Gabriel Orozco - and him replying that he had no idea. Six months later I discovered who he was, and then I found out that they went to art college at the same time. That was really meaningful to me,’ he says. César eventually sold all these works to his friends, scrupulously charging the same price he had brought them for.

He shows me the first catalogue published by Eugenio Lopez, the founder of the Jumex Foundation and one of the best-known collectors in the region. César points to many of the same names that he had in his initial collection, saying he thinks they still remain in the Lopez collection today.

He recalls that he was expecting to meet Lopez at the wedding of a mutual friend and found that the great man had gone to Basel for an art fair instead.

‘Basel? An art fair? I thought, where is Basel? It didn’t sound Swiss at all, it sounded Latin-American, and I couldn’t ask because I had no idea. And I had no idea what an art fair was either. The first place I went to after university, as I had started my chain of restaurants, Taco Inn, was the restaurant industry fair, and you could understand seeing the new freezer line or the new grater line, but art in this big centre?’

Undeterred, César did some research and set a course for FIAC, ‘not only because it was Paris, which for me was still the capital of art, but because it was right away!’ His first impressions of FIAC baffled him. ‘Ten years ago, FIAC was still very conservative. I was shocked and I didn’t understand anything. I got the artist directory and, of course, none of the artists I had invested all my money in were listed. But I found this little name – Gabriel Orozco. So I walked into Galerie Chantal Crousel, and that is how I bought my first work by Gabriel Orozco, a photograph.’

César said to his then fiancée (and now wife) Monica, ‘We are collectors. We’ve come to the fair, and so let’s go and buy one of those little paintings with the dates on it, an On Kawara, and then we can bring it back with us in the plane.’ He admits to his own naivety at that time. ‘It’s because it took years to get that other painting, the one I brought when I was in college, back to Mexico and to bring that painting into the city took years and it cost more than the painting itself cost.’ The painting went missing during its shipment. ‘There were all these discussions about corruption; I remember how expensive it was to make a crate for that painting. So this On Kawara painting was perfect.’

He went to the Yvon Lambert stand and asked what other dates they had for sale. ‘I was so confident of what I was doing – my fiancée was there,

Above: (in garden, at rear) Daniel Guzmán, Sleeping on the Roof, 2001; (outside window) Damián Ortega, America Nuevo Order, 1997; (inside window) Abraham Cruzavillegas, Pelusa Opposite, top: Lawrence Weiner, A Bit + A Bit Until the Pot is Full, 2008; Gabriel Orozco, Pinched Star, 1996; below: (on floor) Gedi Siboney, Untitled, 2007; (center) Edward Kranski, Intervention 16, 1976; (floating balloon) Mario Garcia Torres, Sometimes the world is heavier than an artist’s breath, 2008

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ÂŤYou will see in my house that art is for the human scale.

The moment it loses that, the quotidian part of art is lostÂť

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ÂŤbarnet newman was the most intelligent person i ever heard talk about art. He was a brilliant person and he had a marvellous wife, and we used toÂť

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César Cervantes in Monika Sosnowska’s Mirror Room, 1997

I was a collector, I had my VIP card. And you know how it works, no one tells you the price, no one gives you any more information, especially if you ask such a silly question. But this lady was very nice. She said, “Listen. I am sorry to say it is sold and it is the only one we have.” I said, “No, no! I want to buy one, I can wait for tomorrow.” And she said, “No, there is a very long waiting list. Maybe the artist could consider selling one to you, but that will take many months now.” ‘She probably thought she was going to get rid of me by telling me the price – $35,000, the same amount I had paid for my big painting by Rafael Cauduro. I couldn’t believe that this thing was the same price. So that was the end of the shock. We left FIAC and went to a bookstore and I bought my first contemporary art book – on On Kawara.’ It took another three years before César managed to obtain the On Kawara that now hangs above the Franz West sofa in the living room.

I am writing this not to labor César’s self-confessed naivety but to explain a basic point about Mexico at that time. There was little information, few galleries, few contemporary collectors and no access to the increasingly substantial group of contemporaries of Gabriel Orozco–Francis Alÿs generation. That said, things were changing there, with the opening of new galleries such as Mexico City’s Kurimanzutto, which exhibits many of the artists on display in César’s house.

We jump up to explore upstairs, moving into the main living space past a work of colored feathered bowling balls by Abraham Cruzvillegas, currently on a DAAD artist’s program in Berlin, to stand by the hanging works

by Gabriel Orozco in front of the On Kawara.

César says that Orozco’s solo exhibition in Mexico in 1991 was a personal ‘breaking point’. ‘I have seen many of his exhibitions and I still think that was the best show he had ever done in a museum. That was a very important thing.’ Reading an interview with Gabriel Orozco by Francesco Bonami, César learned that the Romanian artist André Cadere was Orozco’s most important influence. César tracked down a Cadere work, now on loan at the Jumex Foundation. He points to where it normally stands and says disconsolately, ‘If the Guzmán tent is the heart of my collection, the Cadere is the spine!’

I see a banana peel apparently abandoned on the living room floor and recognize it as the work of the young Mexican artist Adriana Lara – an artist who Francis Alÿs has described to me as an exciting member of a new generation of Mexican talent. The work was displayed recently in a show at the Jumex, and has also been included in the recent show Younger than Jesus at the New Museum in New York City. César admits that he really enjoys the work’s concept, which is that a banana should be eaten every day and the peel then discarded on the spot. He admits rather sadly that the woman who works in the house has taken over the chore, something that he had enjoyed doing, and that she insists on dropping the peel in the same place every day.

This does mean, however, that it is done whether the family is in residence or not.

On the table nearby, there is a work by Gabriel Kuri, the Mexican-born artist who now lives in Belgium and whose brother is Jose Kuri, the dealer and partner in the Kurimanzutto gallery. Kuri’s is another work that involves an element of caretaking, as it is consists of a number of avocados wrapped in old newspapers that relate to the first lunar landing. César explains it is a homage to the national fruit of Mexico and was a nod to how women would ripen their fruits when they brought them home by wrapping them in newspaper.

Nearby on a raised stage is another work by Orozco, a sculpture made from squashing modeling clay into star-like forms which are then cast in metal. Standing against the step in front of it is a work by the late French conceptual artist, Robert Filliou. César tells me the epic tale of its purchase: he had heard about the work, an intervention in the Louvre in which Filliou had managed to get the Mona Lisa replaced by a bucket and mop with a sign that read, ‘La Jaconde est dans les escaliers’. César admits that the intervention had only lasted a day before a public outcry stopped it. The intervention may have only lasted a day, but it took two years to track down the work which was eventually found in the home of Filliou’s widow.

Works concerned with vestigial memory are here in many forms. There

«I always feel a collector should not trust an artist who has more than two assistants»

Opposite: top left, (on ceiling) Gabriel Orozco, Bamboo Balls, 2002, (on floor) Rirkrit Tiravanija, Elephant Juice, 2007, and Untitled, 2006; top right, Bernadette Corporation, Please Read the Titles to Your Self, 2007; bottom right, Robert Fillou, La Giaconde, 1974; bottom left, Jim Lambie, 18 Carrots, 1994 This page, from top: Carol Bove, Touching, 2004; Adriana Lara, Banana Peel, 2008; (on table) Gabriel Kuri, Naturaleza Recuperada, 2003, (on wall) Thomas Hirschorn, Coins, 1997

is a beaten-up shipping case in the living room that César tells me contains the cooking implements of Rirkrit’s memorable show Pad Thai (1990), in which he cooked for his friends on the opening night, leaving the debris in the gallery for the remainder of the show. César has several of this Argentinian-born, Thai-based artist’s works. He points to a shiny chair nearby which he admits came as a complete surprise. He had been making chairs for himself out of packing cases and when Rirkrit had visited he had asked for one. It was duly dismantled and packed, but it came as a complete surprise when he was notified that there was a work of art waiting to be collected in Paris. When he made enquiries, he was told that this had been made at the behest of Rirkrit, the condition being that it had to be packed and shipped to Mexico. It turned out to be a replica of the chair in shiny aluminum. César laughs, recalling that, like his first purchase as a student at university, this work cost more to ship than the actual work.

Over the years César has befriended several local artists, many of whom he has works by or made projects with. Every year he does a site-specific project with an artist, helping with the fabrication. He takes me into the garden to show me The Way (2008) by Minerva Cuevas. It is a very tall tree trunk, a particular tree that Minerva chose from her home town far from Mexico City, atop which is a white flag, a homage to Gandhi. The flag pokes over the top of the property, like the Durham car in the front, indicating that something strange is afoot here. When I ask whether the neighbors understand his collection, he says that, ironically, it is the project by Sofia Táboas, a beautiful mural on the staircase that looks like the floor of a swimming pool, which has caused the most problems. ‘The work had steps that protruded through the wall of the house. The neighbors were concerned about the new skypool being built.’ They were also worried about the people ascending the narrow steps to see a work by Monika Sosnowska, yet another project on the roof, César’s equivalent of a skyroom. We walk into this piece, a cross between an infinity room by Yayoi Kusama and a work by James Turrell. It is an astonishing space – mirrored and open to the sky so the tall trees around the property can be seen.

Nearby is one of the messier pieces in the collection, a work by Jim Lambie entitled 18 carats. The idea of this work involves carrots (18, naturally), the tops of which are dipped into carrot-colored paint and then thrown against the wall, which becomes smeared with Pollock-like marks of carrot orange.

César’s problem was that Lambie had no idea how hard it is to get carrots with tops on in Mexico City – he has to have them FedExe’d every two weeks directly from organic growers far outside Mexico City. Sometimes César comes back to find decomposing carrots full of bugs and creepy-crawlies.

As we go round the house, César tells me about the Jimmie Durham work I encountered as I arrived. It seems that the work is not on the house’s property itself because Durham demanded that it be in a public place. When César emailed him with a photograph of the street and asked ‘Is this public enough?’, the deal was done or almost done. Installation was difficult, César says. ‘We needed a crane to lift the boulder, but when it arrived it was too high to go under the many electricity cables so we needed a special – and therefore very expensive – machine.’ A few days later, Jimmie came back and tagged the boulder with the louche lips and eyes that give the work an unexpected humorous twist.

Another work, by Mario Garcia Torres, consists of a simple heliumfilled black balloon attached to the ground by a string. This has also been a costly nightmare to maintain, says César. Because of the altitude of Mexico City, helium only lasts for two days before it has to be replaced. ‘We keep a large tank of helium in the garage to do it.’ When I comment on the high maintenance, he looks around the room pointing at other works.

The work by Abraham Cruzvillegas, the first one César acquired, is a frozen cake that stands in an old and inefficient refrigerator unit. Of course, there are the avocados, carrots and bananas, as well as some floating bamboo balls by Orozco near the door. These last works were among César’s earlier purchases. The five balls swing gently, looking like exotic birds.

César admits there is an upkeep issue here too – the leaves are of fresh bamboo that have to be shipped from China.

I comment on a Lawrence Weiner piece, A BIT + A BIT UNTIL A POT IS FULL, consisting of lettering on the window nearby. ‘Lawrence came to see the work when it was installed. I had had the work placed on the window by our Taco Inn sign painters. He looked at the work and started to cry. I was concerned. Lawrence told me that he’d had a phone call that his mother had died. His reaction had been to write down a phrase in Yiddish that had the 19

Above: Abraham Cruzvillegas and Francis Alÿs, El Rey de la Paja, 1997 Opposite: Jimmie Durham, Still Life with Spirit and Xitle, 2007

same sentiment and this work came out of that. He had lost track of where the work was and rediscovered it in this house in Mexico City.’ Since that visit to César’s house, he and Lawrence have been friends.

I ask César about his recent purchases. He says that rather than go to Art Basel this year, he had chosen instead to go to Warsaw. ‘It was one of my best trips ever. I got back after many, many years, a work by Edward Krasinski, but my incredible discovery – well, she is very famous there, but I had never heard of her – was Alina Szapocznikow. She was born in 1926 and died in 1973. I was completely attracted to her just by looking at the catalogue. When I saw her photographs, it made me think of Eva Hesse. Her work made me think – she worked with resins – but she made me think a lot about her, like these little works. The more I read it, the more I think about Louise Bourgeois. She was a sculptor, and she did beautiful drawings as well.’

César’s first trip to eastern Europe in 2003 had been an eye opener. ‘I had no idea where I was,’ he says. ‘I was happy to see many things, but mostly I was a tourist, and I didn’t like that, I didn’t feel comfortable. So my interest in art took me to understand eastern Europe better, and that made me understand Communism and all that happened there. Now I understand how they lived, how different it was to make art there compared to Paris or London’.

It is not just about art we talk about but museums as well. César loves the human scale of the art he collects and how important he feels it is to have it in a domestic environment. ‘I hate seeing those museums. I will never pay a ticket to go into those museums. You will see in my house, I hope, that art is for the human scale. The moment it loses that, the quotidian part of art most of the time is lost… These museums are about anything but the human scale; they are offensive and oppressive. They are built not for the art but for the architectural magazines.’

A raretreat – César invites me to stay for dinner – a typical family meal, he says. We sit on the Franz West sofas in the living room. I worry about spilling quesadillas and refried beans onto the sofa artworks. I ask if his young children (he has two, Bruno, aged three, and Lazara, aged one) respect the art works and he says, surprisingly, yes. He says the one work he worries about is the book-work piece by the window, a collection of feminist and social anthropological books that Carol Bove has amassed. ‘The problem is we encourage them to read and look at books and then we say, no!’

This segues into talk of the Damián Ortega project, comprising books of iconic art texts previously unavailable in Spanish that he is publishing in a new edition which will be available to students.

Damián Ortega is omnipresent in this house, from video works, including one on the roof, to photographic pieces and sculpture. ‘He has become a close friend,’ admits César, and one whose success he has watched with both pride and trepidation. ‘I always feel a collector should not trust an artist who has more than two assistants – yet you can not take away the fact that Damián sold out his first show with Barbara Gladstone in New York in two days – by his calculations making a million dollars.’

While the house is private, César enjoys the multitudes of requests for visits. He says recently a neighbor’s son had to write a report about art and asked if he could do it about the house. ‘He came and interviewed me and Monica and studied the pieces,’ César says. ‘When he handed it in, the teacher asked if she could bring his class over to see the house.’

In the same week, César was approached by a woman whose partner had recently been released from prison: ‘So, in one week, we had so-called rehabilitated prisoners and a class of eleven-year-olds coming into the house.’ With César’s infectious enthusiasm and knowledge, I am sure they all took their leave with a new appreciation of both the joys and trials of a contemporary collector. n

« museums are offensive and oppressive. They are built not for the art but for the architectural magazines»

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eduardo abaroa Carnival of trash words iggy cortez

On July 4, 2010, artist and writer Eduardo Abaroa organized a parade of junk in a project that aimed to sensitize the general

Residual, a network of creative projects by Mexican and German artists to mobilize the public towards solutions for averting ecological disaster – particularly the simple, yet crucial, separation of trash for recycling. Through the help of a team of German artists and volunteers, as well as the participation of the street cleaners and garbage collectors the project wanted to celebrate, Abaroa’s sculptures for the parade were organized according to distinct materials, reflecting the trash separation the project hoped its audience would repeat in their everyday lives. A display of dresses made from juice-packets was followed by giant aluminum spheres made from Tetra Paks, then by a jellyfish assembled from plastic bags and carriages of broken electrical appliances, ending with a dinosaur fashioned from thousands of used water bottles. True to the spirit of the initiative, all the sculptures were later dismantled and recycled.

The project’s radical gesture is not only to replace the paralyzing panic brought on by the social emergency with optimistic desire, but also to equate social responsibility with creativity through the separating of trash and the recycling of reusable materials. Transformation, renewal and an

THE STATE OF the environment, as we are all too aware, should normally give little cause for celebration, and Mexico City, Latin America’s largest metropolis, is in a particularly precarious condition. Separating waste for recycling remains culturally alien to this city in which plastic, from the ubiquitous water bottle to the excessive packaging of seemingly every purchasable item, has deeply infiltrated all aspects of everyday life. As less than ten per cent of waste is recycled, the city’s landfill sites run the risk of overflowing – a situation which, if unchecked, could be ruinous to one of the most densely populated cities in the world – with the danger of toxic levels of methane spreading to residential areas. Given this alarming scenario, it might seem peculiar that Eduardo Abaroa, one of Mexico City’s leading artists, has addressed this crisis with a playful Carnival of Trash, a celebratory parade of brightly colored floats that crossed the city’s historic center with a procession of street cleaners and even a giant plastic dinosaur.

Abaroa’s deployment of mirth is a strategy that aims to sensitize the general public to what can be done to remedy the city’s garbage crisis.

Commissioned by the Goethe-Institut Mexico, Carnival of Trash was part of

«Abaroa’s is a sensibility that is as alchemical as it is analytic. it is a method to interrogate the very notion of production» 22

Photos courtesy the artist and Sofia Taboás

public to Mexico City’s local garbage crisis, as the city also prepares to host the UN’s Climate Talks in November 2010

interest in social structures have, of course, always been visible in Abaroa’s practice which has consistently looked to the streets to rework their refuse into art objects. It’s a sensibility that is as alchemical as it is analytic – it is a method to interrogate the very notion of production (cultural, social, economic) while also engaging in the aesthetic potential of materials to generate new forms. In a manner similar to how the obsession with hygieneinfluenced modernist ideals for machines for living and the purity of materials, Carnival of Trash signals emerging new practices in art that engage with garbage not in a childish celebration of the improper or an hysterical rejection of the unthinkable, but as a means that confront the conditions that regulate our lives in order to rework them, and in order to anticipate the future precisely so that we may have one. n

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Jorge Pardo photographed on July 16, 2010 24

Jorge pardo living ( in ) sculpture words alex coles | Portrait Livia corona

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Above: Jorge Pardo’s Merida house; below: César and Mima Reyes’s House in Puerto Rico

lyrical visual language. This has surely to do with the amount of time he has been spending in Central America. With his native Cuba out of reach due to its visa complications for a North American, Yucatán has become Pardo’s new home for part of the year, and he has frequent holidays in Puerto Rico.

We speak over dinner in the reception room, once the heat and humidity of the day has abated. A series of his most recent lamps – their billowing shades throwing strange shadows everywhere as the late afternoon turns into evening – sets the scene for our conversation. As we talk, Pardo and I flip through a series of lush photographs of another house he designed – for collectors César and Mima Reyes in Naguabo, Puerto Rico in 2008. Like Pardo’s previous houses, the usually segregated elements of kitchen, dining room, reception room and lobby flow into one continuous space. A dreamy stream of tiles – transitioning from aqua-blue to turquoise, through green, all the way to yellow – connects the room to­gether and links the house to the Caribbean landscape over which it looks. ‘Basically, César and I met in the late 1990s, and I began to visit him and Mima in Puerto Rico for family holidays,’ Pardo says.

‘César had owned a piece of land high up on the cliff in Naguabo for some years. Out of this time

I MEET JORGE Pardo in the small but visually stunning home he created from a dilapidated colonial building in Mérida, inYucatán, Mexico. Renovated over a five-year period, it is the second of two houses – sculptures that can be lived in is more accurate – that he has created for himself, the other being 4166 Sea View Lane (1998), a multi-leveled redwood building set on a steep hill above downtown Los Angeles.

Alongside Pardo’s numerous lamps, sculptures and installations, these houses use the languages of design and architecture to produce a conceptually underpinned yet visually dynamic form of contemporary art. Pardo, who was born in Havana, Cuba in 1963 but who has lived in the US for most of his life, has become one of the key figures in a generation which has occupied the fertile territory on the threshold between these different visual media.

As such, he is associated with a generation of artists – including Andrea Zittel, Pae White, Atelier Van Lieshout andTobias Rehberger – who came to inter­­national prominence in the mid1990s, as well as being linked with the Relational Aesthetics phenomenon which has dominated European art in the last two decades.

In the past five years, Pardo’s work has taken a new turn towards a more exuberant and 26

Images courtesy Jorge Pardo Studio and Haunch of Venison

«I’m interested in using the design team because I see this as a work

Installation view of Bulgogi exhibit at Gagosian Gallery, Beverly Hills, 2010

of art that I’m making – I don’t see it as a social, collaborative thing» the avant-garde canon. Pardo peppers our conversation with references to these forebears – clearly aware that they establish a fitting context for his work.

Spending an entire evening with him in Mérida, it becomes clear how Pardo’s art is truly a part of his lifestyle – that is, lifestyle as understood in terms of lived everyday life, with its myriad textures, rather than as a glossy concept peddled by the media. At the very kernel of Pardo’s practice is the way he uses his vocabulary to adapt to, or even trigger, new rhythms of living and working in a space. The house in Mérida retools the language of Mexican architects such as Luis Barragán by adapting it to the way he personally wants to live. The house is totally windowless and thus completely private, but the ceiling of the central portion of the house, which follows both an elongated pool and the kitchen area, has been removed. Pardo can move quickly from his work desk in the central room, pick up a snack from the kitchen and drop into the pool – a regular occurrence during July, he assures me.Watching him traverse the space, it becomes clear why he has designed it in this way and why it is often essential that clients are friends: this way Pardo can observe how they use their spaces and design for them accordingly.

The role and character of the studio in Pardo’s practice is equally crucial to understanding his complex work. In format and operation, Pardo’s large studio in Los Angeles, which I visited last year in his absence, is radically different to the traditional artist’s studio. ‘For me, the studio is not a

we spent together came the idea of working on a house.’ Inside the house, the Reyes’s mingled their art and design collections with the interiors Pardo had designed. The result is an dynamic space where art, architecture and design are truly in unison.

All too often, onlookers are confused by precisely what Pardo is doing in these projects: is he really an artist or is he a designer or an architect? Or maybe he is all three? This spurious process of questioning entirely misses the point: Pardo is an artist who deploys the language of design and architecture to the ends of making art. ‘I don’t feel comfortable as an architect and I don’t feel comfortable as a designer, because I’m not either,’ Pardo says bluntly, obviously frustrated when I ask him about this topic. ‘I’m interested in utilizing the design team rather than working with them to be honest, because I see this as a work of art that I’m making and I don’t see it as a social, collaborative thing – which is different.’

Of course, Pardo is not the first artist to move freely between disciplines. Members of the historical avant-gardes – Dutch De Stijl, German Bauhaus, and Soviet Constructivists – simultaneously produced paintings, furniture, sculptures and buildings, and more recently there are the Pop artists and the Minimalists, both of whom pressed languages more readily associated with graphic and product design into the service of producing art. Any confusion brought about by artists who operate in such an interdisciplinary fashion can thus be assuaged by even the briefest glance at 27

Untitled, 2010 at the Friedrich Petzel Gallery, New York

production, including assistants and machines, from his studio in Los Angeles to Mérida and set-up a new micro-studio in the city. This move has enabled Pardo to take increased advantage of the craft skills and techniques available in the region. To cite just one example, the house in which we talk the evening away shimmers with a cool blue hue that emanates from its walls: a result of the way craftsmen in the Yucatán mix colored pigment into the cement instead of applying color to the finished surface.

Pardo runs the studio in a very informal way. During the early part of the evening, the two assistants running the micro-studio pay a visit for a brief meeting. There are some things that Pardo wants to discuss. A bottle of wine – an Argentinian Malbec – is passed around the elongated Pardodesigned table in the centre of the room. ‘There’s a lot of stuff flying around,’ Pardo says, between slurps of wine, ‘and we need to nail it down. There’s a list: the palapas – where’s that going to go now it has been delivered over here from Düsseldorf? What’s going to happen with the extra bedroom on this house? We need to figure these things out – and soon.’ The informal meeting speeds up and the atmosphere becomes slightly intense as precise information is exchanged in response to Pardo’s questions. ‘But things are so slow down here! It could take months to do the room. The whole mañana thing drives me nuts sometimes,’ says Mecky Reuss, one of the studio’s architects who recently relocated from LA to Mérida. ‘I thought you were used to that by now,’ Pardo replies. ‘There is a way to work with these people

romantic place,’ Pardo affirms. ‘It’s a very real place of design and production.’ In the smaller of its two parts nestles the office, where young designers and architects generate the designs for the artworks using CAD software. Adjacent to this space, the larger part of the studio contains the bustling factory where the works are fabricated using complex CNC Router machines, programmed by the experts who are a key part of the studio.The proximity between the two spaces is unusual: most artists either produce their work by hand in the studio with the help of assistants, or send their designs off to be constructed by a professional fabricator. Running the office and the factory components of the studio so closely together allows Pardo to use it as a tool to investigate new approaches towards the design and fabrication of his art. ‘The studio is simply a device to generate the work,’ he says. This unique approach also enables him to operate in a more flexible way, at times halting production when an idea changes midway through – as it often does – and bringing it back to the design process.

The time Pardo has spent in the Yucatán working on his own house and the other projects he is undertaking in the area, including a series of large haciendas in the nearby jungle, has had a significant impact on all of his work, not only in terms of its formal vocabulary – swirling wood screens at Friedrich Petzel Gallery, New York, earlier this year, and oversized Mayan masks at Haunch of Venison in London two years ago – but also in the methods by which it is fabricated. Earlier this year, Pardo shifted a portion of his 28

Images courtesy Jorge Pardo Studio and Haunch of Venison

«my hobby of flying aircraft provides an optic onto how I like to

Above and below: installation views of Jorge Pardo’s mid-career retrospective at the K21 Kunstsammlung NRW, Düsseldorf, 2009

make exhibitions, by creating a kind of feedback loop between them»

that gets the tempo just right, but it just takes a while to learn it.’ After a few comments from Anna Paula Ruiz Galindo, another of the studio’s key relocated architects, the wine goes around the table one more time until, eventually, it is empty. Pardo rises to get a new bottle, but takes a while selecting it, mulling over a Spanish Ribera del Duero by Telmo Rodríguez, and then a Michel Rolland Malbec from Argentina. This is evidently a sign that the meeting is now effectively over.

In his last full-scale museum exhibition at K21, Düsseldorf, in 2009, Pardo recreated the dynamics of his work in Yucatán on a different scale through the genre of installation. Three palapas – open sided, roofed constructions – were used to structure the entire ground floor space of the gallery.

‘People in Europe know my work based on architectural tropes well,’ Pardo ruminates, casting his mind back to the exhibition, ‘but previously these tropes had been particular, in either material or detail, to California.

The palapas enable me to develop that vocabulary but in a way that is specific to my current interests down here in the Yucatán.’ In the K21 exhibition, the palapas were divided using a series of intricately

patterned screens, on which hung pictures and objects – some functional, like lamps, and some purely decorative, such as family pictures set in ornate frames. The floor space was taken up by a series of chairs and sofas and a number of lamps, each with a slightly different configuration, hung gingerly from the ceiling.

The exhibition was intended as a mid-career survey exhibition, but rather than simply laying out his work to date in either chronological or thematic order, Pardo completely reshuffled and redeployed it by using the three palapas as points of orientation to make an entirely new installation and thus a fresh way of looking at the development of his practice. In addition to this, a small closed off room in the centre of the exhibition – its nucleus in a way – contained a fully operational flight simulator. It enabled the visitor to fly through the previous installment of Pardo’s traveling survey show at the Museum of Contemporary Art, Miami from 2007. About this small, yet essential, addition Pardo says: ‘Here, my hobby of flying aircraft provides an optic onto how I like to make exhibitions by creating a kind of feedback loop bet­ween them.’

A little more back and forth, and our 29

carmen herrEra the quiet revolutionary interview hans ulrich obrist

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Main picture: view of Havana in the 1950s Inset: Carmen Herrera in Cuba, 1941

Carmen Herrera was born in 1915 in Havana, Cuba, where her father was the founding editor of the daily newspaper El Mundo, and her mother a reporter. She studied art as a young child before going to high school in Paris. Upon her return to Cuba, she enrolled in the prestigious University of Havana to study architecture. In 1939 she married Jesse Loewenthal, never completing her studies, and in 1948 the couple moved to Paris from New York where they had been living. There she showed her work with the Salon des Realites Nouvelles, a group that promoted the work of geometric abstract artists, alongside that of Josef Albers, Jean Arp, Sonia Delaunay and others. While Carmen is very aware of her Cuban identity and her work clearly occupying a place in a line of Latin American abstract art, she says “I don’t start my days feeling as a Cuban woman who is going to make a picture. I am a painter who is going to paint a picture.”

In 1954, Carmen and her husband returned to New York where she still lives and works (Jesse died in 2000 at the age of 98.) Success has come late to Carmen – she sold her first painting when she was 89 – and she continues to paint while quietly enjoying her new-found recognition.

CARMEN HERRERA You know; I never had any recognition or luck in America, always in Europe. It never fails!

HANS ULRICH OBRIST But now, through Europe you have become famous in America.

CH Well. I don’t like fame very much, to tell you the truth.

HUO But you’ve always worked, all your life?

CH All my life, all my life.

HUO You’ve never stopped.

CH Well, now I have a helper. He’s a very sweet man, and a very easy person to work with. We work together.

Main picture: courtesy Getty Images. All images of Carmen Herrera and artworks courtesy the artist.

HUO You said in an interview once that painting is a compulsion for you. Do you remember the very beginning of this compulsion to paint?

CH My father collected a lot of paintings. I was always surrounded by paintings – paintings, of course, of a different time. I always painted.

But you know that all children paint and that’s wonderful – they sing, they dance, they paint, they do everything, and then something happens and they stop. But the ones that do not stop become artists or writers. And unfortunately for them they don’t know what’s ahead! [Laughs] I think I was lucky; anyone who has… I wouldn’t call it a mission… a desire to do something, a really big desire to accomplish something, is very lucky.

HUO So it started in your childhood in Cuba…

CH Yes, I was born in Cuba in 1915. As a matter of fact, it was the time of the early Russian painters – what was his name again?

HUO The Suprematists – Malevich…

CH Yes, and then the revolution came and they all ended up in such tragic ways. But they 31

had done something fabulous. And of course, I was completely ignorant of that and to my amazement I discovered the Russian painters in Paris and I said, well this is what I always wanted to do – I didn’t know that such a thing existed, because… you know the way things went. It opened up a path for me, and I was lucky again in this. You know that during the war, this kind of art was considered as, I don’t know, decadent, crazy, whatever, and nobody could show anything, anything. And this I think was the answer to it: Réalités Nouvelles. I was walking around Paris and I saw some old books. I began looking and I found this, and I thought ‘this is what I want to do, this is it!’

HUO And that was in 1950?

CH Yes. And I tried to get rid of the academic training that I had had, and all the ideas that had been put into my head. I met many of these artists, many, and it was a wonderful, wonderful path for me. And then I came to New York and I met people like Leon [Polk Smith] and Barnett Newman.

HUO Yet it’s interesting that before you found your path you were already in art. You have said in an interview that Amelia Peláez influenced you when you were growing up.

CH She was a wonderful woman. I mean I like her work very much but I never was a fan. What I loved about Amelia was that she had no fear, she just simply went ahead and did wonderful things. She was a little woman and she would do magnificent things. Very, very avant-garde too, at that time. She had to be strong to be accepted as a woman artist, and she was.

HUO She was one of the first artists that you met.

CH She influenced me a lot as a personality, as a person, but I think I wasn’t a disciple of Amelia in any way. I was very much interested in doing

was enough for my ego I guess.

HUO So do you think fame changes people – did Barnett Newman change?

CH No, I don’t think it changes people, but it disturbs people. I don’t like it. I am not a public person at all. I want to end up my life with a bit of peace and quiet, and keep on doing these things for as long as I can move.

HUO So you have lived through tumultuous times. You lived through the crash of 1929, and then the revolution in Cuba.

CH That was before I got married, and we had some very gory dictatorships there, and being the perfect age to get involved with these things, all my friends were against the government, of course. It was painful, and difficult. But I think in a way it made me strong. I grew up in a not very nice way, I don’t desire that for anyone, but… So I am not a very interesting person, I mean in my personal life I have been very average actually, the way I wanted it, to be quiet.

something which I didn’t know exactly what it was until I came here [to New York City].

HUO You came to New York in the late 40s, early 50s. In Paris, you had obviously accumulated a lot of experiences – you went to school there in 1928, you experienced the crash of 1929; these are all memories of yours?

CH Oh yes, that was terrible, yes. But I mean, you survive or you don’t, but I survived.

HUO But you needed to go back to Cuba during the crash?

CH My mother was alive then, and I used to go back and forth. I got married when I was 22 years old, to my husband who was American, and I came to live in New York, and actually New York has been my base all this time. Although, I don’t know if I should say this, I would have much preferred Paris to New York, but it couldn’t be, so, as I told you before, my work was never understood here, and in Europe yes, immediately. I found that they had less prejudice against a woman artist in Europe than in the United States where it is supposed to be the land of freedom [laughs]. Well it isn’t…

HUO But there had also been models – there

had been Sonia Delaunay, there had been Sophie Taeuber-Arp, there had been many women artists…

CH Yes but not many, some – they had to be very strong women and they were and I guess I’m not.

HUO But were you inspired by women like these?

CH I met Sonia in Paris, yes, briefly but…

HUO But before you had your epiphany in 1950 you had already met Barnett Newman with your husband. When did you first meet Newman?

CH He was a friend of my husband, they had gone to college together, and I met him, and he was the most intelligent person I ever heard talk about art. He was a brilliant, brilliant person, and he had a marvellous wife, and we used to get together for lunches and dinners and so on for a while. And then of course he suddenly became exceedingly famous, and fame is terrible. It is a terrible thing to happen to anybody! I mean, I don’t really like it, I like a quiet life, and I had a very quiet life.

HUO But that has allowed you to make this extraordinary work. You were obviously very inspired by the European Modernists, but I was wondering to what extent Cuban art had inspired you, because if you look at your work from ’48, there are biomorphic shapes, organic shapes, and one could think of the Afro-Cuban ancestry…

CH I never went for that, for the Afro-Cuban thing, no, I just didn’t react to it. I was a very good friend of Wilfredo Lam who was a wonderful artist, and I guess in his background it was easier for him – but not me.

HUO So where do you think this interesting geometry comes from? How do you explain it?

CH My first love was architecture. It comes from that. And it still is actually. But things happened, revolutions and things like that, so by the time I could enter the architectural school, I was already in my 20s, and then I met my husband and I got married and I came to the United States. I began going to museums and galleries and so on, and little by little I forgot about architecture, and I began going towards painting.

HUO Who were the architects you admired?

Who inspired you? Le Corbusier?

HUO Do you think quietness and isolation are a necessity for an artist to work?

CH Well, the Guggenheim in New York – Frank Lloyd Wright – very much; apparently he was a difficult person to get along with, but he was a magnificent architect – and, I don’t know, many of them.

CH Well, a few people like what I did and that

HUO What did you like about Frank Lloyd Wright?

« I had an American friend who hated mY becoming more minimal in my work. He said ‘Carmen, you are going to end up painting a dot,’ and I said, ‘Oh what a wonderful idea!’»

32

Clockwise from top left: PM, 1990; Friday, 1978; Red and Blue, 1993; Epiphany, 1971 Opposite: Herrera in Paris, 1950

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Above: Avila, 1974. Opposite, from top: Carmen Herrera with Jesse Loewenthal in Paris, 1949; Herrera and Loewenthal in the studio, 1949; Herrera featured in El Mundo, 1939

ÂŤ Artists are like children: they should be seen and not heard.

They never say very intelligent things. when they get philosophical, it is always a disasterÂť 34

mistaken when they think that women are not strong. Women are very strong. We hide it, but we are strong.

CH I like that he was fearless, he did what he wanted to do. And sometimes he would argue with himself in the next piece of architecture he was doing. But you know, I admire people who persevere in their careers as artists, because it is not an easy career.

HUO What extent have you have been involved in feminism?

CH Well, I guess I was born a feminist, because I always thought I was superior to my brothers.

I mean they were stronger physically but I was stronger mentally [laughs], and I have five brothers to contend with!

HUO People who insist?

CH Yes, you have to.

HUO So it has to be a journey without compromise.

HUO One thing I wanted to ask you about the black and white – when you use the white this creates a very interesting connection to architecture, because the white blurs with the wall…

CH Yes, that’s right. Without compromise.

HUO Because the artwork changed a lot, but you never changed, you continued…

CH I had to keep on going the same path.

CH …Yes, I mean Avila could be a sculpture too actually… But it has also the feeling of hands embracing you see. I like the openness of the arms there.

HUO And as an architect by training, you said once in an interview that art is something that is inside you, something that could not be said with words but that is said with lines and colors. Can you explain that to me?

CH Oh! You are asking the impossible, my dear. How can I explain that? You know what I always say. Artists are like children: they should be seen and not heard. They never say very intelligent things. They paint or they sculpt, or they architect a marvel of things, but when they get philosophical, it is always a disaster.

HUO But it is a nice quote, and I was wondering where you see the difference between art and architecture?

CH For me, in architecture, besides being competent in what you are doing, you have to deal with people who want the architecture.

Usually it is a fight between the architect – who is the creative person – and the person who has the purse, the client. And I would have been terrible that way. So maybe things worked out for the best for me.

HUO Because you are independent. You were never dependent on the art market or anything, you were free. That’s very important.

CH I had, all in all, a very quiet and good life that allowed me to do what I wanted to do.

HUO One thing about architecture is that it is applied, it is applicable; there is a use. YveAlain Bois wrote this book on Piet Mondrian, and he said that Mondrian is also about models, so these are models, but maybe they are nonapplicable models. I was wondering if your paintings are models for society?

CH No, no! But you know, I have a painting PM. Everyone thinks it [stands] for afternoon but it is my homage to Piet Mondrian.

HUO But would you say that your paintings are models? That abstract paintings are models?

What are the political aspects of your work?

CH No. I hate politics. First of all, because we, the public, know nothing about what is going on behind curtains. We build our opinions so

HUO And the white background makes the connection with the white wall?

many times on lies. It is awful, absolutely awful.

I wasn’t happy being born in a very political age, where everyone I knew of my age was either a communist or an idiot – there were no in-betweens! It was all very romantic, and very innocent and very young. And only suffering provoked by our arrogance and our innocence.

HUO One thing I wanted to ask you about is that there is a lot of color in your work, but then there is also a lot of black and white. There was a whole exhibition of your black and white. I was wondering about the relationship between your periods of color and your periods of black and white where sometimes you resist color.

CH To me, black and white are colors; the orange and green could be black and white.

Values of the colors are very similar, and I can get bored with the black and white. You see; I was working on this series of green and white for a long, long time…

HUO …and then you do black and white.

CH Yes. That’s a painting I cherish, Avila [1974].

Have you ever been to Avila? It’s in Spain. Oh, it’s incredible. That is where Santa Teresa of Avila came from. At that particular time I was reading her letters. She was a very politically aware lady. One of the letters was absolutely hysterical. It was an interview with Philip II – between Santa Teresa of Avila, a lady like this [indicates she was small], but a strong woman, and the king. I think people are 35

CH You know in that town of Avila they all went crazy because Santa Teresa was such an important and such a strong woman, and they all wanted to be like her.

HUO So she is a kind of hero for you? Do you have other heroes? Other strong women who inspire you?

CH Oh many, many. There have been many women who didn’t make history, but in their personal lives they were very strong. I mean – my mother was one of them. Oh wow she was a strong lady.

HUO Did you learn from other artists?

CH You know, I met many artists, I can’t say I was friends with them – I was friends with Leon of course, we had a lot in common, but I learnt so much from other artists, from other painters.

I never learnt anything from my art teachers!

HUO And with Leon, that was a particular friendship you had, because Leon and you were very close, and he was a geometric painter also. He was often associated with Hard Edge painting.

CH He was wonderful. He was not recognized as much as he should have been.

HUO And did you talk about color?

CH Not necessarily no. But he was very generous – for instance I was doing a circular painting and it was very difficult to find a carpenter who could make a circle for you, and Leon went to a store and now I can have them made by a carpenter. The circles came from Germany, and they were meant for – you know stores when they have the windows with a lot of different things – so they use a lot of the circles. He said, Carmen, you’re complicating your life, just go to such and such a

when you go from black and white, blue appears a lot, and red.

CH But you see, I’ve been very lazy, because that is already sold – black and white. The other ones require a little more care. [She looks at the book of her painting.] Well, first of all those colors aren’t very true to the canvas, but that’s the best they can do. That series I love very much, the green and white, I did many of those…

HUO … with the triangles.

CH And now what I’m doing, which I find interesting, is that I am using the canvas, the textile, and so they are completely monochromatic now, one color and the canvas – and the canvas of course is a color. But it adds a little texture, which I had never used. It is the first time I am using the texture of the canvas, and it is fun to do.

HUO What attracted you to the round shape?

CH [Laughs] The challenge. I have good days and bad days. If I was successful in what I was trying to do, it was a great day. But if I was struggling with a painting, oh, my poor husband – he had better go hide! That was making my life very interesting, my rapport with the physical part of painting. I enjoy it.

HUO But here in the book there are a few drawings. I wanted to ask you about your practice of drawing. Are you making drawings a lot?

CH Oh no, no, that’s all Tony’s [Bechara, her assistant] fault, all those things were in the garbage, because those were drawings I did before I did the paintings. I threw them away, and Tony picked them up. As a matter of fact, I destroyed many of the canvases of paintings that I had done in Europe. But when Tony saw them, he picked them out of the garbage again, except that they were very damaged. And damaged or not damaged, people are buying them, to my amazement.

Above: Carmen Herrera in her New York studio Below: Red with White Triangle, 1961

HUO So these are preparatory sketches for your paintings? So when you have the idea for a painting you make a sketch.

CH I make a sketch always, first. As a matter of fact there is a lot of arithmetic, with numbers.

HUO Do you have a theory of numbers or…

CH … No it’s not a theory, but it is a compromise with the size of the canvas. As soon as I begin locating a few things, then there is a kind of logic, by itself, that carries me through the whole thing. It’s emotional and it’s also cerebral.

HUO And how is it with color – because Itten and Albers had a theory of color. Do you use a theory of color or is it purely intuitive?

CH It is completely intuitive.

HUO But do you have favorite colors? Because 36

CH [Laughs] Oh you know you ask these questions! They make me think, “I don’t know why!” Maybe it is a mood kind of thing, probably, because I am so sure of myself, and very few times I have been wrong about it.

HUO This is very interesting here, because it becomes almost like sculpture, it has threedimensional elements. Can you tell me what happens here, because here it becomes wood?

CH Yes, that’s wood. You see; I got a grant. In my already long career I have had two grants.

I could work for two years, with the help of carpenters and whatever I needed, and it was interesting. But then, I didn’t have any more money, so I went back to painting. It’s cheaper: canvas and paints, that’s it.

HUO So you did them in the early 70s.

CH This is another one… I made that into a hanging thing, a yellow one.

HUO These are obviously very Minimalist. What was your connection to Minimalism?

CH It was a depuration, actually. I realized that painters talk a lot; they don’t verbalise but they are talking all the time. I had to stop talking; think a little bit more, and respect an idea that I had. I had to forget about the trimmings and go to the core of things, and, I tried to do that.

Sometimes I succeeded; sometimes I did not. It is not easy, I tell you that. It is not easy at all.

HUO Can you tell me more about how this process of depuration started?

CH As a matter of fact there was a gentleman, Fredo Sidès; he was the president of the Réalités Nouvelles. I knew him, and in order to join them you had to show them your work. So I took my little canvas, I went to his studio in Paris. And I showed it to him and he said, “Ah Madam, it is very nice, we are delighted,” and

Portrait by Adriana Lopez Sanfeliu. Photos of artist in her studio by Tony Bechara

place and you can have all sizes [laughs].

HUO I like these very much as well – Blanco y Verde, they are very beautiful. They often use a triangle and then you double the triangle. Can you tell me about this triangular shape – how did this come about? It appears a lot.

I said “well fine,” And he said, “you know, you have many paintings in this one,” and I felt very flattered. I walked out of his house, and about three blocks away it hit me; he is trying to tell me that I am talking too much in the painting. So he really began my process of depuration [laughs].

He helped me, and it was wonderful. Taking away, taking away. I had an American friend who was incensed – he hated it, me becoming more minimal in my work. He said “Carmen, you are going to end up painting a dot,” and I said, “Oh what a wonderful idea!”

HUO Architecture still interests you though?

CH Yes. When you look at the Escorial – that is an incredible, beautiful piece of architecture.

Most people say it’s so severe, but they like Versailles. I mean, Versailles – it’s nice, let’s put it that way – but for my taste it is too elaborate.

HUO You made a painting in 1974 which was inspired by the design for the royal palace El Escorial, and the torture gridiron of St. Lawrence. Can you tell me about this painting, because isn’t it an important painting of yours?

CH So it is called San Lorenzo de El Escorial.

San Lorenzo, poor man, was barbecued – I am sorry to say this but he was barbecued! He was a martyr. And practically all the great paintings that I have seen, they always have a little – what do you call those things where you roast people? ­­– a grill. And they always make it very little, and it is always in the corner of the painting. And this is it. Only one person realized what it was, somebody who wrote a criticism of my work when I had the black and white exhibition. That’s why it’s called Escorial.

HUO And it is the same year as Avila. The black and white is interesting, because, you know Felix Gonzalez-Torres…

CH …We knew each other very well. He died so young, we were both Cuban so we were very well acquainted, it was a very friendly friendship.

And then he died. I was devastated.

HUO He was a friend of mine as well. It was a big loss. He was a wonderful man and a great artist. He always said that revolution is a waste of energy.

CH He was right – absolutely. He was very successful at the end.

HUO At the end of his life he gained recognition, which was important. He also talked a lot about black and white. He made beautiful posters in black and white in Miami. And he told me that black and white, in our world full of media,

television and color, is a form of resistance.

Would you agree?

But then, when I came to algebra, I fell in love with algebra.

CH I guess so. You know, I know very little about art. I like to make it, but … There are people who are so clever, I guess I am not. He had something at the Guggenheim Museum that was a pile of candy, and my friends used to go up to it a lot. He was a very nice man.

HUO And that continued until now – because in your drawing that is algebra. And that’s one of your favorite paintings.

HUO What’s your next painting?

CH Well, I am working on this triptych, actually. I have two more paintings that go with it. And you cannot see it because of the plastic over it, but the canvas is raw. It has something to do with time, because I have always been fascinated by time. Time doesn’t exist actually. Arbitrarily we say “a year” but time is saying no, it is not a year.

So I have these paintings called the past, the present and the future. That’s what I am working on now. I began with the past, and then the future, and now I am working in the present.

HUO And how are these three paintings – can you describe them to me? How do they look?

CH The palette I am using is a little quieter – I guess I am quieting through the years. The colors are different; the past is a smoky kind of thing, it is there but you don’t remember very well the past. The present is what you’re living, and the future you don’t know, and it is the only happy one because you don’t know. And I called it Images of Time.

HUO So what is your favorite color at the moment?

CH Well, those fading kind of colors that I am using for the triptych that you see there. It is not a clean color, it is one I have been mixing with more white, because of the fact that I am using the canvas as a color. Maybe I would say blue.

Black and white and blue.

HUO And do you have a least favorite color?

CH Violet! Mixed colors I really don’t like. I like them clean out of the tube. You know, Tony has really rescued those drawings from the garbage – actually from the garbage. And I said, Tony, there is enough trash in the world; I don’t want to continue more trash. He’s very generous; he’s a wonderful person.

HUO Can you tell me about your painting The equation from 1958. It’s like a mathematical equation, it’s a line.

CH It is an equation. I was terrible when I was a child because I had a horrible woman teacher; she was a tyrant. She frightened the whole class as soon as she got into the room. And I hated it.

CH In fact, my lawyer bought it. I am glad; it is in good hands. Instead of being in some museum.

HUO One last thing I want to ask you is that I found a quote from you that I love, which is, “the initial point of departure in my work is a process of organization that follows the dictates of reason. The visual execution is contained within the latitude allowed by the order so established. It is a process that must choose among innumerable possibilities the one that balances reason and visual execution.” So that is your methodology?

CH Yes, that explains the whole thing.

HUO So it always starts with a process of organization? And that is in these drawings?

CH Yes. You cannot just do it. You have to plan it. I tell you, I have a lot – and it’s crippling – a lot of pain. I go to that table there, I’ll be working with my little drawings and my little numbers, as I call them, and I forget all about it. Absolutely, it’s the best medicine there is.

HUO And do you write sometimes?

CH No, I never write. My mother was a writer and I never wanted to follow that path. My father was the editor of a paper; my mother was a writer, in a time when you were not supposed to do things like that. It was not nice for a lady to be a writer! And she became a reporter, and this is about a century ago I am talking about. I said no, I don’t want to do anything my mother did. If you see over there a little painting of a rose – she was a beautiful painter! If I had known that she painted I would have become something else – a seamstress or something!

HUO Maybe there is a link?

CH Maybe – there is always a link. No matter how you fight it, it’s your genetics; it’s what you get. There is no escaping it unfortunately. If I could escape it I would have.

HUO Very last question. Do you think there is a spiritual dimension? Because I think there is a spiritual dimension in your geometry.

CH Yes, I guess so. There have been many moments in my life where my faith has been a great help to me. And then – like every human, I am very ungrateful – I forget about it until my next crisis. And then… n

«barnetT newman was the most intelligent person i ever heard talk about art. he had a marvellous wife, and we used to get together for lunches and dinners and so on» 37

francis al每s the iceman cometh words eduardo abaroa

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Francis Al每s, in collaboration with Raul Ortega, Z贸calo, Mexico City, 22 May, 1999 39

Francis Alÿs in his studio in Mexico City

On the final approach flying into Mexico City you get

Entering his studio, one is plunged into an environment of

some idea of the sheer scale of this city, as it nestles in a

rich greens, oranges and earthy hues – the punchy

bowl between low mountains. I am excited to visit this

colours so typical of Mexico. For an internationally

metropolis, home to a vibrant artistic scene and home to

recognised artist, the studio is surprisingly simple and he

the artist Francis Alÿs, whose recent show at Tate

has few assistants. A comfortable dining room where

Modern was met with such universal praise, and whom

everyone assembles daily serves as the ‘think tank’ of the

I am due to meet. Alÿs arrived in Mexico from Europe in

studio. We sit in his simple flat at the top of the building,

1986, having initially trained as an architect not as an

talking about the city whose sounds rise from the street.

artist. He had studied in his native Belgium, where he

This throbbing metropolis still provides both the people

was born in 1959, and then in Venice before compulsory

and the materials he needs to inspire his art, he tells me.

military service landed him in the Mexican capital to

He is charismatic but also challenging, seemingly tired

work on engineering projects.

from an increasing hectic travel schedule. He is generous, gladly enabling me to meet other artists from

Alÿs tells me that if he hadn’t been posted to Mexico

the city, including Eduardo Abaroa, who I ask to write the

City he would probably have continued to practice

following text.

architecture. Instead, he settled in the downtown centro histórico, a ramshackle 15-block area of decaying

Here, Abaroa gives a fascinating insight into Alÿs’s

colonial buildings, where he continues to live, and

response to the city, and his place in the thriving 1990s

set about responding to the sights and sounds of its

Mexican art scene. He looks at how this extraordinary

chaotic streets through films, photographs, paintings

city has helped shape one of the most compelling bodies

and performance.

of work of our time. KW 40

Turista, 1994

gatherings he organized, to drink mezcal, discuss books, tell stories like the legend of the bandit-saint Malverde, and complain about the Mexican authorities’ bureaucratic harassment of foreigners. Contemporary art was also an important topic of conversation, even if it was definitely marginal compared to what we see today.

This creative and fashionable community was immersed in an ambiguous situation. Downtown Mexico City, with its symbols and traditions, was a major location for the daily construction of national identity and an excellent starting point to gain an understanding of the whole country. But it was also a relatively isolated system, with a very specific set of variables. The tremendous transformation taking place in the rest of the country could be disregarded up to a certain point within these few blocks of historic buildings. The trendy version of postmodernity had mercilessly consumed every nationalistic image available. Mexican culture seemed to have succeeded in making a dry pastiche of all its icons. Never­theless, the intensity of the times demanded the recognition of specific sites and situations, and the streets around the Zócalo eventually became a privileged laboratory for reinventing the dormant principles of the avant-garde.

Artists and curators organized shows directly on the streets, in sordid hotels, old churches and cantinas.

People call it the Zócalo or the Plaza Mayor. It is a 50,000-square-meter concrete square right at the heart of the capital of Mexico. The archaeological excavation site for the last Aztec temple with its corresponding museum is located on the north-eastern corner, while a massive colonial cathedral limits it to the north. To the east lies the Palace of Government, which houses several important murals by the famous revolutionary painter, Diego Rivera. The Zócalo is almost completely flat, without benches, trash cans or any other features except for a tall flagpole in the centre. Every morning, a group of soldiers ceremoniously raise a huge green, white, and red flag, and during the course of the day, hundreds of busy people from the neighboring restaurants, offices and stores walk across the expanse of the Zócalo in every direction. On unusually hot days many of them stop for a rest right in the middle of the plaza, using the shadow cast by the flagpole as a shelter against the intense sunlight.

Almost 20 years ago, a Belgian architect-cum-contemporary-artist decided to make this city square the core of his investigation. He could be spotted chasing an empty plastic bottle with a camera as it moved with the wind (If You Are a Typical Spectator, What You Are Really Doing is Waiting for the Accident to Happen, 1996); gathering electoral propaganda to make a tent (Housing for All, 1994); or asking for a job at the gates of the cathedral along with masons and plumbers (Turista, 1996). The perpetrator of these actions, Francis Alÿs, is today one of the most important artists of his generation.

I hope that recalling the early nineties in downtown Mexico City does not sound nostalgic. A group of artists, curators and writers had discovered several urban shelters in the area, like a big building in Licenciado Verdad street which remains to this day on the verge of collapse after the 1985 earthquake. Its apartments were ideal for artists. Each of them had several dingy rooms for living, making art, and organizing parties. The rent was affordable. You only had to withstand disintegrating wooden floors, the constant noise of street vendors for most of the day and the occasional intruding mouse. Some of the walls were so damaged that you could clearly appreciate the neighboring Temple of Saint Teresa through the cracks. Other artists lived elsewhere, but gathered with their colleagues in nearby cantinas like La Opera and El Nivel, and danced until very late in el Bar León, or crowded the Salon des Aztecas, a gallery which intended to show the youngest art around.

The newcomers frequently invited their Mexican friends for drinks and private exhibitions. They all formed a community which shared the adventure of living and surviving the city. Many of them were expatriates, from Cuba, Chile, the UK, the United States and other countries, who seemed to be more comfortable in the dystopian atmosphere of the capital city than in their places of origin. Among them, Francis Alÿs became notorious very quickly for his intriguing paintings and sculptures as well as for the mellow

«Alÿs’s curiosity for daily life in the neighborhood was motivation for his artistic development»

The media which artists used in Mexico during the nineties were varied and largely improvised.

Some of them adopted a healthy dilettantism which, in the case of Francis Alÿs among others, gave way to paths of prolific innovation. The focus had subtly shifted from the obsession with historical narratives to a very rich notion of site-specificity. Some tactics of classic conceptual art were recycled. But nobody was pretending to be in the US or Europe.

This move eventually defined the most eloquent Mexican art of the decade.

Alÿs’s curiosity for the rhythms and processes of daily life in the neighborhood in which he lived was one of the great motivations for his subsequent artistic development. To his advantage, he allowed himself to listen and to see that which routine and custom made invisible to most people.

Some of his very first works are based on the simple act of walking, as when he wandered through the streets putting pillows in the broken windows of abandoned buildings (Placing Pillows, 1990) or when he built a magnetic toy dog that picked up pieces of metal as he dragged it along the streets (The Collector, 1991–92). The strange objects constructed by Alÿs are not precious immobile fetishes to be passively contemplated. He uses them as devices that have a function within a special situation. One example of this is the Magnetic Shoes that he made specifically for his uninvited participation in the Havana Biennial in 1994.The artist walked around the city with the shoes which, in the same fashion as The Collector, picked up metal pieces from the floor. Passers-by were informed of the purpose of the magnetic shoes by means of a sandwich board that quickly had the artist surrounded

41

Francis Alÿs’ studio in Mexico City

version from the first copy. The process would be repeated several times. The emphasis was put not on the image itself, but on its capacity for reproduction.

Alÿs dwells frequently on the inevitable loss and distortion of information, which is perhaps more akin to the actual thought processes of humans than the illusion of completeness, stability and control achieved by mechanical reproduction. In one particular ongoing series of paintings, Alÿs produces two identical works that are to be hung in different places in the same show, with the object of causing a sensation of deja vu in spectators. In these works, the artist manages to claim viewers’ distraction and forgetfulness as an unexpected asset (Déjà vu, 1996 to the present).

Many of Alÿs’s works are inspired examples in lateral thinking. He excels in making a good point about a given problem by performing a certain negation of it. One example is the project The Loop (1997). When invited to propose a project about the border between the US and Mexico by the InSite festival, which was set at the point where San Diego and Tijuana almost meet, Alÿs decided to go from Mexico to the US without crossing the border, by traveling south and around the world, through Chile, Australia, Hong Kong and Canada, among others.

Ten years after his first artistic walks, Alÿs understood his neighborhood laboratory in a much better way. In 1999 he made a video recording of the people standing under the shadow of the flagpole in the Zócalo. The piece is concerned with the dysfunctional nature of collective symbols as it gives evidence of how people are forced by the circumstances to find practical, unexpected solutions to their problems. With a perfectly tuned eye for finding unlikely allegories in seemingly banal situations, Alÿs recorded an almost imperceptible event. And yet the artwork can also be taken as a complex commentary on the unfulfilled promises of a catastrophic political system.

The role that contemporary art played in the Mexican cultural context changed quickly at the turn of the present century. Some local artists began to get a lot of attention from curators in other countries and were invited to major exhibition venues. The works started to sell, the prices soared. This new situation elicited an ambivalent attitude from many artists, not least Alÿs. In the sumptuous new exhibition space of the Jumex Collection, the most important in Mexico, located on the outskirts of Mexico City, Alÿs clandestinely let a small mouse loose (The Mouse, 2001). The intervention implied a lighthearted questioning of the role of artists in the face of an accelerated growth of the global art market. The same year Alÿs sent a live peacock to represent him in the Venice Biennale (The Ambassador, 2001).

The proud, colorful bird was let loose in the Giardini and elsewhere in this seminal art world event, while the artist remained in Mexico City, probably walking in his usual manner along its streets, or just staying at home. n

by Cuban children. Seven Lives of Garbage (1995), meanwhile, alludes poetically to the complex informal processing of garbage in Mexico City. For this work Alÿs made seven colored bronze figures of a snail and then threw them in the trash to see if they eventually appeared on the stands of outdoor second-hand merchants. Alÿs is still looking for the snails, of which he has recovered only two so far, in the firm belief that at least some of the trash in Mexico City is carefully inspected by informal workers who then try to sell the objects they consider valuable. This still unfinished enterprise is a playful allegory of movement that actually takes into account an alternative mode of circulation for art. The piece evokes the tantalizing image of a person who might have a little bronze snail on a cupboard without knowing of its excellent potential in an auction.

Later on, the artist refined his investigation of the concrete social and economic relationships that a simple act may detonate. Alÿs was intrigued at the amount of people who constantly transport all kinds of things up and down the narrow streets around the Zócalo. The tight economy of the area has people carrying petty merchandise, ice cream carts, construction materials, heavy cardboard boxes, and even trays with food back and forth all the time. Many of his works relate to this fact, like Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) from 1997 for which he pushed a big block of ice along the streets until it completely melted. The crucial point here is to make an argument against the compulsory and pragmatic efficiency of post-industrial societies. As Alÿs himself has stated, simplicity is one of the main objectives of each project – it is important that they can be easily narrated from person to person. In this sense, the artworks are not just a specific object or collection of objects, but elusive events than can be made visible, narrated, interpreted and modified through media as diverse as painting, video, animation, sound recordings, postcards, art reviews, and more.

«Alÿs dwells on the inevitable loss and distortion of information, akin to human thought processes»

In Mexico, Francis Alÿs is usually considered part of a generation that favored video, performance and conceptual art and relegated the discipline of painting.The notion is odd, since he has consciously defined a unique style of painting with an original repertoire of elements, including besuited figures, dogs, tables and buildings which are involved in poetically absurd situations.

The style was imitated directly from the handmade ads that still hang above some small businesses in the city. Once again, simplicity and directness are the main characteristics. But Alÿs’s images frequently transcend the intimate exercise of painterly concentration. His compositions can eventually be developed into projects that require intensive planning and collective effort.

The Sign Painting Project (1993–97) consisted of commissioning some of his own works to be copied by commercial painters. This basic plan initiated a process of reproduction and transformation, as each painter copied Alÿs’s painting with a personal touch, always with subtle variations in color, shape and format. A second painter was commissioned in turn to paint his own

Francis Alÿs: A Story of Deception, at Wiels, Brussels, November 9, 2010– January 30, 2011; then MoMA, New York, May 8–August 1, 2011 42

Above: Bridge (Snails), 2002 Below: Paradox of Praxis (Sometimes Doing Something Leads to Nothing), Mexico City, 1997

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DR LAKRA WORDS IGGY CORTEZ

From tribal tattoos to gang signs, inked pin-ups to defaced dolls, Dr Lakra’s art is changing our assumptions on how ‘crossover

WHO ISN’T FAMILIAR with the cliché of the body as a canvas, but what about the canvas as a body? Turning such commonplace notions on their heads seems to drive the curious practice of Jerónimo López Ramírez, better known as Dr Lakra. The artist earned his catchy nickname from the elegant doctor’s bag he used to carry his equipment in when he began tattooing professionally in the 1990s, while Lakra is slang for both scar and delinquency (and what two words together could better sum up the edgy, slightly masochistic appeal of tattoos?). His sexy, dream-like ink drawings are not limited to the skin of his lucky clients, but have also sprawled over into vintage tear-sheets of pin-up girls and Mexican wrestlers, plastic dolls and Japanese prints, and even the walls of the Institute of Contemporary Art in Boston, where the artist has recently had his first American retrospective that was widely popular with audiences and critics alike.

But Lakra’s story is not that of a typical crossover artist, innocently thrust into gallery world fame overnight. From his very artistic beginnings, he was actively participating in Mexico’s dynamic art scene – entering the underground world of tattooists as a respected draughtsman rather than the other, possibly harder, way around. The son of the eminent graphic artist Francisco Toledo, Lakra also studied with Gabriel Orozco in the 1980s in now legendary weekly workshops in which artists like Damián Ortega, Abraham Cruzvillegas and Gabriel Kuri also participated. In fact, when Jose Kuri and Monica Manzutto opened Kurimanzutto Gallery, widely considered the most influential gallery in Mexico today, Dr Lakra was one of the first artists invited to their stable.

But despite such eminent forefathers and influential peers, Lakra’s work is impossible to map in relation to either his predecessors or contemporaries’ influences. He has channeled his high-and-low art aesthetic into a deeply singular artistic vision – a compelling mishmash of the freakishness of cabinets of curiosities with vintage pulp fiction set to the torrid dreaminess of an opium-cum-dive bar. His range of references is deliberately expansive and international in scope, as he has traveled from California to the Philippines and New Zealand to study different tattooing styles and techniques, frustrating any facile attempts to contain his work within an exclusively LatinAmerican context.

By displacing tattoo designs into the surfaces of found objects, and appropriating widely trafficked images such as commercials or toys as if they were flesh to be incised, Lakra explores the timeless fascination of this vernacular art form on a collective, and universal, unconscious. At its best, his work begins with the specific subculture of tattooists to then interrogate broader themes on selffashioning, creating unexpected correspondences between notions of individualism and national tradition, the tattoo’s cult of rebellion with the discipline required to achieve its demanding technical dexterity, and the comic book dreamworlds of adolescent boys with serious concerns on the eternal themes of cultural memory, violence and eros.

Hip and unique as they are, the works’ broad appeal and undeniable cool shouldn’t lead to conclusions of faddishness. Dr Lakra’s works are punchy and popular, but for all their sudden impact, they do not fizzle out on repeat viewings, instead forming an image world of haunting, beautiful oddities as indelible as the artist’s ink on skin. ■ 44

All images courtesy the Institute of Contemporary Art, Boston

art’ is defined, as his recent one-man show at the Institute of Contemporary Art in Boston has successfully shown.

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carlos amorales taking the measure of earthquakes Interview karen wright | Photographs Gregory allen

Carlos Amorales photographed in his studio in Mexico City, August 16, 2010 46

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I interviewed Carlos Amorales in his studio located in a small cul-de-sac aptly named Calle Ideal in Mexico City. An almost secret gateway ends a narrow passageway lined with tall and graceful houses. Carlos tells me that there is a quite famous writer living here, as well as designers and film people. The studio is surprisingly light and airy, reminiscent of an elegant Parisian apartment from the 1930s. The mood is much more modern though. A group of industrious young people are clustered in one room around a computer while in another room a young man painstakingly traces a photograph, all in preparation for Carlos’s next show at Yvon Lambert in New York. Carlos shows me the circular wall drawing composed by misshapen rulers that replicate the outlines of broken buildings from the cataclysmic 1985 earthquake in the Mexican capital. These rulers are being used as drawing machines, he explains, before taking me into a nearby room to talk in front of a large computer, which holds his Liquid Archive – a huge repository of graphic images which has formed the basis of his art over the last decade.

Karen Wright Where were you born?

Carlos Amorales I was born in Mexico City, but I lived for many years in Holland. I left Mexico when I was 19 and I stayed in Holland until I was 34.

KW Where did you study in Holland?

CA First in the Rietveld Academie, and then in the Rijksakademie. But then I stayed five more years – working. I don’t know if Holland is my favorite place, but in a way I like it. There is something I connect with.

KW There is a kind linear quality in your work, and I can see the relationship. Also, there’s a darkness about it, which is also very northern European, in a way. There is a definite Mondrian connection as well.

CA Sometimes I think I’m a Calvinist Mexican [laughs]. I learnt a lot there. You know Avis Newman – she was my teacher. And once I was completely chaotic, and totally desperate and confused. And she was looking at me, and said ‘Carlos, you have such a mess! And I think the studio is a reflection of the mind of the artist.’

KW So you studied only there, you didn’t study here in Mexico?

CA Both of my parents were artists. So I already had a kind of school at home.

KW Were they painters?

CA More conceptual. My father did installation art. But in the seventies they were more into these groups of political art. They are not like real painters, more like graphic artists. Not like Mexican traditional painters, but… I felt I had a big influence from them.

KW Is that one of the reasons you left Mexico?

CA We’re quite similar in a way. But my mother was an artist, too. So if I turned right, there was my father, if I turned left it was my mother! If I was rational, it would be my father, if I was emotional, it would be my mother. I felt trapped, really. If it was only one of them, I could be always against them. But they were also quite different in a way. So that’s why I felt like I needed a big distance. I also changed my name.

These strategies were really to distance myself.

KW When did you come back, and why?

CA I came back in 2004. We had a child. That was the main reason. I decided it was much easier to be here and have a family, and support it.

KW Did you come back straight to this house?

CA No, this was a house for my mother, and she went to live in the north of Mexico, because she’s from there.

KW So you kicked her out!

CA Basically! I had another studio before; I’d never worked in a studio before, because I did

performance for seven years, and then I worked more from my laptop, as it was more about organizing things. But the moment I became a father and we started a family and came back to Mexico, I thought, ‘Well, if you can leave me this space.’ But also, I really need to work with people, I like that the most. Even if I’m alone, I need to connect with people. I never felt like I was a gifted draftsman or I had a talent to make art by myself. I never felt comfortable doing it alone. A lot of the performance was very collaborative, with musicians. But I always needed this kind of, almost… directing. If you need to tell people, and arrange things, I like that!

KW It’s more like making a movie.

CA In a way, yeah. I always felt that I cannot end up as an artist because I was too lazy to do something else. It was somehow part of my upbringing. So I always desired something else, but I always end up doing this. For instance, I really like film, I’m a good storyteller with images, but I’m not a good storyteller with writing. So I don’t see how to make a film.

But I think, ‘OK, maybe I can put that energy into creating different ways of working.’ And this archive of images started more with the intention to do animations, but there are different typographies to animals. To draw these segments was really very painful, and really boring work, and I thought that I had to rescue it. I wanted to draw a tree – so I said, ‘OK, let’s save it somewhere, so I can reuse it later.’ That’s how the archive started.

KW That’s the pleasure with computers – the storage.

CA Yeah, copy and paste, reusing. But through the years the archive became a subject, because I started to understand it, and different aspects of it. Even from the sources, because the sources are mostly started from photographic images.

KW And of course all this stuff has a very Mexican iconography.

CA And at the same time, yes. And not!

KW In the collages that you showed me before there are elements of Surrealism, of Man Ray. CA Last year I did research on Jean Arp, and I went through Europe to see all these foundations, then I discovered that, of course, it’s not digital, but he had a sort of archive of forms that he used to make drawings. Almost 100 years ago this guy was doing this – it’s super interesting, because that was the first time I found a direct lineage, especially with Dadaism, because I work a lot with posters and stuff.

KW Tell me about the work with the butterflies, or are they moths?

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CA When my grandmother was dying, she used to live in the north of Mexico, where my mother is now, I went there to kind of say goodbye. I knew it was going to be the moment, or close.

So I took my children– it was a very emotional, personal moment. And being there one night, trying to sleep, I had this image of a vaulted place full of butterflies. And it was a very strong image. So I came back from this holiday, and I start to work on it, and we started to think how to make them on paper. What we did was create this kind of template and start to cover the whole studio. And basically it took us like eight months, and we start to empty the studio as this thing was taking over, so then we packaged it, and we sent it to Yvon Lambert in New York. So that became the show.

KW The butterflies were in the offices as well ?

CA Yes, not only the exhibition area, but also the non-public areas.

KW Did your grandmother die during this period?

CA She died two months later. So it was a very emotional thing, like a film. But then it started to travel from my mind, to the archive, to the studio, and then the gallery, and then it went to this exhibition space in Miami and the show was on during the art fair. And then from the art fair, it went into the museum.

KW Where?

CA To the Philadelphia Museum. Do you know the museum? It has all these Mondrians. I had to work in one room, but also in the connected spaces. But they also allowed me to work in relation to other works.

KW Wow, Mr Mondrian!

CA Yeah! My revenge on Holland! And from the Museum it went to collectors. So this is the house of the Halleys, the collectors, in Scotsdale, Arizona. So there I felt it’s really doing the standard travel of an artwork – from yourself, to the studio, to the gallery, to the

art fair, to the museum, to the collectors. It’s so strange, because it was really not like that on purpose. A year later I got this email from a curator. It said, ‘Did you do this installation in Dior In Paris?’ I was like ‘What?! No!’ So I started researching, and finding more images, and I was, like, ‘Wow, you know, what’s going on? Is this right or wrong, legal or illegal?’

[Showing images on screen] And from there, the fabrics! This is Diane von Furstenberg, so she took them from Dior.

KW A plague of black butterflies! This is on the high street, it’s on Topshop!

CA But then, some months before, I went to my mother’s and my grandmother’s, I was reading a book by W.G. Sebald called Austerlitz – it’s a very dense book, beautiful. I gave it to my wife and she started reading it, and a year later, she said, ‘Did you see the moth in Sebald’s book?

I went to look and I found that in Sebald’s book there is an image of a moth, and there is a description of how beautiful moths are for him, and how they fly. In a way, I think I was reading the book, and unconsciously I took it when I went to see my grandmother, and maybe that situation where she was, and it just came.

So then I was thinking: whose image is this originally? Because maybe I also picked it up?

I made some kind of rip off of the book, where I inserted my story. And the thing is that the story keeps going, it’s been growing and growing.

The moth went to Dior, and from Dior it went to Diane von Furstenberg and then to Dolce and Gabbana, then to five smaller brands, and now, I’ve found one which is really super cheap. What is very nice is all the potential possibilities that this story can have.

KW Tell me about your show at the Museo Amparo in Puebla, relating to their collection of pre-Hispanic art.

CA It’s the second largest collection in Mexico City, and it’s the largest private collection, but

it’s 3,000 pieces –the Anthropology museum [National Museum of Anthropology in Mexico City] has a million pieces! But still, the Museo Amparo is quite big. It’s a collection that they got from somebody else, they didn’t collect it themselves. But they started this museum in the nineties. And this display is so old-fashioned.

When you start to analyze, you see that there is really a lot about trying to show power and hierarchies. But then you also start to go into what is written and what is talked about, and you see it’s super empty, that basically it says nothing – it’s common knowledge. It starts to become a very strange experience between this grandeur and emptiness. They said, ‘You can work with that’. I thought, I have 3000 images in my archive – could I work with their collection with the same freedom with which I work with my archive? Can I activate it like that? So I started to find some images that I could connect to my own archive; a mask, the pregnant woman, different things.

And I had to reclassify their collection according to my own rules, to compare my archive to their collection, and then classify it, and start to work with it, or mess it up. And that is when I started to make my own archive into objects. I had to level them to the same sort of thing, and also to start playing with it. And then we started to compose – to say, ‘OK, with that image, create meaning.’ Like mixing a head of a wolf and a head of a woman – how can I do it? All the time, we had to work from images, but not from the real stuff.

Then I also started to write these sentences, rules about how I could work, what I wanted to do, like playing with toys as a kid.

KW Did you use resin or plaster?

CA Plaster. And then we made them very carefully. Even if they were replicas, they still kept their very symbolic, heavy meaning, KW They weren’t removed enough, really.

CA Exactly. And that is where the idea of painting them became strong. It was a simple

«I feel that there are little subjects or situations that work in the relationships that you establish with other people through your work» 51

thing; the moment they were painted, they became something else.

KW Is that the first time you started using these colors?

CA Yeah. I’m not prepared yet, I still need to make steps towards that point. I think I have made a leap.

KW. There’s a big leap from the previous material. But there are a couple of steps missing. Are you going to fill those in?

CA I started to play with the forms and then I realized there were some forms I have seen in anthropology museums that were kind of similar, so I went back and I found them, and it is funny how you are carrying this knowledge within yourself without knowing. I had to question what a museum is, what they were doing, and how they were treating and dealing with the Pre-Hispanic. But to do it, I felt I had to do it to myself, too. Because otherwise I would just say. ‘OK, I’m right and you’re wrong!’ I had to collapse my own work. The idea was to collapse it, to break it, to fragment it, to mix it.

KW To reassemble.

CA It’s true that you see the connections [with older works]. But also the act of painting in a way is also like masking. It’s not really adding color. It’s adding form and it is like ugly plastic.

And then I finish with a mirror surface.

KW So this is bang up to date. This new piece, tell me about it.

CA What I’m doing now is to translate all these images I’ve been showing to you into drawing, with this machine I was showing you. Because I also felt that until I translate the whole thing to drawing, I cannot break loose of this whole internet/copy situation.

KW So with the first thing you showed me, the ruler piece, the wall drawing has been done here on the wall so it’s obviously not traveling, but will that eventually leave the studio, like the butterflies did?

CA Yes, that’s the idea. I’m preparing it for a show.

KW What made you explore the earthquake as a source of imagery?

CA What I found is that there was a link in my history, where it came kind of back there. For instance, the question, why is my work so dark?

Why there is always this catastrophic thing, and always fragmentation, re-composing, like the mirror in the show in London [at Yvon Lambert’s short-lived gallery in Hoxton Square in 2008]. These subjects always come back.

And then I was wondering if it has to do with the impact of the earthquake. Because of course, we had the social dramatic horror, but there was also a very strong aesthetic moment.

I can say it was very beautiful to see all these buildings collapse.

KW And the rulers are a structure to build on?

CA I’ve been starting to think more and more about tools, or what is a tool? Because I always work with digital images, I feel I need to find a different approach to the work so I can – KW Refresh yourself again?

CA Yeah. You establish a system, and you need to question it. Otherwise, you just keep doing it.

It can become a successful system, and maybe you can become recognized for it. But then it becomes worrying, in a sense. It’s very classic. I

think a lot of art and artists have been like that.

I became well known with wrestling, and then I was only asked to do wrestling, but I really felt that I would only repeat myself if I keep doing it.

Coming back to the earthquake and how I think it’s almost a root in my own development, my own work – I was thinking about the cracks and how the buildings cracked and collapsed, and what I started to do was to trace those cracks and start to understand how it worked, and then I got this idea of making rulers with them, which I like, because we think of the ruler as a straight form. So I read when it’s made like that it becomes chaotic.

KW It becomes a bit of a waste of a ruler!

CA Yeah, it’s the opposite. But the strange thing is that when you start to do the drawing, it becomes very organized.

KW Again, it’s about limitations and rules and restrictions. It’s the kind of conceptual element again, and the aesthetic is very beautiful, but then you realize what the aesthetic is, and you think, ‘Oops, that’s not a very beautiful idea’, because people were killed in the quake. It’s about the push-pull between the aesthetic and the tough meaning.

CA But we also benefited from it. Of course, some people died, and it was terrible. But, as a society, it was the first time we lived in solidarity, and it was amazing. And we got a new government.

KW And new buildings!

CA Since the archive was my tool for so many years, almost ten years, I was thinking through that tool. I thought, what if I made that archive physical? My intention being a radical one – to make all these tools, to the point where I can erase the archive. Where I can just say I don’t want to see it anymore, I can put it away, nobody will use it. And then for me it’s interesting because the tools are breakable, they have different possibilities. And, as you say, it starts limiting your work. You can do this but not that.

But this can push you into a way of working.

And that is what I’m trying to find.

KW How hands-on are you on the studio?

CA A lot of people ask me about Warhol’s Factory or Murakami, and of course work like this so graphic and reproducible it has that potential, but, honestly, I don’t feel interested in that. I don’t want to make it into a factory, or a business. I feel I’m more interested in other parts of that process. Not that I don’t like this industrialization – it’s interesting. Also, I’m not saying I’m anti-capitalist, or anti-selling my work, I like to do it.

KW Yeah you have a family, you have a house.

CA And you have the studio! It’s very important.

It’s absolutely not the question. But I like this, somehow I feel that there are little subjects or situations that work in the relationships that you establish with other people through your work.

And as an artist, in your small way, you define your world. And you have an effect on people, at least in this interaction. n Carlos Amorales, Yvon Lambert, New York, October 23–November 2010

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object lesson: Lot 169 American painter Neil WILLIAMS is primarily known for his move away from the rectangular canvas. Williams’s departure from traditional representation into abstraction was in part inspired by his studio partner in the late 1960s and 1970s, Frank Stella. The two painters and their compatriots tested the boundaries of geometric forms, at the time that new strands of abstraction – Hard Edge painting, Color Field, and Lyrical Abstraction – swept New York following the first wave of Abstract Expressionism. After being included in several mid-sixties shows organized around the shaped canvas theme, Williams left New York City and retreated to Sagaponack, NY. His method became more painterly and less abstract, until it evolved into the more recognizable and admired style of his later career.

In 1982, Williams was invited to exhibit in the São Paulo Biennial, which exposed him to a novel culture that profoundly influenced his later work. Brazil’s lush flora and fauna prompted a synthesis of brightly colored vibrancy and angular architectural elements. Williams integrated Brazil’s wildlife into the texture of the work with a new technique of applying the dried skin of acrylic paint directly on the canvas.This fusion of the tropical and architectural is exemplified in the bright floral motifs and geometric anatomy of Bloco de Troncoso (1982).

Eyes freshened by his first visit to Brazil in 1982, Neil Williams benefited from a working visit to the São Paulo estate of collector Kim Esteve. Edward Leffingwell, scholar and Corresponding Editor for Art in America, told Phillips de Pury: “There, Williams worked with a skilled carpenter to construct complex bars and stretch canvases suitable to an improvised terrace studio. A single-motor airplane visit to Mato Grosso, followed by a stop in the then isolated beach town of Trancoso (Bloco de Trancoso alludes to an annual beachside parade) served to vivify his palette in the years remaining to him following his definitive move to Brazil. The lively embrace and upthrust grid of this painting suggest an informed collision of beachside Hamptons and Brazilian festival. Not incidentally reflecting his affinity for the Latin American Neo-Concrete movement, such playful motifs occur in much of Williams’ work to follow.”

Before his unexpected death in 1988, Williams expected to take up permanent residency in São Paolo. His love of Brazil came full circle in 1989, when the 20th São Paulo Biennial exhibited his paintings made in Brazil from 1982 until his death. Bloco de Troncoso was included in this exhibition. n Neil Williams 1934–88, Bloco de Troncoso, 1982

Frank Stella, with whom Williams shared a studio, used color, geometric pattern and abstraction, such as in Ten Works

by Ten Painters, Untitled (Rabat) (1964) above, to pursue the Modernist ideal of self-reflexivity.

Lygia Clark, while also working with abstraction, used bold geometric forms, dramatic color contrasts (as in her work Composition, 1953, above), and her interest in audience perceptions, to very different ends to those of Williams’s American forbears.

The São Paolo Biennal, which takes place in Oscar Niemeyer’s Ibirauera Park Pavilion and is now in its 29th edition, had a profound impact on Williams’s art. His exposure to the dynamic color and rhythm he found in the work of Brazilian artists fused with his earlier interests in Color Field painting and lyrical abstraction.

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Kenneth Noland is the artist most closely associated with Color Field painting. Like Williams, he was also a pioneer of abstract painting on geometric, shaped canvases, such as Drough (1965), above.

Stella: © ARS, NY and DACS, London 2010. Niemeyer: courtesy the São Paolo Biennal 2010. Noland: © Estate of Kenneth Noland; DACS, London/VAGA, New York 2010. Clark: courtesy the Lygia Clark Foundation

Words amanda stoffel

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SãO PAULO

The 29th São Paulo Biennial (September 25 – December 12) engages with the ever-changing geopolitical landscape, not only by abandoning a structure that organizes artists by nationality but also by exploring the city’s role as an emerging global megalopolis by extending the Biennale’s activities from its permanent site, Oscar Niemeyer’s Ibirapuera Park pavilion, to different venues throughout the city. Tackling the fusion of art and politics, and the importance of defining the difference between these two spheres, the Biennial will show the work of socially-engaged artists such as the Puerto Rican duo Allora and Calzadilla, whose work Stop, Repair, Prepare: Variations on “Ode to Joy” for a Prepared Piano, above, examines the relationship between sound and militarization.

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Allora & Calzadilla: courtesy David Regen © Allora & Calzadilla, Gladstone Gallery, New York

news

Whiteread: courtesy the artist and Gagosian Gallery, London. Richter: courtesy The Drawing Center. Ortega Ayala: © Raul Ortega Ayala, photo Damian Griffiths. Kuitca: courtesy Sperone Westwater, New York

news

New York

Sperone Westwater inaugurate their new headquarters at 257 Bowery with a show of new paintings by Guillermo Kuitca (September 22–November 6). In his new series, the Argentinian artist mixes abstraction with compositional aspects from past works such as floors plans, thorns, and fragments from maps, as in Philosophy for Princes III from 2009. These works’ monumental scale showcase the dramatic new architecture of the gallery. The artist’s landmark installation Le Sacre will also be on view in the gallery’s Moving Room, the muchtalked about ‘floating’ exhibition space that shifts like an elevator between the second and third floors.

LONDON

Rachel Whiteread is renowned for her haunting monumental works that play on the relationship between void and presence. The exhibition of her drawings at Tate Britain (September 8, 2010 – January 16, 2011) aims to orient her audience towards the more intimate scale of her works on paper such as collages, drawings and sketches which, while not as widely seen as her more iconic works, critically inform her sculptural and installation practices. Including a 1992 study for her well-known sculpture House, these rarely exhibited works offer a valuable insight into the working methods of one of contemporary art’s most distinctive voices.

NEW YORK

The Hague

Lines which do not exist, a retrospective of Gerhard Richter’s works on paper at The Drawing Center (September 11– November 18), exhibits for the first time in the US the artist’s drawings.

While best known for his dramatic, large-scale paintings, the exhibition brings into relief the drawings, sketches and watercolours, such as R.O., 22.1.1984, above, Richter has been producing for over five decades. These works range from abstract landscapes to technical renderings of installations, but all share the artist’s trademark experimental spirit in their play with perception and techniques.

Competitive hot dog eaters, the Twin Towers, religious iconography and cheese made out of human breast milk are all provocatively intertwined in Raul Ortega Ayala’s show Living Remains, at the Stroom Den Haag (September 12–November 7). The Mexican artist uses food to explore notions of the sacred and the abject, as well as the body’s role in the public sphere. The show is preceded by his performance of The Last Supper, in which twelve audience members will partake in a dinner that simulates what food historians believe the twelve apostles ate.

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LATIN AMERICA 1 pm wednesday 29 september 2010 new york

photographs Lots 1 - 52

ALGAZE, M. 15, 16 ÁLVAREZ BRAVO, L. 7 ÁLVAREZ BRAVO, M. 8-14

ITURBIDE, G. 48, 49 MODOTTI, T. 17-21 MUNIZ, V. 41, 42, 44, 45 MURAY, N. 6, 30, 31

CRAVO NETO, M. 50 DOLRON, D. 46

SALGADO, S. 1-5, 47 SERRANO, A. 43

GARDUÑO, F. 32-38 GONZÁLEZ PALMA, L. 22-29

YAMPOLSKY, M. 40

HAAS, E. 51, 52

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1

1 SEBASTIÄO SALGADO BRAZILIAN b. 1944 Gold, Serra Pelada, Brazil, 1986. Gelatin silver print, printed later.

11 3/4 x 17 3/8 in. (29.8 x 44.1 cm). Blindstamp credit in the margin; signed, titled ‘Brasil’ and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 59

2

3

4

5

2 SEBASTIÄO SALGADO BRAZILIAN b. 1944 Three Communion Girls, Brazil, 1981.

Gelatin silver print, printed later. 11 5/8 x 17 3/8 in. (29.5 x 44.1 cm). Blindstamp credit in the margin; signed, titled ‘Brasil’ and dated in pencil on the verso. provenance

4 SEBASTIÄO SALGADO BRAZILIAN b. 1944 Women going to the market in Chimbote, Ecuador, 1998. Gelatin silver print, printed later. 11 1/2 x 17 1/8 in. (29.2 x 43.5 cm).

Blindstamp credit in the margin; signed, titled ‘Ecuador’ and dated in pencil on the verso. provenance Acquired directly from the artist Estimate $ 4 , 0 0 0 - 5 , 0 0 0

Acquired directly from the artist

Estimate $ 5 , 0 0 0 - 6 , 0 0 0 3 SEBASTIÄO SALGADO BRAZILIAN b. 1944 The Outskirts of Guatemala City, Guatemala, 1978. Gelatin silver print, printed later. 11 1/2 x 17 1/8 in. (29.2 x 43.5 cm).

Blindstamp credit in the margin; signed, titled ‘Guatemala’ and dated in pencil on the verso. provenance Acquired directly from the artist Estimate $ 4 , 0 0 0 - 5 , 0 0 0

5 SEBASTIÄO SALGADO BRAZILIAN b. 1944 Mexico (Man with Violin), 1984. Gelatin silver print, printed later. 11 1/2 x 17 1/8 in. (29.2 x 43.5 cm). Blindstamp credit in the margin; signed, titled ‘Mexique’ and dated in pencil on the verso. provenance Acquired directly from the artist

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 60

6

7

6 NICKOLAS MURAY AMERICAN/HUNGARIAN 1892-1965 Frida Kahlo in New York, 1946. Carbon pigment print, printed later. 14 3/4 x 10 7/8 in. (37.5 x 27.6 cm). Signed, titled, dated, numbered 13/30 and copyright credit by Mimi Muray, the artist’s daughter, in pencil on the verso. Numbered ‘13’ in ink on a printed description by Salomon Grimberg accompanying the work.

Estimate $ 5 , 0 0 0 -7, 0 0 0

7 LOLA ÁLVAREZ BRAVO MEXICAN 1907-1993 Frida (Looking in mirror close up), 1944.

Gelatin silver print, printed later. 8 1/8 x 7 in. (20.6 x 17.8 cm). Signed in pencil on the mount.

Estimate $ 5 , 0 0 0 -7, 0 0 0

61

8

10

9

11

8 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Parábola Óptica (Optic Parable), 1931.

Platinum-palladium print, printed 1980s. 9 3/4 x 7 5/8 in. (24.8 x 19.4 cm). Signed and annotated ‘Mexico’ in pencil in the margin. literature Aperture, Manuel Álvarez Bravo:

10 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Untitled (Antenna and Cactus), 1940.

Gelatin silver print, printed 1970s. 9 1/2 x 6 3/8 in. (24.1 x 16.2 cm). Signed in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Photographs and Memories, title page; The Museum of Photographic Arts, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 14; Turner Publicaciones, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 2

11 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Market Place, 1940s. Gelatin silver print, printed circa 1955. 7 7/8 x 9 3/4 in. (20 x 24.8 cm). Credit stamp on the verso.

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 9 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 La de Piru, 1978. Platinum-palladium print. 8 7/8 x 6 3/4 in. (22.5 x 17.1 cm). Signed and annotated ‘Mexico’ in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 62

Born in Mexico in 1902, Manuel Álvarez Bravo was old enough to remember the Emiliano Zapata-led Mexican Revolution of 1910-1920, and mature enough to experience first-hand the ensuing consequential political reforms and the aesthetic movements that reflected them. As part of the new ideological landscape that favored the indigenous over the foreign and the populist over the elitist, emphasis on quintessentially “Mexican” characteristics became prevalent in art. Those included the heavy representations of labor (normally in relation to agriculture), holidays (most notably Day of the Dead), and, as we see in Lot 14, Álvarez Bravo’s Untitled (Cacti against sky), flora, usually in the form of maguey, agave, corn and cactus. The intention was monumentalize those elements deemed unworthy or lacking in sophistication heretofore, and infuse a sense of pride in the local characteristics of the land. Álvarez Bravo continuously experimented with different types of subject matter across his career, but remained faithful to incorporating elements that typified the political landscape. Among his most famous images is La Buena Fama Durmiendo, 1938, a surrealist composition of a bandaged nude surrounded by cacti, commissioned by French Surrealist André Breton as a cover for his catalogue on Mexican Surrealism. In Lot 12, La Desvendada (The Unbandaged One), 1938, Álvarez Bravo depicts the same model, possessing unequivocally Mexican features, awake and erect, framed by a portal that she confidently and leisurely occupies. The image could be understood as both a reverence of non-Westernized beauty, as well as a playful wink at the staging behind social realist imagery.

12

13

12 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 La Desvendada (The Unbandaged One), 1938. Gelatin silver enlargement print, printed 1940s. 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm). Signed in pencil on the reverse of the mount. literature Getty Publications, Manuel

13 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Trabajadores del Fuego (Fire Workers), 1935. Gelatin silver print, printed later. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm). Signed and annotated ‘Mexico’ in pencil on the verso. literature Aperture, Manuel Álvarez Bravo:

Álvarez Bravo: Photographs from The J. Paul Getty Museum, pls. 27-29 for a few variants

Photographs and Memories, p. 48; Kismaric, Manuel Álvarez Bravo, pl. 80; Turner Publicaciones,

Estimate $ 1 5 , 0 0 0 - 2 5 , 0 0 0

Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 39

Estimate $ 5 , 0 0 0 -7, 0 0 0 63

14 (actual size)

14 MANUEL Ă LVAREZ BRAVO MEXICAN 1902-2002 Untitled (Cacti against sky), 1930s-1940s. Gelatin silver print.

9 5/8 x 6 3/4 in. (24.4 x 17.1 cm). Signed in pencil on the verso.

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 64

15

16

17

18

15 MARIO ALGAZE CUBAN b. 1947 Carretas, Guatemala, 1979. Platinum-palladium print, printed 2005. 7 1/2 x 7 1/2 in. (19.1 x 19.1 cm). Signed, titled, dated, numbered 4/12 and annotated in pencil on the verso. provenance Acquired directly from the artist Estimate $ 1, 5 0 0 - 2 , 0 0 0

17 TINA MODOTTI ITALIAN 1896-1942 Diego Rivera mural study, 1926-1929. Gelatin silver print. 9 1/2 x 7 3/8 in. (24.1 x 18.7 cm). Annotated ‘water color flower vendors’ in an unidentified hand in pencil on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

16 MARIO ALGAZE CUBAN b. 1947 Cotton Candy, San Angel, Mexico, 1981. Platinumpalladium print, printed 2005. 7 3/8 x 7 3/8 in. (18.7 x 18.7 cm). Signed, titled, dated, numbered 7/12 and annotated in pencil on the verso. provenance Acquired directly

18 TINA MODOTTI ITALIAN 1896-1942 Diego Rivera Mural: Billionaries Club; Ministry of Education, Mexico D.F., Third Gallery, 1927. Gelatin silver print. 9 1/2 x 7 3/8 in. (24.1 x 18.7 cm). Credit stamp on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

from the artist

Estimate $ 1, 5 0 0 - 2 , 0 0 0 65

19 (actual size)

19 TINA MODOTTI ITALIAN 1896-1942 Cactus Flower, 1926. Gelatin silver print. 2 3/8 x 3 1/5 in. (6 x 7.6 cm). Signed in ink on the recto; credit stamp on the verso.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Despite her Italian background, Tina Modotti created a body of work in the 1920’s that was unmistakably Mexican in subject matter, treading a delicate balance between reverential and exotic. As such, her images were not taken as a foreigner looking in from the outside, but as one who had become fully integrated into the Mexican social-political zeitgeist. As the principal photographer for the publication Mexican Folkways until 1930, and undoubtedly engaging in an artistic dialogue with her lover at the time, famed American photographer Edward Weston, Modotti infused her images from the period with the Formalist sensibility that focused on line, light, and simplicity. In Lot 19, Cactus Flower, 1926, viewers are presented with an image that praises the beauty to be found in the mundane and the local, as the dainty white flower, like a tiny miracle, sprouts out of a cactus that unassumingly if elegantly curves along the lower edge of the photograph. The work is a testament of Modotti’s love for the country as much as her mastery of the Formalist style.

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20 TINA MODOTTI ITALIAN 1896-1942 Gerard Murillo, circa 1930. Gelatin silver print, printed later. 17 3/8 x 14 in. (44.1 x 35.6 cm). Signed in ink on the recto; credit stamp on the verso.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

22 LUIS GONZà LEZ PALMA GUATEMALAN b. 1957 Lugar Sin Reposo, 1991. Handpainted gelatin silver print with dried flower affixed to the mount in artist’s original frame. 32 x 46 in. (81.3 x 116.8 cm). Signed in ink on a label accompanying the work. One from an edition of 5. provenance Schneider Gallery, Chicago Estimate $ 7, 0 0 0 - 9 , 0 0 0

21 TINA MODOTTI ITALIAN 1896-1942 Untitled (Cathedral), circa 1930. Bromoil gelatin silver print, printed later. 4 1/2 x 3 in. (11.4 x 7.6 cm). Signed in ink on the recto; credit stamp on the verso.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 67

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24

25

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23 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 Gustavo, 1999. Hand-painted gelatin silver print. 21 x 19 1/2 in. (53.3 x 49.5 cm). Signed, titled, dated and numbered 8/15 in pencil on the verso. provenance Schneider Gallery, Chicago Estimate $ 3 , 0 0 0 - 5 , 0 0 0

25 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 La Mirada Crítica (The Critical Gaze), 1998. Hand-painted gelatin silver print and transparency. 19 5/8 x 39 in. (49.8 x 99.1 cm).

Signed, titled, dated and numbered AP 1/3 in pencil on the verso. One from an edition of 15 plus 3 artist’s proofs. provenance Acquired directly from the artist literature

24 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 Anatomie de la Melancholie (Anatomy of Melancholy), 1998. Hand-painted gelatin silver diptych with embroidered brocade. 38 5/8 x 39 in. (98.1 x 99.1 cm) overall. Signed, titled, dated and numbered 7/15 in pencil on the verso. provenance Schneider Gallery, Chicago literature Arena

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Arena Editions, Luis González Palma: Poems of Sorrow, cover and p. 97

26 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 Destino II (Destiny II), 2000. Handpainted gelatin silver print with embroidered brocade. 37 1/8 x 57 1/4 in. (94.3 x 145.4 cm).

Signed, titled, dated and numbered 5/7 in pencil on the verso. provenance Schneider

Editions, Luis González Palma: Poems of Sorrow, p. 147

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Gallery, Chicago

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 68

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27 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 La Imagen del Mundo (Image of the World), 1998. Hand-painted gelatin silver collage. 23 1/4 x 77 3/4 in. (59.1 x 197.5 cm).

Signed, titled, dated and numbered 9/10 in pencil on the verso. provenance Acquired

28 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 Lotería I: La Rosa (Lottery I: The Rose), 1989. Hand-painted photogravure. 17 3/8 x 17 1/2 in. (44.1 x 44.5 cm). Signed, dated ‘1994’ and numbered EV 23/35 in pencil in the margin. provenance Acquired directly

directly from the artist literature Arena Editions, Luis González Palma: Poems of Sorrow, pp. 70-71

from the artist literature Arena Editions, Luis González Palma: Poems of Sorrow, p. 67

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0 29 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 El Angel (The Angel), 1991-1992.

Hand-painted gelatin silver print. 19 5/8 x 19 3/4 in. (49.8 x 50.2 cm). Signed and titled in pencil on the verso. provenance Acquired directly from the artist literature High Museum of Art, Chorus of Light: Photographs from the Sir Elton John Collection, p. 51

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

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31

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30 NICKOLAS MURAY AMERICAN/HUNGARIAN 1892-1965 Frida with Granizo, circa 1939. Platinum print from Frida Kahlo As Seen by Nickolas Muray, printed 1994. 11 x 10 1/2 in. (27.9 x 26.7 cm). Signed, titled, dated, numbered 2/30 and credit by Mimi Muray, the artist’s daughter, in pencil on the verso. Accompanied by a printed letter from Frida Kahlo to Nickolas Muray with title and portfolio information. provenance From

32 FLOR GARDUÑO MEXICAN b. 1957 Basket of Light, Sumpango, Guatemala, 1989.

Gelatin silver print, printed 2008. 17 3/8 x 13 1/2 in. (44.1 x 34.3 cm). Signed, titled, dated and annotated in pencil on the verso. provenance Acquired directly from the artist Estimate $ 2 , 5 0 0 - 3 , 5 0 0

the Estate of Nickolas Muray; to the John Stevenson Gallery, New York; to the present Private

33 FLOR GARDUÑO MEXICAN b. 1957 Abrazo de Luz (Embrace of Light), Mexico, 2000.

Gelatin silver print, printed 2007. 13 1/4 x 13 1/2 in. (33.7 x 34.3 cm). Signed, titled and dated in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Collection, New York

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 31 NICKOLAS MURAY AMERICAN/HUNGARIAN 1892-1965 Frida (Icon), circa 1939.

Platinum print from Frida Kahlo As Seen by Nickolas Muray, printed 1994. 12 x 10 1/2 in.

(30.5 x 26.7 cm). Signed, titled, dated, numbered 1/30 in pencil and credit by Mimi Muray, the artist’s daughter, in pencil on the verso. Accompanied by a printed letter from Frida Kahlo to Nickolas Muray with title and portfolio information. provenance From the Estate of Nickolas Muray; to the John Stevenson Gallery, New York; to the present Private Collection, New York

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 70

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34 FLOR GARDUﾃ前 MEXICAN b. 1957 Virgin, Coroma, Sucre, Bolivia, 1990; and Agua, Valle Nacional, Mexico, 1983. Two gelatin silver prints, one printed later. (i) 17 3/8 x 13 1/2 in. (44.1 x 34.3 cm) (ii) 18 x 13 7/8 in. (45.7 x 35.2 cm). Each signed, titled and dated in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

35 FLOR GARDUﾃ前 MEXICAN b. 1957 The Blessing, Isla del Sol, Bolivia, 1990. Gelatin silver print, printed later. 13 1/4 x 18 in. (33.7 x 45.7 cm). Signed, titled, dated and annotated in pencil on the verso. provenance Acquired directly from the artist Estimate $ 1, 8 0 0 - 2 , 2 0 0 36 FLOR GARDUﾃ前 MEXICAN b. 1957 Musician in Nowhere, Escoma, Bolivia, 1990.

Gelatin silver print, printed 2005. 13 7/8 x 17 1/2 in. (35.2 x 44.5 cm). Signed, titled, dated and annotated in pencil on the verso. provenance Acquired directly from the artist Estimate $ 1, 5 0 0 - 2 , 0 0 0 71

37

37 FLOR GARDUﾃ前 MEXICAN b. 1957 Selected Images from Witnesses of Time, 1989-1993. Three platinum prints, printed 1993.

7 x 9 3/8 in. (17.8 x 23.8 cm). Each with blindstamp credit in the margin; each signed, titled, dated, numbered 13/40 in pencil and portfolio credit stamp on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Titles include: Marco y Simona, Bolivia, 1990; Member of the Confraternity, Guatemala, 1989; Polvo Serna, mos palvo enamorado, 1993 72

38

40

38 FLOR GARDUﾃ前 MEXICAN b. 1957 Selected Images, 1982-1990. Three gelatin silver prints, two printed later. Each approximately 8 7/8 x 12 in. (22.5 x 30.5 cm) or the reverse.

Each signed, titled and dated in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

40 MARIANA YAMPOLSKY AMERICAN 1925-2002 Selected Images, n.d. Three gelatin silver prints. Each approximately 13 1/4 x 17 5/8 in. (33.7 x 44.8 cm). Each signed and titled in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Titles include: The Woman, Juchitan, Mexico, 1982; Sixto, alto de la paz, 1990; The Cloud, Jocotitlan, Mexico, 1982

Titles include: Four Black Sheep; The Blessing of the Chicken; Adornment

39

no lot 73

41

41 VIK MUNIZ BRAZILIAN b. 1961 Figo from Pictures of Chocolate, 2004. Digital color coupler print, flush-mounted.

53 x 46 5/8 in. (134.6 x 118.4 cm). Accompanied by a signed label. One from an edition of 5.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 74

42

43

42 VIK MUNIZ BRAZILIAN b. 1961 Djama Santos and Carlos Alberto from Pictures of Chocolate, 2004. Digital color coupler print, flush-mounted. 42 1/2 x 59 in. (108 x 149.9 cm).

Accompanied by a signed label. One from an edition of 5.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

43 ANDRES SERRANO AMERICAN b. 1950 Saint John the Baptist, 1998-2001. Dye destruction transparencey, flush-mounted to acrylic, in aluminum lightbox. 23 3/4 x 19 5/8 in. (60.3 x 49.8 cm). Signed, numbered 6/10 in ink, printed title and date on a gallery label affixed to the reverse of the lightbox.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 75

44

45

44 VIK MUNIZ BRAZILIAN b. 1961 Pele - Soccer Ball, 2004. Digital color coupler print, flush-mounted. 59 1/2 x 47 1/2 in. (151.1 x 120.7 cm). Accompanied by a signed label. One from an edition of 5.

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

45 VIK MUNIZ BRAZILIAN b. 1961 Wanderer Above the Sea of Ashes, 1999.

Dye destruction print. 38 1/2 x 29 1/2 in. (97.8 x 74.9 cm). Signed, titled, dated and numbered 10/10 in ink on a gallery label affixed to the reverse of the flush-mount.

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 76

46

46 DESIREE DOLRON DUTCH b. 1963 Cerca Villegas from Te DĂ­ Todos Mis SueĂąos, 2002-2003. Color coupler print, Diasec mounted. 31 1/2 x 33 in. (80 x 83.8 cm). Signed, titled and numbered 4/8 in ink on the reverse of the aluminum flush-mount. provenance Michael Hoppen Gallery, London Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 77

47

48

49

50

47 SEBASTIÄO SALGADO BRAZILIAN b. 1944 Sulfur, Indonesia, 1991. Gelatin silver print, printed later. 11 3/4 x 17 3/8 in. (29.8 x 44.1 cm). Blindstamp credit in the margin; signed, titled ‘Indonesia’ and dated in pencil on the verso.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

49 GRACIELA ITURBIDE MEXICAN b. 1942 Amber, India, 1998. Gelatin silver print. 12 3/4 x 18 1/4 in. (32.4 x 46.4 cm). Signed in ink in the margin; titled and dated in pencil on the verso.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

48 GRACIELA ITURBIDE MEXICAN b. 1942 Nuestra Senora de las Iguanas, Juchitan, Oaxaca, 1996. Gelatin silver print, printed later. 22 1/4 x 17 7/8 in. (56.5 x 45.4 cm). Signed in ink in the margin. provenance Acquired directly from the artist Estimate $ 2 , 5 0 0 - 3 , 5 0 0

50 MARIO CRAVO NETO BRAZILIAN 1947-2009 Standing Nude, 1994. Gelatin silver print.

15 3/4 x 15 3/4 in. (40 x 40 cm). Signed, dated and annotated ‘AP’ in pencil in the margin; signed, dated and inscribed in pencil on the verso. One from an edition of 25 plus artist’s proof.

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 78

51

52

51 ERNST HAAS AMERICAN 1921-1986 Guerrero Province, Mexico, 1963. Dye transfer print, printed 1992. 17 1/2 x 26 5/8 in. (44.5 x 67.6 cm). Signed, titled, dated, numbered 6/30

by Alexander Haas, the photographer’s son, in pencil and Ernst Haas copyright credit stamp on the verso. provenance Acquired directly from the Estate of Ernst Haas Estimate $ 5 , 0 0 0 -7, 0 0 0

52 ERNST HAAS AMERICAN 1921-1986 Green Water, Mazatlan, Mexico, 1963. Dye transfer print, printed 1992. 17 5/8 x 26 3/4 in. (44.8 x 67.9 cm). Signed, titled, dated, numbered 3/30 by Alexander Haas, the photographer’s son, in pencil and Ernst Haas copyright credit stamp on the verso. provenance Acquired directly from the Estate of Ernst Haas

Estimate $ 5 , 0 0 0 -7, 0 0 0 79

LATIN AMERICA wednesday 29 september 2010 new york

DESIGN Lots 53 - 88

Bardi, L.B. 60

Gillon, J. 87, 88

Caldas, J.Z. Campana, F. Campana, H. Cornejo, M.

Mendoza, P. 58, 72, 86

53, 56, 57, 59, 78 54, 61, 62, 63, 64 54, 61, 62, 63, 64 68, 69

Rodrigues, S. 66 Shoemaker, D. 65, 79

Diaz, D. 75 Tenreiro, J. 67, 71, 73, 81, 82, 83, 84, 85

Franรงa, H. 70 Friedeberg, P. 55

Zalszupin, J. 74, 76, 77, 80

80

53

53 JOSÉ ZANINE CALDAS BRAZILIAN 1919-2001 Bench, circa 1970. Wood, cowhide. 31 1/4 x 67 x 36 3/4 in. (79.4 x 170.2 x 93.3 cm). Side branded with “Zanine.” provenance Private Collection, São Paulo, Brazil; Important 20th Century Design, Sotheby’s New York, June 14, 2006, Lot 104 literature Suely Ferreira da Silva, Zanine: Sentir e Fazer, Rio de Janeiro, 1995, fig. 38

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 81

54

54 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 ”Cake” stool, circa 2008. Stuffed animals, tubular steel. 29 x 47 1/4 x 47 1/4 in. (73.7 x 120 x 120 cm). Produced by Estudio Campana, Brazil. Number 33 from the edition of 150. One animal embroidered with “Campanas N˚ 33 / 150.” Together with a certificate of authenticity. provenance Private Collection, Sydney, Australia; Design 55, Auckland, New Zealand literature Darrin Alfred, et al, Campana Brothers, Complete Works (So Far), New York, 2010, p. 286

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 82

55

55 PEDRO FRIEDEBERG MEXICAN b. 1936 “Hand and Foot” chair, 1960s. Mahogany. 36 in. (91.4 cm) high. Base signed in marker with “PEDRO FRIEDEBERG.” provenance Hokin Gallery, West Palm Beach, Florida literature Cara Greenberg, Op to Pop: Furniture of the 1960s, New York, 1999, back cover and p. 109 for a similar example; Dina Comisarenco Mirkin, et al, Vida y Diseño en México: Siglo XX, Mexico City, 2007, p. 67 for a similar example

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 83

56

57

58

56 JOSÉ ZANINE CALDAS BRAZILIAN 1919-2001 Bench, from Universidade de São Paulo, Brazil, 1950s. Cabreúva. 34 1/2 x 71 1/2 x 24 in. (87.6 x 181.6 x 61 cm). Manufactured by Moveis Artisticos Z, Brazil. provenance Universidade de São Paulo, São Paulo, Brazil Estimate $ 4 , 0 0 0 - 6 , 0 0 0

57 JOSÉ ZANINE CALDAS BRAZILIAN 1919-2001 Coffee table, 1970s. Vinhático. 12 1/8 in.

(30.8 cm) high, 42 3/8 in. (107.6 cm) diameter.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 58 PEPE MENDOZA MEXICAN Rare cocktail table, 1950s. Glass, brass, turquoise enamel.

16 1/4 x 60 x 30 in. (41.3 x 152.4 x 76.2 cm).

Estimate $ 5 , 0 0 0 -7, 0 0 0 84

59

59 JOSÉ ZANINE CALDAS BRAZILIAN 1919-2001 Dining table, 1970s. Peroba. 30 1/2 x 120 1/4 x 43 1/4 in. (77.5 x 305.4 x 109.9 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 85

60

60 LINA BO BARDI ITALIAN/BRAZILIAN 1914-1992 “Bowl” chair, circa 1951. Formed aluminum, painted iron, fabric, brass.

27 1/2 in. (70 cm) high. Manufactured by Ambiente, Italy. Provenance Graphos Brasil, Rio de Janeiro, Brazil literature Marcelo Carvalho Ferraz ed., Lina Bo Bardi, São Paulo, 1996, pp. 76-77; Charlotte and Peter Fiell, eds., Domus Vol. III, 1950-1954, Cologne, 2006, p. 453

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 86

61

62

63

64

61 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Vermhela” chair, circa 1998. Cotton rope, tubular stainless steel. 30 1/4 in. (76.8 cm) high. Manufactured

by Edra, Italy. Back with paper label “edra/vermhela.” literature Antibodies – Fernando

63 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Anemone” chair, circa 2001. PVC tubing, painted tubular metal, chrome-plated metal. 25 1/4 in. (64.1 cm) high. Manufactured by Edra, Italy. literature Antibodies – Fernando & Humberto Campana

& Humberto Campana 1989-2009, exh. cat., Vitra Design Museum, Weil am Rhein, 2009, pp. 48, 51,

1989-2009, exh. cat., Vitra Design Museum, Weil am Rhein, 2009, pp. 58 and 116; Darrin Alfred, et

116-117, and back cover; Darrin Alfred, et al, Campana Brothers, Complete Works (So Far), New York,

al, Campana Brothers, Complete Works (So Far), New York, 2010, pp. 30, 138 and 264

2010, pp. 36, 128 and 260

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 62 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Célia” bench, 2004. Oriented strand board, painted metal. 28 1/4 x 47 1/2 x 22 in. (71.8 x 120.7 x 55.9 cm).

Produced by Habitart, Brazil. literature Darrin Alfred, et al, Campana Brothers, Complete

64 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Célia” coffee table, 2004. Oriented strand board, painted metal. 12 x 59 x 19 1/2 in. (30.5 x 149.9 x 49.5 cm). Produced by Habitart, Brazil. literature Darrin Alfred, et al, Campana Brothers,

Works (So Far), New York, 2010, pp. 98, 100 and 271 for other examples of Célia furniture

Complete Works (So Far), New York, 2010, p. 271

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

87

65

66

67

65 DON SHOEMAKER AMERICAN/MEXICAN Pair of “Swinger” chairs, model no. F-23, 1960s. Rosewood, leather. Each: 32 1/2 in. (82.6 cm) high. Manufactured by Señal, Mexico (2). literature Señal, S.A., sales catalog, 1960s Estimate $ 4 , 0 0 0 - 6 , 0 0 0

66 SERGIO RODRIGUES BRAZILIAN b. 1927 “Sabará” chest, circa 1965. Jacarandaveneered wood, jacaranda, brass. 19 x 56 x 20 in. (48.3 x 142.2 x 50.8 cm). literature Soraia Cals, Sergio Rodrigues, Rio de Janeiro, 2000, p. 254

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 67 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Low table, circa 1950. Marble, jacaranda.

11 1/4 x 33 1/2 x 42 3/4 in. (28.6 x 85.1 x 108.6 cm). literature Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 100

Estimate $ 7, 0 0 0 - 9 , 0 0 0 88

68

69

68 MARIANO CORNEJO ARGENTINE b. 1962 Unique chair, 2003. Carved and painted wood. 26 1/2 in. (67.3 cm) high. Side incised with “MCORNEJO 03.” provenance

69 MARIANO CORNEJO ARGENTINE b. 1962 Unique desk, 2005. Carved and painted wood. 31 x 35 x 25 in. (78.7 x 88.9 x 63.5 cm). Leg incised with “MCORNEJO 05.”

Galeria Palatina, Buenos Aires, Argentina Exhibited arteBA 2004, Buenos Aires, Argentina,

provenance Galeria Palatina, Buenos Aires, Argentina

May 19-25, 2004

Estimate $ 7, 0 0 0 - 9 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 89

70

70 HUGO FRANÇA BRAZILIAN b. 1954 “Sirinhaem” chaise lounge, ca. 2006. Juerana wood, leather cord. Manufactured by Atelier Hugo França, Brazil. 36 1/2 x 72 x 28 in. (92.7 x 182.9 x 71.1 cm). Back of headrest impressed with “HUGO FRANÇA.” provenance R20th Century, New York

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 90

71

72

73

71 JOAQUIM TENREIRO BRAZILIAN 1906-1992 “Tree Trunk” bench, circa 1954. Vinhático.

28 1/2 x 49 1/2 x 20 in. (72.4 x 125.7 x 50.8 cm). literature Soraia Cals, Tenreiro, Rio de

73 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Pair of side tables, circa 1947. Garapa, brass. Each: 17 1/4 x 35 1/4 x 13 3/4 in. (43.8 x 89.5 x 35 cm). Manufactured by Langenbach & Tenreiro Ltda., Brazil. Back of each table with paper label “Langenbach & Tenreiro Ltda. / Rua da Conceição 147,” specifications, “Industria Brasileira,” and with “Brasil” paper label remnants. One table with three additional paper label remnants (2).

Janeiro, 2000, p. 106

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 72 PEPE MENDOZA MEXICAN Set of three pendant lights, circa 1960. Brass, turquoise enamel, paper (3). Largest: 33 1/2 in. (85.1 cm) high, variable drop.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Provenance Pedro Scherer, Rio de Janeiro, Brazil literature Soraia Cals, Tenreiro, Rio de Janeiro, 2000, pp. 28-29 for a similar coffee table

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 91

74

76

75

(alternate view)

77

74 JORGE ZALSZUPIN POLISH/BRAZILIAN b. 1922 Pair of side tables, 1960s. Jacarandaveneered plywood, jacaranda, leather (2). Each: 16 1/2 x 23 1/2 x 23 1/2 in. (41.9 x 59.7 x 59.7 cm).

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

76 JORGE ZALSZUPIN POLISH/BRAZILIAN b. 1922 Octagonal coffee table, 1960s.

Jacaranda-veneered plywood, leather. 11 1/2 (29.2 cm) high, 43 in. (109.2 cm) diameter.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

75 DANIEL DIAZ MEXICAN-AMERICAN b. 1982 Unique “Los Olvidados” vase, 2010.

Painted wood. 18 1/4 in. (46.4 cm) high. Side of base painted with “DAN/DIAZ.”

77 JORGE ZALSZUPIN BRAZILIAN b. 1922 Cabinet, model no. 3756, 1972. Jacarandaveneered wood, jacaranda, brushed metal, wood. 28 1/4 x 79 x 15 1/4 in. (71.8 x 200.7 x 38.7 cm). Manufactured by l’Atelier, Brazil. Interior of cabinet with paper label “l’atelier/3756” and dated “30-11-72.”

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Provenance Acquired directly from the artist

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

92

78

79

80

78 JOSÉ ZANINE CALDAS BRAZILIAN 1919-2001 Sculpture, 1960s. Cipó, pequi. 25 x 14 1/2 x 12 in. (63.5 x 36.8 x 30.5 cm). Base incised with “Zanine.” Provenance Collection of the artist; Tereza Kollontai, Brazil Estimate $ 6 , 0 0 0 - 8 , 0 0 0

79 DON SHOEMAKER AMERICAN/MEXICAN Bench, circa 1960. Rosewood, leather. 17 1/2 x 46 1/4 x 21 1/4 in. (44.5 x 117.5 x 54 cm). Manufactured by Señal, Mexico. literature Dina Comisarenco Mirkin, et al, Vida y Diseño en México: Siglo XX, Mexico City, 2007, pp. 82-83 for a similar chair

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 80 JORGE ZALSZUPIN POLISH/BRAZILIAN b. 1922 Large desk, 1970s. Jacarandaveneered wood, jacaranda, leather, brass, metal. 29 1/2 x 75 5/8 x 35 1/8 in. (74.9 x 192.1 x 89.2 cm). Manufactured by l’Atelier, Brazil. literature L’Atelier sales catalog, 1970s Estimate $ 7, 0 0 0 - 9 , 0 0 0 93

81

82

83

81 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Coffee table, circa 1960. Jacaranda, colored glass. 9 1/4 x 71 x 29 3/4 in. (23.5 x 180.3 x 75.6 cm).

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

83 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Desk, 1960s. Jacaranda-veneered wood, jacaranda, colored glass. 29 5/8 x 64 3/8 x 29 3/4 in. (75.2 x 163.5 x 75.6 cm).

Estimate $ 7, 0 0 0 - 9 , 0 0 0

82 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Pair of “L-Shaped” chairs, circa 1958.

Jacaranda, fabric (2). Each: 35 in. (88.9 cm) high. literature Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 113

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 94

84

84 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Seventeen design studies on paper, 1960s. Comprising seven pencil drawings, six ink drawings, one ink and pencil drawing, one ink and charcoal drawing, and two screenprints. One screenprint signed, titled and numbered in lower left corner with “CADEIRA RECURVA/ESC: 1/5 J. Tenreiro.� All works framed (17). Each frame: 21 x 29 in. (53.3 x 73.7 cm); largest image: 18 1/2 x 28 in. (47 x 71.1 cm).

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0 Provenance Estate of the artist

95

85

85 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Coffee table, circa 1969. Jacaranda, colored glass. 12 x 39 1/4 x 39 1/4 in.

(30.5 x 99.7 x 99.7 cm). provenance R20th Century, New York Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0 96

86

87

88 86 PEPE MENDOZA MEXICAN Rare pair of table lamps, circa 1960. Brass, painted brass, turquoise enamel, glass, paper shades (2). Each: 27 in. (68.6 cm) high, including shade.

Estimate $ 7, 0 0 0 - 9 , 0 0 0

88 JEAN GILLON BRAZILIAN 1919-2007 Set of eight side chairs, 1960s. Jacaranda, leather. Each: 33 1/2 in. (85.1 cm) high. Produced by Italma / Wood Art, Brazil (8).

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

87 JEAN GILLON BRAZILIAN 1919-2007 Dining table, 1960s. Jacaranda-veneered wood, jacaranda. 31 x 103 3/8 x 35 1/2 in. (78.7 x 262.6 x 90.2 cm), fully extended. Produced by Italma / Wood Art, Brazil. Underside with distributor’s paper label and four Brazilian postage stamps.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 97

LATIN AMERICA wednesday 29 september 2010 new york

editions Lots 89 - 122

Carrington, L. 100,101 Cruz-Diez, C. 90

Porter, L. 94, 95, 119

Demarco, H. 89

Rennó, R. 118 Rojas, C. 116

Fernandez, A. 98 Friedeberg, P. 91

Siqueiros, D. 113 Soto, J. 92, 93

González-Torres, F. 120

Tamayo, R. 99 Tiravanija, R. 122 Toledo, F. 106, 107, 108

Lam, W. 109, 110, 111, 112

Various Artists 117, 121

Matta, R. 102, 103, 104, 105 Milhazes, B. 96, 97

Zúñiga, F. 114, 115

98

89

89 HUGO DEMARCO ARGENTINE 1932-1995 Relation couleur: four prints, circa 1975. Four screenprints in colors, on coated card paper. All: 24 x 24 in. (61 x 61 cm). All signed, numbered 165/200, 183/200, 172/200 and 136/200 respectively in pencil, published by Denise RenĂŠ Editions, Paris (with their blindstamp), all unframed.

Estimate $ 1, 5 0 0 - 2 , 0 0 0 99

90

91

92

93

90 CARLOS CRUZ-DIEZ Venezuelan b. 1923 five prints, circa 1970-79. Five screenprints in colors, on card paper. Various sizes. Signed, (three dated) and numbered 30/50, 81/200, 57/200, 185/200 and 179/200 respectively in pencil, published by Denise René Editions, Paris (three with their blindstamp), all unframed.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

92 JESÚS RAFAEL SOTO VENEZUELAN 1923-2005 [Vibration], circa 1970. Screenprint in colors. 28 1/8 x 25 1/8 in. (71.4 x 63.8 cm). Signed and numbered 32/200 in pencil, published by Denise René Editions, Paris (with their blindstamp), framed.

Estimate $ 1, 0 0 0 -1, 5 0 0 93 JESÚS RAFAEL SOTO VENEZUELAN 1923-2005 [Composition], circa 1980.

Screenprint in colors. 21 3/4 x 29 1/2 in. (55.2 x 74.9 cm). Signed and numbered 44/99 in pencil, framed.

Estimate $ 1, 2 0 0 -1, 8 0 0

91 PEDRO FRIEDEBERG MEXICAN b. 1937 Corazones amargos de canibales dulces, 1972. Screenprint in colors. 19 3/4 x 19 3/4 in. (50.2 x 50.2 cm). Signed, titled, dated and numbered18/50 in pencil, framed.

Estimate $ 7 0 0 -1, 0 0 0 100

94

95

94 LILIANA PORTER Argentine b. 1941 The Garden, 2006. Digital embroidery in colors with applied silk flower, on green embroidered fabric. 24 1/4 x 20 3/8 in. (61.6 x 51.8 cm). Signed, titled, dated and numbered 4/6 in pencil, published by Solo Impression, New York (embroidered with their stamp), unframed.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

95 LILIANA PORTER Argentine b. 1941 Knot, 2006. Digital embroidery in colors with cotton floss, on silk. 21 x 18 in. (53.3 x 45.7 cm). Signed, titled, dated and numbered 4/10 in pencil, published by Solo Impression, New York (embroidered with their stamp), unframed.

Estimate $ 2 , 0 0 0 - 2 , 5 0 0 101

96

96 BEATRIZ MILHAZES BRAZILIAN b.1960 O Sabado (The Saturday), 2000. Screenprint in colors, on Coventry rag paper.

40 3/4 x 24 in. (103.5 x 61 cm). Signed, dated and numbered 9/35 in pencil on the reverse (there were also 5 artist’s proofs), published by Durham Press, Pennsylvania (with their blindstamp), framed.

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 102

97

97 BEATRIZ MILHAZES BRAZILIAN b.1960 O Espelho (The Mirror), 2000. Screenprint in colors, on Coventry Rag paper.

40 3/4 x 24 in. (103.5 x 61 cm). Signed, titled, dated and numbered 36/40 in pencil on the reverse (there were also 5 artist’s proofs), published by Durham Press, Pennsylvania (with their blindstamp), framed.

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 103

98

98 AGUSTIN FERNANDEZ CUBAN 1928-2006 Lettre à genou portfolio, 1964. The complete set of seven echings with embossing, on Arches paper, with text by Alain Bosquet. 20 1/4 x 15 in. (51.4 x 38.1 cm). All signed and numbered ‘1/5 Ex. Artiste’ in pencil, also signed by artist and author, inscribed and numbered in pencil on the coverpage and colophon (an artist’s proof, the edition was 50), printed by Lacourière et Frélaut, Pairs, contained in original linen covered folder.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Today, his work is most recognizable for its ambiguous and precariously balanced forms, erotic overtones, surreal juxtapositions, and metallic palette. Inspired by the demands of survival in an urban environment and the mundane objects that clutter its alleys and streets, Fernandez is a collector on a quest for the substance of creativity, complete with the armor of protection necessary to maneuver through time and place that becomes such an important source of his imagery. Paintings and objects are related and complementary and further complicate the identification of organic versus inorganic forms; human and machine; real and imagined; obsessive and cerebral.

Agustin Fernandez Foundation, www.agustinfernandez.net 104

99

100

101

99 RUFINO TAMAYO MEXICAN 1899-1991 Diamantes, 1977. Mixograph in colors. 22 5/8 x 31 1/2 in. (57.5 x 80 cm). Signed and numbered 84/100 in white pencil (there were also 10 artist’s proofs in Roman numerals), published by Mixografia, Los Angeles, framed.

100 LEONORA CARRINGTON MEXICAN b. 1917 Tuesday, 1987. Lithograph in colors. 20 5/8 x 32 1/8 in. (52.4 x 81.6 cm). Signed and numbered 149/150 in pencil (there were also 50 artist’s proofs in Roman numerals), published by Brewster Editions, New York, framed.

Estimate $ 1, 2 0 0 -1, 8 0 0

literature Juan Carlos Pereda 240

Estimate $ 1, 8 0 0 - 2 , 2 0 0 101 LEONORA CARRINGTON MEXICAN b. 1917 Crookery Hall, 1987. Lithograph in colors.

17 1/8 x 30 1/8 in. (43.5 x 76.5 cm). Signed and numbered 114/150 in pencil (there were also 50 artist’s proofs in Roman numerals), published by Brewster Editions, New York, framed.

Estimate $ 9 0 0 -1, 2 0 0 105

102

103

102 Roberto Matta CHILEAN 1911-2002 II Albero Giovanne, 2002. Carborundum in colors, on handmade paper. 48 x 41 in. (121.9 x 104.1 cm). Signed and numbered 45/125 in black ink (there were also 35 hors commerce impressions), published by Nordstamp Fine Art, Buford, Georgia, framed.

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

103 ROBERTO MATTA CHILEAN 1911-2002 Ouvre l’intstant, 1977. Aquatint in colors with embossing and hand coloring, on Arches paper. 26 3/8 x 20 in. (67 x 50.8 cm). Signed and annotated ‘Essai’ in pencil (a trial proof, the edition was 100), published by Editions Georges Visat, Paris (with their inkstamp on the reverse), framed. literature Germana Ferrari 183

Estimate $ 1, 5 0 0 - 2 , 5 0 0 106

104

104 Roberto Matta CHILEAN 1911-2002 Hom’mere III-L’Ergonaute portfolio, 1977. The complete suite of ten aquatints in colors, on Japanese paper. All: 19 5/8 x 15 in. (49.8 x 38.1 cm). All signed and numbered XVIII/XXV in pencil (there was also an edition of 100 in Arabic numerals), published by Éditions Georges Visat, Paris, all contained in original linen covered portfolio, lacking the five aquatints with accompanying poem by Roberto Matta. literature Germana Ferrari 204-213 Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Including: Il explose; Paterminant de l’Enfance; Les pretendants (Retour d’Ulysse); L’ergofrage (Naufrage du Titanic); Le conmer; Tranchetre; Le palais d’hiver (La Revolution d’Octobre); Etre hommonde; Etre etout and Vitreurs 107

105

106

107

108

105 ROBERTO MATTA CHILEAN 1911-2002 4am, from L’arc obscurdes portfolio, 1975.

Aquatint in colors, in Arches paper. 19 1/4 x 27 in. (48.9 x 68.6 cm). Signed and numbered 69/125 in pencil (Ferrari calls for an edition of 100), published by Editions Georges Visat, Paris, framed. literature Germana Ferrari 105 Estimate $ 7 0 0 -1, 0 0 0

107 FRANCISCO TOLEDO MEXICAN b. 1940 Caballo y avispas, 1969. Lithograph in colors, on Arches paper. 15 1/2 x 20 1/2 in. (39.4 x 52.1 cm). Signed and numbered XXVII/LXXV in pencil, unframed.

Estimate $ 1, 0 0 0 -1, 5 0 0 108 FRANCISCO TOLEDO MEXICAN b. 1940 Carrera con paraguas, circa 1985. Lithograph in colors with silver ink and embossing. 16 1/2 x 21 7/8 in. (41.9 x 55.6 cm). Signed, annotated ‘III/IV’ and numbered 147/250 in pencil, unframed.

Estimate $ 1, 5 0 0 - 2 , 5 0 0

106 FRANCISCO TOLEDO MEXICAN b. 1940 Los pollos, from Sahagun portfolio, 1974.

Etching in colors with roulette. 6 1/8 x 7 7/8 in. (15.6 x 20 cm). Signed and numbered 1/100 in pencil, unframed.

Estimate $ 1, 0 0 0 -1, 5 0 0 108

109

109 WIFREDO LAM CUBAN 1902-1982 Annonciation portfolio, 1969-71. The complete set of seven aquatints in colors, on Arches paper, with accompanying poems by AimĂŠ Cesaire. All: 18 3/8 x 25 7/8 in. (46.7 x 65.7 cm). All signed and numbered 88/125 in pencil (there was also an edition of 30 in Roman numerals), published by Grafica Uno, Milan, unframed. literature Dominique Tonneau-Ryckelynck 6902-6908 Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 109

110

111

112

113

110 WIFREDO LAM CUBAN 1902-1982 [Untitled], circa 1970. Lithograph in colors. 31 3/8 x 20 1/2 in. (79.7 x 52.1 cm). Signed and numbered 94/150 in pencil, framed.

Estimate $ 9 0 0 -1, 2 0 0

112 WIFREDO LAM CUBAN 1902-1982 Arbre de plumes, from Pleni Luna portfolio, 1974.

Lithograph in colors. 25 1/2 x 19 3/4 in. (64.8 x 50.2 cm). Signed and numbered 152/262 in pencil (there were also 10 artist’s proofs), published by A.H. Grafik, Stockholm, framed.

111 WIFREDO LAM CUBAN 1902-1982 Affiche avant lettre, pour l’exposition Galerie Joan Prats, 1976. Lithograph in colors, on Arches paper. S. 30 1/2 x 22 3/4 in. (77.5 x 57.8 cm) Signed and numbered 45/99 in pencil, published by La Poligrafia, S.A., Barcelona, unframed. literature Dominique Tonneau-Ryckelynck 7617 Estimate $ 8 0 0 -1, 2 0 0

Estimate $ 6 0 0 - 8 0 0

literature Dominique Tonneau-Ryckelynck 7411

113 DAVID ALFARO SIQUEIROS MEXICAN 1896-1974 Amputated Christ, 1968. Lithograph in colors. 21 1/8 x 15 5/8 in. (53.7 x 39.7 cm). Signed and numbered 163/250 in pencil, framed.

Estimate $ 4 0 0 - 6 0 0 110

115

114

116

117

114 FRANCISCO ZÚÑIGA COSTA RICAN 1912-1998 Le Mecedora (The Rocking Chair), 1982.

Lithograph in colors, on Arches paper. 23 1/4 x 31 1/8 in. (59.1 x 79.1 cm). Signed, dated and numbered 2/135 in pencil (there were also 15 artist’s proofs), published by Brewster Editions, New York, framed. literature Jerry Brewster 68 Estimate $ 1, 2 0 0 -1, 6 0 0

117 VARIOUS ARTISTS Mexican People portfolio, 1946. The complete set of twelve lithographs (two in colors). 16 1/8 x 18 3/8 in. (41 x 46.7 cm). All signed in pencil, published by the Association of American Artists, New York, loose, contained in original printed fabric-covered folder (with foxing), please contact department for images.

Estimate $ 1, 5 0 0 - 2 , 5 0 0

115 FRANCISCO ZÚÑIGA COSTA RICAN 1912-1998 La Visita (The Visit), 1974. Lithograph, on Arches paper. 22 3/8 x 28 5/8 in. (56.8 x 72.7 cm). Signed, dated and numbered 15/60 in pencil (there were also 10 artist’s proofs), co-published by Kyron, S.A. and J.M. Tasende, Mexico, framed. literature Jerry Brewster 16 Estimate $ 8 0 0 -1, 2 0 0

Including the Artists of the Taller de Grafica Popular: Arturo Garcia Bustos, Indígenos de Tlahuac (Peasants of Tlahuac); Pablo O’Higgins, El mercado (The Market) and Ladrilleros (Brick-Makers); Leopoldo Méndez, El maíz (Grinding Maize); Isidoro O’Campo, Alfarero (Pottery Maker); Alfredo Zalce, Los obreros de madera (Lumber Workers) and El plantel Henequén (Henequen Plant); Angel Bracho, Las familias Huicholas (Ritual of the Huichol Indian Tribe); Francisco Mora, El obrero de mina de plata (Silver Mine Worker); Fernando Castro Pacheco, Trabajando con Ixtle (Working with Ixtle); Raul Anguiano, Hornos de cal (Lime Kilns) and Alberto Beltran, El trapiche de azucar (Grinding Sugar Cane)

116 CLARE ROJAS AMERICAN b. 1976 [Untitled], circa 2005. Print in colors with handcoloring. 16 x 10 1/2 in. (40.6 x 26.7 cm). Signed with initials and numbered 16/25 in pencil on the reverse, framed.

Estimate $ 7 0 0 -1, 0 0 0 111

118

119

120

118 ROSÂNGELA RENNÓ BRAZILIAN b. 1962 Red Series: Untitled (Mad Boy), 2001.

Screenprint in colors, with UV lamination. 68 x 46 3/4 in. (172.7 x 118.7 cm). Signed, dated and numbered 39/50 in pencil, unframed.

Estimate $ 1, 5 0 0 - 2 , 5 0 0

120 FÉLIX GONZÁLEZ-TORRES CUBAN 1957-1996 Untitled (Oscar Wilde), 1995. Photoetching. 4 5/8 x 6 3/8 in. (11.7 x 16.2 cm). Signed, dated and numbered 77/250 in pencil on the reverse (there were also 25 artist’s proofs), published by the Solomon R. Guggenheim Museum, New York, framed. literature Dietmar Elger 273 Estimate $ 1, 2 0 0 -1, 8 0 0

119 LILIANA PORTER Argentine b. 1941 Cubierta para un objeto, 1970. Etching and collage. 31 x 22 in. (78.7 x 55.9 cm). Signed and dated in pencil, from the edition of 100, framed.

Estimate $ 1, 0 0 0 -1, 5 0 0 112

121

122

121 VARIOUS ARTISTS Archeus for Zoo Art Fair portfolio, 2006. The complete set of thirteen works (some containing multiple parts) in various media. Box: 24 1/2 x 17 5/8 x 5 1/2 in. (62.2 x 44.8 x 14 cm). Number 2 from the edition of 30, a few of the works are numbered and/or signed (some with initials), published by Archeaus for Zoo Art Fair 2006, contained in original brown linen covered box.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

122 RIRKRIT TIRAVANIJA ARGENTINE b. 1961 Blow Up, from En El Cielo portfolio, 2001.

C-print, on Fuji crystal archive paper. 16 x 20 in. (40.6 x 50.8 cm). Signed and numbered ‘AP 1/10’ in black ink on the accompanying certificate of authenticity (an artist’s proof, the edition was 20), published by TRANS>editions, New York, framed.

Estimate $ 1, 5 0 0 - 2 , 5 0 0

Including: Narda Alvarado (Bolivia), Rotating Door of Policemen; Juan Araujo (Venezuela), Desplazamiento; Laura Belém (Brazil), Norte Sul Leste Oeste; Erick Beltrán (Mexico), Black Finger; Sandra Cinto (Brazil), The Green Book; Alexandre da Cunha (Brazil), Electrobiolide; José Dávila (México), Chinese Whispers; Ângela Detanico & Rafael Laim (Brazil), Impermanence; Geraldine Lanteri (Argentina), Bar San Jose; Nicolas Robbio (Argentina/ Brazil), Untitled; Taller Popular de Serigrafia (Argentina), Edicion 15 Imagenes; Armando Andrade Tudela (Peru), Casa de Vidrio #6, from the series 12 imagenes de la Casa De Vidrio; Carla Zaccagnini(Argentina/Brazil), Self-Made Man. 113

LATIN AMERICA wednesday 29 september 2010 new york

CONTEMPORARY ART Lots 123 - 313

ANDREA, P. 287 ARCE, M. 137, 138 ARÉVALO, J. 234 ARIAS, N. 294, 300 ARIZA, G. 263 ARTEMIO 143 AVAF 163 AZACETA, L.C. 189

DACOSTA, M. 188 DE LA VEGA, J. 168 DEMO, G. 278 DIAGO, J.R. 244 DIAGO, R. 245 DR. LAKRA 124, 134, 135, 285, 286 DUCLOS, A. 282 DUVAL-CARRIÉ, E. 283

BABINSKI, M. 203 BARBATA, L.A. 276 BARRIO, A.A. 167, 217 BEDIA, J. 220, 221, 222, 223, 224 BERMÚDEZ, C. 196, 198 BETANCOURT, C. 298, 299 BLAKE, J.M. 257, 258 BOREA, A. 160 BOTERO, F. 182, 183 ,184, 186 BRAVO, C. 187 BRUNET, F. 252 BURGOS, F. 145

ECHEVARRÍA, G. 265 ELIZONDO, A. 218, 219, 291 ENRIQUEZ-GONZALEZ, C. 302, 303 ERLICH, L. 129 ESSON, T. 210

CALDERÓN, M. 125 CAMARGO, S. 173 CAMEJO, L.E. 268 CÁRDENAS, A. 175 CÁRDENAS, C.R. 229 CARMONA, W. 232 CARREÑO, M. 174 CARRINGTON, L. 250 CARRUTHERS, R. 185 CELAYA, E.M. 212, 213 CEMIN, S.C. 211 CINTO, S. 231 CONTE, G. 253, 254 CORTÁZAR, R. 202 CRUZVILLEGAS, A. 142 CUEVAS, J.L. 243 CUEVAS, M. 270

KCHO 154, 155 KOSICE, G. 171 KOSTIANOVSKY, T. 126 KURI, G. 157 LAM, W. 180, 181 LARRAZ, J. 209 LEBRIJA, G. 128 LEE, W.D. 200 LLONA, R. 248, 261 LLORCA, R.T. 284 LÓPEZ, P. 141 LORENZO, S.R. 304 MANUEL, V. 190, 194 MARCACCIO, F. 225, 226 MATTA, R. 179 MENDIVE, M. 197, 239, 240 MERIDA, C. 193 MEZA, G. 259 MIJARES, J. 177 MOMPÓ, M.H. 230 MONROY, G. 201 MONTENEGRO, R. 247 MORALES, R. 236, 237 MORENO, G. 309 MORENO, S.C. 191 MUNIZ, V. 123, 133, 161

FABELO, R. 251 FERRARI, F. 148, 151 FRANCO, S. 206, 208 GALÁN, J. 271, 288 GARAICOA, C. 130, 152, 156 GARCIANDÍA, F. 227 GOICOLEA, A. 295 GONZALEZ, J. 262 GRANATO, I. 205 GRUBER, M. 204 GUELFENBEIN, E. 164 GURFEIN, M. 280 GUTIERREZ KORDA, A.D. 132

NEGRET, E. 147 NISSEN, B. 255, 256 NOEL, M. 153 NUNES, E. 162 NÚÑEZ, M. 281

HERRERA, A. 310 HERRERA, S.P. 235, 274 HERRERO, F. 277 HOFFMANN, E. 165 HOYOS, A.M. 216

OCHOA, T. 159 OROZCO, G. 127, 228 ORTEGA, D. 146

JIMENEZ, C. 233

PAILÓS, M. 246 PALACIOS, J. 242 PETTORUTI, E. 176 POLESELLO, R. 172 PUJOL, E. 266, 267 QUINTANA, C. 279 QUINTANA, C. 307, 308 RAHON, A 249 RAMOS, R.M. 305, 306 RIOS, M.A. 144 ROCHA , T.L. 136 RODRÍGUEZ, M. 178, 192, 195 RODRIGUEZ, V. 131, 272 ROJAS, C. 289, 290 ROMBERG, O. 199 ROSA, D. 215 SACCO, G. 158 SANCHEZ, E. 292 SÁNCHEZ, T. 241 SCHEIMBERG, D. 273 SENISE, D. 149, 150, 214, 275 SMITH, R. 260 TACLA, J. 139, 207, 269 TESTINO, M. 296, 297 TOLEDO, F. 166 TORRIENTES, M.S. 264 UGALDE, G. 238 UGARTE, F. 293 URIBE, F 301 VARGAS, I. 140 VIDAL, M.A. 170 WILLIAMS, N. 169 ZERPA, C. 311, 312, 313

114

123

123 VIK MUNIZ BRAZILIAN b. 1961 Self Portrait (from Pictures of Magazines), 2003. Cibachrome print. 55 x 40 in. (139.7 x 101.6 cm). Signed and dated “Vik Muniz 2003” on the reverse. This work is from an edition of 10. provenance Brent Sikkema, New York; Private Collection, New York Exhibited Rome, Museo d’Arte Contemporanea, Vik Muniz, September 27, 2003 - January 4, 2004; Milan, Galleria Cardi & Co., Vik Muniz, April 7 - May 28, 2005; Rio de Janeiro, Museu de Arte Moderna, Vik, January - March 2009; São Paulo, Museu de Arte, April - June 2009 literature D. Eccher, G. Celant, A. Amaral et al., Vik Muniz, Macro-Museo d’Arte Contemporanea, Rome, Electa, 2003, p. 24, p.237 (illustrated); Moacir dos Anjos, J. Elkins, S. Rice, Obra Incompleta / Incomplete Work, The National Public Library, Rio de Janeiro, 2004, back cover (illustrated); São Paulo, Museu de Arte, April - June, 2009, p. 91-93 (illustrated); P. Correa do Largo, Vik Muniz: Obra Completa, 19872009, Capivara 2009, p. 489 (illustrated)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 115

124

125

124 DR. LAKRA MEXICAN b. 1972 Untitled (Vea serpiente negra), 2006. Ink on vintage magazine. 12 1/8 x 10 1/4 in. (30.8 x 26 cm). Signed “Dr. Lakra” lower right edge.

125 MIGUEL CALDERÓN MEXICAN b. 1971 Untitled (Rings), 2006. Inkjet digital print.

38 x 31 in. (96.5 x 78.7 cm). This work is from an edition of 5 + 2 AP. provenance

provenance Kurimanzutto

Kurimanzutto; Private collection, Mexico City

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 116

126

127 126 TAMARA KOSTIANOVSKY ISRAELI/Argentine b. 1974 Siblings, 2009. Recycled clothing with metal brackets. 70 x 40 in. (177.8 x 101.6 cm).

127 GABRIEL OROZCO AMERICAN/MEXICAN b. 1962 Mil Pesos, 1996. Peso note, letter set and paint collage. 11 x 8 1/2 in. (27.9 x 21.6 cm). provenance Marian Goodman Gallery,

provenance Y Gallery, New York

New York; Private Collection Exhibited Los Angeles, Museum of Contemporary Art, June 4 -

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

September 3, 2000; Mexico City, Antigue Colegia of Son defonso, Mexico City, November 23, 2000 - March 27, 2001; Monterrey Museum of Contemporary Art, April - July, 2001.

117

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

128

129

128 GONZALO LEBRIJA MEXICAN b. 1972 Untitled, 2001. Lambda print mounted on three MDF panels. 94 1/2 x 126 in. (240 x 320 cm). provenance Private Collection,

129 LEANDRO ERLICH ARGENTINE b. 1973 El Ballet Studio, 2002. Two color coupler prints flush-mounted to aluminum. Each: 17 1/4 x 23 in. (43.8 x 58.4 cm). Each: signed, numbered and dated “LEANDRO ERLICH, 2002, 5” lower left margin. This work is from an edition of 5 + 1 AP. provenance Private Collection Exhibited Shanghai, Shanghai

Mexico City

Estimate $ 5 , 0 0 0 -7, 0 0 0

Biennale, Urban Creation, 2002

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 118

130

130 CARLOS GARAICOA CUBAn b. 1967 La Republica, 2006. Gelatin silver print with thread and pins mounted in wooden frame. 49 x 60 3/4 in. (124.5 x 154.3 cm). Initialed and titled “CG La Republica” on the reverse. provenance LombardFreid Projects, New York exhibited New York, Lombard-Freid Projects, Carlos Garaicoa: The drawing, the writing, the abstraction, October 20 - November 22, 2006 literature N. Remba. “Globalization in the Contemporary World,” Changing Cuba/Changing World, New York: The City University of New York, 2008, p. 519 (illustrated)

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 119

131

132

131 VICTOR RODRIGUEZ MEXICAN b. 1970 Self Portrait (Florida), 2005. Acrylic on canvas.

120 x 86 in. (304.8 x 218.4 cm). provenance Private Collection, New York Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

Alberto Korda is internationally recognized as one of the masters of Revolutionary Cuban photography. His iconic portraits of Cuban leaders Fidel Castro and Che Guevara have immortalized the images of these communist revolutionaries in history, capturing the dynamism of the revolution itself as well as the character of its leaders. As Castro’s personal photographer, Korda provides a unique lens of perspective of the events of the Cuban Revolution. Korda accompanied Castro on his visit to the United States in April 1959 to cover the leader’s daily activities. Through this striking image, Castro at the Lincoln Memorial, 1959, Korda not only recorded an extraordinary moment in history, but he also reveals the intimate relationship between leader and photographer; because of this relationship, the image functions not as a manipulative tool, but a rare and authentic glimpse of one of Castro’s personal fascinations.

132 ALBERTO DIAZ GUTIERREZ KORDA CUBAN 1928-2001 Castro at the Lincoln Memorial, 1959. Gelatin silver print. Image: 12 x 9 3/8 in. (30.5 x 23.8 cm); frame: 24 3/4 x 20 5/8 in.

(62.9 x 52.4 cm). Signed “Alberto Korda” lower right of artist’s mat. provenance Pan American Art Projects, Miami Exhibited Oslo, Henie Onstad Kunstsenter, Alberto Korda: Fotoutstillung, September 14 - November 7, 1999; Baltimore, Grimaldis Gallery, Alberto Korda / José A. Figueroa, February, 2000; Chicago, Roy Boyd Gallery, Alberto Korda / José A. Figueroa, June 2000; Grand Forks, North Dakota Museum of Art, Alberto Korda / José A. Figueroa, 2001; Washington,

“I called this photo ‘David and Goliath.’ From the day I gave a copy to Fidel, he never contacted me at the newspaper but rang me directly. I didn’t become his official photographer; no, I became his personal photographer. I never had a title or a salary. We were like friends. From then on, it wasn’t the leader giving order I tried to photograph, but a relaxed man, very human, interested in everything and everyone…” (Alberto Korda in Cuba by Korda, Melbourne/New York 2006, p. 74).

Govina Gallery, Alberto Korda / José A. Figueroa, 2001 (other examples exhibited) literature G. Jantjes. Alberto Korda, Høvikodden: Henie Onstad Kunstsenter, 1999, p. 88 (Illustrated); C. Loviny, Cuba by Korda, Melbourne/New York: Ocean Press, 2006, p. 75 (illustrated); C. Vives and Mark Sanders, Korda: A Revolutionary Lens, Göttingen: Steidl, 2008, p. 81 (Illustrated), (other examples illustrated)

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 120

133

133 VIK MUNIZ BRAZILIAN b. 1961 Pro Eto, after Aleksandr Rodchenko (from Gordion Puzzles), 2007. Digital c-print.

73 5/8 x 48 in. (186.9 x 121.9 cm). provenance Private Collection Exhibited Moscow, Gary Tatintsian Gallery, Vik Muniz: Russian Projekt, 2007 literature Vik Muniz: Russian Projekt, Gary Tatintsian Gallery, Moscow 2007, pp. 164-165 (illustrated); W. Robinson, “Russian Art Express,� Artnet (online content), November 26, 2007

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0 121

134

135

134 DR. LAKRA MEXICAN b. 1972 Untitled (Morras locas), 2006. Ink on cotton handkerchief. 15 3/8 x 16 in. (39 x 40.6 cm). provenance Kurimanzutto Estimate $ 3 , 0 0 0 - 4 , 0 0 0

135 DR. LAKRA MEXICAN b. 1972 Untitled (Television), 2006. Ink on tracing paper. 15 1/2 x 16 in. (49.4 x 40.6 cm). provenance Kurimanzutto Estimate $ 4 , 0 0 0 - 6 , 0 0 0

122

136

136 TOMAS LOPEZ ROCHA MEXICAN b. 1953 Calaveras, 2005. 47 ceramic skulls. Varying dimensions; smallest: 22 in.

(55.9 cm); largest: 25 in. (63.5 cm). Overall installation dimensions variable. Each signed and dated “TR 05” on ceramic elements. provenance Galería Omar Alonso, Mexico Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 123

137

138

137 MARCO ARCE MEXICAN b. 1968 Esqueleto con muro detras, 2006. Acrylic on 50 sheets of paper mounted on paper. 58 x 41 5/8 in. (147.3 x 105.7 cm). provenance Private

138 MARCO ARCE MEXICAN b. 1968 Esqueletos Horizontales, 2006. Acrylic on 56 sheets of paper mounted on paper. 51 1/2 x 65 1/2 in. (130.8 x 166.4 cm). provenance Private

Collection, New York

Collection, New York

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 124

139

140

139 JORGE TACLA CHILEAN b. 1958 Perdido y Encontrado, 1987. Oil on canvas. 16 x 12 in.

(40.6 x 30.5 cm). Signed, titled and dated “J. Tacla, Julio 1987, Perdido y Encontrado” on the reverse. provenance Nohra Haime Gallery, New York Estimate $ 3 , 0 0 0 - 4 , 0 0 0

140 ISMAEL VARGAS MEXICAN b. 1947 Trozos de calavera de cristal de roca, 1996. Oil on canvas. 51 x 63 in. (129.5 x 160 cm). Signed “Vargas” lower right corner. provenance Galería Vértice, Guadalajara; Private Collection, Mexico

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 125

141

141 PEPE LÓPEZ VENEZUELAN b. 1966 Guapísimas, 2004. Acrylic on 47 “guapas” and “manares” (traditional Venezuelan baskets). Varying dimensions; smallest: 17 in. (43.2 cm); largest: 39 in. (99.1 cm). Overall installation dimensions variable. Signed, titled and dated “GUAPISIMAS PEPE LOPEZ 2004” on the back of the “guapas” and on labels attached to various “guapas”. provenance Galerie 13 Jeannette Mariani, Paris; Private Collection, Paris Exhibited Paris, Galerie 13 Jeannette Mariani, Guapisimas, June 2005; Caracas, Centro Cultural Chacao, October 2004

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

126

In the work Guap铆simas, Venezuelan artist Pepe L贸pez beckons his audience to confront the reality of global consumerism through cultural codes of society. By painting recognizable logos on traditional Venezuelan baskets, L贸pez utilizes marketing strategies to illuminate the realities of global production, connecting a commercial image with its forgotten origin. These baskets, symbols of Venezuelan culture that are traditionally used to carry food, have been stripped of their customary function to become the very product of consumption, ultimately engaging in the global trade itself. By using traditional materials and pigments, L贸pez not only displaces the labels of major fashion houses and images of pop culture, but he also transforms these simple objects into allegorical representations of his very protestation.

127

142

143

142 ABRAHAM CRUZVILLEGAS b. 1968 El Majestic, 2002. Wood, stainless steel, copper, plastic, metal wire, golf clubs and paper umbrellas. 80 x 12 5/8 x 11 5/8 in. (203.2 x 32 x 30 cm). provenance Kurimanzutto Gallery, Mexico City; Private Collection, Miami Estimate $ 5 , 0 0 0 -7, 0 0 0

143 ARTEMIO MEXICAN b. 1976 Gobelino #1, from the series 13, 2008.

Handmade carpet. 100 x 100 in. (254 x 254 cm). provenance Y Gallery, New York Exhibited New York, Y Gallery, Artemio 13, September 13 - October 11, 2008

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 128

144

144 MIGUEL ANGEL RIOS ARGENTINE b. 1943 No es agua ni arena la orilla del mar, 1994. Pleated Cibachrome on pleated canvas with push pins. 150 x 97 in. (381 x 246.4 cm). provenance John Weber Gallery, New York; Private Collection, New York Exhibited New York, John Weber Gallery, The Hand, The Mind, and My Continent, 1995; Madrid, Fernando Quintana Gallery, 1997

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 129

145

146

145 FABIAN BURGOS ARGENTINE b. 1962 Untitled (Blue squiggle), 1997. Oil on canvas.

44 x 44 in. (111.8 x 111.8 cm). Signed, titled and dated “Untitled, 1997, Burgos” on the reverse. provenance Private Collection, New York Estimate $ 4 , 0 0 0 - 6 , 0 0 0

146 DAMIÁN ORTEGA MEXICAN b. 1967 Pico Cansado, 1997. c-print. 16 x 20 in. (40.6 x 50.8 cm). Signed “Damián Ortega” on the reverse. This work is from an edition of 3 + 1 AP. provenance The Latino Museum of History, Art and Culture, Los Angeles; Private Collection, Mexico City Exhibited New York, D’Amelio Terras, Damián Ortega, March 2002 literature A. Scherf, Damián Ortega: Syntax of everyday objects, ARS 01, Kiasma Museum of Contemporary Art, Helsinki 2001; E. Joo, Damián Ortega: The Beetle Trilogy and Other Works, CalArts/REDCAT, Los Angeles 2005

Estimate $ 5 , 0 0 0 -7, 0 0 0 130

147

Alternate view

147

EDGAR NEGRET COLOMBIAN b. 1920 Metamorfosis, 1981. Painted aluminum. 17 x 19 x 19 in. (43.2 x 48.3 x 48.3 cm).

provenance Iber Arte Galeria, Bogotรก; Private Collection, Miami; Private Collection, New York literature Negret, Iber Arte Galeria, Bogotรก, 1993, p. 37

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 131

148

149

150

148 LEÓN FERRARI ARGENTINE b. 1920 Untitled, 2009. Photogravure. 18 1/2 x 14 5/8 in. (47 x 37.1 cm). Signed and dated “León Ferrari 2009” lower right corner; numbered 7/50 lower left corner. This work is from an edition of 50 provenance Pan American Art

149 DANIEL SENISE BRAZILIAN b. 1955 Untitled, 2003. Rust on paper. 44 x 35 in.

(111.8 x 88.9 cm). Signed and dated “daniel senise 03” lower right corner.

Projects, Miami

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

provenance Private Collection, New York.

Estimate $ 1, 2 0 0 -1, 8 0 0 150 DANIEL SENISE BRAZILIAN b. 1955 Untitled, 2003. Rust on paper. 35 x 47 in.

(88.9 x 119.4 cm). Signed and dated “daniel senise 03” lower right corner. provenance Private Collection, New York

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 132

151

151 LEÓN FERRARI ARGENTINE b. 1920 Untitled, 1991. Ink on heavy paper. 15 3/4 x 13 3/4 in. (40 x 34.9 cm). Signed and dated “León Ferrari ‘91” lower right corner. provenance Pan American Art Projects, Miami Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 133

152

CARLOS GARAICOA CUBAN b. 1967 Untitled (from the series New Architectures), 2001. Mixed media installation. Dimensions variable.

provenance Galerie Farideh Cadot, Paris Exhibited Paris, Maison Européenne de la Photographie, Ni Christ, ni Marx, ni Bakounine (Neither Christ, nor Marx, nor Bakounine), October 30 - December 1, 2002; Philadelphia, Institute of Contemporary Art, Carlos Garaicoa, January 20 - March 25, 2007; Dublin, Irish Museum of Contemporary Art, Carlos Garaicoa: Architecture and Urbanism, June 10 - September 5, 2010 literature M. Rosen, “Maison Europeenne de la Photographie,” Review Art Forum, Summer 2003; H. Block, “Carlos Garaicoa,” Bomb Magazine, Winter 2003

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Carlos Garaicoa was born in Havana, Cuba in 1967. He received his training in the study of thermodynamics at the Instituto Hermanos Gomez and subsequently studied visual arts at the Instituto Superior de Arte in Cuba from 1989 to 1994. This education—rooted in mechanical work and the study of aesthetics—taught him to appreciate both the art and the science of designing and erecting buildings. With this foundation, Garaicoa began work on a series in the 1990s. Its mission: to elevate the failed architectural projects of Revolutionary Cuba to idyllic levels.

In the wake of the Cuban Revolution, building construction was often halted or abandoned in Havana as well as other cities. The bare structures stand naked, haunting the city with silhouettes of an unfulfilled promise. Garaicoa confronts this disheartening history by resurrecting these collapsed buildings. In the series “New Architectures,” Garaicoa assembles rice paper lanterns to represent an idealized city. Each delicately crafted edifice is filled with a glowing light, alluding to a thriving metropolis from a distant future. The city stretches across wooden tables built at various levels, granting the viewer an expansive view of his city. With this artistic realization, Garaicoa provokes the question – Can artistic projects inspire the redress of real world failures?

This series’ main purpose is not to criticize the current state of urban planning, but to provide closure for the neglected architecture of his homeland.

Garaicoa explains, “I don’t think my works should be seen as impossible dreams; rather they are…gestures that point to and somehow want to solve and give continuity to projects that were never fully developed due to the state’s political and economic circumstances.” (Interview by Holly Block, Bomb Magazine. Winter, 2003).

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153 MARIA NOEL ARGENTINE b. 1965 Oda al Mar dulce (Ode to the Sweet Sea), 2010.

Mixed media on canvas. 43 1/2 x 43 1/2 in. (110.5 x 110.5 cm). provenance Acquired

154 KCHO (ALEXIS LEYVA MACHADO) CUBAN b. 1970 Untitled, 2005. Mixed media on linen. 40 5/8 x 38 1/2 in. (103.2 x 97.8 cm). Signed and dated “Kcho ‘05” lower left corner.

directly from the artist Exhibited London, Pinta Art Fair, July 2010

provenance Pan American Art Projects, Miami

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 1 0 , 0 0 0 -1 2 , 0 0 0 136

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156 (i)

156 (ii)

155 KCHO (ALEXIS LEYVA MACHADO) CUBAN b. 1970 El Huracán, 2000. Mixed media on canvas. 83 x 54 1/2 in. (210.8 x 138.4 cm). Signed “Kcho” lower right corner. provenance

156 CARLOS GARAICOA CUBAN b. 1967 Rivoli, O El Lugar De Donde Ema no la Sangre, 1993. i) C-print; ii) Screenprint. i) 6 1/2 x 18 in. (16.5 x 45.7 cm).; ii) 15 1/2 x 17 1/4 in.

(39.4 x 43.8 cm). Signed and dated “C. Garaicoa 1993” lower right corner; numbered “xxv/xxx” lower left corner. This work is from an edition of 30. provenance Private

Pan American Art Projects, Miami Exhibited São Paulo, Museo de la Escultura, El Huracán, 2002

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0

Collection, Dallas

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 137

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157 GABRIEL KURI MEXICAN b. 1970 Untitled (la naval ii), 2003. Gobelin woven tapestry with metal bracket. 89 3/4 x 46 in. (243.8 x 114.3 cm). provenance Private Collection,

158 GRACIELA SACCO ARGENTINE b. 1956 Linea de gente, 2004. Heliography printed on books. 10 x 18 1/4 x 7 in. (25.4 x 46.4 x 17.8 cm). provenance Pan American Art

Mexico City

Projects, Miami

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 138

159 159 TOMáS OCHOA ECUADORIAN b. 1965 7 Backpacks-Atocha Station (from the series Multitude), 2008. Mixed media on canvas. 82 1/2 x 94 1/2 in. (209.6 x 240 cm). Signed and dated “Tomás Ochoa 2008” on the reverse. provenance KATZ CONTEMPORARY, Zürich; Private Collection, Switzerland Exhibited Zürich, Miki Wick Kim Contemporary Art, Tomás Ochoa, May 22 - July 12, 2008 literature Tomás Ochoa, Ashiro Edition, 2008

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Ecuadorian born artist, Tomás Ochoa, explores the possibilities and limitations of various mediums. Working in video, painting and photography, Ochoa seeks to discover not only the boundaries of these mediums, but also the different layers of awareness present in a single image. The series Multitudes consists of a group of images depicting the incessant movements of passengers in the train station of Atocha in Madrid—the target of a series of terrorist attacks by radical Islamists on March 11, 2004. As captured in the title, Ochoa examines the political notion of the Multitude, defined by Paolo Vimeo as, “[consisting] of a net of individuals; the many are singularities.” Using acrylic, oil and digital photography on canvas, Ochoa skillfully captures the feeling of both being crowded yet alone in a chaotic urban setting. Ochoa collects stills from surveillance cameras and then layers them onto the canvas to record each individual’s path; the single image created from a series of images captures the idea of individuation within the mass.

His camera becomes the tool of panopticism, as it is the eye that views humanity from a controlled perspective. According to this Foucaultian idea, society is both observed and contained. Ochoa adds one final layer to the canvas: printed on the pavement of the station’s halls and corridors is the complete text of “The Aleph”, the famous story by the Argentine writer and poet Jorge Luis Borges. In Borges’s story, the Aleph is a point in space that contains all other points. He who looks into the Aleph can see everything in the universe with great clarity. 7 Backpacks-Atocha Station is Ochoa’s visual representation of the aleph.

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(ii)

(iii)

160 ALBERTO BOREA PERUVIAN b. 1979 Three works from the Series Ruinas: (i) Chichen-Itza; (ii) Palenque; (iii) Ayutthaya, 2010. Printed paper collage on wood. (i) 16 x 16 in. (40.6 x 40.6 cm); (ii) 16 x 16 in. (40.6 x 40.6 cm); (iii) 16 x 20 in. (40.6 x 50.8 cm). (i) Signed, titled and dated “Borea, Chichen-Itza, 2010, De la Serie Ruinas” on the reverse; (ii) Signed, titled and dated “Borea, Palenque, 2010, De la Serie Ruinas” on the reverse; (iii) Signed, titled and dated “Borea, Ayutthaya, 2010, De la Serie Ruinas” on the reverse. provenance Y Gallery, New York Estimate $ 4 , 0 0 0 - 6 , 0 0 0 140

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161 VIK MUNIZ BRAZILIAN b. 1961 Don Quixote in His Study, After William Lake Price, 1890 (from Rebus Series), 2004. Chromogenic print. 87 3/4 x 72 in. (222.9 x 182.9 cm). This work is from an edition of 6 + 4 APs. Signed and dated “Vik Muniz 2004” on the reverse. provenance Galerie Xippas, Paris, Private Collection, New York Exhibited Moscow, Gary Tatintsian Gallery, Vik Muniz: Russian Projekt, 2007. literature M. Cereceda, “El arte de comer,” Lapiz, Vol. 22, No. 189, January, pp. 26-35 (illustrated); Gary Tatintsian Gallery, Vik Muniz: Russian Projekt, Moscow 2007, p. 120 (illustrated); Vik Muniz: Obra Completa, 1987-2009, Catalogo Raisonne, p. 510 (illustrated)

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 141

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162 EDMILSON NUNES BRAZILIAN b. 1964 Carnaval, 2005. Mixed media collage and embroidery on canvas.

97 x 77 x 12 1/2 in. (218.4 x 149.9 x 30.5 cm). provenance Acquired directly from the artist by the present owner Estimate $ 8 , 0 0 0 -1 0 , 0 0 0 142

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163 AVAF (ASSUME VIVID ASTRO FOCUS) BRAZILIAN b. 1968 Garden 10, 2004. Wallpaper installation on signed CD, certificate of authenticity plus DVD (“pills and cigarettes”). Installation dimensions variable. provenance Private Collection

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 143

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164 EDUARDO GUELFENBEIN CHILEAN b. 1953 Mirages, 2008. Acrylic on canvas. 79 x 63 in. (200.7 x 160 cm). Signed, titled and dated “Guelfenbein, Mirages, 2008” on the reverse. provenance Opera Gallery, Miami Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

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165 EDUARDO HOFFMANN ARGENTINE b. 1957 Untitled (No. 3064), 2009. Mixed media on canvas. 71 x 134 in. (180.3 x 340.4 cm). provenance Private Collection, Buenos Aires Exhibited Tunuyรกn, Killka Espacio Salentein, Eduardo Hoffman: Enviados Especiales, March - June, 2010. literature Eduardo Hoffman: Enviados Especiales, Killka Espacio Salentein, Tunuyรกn 2010, (illustrated)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 145

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166 FRANCISCO TOLEDO MEXICAN b. 1940 Abstract Blue Forms, 1960. Oil and sand on panel laid down on wood. 13 x 15 in. (33 x 38.1 cm). Signed and dated “Toledo 60” lower right corner. provenance Private Collection, Chicago Estimate $ 14 , 0 0 0 -1 8 , 0 0 0

Among the lively anomalies in this focused sampling from the Esteve collection is Artur Barrio’s handsome Portrait of Picasso with Greek Profile (1986). A painting in the form of a drawing, it is ornamented with marking, scrawls and notations, and is empathetic with Esteve’s ongoing interest in the experimental art of the 1980s. Known for his installations, interactive and performance art, Barrio first devoted himself to the work of a painter in 1965. In 1969, he began to create work made with organic materials and detritus and wrote a manifesto challenges the traditional categories of art and its relationship to market, social and political issues. Barrio has engaged the viewer as participant, often without the viewer’s awareness. He appeared in the landmark MoMA show Information in 1970 and in Documenta XI, 2002.

167 ARTUR ALIPIO BARRIO PORTUGUESE b. 1945 Portrait of Picasso with Greek Profile, 1986. Acrylic on canvas. 50 3/4 x 57 1/2 in. (128.9 x 146.1 cm). Signed and dated “A. Barrio 86” upper left corner; titled “RETRATO DE PICASSO COM PERFIL GRECO” along the top and bottom edges provenance The Kim Esteve Collection, São Paulo literature E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 146

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JORGE DE LA VEGA ARGENTINE 1930-1971 Retrato, 1961. Oil on canvas. 23 1/2 x 19 3/4 in. (59.7 x 50.2 cm).

provenance Galeria Ruth Benzacar, Buenos Aires; Private Collection, Buenos Aires

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 147

169 NEIL WILLIAMS AMERICAN 1934-1988 Bloco de Troncoso, 1982. Acrylic on canvas and wood. 102 3/8 x 76 in. (260 x 193 cm). provenance The Kim Esteve Collection, São Paulo. Exhibited Brazil, 20th São Paulo International Biennial, Neil Williams; Works from Brazil 1982-1988, 1989. literature E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003 (illustrated); C. von Schmidt, Neil Williams, Works from Brazil, 1982-1988, 20th São Paulo International Biennial, 14 October-10 December 1989; São Paulo: Kim, Steve and Lana Jokel, 1989, pp. 14,112 (illustrated)

Estimate $ 1 2 0 , 0 0 0 -14 0 , 0 0 0 Williams worked with a skilled carpenter to construct complex bars and stretch canvases suitable to an improvised terrace studio. A single-motor airplane visit to Mato Grosso followed by a stop in the then isolated beach town of Trancoso (Bloco de Trancoso alludes to an annual beachside parade) served to vivify his palette in the years remaining to him following his definitive move to Brazil. The lively embrace and upthrust grid of this painting suggest an informed collision of beachside Hamptons and Brazilian festival. Not incidentally reflecting his affinity for the Latin American NeoConcrete movement, such playful motifs occur in much of Williams’ work to follow.

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170 MIGUEL ANGEL VIDAL ARGENTINE b. 1928 Untitled, 1970. Aluminum and acrylic case. 17 x 17 x 2 3/8 in. (43.2 x 43.2 x 6 cm). provenance GC Estudio de Arte, Buenos Aires Estimate $ 8 , 0 0 0 -1 0 , 0 0 0

171 GYULA KOSICE ARGENTINE b. 1924 Perforaciones con reflexion, 1967. Aluminum and Plexiglas. 24 1/2 x 19 x 10 in. (62.2 x 48.3 x 25.4 cm). Signed “Kosice” on the base. provenance Private Collection, Buenos Aires Exhibited Buenos Aires, Museo nacional de Bellas Arte, Kosice obras 1944/1990, April - May, 1991. literature Kosice obras 1944/1990, Museo nacional de Bellas Arte, Buenos Aires 1991, p. 33 (illustrated); R. Squirru, Kosice, Ediciones de Arte Gagliannone, Buenos Aires 1990, p. 45 (illustrated)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 150

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172 ROGELIO POLESELLO ARGENTINE b. 1939 Untitled, 1967. Molded acrylic in wooden frame. 82 x 43 1/4 x 27 1/2 in.

(208.3 x 109.9 x 69.9 cm). Signed and dated “Polesello 1967” along lower left edge. provenance GC Estudio de Arte, Buenos Aires

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 151

173 SéRGIO CAMARGO BRAZILIAN 1930-1990 Relief no. 161-4, 1964. Painted wood relief. 48 x 26 x 5.5 in. (121.9 x 66 x 14 cm). Signed, titled, inscribed and dated “Camargo, Paris 64, no. 161-4” on the reverse. provenance Galeria Colectio, São Paulo; Private Collection, Los Angeles

Estimate $ 8 0 0 , 0 0 0 -1, 2 0 0 , 0 0 0 152

153

The revolutionary sculptor Sérgio de Camargo was born in Rio de Janeiro on April 8, 1930. He studied at the Academia Altamira in Buenos Aires under avant-garde cubist painter, Emilio Pettoruti, and Spacialist sculptor, Lucio Fontana. In addition to his tutelage under these modernist heroes, Camargo studied philosophy at the Sorbonne in Paris. With the help of his teachers, colleagues, and multifaceted education, Camargo sojourned to Europe in 1948 at the young age of 18; during his travels he met a string of twentieth century luminaries, such as Constantine Brancusi, Hans (Jean) Arp, Henri Laurens and Georges Vantangerloo, all of whom helped to further develop the sculptor’s eye and skill. It was after this didactic exposure that his style began to unfold, reflecting the many facets of his tutors and travels. This style would eventually combine the cubist approach of Pettoruti, the spacial awareness of Fontana, and the sensuous surfaces of Brancusi.

Upon returning to Brazil in 1950, Camargo came into contact with Brazilian Constructivists, a new movement dedicated to non-representational relief construction, sculpture, kinetics and painting. His country was steeped in an artistic revolution that challenged utopian notions of modernism. Inspired by this revolution, Camargo began to work in sculpture. Between 1961 and 1974, Camargo returned to Paris, where he became a member of the “Groupe de Recherche d’Art Visuel,” whose concept of the “artist” was not an individual, but a collective activity that based its identity on a collaborative mission. This collaborative environment, in addition to the group’s emphasis on the scientific and technical disciplines of aesthetics, marks the birth of Camargo’s monochrome white surfaces with cylindrical wooden reliefs. This series is the ultimate embodiment of both the Constructivist revolution in his country and the avant-garde uprising in Paris.

154

This legendary monochromatic series, Relief, consists of painted diagonally-cut wooden cylinders arranged on a flat wooden board in a seemingly chaotic fashion. Executed in 1964, Relief no. 161-4 integrates Fontana’s legendary mastery of volume as experienced through the interplay of light and shadow. Camargo explores this balance between order and chaos by alternating between the fullness and emptiness of a space. As the densely clustered volumes slowly begin to move and intertwine before one’s eyes, the arrangement emerges as a completely systematized order. The interplay of the hard edges and the supple curves further challenges the optical experience of the viewer—suggesting a personal experiment as one gazes upon the sumptuous surface, enticed by its kinetic composition yet apprehensive of its tactile qualities.

In Relief no. 161-4 the contrast between the packed surface and the flatness of the white board below both challenges and echoes the faculties of his early teachings and the Constructivist ideologies of his country. The slight instance of the white flat board exposed through the density of the surface is the precise balance between these two philosophical movements. The single diagonal that cuts through the cylinders projects its own space in the relief, forming a new layer of depth. In Relief no. 161-4 the empty space created by the diagonal is both an homage to his early teachers—Emilio Pettoruti and Lucio Fontana—and a proliferation of the systemized ordering of forms of the Constructivist principles. This legendary work radically invigorates the aesthetics of both old and new traditions.

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174 MARIO CARREÑO CUBAN 1913-1999 Sculpture in bronze still life. Bronze. 10 1/2 x 12 1/2 x 12 1/2 in. (26.7 x 31.8 x 31.8 cm). Signed “Carreño”, stamped “Fundición R. Buchass”, and numbered of eighteen along the base. This work is from an edition of 18. provenance Private Collection, Puerto Rico Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 156

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175 AGUSTIN CÁRDENAS CUBAN 1927-2001 Untitled, 1953. Varnished wood with metal and wood stand. 9 1/2 x 29 x 4 in.

(24.1 x 73.7 x 10.2 cm). Initialled and dated “AC ‘53” on one side. provenance Pan American Art Projects, Miami Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

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176 EMILIO PETTORUTI ARGENTINE 1892-1971 Avenida Arbolada, 1925. Oil on canvas. 28 x 22 in. (71.1 x 55.9 cm). Signed “Pettoruti” lower right corner. provenance Carlo Melzi, Trieste, Italy; Acquired from the above by the present owner Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 Emilio Pettoruti is recognized as the most significant painter to advance Latin American modernism in the twentieth century. In 1913, he left Buenos Aires to travel through Europe, exploring the many flourishing artistic cities en route to his final destination –Florence. There, he joined many artists from around the world, all of whom shared his goal of studying the Renaissance masters in order to inspire their personal styles. Instead, surrounded by the city’s artistic legacy, Pettoruti was not interested in the old, but rather how to depart from it.

He found his answer in the radical new wave of futurism that premiered at the Espozisione Futurista Lacerba at the Libreria Gonnelli. Pettoruti adopted the innovative energy of the exhibition and subsequently produced his first series of work in the Futurist idiom. Having found his new direction, he returned to Buenos Aires to begin work in this new artistic language. His first solo exhibition in 1924 was met with both praise and scorn; but while the reception varied, the exhibition showed undeniable signs of profound artistic evolution.

In the years following, Buenos Aires became one of the most active artistic centers for modernism in the Americas, with Pettoruti as its leader. His work continued to explore the principles of Futurism and Cubism, as exemplified in the present lot, Avenida Arboleda, depicting a wooded forest. The canvas echoes the work of Picasso and Braque, to which Pettoruti was exposed while living in Italy. But the brighter palette is distinctly his own and contrasts with the shades of brown, black, and gray used by the European Cubist circle. His mastery of perspectival manipulation is evident in the broken geometric shapes that emerge from their surroundings. The fragmented landscape succeeds in the most difficult challenge of the time -the illusion of three dimensions on the two dimensional surface of the picture plane.

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177 JOSE MIJARES CUBAN 1921-2004 Untitled, 1955. Oil on canvas. Image: 17 x 14 in. (43.2 x 35.6 cm); frame: 28 1/8 x 25 in. (71.4 x 63.5 cm). Signed and dated “Mijares 1955” lower left corner. provenance Pan American Art Projects, Miami Estimate $ 7, 0 0 0 - 9 , 0 0 0

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178 MARIANO RODRÍGUEZ CUBAN 1912-1990 Rooster, 1959. Oil on canvas. 44 1/4 x 32 3/4 in. (112.4 x 83.2 cm). Signed and dated “Mariano ‘59” lower right corner. provenance Acquired directly from the artist; Alejandro Yarza Caravallo; Elena Kornetchuk

Estimate $ 2 0 , 0 0 0 - 2 5 , 0 0 0 161

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179 ROBERTO MATTA CHILEAN 1911-2002 MAgriTTA, 1970. Methacrylic, polyurethane foam, black and green tissue, and leather. 23 x 36 x 34 in. (58.4 x 91.4 x 86.4 cm).

180 WIFREDO LAM CUBAN 1902-1982 Untitled, 1972. Pastel on paper. 17 x 17 in.

(43.2 x 43.2 cm). This work is accompanied by a photo certificate from Lou Larin Lam.

provenance Private Collection, New York literature Charlotte & Peter Fiell, 1000 Chairs,

provenance Private Collection

Tashen, Italy 2000. p. 480 (illustrated)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 162

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181 WIFREDO LAM CUBAN 1902-1982 Untitled, 1973. Pastel on paper. 24 5/8 x 18 3/4 in. (62.5 x 47.6 cm). Signed and dated “W. Lam 1973� lower left corner. This work is accompanied by a photo certificate from Lou Larin Lam. provenance Galerie Lelong, Paris; Private Collection, Puerto Rico

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 163

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182 FERNANDO BOTERO COLOMBIAN b. 1932 Old Lady, 1969. Pencil on paper. 13 x 11 in. (33 x 27.9 cm). Signed and dated “Botero 69” lower right corner. provenance Spencer A. Samuels & Company, New York; Private Collection, New York Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

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183 FERNANDO BOTERO COLOMBIAN b. 1932 Femme, 1989. Watercolor, pencil and charcoal on paper. 20 x 14 in.

(50.8 x 35.6 cm). Signed and dated “Botero 89� lower right corner. provenance Fondation Veranneman, Kruisthoutem, Belgium; Private Collection, New York Exhibited Martigny, Pierre Gianadda Foundation, Fernando Botero, April 6 - June 10, 1990. literature Pierre Gianadda Foundation, Fernando Botero, Martigny, 1990. p. 69 (illustrated)

Estimate $ 4 0 , 0 0 0 - 5 0 , 0 0 0 165

184 FERNANDO BOTERO COLOMBIAN b. 1932 Male Torso, 1992. Bronze. 130 x 70 7/8 x 158 5/8 in. (330.2 x 180 x 402.9 cm). Signed and numbered “Botero” on the base. The work is from an edition 3. provenance Gary Nader, Miami Exhibited Monte Carlo, Marisa del Re Gallery. Fernando Botero in Monte Carlo, March 20 - September 30, 1992; Paris, Didier Imbert Fine Art, Botero aux Champs-Elysées: Sculptures Monumnetales, October 22 -January 30, 1993; New York, Marlborough Gallery. Fernando Botero: Monumental Scultures, September 14 - November 6, 1993; Chicago, Department of Cultural Affairs, Botero in Chicago, April 29 - August 14, 1994; Buenos Aires, Museo Nacional de Bellas Artes, Botero en Buenos Aires, April – May, 1994; Madrid, Paseo de Recoletos: Botero en Madrid, Organized by the City of Madrid. May 12 - August 12, 1994; Fort Lauderdale, The Museum of Art, Fernando Botero: Monumental Sculptures and Drawings, December 20 - May 7, 1995; Jerusalem, The Israel Museum, Monumental Sculptures, 1996; Washington, D.C., Botero in Washington, D.C. Organized by The Art Museum of the Americas in collaboration with the Marlborough Gallery, New York, September 24 - November 1, 1996; Santiago, Museo Nacional de Bellas Artes, Fernando Botero: Esculturas Monumentales y Dibujos, March 19 - May 12, 1997; Lugano, Museo d’Arte Moderna, Monumental Sculptures in Lugano, August 1- October 12, 1998; Lisbon, Plaza del Comercio, Botero: 24 Monumentla Sculptures, November 16- March 31, 1998; São Paulo, Museo de Arte de São Paulo Assis Chateaubriand, Botero em São Paulo, March 17 - May 17, 1998; Eltville, Park der Villa Hayo Rutr, Mumm Akademie, Botero, July 11 - September 30, 1998; Florence, Rétrospective de scultures monumentales: Piazza della Signoria, Piazzale degli Uffizi, June – September, 1999; Venice, Botero a Venecia: Sculture e Dipinti. 24 Sculture Monumentali., 2003; Singapore, Botero in Singapore, Monumental Sculptures, paintings and drawings. December 2004 – February 2005; Miami, Gary Nader Fine Art, Fernando Botero: Homage to the Master. One Man Show: Paintings, Sculptures and Drawings, 2007; Miami, Gary Nader Fine Art, Global Botero, April 2007; Miami, Gary Nader Fine Art, Masters in Sculpture, January 2007; Miami, Gary Nader Fine Art, Fernando Botero: Monumental Sculpture, 2007; Coral Gables, Fairchild Tropical Botanic Garden, Gary Nader’s Botero Collection at Fairchild Tropical Botanic Garden, February - May 2008; Coral Cables, Fairchild Tropical Botanic Garden, Monumental Sculpture, January - June 2009. literature M. del Re, Fernando Botero in Monte Carlo, Monte Carlo 1992; C. Virmaitre, Botero aux Champs-Elysées: Sculptures Monumnetales, Paris 1993; Fernando Botero: Monumental Scultures, Marlborough Gallery, New York 1993; E. Moldonado & R. Loescher, Botero in Chicago, Chicago 1994; R. Iglesia, T. Anchonera, E. Sábato & G. Whitelow, Botero en Buenos Aires, Buenos Aires 1994; F. Ayala, Paseo de Recoletos: Botero en Madrid, Madrid 1994; L. Pamer, Fernando Botero: Monumental Sculptures and Drawings, The Museum of Art, Miami 1995; A. Escallón, Botero in Washington, D.C. Organized by The Art Museum of the Americas in collaboration with the Marlborough Gallery, New York, Washington 1996; M. Carolina & A. Soffia, Fernando Botero: Esculturas Monumentales y Dibujos, Museo Nacional de Bellas Artes, Santiago 1997; J. Lambert Botero Sculptures, Villegas Editores, 1998; P. Polistampa, Rétrospective de scultures monumentales: Piazza della Signoria, Piazzale degli Uffizi, Florence 1999; Latin American Art: Modern Masters and Contemporary, Gary Nader Editions, 200 2, (illustrated); J.Gustavo, C. Borda & E. di, Botero a Venecia: Sculture e Dipinti. 24 Sculture Monumentali., Venice 2003; Fernando Botero, Global Botero, “Happy 75th birthday,” May 2006, p. 26 (illustrated)

Estimate $ 1, 0 0 0 , 0 0 0 -1, 2 0 0 , 0 0 0 166

167

Colombian artist Fernando Botero has achieved international acclaim and recognition over the past half century for his emblematic renderings of the human and animal form. From the Champs-Elysees in Paris to Park Avenue in New York, his fulsome and abundant figures have graced some of the most prestigious stages around the world. The contours of these figures are legendary for their sensual volume, magnificent dynamism, and physical exuberance. The generously proportioned figures are formally inspired by the classical Roman and Greek sculptures Botero studied while traveling through Europe at the young and impressionable age of 19. Coming under the influence of Gauguin and Picasso’s work while studying at the Academia de Bellas Artes de San Fernando in Madrid, Botero was fascinated by the uniquely rendered depictions of classical subjects.

After immersing himself in the vast collections throughout Spain and later France, he finally sojourned to Florence where he studied the volumetric art of the Renaissance masters such as Giotto, Uccello and Piero della Francesca. Throughout his career, Botero never ceased referencing the masters he so admired in these early years. By around the mid 1960s, Botero had mastered the art of sculpting and arrived at his mature style. By the 1970s, he concentrated exclusively on his sculptural bronzes, characterized by the use of curvaceous figures and exaggerated forms. As exemplified by Botero’s Reclining Venus, Seated Woman, Female Torso, and Woman with Mirror, women have remained his preferred subject.

However, in keeping with the historical tradition, Botero has intermittently depicted the male form. These male figures consistently appear in conjunction with their female counterpart, as seen in The Couple, Dancers, Lovers, and Adam and Eve. Historically, however, the male figure has been the first challenge an artist must surmount; sculptural fragments facilitated the pursuit of the perfect representation of the male anatomy. It is this tradition that makes Botero’s Male Torso one of the most important and unique works of the artist’s career. The subject alone is inextricably linked to one of the principle representations in art history: The Belvedere Torso. The heroic scale, in addition to the noteworthy reference, further alludes to the many great representations of the male figure throughout the discipline. Work of this immense proportionality is classically reserved for commemorative statues, immortalizing the great figures of history. Male Torso exhibits an entirely different mastery of the artist’s canon.

The Male Torso not only emulates grand sculpture, but its colossal height measures to that of monumental architecture.

Its dimensions and contours are embellished beyond all anatomical possibility, taking the tradition of the nude figure to soaring new heights. While the subject is time-honored, Male Torso is not without Botero’s signature style. The exaggerated chiseled abdomen and expansive upper body are imbued with the artist’s emblematic wit. Appearing almost caricature-esk in style, Male Torso is re-interpreted with great volumetric measure. With the final touch of the fig leaf used to cover the nakedness of the Male Torso, Botero has left his satirical charm on the most significant of artistic subjects. As evidenced in the present lot, Botero continues to imbue classical and conventional notions with a consummate personal style.

168

Belvedere Torso © Museo Pio-Clementino (Inv. 1192), Vatican Museums, Rome.

Photography: F. Bucher

169

185

185 ROY CARRUTHERS SOUTH AFRICAN b. 1938 The Suitor, 1980. Oil on canvas on wood. 60 x 32 1/4 in. (152.4 x 81.9 cm).

Signed and dated “Roy Carruthers 1980” lower right corner. provenance ACA Galleries, New York; Private Collection, New York Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 170

186

186 FERNANDO BOTERO COLOMBIAN b. 1932 Reclining Nude, 2009. Charcoal, pencil and colored pencil on paper.

11 x 14 in. (27.9 x 35.6 cm). Signed and dated “Botero 09” lower right corner. provenance Hamburg Kennedy Photographs, New York

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 171

187

188

187 CLAUDIO BRAVO CHILEAN b. 1936 Muchacho Arabe, circa 1960-64. Pencil on paper.

8 x 6 3/8 in. (20.3 x 16.2 cm). Signed “Claudio Bravo” lower left corner. provenance Acquired directly from the artist by the present owner in Madrid, 1964

188 VICTOR MANUEL CUBAN 1897-1969 Francia, 1957. Pencil on heavy paper. Image: 11 x 15 in. (27.9 x 38.1 cm); frame: 20 3/4 x 24 5/8 in. (52.7 x 62.5 cm). Signed, inscribed and dated “Victor Manuel 1957 Paris” upper left corner; titled “Francia” lower right corner.

Estimate $ 5 , 0 0 0 -7, 0 0 0

provenance Pan American Art Projects, Miami

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 172

189

189 MILTON DACOSTA BRAZILIAN 1915-1988 Untitled, circa. 1960. Oil on canvas. 9 1/2 x 7 1/8 in. (24.1 x 18.1 cm). Signed “Dacosta” lower right corner; signed and inscribed “M. Dacosta” on the reverse. provenance Private Collection, Brazil Estimate $ 5 , 0 0 0 -7, 0 0 0

173

190

191

190 LUIS CRUZ AZACETA AMERICAN/CUBAN b. 1942 Waiting, 1997. Acrylic, nails and shellac on paper. 19 1/4 x 16 1/4 in. (48.9 x 41.3 cm). Signed “Azaceta” lower right corner; signed and dated “Azaceta 1997” on the reverse. provenance Fredric Snitzer Gallery,

191 SERVANDO CABRERA MORENO CUBAN 1923-1981 Las Ninas Carboneras, 1955.

Charcoal on paper. 38 x 27 1/2 in. (96.5 x 69.8 cm). Signed and dated “Cabrera Moreno 1955” lower right corner. provenance Private Collection Estimate $ 8 , 0 0 0 -1 0 , 0 0 0

Miami; Private Collection, Miami

Estimate $ 5 , 0 0 0 -7, 0 0 0 174

192

193

192 MARIANO RODRÍGUEZ CUBAN 1912-1990 Portrait of a woman, 1943. Watercolor and ink on paper. 13 1/4 x 10 in. (33.7 x 25.4 cm). Signed and dated “Mariano 43” upper left corner. provenance Private Collection, New York Estimate $ 1 0 , 0 0 0 -1 2 , 0 0 0

193 CARLOS MERIDA GUATEMALAN 1895-1984 Kneeling man with cross on torso, circa 1940. Watercolor on paper. 18 1/2 x 12 1/2 in. (47 x 31.8 cm). Signed “Carlos Merida” central right edge. provenance Fine Arts of Ancient Lands, New York; Private Collection, New York

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 175

194

195

194 VICTOR MANUEL CUBAN 1897-1969 Cuban Orchestra. Watercolor on paper. 14 1/8 x 8 1/2 in. (35.9 x 21.6 cm). Signed and inscribed “Victor Manuel, Habana” lower right corner. provenance Sacks Fine Art, New York Estimate $ 3 , 0 0 0 - 5 , 0 0 0

195 MARIANO RODRÍGUEZ CUBAN 1912-1990 Untitled (serie fiesta del amor), 1986. Mixed media on heavy paper. 18 x 23 7/8 in. (45.7 x 60.6 cm). Signed and dated “Mariano ‘86” lower left corner. provenance Pan American Art Projects, Miami Exhibited Havana, La Galería Habana, La Fiesta del Amor; En saludo al XXV aniversario de la Galería Habana, May 20, 1987.

Estimate $ 8 , 0 0 0 -1 0 , 0 0 0 176

196

197

196 CUNDO BERMÚDEZ CUBAN 1914-2008 Untitled, 1951. Watercolor on paper. 11 1/4 x 9 5/8 in. (28.6 x 24.4 cm). Signed and dated “Cundo Bermúdez 1951” lower right corner.

197 MANUEL MENDIVE CUBAN b. 1944 Meditation, 1995. Oil pastel on paper. 11 3/4 x 16 1/4 in. (29.8 x 41.3 cm). Signed and dated “Mendive 1995” lower right corner.

provenance Galerie Coucoun, Paris

provenance Acquired directly from the artist; Elena Kornetchuk

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 1, 0 0 0 -1, 5 0 0 177

198 CUNDO BERMÚDEZ CUBAN 1914-2008 La mujer en la playa, 1982. Oil on canvas. 20 1/2 x 17 in. (52.1 x 43.2 cm). Signed “Cundo Bermúdez” lower right corner. provenance Dolores Smithies; Private Collection, New Orleans Exhibited Miami, Cuban Museum of Arts and Culture Inc., Homenaje a Cundo Bermúdez, May 1 - May 31, 1987.

Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 Cundo Bermúdez was one of the last surviving members of the “escuela de La Habana,” a movement of artists that came of age in the 1930s and are considered the second generation of avant-garde painters in Cuba. Their canvases are renowned for their portrayal of everyday scenes and still-lifes, abundant with vivid colors and with an emphasis on voluptuous curvature and a deliberate outlining of form. Bermúdez’ style, despite his nomadic tendencies, was rooted in these elements throughout his career. The artist was living in Puerto Rico at the time he painted the present lot, La mujer en la playa, 1966, having moved there as the Cuban Revolution was achieving more momentum. Despite his distance from his country, the Cuban palette—comprised of contrasting terracotta reds and vibrant royal blues—is celebrated across the canvas. The work portrays an elegant woman in a brightly colored dress standing in the forefront of the scene holding an umbrella. The sky is a deep rich blue, with subtle signs of a rainstorm approaching in the distance.

Bermúdez employs the tropical hues to create a flat composition, an aesthetic element reminiscent of the work of the Mexican muralists such as Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros, all of whom he had admired on his travels. The table display is tilted forwards so that the viewer can see the bountiful spread. A guitar lies on an uninhabited chair waiting to be picked up to fill the scene with vibrant music. The erect palm trees and paralleled sailboat masts alongside the ripe melon and sweet wine on the table further illustrate the Caribbean flair. All throughout, the paint is applied opaquely and flat, creating a collage effect. This feature reflects the influence Matisse’s work had on the Cuban painter while he traveled throughout Europe. Regardless of the artist’s nomadic lifestyle, Bermúdez’ work captured and glorified his Cuban nationalism. The country’s exotic hues, its African roots and Latin musicality pervade his work. Standing in direct opposition to his country’s social turmoil, Bermúdez’ La mujer en la playa celebrates life, beauty, and serenity. He combined the many influences from his travels and formed an individual style known as “Puro Cundo;” a technique that matured the modernist brushstrokes of Matisse, Picasso and Dali.

178

198

179

199

199 OSVALDO ROMBERG ARGENTINE b. 1938 Untitled (After Van Dyck), 1999. Oil on canvas. 46 x 40 in. (116.8 x 101.6 cm). Signed, titled and dated “Untitled (After Van Dyck), 1999, Romberg” on the reverse. provenance Private Collection, Chicago Exhibited Vienna, Kunsthistorisches Museum, Galerie Heike Curtze, Romberg´s Walk at the Kunsthistorisches Museum, 1999; New York, ZONE Chelsea Center for the Arts, Face : Scavenging Identity, exploring the margins of mainstream portrait genre, June - August 2007; Chicago, NEXT Fair, Balloon Gallery, April 30 - May 3, 2010 literature R. Mahoney, Romberg´s Walk at the Kunsthistorisches Museum, Vienna 1999

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 180

200

200

WESLEY DUKE LEE BRAZILIAN b. 1931 Telephos Meets Auge, 2003. Acrylic on canvas. 74 7/8 x 59 in. (190.2 x 149.9 cm).

provenance The Kim

Esteve Collection, São Paulo. literature E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Widely regarded as the principle artist of his generation, Lee is the current subject of a major retrospective at the Pinakotheke Cultural, Rio de Janeiro. Lee is credited with a sea change in focus on contemporary art in Brazil, much as Tom Jobim changed the music scene to Bossa Nova. Lee was also celebrated for the formation of a school of “Magic Realism” in Brazil. At one point frustrated with the posture of galleries unwilling to show work considered erotic, Lee presented the exhibition by flashlight in a bar. In 1965 he was awarded the first place award at the 8th bienal of Tokyo. Lee frequently drew on classical themes, such as Telephos Meets Auge (2003) appropriated from the Pergamon frieze. He participated in Maurice Tuchman’s innovative 1970 Art and Technology at the Los Angeles County Museum of Art. 181

201

202

201 GUSTAVO MONROY MEXICAN b. 1959 Flujos, 1992. Triptych, oil and wax on wood panels. 78 x 72 in. (198.1 x 182.9 cm). each: Signed, titled and dated “Gustavo Monroy, Flujos, 1992” on the reverse. provenance Private Collection, New York Estimate $ 5 , 0 0 0 -7, 0 0 0

202 ROBERTO CORTÁZAR MEXICAN b. 1962 Saturno Devorando a los Tiranicidas, 2008.

Oil and mixed media on aluminum on wood. 98 1/2 x 69 in. (250.2 x 175.3 cm). Signed and dated “Roberto Cortazar 2008” on the reverse. provenance Galería Omar Alonso, Mexico Exhibited Mexico, Museo Nacional de Arte, Los desmembrados segun Orozco, por Roberto Cortazar, October 2009 - January 2010 literature Los desmembrados segun Orozco, por Roberto Cortazar, Museo Nacional de Arte, Mexico 2009, p. 30 (illustrated)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 182

203`

203

MACIEJ BABINSKI BRAZILIAN b. 1931 Untitled, 1980. Oil on canvas. 41 4/8 x 59 in. (105 x 150 cm).

provenance The Kim Esteve Collection, São Paulo

literature E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003, p. 219 (illustrated)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Babinski and Wesley Duke Lee were among Eteve’s first teachers in how to look and how to think and talk about art, and Esteve came to collect their work in real depth. An émigré modernist, Babinski traveled to England and Canada as a boy fleeing the war and was aware early on of the importance of photography and painting in his life. In 1953 he came to live in Rio de Janeiro where he worked and exhibited, traveling to São Paulo during the recurrent international biennial exhibitions and viewing great examples of art that would have eluded him otherwise. It was an opportunity to see and he remarked that he was saved from the waves of innovation in contemporary art by removing himself from its currents. Retiring from teaching in 1991, he moved to the state of Ceará, where he is presently living, painting and etching landscapes.

183

204

205

204 MARIO GRUBER BRAZILIAN b. 1927 Untitled, 1981. Oil on wood. 86 5/8 x 63 in. (220 x 160 cm). Signed and dated “Gruber 81” lower right corner. provenance The Kim

205 IVALD GRANATO BRAZILIAN b. 1949 Go Back, 1989. Acrylic on canvas. 76 3/8 x 56 1/4 in. (194 x 142.9 cm). provenance The Kim Esteve Collection, São Paulo literature

Esteve Collection, São Paulo literature E. Leffingwell, The Keeper’s Memory, The Kim Esteve

E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara

Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003, p. 196

Flora, São Paulo: Editora Terceiro Nome, 2003, p. 187 (illustrated)

(illustrated)

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Recognized for his work in as a painter, graphic artist and printmaker, in the 1970s Ivald Granato was celebrated as a flamboyant advocate for change and a participant in the nascent scene of protest and performance art of the day. His performance and video based on the theme of the artist and model scandalized the Panamerican School of Art in São Paulo when presented in 1991. Recognized for his work as a visual artist, in 1979 Granato was presented an award for best design by the Art Critics Association, Brazil.

His iconic Go Back offered here (1989) figures in a whirl of paint and brush, resonant with several of the paintings from the collection. He has participated seven times in the Bienals of São Paulo.

Expressively painted in oil on wood, Mario Gruber’s large scale and characteristically mannered portrait with a sense of a carved Olmec head is among the vibrant paintings distinguishing the breadth of the Esteve collection. As a young man Gruber had studied sculpture at the Escola de Belas Artes in São Paulo with the Brazilian master Emilio Di Cavalcanti. With the support of a scholarship from the French government in 1949 he studied in Paris and in the early 1950s met and studied mural painting with Diego Rivera in Chile. In the 1970s he set up an atelier for several important Brazilian artists including Wesley Duke Lee and Frederico Nasser, and in 1979 established a workshop in New York City.

184

206

206

SIRON FRANCO BRAZILIAN b. 1947 Peles, 1990. Oil on canvas. 43 1/4 x 35 3/8 in. (109.9 x 89.9 cm). Signed “Siron” lower left corner.

provenance

The Kim Esteve Collection, São Paulo literature E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003, p. 195 (illustrated)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Both figurative and abstract, Franco’s Peles (1990), is a seductive painting in oil on canvas with the appearance of the stretched hide of a jungle cat—the “peles” of the title. The spotted field appears strewn with the images of cartridges and numbers designating the calibration of the .44 Magnum and .22 long rifle. Franco is regarded as Brazil’s most important creator of politically charged public art. He has exhibited widely, including at the Museu de Resident in Goiânia, in São Paulo and internationally.

185

207

208 207 JORGE TACLA CHILEAN b. 1958 Claustrophobia, 1986. Oil and tempera on canvas. 16 x 20 in. (40.6 x 50.8 cm). Signed and dated “Jorge Tacla 1986” on the reverse.

208 SIRON FRANCO BRAZILIAN b. 1947 Untitled, 1974. Oil on board. 59 x 71 in. (149.9 x 180.3 cm). Signed and dated “Siron 74” lower right corner. provenance Acquired

provenance Nohra Haime Gallery, New York

directly from the artist by the present owner

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 186

209

209 JULIO LARRAZ AMERICAN/CUBAN b. 1944 The Governor’s House, 1981. Oil on canvas. 48 x 60 in. (122 x 152.4 cm).

Signed and dated “Larraz, 3.8.81” with inscription lower right edge. provenance Ron Hall collection, Dallas; Hollis & Taggart Galleries, New York; Gary Nader Fine Art, Miami; Private collection, Miami; Acquired from the above by the present owner literature E.J. Sullivan, Julio Larraz, New York, 1989, p. 133 (illustrated in color).

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 187

210

211

210 TOMÁS ESSON AMERICAN/CUBAN b. 1963 Retrato No. 9, 1995. Oil on linen. 68 1/8 x 68 1/8 in. (173 x 173 cm). Signed, titled, inscribed and dated “Tomas Esson, 1995, Retrato No. 9, New York City” on the reverse. provenance Private Collection, New York Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

211 SAINT CLAIR CEMIN BRAZILIAN b. 1951 Sea Life V, 1993. Bronze. 4 1/2 x 7 3/4 x 7 in.

(11.4 x 19.7 x 17.8 cm). provenance Private Collection, New York Estimate $ 3 , 0 0 0 - 5 , 0 0 0

188

212

213

212 ENRIQUE MARTINEZ CELAYA AMERICAN b. 1964 Private faith, fortitude, 1998. Oil and human hair on canvas. 84 x 72 in. (213.4 x 182.9 cm). provenance Private Collection,

213 ENRIQUE MARTINEZ CELAYA AMERICAN b. 1964 Wood Rooms, 2001. Oil, tar and feathers on canvas. 66 x 72 in. (167.6 x 182.9 cm). provenance Private Collection, New

New York

York

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 189

214

214 DANIEL SENISE BRAZILIAN b. 1955 Untitled, 1992. Mixed media on canvas. 63 x 48 in. (160 x 121.9 cm). Signed and dated “Daniel Senise, 1992” on the reverse. provenance The Kim Esteve Collection, São Paulo literature E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003, p. 192 (illustrated)

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 One of the remarkable Senise paintings that have graced the Esteve collection, this untitled mixed media on canvas (1992) has as its central preoccupation the beauty and the attrition of time. Totemic and conical, its principal movement is rising to the fluted crenellation above. The dark, brooding ground of this abstraction is classic Senise. The very material of the studio floor assumes the bonding that is the artist’s take on mixed media.

The central emblem overall is a dancer’s third position. Since the 1980s Senise has exhibited in the Venice Bienalle (1990) MoMA in New York, the Centre Georges Pompidou, and the Museu Ludwig, Cologne.

190

215

215

DUDI MAIA ROSA BRAZILIAN b. 1946 Untitled, 1984. Pigment and resin on canvas. 59 1/8 x 96 1/2 in. (150.2 x 245.1 cm).

provenance The Kim

Esteve Collection, São Paulo literature E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003, p. 217 (illustrated)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Among Esteve’s three monumental pigmented cast resin panels by Dudi Maia Rosa, this 1985 example is boldly incised into thirds as though with a laser, emphasizing the artist’s extreme abandonment of figuration and an interest in the modulation of the color field. Rosa studied engraving and ceramics, subsequently turning to painting. Of real significance to the dynamics of Rosa’s progress, Rosa studied with the artist Wesley Duke Lee and in 1972 began to attend the Escola Brasil, initially as pupil and subsequently as lecturer. At the time of his invention of this technique, his work increasingly acquired a three-dimensional quality marked by gestural painting. The artist essayed further experiments in synthetic resin, which permitted a variation in transparencies and tones.

191

216

216

ANA MERCEDES HOYOS COLOMBIAN b. 1942 Sin tĂ­tulo. Charcoal on canvas. 79 x 39 1/2 in. (200.7 x 100.3 cm).

provenance Private Collection, New York

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 192

217

217 ARTUR ALIPIO BARRIO BRAZILIAN b. 1945 Untitled, 1975. Watercolor, acrylic and ink on paper. 11 x 15 in. (27.9 x 38.1 cm). Signed, inscribed and dated “A.A.Barrio, 75, Paris” upper left corner. provenance Artur Fidalgo Gallery, Rio de Janerio; Casa da Graphos Gallery, Rio de Janerio; Private Collection

Estimate $ 7, 0 0 0 - 9 , 0 0 0 193

218

219

218 ARTURO ELIZONDO MEXICAN b. 1953 Untitled, circa 1981. Acrylic on metal sheet.

29 3/4 x 23 3/4 in. (75.6 x 60.3 cm). provenance Private Collection, New York Estimate $ 7, 0 0 0 - 9 , 0 0 0

219 ARTURO ELIZONDO MEXICAN b. 1953 Escarcha, 1991. Oil on canvas. 48 x 76 in.

(121.9 x 193 cm). Signed and dated “Elizondo 91” lower right corner. provenance CavinMorris Gallery, New York; Private Collection, New York

Estimate $ 7, 0 0 0 - 9 , 0 0 0

194

220

221

220 JOSÉ BEDIA CUBAN b. 1959 nadie puede ser la mano de dios, 2001. Oilstick on paper.

41 x 53 in. (104.1 x 134.6 cm). Titled “nadie puede ser la mano de dios” along lower central edge; signed and dated “J Bedia 01” lower right corner. provenance Private Collection,

221 JOSÉ BEDIA CUBAN b. 1959 que haces aqui, que quieres, que buscas tu?, 2003.

Oilstick on paper. 38 x 50 in. (96.5 x 127 cm). Titled “que haces aqui, que quieres, que buscas tu?” along lower central edge; Signed and dated “J Bedia 03” lower right corner.

New York

provenance Private Collection, New York

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0 195

(i)

(iii)

(iv)

222 (ii)

(v)

222 JOSÉ BEDIA CUBAN b. 1959 (i) Caros antojos, 1997; (ii) Y van tres, 1994; (iii) Venganza del venado, 1994; (iv) Modos diversos de viajar, 1994; (v) Venganza del venado (verde), 1994. Painted wood panels with bottle caps. (i) 7 1/4 x 62 in. (18.4 x 157.5 cm); (ii) 36 1/2 x 3 1/2 in. (92.7 x 8.9 cm); (iii) 3 1/2 x 22 3/4 in. (8.9 x 57.8 cm); (iv) 3 1/2 x 30 3/4 in. (8.9 x 78.1 cm); (v) 3 1/2 x 20 3/4 in. (8.9 x 52.7 cm). (i) titled “Caros antojos” on wood element; signed and dated “J Bedia 97” on the reverse; (ii) titled “Y van tres” on the wood element; signed and dated “J Bedia 94” lower left corner; (iii) titled “Venganza del venado” on the wood element; signed and dated “J Bedia 94” lower right corner; (iv) titled “Modos diversos de viajar“ on the wood element; signed and dated “J Bedia 94” lower right corner; (v) titled “Venganza del venado (verde)“ on the wood element; signed and dated “J Bedia 94” lower right corner provenance Private Collection, New York

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

196

223

224

223 JOSÉ BEDIA CUBAN b. 1959 Te quemaste muchacho nuevo, 1991. Acrylic on canvas.

70 1/2 x 144 in. (179 x 289.5 cm). Titled “te quemaste muchacho nuevo” along central lower edge; signed and dated “J. Bedia 91” lower left edge. provenance Private Collection,

224 JOSÉ BEDIA CUBAN b. 1959 Imitación de vuelo, 1992. Acrylic, canvas and fabric collage on canvas. 90 3/8 x 58 5/8 in. (230 x 149 cm). Titled “imitación de vuelo” along central lower edge. provenance Gary Nader Fine Art, Miami; Private Collection, Miami Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Miami

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 197

225

226

225 FABIAN MARCACCIO ARGENTINE b. 1963 Germinal Geography, 1988. Oil on canvas.

42 x 50 in. (106.7 x 127 cm). Signed and dated “Marcaccio 88” lower right corner. Signed, titled and dated “Germinal Geography, Marcaccio, 1988” on the reverse. provenance

226 FABIAN MARCACCIO ARGENTINE b. 1963 Untitlead Paintant, 2000. Encad GO inks on canvas with silicon, oil and acrylic paints. 20 x 24 in. (50.8 x 61 cm). Signed, titled and dated “Marcaccio 2000 Untitlead Paintant” on the reverse. provenance Gorney Bravin

Nohra Haime Gallery, New York

+ Lee, New York

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 198

227

228

227 FLAVIO GARCIANDÍA CUBAN b. 1954 Tristes Trópicos (I), 1996. Oil on canvas. 53 1/4 x 53 3/8 in. (135.3 x 135.6 cm). Signed, titled and dated “Flavio ‘96 Tristes Trópicos (I)” on the reverse. provenance Couturier Gallery, Los Angeles literature C. Vives., I Insulted

228 GABRIEL OROZCO AMERICAN/MEXICAN b. 1962 Untitled, 1992. Crumpled paper and graphite on paper. 4 1/2 x 3 in. (11.4 x 7.6 cm). provenance Marian Goodman Gallery,

Flavio Garciandia in Havana, Madrid 2009, p. 153 (illustrated)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

New York; Private Collection

Estimate $ 5 , 0 0 0 -7, 0 0 0 199

229

230

231

229 CARLOS RODRÍGUEZ CÁRDENAS CUBAN b. 1962 Dagmar, 1993. Oil on canvas. 78 3/5 x 58 1/2 in. (199.6 x 148.6 cm). Signed and dated “Carlos R. Cárdenas, DAGMAR, 1993” on the reverse; initialed and dated “CRC 93” along lower central edge. provenance

230 MANUEL HERNÁNDEZ MOMPÓ SPANISH 1927-1992 Untitled, 1963. Acrylic and charcoal on paper. 19 5/8 x 14 1/8 in. (50 x 26 cm). Signed and dated “H Mompó 1963” lower left corner. provenance Private Collection Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

Private Collection, New York

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 231 SANDRA CINTO b. 1968 Untitled, 1999. Staedtler pen and acrylic on MDF. 27 3/4 x 35 3/4 in. (70.5 x 90.8 cm). Signed and dated “Sandra Cinto 1999” on the reverse. provenance Tanya Bonakdar Gallery, New York

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 200

232

233

232 WILLIAMS CARMONA CUBAN b. 1964 Comunicaciones, 1995. Acrylic on paper.

22 5/8 x 29 1/2 in. (57.5 x 74.9 cm). Signed and dated “Williams 95” lower right corner.

233 CISCO JIMENEZ MEXICAN b. 1969 Central Nuclear, 2001. Acrylic on wooden panel, framed photographs and metal hardware in artist’s handmade wooden frame. 52 x 76 x 3 1/2 in. (132.1 x 193 x 8.9 cm). Signed and dated “Cisco Jiménez 2001” along lower central edge; signed, inscribed and dated “Cisco Jiménez Cuernavaca 2001” on the reverse.

provenance Dolores Smithies; Private Collection, New Orleans

Estimate $ 5 , 0 0 0 -7, 0 0 0

provenance Private Collection, New York

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 201

234

235

236

234 JAVIER ARÉVALO MEXICAN b. 1937 Untitled, 1970. Watercolor and ink on paper in acrylic case. 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm). Signed, inscribed and dated “Arévalo Oaxaca ‘70” lower right corner. provenance Estate of Merle Kingsley, San Mateo,

235 SEGUNDO PLANES HERRERA CUBAN b. 1965 Gala y Evelyn, 1994. Acrylic on canvas.

74 x 74 in. (188 x 188 cm). provenance Private Collection, New York Estimate $ 3 , 0 0 0 - 5 , 0 0 0

California

236 RODOLFO MORALES MEXICAN 1925-2001 Untitled. Collage of fabrics and foil in a pressed metal frame. 24 5/8 x 18 in. (62.5 x 45.7 cm). Signed “Rodolfo Morales” on a strip of paper lower right corner . provenance Galeria Estela Shapiro, Mexico; Miró Galeria de

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Arte, New Orleans; Private Collection, New York

Estimate $ 5 , 0 0 0 -7, 0 0 0 202

237

238

239

240

237 RODOLFO MORALES MEXICAN 1925-2001 Untitled (Soccer Player). Collage of fabrics and foil in a pressed metal frame. 24 1/2 x 18 in. (62.2 x 45.7 cm). Signed “Rodolfo Morales” on a strip of paper lower right corner . provenance Pan American Art Projects,

239 MANUEL MENDIVE CUBAN b. 1944 Girl with Peacock, 1989. Tempera on paper.

18 1/2 x 23 3/8 in. (47 x 59.4 cm). Signed and dated “Mendive 1989” lower right corner.

Miami

Estimate $ 1, 0 0 0 -1, 5 0 0

provenance Acquired directly from the artist; Elena Kornetchuk

Estimate $ 5 , 0 0 0 -7, 0 0 0 240 MANUEL MENDIVE b. 1944 Man, Nature and Ancestors, 1998. Oil on canvas with collage elements. 19 1/4 x 19 1/2 in. (48.9 x 49.5 cm). Signed and dated “Mendive 1998” lower left edge. provenance Acquired directly from the artist; Elena Kornetchuk Estimate $ 6 , 0 0 0 - 8 , 0 0 0

238 GASTON UGALDE BOLIVIAN b. 1946 Yura 2, 2003. Andean textile fragments patchwork and acrylic. 81 x 81 in. (205.7 x 205.7 cm). provenance Private Collection Estimate $ 6 , 0 0 0 - 8 , 0 0 0 203

241

242

243

241 TOMÁS SÁNCHEZ b. 1948 Untitled. Oil on canvas. Image: 11 x 7 in. (27.9 x 17.8 cm); frame: 22 x 17 3/4 in. (55.9 x 45.1 cm). Inscribed and initialed “Para Bobo, con afecto y estima. Tomas, TS” on the reverse. provenance Private Collection, Miami Estimate $ 8 0 0 -1, 2 0 0

242 JAIME PALACIOS CHILEAN b. 1963 Corazon vegetal, 1991. Oil on canvas. 60 x 50 in.

(152.4 x 127 cm). Signed, titled and dated “Corazon vegetal, Palacios, 1991” central lower edge. provenance Private Collection, New York Estimate $ 3 , 0 0 0 - 5 , 0 0 0 243 JOSE LUIS CUEVAS MEXICAN b. 1934 Autoretrato con Prostituta en Tangier, 1965. Ink and watercolor on paper. 6 1/2 x 8 3/4 in. (16.5 x 22.2 cm). Signed, titled and dated “Cuevas 65 Autoretrato con Prostituta en Tangier” lower right corner. provenance Dolores Smithies; Grace Borgenicht Gallery, New York; Private Collection, New Orleans

Estimate $ 1, 5 0 0 - 2 , 0 0 0 204

244

245

246

244 JUAN ROBERTO DIAGO CUBAN b. 1971 A Place in this World, 2006. Oil with collage elements on canvas. 31 1/2 x 23 5/8 in. (80 x 60 cm). Signed and dated “Roberto Diago 2006” on the reverse. provenance Pan American Art Projects, Miami Estimate $ 2 , 5 0 0 - 3 , 5 0 0

246 MANUEL PAILÓS URUGUAYAN 1918-2005 Sur, 1962. Mixed media on paper. 10 1/2 x 7 1/4 in. (26.7 x 18.4 cm). Signed and dated “Pailós 62” upper right corner. provenance Gustavo Tejería Loppacher, Punta del Este, Uruguay Exhibited Mary-Anne Martin Fine Art, New York

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 245 ROBERTO DIAGO CUBAN 1920-1955 Abstract Figures. Ink on paper with veneer finish. 29 x 22 3/4 in. (73.7 x 57.8 cm). provenance Pan American Art Projects, Miami Estimate $ 3 , 0 0 0 - 5 , 0 0 0 205

247

248

247 ROBERTO MONTENEGRO MEXICAN 1887-1968 Pantera Negro, 1964.

Oil on canvas. 19 3/4 x 19 3/4 in. (50.2 x 50.2 cm). Signed, titled, and dated “64 Pantera Negro Montenegro” on the reverse. provenance Private Collection, Mexico City; Private

248 RAMIRO LLONA PERUVIAN b. 1947 La semilla sobrevolando la estructura edípica, 1983. Acrylic on canvas. 67 1/2 x 79 in. (171.5 x 200.7 cm). Signed, titled and inscribed “La semilla sobrevolando la estructura edípica, New York, R. Llona” on the reverse.

Collection, New York

provenance Private Collection, New York

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

Estimate $5,000-7,000 206

249

250

249 ALICE RAHON FRENCH/MEXICAN 1916-1987 La Alborada de la Garza, 1974.

Oil on canvas. 40 x 31 1/2 in. (101.6 x 80 cm). Signed “Alice Rahon” lower right corner.

250 LEONORA CARRINGTON BRITISH b. 1917 Untitled, 1978. Pencil on paper. Signed and dated “Leonora Carrington 1978” lower right corner. 12 x 8 1/2 in. (30.5 x 21.6 cm).

provenance Private Collection, Mexico City; Private Collection, New York

provenance RoGallery, New York.

Estimate $ 8 , 0 0 0 -1 0 , 0 0 0

Estimate $ 8 , 0 0 0 -1 0 , 0 0 0

207

251

253

252

254

251 ROBERTO FABELO CUBAN b. 1950 Perro volador, 1989. Crayon and pastel on paper. 22 1/4 x 45 in. (56.5 x 114.5 cm). Signed and dated “Fabelo 1989” lower right edge.

253 GUILLERMO CONTE ARGENTINE b. 1956 Untitled. Ink on amate paper. 47 x 94 in.

(119.4 x 238.8 cm). provenance Private Collection, New York Estimate $ 1, 0 0 0 -1, 5 0 0

provenance Couturier Gallery, Los Angeles

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 252 FERNANDA BRUNET MEXICAN b. 1964 Monserrat, 1999. Oil on linen.

58 1/2 x 62 1/4 in. (148.6 x 158.1 cm). Signed, inscribed and dated “FB53 1999” on the reverse. provenance Private Collection, New York Estimate $ 5 , 0 0 0 -7, 0 0 0

254 GUILLERMO CONTE ARGENTINE b. 1956 Untitled. Ink on amate paper. 47 x 94 in.

(119.4 x 238.8 cm). provenance Private Collection, New York Estimate $ 1, 0 0 0 -1, 5 0 0

208

255

256

257

258

255 BRIAN NISSEN BRITISH b. 1939 Profile, 1982. Acrylic with collage elements on canvas. 30 x 24 in. (76.2 x 61 cm). Signed, titled and dated “Profile, Nissen 82” on the reverse. provenance Private Collection, New York Estimate $ 1, 5 0 0 - 2 , 0 0 0

257 JORGE MENDEZ BLAKE MEXICAN b. 1974 Paraisos, 2002-2006. Cut vinyl. The work is presented as a source disk and produced for each installation. Installation dimensions variable. provenance Galeria OMR, Mexico City Estimate $ 2 , 0 0 0 - 3 , 0 0 0

256 BRIAN NISSEN BRITISH b. 1939 Untitled, 1990. Mixed media on canvas. 48 x 58 in.

(121.9 x 147.3 cm). Signed and dated “Nissen 90” on the reverse. provenance Private

258 JORGE MENDEZ BLAKE MEXICAN b. 1974 Untitled, 2003. Cut vinyl. The work is presented as a source disk and produced for each installation. Installation dimensions variable. This work is from an edition of 3. provenance Galeria OMR, Mexico City Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Collection, New York

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

209

259

260

259 GUILLERMO MEZA MEXICAN 1917-1997 Camino al pueblo, 1947. Gouache on paper laid down on card. 21 3/4 x 17 1/2 in. (55.2 x 44.5 cm). Signed and dated “G. Meza Nov. 1947” lower right corner. provenance Private Collection, Boca Raton Estimate $ 5 , 0 0 0 -7, 0 0 0

260 RAY SMITH AMERICAN b. 1959 El Naufrago, 1987. Triptych, oil on wood panels.

80 x 80 in. (203.2 x 203.2 cm). Titled and dated “El Naufrago 1987” on the reverse. provenance Private Collection, New York

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 210

261

262

263

261 RAMIRO LLONA PERUVIAN b. 1947 Espejismo (Mirage), 1984. Oil on canvas. 50 x 42 in. (127 x 106.7 cm). Signed, inscribed, and dated “Oct. 84, New York, Ramiro Llona, ‘Espejismo’” on the reverse. provenance Nohra Haime Gallery, New York Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 262 JUAN GONZALEZ CUBAN 1942-1993 Blood Wedding Act 1 Scene 1, 1988. Watercolor, colored pencil and printed paper collage on paper. 26 3/4 x 38 1/2 in. (67.9 x 97.8 cm).

263 GONZALO ARIZA COLOMBIAN b. 1912 In the Mist of the Andes, Clouds in the Mountainside. Mixed media on panel. 35 1/2 x 10 3/4 in. (90.2 x 27.3 cm). Signed “Gonzalo Ariza” lower left corner. provenance Private Collection, Massachusetts Estimate $ 5 , 0 0 0 -7, 0 0 0

provenance Dolores Smithies; Private Collection, New Orleans

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 211

264

265

264 MIGUEL SORDO TORRIENTES CUBAN b. 1960 SOS, 1992. Oil on canvas. 36 x 74 in.

(91.4 x 188 cm). Signed and dated “Sordo 92” lower right corner. provenance Acquired

265 GIOSVANY ECHEVARRÍA CUBAN b. 1968 Valle de Viñales, 2002. Acrylic on canvas.

31 3/8 x 47 in. (78 x 119.4 cm). Signed and dated “G. Echevarría. 2002” lower right corner.

directly from the artist; Elena Kornetchuk

provenance Private Collection, Puerto Rico

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

212

266

267

266 ERNESTO PUJOL CUBAN b. 1957 Girl, 2003. C-Print. 40 x 60 in. (101.6 x 152.4 cm).

This work is from an edition of 3. Signed, titled, inscribed and dated “Ernesto Pujol, Girl, 2003, From: Becoming the Land, Kansas” on the reverse.

267 ERNESTO PUJOL CUBAN b. 1957 Boy, 2003. C-Print. 40 x 60 in. (101.6 x 152.4 cm).

This work is from an edition of 3. Signed, titled, inscribed and dated “Ernesto Pujol, Boy, 2003, From: Becoming the Land, Kansas” on the reverse.

provenance Private Collection, New York

provenance Private Collection, New York

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 213

268

269

268 LUIS ENRIQUE CAMEJO CUBAN b. 1971 Untitled, 2005. Watercolor on paper.

20 x 30 in. (50.8 x 76.2 cm). Signed and dated “L.E Camejo 2005” lower right corner.

269 JORGE TACLA CHILEAN b. 1958 Interior, 2000. Oil on burlap. 56 x 48 in. (142.2 x 121.9 cm). Signed, titled and dated “Jorge Tacla, Interior, 2002” on the reverse. provenance

provenance Pan American Art Projects, Miami

Private Collection, New York

Estimate $ 1, 5 0 0 - 2 , 0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 214

270

270 MINERVA CUEVAS MEXICAN b. 1975 Schöneweide Walk, 2004. Two UV laminated c-prints flush mounted to Dibond and printed paper map laid on MDF with painted edges. C-prints: 48 x 73 1/8 in. (121.9 x 185.7 cm); map: 21 3/4 in. (55.2 cm) diameter. The work is from an edition of 3. provenance Kurimanzutto, Mexico City Exhibited Mexico City, Casa del Lago Juan José Arreola de la UNAM, Reconstrucción, November 2006 - February 2007 (Other example exhibited) literature P. Henninger, “Minerva Cuevas: Schwarzfahrer are my heroes,” Artnet (online content), October 2004 (illustrated); L. Guevara, “Art and Political Correctness,” Replica 21 (online content), February 2007 (illustrated)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 215

271

271 JULIO GALÁN MEXICAN 1958-2006 De una vez, 1986. Charcoal and pastel on paper. 22 x 27 1/2 in. (55.9 x 69.9 cm). Signed and dated “Julio Galán, 86” lower right edge; Titled “De una vez” along upper central edge. provenance Private Collection, New York Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 216

272

272 VICTOR RODRIGUEZ MEXICAN b. 1970 Amtrak, 2005. Acrylic on canvas. 96 x 80 in. (243.8 x 203.2 cm). Signed, inscribed and dated “Victor Rodriguez, NYC, 2005” on the reverse. provenance Galeria Ramis Barquet, New York; Private Collection, Chicago Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 217

273

274

273 DANIEL SCHEIMBERG ARGENTINE b. 1957 Basado en la Paz, 1996. Acrylic on canvas. 78 x 78 in. (198.1 x 198.1 cm). Signed, titled and dated “D. Scheimberg, 1996, Basado en la Paz” on the reverse. provenance Private Collection, New York Estimate $ 5 , 0 0 0 -7, 0 0 0

274 SEGUNDO PLANES HERRERA CUBAN b. 1965 Donde?, 1994. Acrylic on canvas.

74 x 74 in. (188 x 188 cm). provenance Private Collection, New York Estimate $ 3 , 0 0 0 - 5 , 0 0 0

218

275

276

275 DANIEL SENISE BRAZILIAN b. 1955 Untitled, 1990. Oil on canvas. 53 x 71 in.

(134.6 x 180.3 cm). Signed, inscribed and dated “daniel senise, 1990, DS-218-90” on the reverse. provenance Private Collection, New York Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

276 LAURA ANDERSON BARBATA MEXICAN b. 1958 Yepiwe, Uniwe y Javier, 1998. C-Print.

29 1/2 x 39 in. (74.9 x 99.1 cm). provenance Private Collection, New York Estimate $ 4 , 0 0 0 - 6 , 0 0 0

219

277

278

277 FEDERICO HERRERO COSTA RICAN 1978 Tierra Extraña, 2003. Oil and felt-tip pen on canvas. 39 3/8 x 39 3/8 in. (100 x 100 cm). Initialed, titled and dated “H. 2003. Tierra Extraña” on the reverse. provenance Private Collection Estimate $ 5 , 0 0 0 -7, 0 0 0

278 GRILLO DEMO ARGENTINE b. 1956 Lactic, 2007. Oil, fabric and paper collage on canvas. 39 x 31 3/8 in. (99 x 80 cm). provenance Acquired directly from the artist Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

220

279

280

281

279 CARLOS QUINTANA CUBAN b. 1966 Untitled, 2002. Oil on canvas.

76 4/5 x 51 1/5 in. (195.1 x 130 cm). Signed “Carlos Quintana” upper left corner.

281 MARINA NÚÑEZ SPANISH b. 1966 Ciencia-ficcio, 1999. Oil on canvas. 30 1/2 x 78 in.

(77.5 x 198.1 cm). provenance Galería Alejandro Sales, Barcelona Exhibited Barcelona,

provenance Galería de la Puente, California

Fundacio Juan Miro, La realitat i el desig, September 22 - November 7, 1999

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

280 MARIO GURFEIN ARGENTINE b. 1945 Untitled, 1999. Oil on canvas.

32 x 27 1/4 in. (81.3 x 69.2 cm). Signed “Gurfein” lower right corner; signed and dated “Gurfein 1999” on the reverse. provenance Acquired directly from the artist Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 221

(i)

282 (ii)

(iii)

282 ARTURO DUCLOS b. 1959 (i) Las Palabras que me Faltan; (ii) Le Beaux Jours de la Vie; (iii) Say no thank you to Hollywood, 1995. Oil on canvas. (i) 20 5/8 x 24 1/8 (52.4 x 61.3 cm); (ii) 19 3/4 x 24 in. (50.2 x 61 cm); (iii) 19 3/4 x 23 3/4 in. (50.2 x 60.3 cm). Each: signed and dated “1995 A.Duclos” central lower edge. provenance Private Collection, Miami

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

222

283

284

283 EDOUARD DUVAL-CARRIÉ HAITIAN b. 1954 Untitled, 2004. Mixed media and acrylic light box. 16 x 16 3/4 in. (40.6 x 42.5 cm). provenance Pan American Art Projects, Miami Estimate $ 2 , 0 0 0 - 3 , 0 0 0

284 RUBÉN TORRES LLORCA CUBAN b. 1957 Famous People Series, 1983. Screenprint with collage elements on cotton. 58 x 42 in. (147.3 x 106.7 cm). Signed and dated “Ruben Torres Llorca, 1983” lower right corner. provenance La Acacia Gallery, Havana; Pan American Art Projects, Miami

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 223

285

286

285 DR. LAKRA MEXICAN b. 1972 Cortés y la malinche, 2005. Ink and collage on vintage magazine. 9 x 6 in. (22.9 x 7.6 cm). Signed and Inscribed “Dr. Lakra. reclinandose inocentemente sobre el regazo de Hernan-Cortés” along lower central edge.

286 DR. LAKRA MEXICAN b. 1972 Real Carmen, 2005. Collage and ink on paper. 13 4/5 x 17 x 13 in. (35.1 x 23.9 cm). Titled “Real Carmen” upper central edge; signed “Dr. Lakra” upper left corner. provenance Private Collection, Mexico City Estimate $ 4 , 0 0 0 - 6 , 0 0 0

provenance Private Collection, Mexico City

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 224

287

288 287 PAT ANDREA DUTCH b. 1942 Liquids, 1994. Graphite, watercolor, gouache, cardboard, paper collage and plastic on wood mounted to panel in Plexiglas vitrine.

13 3/4 x 15 1/2 in. (34.9 x 39.4 cm). Signed and dated “Pat Andrea 1994” along lower edge of wood and panel; titled and dated “Liquids 94” with artist’s stamp on the reverse.

288 JULIO GALÁN MEXICAN 1958-2006 Sin título, 1991. Glazed ceramic with gold leaf and metal stand. 58 1/2 x 25 x 25 in. (148.6 x 63.5 x 63.5 cm). Signed and dated “Julio Galán, 1991” on the ceramic element. provenance Private Collection, New York Estimate $ 4 , 0 0 0 - 6 , 0 0 0

provenance Paolo Baldacci Gallery Ltd., New York Exhibited New York, Paolo Baldacci Gallery Ltd., Pat Andrea, April 1995.

Estimate $ 1, 5 0 0 - 2 , 0 0 0 225

289

289

CLARE ROJAS AMERICAN b. 1976 Untitled (5), 2002. Acrylic on paper. each: 5 x 7 in. (12.7 x 17.8 cm).

provenance Roberts & Tilton, Los Angeles

Estimate $ 5 , 0 0 0 -7, 0 0 0 226

290

291 (i)

(ii)

(iii)

290 CLARE ROJAS AMERICAN b. 1976 Untitled, 2006. Gouache and latex on board.

10 x 8 in. (25.4 x 20.3 cm). Signed and dated “Clare 06” lower right corner.

291 ARTURO ELIZONDO MEXICAN b. 1953 (i) Sonia; (ii) Hilla; (iii) Heroe, 1998. (i) Gouache and charcoal on paper; (ii) Gouache on paper; (iii) Gouache on paper. (i) 9 x 12 in. (23 x 30.5 cm); (ii) 7 x 10 in. (17.8 x 25.4 cm); (iii) 7 x 10 in. (17.8 x 25.4 cm). (i) Signed and dated “Elizondo 98” lower left edge; (ii) Initialed and dated “EA 98” lower left edge; (iii) Initialed and dated “EA 98” lower left edge.

provenance Gallery Paule Anglim, California

Estimate $ 8 0 0 -1, 2 0 0

provenance Annina Nosei Gallery, New York

Estimate $ 5 , 0 0 0 -7, 0 0 0 227

292

293

292 EMILIO SANCHEZ AMERICAN/CUBAN 1912-1999 Green Window. Watercolor on paper. 60 x 40 in. (152.4 x 101.6 cm). Initialed “ES” on lower left corner. provenance

293 FRANCISCO UGARTE MEXICAN b. 1973 Intervención a la Casa Barragán (hall), 2010.

Digital C-Print. 50 x 54 1/2 in. (127 x 138.4 cm). Signed, titled, numbered and dated “Intervención a la Casa Barragán (hall), 1/3, 2010, Francisco Ugarte” on the reverse. This work is from an edition of 3. provenance Private Collection, Mexico Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Dolores Smithies; Gutierrez Fine Arts, Florida; Private Collection, New Orleans

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

228

294

295

294 NATALIA ARIAS ENGLISH/COLOMBIAN b. 1977 How to use your automatic washer 2, 1999. c-print. 20 x 30 in. (50.8 x 76.2 cm). This work is from an edition of 5. provenance

295 ANTHONY GOICOLEA AMERICAN/CUBAN b. 1971 Puppy Love, 1999. c-print. 59 1/4 x 40 in. (150.5 x 101.6 cm). This work is from an edition of 5. provenance Galeria Luis

Nohra Haime Gallery, New York

Adelantado, Valencia; Private Collection, Mexico City

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

229

296

297

296 MARIO TESTINO PERUVIAN b. 1954 Disciples I, 2003. Duraclear transparency, lightbox. 62 7/8 x 50 1/4 in. (159.7 x 127.6 cm). This work is from an edition of 3 + 1 AP. provenance Private Collection, New York

297 MARIO TESTINO PERUVIAN b. 1954 Disciples VII, 2003. c-print. Image: 73 7/8 x 49 1/4 in. (187.6 x 125.1 cm); frame: 75 x 50 3/8 x 1 1/2 in. (190.5 x 128 x 3.8 cm). This work is from an edition of 3 + 1 AP. provenance Timothy Taylor Gallery, London; Private

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Collection, New York

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 230

298

299

298 CARLOS BETANCOURT PUERTO RICAN b. 1966 Back Stories at Hobe Sound 33, 2004.

Large format Polaroid. 30 x 20 in. (76.2 x 50.8 cm). Signed, titled and dated “Betancourt, Hobe Sound, 2004” lower right corner. provenance J. Johnson Gallery, Jacksonville

299 CARLOS BETANCOURT PUERTO RICAN b. 1966 Untitled, 2005. Metallic Lambda print. 30 x 43 in. (76.2 x 109.2 cm). Signed, numbered and dated “Carlos Betancourt, 1/5, 05” on the reverse. This work is from an edition of 5. provenance Dolores Smithies;

Beach; Private Collection, Miami

Private Collection, New Orleans

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 231

300

301

300 NATALIA ARIAS ENGLISH/COLOMBIAN b. 1977 Shri Yantra, 2006. c-print.

30 x 26 in. (76.2 x 66 cm). This work is from an edition of 5. provenance Nohra Haime

301 FEDERICO URIBE COLOMBIAN b. 1962 Still Life, 2000. Plastic fruits, synthetic leaves and plastic baby bottle caps adhered with pins. 30 x 16 x 13 in. (76.2 x 40.6 x 33 cm).

Gallery, New York

provenance Annina Nosei Gallery, New York

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

232

302

303

302 CARLOS ENRIQUEZ-GONZALEZ Venezuelan b. 1968 Hermaphrodite, 2010.

Fiberglass. 10 x 3 x 2 in. (25.4 x 7.6 x 5.1 cm). Signed, numbered, and dated “Carlos Enriquez-Gonzales, 2010, 1/8” on the base. This work is from an edition of 8.

303 CARLOS ENRIQUEZ-GONZALEZ VENEZUELAN b. 1968 Flesh Flower, 2010. Fiberglass.

12 x 5 x 5 in. (30.5 x 12.7 x 12.7 cm). Signed, numbered, and dated “Carlos EnriquezGonzales, 2010, 2/8” on the base. This work is from an edition of 8.

provenance Private Collection, New York

provenance Private Collection, New York

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Estimate $ 2 , 0 0 0 - 4 , 0 0 0 233

304

305

306

304 SANDRA RAMOS LORENZO CUBAN b. 1969 El Autorrecondocimiento del Pez, 1997. Diptych, printed paper collage and charcoal pencil on monotype. each: 35 1/2 x 22 in. (90.2 x 55.9 cm). each: Signed and dated “Sandra RL 97” lower right corner.

305 RUBÉN MÉNDEZ RAMOS MEXICAN b. 1960 Perra Esperanza, 2003. Diptych, oil and acrylic on wood panels. 70 x 96 in. (177.8 x 243.8 cm). Signed and dated “Rubén Méndez Ramos, Año 2003” on the reverse. provenance Private Collection, New York Estimate $ 3 , 0 0 0 - 4 , 0 0 0

provenance Dolores Smithies; Private Collection, New Orleans

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 306 RUBÉN MÉNDEZ RAMOS MEXICAN b. 1960 America, 2003. Diptych, oil and acrylic on wood panels. 96 x 70 in. (243.8 x 177.8 cm). Signed, titled and dated “Rubén Méndez Ramos, América, 2003” on the reverse. provenance Private Collection, New York Estimate $ 3 , 0 0 0 - 4 , 0 0 0 234

307

308

307 CIRO QUINTANA CUBAN b. 1964 Las Herramientas del Heroe (The Tools of the Hero), 2007. Gouache and watercolor on paper with paper collage elements. 44 1/2 x 77 5/8 in.

(113 x 197.2 cm). Signed, titled and dated “Ciro Quintana 2007 The Tools of the Hero” on the reverse. provenance Private Collection, Miami Estimate $ 4 , 0 0 0 - 6 , 0 0 0

308 CIRO QUINTANA CUBAN b. 1964 La Subasta de mi Vereda (The Auction of My Landscape), 2007. Oil on canvas. 67 3/4 x 67 3/4 in. (172.1 x 172.1 cm). Signed and dated “Ciro Quintana 2007” lower right edge. provenance Private Collection, Miami Estimate $ 6 , 0 0 0 - 8 , 0 0 0

235

309

310

309 GEAN MORENO AMERICAN b. 1972 (i) Untitled #10; (ii) Untitled #11, 2004. Mixed media on paper. each: 15 x 11 in. (38 x 30 cm). provenance Frederic Snitzer Gallery,

310 ARTURO HERRERA VENEZUELAN b. 1959 Untitled, 2002. Paint and printed paper collage on paper. 11 x 7 3/4 in. (27.9 x 19.7 cm). provenance Brent Sikkema, New York;

Miami; Private Collection, Miami

Private Collection, New York

Estimate $ 8 0 0 -1, 2 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

236

311

313

312

311 CARLOS ZERPA VENEZUELAN b. 1950 Frente al Mar Caribe, 1989. Acrylic on canvas. 70 1/2 x 51 in. (179.1 x 129.5 cm). Signed and dated “Carlos Zerpa 89” lower left corner; titled, inscribed and dated “Frente al Mar Caribe, Caracas, 1989” on the reverse.

313 CARLOS ZERPA VENEZUELAN b. 1950 El triunfo del bien, 1992. Mixed media on canvas. 82 1/2 x 54 1/2 in. (209.6 x 138.4 cm). Signed, inscribed and dated “Carlos Zerpa New York 92” lower left corner; signed, titled and dated “El triunfo del bien, Carlos Zerpa, New York, 92” on the reverse. provenance Private Collection, New York Estimate $ 3 , 0 0 0 - 4 , 0 0 0

provenance Dolores Smithies; Private Collection, New Orleans

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 312 CARLOS ZERPA VENEZUELAN b. 1950 Pensamiento mexicano, 1991. Acrylic and glitter on canvas. 64 x 54 1/4 in. (162.6 x 137.8 cm). Signed, inscribed and dated “Carlos Zerpa, New York, 92” lower left corner. provenance Private Collection, New York Estimate $ 2 , 0 0 0 - 3 , 0 0 0 237

ARTIST INDEX

ALGAZE, M. 15, 16 ÁLVAREZ BRAVO, L. 7 ÁLVAREZ BRAVO, M. (8 - 14) ANDREA, P. 287 ARCE, M. 137, 138 ARÉVALO, J. 234 ARIAS, N. 294, 300 ARIZA, G. 263 ARTEMIO 143 AVAF 163 AZACETA, L.C. 189 BABINSKI, M. 203 BARBATA, L.A. 276 BARRIO, A.A. 167, 217 BEDIA, J. 220, 221, 222, 223, 224 BERMÚDEZ, C. 196, 198 BETANCOURT, C. 298, 299 BLAKE, J.M. 257, 258 BARDI, L.B. 60 BOREA, A. 160 BOTERO, F. 182, 183 ,184, 186 BRAVO, C. 187 BRUNET, F. 252 BURGOS, F. 145

CALDAS, J.Z. 53, 56, 57, 59, 78 CALDERÓN, M. 125 CAMARGO, S. 173 CAMEJO, L.E. 268 CAMPANA, F. 54, 61, 62, 63, 64 CAMPANA, H. 54, 61, 62, 63, 64 CÁRDENAS, A. 175 CÁRDENAS, C.R. 229 CARMONA, W. 232 CARREÑO, M. 174 CARRINGTON, L. 100, 101, 250 CARRUTHERS, R. 185 CELAYA, E.M. 212, 213 CEMIN, S.C. 211 CINTO, S. 231 CONTE, G. 253, 254 CORNEJO, M. 68, 69 CORTÁZAR, R. 202 CRAVO NETO, M. 50 CRUZ-DIEZ, C. 90 CRUZVILLEGAS, A. 142 CUEVAS, J.L. 243 CUEVAS, M. 270 DACOSTA, M. 188 DE LA VEGA, J. 168 DEMARCO, H. 89 DEMO, G. 278 DIAGO, J.R. 244 DIAGO, R. 245 DIAZ, D. 75 DOLRON, D. 46 DR. LAKRA 124, 134, 135, 285, 286 DUCLOS, A. 282 DUVAL-CARRIÉ, E. 283 ECHEVARRÍA, G. 265 ELIZONDO, A. 218, 219, 291 ENRIQUEZ-GONZALEZ, C. 302, 303 ERLICH, L. 129 ESSON, T. 210

238

FABELO, R. 251 FERNANDEZ, A. 98 FERRARI, F. 148, 151 FRANÇA, H. 70 FRANCO, S. 206, 208 FRIEDEBERG, P. 55, 91 GALÁN, J. 271, 288 GARAICOA, C. 130, 152, 156 GARCIANDÍA, F. 227 GARDUÑO, F. 32 - 38 GILLON, J. 87, 88 GOICOLEA, A. 295 GONZÁLEZ PALMA, L. 22 -29 GONZALEZ, J. 262 GONZáLEZ-TORRES, F. 120 GRANATO, I. 205 GRUBER, M. 204 GUELFENBEIN, E. 164 GURFEIN, M. 280 GUTIERREZ KORDA, A.D. 132 HAAS, E. 51, 52 HERRERA, A. 310 HERRERA, S.P. 235, 274 HERRERO, F. 277 HOFFMANN, E. 165 HOYOS, A.M. 216 ITURBIDE, G. 48, 49 JIMENEZ, C. 233 KCHO 154, 155 KOSICE, G. 171 KOSTIANOVSKY, T. 126 KURI, G. 157

ARTIST INDEX

LAM, W. 109 - 112, 180, 181 LARRAZ, J. 209 LEBRIJA, G. 128 LEE, W.D. 200 LLONA, R. 248, 261 LLORCA, R.T. 284 LÓPEZ, P. 141 LORENZO, S.R. 304 MANUEL, V. 190, 194 MARCACCIO, F. 225, 226 MATTA, R. 102 - 105, 179 MENDIVE, M. 197, 239, 240 MENDOZA, P. 58, 72, 86 MERIDA, C. 193 MEZA, G. 259 MIJARES, J. 177 MILHAZES, B. 96, 97 MODOTTI, T. 17 - 21 MOMPÓ, M.H. 230 MONROY, G. 201 MONTENEGRO, R. 247 MORALES, R. 236, 237 MORENO, G. 309 MORENO, S.C. 191 MUNIZ, V. 41, 42, 44, 45, 123, 133, 161 MURAY, N. 6, 30, 31 NEGRET, E. 147 NISSEN, B. 255, 256 NOEL, M. 153 NUNES, E. 162 NÚÑEZ, M. 281

PAILÓS, M. 246 PALACIOS, J. 242 PETTORUTI, E. 176 POLESELLO, R. 172 PORTER, L. 94, 95, 119 PUJOL, E. 266, 267 QUINTANA, C. 279 QUINTANA, C. 307, 308 RAHON, A 249 RAMOS, R.M. 305, 306 RENNÓ, R. 118 RIOS, M.A. 144 ROCHA , T.L. 136 RODRIGUES, S. 66 RODRÍGUEZ, M. 178, 192, 195 RODRIGUEZ, V. 131, 272 ROJAS, C. 116, 289, 290 ROMBERG, O. 199 ROSA, D. 215 SACCO, G. 158 SALGADO, S. 1 - 5, 47 SANCHEZ, E. 292 SÁNCHEZ, T. 241 SCHEIMBERG, D. 273 SENISE, D. 149, 150, 214, 275 SERRANO, A. 43 SHOEMAKER, D. 65, 79 SIQUEIROS, D. 113 SMITH, R. 260 SOTO, J. 92, 93

OCHOA, T. 159 OROZCO, G. 127, 228 ORTEGA, D. 146

239

TACLA, J. 139, 207, 269 TAMAYO, R. 99 TENREIRO, J. 67, 71, 73, 81, 82, 83, 84, 85 TESTINO, M. 296, 297 TIRAVANIJA, R. 122 TOLEDO, F. 106 - 108, 166 TORRIENTES, M.S. 264 UGALDE, G. 238 UGARTE, F. 293 URIBE, F 301 VARGAS, I. 140 VARIOUS ARTISTS 117, 121 VIDAL, M.A. 170 WILLIAMS, N. 169 YAMPOLSKY, M. 40 ZALSZUPIN, J. 74, 76, 77, 80 ZERPA, C. 311, 312, 313 ZÚÑIGA, F. 114, 115

photographs Lots 1 - 36

lot 1 SEBASTIÄO SALGADO Est $ 4,000-6,000

lot 2 SEBASTIÄO SALGADO Est $5,000-6,000

lot 3 SEBASTIÄO SALGADO Est $ 4,000-5,000

lot 4 SEBASTIÄO SALGADO Est $ 4,000-5,000

lot 5 SEBASTIÄO SALGADO Est $3,000-5,000

lot 6 NICKOLAS MURAY Est $5,000-7,000

lot 7 LOLA ÁLVAREZ BRAVO Est $5,000-7,000

lot 8 MANUEL ÁLVAREZ BRAVO Est $6,000-8,000

lot 9 MANUEL ÁLVAREZ BRAVO Est $ 4,000-6,000

lot 10 MANUEL ÁLVAREZ BRAVO Est $ 4,000-6,000

lot 11 MANUEL ÁLVAREZ BRAVO Est $5,000-7,000

lot 12 MANUEL ÁLVAREZ BRAVO Est $15,000-25,000

lot 13 MANUEL ÁLVAREZ BRAVO Est $5,000-7,000

lot 14 MANUEL ÁLVAREZ BRAVO Est $15,000-20,000

lot 15 MARIO ALGAZE Est $1,500-2,000

lot 16 MARIO ALGAZE Est $1,500-2,000

lot 17 TINA MODOTTI Est $2,500-3,500

lot 18 TINA MODOTTI Est $2,500-3,500

lot 19 TINA MODOTTI Est $10,000-15,000

lot 20 TINA MODOTTI Est $6,000-8,000

lot 21 TINA MODOTTI Est $2,500-3,500

lot 22 LUIS GONZÁLEZ PALMA Est $7,000-9,000

lot 23 LUIS GONZÁLEZ PALMA Est $3,000-5,000

lot 24 LUIS GONZÁLEZ PALMA Est $7,000-9,000

lot 25 LUIS GONZÁLEZ PALMA Est $7,000-9,000

lot 26 LUIS GONZÁLEZ PALMA Est $6,000-8,000

lot 27 LUIS GONZÁLEZ PALMA Est $7,000-9,000

lot 28 LUIS GONZÁLEZ PALMA Est $5,000-7,000

lot 29 LUIS GONZÁLEZ PALMA Est $6,000-8,000

lot 30 NICKOLAS MURAY Est $3,000-5,000

lot 31 NICKOLAS MURAY Est $3,000-5,000

lot 32 FLOR GARDUÑO Est $2,500-3,500

lot 33 FLOR GARDUÑO Est $2,000-3,000

lot 34 FLOR GARDUÑO Est $2,000-3,000

lot 35 FLOR GARDUÑO Est $1,800-2,200

lot 36 FLOR GARDUÑO Est $1,500-2,000

240

photographs Lots 37 - 52

lot 37 FLOR GARDUÑO Est $2,000-3,000

lot 38 FLOR GARDUÑO Est $2,000-3,000

lot 39 NO lot

lot 40 MARIANA YAMPOLSKY Est $2,000-3,000

lot 41 VIK MUNIZ Est $12,000-18,000

lot 42 VIK MUNIZ Est $12,000-18,000

lot 43 ANDRES SERRANO Est $ 4,000-6,000

lot 4 4 VIK MUNIZ Est $12,000-18,000

lot 45 VIK MUNIZ Est $10,000-15,000

lot 46 DESIREE DOLRON Est $15,000-20,000

lot 47 SEBASTIÄO SALGADO Est $ 4,000-6,000

lot 48 GRACIELA ITURBIDE Est $2,500-3,500

lot 49 GRACIELA ITURBIDE Est $2,000-3,000

lot 50 MARIO CRAVO NETO Est $2,500-3,500

lot 51 ERNST HAAS Est $5,000-7,000

lot 52 ERNST HAAS Est $5,000-7,000

241

design Lots 53 - 88

lot 53 JOSÉ ZANINE CALDAS Est $15,000-20,000

lot 54 FERNANDO AND HUMBERTO CAMPANA Est $20,000-30,000

lot 55 pedro friedeberg Est $12,000-18,000

lot 56 JOSÉ ZANINE CALDAS Est $ 4,000-6,000

lot 57 JOSÉ ZANINE CALDAS Est $8,000-12,000

lot 58 PEPE MENDOZA Est $5,000-7,000

lot 59 JOSÉ ZANINE CALDAS Est $30,000-40,000

lot 60 LINA BO BARDI Est $20,000-30,000

lot 61 FERNANDO AND HUMBERTO CAMPANA Est $3,000-5,000

lot 62 FERNANDO AND HUMBERTO CAMPANA Est $7,000-9,000

lot 63 FERNANDO AND HUMBERTO CAMPANA Est $ 4,000-6,000

lot 64 FERNANDO AND HUMBERTO CAMPANA Est $5,000-7,000

lot 65 DON SHOEMAKER Est $ 4,000-6,000

lot 66 SERGIO RODRIGUES Est $ 4,000-6,000

lot 67 JOAQUIM TENREIRO Est $7,000-9,000

lot 68 MARIANO CORNEJO Est $ 4,000-6,000

lot 69 MARIANO CORNEJO Est $7,000-9,000

lot 70 HUGO FRANÇA Est $20,000-30,000

lot 71 JOAQUIM TENREIRO Est $10,000-15,000

lot 72 PEPE MENDOZA Est $ 4,000-6,000

lot 73 JOAQUIM TENREIRO Est $15,000-20,000

lot 74 JORGE ZALSZUPIN Est $ 4,000-6,000

lot 75 DANIEL DIAZ Est $3,000-4,000

lot 76 JORGE ZALSZUPIN Est $3,000-5,000

lot 77 JORGE ZALSZUPIN Est $ 4,000-6,000

lot 78 JOSÉ ZANINE CALDAS Est $6,000-8,000

lot 79 DON SHOEMAKER Est $3,000-5,000

lot 80 JORGE ZALSZUPIN Est $7,000-9,000

lot 81 JOAQUIM TENREIRO Est $8,000-12,000

lot 82 JOAQUIM TENREIRO Est $8,000-12,000

lot 83 JOAQUIM TENREIRO Est $7,000-9,000

lot 84 JOAQUIM TENREIRO Est $25,000-30,000

lot 85 JOAQUIM TENREIRO Est $25,000-30,000

lot 86 PEPE MENDOZA Est $7,000-9,000

lot 87 JEAN GILLON Est $3,000-5,000

lot 88 JEAN GILLON Est $ 4,000-6,000

242

editions Lots 89 - 122

lot 89 HUGO DEMARCO Est $1,500-2,000

lot 90 CARLOS CRUZ-DIEZ Est $2,000-3,000

lot 91 PEDRO FRIEDEBERG Est $700-1,000

lot 92 JESÚS RAFAEL SOTO Est $1,000-1,500

lot 93 JESÚS RAFAEL SOTO Est $1,200-1,800

lot 94 LILIANA PORTER Est $3,000-4,000

lot 95 LILIANA PORTER Est $2,000-2,500

lot 96 BEATRIZ MILHAZES Est $9,000-12,000

lot 97 BEATRIZ MILHAZES Est $9,000-12,000

lot 98 AGUSTIN FERNANDEZ Est $ 4,000-6,000

lot 99 RUFINO TAMAYO Est $1,800-2,200

lot 100 LEONORA CARRINGTON Est $1,200-1,800

lot 101 LEONORA CARRINGTON Est $900-1,200

lot 102 Roberto Matta Est $8,000-12,000

lot 103 ROBERTO MATTA Est $1,500-2,500

lot 104 Roberto Matta Est $15,000-20,000

lot 105 ROBERTO MATTA Est $700-1,000

lot 106 FRANCISCO TOLEDO Est $1,000-1,500

lot 107 FRANCISCO TOLEDO Est $1,000-1,500

lot 108 FRANCISCO TOLEDO Est $1,500-2,500

lot 109 WIFREDO LAM Est $15,000-20,000

lot 110 WIFREDO LAM Est $900-1,200

lot 111 WIFREDO LAM Est $800-1,200

lot 112 WIFREDO LAM Est $600-800

lot 113 DAVID ALFARO SIQUEIROS Est $ 400-600

lot 114 FRANCISCO ZÚÑIGA Est $1,200-1,600

lot 115 FRANCISCO ZÚÑIGA Est $800-1,200

lot 116 CLARE ROJAS Est $700-1,000

lot 117 VARIOUS ARTISTS Est $1,500-2,500

lot 118 ROSÂNGELA RENNÓ Est $1,500-2,500

lot 119 LILIANA PORTER Est $1,000-1,500

lot 120 FÉLIX GONZÁLEZ-TORRES Est $1,200-1,800

lot 121 VARIOUS ARTISTS Est $ 4,000-6,000

lot 122 RIRKRIT TIRAVANIJA Est $1,500-2,500 243

contemporary art Lots 123 - 158

lot 123 VIK MUNIZ EST $25,000-35,000

lot 124 DR. LAKRA Est $ 4,000-6,000

lot 125 MIGUEL CALDERÓN Est $ 4,000-6,000

lot 126 TAMARA KOSTIANOVSKY Est $8,000-12,000

lot 127 GABRIEL OROZCO Est $10,000-15,000

lot 128 GONZALO LEBRIJA Est $5,000-7,000

lot 129 LEANDRO ERLICH Est $ 4,000-6,000

lot 130 CARLOS GARAICOA Est $30,000-40,000

lot 131 VICTOR RODRIGUEZ Est $12,000-18,000

lot 132 ALBERTO DIAZ GUTIERREZ KORDA Est $3,000-4,000

lot 133 VIK MUNIZ Est $25,000-30,000

lot 134 DR. LAKRA Est $3,000-4,000

lot 135 DR. LAKRA Est $ 4,000-6,000

lot 136 TOMAS LOPEZ ROCHA Est $12,000-18,000

lot 137 MARCO ARCE Est $6,000-8,000

lot 138 MARCO ARCE Est $6,000-8,000

lot 139 JORGE TACLA Est $3,000-4,000

lot 140 ISMAEL VARGAS Est $10,000-15,000

lot 141 PEPE LÓPEZ Est $20,000-30,000

lot 142 ABRAHAM CRUZVILLEGAS Est $5,000-7,000

lot 143 ARTEMIO Est $8,000-12,000

lot 14 4 MIGUEL ANGEL RIOS Est $15,000-20,000

lot 145 FABIAN BURGOS Est $ 4,000-6,000

lot 146 DAMIÁN ORTEGA Est $5,000-7,000

lot 147 EDGAR NEGRET Est $10,000-15,000

lot 148 LEÓN FERRARI Est $1,200-1,800

lot 149 DANIEL SENISE Est $3,000-4,000

lot 150 DANIEL SENISE Est $3,000-4,000

lot 151 LEÓN FERRARI Est $18,000-22,000

lot 152 CARLOS GARAICOA Est $50,000-70,000

lot 153 MARIA NOEL Est $5,000-7,000

lot 154 KCHO (ALE XIS LEYVA MACHADO) Est $10,000-12,000

lot 155 KCHO (ALE XIS LEYVA MACHADO) Est $18,000-22,000

lot 156 CARLOS GARAICOA Est $10,000-15,000

lot 157 GABRIEL KURI Est $10,000-15,000

lot 158 GRACIELA SACCO Est $6,000-8,000

244

contemporary art Lots 159 - 194

lot 159 TOMáS OCHOA Est $10,000-15,000

lot 160 ALBERTO BOREA Est $ 4,000-6,000

lot 161 VIK MUNIZ Est $30,000-50,000

lot 162 EDMILSON NUNES Est $8,000-10,000

lot 163 AVAF (ASSUME VIVID ASTRO FOCUS) Est $20,000-30,000

lot 164 EDUARDO GUELFENBEIN Est $15,000-20,000

lot 165 EDUARDO HOFFMANN Est $25,000-35,000

lot 166 FRANCISCO TOLEDO Est $14,000-18,000

lot 167 ARTUR ALIPIO BARRIO Est $30,000-40,000

lot 168 JORGE DE LA VEGA Est $ 40,000-60,000

lot 169 NEIL WILLIAMS Est $120,000-140,000

lot 170 MIGUEL ANGEL VIDAL Est $8,000-10,000

lot 171 GYULA KOSICE Est $25,000-35,000

lot 172 ROGELIO POLESELLO Est $25,000-35,000

lot 173 SéRGIO CAMARGO Est $800,000-1,200,000

lot 174 MARIO CARREÑO Est $10,000-15,000

lot 175 AGUSTIN CÁRDENAS Est $35,000-45,000

lot 176 EMILIO PETTORUTI Est $80,000-120,000

lot 177 JOSE MIJARES Est $7,000-9,000

lot 178 MARIANO RODRÍGUEZ Est $20,000-25,000

lot 179 ROBERTO MATTA Est $2,000-3,000

lot 180 WIFREDO LAM Est $10,000-15,000

lot 181 WIFREDO LAM Est $18,000-22,000

lot 182 FERNANDO BOTERO Est $15,000-20,000

lot 183 FERNANDO BOTERO Est $ 40,000-50,000

lot 184 FERNANDO BOTERO Est $1,000,000-1,200,000

lot 185 ROY CARRUTHERS Est $15,000-20,000

lot 186 FERNANDO BOTERO Est $25,000-35,000

lot 187 CLAUDIO BRAVO Est $5,000-7,000

lot 188 VICTOR MANUEL Est $2,000-3,000

lot 189 MILTON DACOSTA Est $5,000-7,000

lot 190 LUIS CRUZ AZACETA Est $5,000-7,000

lot 191 SERVANDO CABRERA MORENO Est $8,000-10,000

lot 192 MARIANO RODRÍGUEZ Est $10,000-12,000

lot 193 CARLOS MERIDA Est $15,000-20,000

lot 194 VICTOR MANUEL Est $3,000-5,000

245

contemporary art Lots 195 - 230

lot 195 MARIANO RODRÍGUEZ Est $8,000-10,000

lot 196 CUNDO BERMÚDEZ Est $5,000-7,000

lot 197 MANUEL MENDIVE Est $1,000-1,500

lot 198CUNDO BERMÚDEZ Est $80,000-120,000

lot 199 OSVALDO ROMBERG Est $18,000-22,000

lot 200 WESLEY DUKE LEE Est $60,000-80,000

lot 201 GUSTAVO MONROY Est $5,000-7,000

lot 202 ROBERTO CORTÁZAR Est $20,000-30,000

lot 203 MACIEJ BABINSKI Est $ 40,000-60,000

lot 204 MARIO GRUBER Est $30,000-40,000

lot 205 IVALD GRANATO Est $30,000-40,000

lot 206 SIRON FRANCO Est $ 40,000-60,000

lot 207 JORGE TACLA Est $2,000-3,000

lot 208 SIRON FRANCO Est $15,000-20,000

lot 209 JULIO LARRAZ Est $50,000-70,000

lot 210 TOMÁS ESSON Est $25,000-35,000

lot 211 SAINT CLAIR CEMIN Est $3,000-5,000

lot 212 ENRIQUE MARTINEZ CELAYA Est $15,000-20,000

lot 213 ENRIQUE MARTINEZ CELAYA Est $10,000-15,000

lot 214 DANIEL SENISE Est $50,000-70,000

lot 215 DUDI MAIA ROSA Est $ 40,000-60,000

lot 216 ANA MERCEDES HOYOS Est $20,000-30,000

lot 217 ARTUR ALIPIO BARRIO Est $7,000-9,000

lot 218 ARTURO ELIZONDO Est $7,000-9,000

lot 219 ARTURO ELIZONDO Est $7,000-9,000

lot 220 JOSÉ BEDIA Est $5,000-7,000

lot 221 JOSÉ BEDIA Est $5,000-7,000

lot 222 JOSÉ BEDIA Est $15,000-20,000

lot 223 JOSÉ BEDIA Est $12,000-18,000

lot 224 JOSÉ BEDIA Est $8,000-12,000

lot 225 FABIAN MARCACCIO Est $3,000-5,000

lot 226 FABIAN MARCACCIO Est $ 4,000-6,000

lot 227 FLAVIO GARCIANDÍA Est $5,000-7,000

lot 228 GABRIEL OROZCO Est $10,000-15,000

lot 229 CARLOS RODRÍGUEZ CÁRDENAS Est $ 4,000-6,000

lot 230 MANUEL HERNÁNDEZ MOMPÓ Est $12,000-18,000

246

contemporary art Lots 231 - 266

lot 231 SANDRA CINTO Est $6,000-8,000

lot 232 WILLIAMS CARMONA Est $5,000-7,000

lot 233 CISCO JIMENEZ Est $6,000-8,000

lot 234 JAVIER ARÉVALO Est $3,000-5,000

lot 235 SEGUNDO PLANES HERRERA Est $3,000-5,000

lot 236 RODOLFO MORALES Est $5,000-7,000

lot 237 RODOLFO MORALES Est $5,000-7,000

lot 238 GASTON UGALDE Est $6,000-8,000

lot 239 MANUEL MENDIVE Est $1,000-1,500

lot 240 MANUEL MENDIVE Est $6,000-8,000

lot 241 TOMÁS SÁNCHEZ Est $800-1,200

lot 242 JAIME PALACIOS Est $3,000-5,000

lot 243 JOSE LUIS CUEVAS Est $1,500-2,000

lot 24 4 JUAN ROBERTO DIAGO Est $2,500-3,500

lot 245 ROBERTO DIAGO Est $3,000-5,000

lot 246 MANUEL PAILÓS Est $2,000-3,000

lot 247 ROBERTO MONTENEGRO Est $12,000-18,000

lot 248 RAMIRO LLONA Est $5,000-7,000

lot 249 ALICE RAHON Est $8,000-10,000

lot 250 LEONORA CARRINGTON Est $8,000-10,000

lot 251 ROBERTO FABELO Est $3,000-4,000

lot 252 FERNANDA BRUNET Est $5,000-7,000

lot 253 GUILLERMO CONTE Est $1,000-1,500

lot 254 GUILLERMO CONTE Est $1,000-1,500

lot 255 BRIAN NISSEN Est $1,500-2,000

lot 256 BRIAN NISSEN Est $2,000-3,000

lot 257 JORGE MENDEZ BLAKE Est $2,000-3,000

lot 258 JORGE MENDEZ BLAKE Est $2,000-3,000

lot 259 GUILLERMO MEZA Est $5,000-7,000

lot 260 RAY SMITH Est $6,000-8,000

lot 261 RAMIRO LLONA Est $8,000-12,000

lot 262 JUAN GONZALEZ Est $2,000-3,000

lot 263 GONZALO ARIZA Est $5,000-7,000

lot 264 MIGUEL SORDO TORRIENTES Est $3,000-5,000

lot 265 GIOSVANY ECHEVARRÍA Est $8,000-12,000

lot 266 ERNESTO PUJOL Est $2,000-3,000

247

contemporary art Lots 267 - 302

lot 267 ERNESTO PUJOL Est $2,000-3,000

lot 268 LUIS ENRIQUE CAMEJO Est $1,500-2,000

lot 269 JORGE TACLA Est $6,000-8,000

lot 270 MINERVA CUEVAS Est $6,000-8,000

lot 271 JULIO GALÁN Est $10,000-15,000

lot 272 VICTOR RODRIGUEZ Est $15,000-20,000

lot 273 DANIEL SCHEIMBERG Est $5,000-7,000

lot 274 SEGUNDO PLANES HERRERA Est $3,000-5,000

lot 275 DANIEL SENISE Est $8,000-12,000

lot 276 LAURA ANDERSON BARBATA Est $ 4,000-6,000

lot 277 FEDERICO HERRERO Est $5,000-7,000

lot 278 GRILLO DEMO Est $8,000-12,000

lot 279 CARLOS QUINTANA Est $5,000-7,000

lot 280 MARIO GURFEIN Est $10,000-15,000

lot 281 MARINA NÚÑEZ Est $5,000-7,000

lot 282 ARTURO DUCLOS Est $3,000-5,000

lot 283 EDOUARD DUVAL-CARRIÉ Est $2,000-3,000

lot 284 RUBÉN TORRES LLORCA Est $ 4,000-6,000

lot 285 DR. LAKRA Est $3,000-4,000

lot 286 DR. LAKRA Est $ 4,000-6,000

lot 287 PAT ANDREA Est $1,500-2,000

lot 288 JULIO GALÁN Est $ 4,000-6,000

lot 289 CLARE ROJAS Est $5,000-7,000

lot 290 CLARE ROJAS Est $800-1,200

lot 291 ARTURO ELIZONDO Est $5,000-7,000

lot 292 EMILIO SANCHEZ Est $2,000-3,000

lot 293 FRANCISCO UGARTE Est $ 4,000-6,000

lot 294 NATALIA ARIAS Est $3,000-5,000

lot 295 ANTHONY GOICOLEA Est $10,000-15,000

lot 296 MARIO TESTINO Est $3,000-4,000

lot 297 MARIO TESTINO Est $3,000-4,000

lot 298 CARLOS BETANCOURT Est $3,000-4,000

lot 299 CARLOS BETANCOURT Est $3,000-4,000

lot 300 NATALIA ARIAS Est $3,000-5,000

lot 301 FEDERICO URIBE Est $8,000-12,000

lot 302 CARLOS ENRIQUEZ-GONZALEZ Est $3,000-5,000

248

contemporary art Lots 303 - 313

lot 303 CARLOS ENRIQUEZ-GONZALEZ Est $2,000-4,000

lot 304 SANDRA RAMOS LORENZO Est $2,000-3,000

lot 305 RUBÉN MÉNDEZ RAMOS Est $3,000-4,000

lot 306 RUBÉN MÉNDEZ RAMOS Est $3,000-4,000

lot 307 CIRO QUINTANA Est $ 4,000-6,000

lot 309 GEAN MORENO Est $800-1,200

lot 310 ARTURO HERRERA Est $5,000-7,000

lot 311 CARLOS ZERPA Est $2,000-3,000

lot 312 CARLOS ZERPA Est $2,000-3,000

lot 313 CARLOS ZERPA Est $3,000-4,000

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lot 308 CIRO QUINTANA Est $6,000-8,000

GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue.

This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction.

Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller.

Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

$50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000

$5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only.

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.

Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less.

Symbol Key The following key explains the symbols you may see inside this catalogue.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy an administrative fee of $35, a storage fee of $5 per day and a pro rated Insurance charge of 0.1% of the purchase price per month.

O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided

by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful bidder.

∆ Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

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Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction.

No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

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Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information.

2 BIDDING IN THE SALE

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation.

The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members.

This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low presale estimate is at least $1000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

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CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding.

the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide.

1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.”

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis.

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes.

Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested.

Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description.

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate.

Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

Please reference the relevant sale and lot number. (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, and no later than five days after the conclusion of the auction, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property.

4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup.

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment.

(d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot.

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

5 CONDUCT OF THE AUCTION each lot is offered subject to a reserve, which is the (a) Unless otherwise indicated by the symbol confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate.

9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth

(c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of

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in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs.

(c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply.

(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

(c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY

(c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due.

Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below.

10 Rescission by Phillips de Pury & Company Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale..

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use.

11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned.

It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company.

We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us.

12 Client Information In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent.

If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number.

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company.

252

SEMANA

CARLOS MOTTA

Tuesday September 21 7pm Reclaiming Nature: Carlos Motta on sustainability and Brazilian furniture design Co-hosted by AIA New York Chapter Interiors and New Practices Committees AIA - The Center for Architecture 536 LaGuardia Place

Symposium Coordinator: Adriana Kertzer

WEDNESDAY SEPTEMBER 22 8–11pm Used and Reused Wood: Furniture by Carlos Motta exhibition and book signing Espasso 38 N. Moore Street RSVP required scm@espasso.com

Carlos Motta Mandacaru Bench, 2010

FRIDAY SEPTEMBER 24 6pm Collecting Brazil: Carlos Motta on tropicalism, sensuality and furniture followed by LATIN AMERICA auction opening reception Phillips de Pury & Company 450 West 15 Street RSVP required scm@phillipsdepury.com

For more information, please visit www.semanacarlosmotta.com

phillips de pury & company

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Olivier Vrankenne

Lady Elena Foster

Chief Executive Officer Bernd Runge

H.I.H. Francesca von Habsburg Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

International Specialists

Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Brussels Olivier Vrankenne, International Senior Specialist +32 486 434 344

Katherine van Thillo, Consultant +32 475 687 011 Buenos Aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 80 00

London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611 Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771

Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671

Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +86 35 0118 2804

Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

General Counsel

Managing Directors

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +49 30 8800 1842 fax +49 30 8800 1843

LONDON

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

23 quai des Bergues, 1201 Geneva, Switzerland

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +41 22 906 80 00 fax +41 22 906 80 01

254

80s CONTEMPORARY ART PHOTOGRAPHS DESIGN EDITIONS

AUCTION 9 DECEMBER 2010 NEW YORK Consignment deadline 15 OCTOBER

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1234 | themes@phillipsdepury.com Catalogues +1 212 940 1240 | +44 20 7318 4039

phillipsdepury.com

SPECIALISTs AND DEPARTMENTS

and Worldwide Head, Contemporary Art

CONTEMPORARY ART Michael McGinnis, Senior Director +1 212 940 1254

New York Aileen Agopian, New York Director +1 212 940 1255

MODERN AND CONTEMPORARY EDITIONS

New York

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

Jannah Greenblatt +1 212 940 1332

Joy Deibert +1 212 940 1333

Roxana Bruno +1 212 940 1229

Jeremy Goldsmith +1 212 940 1253

Timothy Malyk +1 212 940 1258

Zach Miner +1 212 940 1256

Sarah Mudge, Head of Part II +1 212 940 1259

Jean-Michel Placent +1 212 940 1263

PHOTOGRAPHS New York Vanessa Kramer, New York Director +1 212 940 1243

Shlomi Rabi +1 212 940 1246

Caroline Shea +1 212 940 1247

Peter Flores +1 212 940 1223

Carol Ehlers, Consultant +1 212 940 1245

Alexandra Leive +1 212 940 1252

Sarah Krueger +1 212 940 1245

Sarah Stein-Sapir +1 212 940 1303

Amanda Stoffel +1 212 940 1261

LONdON

LONDON

Lou Proud +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

Peter Sumner, Head of Sales, London +44 20 7318 4063

Alexandra Bibby +44 20 7318 4087

Henry Allsopp +44 20 7318 4060

Rita Almeida Freitas +44 20 7318 4087

Laetitia Catoir +44 20 7318 4064

Helen Hayman +44 20 7318 4092

Judith Hess +44 20 7318 4075

Emma Lewis +44 20 7318 4092

Leonie Moschner +44 20 7318 4074

Ivgenia Naiman +44 20 7318 4071

George O’Dell +44 20 7318 4093

Sarah Buchwald +44 20 7318 4085

Catherine Higgs +44 20 7318 4089

Raphael Lepine +44 20 7318 4078

berlin

Christina Scheublein +49 30 886 250 57

JEWELRY

Nazgol Jahan, Worldwide Director +1 212 940 1283

Edward Tang +44 20 7318 4024

Tanya Tikhnenko +44 20 7318 4065

Phillippa Willison +44 20 7318 4070

Carmela Manoli +1 212 940 1302

Emily Bangert +1 212 940 1365

PARIS

Edouard de Moussac + 33 1 42 78 67 77

DESIGN

New York

Alex Heminway, New York Director +1 212 940 1269

Marcus Tremonto +1 212 940 1268

Tara DeWitt +1 212 940 1265

Meaghan Roddy +1 212 940 1266

GENEVA

Carolin Bulgari +41 22 906 80 00

Alexander Payne, Worldwide Director +44 20 7318 4052

New York

Alexandra Gilbert +1 212 940 1268

LONDON

Lane McLean +44 20 7318 4032

THEME SALES

New York

Corey Barr, New York Manager +1 212 940 1234

Steve Agin, Consultant +1 908 475 1796

Anne Huntington +1 212 940 1210

Stephanie Max +1 212 940 1301

LONDON

LONDON

Henry Highley +44 20 7318 4061

Domenico Raimondo +44 20 7318 4016

Arianna Jacobs +44 20 7318 4054

Ellen Stelter +44 20 7318 4021

Siobhan O’Connor +44 20 7318 4040

Ben Williams +44 20 7318 4027

Marcus McDonald +44 20 7318 4014

Marine Hartogs +44 20 7318 4021

Private sales

LONDON

Anna Ho +44 20 7318 4044

PARIS

Johanna Frydman +33 1 42 78 67 77

OFFICE OF THE CHAIRMAN

Helen Rohwedder, International +44 20 7318 4042

berlin

Anna Furney, New York +1 212 940 1238

Harmony Johnston, London +44 20 7318 4099

Christina Scheublein +49 30 886 250 57

editorial

art and production

Karen Wright, Senior Editor

Fiona Hayes, Art Director

Marketing NEW YORK Trish Walsh, Marketing Manager

Iggy Cortez, Assistant to the Editor NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager London Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager 256

SALE INFORMATION

AUCTION

CATALOGUES

Wednesday 29 September 2010, 1pm

Leslie Pitts +1 212 940 1240 $35/€25/£22 at the gallery

VIEWING

catalogues@phillipsdepury.com

Saturday 25 September, 10am – 6pm Sunday 26 September, 12pm – 6pm

ABSENTEE AND TELEPHONE BIDS

Monday 27 September – Tuesday 28 September, 10am – 6pm

Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax

Wednesday 29 September, 10am – 12pm

Maureen Morrison, Bid Clerk +1 212 940 1228 bids@phillipsdepury.com

VIEWING & AUCTION LOCATION 450 West 15 Street New York 10011

CLIENT ACCOUNTING

SALE DESIGNATION

Buyers Accounts

In sending in written bids or making enquiries please refer

Nicole Rodriguez +1 212 940 1235

to this sale as NY000510 or Latin America.

Seller Accounts

Sylvia Leitao +1 212 940 1231

Barbara Doupal +1 212 940 1232 THEME SALES

Nadia Somwaru +1 212 940 1280

New York Corey Barr, Manager +1 212 940 1234

CLIENT SERVICES

Anne Huntington, Cataloguer +1 212 940 1210

+1 212 940 1200

Stephanie Max, Administrator +1 212 940 1301 London

SHIPPING

Arianna Jacobs, Specialist and Sales Coordinator +44 20 7318 4054

Beth Petriello +1 212 940 1373

Henry Highley, Administrator/Cataloguer +44 20 7318 4061

Jennifer Brennan +1 212 940 1372

Siobhan O’Conner, Senior Administrator +44 20 7318 4040 Consultant Steve Agin, Toy Art +1 908 475 1796 PROPERTY MANAGER Robert Weingart +1 212 940 1241 PHOTOGRAPHY Kent Pell, Matthew Kroening, Clint Blowers

All texts on works from The Kim Esteve Collection © Edward Leffingwell 2010

LOT 46. DESIREE DOLRON (DETAIL)

Back Cover Fernando Botero, Male Torso, 1992 Lot 184

L AT I N A ME RIC A 29 SEPTEMBER 2010 N E W YO R K NY0 0 0 510

P H I L L I P S D E P U R Y. C O M

29 SEPTEMBER 2010 NEW YORK