Latin America by Phillips de Pury & Co.

MUSIC NOVEMBER 2009 LONDON

NEW YORK NEW YORK DECEMBER 2009 NEW YORK

NOW SEX MARCH 2010 NEW YORK

MARCH 2010 LONDON

AFRICA BRIC FILM ITALIA MARCH 2010 NEW YORK

80s JUNE 2010 NEW YORK

APRIL 2010 LONDON

NO RESERVE JULY 2010 LONDON

JAPAN MUSIC NOVEMBER 2010 LONDON

NOVEMBER 2010 NEW YORK

APRIL 2010 NEW YORK

NOW SEPTEMBER 2010 LONDON

JUNE 2010 LONDON

LATIN AMERICA OCTOBER 2010 NEW YORK

BLACK NO & RESERVE WHITE DECEMBER 2010 LONDON

DECEMBER 2010 NEW YORK

3 OCTOBER 2009 NEW YORK

SALE INFORMATION AUCTION Saturday 3 October 2009 at 2pm VIEWING Saturday 26 September, 10am - 6pm Sunday 27 September, 12pm - 6pm Monday 28 September, 10am -6pm Tuesday 29 September, 10am - 6pm Wednesday 30 September, 10am - 6pm Thursday 1 October, 10am - 6pm Friday 2 October, 10am - 6pm VIEWING & AUCTION LOCATION 450 West 15 Street New York 10011 SALE DESIGNATION In sending written bids or making inquiries please refer to this sale as NY000209 or LATIN AMERICA. THEME SALES Tiffany Wood, Worldwide Director +49 30 880 018 42 New York Corey Barr, Manager +1 212 940 1234 Anne Huntington, Cataloguer +1 212 940 1210 London Tobias Sirtl, Manager +44 20 7318 4095 Arianna Jacobs, Cataloguer +44 20 7318 4054 George O’Dell, Administrator +44 20 7318 4040 Consultant Steve Agin, Toy Art +1 908 475 1796 CATALOGUES Allyson Melchor +1 212 940 1240 +44 20 7318 4039 catalogues@phillipsdepury.com ABSENTEE AND TELEPHONE BIDS Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax bids@phillipsdepury.com CLIENT ACCOUNTING Sylvia Leitao +1 212 940 1231 Buyers Accounts Nicole Rodriguez +1 212 940 1235 Seller Accounts Barbara Doupal +1 212 940 1232 CLIENT SERVICES +1 212 940 1200 SHIPPING Steve Orridge +1 212 940 1370 Beth Petriello +1 212 940 1373 Robert Rogan +1 212 940 1374 PROPERTY MANAGER Robert Weingart +1 212 940 1241 PRINCIPAL AUCTIONEER Simon de Pury 0874341 AUCTIONEERS AileenAgopian 1199037 Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK

EDITOR Karen Wright PHOTOGRAPHY Kent Pell, Morten Smidt Kristensen, Matthew Kroening and Clint Blowers

E-MAIL ADDRESSES All Phillips de Pury & Company e-mails are first initial and last name @phillipsdepury.com (e.g. twood@phillipsdepury.com) www.phillipsdepury.com Please note that all lots are offered and sold subject to (i) the StandardTerms and Conditions, and (ii) Special Terms and Conditions applicable to this sale as described within this sale catalogue. The Standard Terms and Conditions and Special Terms and Conditions should be fully read and understood prior to bidding at the auction. All lots are sold “AS-IS.” All lots are offered subject to a

LOT 42. BEATRIZ MILHAZES (DETAIL)

reserve unless otherwise indicated.

lot 27. roberto matta (detail)

LOT 166. ADRIANA VAREJﾃグ (DETAIL)

LOT 152. FERNANDO AND HUMBERTO CAMPANA (DETAIL)

LOT 105. VIK MUNIZ (DETAIL)

CONTENTS SIMON DE PURY Celebrating Latin America: a letter from the Chairman ...page 10

VIK MUNIZ Unearthing the Brazilian artist’s latest project ...page 12

TIQUI ATENCIO At home with a passionate advocate of Latin American art ...page 16

OBJECT LESSON Breaking down Lot 165 ...page 22

NEWS What’s happening in the international art world ...page 24

2PM: EDITIONS Lots 1 – 45 ...page 26

3PM: PHOTOGRAPHS Lots 46 – 115 ...page 42

4.30PM: DESIGN Lots 116 – 152 ...page 68

5PM: CONTEMPORARY ART Lots 153 – 248 ...page 88

BUYERS GUIDE How to buy and whom to contact at Phillips de Pury ...page 136 9

LATIN AMERICA and its unique cultural blend are more relevant and vibrant today than ever before. At Phillips de Pury & Company we pride ourselves on being the first to highlight the most exciting and promising artists from around the globe. Exceptional talent originating in Latin America has exploded on the international art scene over the last few years. So much so that we felt the phenomenon deserved a more focused look from the market perspective. It is for that reason that we are inaugurating, with this catalog and sale, what we intend to become an annual event. As always, enlightened private collectors have shown the way. Amongst them, formidable ladies such as Rosa de la Cruz, Patricia Phelps de Cisneros or Tiqui Atencio have played a pioneering role in getting greater international exposure for the best Latin American art. At the same time they have promoted a heightened awareness of the best contemporary art in the region. We are most grateful to Tiqui Atencio to have agreed to be interviewed in what is my ultimate James Bond type dream house somewhere in France. I first met Tiqui a number of years ago when in a previous life I was working at Sotheby’s. I was instantly struck by the beauty and vivacity of her eyes. Very soon I discovered that these eyes also have a razor sharp ability to spot top quality. Her enthusiasm and passion for art is balanced by her commitment to getting a wider audience for art from Latin America. Her active support for the Latin American Acquisitions Committee for Tate is only one expression of this. It is the total originality of Vik Muniz’s work that attracted me from the time I first saw it. In my great vanity I thought it would be cool to have my portrait made by him. When I expressed that desire to him he just asked me the question: ‘Chocolate or blood?’ As a Swiss and a chocoholic on top of it, I tend to be more naturally drawn to chocolate but, as I clearly prefer bright red as a color, I answered ‘Blood.’ He did not want to be bored making a dull portrait, so he suddenly produced a gun that he instructed me to hold à la 007. The result is a portrait that I hope my grandchildren may find some amusement in. What we are really proud of at Phillips de Pury is to have sold the strong Marat Dead that is the centre piece of the very moving film You, Me, Garbage and Picasso, made by Karen Harley on Vik Muniz. All this and much, much more thanks to LATIN AMERICA!

SIMON de PURY CHAIRMAN, PHILLIPS de PURY & COMPANY 11

VIK MUNIZ ART, JUNK AND VALUE WORDS JONATHAN ROMNEY | INTERVIEW KAREN WRIGHT

studio, and has his subjects trace out the image, filling in the dark areas and lines with material that they themselves have collected. Watching the film, you worry that Muniz’s subjects, on their hands and knees, seem to be doing all the hard work; but we eventually see the artist getting down and sprinkling coffee grounds, or something yuckier, on the studio floor. He then re-photographs the finished, ‘junked-in’ images and finally, completing the circle, takes the resulting pictures to auction for the highest possible price – the proceeds going to ACAMJG, the Association of Scavengers of Jardim Gramacho, of which one of his subjects, Tião (Sebastião Carlos dos Santos), is president. The project is the latest of several series in which Muniz has played with ideas about representation and material by recreating preexisting images in unlikely media. Some of these projects seem primarily conceptual: at the Whitney, he used dust from the museum to recreate some of its best-known exhibits. Other series are more obviously in the politicalpolemical vein of Pictures of Garbage. In Sugar Children (1996), Muniz created portraits of sugar workers’ children from St Kitts, traced in sugar from their plantations, to comment on the way that labour converts workers’ effort into saleable value. Early on in Harley’s film, before such themes fully emerge, we might well feel uneasy about Muniz’s intentions. We see the artist wandering round the joyless expanses of Jardim Gramacho, watching mountains of rubbish cascade off the backs of lorries. Then Harley cuts to the glacially white curves of the Guggenheim, where Muniz muses on Picasso’s Woman Ironing, one of the paintings he will appropriate: an image of poverty contemplated in a temple of cultural and commercial value. On first arriving in Jardim Gramacho, camera strapped on his back, Muniz gazes around like a bewildered tourist, wrinkling his nose while a pair of vultures hop about in the background. ‘When you arrive here,’ he marvels, ‘you have to overcome some sensorial barriers… The smell is wonderful, it’s incredibly bad.’ You immediately suspect a dubious nostalgie de la boue (although the subtitled translation ‘wonderful’ for the Portuguese formidável may be misleading: I suspect the more ambivalent ‘amazing’ would do just as well). Gradually, however, the logic of Muniz’s project emerges and – given

A SELF-DESCRIBED ‘low-tech illusionist,’ Brazilian artist Vik Muniz uses diverse, seemingly unpromising media – sugar, cotton, wire, thread, chocolate – to create pictures that at once are trompe l’oeil and yet at the same time fool no one. Stand at a distance from these works and they appear to be quasi-photographic re-creations of famous paintings and other images; look at them close up and what you see is the improbable material he uses, pretending to be nothing other than what it is. And what it is in his latest series is, quite simply, garbage. A new documentary, You, Me, Garbage and Picasso, records a project that the Sao Paolo-born, New York-based Muniz recently undertook in his native Brazil. Pictures of Garbage was exhibited in spring this year in Rio de Janeiro’s Museum of Modern Art, and comprises images of contemporary Brazilians imitating heroic or classical poses: Jacques-Louis David’s Marat slain in his tub, a Madonna with children, various idealised dignity-of-labour figures in the manner of Soviet or Latin American revolutionary art. But the pictures are actually ‘painted’ – or rather, picked out – in garbage. Muniz’s models and collaborators are scavengers, people who make a subsistence gleaning discarded but reusable material in Jardim Gramacho on the outskirts of Rio, Latin America’s biggest landfill site. Inhabited by some 5000 people, the place is reputed to be hell on earth. Its denizens, Muniz comments – before his first visit, apparently – are ‘probably the roughest people you can think of – they’re all drug addicts. This is the end of the line… This is where everything that’s not good goes – including the people.’ The film is directed and edited by Karen Harley, with Joao Jardim and Muniz’s wife, artist Janaina Tschäpe, as additional directors. One of the executive producers is Fernando Meirelles, whose film City of God did much to bring the poverty in contemporary Brazil to global awareness (albeit arguably glamorising it in the process). Muniz insists at one point that he is more interested in process than in final product, and this particular process is certainly an ingenious exercise in circularity. Muniz enlists a number of Jardim Gramacho inhabitants and photographs them in iconic poses – images that are themselves recycled from the cultural repertoire. He projects each photo onto the floor of a huge 12

Courtesy of Sikkema Jenkins & Co., New York

Vik Muniz, Atlas (Carl達o), from Pictures of Garbage, 2008. Digital C-print

Left: Vik Muniz, Marat (Sebastião). Right: The Gipsy (Magna), both from Pictures of Garbage, 2008. Digital C-prints.

the artist’s approachable, no-nonsense affability, even blokiness – you start to root for him and his subjects. The scavengers he recruits, some eight of them, are a charismatic and articulate bunch, godsends for film-maker Harley as much for Muniz himself. Two of the women, Isis and Suelem, are exceptionally chic and photogenic, although their glamour is very much their own and not something Muniz imposes on them in his pictures. Some of Muniz’s collaborators express a defiant pride in their occupation, notably Tião (‘To me, being a scavenger is being a hero’) and Zumbi, a father of nine who insists that scavenging is a lifestyle he has chosen because he likes it. Tião himself is an activist given to quoting Machiavelli: he once found a discarded copy of The Prince, dried it out, then devoured it. The women, however, eschew heroics and mystification: ‘This is no future… It makes me ill,’ declares Isis, while Suelem, who eats whatever she can salvage, expresses the bottom line of the scavenger’s life when she says of her diet, ‘If I don’t die, it’s not bad.’ Once we have followed Muniz through the process of turning junk quasi-alchemically into a visual commodity worth big money, then the project makes perfect sense. Muniz is out to prove that there is something new beyond ‘the end of the line,’ and indeed that the line itself can be reversed: he wants to take products, and people, beyond the supposed limit of their socially useful lives, to grant them new value and dignity. Even so, watching the project in its early stages could set off any sceptic’s alarm. When Muniz photographs the handsome Tião, nobly decked out as the dying Marat – in a bathtub that the model himself has obligingly hauled over a hill – we could be watching a parody of poverty-chic fashion photography, perhaps an outtake from Zoolander. Yet everything begins to cohere as the film follows the elaborate, absurdly roundabout process of transformation by which Muniz and his collaborators painstakingly form debris into images. The reclaimed scraps and chunks are transfigured into a kind of solid ‘paint,’ yet at the same time acquire a new value as themselves, junk becoming a sort of ideal quintessence of junk. In the image of a sack carried on a worker’s back or head, the container itself becomes a cornucopia made of, and spilling over with, garbage

at its most imposing, fruitful, formidável. The process that Muniz has devised reaches its conceptual climax in the auction itself, at Phillips in London, where the picture of Tião as Marat sells for £28,000. Muniz brings Tião to London to enjoy the auction, and for a potted lesson on the relationship between art, junk and value: they admire a Gavin Turk bronze cast of a bin bag, and a Manzoni worth $300,000 (presumably, given the theme, a can of mierda de artista). Seeing his likeness on sale, Tião professes, ‘I feel like a pop star here’ – and you have to admit he carries himself like one too. Muniz finally gives copies of the pictures to their subjects, who are delighted and moved, and even admit to being empowered by the experience: one woman says that she had never felt able to tell people what she did for a living, until working with the artist allowed her to. The subjects each get their moment of stardom, but we don’t feel that they are being led into the media mincer and cast aside: this is not, as far as we can see, an X Factor process. Tião might get to appear on a glitzy Brazilian TV chat show, but he uses the occasion to make a political point, correcting the host that the proper term for what he and his co-workers deal in is not ‘garbage’ but ‘recyclable material.’ You, Me, Garbage and Picasso is essentially a functional ‘making-of’ document rather than having major artistic aspirations in its own right. Director Harley does an honest, effective job of storytelling and explanation: getting us on Muniz’s side, getting us to see both the joke and the serious social point of his undertaking. The film leaves some questions unanswered: it would have been good to know exactly how Muniz recruited and selected his collaborators, and – given the supposed roughness of the Jardim Gramacho population - whether he got the bum’s rush from any hostile locals who didn’t take kindly to arty types. And it could be said that the film spends too much time in the art studio, not quite enough in the garbage fields. But then, to do cinematic justice to Jardim Gramacho’s strangeness, squalor and austerity, it would really have taken a Werner Herzog – or indeed, a Fernando Meirelles. Jonathan Romney is a journalist and film critic on The Independent on Sunday. You, Me, Garbage and Picasso will be released shortly. 14

Courtesy of Sikkema Jenkins & Co., New York

«TO ME, BEING A SCAVENGER IS BEING A HERO»

«THE GARBAGE DUMP IS CLOSING AND THAT IS A SOCIAL TRAGEDY»

We caught up with Vik Muniz on a crackling mobile phone in Brazil, late at night. He had just returned from opening his show in the new Fundação Inimá de Paula, Belo Horizonte. Despite sounding tired, he revived as he talked about his project of making contemporary art accessible to all. KAREN WRIGHT How and when did the garbage project start? VIK MUNIZ The project started three years ago when an English couple wanted to do a project with me.They said I could work with a film maker, Lucy Walker, who had done several brilliant films. I didn’t want to do a film about me but to do something about a specific body of work.

peoples’ identities, but I chose the images instinctively. I had been to places of impressive endeavor before – gold mines where people were moving things from one place to another. This was different. People were picking up already used things. The movement seemed choreographic but when I left the site I was thinking about work.

KW Tell me about Jardim Gramacho, the site. VM Chaotic and artistic! At times you feel you are surrounded by broken and shredded things.You feel you are losing it a bit. But it’s very beautiful – it’s also very aggressive on the senses. It’s 55 meters high, built on mangroves; one side is beautiful mountains, very pointy and beautiful. At first there is an unbearable smell, you want to vomit. After 30 minutes you get used to it and focus on other things. But at the same time it is visually enticing, it causes a cognitive challenge and you need to adapt to it.

KW Was there a specific period of art you thought of? VM I chose paintings when people started glamorizing work, this would be after slavery. I wanted to mine a genre of work, people like Jean-François Millet and The Gleaners. The Marat picture was pure coincidence. Tião was carrying a bath and I saw it, and thought of the painting. KW Does this come out of Duchamp’s ready mades ? VM No, it is more Picasso than Duchamp – which is strange as all the garbage is ready mades! I am against the idea of found objects, everything can be found there, but the end result is that the garbage becomes formal.

KW How did you choose the people you worked with on the portraits? VM There are 5000 people working on the site and some were reluctant to be filmed.We went through the process of selecting different characters. What I liked was there was a strict work conduct. You imagine it would be very chaotic but its not.

KW How big were the portraits when you made them? VM 20 by 30 meters. KW Where did you do them? VM In my studio, which is a huge hanger, in a rough area of town, Parada de Lucas, and which is conveniently next to a huge junkyard. We were up a very tall tower, 23 meters high. We were shooting down from an angle, giving the viewer a shot of normal perspective. People come to visit the studio when they are in town for Biennales. We tell them it is like life in a favela. On the other side of the street is the other gang in the narcotics war, the area is called the Gaza Strip. It sounds worse than it is. (Laughing).

KW Did you run into aggression? VM There are extreme rules necessary to coexist. We chose to go to more friendly people. They were very suspicious, and had no idea what they were doing until I brought them into the studio. You have to remember that these people had never been to museums and knew nothing about art, not to mention contemporary art. KW It was very touching to see the process in the film, but has it made a long term difference to people on the project? VM This has changed their lives. If they went back, they went back with a different attitude, and some didn’t go back. Tião, the guy who I brought to London, has done some amazing things since the film. He has spent his efforts getting support for his class. He’s been on national television, on the equivalent of the David Letterman Show. 80,000,000 people watch this programme. Tião was so comfortable in front of the camera, I was more nervous than he was.He reads Machiavelli, he is comfortable talking to politicians. We are trying to get him an audience with the governor, trying to get recycling on the agenda.The garbage dump is closing and that is a social tragedy.

KW Do you feel part of the Latin American scene? VM I feel very lonely most of the time. In Brazil there is a huge influence of the history of Neo Concretism coming into the work of artists like Ernesto Neto, but I am not into that. KW What was your artistic background? VM When I was young and growing up my parents were poor and we didn’t go to museums much. I was more influenced by art in Europe of the 60s and the 70s – pop, minimalism, Arte Povera – than in Latin America. To me, Joseph Beuys was amazing! A natural shaman. Warhol was also really important. As to my market I say I am American, but as a person I am Brazilian. I was in advertising before I was an artist, dealing with marketing. I wanted to make art about what I disliked in advertising.

Portrait: Barney Kulok

KW Has it changed you? Did the characters surprise you? VM Yes! Fabio, who runs the studio, and I both have been changed. We didn’t know whether it would work and we thought that we would be working with rough types. Once we got past their suspicions they were very smart. They contributed to the project and had such enthusiasm. They were so eloquent about the project and how it affected them. Many of us – artists, curators and collectors – are not so clear. And I will never look at garbage in the same way! (Laughs.)

KW Has Latin American art changed? VM When I was growing up there were things you could not say but Brazil has become more open. There is a new generation of artists – Rivanne Neuenschwander and Os Gêmeos (the graffiti artists) – more communication and more openness. KW What is important to you now? VM My quest is designing an exhibition to which 300,000 visitors have already been [the show just opened at the Fundação Inimá de Paula, Belo Horizonte.] There are three more venues and we are hoping that before it closes 600,000 people will have seen it. I want to make contemporary art more relevant now. I want to play with conceptual art, how to use it for a more general public. I don’t have a specific public and I have proved with this project that anyone can understand it. Making art – anyone can be part of it – it is an amazing effect. ■

KW What was important about the project for your work? VM I was already established with my work, I had reached a curve, but sometimes I must betray my public. I wanted to work with different people, to have other input. KW How did you choose the paintings? VM I chose familiar paintings that carry the baggage of the viewer so they bring context to the work. At first I wanted to produce images based on 15

Tiqui Atencio photographed with her Yinka Shonibare sculpture, Lady on a Unicycle: August 21, 2009

TIQUI ATENCIO AN EYE FOR BEAUTY WORDS KAREN WRIGHT | PHOTOGRAPHY LUKE WHITE

This page, top to bottom: Anish Kapoor, Untitled (Vessel) (1985). Lucio Fontana, Manhattan (1962). Anish Kapoor, Untitled (2006). Opposite: in the study are photographs by Helmut Newton, Vanessa Beecroft and, in the foreground, a sculpture by Cesar. Below, the dining room reflected in a work by Jim Hodges.

THERE ARE FEW people who are as passionate about art as Tiqui Atencio. Ever since she bought her first piece, a painting by the Venezuelan artist Armando Reverón in the 1960s, she has been an avid collector. She also chairs the Committee for Acquisitions of Latin American Art at the Tate and has done so since its inception in 2003. Her interests are not limited to this region alone: she has also amassed a truly international collection. Tiqui was born in Maracaibo, the second largest city in Venezuela. Her uncle and aunt were serious art lovers. They owned works by Pablo Picasso, Frances Bacon, Lucian Freud and Alberto Giacometti. They also collected Latin American work including Pre-Columbian artefacts and modern masters Rufino Tamayo, Diego Rivera, Frida Kahlo and David Alfaro Siqueiros. Tiqui’s extended family moved to Caracas when she was twelve years old, where she was introduced to the world of galleries. ‘The galleries were open on Sundays in Caracas, so it became part of our weekly ritual,’ she remembers. She first studied art history at the Catholic University in Caracas. Tiqui later moved to New York where her uncle was living, and immediately started visiting museums and galleries. She has a special fondness for auction houses. She remarks, ‘My uncle was part of the establishment, so I would go with him to auctions. I got my education in auction houses, I went with him to view and developed a passion for them. I was in awe of the prices and I liked the drama, people raising their paddles.’ In New York she continued to collect and became increasingly drawn to the contemporary scene. She made her first contemporary purchase – a David Salle painting – and also bought JeanMichel Basquiat, Donald Bachelor, Phillip Taaffe, Andy Warhol (‘I wish I had bought more!’), Brice Marden, Jeff Koons and James Brown. Tiqui moved to Europe in 1987, living in Paris, where she studied history of art at L’École du Regard. She is clear that art is something that has to be learned; the eye has to be developed. Looking around at the towers of art books carefully arranged on low tables, I see she takes her education seriously. ‘I have an eclectic collection but I am lucky enough to be able to travel widely,’ she explains. ‘I go to as many events, exhibitions, biennales and fairs as possible. I am always looking and creating scenarios in my head.’ By the late 80s she was living in London, and had started to invest in the Young British Art scene. She bought her first Damien Hirst ‘for £8,000’ she says laughing. ‘I always like to buy early. I bought Cerith Wyn Evans, Gary Hume [there is a perky yellow snow man by the swimming pool] and Tracey Emin when they were starting out. In New York I bought Agnes Martin, Brice Marden and Donald Judd early in their careers.’ Sitting in her beautiful house in France, it takes a while to acclimatise oneself to the collection. Not all of it is as eye catching as the large circular Ugo Rondinone and the lurking Paul McCarthy near me. Tiqui says much of her collection 18

«IT IS IMPORTANT NOT TO GHETTOISE ARTISTS BY WHERE THEY COME FROM»

Opposite page, top row from left: Tobias Putrih, Macula A/-1 (2005). Beatriz Milhazes, Palmolive BM 3960 (2004). Detail from Doris Salcedo, Atrabillarios (1996). Middle row, from left: Louise Bourgeois, Amoeba (1963). Detail from Marc Quinn, Scarlet Supernatant Morphology (1999). Gary Hume, Back of Snowman (2001). Bottom row, from left: Yves Klein, S.41 Venus (1982). Detail from Juan Muñoz, Untitled (1996). Botero, Full Portrait of Tiqui Atencio (1992).

comes into its own at night, when the Jenny Holzer and Bill Viola shine forth. Many of the works, like the Fischli and Weiss projection piece, a work I had admired in Tate Modern at their recent show, are more subtle, waiting to be discovered. When I comment on the Fischli and Weiss she says ‘I have a lot of Swiss artists, don’t I?’ gesturing at the Rondinone and the Urs Fischer. She tells me that she loves the Fishli and Weiss rubber work she has in her house in London. ‘It looks like a Moroccan pouf and everyone goes and sits on it. When I tell them it is an art work, they jump up and I say no that is okay, Fishli and Weiss have given me a special artist’s dispensation to sit on it!’ DESIGN AS A MOTIF appears throughout the house, in beautiful Pre-Columbian bowls and also in work by another favourite of Tiqui’s, Franz West, whose metal chair is placed nearby. She points out another work by West, part of a series of plasters which you were meant to wear. Tiqui tells me that it reminds her of Brazilian artists Hélio Oiticica, Lygia Clarke and Lygia Pape, and the costumes that they made to be worn in their street performances. The West chair, metallic, and dare I say it uncomfortable looking, is placed under a shimmering wall piece by Fontana. Tiqui fills me in. ‘The Fontana relief is called Manhattan and is from 1962, when Fontana went to New York for his exhibition at the Guggenheim. He made a series of cut works in metal: aluminium, pewter and copper.’ It is an extraordinary work, more of a sculpture than a painting, and sets up an interesting relationship with the nearby Tobias Putrih sculpture, a work from his ‘Macula’ series, the graduated shapes of a torso cut from corrugated cardboard. Relationships and dialogues are central to Tiqui she tells me. ‘It is important not to ghettoise artists – or perhaps categorise them is a better word – by where they come from.’ This was a condition she imposed when she was approached by Sir Nicholas Serota to help him to start collecting Latin American art. She was on the executive committe of the International Council of the Tate when Serota asked her to put together a committee to fund acquisitions so the Tate could start collecting Latin American art in a serious way. She was already the President of the International Director’s Council of the Guggenheim and Thomas Krens had mentioned a similar idea, but Serota was more focused. Six years later she heads a committee of forty-five members, which meets twice a year. Works are pre-selected by curators who then present the work to the committee. It is her job as Chairman to get a consensus of opinion. ‘One of the first works we acquired for the Tate was a work by the Cuban artist, Carlos Garaicoa, star of the recent Havana Biennale. I have one over there.’ She points to a work nearby. ‘The com-

mittee is not about our private collections though. We have to put those concerns aside.’ We return to this topic during our conversation. ‘Much of the Latin American work today has a heavy social political content.’ I ask her whether she had seen the installation by Teresa Margolles in the Mexican pavilion at the recent Venice Biennale. ‘Yes that is a case in point,’ she says. ‘That work is important and the Tate must have it, but it is not easy to live with it in a domestic setting.’ There is an eclecticism in the works that surround us. A glowing Mediterranean blue Yves Klein torso, a delicate white Piero Manzoni cotton balls piece placed near a plaster torso by Louise Bourgeois. It is a perceptive sensibility that has placed these works from different decades and continents in dialogue with the more contemporary Jim Hodges, Anish Kapoor, Yinka Shonibare and Tobias Putrih, who I mention to Tiqui. She says, ‘Art is about making connections between artists who have a sensibility that can come together.’ I ask whether she is still purchasing Latin American artists. ‘Yes, but since the institutions have discovered them, the prices have shot up.’ She smiles. ‘That is a price we pay to help the area.’ Recent shows, like that of Brazilian artists Hélio Oiticica and Cildo Meireles at the Tate Modern in London, have helped raise the profile of the region, as has the inclusion of artists Lygia Pape and Cildo Meireles in Daniel Birnbaum’s Venice Biennale this year. It is not just the institutions that have helped to raise the consciousness she says. Private collections like that of Patricia Phelps de Cisneros, the Daros Foundation in Zurich, as well as American collectors Bruce and Diane Halle, have helped to spread the word, as have auctions (including the Phillips de Pury Latin American auction in New York on October third.) Is there more to find? I ask. ‘Absolutely. Latin America has a long history to draw from. We have the gardens, the design, the architecture, there is a wealth still to discover.’ Tiqui says, ‘Latin Americans have a hunger to discover things themselves. They always have the latest sunglasses, trainers, hair styles, music and a love

Vik Muniz, Chocolate Portrait (2005) 21

of all things visual.’ When I ask why she thinks Latin American art has been overlooked, her response is that ‘Americans were looking North and Latin Americans were in dialogue with Europe. But there were crossovers – look at artists like Ellsworth Kelly, who would have been aware of Latin American Neo-Geo and what about artists like Jackson Pollock who hung out with artists like Siqueiros when he moved to New York.’ She pauses. ‘Above all, it was the American psyche which was suppressing it. It was all a bit xenophobic.’ Has this really changed, I ask her? She reminds me that MoMA had a show of Reverón in 2007. I learn later, however, that it was only the fourth one-man show at MoMA by a Latin American artist. I look up the review in the New York Times and read critic Harland Cotter’s prophetic words: ‘Unless you have spotted his single smoke-puff of a painting in the Museum of Modern Art, Armando Reverón probably means nothing to you. Why should he? Reverón, who died in 1954, spent most of his life in a shack by the sea in his native Venezuela.’ Cotter’s conclusion though is more upbeat, ‘Whatever. The important point is that MoMA is pushing ahead in an effort to expand its definition of modernism to include the world. We may quibble over how it proceeds, but the forward, outward movement can only be good. And Reverón is here, in a magnetic, bizarre and haunting show. He is an artist I think you will be glad to know.’ ARE THERE YOUNG and exciting artists she is looking at, I ask. ‘Yes!’ she says enthusiastically. She lists a few. She recently bought a work by Brazilian artist Rivanne Neuenschwander, saying it reminded her of a sculpture already in her collection, by the late Argentinian artist Mira Schendel. She likes the work of the Venezuelan Javier Tellez; Melanie Smith, an American now living and working in Mexico City; Elias Crespin, the grandson of Gertrudis Goldsmith, aka Gego; Maria Fernanda Cardoso; and Magdalena Fernandez. I point out that many of these are women and she says, ‘I have an affinity with the feminine psyche’. Tiqui is not only buying contemporary Latin America. She recently bought a seminal work from the late Venezuelan Kineticist, Jesús Rafael Soto. All too soon it is time to leave. A quick look at two Latin American portraits of Tiqui, a work in chocolate by Vik Muniz and an earlier vibrant painting by Botero. She interjects when I peer at the Botero’s chubby faced likeness, ‘Botero is a genius you know, I have been to all his studios.’ Later, on my way home, I have a text from Tiqui. ‘Has Luke [the photographer] managed to photograph the Doris Salcedo shoe work, near the Botero? It’s one of my favorites.’ Yes is the answer, and yes, Salcedo is next to Botero and none the worse for it. ■

OBJECT LESSON: LOT 165 WORDS RODMAN PRIMACK

THE ARGENTINIAN ARTIST Leandro Erlich is a master of trickery. Since receiving international acclaim at the Venice Biennale in 2001, he has been engaging audiences with his complex visual sleights of hand. He has exhibited at the Whitney Biennial, New York (2000), Centre d’Art Santa Monica, Barcelona (2003), MACRO Museo d’Arte Contemporanea Ramos (2006), Bienal de Sao Paulo (2004), and Prospect 1, the New Orleans Biennale (2008). Shattering Door (2009) is a marvelous example of his oeuvre. Here a wooden door appears to have been smashed by a thrown steel ball which lies below. A wooden door shattered? This is impossible and thus confounds the viewer. On close inspection the ‘door’ is painted mdf. Like the ‘magical realist’ authors so identified with twentieth century Latin American literature, Vargas Llosa, Marquez, and Allende, Erlich’s work is about transforming what we can easily recognize and accept as real, into something unexpected. In another work, Window and Ladder – Too Late for Help (2008), in an empty field a window surrounded by a fragment of brick wall hangs in mid air, an escape ladder propped to the sill. In one of his most known and heralded works, Swimming Pool (2001), a swimming pool is mysteriously filled with people walking, talking, sitting comfortably under water… Something is not right. The sense of fun and visual trickery characterising Erlich’s work masks a darker subtext. The late 70s and early 80s were a time of great political unease and fear in Argentina. In 1976 a military coup catapulted the country down a rabbit hole of darkness in which dissidents and opponents of the military junta as los desparecidos. Even as a child at this time Erlich could not have escaped the sensation of being in a state built like a house of mirrors where nothing was as it seemed. Erlich’s use of trompe l’oeil techniques and beautifully executed optical illusions reflect the nation’s utilisation of similar tactics. At once engaging, his work leaves one with a lingering sense of confusion, doubt and irony – humor replaced by a gnawing sense of ill-ease.

The Belgian Surrealist René Magritte may have died over forty years ago, but his influence lives on in the work of contemporary artists. Pictured here, the multi-layered The Human Condition (1933).

Italian artist, Michelangelo Pistoletto, a member of the Arte Povera movement, has been utilizing mirrors as a material since 1961. His installation of huge mirrors in this year’s Venice Biennale was enlivened by two intense performances where the mirrors were attacked by Pistoletto with a menacing looking sledge hammer. 22

Leandro Ehrlich says, ‘Looking means opening an infinite space of reality interpretation.’ It sounds confusing, until you let his works like Window and Ladder-Too Late for Help (2008) help you decipher the statement.

Ehrlich’s Shattering Door is a strangely unsettling work. Erlich is not the first contemporary artist to create spiders webs, both Vija Celmins and Jim Hodges have done so, but the wood’s materiality takes the disconnect to a different level.

The Human Condition, 1933 (oil on canvas) by Magritte, Rene (1898-1967) National Gallery of Art, Washington DC, USA/ Lauros / Giraudon/ The Bridgeman Art Library © ADAGP, Paris and DACS, London 2009.

were abducted, tortured and in many cases killed. They later came to be known

PARIS

FIAC is the premier Parisian art fair, which follows closely after Frieze (October 22 - 25). This year 196 modern and contemporary art galleries from 21 different countries will vie for the viewer’s attention. It would be hard not to grin when confronted with George Condo’s Smiling Clown. When you escape from the Louvre and the art fair, Paris is full to bursting with great shows. The Pompidou has a retrospective of Pierre Soulages next to Jim Hodges and a Guy Maddin retrospective while at the Musée d’Art Moderne de la Ville de Paris you can see the work of Albert Oehlen, and if that is not enough the Grand Palais has elder statesman Renoir au XXe siècle. 24

Smiling Clown© George Condo, 2009

NEWS

BOSTON

Damián Ortega was born in Mexico and now lives and works in Berlin. His first major solo museum show, Damián Ortega: Do It Yourself, continues at the ICA Boston until January 18, 2010. Included is this work (above) Cosmic Thing (2002) in which he disemboweled his own 1989 VW bug and displayed it as a twenty first century mobile. It was shown in Francesco Bonami’s Dreams and Conflicts – The Viewer’s Dictatorship, the Venice Biennale of 2003, which launched Ortega’s international career. Ortega says the idea evolved from the Mexican selfbuild culture where ‘we like to construct everything.’ He points out as an influence Brazilian artist Hélio Oiticica, who used modular space and ‘whose work is about penetrating, the inside and the outside.’

NEW YORK

God Knows © John Baldessari, Private Collection. Three Color Curl (CMY: Irvine, California, August 19, 2008, Fuji Crystal Archive Type C): image courtesy the artist and Wallspace, New York © 2009 Walead Beshty

In New Photography 2009 MoMA explores photography through the work of six artists, all of whom practice in different ways. Pictured here is Three Color Curl (CMY: Irvine, California, August 19, 2008, Fuji Crystal Archive Type C) by London-based multipractitioner artist Walead Beshty, who proves that photography can survive full abstraction. Daniel Gordon, Leslie Hewitt, Carter Mull, Sterling Ruby, and Sara VanDerBeek complete the group of selected artists.

MEXICO CITY

Cildo Meirieles’ brilliant show at Tate Modern was a revelation for many viewers. It is proving an equally big hit in Mexico City at MuAC (the Museo Universitario Arte Contemporaneo, until November 1, 2009.) It would add an extra dimension to see the exhibition on the continent which inspired many of the works, including the unforgettable sensory room, Volatile (1980 - 1994/2008). Mereiles told me that this work was influenced by memories of summer holidays in the middle of Brazil, where it would be so hot and dry the earth would appear to swallow up his toys when he threw them.

LONDON

John Baldessari: Pure Beauty at the Tate Modern (October 13, 2009 until January 10, 2010) is just one of a starry list of exhibitions celebrating the Frieze effect in London. I love the Magritte-like surrealism of this image, not to mention the Baldessari wit on display with the punster title, God Nose (1965.) 25

LATIN AMERICA 2 PM 3 OCTOBER 2009 NEW YORK

EDITIONS LOTS 1 - 45 ARCE, M. 43, 44

LAM, W. 6

BOTERO, F. (AFTER) 22 BURLE MARX, R. 40

MATTA, R. 27, 28, 29, 30, 31 MAYA, L. 18 MILHAZES, B. 42 MORA, F. 21 MUNIZ, V. 12

CHAGOYA, E. 10

SEGUÍ, A. 45 SERRANO, A. AND JENKINS, M. 11 SOTO, J. R. 37 SZYSZLO, F. DE 39 TAMAYO, R. 1, 2, 3, 4, 5, 7, 8 TOLEDO, F. 23, 24, 25

GONZÁLEZ-TORRES, F. 9 PARDO, J. 33, 34, 35, 36

VARIOUS ARTISTS

RAMOS MARTÍNEZ, A. (AFTER) 19 RIVERA, DIEGO 20 RODRIGUEZ, V. 16, 17

ZÚÑIGA, F. 15

JAAR, A. 14 KUITCA, G. 32, 41

13, 26, 38

1 RUFINO TAMAYO MEXICAN 1899-1991 Femme au collant noire, from the Mujeres suite, 1969. Lithograph in colors, on Rives BFK paper. 27 5/8 x 21 1/4 in. (70.2 x 54 cm). Signed and numbered 4/150 in pencil (there were also 25 artist’s proofs in Roman numerals), published by Touchstone Publishers, New York. LITERATURE Juan Carlos Pereda 111 Estimate $ 1, 5 0 0 - 2 , 5 0 0

3 RUFINO TAMAYO MEXICAN 1899-1991 Torse de femme, from the Mujeres suite, 1969. Lithograph in colors, on Rives BFK paper. 27 1/2 x 21 1/4 in. (69.9 x 54 cm). Signed and numbered 4/150 in pencil (there were also 25 artist’s proofs in Roman numerals), published by Touchstone Publishers, New York. LITERATURE Juan Carlos Pereda 108 Estimate $ 2 , 0 0 0 - 3 , 0 0 0

2 RUFINO TAMAYO MEXICAN 1899-1991 Femme au collant rose, from the Mujeres suite, 1969. Lithograph in colors, on Rives BFK paper. 27 1/2 x 21 in. (69.9 x 53.3 cm). Signed and numbered 38/150 in pencil (there were also 25 artist’s proofs in Roman numerals), published by Touchstone Publishers, New York. LITERATURE Juan Carlos Pereda 116 Estimate $ 1, 5 0 0 - 2 , 5 0 0

4 RUFINO TAMAYO MEXICAN 1899-1991 Femme aux bas mauves, from the Mujeres suite, 1969. Lithograph in colors, on Rives BFK paper. 27 3/4 x 21 1/4 in. (70.5 x 54 cm). Signed and numbered 4/150 in pencil (there were also 25 artist’s proofs in Roman numerals), published by Touchstone Publishers, New York. LITERATURE Juan Carlos Pereda 115 Estimate $ 1, 5 0 0 - 2 , 5 0 0 27

5 RUFINO TAMAYO MEXICAN 1899-1991 Pareja [Couple], 1933 . Lithograph. 13 3/8 x 9 5/16 in. (34 x 23.7 cm). The only known example of this print, signed and dated in the stone.

7 RUFINO TAMAYO MEXICAN 1899-1991 Femme souriante, from the Mujeres suite, 1969. Lithograph in colors, on Japanese paper. 21 3/8 x 27 3/4 in. (54.3 x 70.5 cm). Signed and numbered VIII/XXV in pencil (an artist proof, the edition was 150 in Arabic numerals), published by Touchstone Publishers, New York. LITERATURE Juan Carlos Pereda 123 Estimate $ 1, 2 0 0 - 1, 8 0 0

PROVENANCE Estate of Hans Burkhardt LITERATURE Juan Carlos Pereda 21 (this print illustrated)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 6 WIFREDO LAM CUBAN 1902-1982 Sans titre, 1976 . Lithograph in colors, on Arches paper. 23 x 18 in. (58.4 x 45.7 cm). Signed and numbered 41/75 in pencil (there also was an edition of 10 in Roman numerals), published by Editions Galilée, Paris. LITERATURE Dominique Tonneau-

8 RUFINO TAMAYO MEXICAN 1899-1991 El Apocalipsis de San Juan: Capítulo XVI [Chapter XVI], 1959. Lithograph in colors, on Rives BFK paper. 12 7/8 x 19 7/8 in. (32.7 x 50.5 cm). Signed in pencil, from the total edition of 300, published by Club International de Bibliophilie Jaspard, Polus & Cie., Monoco. LITERATURE Juan Carlos Pereda 69 Estimate $ 8 0 0 - 1, 2 0 0

Ryckelynck 7604

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

14 9 FÉLIX GONZÁLEZ-TORRES CUBAN 1957-1996 Untited (Oscar Wilde), 1995. Photo-etching. 4 5/8 x 6 3/8 in. (11.7 x 16.2 cm). Signed, dated and numbered 248/250 in pencil on the reverse (there were also 25 artist’s proofs), published by the Solomon R. Guggenheim Museum, New York. LITERATURE Dietmar Elger 273 Estimate $ 1, 2 0 0 - 1, 8 0 0

12 VIK MUNIZ BRAZILIAN b. 1961 Medusa Marinara, 1999. Printed ceramic plate multiple. Diameter: 12 1/2 in. (31.8 cm). Published by the Peter Norton Family Christmas Project, contained in original foam-lined cardboard shipping box. Estimate $ 1, 0 0 0 - 1, 5 0 0 13 EXHIBITION POSTER FROM MUSEE NATIONAL D’ART MODERNE PARIS Exhibition d’Art Mexicain, Ancien et Moderne, 1952. Offset lithograph in colors. 36 1/2 x 26 3/8 in. (92.7 x 67 cm). Published by Talleres Gráficos de la Nación, Mexico. Estimate $ 3 0 0 - 4 0 0

10 ENRIQUE CHAGOYA MEXICAN b. 1953 The Bread of Days: one plate, 1994. Etching in colors. 15 x 11 in. (38.1 x 27.9 cm). Signed, dated ‘94’ and annotated ‘B.A.T.’ in pencil (the total edition was 141), published by Yolla Bolly Press, Covelo, California. Estimate $ 6 0 0 - 8 0 0

•

14 ALFREDO JAAR CHILEAN b. 1956 Gold in the Morning, 1985-2002. Lightbox with photograph transparency in colors. 14 x 38 1/4 x 3 1/2 in. (35.6 x 97.2 x 8.9 cm). Numbered #28/30 in black ink on the reverse (there were also 10 artist’s proofs), published by Documenta 11 Editions and Edition Schellmann, Munich and New York. Estimate $ 4 , 0 0 0 - 6 , 0 0 0

11 ANDRES SERRANO AND MICHAEL JENKINS AMERICAN b. 1950, b. 1970 Untitled, 1989-1990. Plexiglas in red with twill tape, mounted on wooden strainers (as issued). 7 x 7 x 1 1/4 in. (17.8 x 17.8 x 3.2 cm). Signed by both artists and numbered 3/6 in black ink on the reverse. Estimate $ 6 0 0 - 9 0 0 29

15 FRANCISCO ZÚÑIGA COSTA RICAN 1912-1998 Juchitecas Platicando, 1985. Lithograph in colors. 22 3/4 x 30 in. (57.8 x 76.2 cm). Signed, dated and numbered ‘XLII/L’ in pencil (aside from the edition of 150 in Arabic numerals), published by Brewster Editions, New York, with the American Ateliers, New York blindstamp. LITERATURE Fundación Zúñiga/Andrew

16 VICTOR RODRIGUEZ MEXICAN b. 1970 Litografía 1-5, 2006. The complete set of five lithographs in colors. 30 x 22 in. (76.2 x 55.9 cm). All signed with initials and numbered 52/75, 54/75, 49/75, ‘P.A. II/X’ and ‘P.A. IX/X’ respectively in pencil. Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Vlady 334

17 VICTOR RODRIGUEZ MEXICAN b. 1970 Grabado 1-4, 2006. The complete set of four etchings. 10 1/8 x 12 5/8 in. (25.7 x 32.1 cm). All signed with initials and numbered 31/50, ‘P.A. III/V’, 31/50 and ‘P.A. V/V respectively in pencil. Estimate $ 1, 5 0 0 - 2 , 0 0 0

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

18 LUCÍA MAYA MEXICAN b. 1953 Corazones Afines portfolio, 1986. The complete set of seven lithographs with hand-coloring, on Arches paper. 19 x 14 3/4 in. (48.3 x 37.5 cm). All signed, dated, titled and numbered 22/70 (there were also 7 artist’s proofs), also numbered and signed by the artist and printer on the colophon, published by Kyron Ediciones Limitadas, Mexico, loose, contained in original purple paper folder. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

19 AFTER ALFREDO RAMOS MARTÍNEZ MEXICAN 1871-1946 Ramo de flores, ca. 1947. Sceenprint in colors. 19 1/4 x 15 5/8 in. (48.9 x 39.7 cm). Signed in pencil by his wife, Maria Sodi de Ramos Martínez, published by the Martínez Foundation. Estimate $ 1, 5 0 0 - 2 , 5 0 0

20 DIEGO RIVERA MEXICAN 1887-1959 El mercado de flores (Flower Market, Yellow Ground), 1930. Lithograph printed in yellow and black. 11 x 15 7/8 in. (27.9 x 40.3 cm). Signed, dated and numbered ‘B-25-49’ in pencil, the total edition was 150 (100 were printed without the yellow tint stone), published by The Weyhe Gallery, New York. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

21 FRANCISCO (PANCHO) MORA MEXICAN b. 1922 Florista, 1944. Lithograph. 20 x 9 7/8 in. (50.8 x 25.1 cm). Signed, titled and dated in pencil. Estimate $ 7 0 0 - 9 0 0 22 AFTER FERNANDO BOTERO COLOMBIAN b. 1932 Pedrito, 1975. Offset lithograph in colors. 38 1/4 x 29 1/2 in. (97.2 x 74.9 cm). Signed, dated, titled and numbered 116/250 in pencil. Estimate $ 1, 5 0 0 - 2 , 0 0 0 32

23 FRANCISCO TOLEDO MEXICAN b. 1940 Venados, 1981. Etching and aquatint in colors, on Rives BFK paper. 8 7/8 x 11 7/8 in. (22.5 x 30.2 cm). Signed and annotated ‘P.A.’ in pencil (an artist’s proof, the edition was 20). Estimate $ 2 , 0 0 0 - 3 , 0 0 0

26 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, please contact department for images. Estimate $ 1, 5 0 0 - 2 , 5 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); Alfredo Zalce, 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) .

24 FRANCISCO TOLEDO MEXICAN b. 1940 Funcion de mago, 1969. Etching and aquatint in colors. 7 15/16 x 9 15/16 in. (20.2 x 25.2 cm). Signed and numbered 2/25 in pencil. Estimate $ 1, 2 0 0 - 1, 8 0 0 25 FRANCISCO TOLEDO MEXICAN b. 1940 El pez, 1976 . Etching in colors, on Rives BFK paper. 14 7/8 x 11 1/8 in. (37.8 x 28.3 cm). Signed and numbered 14/30 in pencil, published by Arvil Gráfica, Mexico. Estimate $ 1, 8 0 0 - 2 , 5 0 0

27 ROBERTO MATTA CHILEAN 1911-2002 Hom’mere III, l’Ergonaute: PIate VIII, 1976-1977. Etching and aquatint with extensive hand-coloring in pastel, on Arches paper. 19 1/2 x 14 7/8 in. (49.5 x 37.8 cm). Signed in pencil, aside from the edition of 100 (and 25 in Roman numerals), published by Editions Georges Visat, Paris (with their stamp on the reverse). LITERATURE

29 ROBERTO MATTA CHILEAN 1911-2002 Hom’mere III, l’Ergonaute: Plate VII, 1976-1977. Aquatint and etching with extensive hand-coloring in pastel, on Arches paper. 15 x 19 1/2 in. (38.1 x 49.5 cm). Signed in pencil, aside from the editon of 100 (and 25 in Roman numerals), published by Editions Georges Visat, Paris (with their stamp on the reverse). LITERATURE

Roland Sabatier 415

Roland Sabatier 414

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

Estimate $ 3 , 5 0 0 - 4 , 5 0 0

28 ROBERTO MATTA CHILEAN 1911-2002 Hom’mere III, l’Ergonaute: Plate II, 1976-1977. Aquatint and etching with extensive hand-coloring in pastel, on Arches paper. 19 1/2 x 15 in. (49.5 x 38.1 cm). Signed in pencil, aside from the editon of 100 (and 25 in Roman numerals), published by Editions Georges Visat, Paris (with their stamp on the reverse). LITERATURE

30 ROBERTO MATTA CHILEAN 1911-2002 N’ous T’ous, 1995. Aquatint and etching in colors. 37 x 36 7/8 in. (94 x 93.7 cm). Signed and numbered 70/100 in pencil. Estimate $ 2 , 5 0 0 - 3 , 5 0 0

Roland Sabatier 409

Estimate $ 3 , 5 0 0 - 4 , 5 0 0 34

31 ROBERTO MATTA CHILEAN 1911-2002 The New School portfolio, 1943 . The complete set of ten etchings with hand-colored etching frontispiece, on Arches paper. 15 1/4 x 11 1/4 in. (38.7 x 28.6 cm). All signed and numbered 26/70 in pencil (there were also 10 hors-commerce impressions), published by Editions Sabatier, Paris, 1980. LITERATURE Roland Sabatier 1-7 Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0 The New School series are the first etchings ever created by Matta. They were printed in the studio of Stanley William Hayter at the New School for the social Research in New York in 1943. Hayterâ&#x20AC;&#x2122;s studio was a central point for many of the leading avante-garde Europeans who came to New York to escape the wartime occupation of Paris. 35

32 GUILLERMO KUITCA ARGENTINE b. 1961 The Neufert Suite, 2002. The complete set of six cyanotypes, on Aguarelle Arches watercolor paper. 46 1/2 x 46 1/2 in. (118.1 x 118.1 cm). All signed, dated and numbered 8/9 in pencil (there were also 3 artist’s proofs), published by Graphicstudio, Tampa, Florida (with their blindstamp). Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Including: Devotional Benches, Confessional Booths, Mercy Seats and Altars; Fundraising tables; Gambling Tables; Workout Machines; Peep Show and Video Booths and Work Stations In The Neufert Suite, closely related to his group of paintings Castle to Castle, Kuitca continues his longstanding exploration of the relationship between the individual and the ordered environment. Here Kuitca uses the universal symbols derived from Ernst Neuferts’ Architects’ Data and the architect’s cyanotype method, commonly known as a blueprint, to render the spatial and equipment layouts of such varied spaces as a sex shop and a sausage factory. “I was always fascinated by the Neufert, that architectural catalogue where the world is completely organized, measured, calculated. Taken to painting, any project connected with that cataloging spirit becomes totally absurd. Painting produces an enormous referential arbitrariness, while architecture does just the opposite.” -Guillermo Kuitca, edited by Hans-Michael Herzog and Katrin Steffen, Hatje Cantz, 2007 36

33 JORGE PARDO CUBAN AMERICAN b. 1963 “Monochrome” ceiling light, 1995. Green glass, brass. 8 x 3 1/2 x 3 1/2 in. (20.3 x 8.9 x 8.9 cm), variable drop. Produced by Brian Butler, USA. From an edition of 21 unique examples. Together with a certificate of authenticity. Estimate $ 2 , 5 0 0 - 3 , 5 0 0

36 JORGE PARDO CUBAN AMERICAN b. 1963 Untitled (In Honor of Scott Burton), from 1989 portfolio, 2000. Chromogenic print in colors, on Fugicolor crystal archive paper. 24 x 20 in. (61 x 50.8 cm). Signed and numbered 36/75 in black marker (there were also 12 artist’s proofs), published by the Estate Project for Artists with AIDS and Alliance for the Arts, New York. Estimate $ 7 0 0 - 9 0 0

34 JORGE PARDO CUBAN AMERICAN b. 1963 “Monochrome” ceiling light, 1995. Stainless steel, painted metal. 6 1/2 in. (16.5 cm.) high, 6 1/2 in. (16.5 cm) diameter, variable drop. Produced by Brian Butler, USA. From an edition of 21 unique examples. Together with a certificate of authenticity. Estimate $ 2 , 5 0 0 - 3 , 5 0 0

37 JESÚS RAFAEL SOTO VENEZUELAN 1923-2005 Escritura compuesta, 1974. Screenprint in colors, on Arches paper. 16 7/8 x 25 1/2 in. (42.9 x 64.8 cm). Signed, annotated ‘Arcay’ and numbered ‘E.A.’ (an artist’s proof aside from the edition of 100). Estimate $ 7 0 0 - 9 0 0

35 JORGE PARDO CUBAN AMERICAN b. 1963 “Monochrome” ceiling light, 1995. Yellow frosted glass, opaque glass, brass. 10 1/2 x 4 1/2 x 4 1/2 in. (26.7 x 11.4 x 11.4 cm), variable drop. Produced by Brian Butler, USA. From an edition of 21 unique examples. Together with a certificate of authenticity. Estimate $ 2 , 5 0 0 - 3 , 5 0 0

38 OLYMPIC POSTER Olympic Poster, by Pedro Ramirez Vazquez, Lance Whyman and Eduardo Terrazas, 1968 . Offset lithograph in colors. 34 1/8 x 34 3/8 in. (86.7 x 87.3 cm). Estimate $ 3 0 0 - 4 0 0

•

39 FERNANDO DE SZYSZLO PERUVIAN b. 1925 [Untitled] and [Untitled], ca. 1980. Two screenprints in colors, on Rives BFK paper. 16 1/8 x 21 3/4 in. (41 x 55.2 cm). Both signed and numbered 129/185 and 148/199 in pencil. Estimate $ 9 0 0 - 1, 2 0 0

40 ROBERTO BURLE MARX BRAZILIAN 1909-1994 [Untitled]; Itapecerica; Os Sertoes— Camidos III; Patricia and Maica I, 1984-1993 . Five lithographs in colors, on Fabriano cotton and wove papers. Various sizes. Signed, dated and numbered 7/100, ‘P.A. III’, 23/50, 26/30 II and 12/50 respectively in pencil. Estimate $ 2 , 0 0 0 - 3 , 0 0 0 41 GUILLERMO KUITCA ARGENTINE b. 1961 Teatro suite: three prints, 1997. Three etchings in colors, on Japanese paper. Various sizes. All signed, dated 1997 and numbered 20/35 in pencil (there were also 4 artist’s proofs in Roman numerals), published by Ediciones Polígrafa, Barcelona. Estimate $ 3 , 0 0 0 - 5 , 0 0 0 38

42 BEATRIZ MILHAZES BRAZILIAN b. 1960 As Irmãs (The Sisters), 2003 . Screenprint in colors, on Waterford 638g paper. 52 x 60 in. (132.1 x 152.4 cm). Signed, titled, dated and numbered 7/35 in pencil on the reverse (there were also 8 artist’s proofs), published by Durham Press, Pennsylvania (with their blindstamp and copyright stamp). Estimate $ 14 , 0 0 0 - 1 8 , 0 0 0 39

43 MARCO ARCE MEXICAN b. 1968 Untitled suite, ca. 2000. Eighteen etchings in colors (six triptychs on six sheets), on Gvapro paper. 5 x 21 in. (12.7 x 53.3 cm). All signed and numbered ‘3/10 PA’ in pencil, published by La Vaca Independiente, Claudia Madrazo, Mexico City. Estimate $ 3 , 0 0 0 - 5 , 0 0 0

45 ANTONIO SEGUÍ ARGENTINE b. 1934 Un amor casi Impossiblè; Pequeña historia II and [Untitled], 1964-1965. Three lithographs in colors, on Arches paper. Various sizes. All signed, dated and numbered 82/250, 19/46, and 29/30 in pencil. Estimate $ 8 0 0 - 1, 2 0 0

44 MARCO ARCE MEXICAN b. 1968 Círculo rojo; Tigre con conejo and Untitled, 2006. Nine etchings with hand-painting in colors (three triptychs on nine sheets). 5 x 21 in. (12.7 x 53.3 cm). One of each three signed, two sets each annotated ‘1/3’-’3/3’ respectively in pencil on the reverse. Estimate $ 1, 2 0 0 - 1, 8 0 0

•

EDITIONS LOTS 1 - 45

1 RUFINO TAMAYO

2 RUFINO TAMAYO

3 RUFINO TAMAYO

4 RUFINO TAMAYO

5 RUFINO TAMAYO

6 WIFREDO LAM

7 RUFINO TAMAYO

8 RUFINO TAMAYO

9 FÉLIX GONZÁLEZ TORRES

10 ENRIQUE CHAGOYA

11 ANDRES SERRANO AND MICHAEL JENKINS

12 VIK MUNIZ

13 E XHIBITION POSTER FROM MUSEE NATIONAL D’ART MODERNE PARIS

14 ALFREDO JAAR

15 FRANCISCO ZÚÑIGA

16 VICTOR RODRIGUEZ

17 VICTOR RODRIGUEZ

18 LUCIA MAYA

19 AFTER ALFREDO RAMOS MARTÍNEZ

20 DIEGO RIVERA

21 FRANCISCO (PANCHO) MORA

22 AFTER FERNANDO BOTERO

23 FRANCISCO TOLEDO

24 FRANCISCO TOLEDO

25 FRANCISCO TOLEDO

26 VARIOUS ARTISTS

27 ROBERTO MATTA

28 ROBERTO MATTA

29 ROBERTO MATTA

30 ROBERTO MATTA

31 ROBERTO MATTA

32 GUILLERMO KUITCA

33, 34, 35 JORGE PARDO

36 JORGE PARDO

37 JESÚS RAFAEL SOTO

38 OLYMPIC POSTER

39 FERNANDO DE SZYSZLO

40 ROBERTO BURLE MARX

41 GUILLERMO KUITCA

42 BEATRIZ MILHAZES

43 MARCO ARCE

4 4 MARCO ARCE

45 ANTONIO SEGUI

LATIN AMERICA 3 PM 3 OCTOBER 2009 NEW YORK

PHOTOGRAPHS LOTS 46 - 115 ALEJO, M. 112, 113, 114 ÁLVAREZ BRAVO, L. 66, 70 ÁLVAREZ BRAVO, M. 55, 56, 57, 58, 61, 62, 65, 82, 84

HERNÁNDEZ-DIEZ, J.A. 103 ITURBIDE, G. 46, 90

SALAS, O. 74 SALGADO, S. 92 SERRANO, A. 102 STRAND, P. 79

KORDA, A. 75, 76 BOURKE-WHITE, M. 47 BRUEHL, A. 48 CARTIER-BRESSON, H. 77 CHAMBI, M. 72, 73 CORRALES, R. 71 CRAVO NETO, M. 86, 87 EASTMAN, M. 110

RES 104 RIO BRANCO, M. 93, 94

LEVINSTEIN, L. 80 MATIZ, L. 59, 60 METINIDES, E. 68, 69 MODOTTI, T. 49, 50, 51, 52, 54 MORELL, A. 101 MUNIZ, V. 105, 109 MURAY, N. 67

TSCHÄPE, J. 107 VALLHONRAT, V. 106 WESTON, E. 53, 78 YAMPOLSKY, M. 89, 91

FRANK, R. 81

NORFOLK, S. 111 ZAHEDI, F. 108

GARCIA, H. 64 GARDUÑO, F. 83 GONZÁLEZ PALMA, L. 95, 96, 97, 98, 99, 100 GUZMAN, J. 63

PÉREZ BRAVO, M.M. 85, 88 PUJOL, E. 115

46 GRACIELA ITURBIDE MEXICAN b. 1942 Nuestra se単ora de las iguanas (Our lady of the iguanas), 1979. Gelatin silver print, printed 1990s. 15 1/8 x 12 7/8 in. (38.4 x 32.7 cm). Signed in ink in the margin. LITERATURE Phaidon Press, Graciela Iturbide, cover Estimate $ 3 , 0 0 0 - 4 , 0 0 0 43

47 MARGARET BOURKE-WHITE AMERICAN 1904-1971 Ancient Gate at Fazenda Rozina belonging to English Family of S. Wales. Between São Paulo and Campinas, ca. 1936. Gelatin silver print. 9 1/2 x 13 1/2 in. (24.1 x 34.3 cm). Printed credit and title on an ‘American Can Company’ label affixed to the reverse of the mat. Estimate $ 3 , 0 0 0 - 5 , 0 0 0

50 TINA MODOTTI ITALIAN 1896-1942 Diego Rivera: “The Trinity-Architect, Painter & Sculptor” from The Stairways at Ministry of Education, 1926. Gelatin silver print. 8 3/4 x 7 3/8 in. (22.2 x 18.7 cm). PROVENANCE From the Collection of Frances Toor Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Frances Toor was part of Modotti’s close circle of friends in Mexico and the founder of Mexican Folkway, a bilingual cultural publication in the 1920s and 30s.

48 ANTON BRUEHL AMERICAN 1900-1983 Dolores, Mexico, 1933 . Gelatin silver print. 14 x 11 in. (35.6 x 27.9 cm). PROVENANCE Acquired directly from the photographer’s estate Estimate $ 3 , 0 0 0 - 5 , 0 0 0

51 TINA MODOTTI ITALIAN 1896-1942 Pulqueria, 1929. Gelatin silver print. 7 1/2 x 7 7/8 in. (19.1 x 20 cm). PROVENANCE From the Collection of Frances Toor Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Frances Toor was part of Modotti’s close circle of friends in Mexico and the founder of Mexican Folkway, a bilingual cultural publication in the 1920s and 30s.

49 TINA MODOTTI ITALIAN 1896-1942 Photograph of a Portrait of Tina Modotti Drawn by Diego Rivera, 1926. Albumen print, printed 1930s. 9 3/8 x 6 in. (23.8 x 15.2 cm). Signed in pencil on the recto. PROVENANCE From the Collection of Ella Goldberg Wolfe Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Married to the founder of the American Communist Party, Ella Goldberg Wolfe befriended Modotti during several stays in Mexico City in which the two shared their similar political ideologies.

52 TINA MODOTTI ITALIAN 1896-1942 Selected Images, 1929. Four gelatin silver prints. Varying sizes from 5 1/2 x 9 1/2 in. (14 x 24.1 cm) to 7 3/8 x 9 1/2 in. (18.7 x 24.1 cm) or the reverse. One stamped, two annotated ‘Louis Bunin,’ one titled, annotated ‘The secretary is a caricature of Sinclair Lewis’ and ‘best print’ in pencil on the verso. PROVENANCE From the Family of Louis Bunin; Sotheby’s, New York, 7 April 1998 LITERATURE Hooks, Tina Modotti, pp. 47 for a variant & 50; Hooks, Tina Modotti: Radical Photographer, p. 202

Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0 Titles include: Louis Bunin and “The Secretary,” 1929; Three Puppets in a Ship Setting, 1929; Police Puppets, 1929; Untitled, ca. 1929 44

53 EDWARD WESTON AMERICAN 1886-1958 Bird, Penguin, Palma, 1926. Gelatin silver print. 9 1/2 x 7 1/4 in. (24.1 x 18.4 cm). PROVENANCE From the Collection of Richard Lorenz; to the

54 TINA MODOTTI ITALIAN 1896-1942 Untitled (corn), 1920s. Gelatin silver print. 19 1/8 x 11 7/8 in. (48.6 x 30.2 cm). Signed in ink on the recto; credit stamp on the verso.

present Private Collection LITERATURE Conger, Edward Weston: Photographs from the Collection of the

PROVENANCE From the Collection of Giuliana Scime; to the present Private Collection

Center for Creative Photography, pl. 203; Harry N. Abrams, Inc., Edward Weston: Forms of Passion, p. 129

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

there titled Pascua

When Tina Modotti moved to Mexico in 1923 following the death of her first husband, she embarked on a journey that would transform her both personally and professionally. It was there that she transitioned from actress to photographer under the tutelage of her mentor and lover Edward Weston. While the current lot and its similarities to Weston’s notable still-lifes may suggest his professional influence on her, Sarah Lowe, in her introduction to Tina Modotti: Photographs, argues that it is perhaps more indicative of her influence on him. Taken in the 1920s, the subject and formal aesthetic are consistent with her floral studies beginning in 1925 and seem to foreshadow, rather than emulate, Weston’s vegetable still-lifes which he began in 1927. Like her other works of this period, Untitled (corn) demonstrates Modotti’s keen interest in Mexican culture and the products of the local working class.

Estimate $ 8 , 0 0 0 - 1 2 , 0 0 0 Richard Lorenz was an author and curator known for his expertise on California photography of the 20th Century.

55 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Parábola Óptica (Optic parable), 1931. Gelatin silver print, printed later. 9 x 6 3/4 in. (22.9 x 17.1 cm). Signed and annotated ‘Mexico’ in pencil on the verso. LITERATURE Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days,

58 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Qué chiquito es el Mundo (How small the world is), 1942. Gelatin silver print, printed 1970s. 7 3/8 x 9 5/8 in. (18.7 x 24.4 cm). Signed and annotated ‘Mexico’ in pencil on the verso. LITERATURE Turner Publications, Manuel Álvarez

pl. 1; The University of New Mexico Press, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 14 there

Bravo: 100 Years, 100 Days, pl. 56; Kismaric, Manuel Álvarez Bravo, p. 187

dated 1921

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

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 59 LEO MATIZ COLOMBIAN 1917-1998 Untitled (elderly woman), ca. 1950. Gelatin silver print. 10 1/2 x 13 in. (26.7 x 33 cm). Credit stamp on the verso. PROVENANCE Acquired directly from the

56 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Selected Images, 1930-1959. Four gelatin silver prints, printed later. Each approximately 6 3/4 x 9 1/2 in. (17.1 x 24.1 cm) or the reverse. Each signed and annotated ‘Mexico’ in pencil on the verso. LITERATURE Turner Publications,

artist’s family

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

Manuel Álvarez Bravo: 100 Years, 100 Days, pls. 23 & 41; Kismaric, Manuel Álvarez Bravo, pp. 114, 131 & 158

60 LEO MATIZ COLOMBIAN 1917-1998 Sigviera Posando (David Alfero Siguieros), 1945. Gelatin silver print. 9 1/4 x 7 5/8 in. (23.5 x 19.4 cm). Signed, dated and annotated ‘David Alfero Siguieros, Mexico’ in pencil on the verso. Estimate $ 1, 0 0 0 - 1, 5 0 0

for a variant; Aperture, Manuel Álvarez Bravo, p. 47 there dated 1959

Estimate $ 5 , 0 0 0 - 7, 0 0 0 Titles include: Window to the Choir, Tepoztlán, 1930s; La Visita, 1935; Margarita de Bonampak, Bonampak, Chiapas, 1949; Cruce de Chalma, 1942 57 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Retrato ausente (Absent portrait), 1945. Gelatin silver print, printed later. 9 5/8 x 6 3/4 in. (24.4 x 17.1 cm). Signed and annotated ‘Mexico’ in pencil on the verso. LITERATURE Turner Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pl. 63; Kismaric, Manuel Álvarez Bravo, p. 183

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 46

61 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Photographs by Manuel Álvarez Bravo. Geneva: Acorn Editions Limited, 1977. Fifteen gelatin silver prints, printed 1977. Varying sizes from 6 5/8 x 9 1/2 in. (16.8 x 24.1 cm) to 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm) or the reverse. Each signed, numbered 26/100 and fourteen annotated ‘Mexico’ in pencil on the verso. Colophon. Title page. PROVENANCE Christie’s, New York, 20 October 2003, lot 54 LITERATURE Turner

62 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 El Plumero, 1920s. Gelatin silver print. 13 1/8 x 9 3/4 in. (33.3 x 24.8 cm). Signed and annotated ‘Mexico’ in ink on the reverse of the mount. PROVENANCE From the artist; to Lola Álvarez Bravo; by descent to her son, Manuel Álvarez

Publications, Manuel Álvarez Bravo: 100 Years, 100 Days, pls. 8, 38, 42, 49, 58, 60, 63 & 82 there dated 1966;

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

Bravo Martinez; Christie’s, New York, 15 October 2004, lot 156; to the present Private Collection, New York

Kismaric, Manuel Álvarez Bravo, pp. 41, 67, 95, 124-125, 139, 145 & 184; Aperture, Manuel Álvarez Bravo, pp. 15, 17, 31, 38-39, 41 & 51; University of New Mexico Press, Revelaciones: The Art of Manuel Álvarez Bravo, cover; Coleman, Manuel Álvarez Bravo: Masters of Photography (Aperture Masters of Photography), p. 53

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Titles include: Un Pez que llaman Sierra, 1942; Arena y Pinitos, 1920s; Paisaje de Siembras, 1972-1974; Votos, 1969; Luz Restirada, 1944; Dos Mujeres y la Gran Cortina con Sombras, 1977; Acto Primero, 1975; Caja de Visiones, 1938; Señor de Papantla, 1934-1935; Los Perros durmiendo ladran, 1966; Dos Pares de Piernas, 1928-1929; Ya Mero, 1968; Gorrión, Claro, 1939; Umbral, 1947; Retrato de lo Eterno, 1932-1933 47

63 JUAN GUZMAN SPANISH Frida in hospital painting cast, 1950s. Gelatin silver print. 9 1/4 x 7 1/4 in. (23.5 x 18.4 cm). PROVENANCE Acquired directly from the artist’s estate Estimate $ 3 , 0 0 0 - 5 , 0 0 0

65 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Frida at the Museum of Modern Art in Mexico City, 1940s. Gelatin silver print, printed later. 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm). Signed and annotated ‘Mexico’ in pencil on the verso. Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0

64 HECTOR GARCIA AMERICAN b. 1923 Frida with hairless dog, 1940s. Gelatin silver print, printed later. 6 5/8 x 6 5/8 in. (16.8 x 16.8 cm). Signed in pencil on the verso. Estimate $ 4 , 0 0 0 - 6 , 0 0 0

66 LOLA ÁLVAREZ BRAVO MEXICAN 1907-1993 Frida Kahlo with hand on forehead, 1940s. Gelatin silver print, printed later. 9 1/8 x 7 1/8 in. (23.2 x 18.1 cm). Signed in pencil on the mount. PROVENANCE From the Collection of Salomon Grimberg

Estimate $ 7, 0 0 0 - 9 , 0 0 0 48

67 NICKOLAS MURAY HUNGARIAN AMERICAN 1892-1965 Frida Kahlo on Bench, 1939. Carbon pigment print, printed later. 14 3/4 x 10 1/8 in. (37.5 x 25.7 cm). Signed by Mimi Muray, artist’s daughter, titled, dated, numbered 15/30 and copyright credit in pencil on the verso. Numbered ‘15’ in ink on a printed description by Salomon Grimberg accompanying the work. LITERATURE Grimberg, I Will Never Forget You…Frida Kahlo & Nickolas Muray, cover Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0 Although Nickolas Muray photographed numerous celebrities, politicians and artists, he is best known for the photographs of his lover, Frida Kahlo, whom he shot more than any other person. Highlighting the textures and patterns present in Kahlo’s own paintings, this image has become one of the most iconic photographs of the artist capturing her traditional Mexican dress and unique style while further demonstrating Muray’s pioneering use of color photography. At the time of this sitting, Kahlo had just opened her first solo exhibition at the Julien Levy Gallery in New York and was on the cusp of a burgeoning career that would end with her premature death in 1954. 49

68 ENRIQUE METINIDES MEXICAN b. 1934 Untitled, Mexico City, 1950. Gelatin silver print. 2 7/8 x 4 5/8 in. (7.3 x 11.7 cm). Signed in ink and dated in pencil on the verso. PROVENANCE

73 MARTIN CHAMBI PERUVIAN 1891-1973 Untitled (woman with shawl standing), ca. 1927. Gelatin silver print on carte postale. 5 3/8 x 3 3/8 in. (13.7 x 8.6 cm). Signed in ink and credit reproduction limitation stamp on the verso. Estimate $ 1, 5 0 0 - 2 , 5 0 0

Acquired directly from the artist

Estimate $ 5 , 0 0 0 - 7, 0 0 0 69 ENRIQUE METINIDES MEXICAN b. 1934 Untitled, Mexico City, 1951. Gelatin silver print. 4 1/2 x 3 1/8 in. (11.4 x 7.9 cm). Signed in ink and dated in pencil on the verso. PROVENANCE

74 OSVALDO SALAS CUBAN 1914-1992 Selected Sports Highlights, 1955-1956 . Four gelatin silver prints, printed later by Robert Salas. Varying sizes from 11 1/4 x 9 in. (28.6 x 22.9 cm) to 11 x 15 in. (27.9 x 38.1 cm). Three with copyright blindstamps, credited, titled and dated by Robert Salas, Executor, in ink in the margin; signed, annotated by Robert Salas and Estate copyright credit stamp on the verso. One with collection stamp on the verso. Estimate $ 3 0 0 - 5 0 0 Titles include: Jackie Robinson, 1955; Ike at World Series, 1956; Joe DiMaggio and Mickey Mantle, 1955; Last Fight, Moore/Marciano, 1955 ∆

Acquired directly from the artist

Estimate $ 5 , 0 0 0 - 7, 0 0 0 70 LOLA ÁLVAREZ BRAVO MEXICAN 1907-1993 Los Gorriones, 1940s. Gelatin silver print, printed later. 9 5/8 x 11 3/4 in. (24.4 x 29.8 cm). Signed in pencil on the verso. Estimate $ 4 , 0 0 0 - 6 , 0 0 0 71 RAUL CORRALES CUBAN b. 1925 Hemingway, Cojimar, 1950. Gelatin silver print, printed 1998. 13 1/4 x 9 in. (33.7 x 22.9 cm). Signed in ink in the margin. PROVENANCE Acquired directly

75 ALBERTO KORDA CUBAN 1928-2001 La niña de la muñeca de palo, 1959. Gelatin silver print, printed 1998. 11 7/8 x 9 1/8 in. (30.2 x 23.2 cm). Signed, titled, dated in ink and blindstamp credit in the margin. PROVENANCE Acquired directly from the artist Estimate $ 2 , 5 0 0 - 3 , 5 0 0

from the artist

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 72 MARTIN CHAMBI PERUVIAN 1891-1973 Kenko, Cuzco, ca. 1930. Gelatin silver print on carte postale. 3 3/8 x 5 3/8 in. (8.6 x 13.7 cm). Titled in the negative; signed in ink and credit reproduction limitation stamp on the verso. Estimate $ 1, 5 0 0 - 2 , 5 0 0 50

76 ALBERTO KORDA CUBAN 1928-2001 Guerrillero heroico (Che Guevara), 1960. Gelatin silver print, printed 1998. 14 1/4 x 16 3/8 in. (36.2 x 41.6 cm). Blindstamp credit on the recto; signed, titled and dated in ink in the margin. PROVENANCE Acquired directly from the artist LITERATURE Steidl, Alberto Korda: A Revolutionary Lens, cover; Loviny, Cuba: by Korda, cover

Estimate $ 5 , 0 0 0 - 7, 0 0 0 51

77 HENRI CARTIER-BRESSON FRENCH 1908-2004 Alicante, Spain, 1933 . Gelatin silver print, printed later. 9 3/8 x 14 in. (23.8 x 35.6 cm). Signed in ink and blindstamp credit in the margin. and the Artless Art, pl. 21

79 PAUL STRAND AMERICAN 1890-1976 The Mexican Portfolio. New York: Da Capo Press, 1967. Twenty photogravures, printed 1967. Varying sizes from 4 7/8 x 6 1/4 in. (12.4 x 15.9 cm) to 8 x 10 1/4 in. (20.3 x 26 cm) or the reverse. Signed and numbered 332 in ink on the introduction. Colophon. Introduction. Title page. Number 332 from an edition of 1000. PROVENANCE

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

Artcurial, Paris, 28 April 2005, lot 6 LITERATURE Aperture, Paul Strand, pp. 89-90, 93-94 & 97-99;

LITERATURE Galassi, Henri Cartier-Bresson: The Early Work, p. 133; Montier, Henri Cartier-Bresson

Aperture, Paul Strand: A Retrospective Monograph, The Years 1915-1946, pp. 105, 109, 111, 115 & 125

78 EDWARD WESTON AMERICAN 1886-1958 Carlos Merida, 1934. Sepia toned gelatin silver print. 4 1/2 x 3 1/2 in. (11.4 x 8.9 cm). Annotated ‘W E’ and ‘12’ in an unidentified hand on the verso. PROVENANCE From the Collection of Frances Toor LITERATURE Conger, Edward Weston:

Estimate $ 8 , 0 0 0 - 1 2 , 0 0 0 Titles Include: Gateway, Hidalgo, 1933; Near Saltillo, 1932; Church, Coapiaxtla, 1933; Virgin, San Felipe, Oaxaca, 1933; Women of Santa Anna, Michoacan, 1933; Men of Santa Anna, Michoacan, 1933; Woman, Patzcuaro, 1933; Boy, Uruapan, 1933; Cristo, Oaxaca, 1933; Woman and Boy, Tenancingo, 1933; Plaza, State of Puebla, 1933; Man with a Hoe, Los Remedios, 1933; Calvario, Patzcuaro, 1933; Cristo, Tlacochaoaya, Oaxaca, 1933; Boy, Hidalgo, 1933; Woman and Baby, 1933; Girl and Child, Toluca, 1933; Cristo with Thorns, Huexotla, 1933; Man, Tenancingo, 1933; Young Woman and Boy, Toluca, 1933

Photographs from the Collection of the Center for Creative Photography, pl. 793 for a variant

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Frances Toor was part of Modotti’s close circle of friends in Mexico and the founder of Mexican Folkway, a bilingual cultural publication in the 1920s and 30s.

80 LEON LEVINSTEIN AMERICAN 1913-1988 Untitled (Mexico), 1960. Gelatin silver print. 13 5/8 x 13 5/8 in. (34.6 x 34.6 cm). Credit stamp on the reverse of the mount. Estimate $ 4 , 0 0 0 - 6 , 0 0 0 52

81 ROBERT FRANK AMERICAN b. 1924 Peru, 1948 . Gelatin silver print. 9 3/8 x 13 3/8 in. (23.8 x 34 cm). Signed, titled in ink, copyright and Robert Frank Archive stamps on the verso. Estimate $ 1 5 , 0 0 0 - 2 5 , 0 0 0 53

82 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Coatlicue, 1987. Gelatin silver print. 7 1/4 x 9 1/2 in. (18.4 x 24.1 cm). Signed and annotated ‘Mexico’ in pencil on the verso. Aperture, Manuel Álvarez Bravo, p. 72

84 MANUEL ÁLVAREZ BRAVO MEXICAN 1902-2002 Selected Images, 1970-1995. Five gelatin silver prints. Varying sizes from 6 1/2 x 9 3/8 in. (16.5 x 23.8 cm) to 9 1/4 x 12 1/4 in. (23.5 x 31.1 cm) or the reverse. Four signed, one initialed and three annotated ‘Mexico’ in pencil on the verso. LITERATURE Kismaric, Manuel Álvarez Bravo, p. 212; The University of New Mexico Press,

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

Revelaciones: The Art of Manuel Álvarez Bravo, pl. 24

LITERATURE The University of New Mexico Press, Revelaciones: The Art of Manuel Álvarez Bravo, pl. 29;

Estimate $ 7, 0 0 0 - 9 , 0 0 0 Titles include: Espejismos II, 1990; Xipe Tauro, 1986; Untitled, ca. 1976; Tentaciones en Casa de Antonio, 1970; En un Pequeño Espacio, número 1, 1995

83 FLOR GARDUÑO MEXICAN b. 1957 Ninfa, 2006. Gelatin silver print. 14 1/2 x 13 3/4 in. (36.8 x 34.9 cm). Signed, titled and dated in pencil on the verso. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

85 MARTA MARÍA PÉREZ BRAVO CUBAN b. 1959 Selected Images from Me pongo en sus manos, 1988 . Five gelatin silver prints. Each approximately 11 5/8 x 17 1/4 in. (29.5 x 43.8 cm). Each titled and dated in pencil on the verso. PROVENANCE Acquired directly from the artist Estimate $ 5 , 0 0 0 - 7, 0 0 0 Titles Include: Tolerancia, 1988; Inquietude, 1988; Malos Pensamientos, 1988; Excesiva Atención, 1988; Miedo de la Muerte, 1988 54

86 MARIO CRAVO NETO BRAZILIAN b. 1947 O Deus de Cabeca (Lord of the Head), 1988 . Gelatin silver print. 18 1/4 x 18 1/8 in. (46.4 x 46 cm). Signed, dated and numbered 13/25 in pencil in the margin. Estimate $ 7, 0 0 0 - 9 , 0 0 0

87 MARIO CRAVO NETO BRAZILIAN b. 1947 Torso with Sea Stone, 1990. Gelatin silver print. 15 3/4 x 15 3/4 in. (40 x 40 cm). Signed, dated and numbered 5/25 in pencil in the margin. Estimate $ 5 , 0 0 0 - 7, 0 0 0

88 MARTA MARÍA PÉREZ BRAVO CUBAN b. 1959 Viven del cariño (They are nurtured by affection), 1994. Gelatin silver print. 19 7/8 x 15 7/8 in. (50.5 x 40.3 cm). Signed, titled and numbered 1/15 in ink on the verso. Estimate $ 2 , 0 0 0 - 3 , 0 0 0

89 MARIANA YAMPOLSKY AMERICAN 1925-2002 Esperando al Padreciti, 1987. Gelatin silver print. 13 5/8 x 18 1/2 in. (34.6 x 47 cm). Signed, titled and dated in pencil on the verso. LITERATURE University of Texas Press, The Edge of Time: Photographs of Mexico by

91 MARIANA YAMPOLSKY AMERICAN 1925-2002 Mujeres, Mazahua, 1970s. Gelatin silver print, printed ca. 1980. 12 7/8 x 17 7/8 in. (32.7 x 45.4 cm). Signed and titled in pencil on the verso. Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Mariana Yampolsky, cover

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 92 SEBASTIĂ&#x201E;O SALGADO BRAZILIAN b. 1944 Tigray, Ethiopia, 1985. Gelatin silver print. 11 1/2 x 17 1/4 in. (29.2 x 43.8 cm). Blindstamp credit in the margin; signed, titled and dated in pencil on the verso. Estimate $ 3 , 0 0 0 - 5 , 0 0 0

90 GRACIELA ITURBIDE MEXICAN b. 1942 Mujer Angel (Angel Woman), Sonora Desert, 1980. Gelatin silver print, printed 1990s. 12 7/8 x 17 5/8 in. (32.7 x 44.8 cm). Signed in ink in the margin. Estimate $ 3 , 0 0 0 - 4 , 0 0 0 56

93 MIGUEL RIO BRANCO BRAZILIAN b. 1946 Brasil, 1980. Dye destruction print. 11 3/8 x 11 3/8 in. (28.9 x 28.9 cm). Signed, titled and dated in ink on the verso. Estimate $ 4 , 0 0 0 - 6 , 0 0 0

94 MIGUEL RIO BRANCO BRAZILIAN b. 1946 Red Opens on Blue, 1985. Dye destruction print. 24 1/4 x 36 in. (61.6 x 91.4 cm). Signed, titled, dated, numbered 3/15 in ink and blindstamp credit on an artistâ&#x20AC;&#x2122;s label accompanying the work. Estimate $ 2 , 0 0 0 - 3 , 0 0 0 57

95 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 5/10 in pencil on the verso. LITERATURE Arena Editions, Luis González Palma,

96 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 Gustavo, 1999. Hand-painted gelatin silver print. 20 7/8 x 19 1/2 in. (53 x 49.5 cm). Signed, titled, dated and numbered 6/15 in pencil on the verso. Estimate $ 3 , 0 0 0 - 5 , 0 0 0

97 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 Jaula de Ternura (Cage of Tenderness), 1993 . Hand-painted gelatin silver print. 16 3/4 x 19 3/4 in. (42.5 x 50.2 cm). Signed, titled, dated and numbered 7/25 in pencil on the verso. LITERATURE Arena Editions, Luis González Palma, p. 65

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

pp. 70-71

Estimate $ 7, 0 0 0 - 9 , 0 0 0 58

98 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 La Sombras de su Ninez (The Shadows of his Youth), 2004. Mixed media collage diptych with Kodalith film, gold leaf and red paper embedded in resin. Each 33 3/8 x 34 1/4 in. (84.8 x 87 cm). One print signed and each numbered 1/10 in ink on the reverse of the mount. Estimate $ 7, 0 0 0 - 9 , 0 0 0

100

99 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 Héroe 1 (Hero), 1999. Hand-painted gelatin silver print. 19 3/4 x 19 5/8 in. (50.2 x 49.8 cm). Signed, titled, dated and numbered 3/15 in pencil on the verso. LITERATURE Arena Editions,

100 LUIS GONZÁLEZ PALMA GUATEMALAN b. 1957 Viviendo en silencio (Living in Silence), 1997. Mixed media collage with Kodalith film. 19 3/4 x 20 in. (50.2 x 50.8 cm). Signed, titled, dated and numbered 15/15 in ink on the verso.

Luis González Palma, p. 140 for a variant

LITERATURE Arena Editions, Luis González Palma, p. 59

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

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

101

102

104

103 101 ABELARDO MORELL cuban b. 1948 Camera Obscura image of La Giraldilla de la Habana in Room with Broken Wall, Havana, Cuba, 2002. Gelatin silver print. 31 1/4 x 40 in. (79.4 x 101.6 cm). Signed, titled, dated and numbered 4/15 in ink in the margin. literature Bulfinch Press,

103 JOSÉ ANTONIO HERNÁNDEZ-DIEZ venezuelan b. 1964 Marx, 2000. Color coupler print. 74 1/2 x 55 in. (189.2 x 139.7 cm). Signed, numbered 2/3 in ink, printed credit, title and date on labels affixed to the reverse of the frame. literature New Museum of Contemporary Art, José

Camera Obscura: Photographs by Abelardo Morell, p. 101

Antonio Hernández-Diez, cover & n.p.

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

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

102 ANDRES SERRANO american b. 1950 The Church (Monseigneur Jacques Bishop of Chartres), 1991. Dye destruction print. 39 1/4 x 32 in. (99.7 x 81.3 cm). Signed, titled and numbered 3/10 in pencil on the reverse of the mount. Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

104 RES argentine La Dama, 2005. Digital color coupler print. 64 x 48 in. (162.6 x 121.9 cm). Signed in ink, printed title, date and number 8/10 on a gallery label affixed to the reverse of the frame. provenance Robert Mann Gallery; to the present Private Collection Literature Gonzalez, RES: The Useless Truth, cover

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 60

105

105 VIK MUNIZ BRAZILIAN b. 1961 Sacred Ludovica, after Bernini, from Pictures of Chocolate, 1997. Dye destruction print. 45 1/4 x 62 1/2 in. (114.9 x 158.8 cm). Signed, titled, dated and numbered AP 3/3 in ink on a gallery label affixed to the reverse of the mount. One from an edition of 3 plus 3 artistâ&#x20AC;&#x2122;s proofs. Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 61

107

106

108

109

106 VALENTIN VALLHONRAT SPANISH b. 1956 Untitled #12 from Room for Love, 1999. Color coupler print. 31 x 39 1/2 in. (78.7 x 100.3 cm). Signed, titled, dated and numbered 3/3 in ink on the reverse of the frame. Estimate $ 5 , 0 0 0 - 7, 0 0 0

108 FIROOZ ZAHEDI IRANIAN b. 1939 Jennifer Lopez, 1999. Color coupler print, printed later. 19 x 15 in. (48.3 x 38.1 cm). Signed and numbered 2/10 in ink in the margin. PROVENANCE

107 JANAINA TSCHÄPE GERMAN BRAZILIAN b. 1973 Anatomy Blue from Anatomy of a Mermaid, 2000. Color coupler print, Diasec mounted. 20 x 30 in. (50.8 x 76.2 cm). Signed on a label accompanying the work. Number AP1 from an edition of 5 plus 2 artist’s proofs.

109 VIK MUNIZ BRAZILIAN b. 1961 Gummy Bears, 2002. Two Duraflex prints, printed 2007. Each 10 x 8 in. (25.4 x 20.3 cm). One print signed, dated in ink and each with printed title, date and number 72/100 on an artist’s label affixed to the verso. Estimate $ 1, 8 0 0 - 2 , 2 0 0

Private Collection, Los Angeles

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

PROVENANCE Acquired directly from the artist

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 62

110

110 MICHAEL EASTMAN AMERICAN b. 1947 Green Dining Room from Cuba, 2002. Digital color coupler print, printed later. 89 3/4 x 74 in. (228 x 188 cm). Signed, titled, dated and annotated ‘AP’ in ink on a Certificate of Authenticity accompanying the work. One from an edition of 3 plus 1 artist’s proof. PROVENANCE Acquired directly from the artist Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 63

111

111 SIMON NORFOLK BRITISH b. 1963 The Granizal district of Medellin, Colombia, first populated by refugees (IDPs) 30 years ago, 2003 . Digital color coupler print. 39 3/4 x 49 3/4 in. (101 x 126.4 cm). Signed, dated ‘2008’ and numbered 10/10 in ink on a Certificate of Authenticity accompanying the work. PROVENANCE Bonni Benrubi Gallery, New York Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0 Using his camera as a tool to investigate the effects of war and how it shapes both the architecture and culture of cities, Simon Norfolk here focuses on the Colombian city of Medellin and specifically the subject of Pablo Escobar’s soccer field. Despite Escobar’s involvement in the international drug trade and the violence it brought to Medellin until his death in 1993, he was granted cult status for funding civic projects throughout the city including the soccer field illustrated in the present lot. Norfolk’s urban night scene here provides a contrastingly calm perspective on the modern Medellin with little visual reminder that the city was at one point the center of the drug trafficking stage. The image further highlights the photographer’s strength in transforming areas devastated by war and conflict into visually beautiful compositions. 64

113

112

114

115

112 MAURICIO ALEJO MEXICAN b. 1969 Horizon, 2007. Color coupler print. 55 1/4 x 70 1/8 in. (140.3 x 178.1 cm). Signed in ink on a label affixed to the reverse of the frame. Number 1 from an edition of 5. PROVENANCE Acquired directly from the artist Estimate $ 4 , 0 0 0 - 5 , 0 0 0

114 MAURICIO ALEJO MEXICAN b. 1969 Circles, 2009. Color coupler print. 54 1/2 x 70 1/4 in. (138.4 x 178.4 cm). Signed in ink on a label affixed to the reverse of the frame. Number 1 from an edition of 5. PROVENANCE Acquired directly from the artist Estimate $ 4 , 0 0 0 - 5 , 0 0 0

113 MAURICIO ALEJO MEXICAN b. 1969 Atomic Landscape, 2007. Color coupler print. 55 1/2 x 70 1/4 in. (141 x 178.4 cm). Signed in ink on a label affixed to the reverse of the frame. Number 1 from an edition of 5. PROVENANCE Acquired directly from the artist Estimate $ 4 , 0 0 0 - 5 , 0 0 0

115 ERNESTO PUJOL CUBAN b. 1957 Entrance (Bronze); and Puffy (Bronze), 2001-2003 . Two color coupler prints. Each 29 3/4 x 44 1/4 in. (75.6 x 112.4 cm). Each signed, numbered 1/5, 4/7, respectively, in ink, printed title and date on a gallery label affixed to the reverse of each frame. Estimate $ 1, 5 0 0 - 2 , 0 0 0 65

PHOTOGRAPHS LOTS 46 - 115

46 GRACIELA ITURBIDE

47 MARGARET BOURKE-WHITE

4 8 ANTON BRUEHL

49 TINA MODOTTI

50 TINA MODOTTI

51 TINA MODOTTI

52 TINA MODOTTI

53 EDWARD WESTON

54 TINA MODOTTI

55 MANUEL ÁLVAREZ BRAVO

56 MANUEL ÁLVAREZ BRAVO

57 MANUEL ÁLVAREZ BRAVO

58 MANUEL ÁLVAREZ BRAVO

59 LEO MATIZ

60 LEO MATIZ

61 MANUEL ÁLVAREZ BRAVO

62 MANUEL ÁLVAREZ BRAVO

63 JUAN GUZMAN

64 HECTOR GARCIA

65 MANUEL ÁLVAREZ BRAVO

66 LOLA ÁLVAREZ BRAVO

67 NICKOLAS MURAY

68 ENRIQUE METINIDES

69 ENRIQUE METINIDES

70 LOLA ÁLVAREZ BRAVO

71 RAUL CORRALES

72 MARTIN CHAMBI

73 MARTIN CHAMBI

Δ 74 OSVALDO SALAS

75 ALBERTO KORDA

76 ALBERTO KORDA

77 HENRI CARTIER-BRESSON

78 EDWARD WESTON

79 PAUL STRAND

80 LEON LEVINSTEIN

81 ROBERT FRANK

82 MANUEL ÁLVAREZ BRAVO

83 FLOR GARDUÑO

84 MANUEL ÁLVAREZ BRAVO

85 MARTA MARÍA PÉREZ BRAVO

86 MARIO CRAVO NETO

87 MARIO CRAVO NETO

PHOTOGRAPHS LOTS 46 - 115

88 MARTA MARÍA PÉREZ BRAVO

89 MARIANA YAMPOLSKY

90 GRACIELA ITURBIDE

91 MARIANA YAMPOLSKY

92 SEBASTIÄO SALGADO

93 MIGUEL RIO BRANCO

94 MIGUEL RIO BRANCO

95 LUIS GONZÁLEZ PALMA

96 LUIS GONZÁLEZ PALMA

97 LUIS GONZÁLEZ PALMA

98 LUIS GONZÁLEZ PALMA

99 LUIS GONZÁLEZ PALMA

100 LUIS GONZÁLEZ PALMA

101 ABELARDO MORELL

102 ANDRES SERRANO

103 JOSÉ ANTONIO HERNÁNDEZ-DIEZ

104 RES

105 VIK MUNIZ

106 VALENTIN VALLHONRAT

107 JANAINA TSCHÄPE

108 FIROOZ ZAHEDI

109 VIK MUNIZ

110 MICHAEL EASTMAN

111 SIMON NORFOLK

112 MAURICIO ALEJO

113 MAURICIO ALEJO

114 MAURICIO ALEJO

115 ERNESTO PUJOL

LATIN AMERICA 4.30 PM 3 OCTOBER 2009 NEW YORK

DESIGN LOTS 116 - 152 AGUIÑIGA, T. 125, 126 BRUNET, F.

145, 146, 149

CAMPANA, F. 119, 127, 142, 147, 150, 152 CAMPANA, H. 119, 127, 142, 147, 150, 152 FRANÇA, H. 116 FRIEDEBERG, P. 129, 135 GONZALES, E. 133 KRANTZ, J. 136 MARTINEZ-FLORES, A. 132 MENDOZA, P. 130 NIEMEYER, O. 137, 138, 139, 148 RODRIGUES, S. 122, 140, 141 RODRIGUEZ, H. 121 SHOEMAKER, D. 131, 143 TENREIRO, J. 117, 118, 120, 123, 124 USECHE, P. 134 ZALSZUPIN, J. 151 ZANINE CALDAS, J. 128, 144

116

116 HUGO FRANÇA BRAZILIAN b. 1954 “Bain” chaise longue, 2006. Juerana, leather. 28 1/4 x 82 1/2 x 41 1/2 in. (71.8 x 209.6 x 105.4 cm). One leg impressed with “HUGO FRANÇA.” PROVENANCE R 20th Century, New York Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 69

117

118

117 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Screen, 1950s. Imbuia, brass. 62 1/4 x 84 1/2 x 19 5/8 in. (158.1 x 214.6 x 49.8 cm). Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

118 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Pair of “Bergère” armchairs, ca. 1958 . Fabric, imbuia (2). Each: 32 in. (81.3 cm) high. PROVENANCE R 20th Century, New York LITERATURE Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 72 for a similar example

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

119

119 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Cartoon” chair, 2007. Stuffed toy animals, tubular stainless steel. 40 in. (101.6 cm) high. Produced by Estudio Campana, Brazil. Number six from the edition of 25, plus five from the Disney Collection and five artist’s proofs. One animal embroidered with “CARTOON CHAIR 06 / 25 CAMPANAS & Disney” and one embroidered with “© Disney.” Estimate $ 4 5 , 0 0 0 - 5 5 , 0 0 0 71

120

121

120 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Set of three bar stools, ca. 1950. Laminated amendoim and imbuia, painted iron. Each: 27 1/4 x 11 1/2 x 21 1/4 in. (69.2 x 29.2 x 54 cm). Produced by Tenreiro Móveis e Decorações, Brazil. Underside of one stool with paper label “Tenreiro Móveis e Decorações” (3). PROVENANCE R 20th Century, New York

122

121 HUGO RODRIGUEZ BRAZILIAN Large sculpture, 1982. Scorched wood. 69 x 47 x 18 in. (175.3 x 119.4 x 45.7 cm). Back incised with “N.Y./82.” Estimate $ 5 , 0 0 0 - 7, 0 0 0

122 SERGIO RODRIGUES BRAZILIAN b. 1927 “Eleh” side table/bench, ca. 1965. Jacaranda-veneered wood, jacaranda, brass. 14 1/4 x 59 x 27 in. (36.2 x 149.9 x 68.6 cm). LITERATURE Soraia Cals, Sergio Rodrigues, Rio de Janeiro, 2000, p. 60 and 272

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

LITERATURE Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 140

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 72

123

124

123 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Sofa with loose mantles, ca. 1954. Peroba, fabric. 25 1/2 x 70 x 28 3/4 in. (64.8 x 177.8 x 73 cm). PROVENANCE R 20th Century, New York

124 JOAQUIM TENREIRO BRAZILIAN 1906-1992 Pair of armchairs with loose mantles, ca. 1954. Peroba, fabric (2). Each: 26 in. (66 cm) high. PROVENANCE R 20th Century, New York

LITERATURE Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 105

LITERATURE Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 104

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

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 73

125

126 125 TANYA AGUIÑIGA MEXICAN b. 1978 “Felted Eames DCM” chair, 2008 . Found chair, handfelted Gotland wool. 29 1/2 in. (74.9 cm) high. Self-production, USA. EXHIBITED “wrapped. welded. woven. Multidisciplinary experiments in functional art,” Reform Gallery, Los Angeles, October

126 TANYA AGUIÑIGA MEXICAN b. 1978 Set of three “Soft Rocks” seating units, 2008 . Upholstery foam scraps, Gotland wool, wool yarn. Largest: 21 x 54 x 23 1/2 in. (53.3 x 137.2 x 59.7 cm). Self-production, USA. EXHIBITED “wrapped. welded. woven. Multidisciplinary

2 – November 1, 2008 LITERATURE wrapped. welded. woven. Multidisciplinary experiments in functional

experiments in functional art,” Reform Gallery, Los Angeles, October 2 – November 1, 2008

art, exh. cat., Reform Gallery, Los Angeles, 2008, illustrated n.p.

LITERATURE wrapped. welded. woven. Multidisciplinary experiments in functional art, exh. cat., Reform

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

Gallery, Los Angeles, 2008, illustrated n.p.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 74

127

128 127 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Vitória Régia” stool, 2006. EVA, rubber, fabric, tubular stainless steel. 18 in. (45.7 cm.) high, 49 1/2 in. (125.7 cm) diameter. Manufactured by Estudio Campana, Brazil. Underside with metal roundel impressed with “Estudio Campana.” Together with a certificate of authenticity from Estudio Campana. LITERATURE Antibodies – Fernando & Humberto Campana 1989-2009, exh. cat., Vitra Design

128 JOSÉ ZANINE CALDAS BRAZILIAN 1919-2001 Dining table, 1970s. Peroba, glass. 31 x 96 1/4 x 37 3/8 in. (78.7 x 244.5 x 94.9 cm). Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

Museum, Weil am Rhein, 2009, p. 96

Estimate $ 8 , 0 0 0 - 1 2 , 0 0 0 75

130

129

131

129 PEDRO FRIEDEBERG MEXICAN b. 1937 “Hand” chair, ca. 1965. Gilt Mexican mahogany. 34 1/4 in. (87 cm) high. Side of base incised with “PEDRO FRIEDEBERG.” LITERATURE Cara Greenberg, Op to Pop: Furniture of the 1960s,

130 PEPE MENDOZA MEXICAN Side table, 1960s. Brass, glass, painted resin. 25 7/8 x 27 x 22 1/2 in. (65.7 x 68.6 x 57.2 cm). Estimate $ 6 , 0 0 0 - 8 , 0 0 0

New York, 1999, p. 109 for a similar example; Dina Comisarenco Mirkin, et al., Vida y Diseño en Mexico: Siglo XX, Mexico City, 2007, p. 67 for a similar example

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

131 DON SHOEMAKER AMERICAN Dining table, ca. 1965. Stacked cocobolo. 28 3/4 x 50 x 96 1/2 in. (73 x 127 x 245.1 cm). Manufactured by Señal, Mexico. Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0

132

133

134

132 AURELIO MARTINEZ-FLORES MEXICAN b. 1929 “Beba com Moderação” dining table, 2007. Crushed tin can-covered wood, glass. 28 1/4 x 70 7/8 x 70 7/8 in. (71.8 x 180 x 180 cm).

133 ERNESTO GONZALES CUBAN b. 1922 Sculpture, 1950s. Glazed ceramic, bronze. 19 x 33 x 24 in. (48.3 x 83.8 x 61 cm).

LITERATURE “Flores Na Vanguarda,” Casa Vogue, August 2007,

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

PROVENANCE Bonino Gallery, New York

p. 34

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 77

134 PEDRO USECHE VENEZUELAN b. 1956 Three-legged chair, 1990s. Bronze, jacaranda, leather. 34 1/2 in. (87.6 cm) high. Side of seat impressed with “USECHE.” Estimate $ 3 , 0 0 0 - 4 , 0 0 0

135

135 PEDRO FRIEDEBERG MEXICAN b. 1937 Sculpture, 1980s. Painted wood, photo-printed wood. 45 x 49 3/8 x 2 5/8 in. (114.3 x 125.4 x 6.7 cm). Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0 78

136

136 JULIA KRANTZ BRAZILIAN “Poltrona Maia” lounge chair, 2005. Stack-laminated sumauma. 34 in. (86.4 cm.) high. Selfproduction, Brazil. One of four artist’s proofs for the edition of ten. Underside impressed with “JULIA KRANTZ/MOVELARIA/ ARTIST PROOF.” LITERATURE Jen Renzi, “Room for the New,” Modern Magazine, Spring 2009, p. 108 Estimate $ 6 , 0 0 0 - 8 , 0 0 0 79

137

139

138

137 OSCAR NIEMEYER BRAZILIAN b. 1907 Chair and ottoman, ca. 1980. Bent rosewood-veneered wood, leather, chrome-plated metal, painted metal. Chair: 28 in. (71.1 cm.) high; ottoman: 18 x 27 x 27 in. (45.7 x 68.6 x 68.6 cm). Manufactured by Tendo, Brazil. Underside of each with paper label “TENDO BRASILEIRA” (2). LITERATURE Alan

138 OSCAR NIEMEYER BRAZILIAN b. 1907 Drawing of the Planalto Palace Brasilia, Brazil, late 1990s. Ink on tracing paper. Without mount: 23 1/4 x 17 5/8 in. (59.1 x 44.8 cm). Signed “Oscar Niemeyer.” Together with a certificate of authenticity.

139 OSCAR NIEMEYER BRAZILIAN b. 1907 Drawing of the House of Canoas, Rio de Janeiro, Brazil, late 1990s. Ink on tracing paper. Without mount: 13 3/4 x 20 7/8 in. (34.9 x 53 cm). Signed “Oscar Niemeyer.” Together with a certificate

PROVENANCE Private Collection, Brazil LITERATURE

of authenticity. PROVENANCE Private Collection, Brazil

Charlotte and Peter Fiell, eds., Domus Vol. VI 1965-1969, Cologne,

LITERATURE Oscar Niemeyer 360˚, Brazil, 2006, p. 5 for

Hess, Oscar Niemeyer Houses, New York, 2006, pp. 132-133 and 135

2006, pp. 178-179 for a discussion of the project; Oscar Niemeyer

a discussion of the project

for steel-framed examples

360˚, Brazil, 2006, p. 11 for a discussion of the project

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

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

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 80

140

141

140 SERGIO RODRIGUES BRAZILIAN b. 1927 “Tonico” sofa, ca. 1963 . Jacaranda, fabric, leather. 38 x 81 1/2 x 31 1/2 in. (96.5 x 207 x 80 cm). LITERATURE Soraia Cals, Sergio Rodrigues,

141 SERGIO RODRIGUES BRAZILIAN b. 1927 “Mucki” long bench, 1960s. Jacaranda. 13 x 87 1/2 x 23 3/4 in. (33 x 222.3 x 60.3 cm). LITERATURE Soraia Cals, Sergio Rodrigues, Rio de Janeiro, 2000,

Rio de Janeiro, 2000, p. 277 for a similar example

pp. 94-95 and 253

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

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

142

143

144

142 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Azul” chair, ca. 1993 . Cotton rope, tubular stainless steel, painted metal. 31 in. (78.7 cm) high. Manufactured by Edra, Italy. LITERATURE Antibodies –

143 DON SHOEMAKER AMERICAN Stool, 1960s. Rosewood, leather. 15 1/8 x 22 1/2 x 18 in. (38.4 x 57.2 x 45.7 cm). Manufactured by Señal, Mexico. LITERATURE Dina

144 JOSÉ ZANINE CALDAS BRAZILIAN 1919-2001 “Namoradeira” chair, ca. 1970. Pequi. 22 x 35 x 33 1/2 in. (55.9 x 88.9 x 85.1 cm). LITERATURE Maria CecÍlia Loschiavo

Comisarenco Mirkin, et al., Vida y Diseño en Mexico: Siglo XX,

dos Santos, Móvel Moderno no Brasil, São Paulo, 1995, p. 108; Hugo

Fernando & Humberto Campana 1989-2009, exh. cat., Vitra Design

Mexico City, 2007, pp. 82-83 for a similar chair

Segawa, Ver Zanine, exh. cat., Centro Cultural Banco Do Brazil,

Museum, Weil am Rhein, 2009, p. 51

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

Rio de Janeiro, 2003, p. 34

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

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 82

145

146

145 FERNANDA BRUNET MEXICAN b. 1964 Untitled tapestry, 2003 . Wool. 97 x 98 in. (246.4 x 248.9 cm). Produced by Taller Mexicano de Gobelinos, Mexico. Estimate $ 1 2 , 0 0 0 - 1 8 , 0 0 0

146 FERNANDA BRUNET MEXICAN b. 1964 Untitled tapestry, 2003 . Wool. 97 x 98 in. (246.4 x 248.9 cm). Produced by Taller Mexicano de Gobelinos, Mexico. Estimate $ 1 2 , 0 0 0 - 1 8 , 0 0 0 83

147

148

147 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Papel” chair, ca. 1995. Painted corrugated cardboard, stainless steel, painted MDF. 34 3/8 in. (87.3 cm) high. Produced by Estudio Campana, Brazil. From the edition of five. LITERATURE Antibodies – Fernando & Humberto Campana 1989-2009, exh. cat., Vitra Design Museum, Weil am Rhein, 2009, p. 112

148 OSCAR NIEMEYER BRAZILIAN b. 1907 Working prototype dining table from the editioned series for the firm Móveis Teperman Ltda., Brazil, ca. 1990. Glass, stainless steel-covered wood. 29 3/4 x 88 1/2 x 41 in. (75.6 x 224.8 x 104.1 cm). Produced by Móveis Teperman Ltda., Brazil. Together with a certificate of authenticity from the Oscar Niemeyer Foundation.

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

PROVENANCE Oscar Niemeyer Foundation, Brazil LITERATURE Juli Capella and Quim Larrea, Designed by Architects in the 1980s, New York, 1988, p. 122 for a similar example; Jean Petit, Niemeyer, Poète D’Architecture, Lugano, 1995, pp. 364 and 384

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 84

149

150

149 FERNANDA BRUNET MEXICAN b. 1964 Untitled sculpture, 2006 Resin, plastic. 15 x 15 1/2 x 6 1/4 in. (38.1 x 39.4 x 15.9 cm). Estimate $ 3 , 0 0 0 - 5 , 0 0 0

150 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Anemone” chair, ca. 2000. PVC tubing, painted tubular metal, chrome-plated metal. 24 1/2 in. (62.2 cm) high. Manufactured by Edra, Italy. LITERATURE Antibodies – Fernando & Humberto Campana 1989-2009, exh. cat., Vitra Design Museum, Weil am Rhein, 2009, pp. 58 and 116

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 85

151

152

151 JORGE ZALSZUPIN BRAZILIAN b. 1922 Large desk, 1970s. Jacaranda-veneered wood, jacaranda, leather, brass. 29 1/2 x 82 3/4 x 43 3/8 in. (74.9 x 210.2 x 110.2 cm). Manufactured by L´Atelier, Brazil. Underside with paper label “l’atelier.” LITERATURE L’Atelier sales

152 FERNANDO AND HUMBERTO CAMPANA BRAZILIAN b. 1961, b. 1953 “Vitória Régia” stool, 2006. EVA, rubber, fabric, tubular stainless steel. 18 in. (45.7 cm.) high, 29 1/2 in. (74.9 cm) diameter. Manufactured by Estudio Campana, Brazil. Underside with metal roundel impressed with “Estudio Campana.” Together with a certificate of authenticity from Estudio Campana. LITERATURE Antibodies – Fernando & Humberto Campana 1989-2009, exh. cat., Vitra

catalogue, 1970s

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

Design Museum, Weil am Rhein, 2009, p. 96 for a similar example

Estimate $ 5 , 0 0 0 - 7, 0 0 0 86

DESIGN LOTS 116 - 152

116 HUGO FRANÇA

117 JOAQUIM TENREIRO

118 JOAQUIM TENREIRO

119 FERNANDO AND HUMBERTO CAMPANA

120 JOAQUIM TENREIRO

121 HUGO RODRIGUEZ

122 SERGIO RODRIGUES

123 JOAQUIM TENREIRO

124 JOAQUIM TENREIRO

125 TANYA AGUIÑIGA

126 TANYA AGUIÑIGA

127 FERNANDO AND HUMBERTO CAMPANA

128 JOSÉ ZANINE CALDAS

129 PEDRO FRIEDEBERG

130 PEPE MENDOZA

131 DON SHOEMAKER

132 AURELIO MARTINEZ-FLORES

133 ERNESTO GONZALES

134 PEDRO USECHE

135 PEDRO FRIEDEBERG

136 JULIA KRANTZ

137 OSCAR NIEMEYER

138 OSCAR NIEMEYER

139 OSCAR NIEMEYER

14 0 SERGIO RODRIGUES

141 SERGIO RODRIGUES

142 FERNANDO AND HUMBERTO CAMPANA

143 DON SHOEMAKER

14 4 JOSÉ ZANINE CALDAS

145 FERNANDA BRUNET

146 FERNANDA BRUNET

147 FERNANDO AND HUMBERTO CAMPANA

148 OSCAR NIEMEYER

149 FERNANDA BRUNET

150 FERNANDO AND HUMBERTO CAMPANA

151 JORGE ZALSZUPIN

152 FERNANDO AND HUMBERTO CAMPANA 87

LATIN AMERICA 5 PM 3 OCTOBER 2009 NEW YORK

CONTEMPORARY ART LOTS 153 - 248 ABAROA, E. 172, 173 ARCE, M. 219, 221 ARRECHEA, A. 156 AVAF 209, 210, 211, 212 BECHARA, T. 164, 170 BEDIA, J. 175, 176 BRUNET, F. 205, 208 CAIVANO, G. 200 CALDERÓN, M. 198 CAMPOS-PONS, M. M. 241 CARDENAS, C. 229 CATUNDA, L. 224 CRUZVILLEGAS, A. 162 CUCULLU, S. 155 CUEVAS, M. 242 DEMO, G. 204, 237 DR. LAKRA 157 DUVAL-CARRIÉ, E. 231 ELIZONDO, A. 230 ENRIQUEZ-GONZALEZ, C. 245, 246, 247, 248 ERLICH, L. 165 ESSON, T. 238 FERRARI, L. 183 GALÁN, J. 186, 201 GARCIA TORRES, M. & BRÜGEMANN, S. 196 GARCIANDIA, F. 243 GOICOLEA, A. 193

HANK, A. 239 HERNÁNDEZ, S. 217, 218 HERNÁNDEZ-DIEZ, J. A. 180 HERRERA, A. 168 HÖFER, C. 191

PARDO, J. 167 PINO HERNÁNDEZ, A. 194 PIÑON, J. 195 PLANES HERRERA, S. 232 PUJOL, E. 154, 159

ITURRIA, I. 179

QUIRARTE + ORNELAS 163, 220

JIMENEZ, C. 206

RENNÓ, R. 169 ROJAS, C. 222, 225 ROMERO, B. 203

KCHO (ALEXIS LEYVA MACHADO) 160 KUITCA, G. 190 KURI, G. 235 LAM, W. 184 LARRAZ, J. 182 LOS CARPINTEROS 153 MARTÍNEZ CELAYA, E. 161, 187 MARTÍNEZ, E. 234 MATTA, R. 181 MÉNDEZ BLAKE, J. 223, 244 MÉNDEZ RAMOS, R. 213 MENDIETA, A. 197 MORÁN, R. 202 MUNIZ, V. 192 NEGRET, E. 228 NETO, E. 174

SANÍN, F. 171 SARMENTO, J. 188 SCHEIMBERG, D. 199 SEEBER, A. 207 SMITH, R. 227 SORIANO, P. 214, 216 TACLA, J. 236 TAMAYO, R. 185 TANNURI, J. 226 TOLEDO, F. 178 TUNGA 177 UGALDE, G. 233 VAISMAN, M. 240 VALLECILLO, A. 158, 215 VAREJÃO, A. 166

OROZCO, J. C. 189

153

154

153 LOS CARPINTEROS CUBAN b. 1969, b. 1970, b. 1971 Just Give Me Something, 2001. Watercolor and pencil on paper. 29 1/2 x 41 1/2 in. (74.9 x 105.4 cm). Signed and dated “Los Carpinteros 2001” lower right; titled “Just give me something” lower center. PROVENANCE São Paulo Gallery,

155

154 ERNESTO PUJOL CUBAN b. 1957 Untitled, 1996. Gouache on paper. 8 1/4 x 11 1/4 in. (21 x 28.6 cm). Signed and dated “Pujol ‘96” lower left. PROVENANCE CRIA, New York; Acquired directly from the artist

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

155 SANTIAGO CUCULLU ARGENTINE b. 1969 Untitled (from Wolves and Vampires), 2000. Watercolor on paper. 12 1/4 x 19 1/4 in. (31.1 x 48.9 cm). Signed and dated “Santiago Cucullu 2000” on the reverse. PROVENANCE Barbara Davis Gallery, Houston

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

São Paulo

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 89

156

157

158

156 ALEXANDRE ARRECHEA CUBAN b. 1970 After the Monument #4, 2009. Watercolor on paper. 19 1/2 x 22 1/2 in. (49.5 x 57.2 cm). Initialed and dated “A.A. 2009” lower right; titled “After the Monument Series #4” lower center.

157 DR. LAKRA MEXICAN b. 1972 Untitled (Labio Leporino), 2007. Ink on vintage magazine page. 9 2/3 x 6 1/2 in. (24.6 x 16.5 cm). Signed “Dr. Lakra” upper left. PROVENANCE

158 ADÁN VALLECILLO HONDURAN b. 1977 Carcelero, 2006. Bronze padlock, stainless steel spoons and metal chain. Installation dimensions variable. PROVENANCE

kurimanzutto, Mexico City

Private collection, Guatemala City

PROVENANCE Private collection, Guatemala City

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

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

∆

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 90

159

160

161

162

159 ERNESTO PUJOL CUBAN b. 1957 Derrumbes, 1995. Oil on wood in four parts. 93 x 78 x 6 in. (236.2 x 198.1 x 15.2 cm) overall. PROVENANCE Acquired directly from the artist Estimate $ 8 , 0 0 0 - 1 0 , 0 0 0

161 ENRIQUE MARTÍNEZ CELAYA CUBAN AMERICAN b. 1964 The one who waits, 1998 . Acrylic on quilted fabric. 48 x 48 in. (121.9 x 121.9 cm). Signed, titled and dated “Martinez Celaya ‘The one who waits’ 1998” on the reverse. PROVENANCE Griffin Contemporary,

160 KCHO (ALEXIS LEYVA MACHADO) CUBAN b. 1970 Untitled, 1993 . Ink on wallpaper. 35 x 21 in. (88.9 x 53.3 cm). Signed and dated “Kcho 93” lower right. PROVENANCE Private

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

collection, Guatemala City

162 ABRAHAM CRUZVILLEGAS MEXICAN b. 1968 Slow Growth, 2004. Wood, rubber band and plastic comb. Installation dimensions variable; 62 1/2 x 10 x 20 in. (158.8 x 25.4 x 50.8 cm) as illustrated. Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Santa Monica

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

163

164

163 QUIRARTE + ORNELAS (ANABEL QUIRARTE AND JORGE ORNELAS) MEXICAN b. 1980, b. 1979 Pasillo 3, 2008 . Acrylic on paper in six parts. 44 x 30 in. (111.8 x 76.2 cm).

164 TONY BECHARA PUERTO RICAN b. 1942 Hypothesis, 2009. Acrylic paint on masking tape. Installation dimensions variable; 36 x 60 x 48 in. (91.4 x 152.4 x 121.9 cm) as illustrated.

PROVENANCE Acquired directly from the artist

PROVENANCE Acquired directly from the artist.

Estimate $ 4 , 0 0 0 - 5 , 0 0 0

Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0 92

165

165 LEANDRO ERLICH ARGENTINE b. 1973 Shattering Door, 2009. Metal structure, airbrush painted mdf, stainless steel ball. 81 x 38 5/8 x 16 7/8 in. (205.7 x 98 x 42.9 cm). This work is from an edition of three. PROVENANCE Acquired directly from the artist EXHIBITED São Paulo, Luciana Brito Galeria, Fragmentos de Una Casa, May 12 – June 13, 2009 LITERATURE J. C. Visconti, “La Invención de Leandro,” Fragmentos de Una Casa, São Paulo, 2009, n.p.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 93

166

166 ADRIANA VAREJÃO BRAZILIAN b. 1964 Monocromo Branco #3 & #4, 2001-2002. Oil on plaster on canvas. 39 1/4 x 39 1/2 in. (99.7 x 100.3 cm) each. Each signed, titled and dated “A. Varejão ‘Monocromo’ 2001/2002” on the reverse. PROVENANCE Galeria Fortes Vilaça, São Paulo Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 94

167

167 JORGE PARDO CUBAN AMERICAN b. 1963 Untitled #6, 2002. Inkjet print on canvas mounted on MDF. 37 1/2 x 56 1/4 in. (95.3 x 142.9 cm). PROVENANCE neugerriemschneider, Berlin EXHIBITED Museum of Contemporary Art North Miami, Jorge Pardo: House, December 4, 2007 – March 2, 2008; Museum of Contemporary Art Cleveland, Jorge Pardo: House, September 12, 2008 – December 28, 2008 LITERATURE B. Clearwater, Jorge Pardo: House, Miami, 2007, pl. 10 (illustrated)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 95

169

168

168 ARTURO HERRERA VENEZUELAN b. 1959 Untitled, 2000. Collage on paper. 18 1/2 x 14 1/4 in. (47 x 36.2 cm). PROVENANCE Brent Sikkema Gallery, New York Estimate $ 4 , 0 0 0 - 6 , 0 0 0

169 ROSÂNGELA RENNÓ BRAZILIAN b. 1962 Untitled (Tree Man), 2000. Laminated lightjet print on archival paper mounted to panel in artist’s wooden frame. 72 3/4 x 41 1/4 in. (184.8 x 104.8 cm). Signed “Rosângela Rennó” and numbered of five on a label adhered to the reverse. PROVENANCE Lombard-Freid Gallery, New York Estimate $ 5 , 0 0 0 - 7, 0 0 0 96

171

170

170 TONY BECHARA PUERTO RICAN b. 1942 July 17, 2008 . Acrylic on linen. 60 x 60 in. (152.4 x 152.4 cm). Signed and dated “Tony Bechara 2008” on the stretcher; titled “July 17” on the overlap. PROVENANCE Acquired directly from the artist. Estimate $ 1 2 , 0 0 0 - 1 8 , 0 0 0

171 FANNY SANÍN COLOMBIAN b. 1938 Acrylic No. 1, 1994. Acrylic on canvas. 39 x 20 in. (99.1 x 50.8 cm). Signed, titled and dated “Fanny Sanín No 1, 1994” on the reverse and again on the overlap. PROVENANCE Acquired directly from the artist Estimate $ 1 8 , 0 0 0 - 2 5 , 0 0 0

172

173

172 EDUARDO ABAROA MEXICAN b. 1968 Exoesqueleto, 2003 . Cotton swabs, plastic balls, steel, epoxy and fishing line. 31 x 45 x 41 in. (78.7 x 114.3 x 104.1 cm) approximately. Estimate $ 6 , 0 0 0 - 8 , 0 0 0

173 EDUARDO ABAROA MEXICAN b. 1968 Amusement Park for Bubbles, 2001. Plastic drinking straws and glue. 10 x 44 x 20 in. (25.4 x 111.8 x 50.8 cm). Estimate $ 5 , 0 0 0 - 7, 0 0 0

174

ERNESTO NETO BRAZILIAN b. 1964 Apolo 3, 1997. Aluminum, polyamide, cotton, rubber and steel. 132 x 132 x 108 in. (335.3 x 335.3 x 274.3 cm).

PROVENANCE Galeria Camargo Vilaรงa, Sรฃo Paulo LITERATURE Corzo, Mortality Immortality: The Legacy of 20th-Century Art, The Getty Conservation Institute, Los Angeles, 1999, p. XI, n. 2 (illustrated)

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 99

175

176

175 JOSÉ BEDIA CUBAN b. 1959 Kindembo Arriero. Acrylic on canvas. 94 x 116 in. (238.8 x 294.6 cm). PROVENANCE Private Collection Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

176 JOSÉ BEDIA CUBAN b. 1959 Mbangui Mbele. Ink on amate paper. 94 x 44 in. (238.8 x 111.8 cm). PROVENANCE Private Collection Estimate $ 1 2 , 0 0 0 - 1 8 , 0 0 0 100

177

TUNGA BRAZILIAN b. 1952 Exogenous Axis, 2000. Metal and wood. 81 x 13 x 13 in. (205.7 x 33 x 33 cm).

PROVENANCE Acquired directly from the artist; Private collection, New York

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 101

178

179

180

178 FRANCISCO TOLEDO MEXICAN b. 1940 Sin Titulo, ca. 1980. Unique carved and partially glazed ceramic plate. Diameter: 11 7/8 in. (30.2 cm). PROVENANCE Acquired directly

179 IGNACIO ITURRIA URUGUAYAN Five Compartments, 1998 . Oil on canvas. 78 x 10 in. (198.1 x 25.4 cm). PROVENANCE Aquired directly from the artist

180 JOSÉ ANTONIO HERNÁNDEZ-DÍEZ VENEZUELAN b. 1964 Untitled, 2000. Grey methachrylate. 84 x 16 x 20 in. (213.4 x 40.6 x 50.8 cm). PROVENANCE Elba Benítez Galeria,

from the artist

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

Madrid

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

Estimate $ 1 2 , 0 0 0 - 1 8 , 0 0 0 102

181

181 ROBERTO MATTA CHILEAN 1911-2002 Antropopus, 1971. Oil on canvas. 29 1/2 x 19 1/2 in. (74.9 x 49.5 cm). Signed lower left; titled “Antropopus” on the reverse. PROVENANCE Clara Rosa Otero, Caracas Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

103

182

183

182 JULIO LARRAZ CUBAN AMERICAN b. 1944 Niña, 1975. Oil on canvas. 37 1/2 x 53 in. (95.3 x 134.6 cm). Signed and dated “Larraz 75” lower right. PROVENANCE Gary Nader Fine

183 LEÓN FERRARI ARGENTINE b. 1920 Untitled, 1963 . Ink on paper. 18 3/4 x 12 1/4 in. (47.6 x 31.1 cm). Signed and dated “Leon Ferrari 5/10/63” lower right. Estimate $ 5 0 , 0 0 0 - 7 0 , 0 0 0

Art, Miami

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

104

184

184 WIFREDO LAM CUBAN 1902-1982 Femme chaise, 1939. Watercolor on paper. 24 5/8 x 19 in. (62.5 x 48.3 cm). Signed and dated “Wifredo Lam 1939” lower right. PROVENANCE Galerie Käte Perls, Paris/New York Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 105

“Tamayo openly and freely melded modernist concepts and practices from Mexico, Europe, and the United States: his fusion modernism forged links between the Mexican School, the New York School, and European figure painting of the 1940s and 1950s… Tamayo was committed to the human experience as the primary subject of art, while remaining dedicated to the modernist ethos of formal experimentation.” D. C. du Pont, Tamayo: A Modern Icon Reinterpreted, Miami, 2007

Born of Zapotec decent in Oaxaca, Mexico in 1899, Rufino Tamayo is considered one of the most important Mexican painters of the twentieth century. Heavily influenced by both Cubism and Fauvism in his art, Tamayo also integrated anthropological themes distinctive of his Mesoamerican cultural identity. Tamayo was an outsider in post Revolutionary Mexico. Politically neutral and opposing his Mexican contemporaries’ commitment to public art, evidenced in the murals of Diego Rivera and David Alfaro Siqueiros, Tamayo preferred to keep his artwork unrelated and separate from the tumultuous political climate. The subjects of his artwork tended more towards everyday domesticity and humanity, as seen through his still lifes, figurative works and interior scenes. In Mujer en un interior, Tamayo skillfully depicts a nude female figure in a Pre-Columbian style standing amidst an abstract and minimalist interior. Her torso faces the viewer while her face and legs are at a profile—a nod to Tamayo’s Pre-Columbian stylistic sensibilities. Framed by the doorway, the lone figure is twisted, hand reaching for what appears to be a door knob. An alarm clock sits on a pedestal in the back corner of the room taking time further dramatizing the tension of the scene. Overall, the use of a dark color palate, the strong lines delineating the interior architecture of the room and the abstract female figure bring focus to the enigmatic narrative of the painting. Mujer en un interior is a quintessential example of Tamayo’s paintings. The artist harmoniously and elegantly marries minimalism and abstraction with Pre-Columbian forms creating a characteristic style that is distinctively his. Drawing on Mexican folk art and ceramics for their forms, rich use of color and texture and themes, Tamayo brings these historical tendencies to contemporary relevance by also incorporating sophisticated compositions more closely indebted to Cubism.

185 RUFINO TAMAYO MEXICAN 1899-1991 Mujer en un interior, 1977. Oil and sand on canvas. 51 x 38 in. (129.5 x 96.5 cm). Signed and dated “Tamayo 0-77” upper right and titled and dated on the reverse. PROVENANCE Acquired from the artist; Mr. and Mrs. Manuel Reyero, Mexico City; Bernard Lewin Galleries, Beverly Hills EXHIBITED New York, Mary-Anne Martin Fine Art, Rufino Tamayo Paintings 1937-1977, November 26, 1983 – January 31, 1984; Berlin, Staatliche Kunsthalle, Rufino Tamayo 1990, May 2 – June 10, 1990; Nagoya City Art Museum; Kamakura, Museum of Modern Art; Kyoto, National Museum of Modern Art, Rufino Tamayo Retrospectiva, October 9, 1993 – March 21, 1994 LITERATURE R. Tamayo, Addendum, Beverly Hills, p. 55, no. 54 (illustrated); Staatliche Kunsthalle, ed., Rufino Tamayo 1990, Berlin, 1990, p. 312 (illustrated); National Museum of Modern Art, ed., Rufino Tamayo Retrospectiva, Kyoto, 1993, p. 138, no. 69 (illustrated)

Estimate $ 4 0 0 , 0 0 0 - 5 0 0 , 0 0 0 106

185

107

186

187

186 JULIO GALÁN MEXICAN 1958-2006 L’inizio, 1997. Oil on canvas collage. 51 1/4 x 74 7/8 in. (130.2 x 190.2 cm). Signed and dated “Julio Galán 97” lower left. PROVENANCE Robert Miller

187 ENRIQUE MARTÍNEZ CELAYA CUBAN AMERICAN b. 1964 Private Faith, Fortitude, 1998. Oil and human hair on canvas. 84 x 72 in. (213.4 x 182.9 cm). Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0

Gallery, New York

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 108

188

188 JULIÃO SARMENTO PORTUGUESE b. 1948 La Chronique Scandaleuse, 1987. Ground stone, wood, burlap, acrylic paint, graphite, canvas, iron and lead. 98 1/2 x 94 1/2 x 82 3/4 in. (249.9 x 240 x 210.1 cm). PROVENANCE Acquired directly from the artist; Sean Kelly Gallery, New York EXHIBITED Fontevraud, France, Abbaye de Fontevraud, September 12 – November 1, 1987; Nantes, Pôle d’Animation et Rencontres Culturelles (PARC), Manufacture des Tabacs, November 20, 1987 – January 17, 1988; Musée d’Art et d’Archeology de la Roche sur Yon, February 13 – March 21, 1988; Le Mans, Palais des Congrès de la Ville du Mans, April 5 – May 8, 1988; Palais des Congrès de la Ville de Saint Jean de Monts, May 21 – June 26, 1988; and Office Social et Culturel de Château-Gontier, Chapelle Saint Julien de l’Hôpital de Château-Gontier, July 2 – August 21, 1988, Quatrièmes Ateliers Internationaux des Pays de Loire; Lisbon, Galeria Cómicos, Julião Sarmento: As Velocidades da Pele, March 27 – April 22, 1989; Rotterdam, Holland, Witte de With Center for Contemporary Art, Julião Sarmento, October 12 – November 24, 1991; Haus der Kunst Munich, October 24, 1997 – January 18, 1998; and Bologna, Galleria d’Arte Moderna, March 20 – June 28, 1998, Julião Sarmento: Werke 1981-1996 LITERATURE FRAC des Pays de La Loire, ed., Quatrièmes Ateliers Internationaux des Pays de Loire, Nantes, 1987, pp. 48-49 (illustrated); Galeria Cómicos, ed., Julião Sarmento: As Velocidades da Pele, Lisbon, 1989, p. 16 (illustrated); G. Celant and A. Melo, Julião Sarmento, Lisbon, 1997, pp. 166-167 (illustrated); Witte de With Center for Contemporary Art, ed., Julião Sarmento, Rotterdam, 1997, p. 41 (illustrated)

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 109

Born in Jalisco, Mexico in 1983, José Clemente Orozco is considered a Mexican Social Realist painter. While attending the Academia de San Carlos, in Mexico City, Orozco would visit the workshop of the elderly artist José Guadalupe Posada, whose popular-culture imagery was driven by social, political, and tabloid themes. During the Mexican Revolution (Revolución Mexicana), Orozco was politically very active and witnessed its horrors first hand. He became a political cartoonist, publishing most of his work in local newspapers. Throughout his career he combined painting with drawing and lithography while being in an ideal position to observe human suffering to illustrate how diffi cult it would be for Mexican people to obtain social justice. The present painting ‘Naturaleza Muerta (Autorretrato)’, which was created in the last years of his life, is a still life in which the artist depicts himself. The subject matter captures a moment where Orozco is just in the process of portraying himself. Still life—as a genre— usually represents commonplace objects which may be either natural or man-made. In Orozco’s still life he implements his persona into the scenery. The composition is fractured in different color planes, which are loosely and expressionistic applied with visible brushstrokes. His style is reminiscent of Late-Cubism and his major influence of Symbolism becomes evident—referencing his political attitude as well as his childhood accident when loosing his left hand.

“A key to understanding Orozco’s work is an awareness of the relation between the artist’s passionate idealism and his pessimism. Spain’s greatest filmmaker, the late Luis Buñuel, declared that ‘man is never free, yet he fights for what he can never be, and that is tragic.’Orozco’s sense of the human condition was based on a similar conviction of tragic impasse. ‘To have a tragic vision in the Americas is extremely diffi cult,’ says Mexican writer Carlos Fuentes, ‘because we were founded as the Brave New World of happiness, the great utopia. So when a writer like Faulkner breaks through the optimism of the United States, or a painter like Orozco breaks through the promise of Mexico of the New World, it is a very striking event.’ Through his art Orozco shared his trauma and his anger, which he insisted over and over, in many forms, is our trauma and should be our anger. ‘Painting,’ Orozco believed, ‘assails the mind. It persuades the heart.’” Jacquelynn Baas

189

JOSÉ CLEMENTE OROZCO MEXICAN 1883-1949 Naturaleza Muerta (Autorretrato), 1944. Oil on canvas. 25 x 34 in. (63.5 x 86.4 cm). Signed and dated “J.C. Orozco 1944” lower right.

PROVENANCE Acquired directly from the artist; Collection of Barbara and John Duncan; Irving Richards, New York (acquired from artist) EXHIBITED New York, Huntington Hartford Museum, José Clemente Orozco, September 7 – October 17, 1965; Monterrey, Mexico, MARCO, Jalisco: Genio y Maestría, May – August, 1994; Mexico City, Mexico, Antiguo Colegio de San Ildefonso, Jalisco: Genio y Maestría, February – May, 1995; Nassau County Museum of Art, The Latin Century: Beyond the Border, August 18 – November 3, 2002 LITERATURE MARCO, ed., v Jalisco: Genio y Maestría, Monterrey, Mexico, 1994, p. 123, cat. 137 (illustrated).

Estimate $ 3 0 0 , 0 0 0 - 4 0 0 , 0 0 0 110

189

111

190

191

190 GUILLERMO KUITCA ARGENTINE b. 1961 House Plan, 1990. Acrylic on canvas in 11 parts. 8 x 11 3/4 in. (20.3 x 29.8 cm) each. Signed, titled and dated “Kuitca ‘House Plan’ 1990” on the reverse of panel one. PROVENANCE Galerie Barbara Farber, Amsterdam EXHIBITED

191 CANDIDA HÖFER GERMAN b. 1944 Colegio Nacional de Buenos Aires, 2006 . Color coupler print. 77 x 97 in. (195.6 x 246.4 cm). This work is from an edition of six. PROVENANCE Galleri K,

Amsterdam, Galerie Barbara Farber, Kuitca, May – June 1990 LITERATURE E. L. Smith, Kuitca,

April 17-22, 2007 (another example exhibited) LITERATURE Galleri K, ed., Candida Höfer: Buenos Aires,

Cologne; Private collection EXHIBITED Cologne, Art Cologne, Galleri K, Candida Höfer: Buenos Aires,

Amsterdam, 1990, p. 17

Oberhausen, 2007, no. 10 (illustrated)

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

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 112

192

192 VIK MUNIZ BRAZILIAN b. 1961 Maria Callas (from Diamond Divas), 2004. C-print mounted on aluminum. 59 x 47 1/4 in. (149.9 x 120 cm). Signed and dated “Vik Muniz 2004” and numbered of ten on a label adhered to the reverse. This work is from an edition of ten. PROVENANCE Galerie Xippas, Paris EXHIBITED Paris, Galerie Xippas, Vik Muniz: Diamond Divas and Caviar Monsters, September 11 – October 23, 2004 (another example exhibited)

Estimate $ 7 0 , 0 0 0 - 9 0 , 0 0 0 113

194

193

195

196

193 ANTHONY GOICOLEA CUBAN AMERICAN b. 1971 Puppy Love, 1999. C-print flush mounted to plastic board. 59 1/4 x 40 in. (150.5 x 101.6 cm). This work is from an edition of five.

195 JAVIER PIÑÓN AMERICAN b. 1970 The Lookout, 2005. Paper collage. 30 x 22 in. (76.2 x 55.9 cm). PROVENANCE Zieher Smith, New York; Pavel Zoubok Gallery, New York Estimate $ 3 , 0 0 0 - 4 , 0 0 0

PROVENANCE Galeria Luis Adelantado, Valencia

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 196 MARIO GARCIA TORRES AND STEFAN BRÜGGEMANN MEXICAN b. 1975 Historic reposition (Lamelas-Broodthaers), 2002. Single-channel video on DigiBeta® cassette with plastic case and paper labels. 60 second duration. This work is from an edition of four plus two artists’ proofs. PROVENANCE Galerie Jan Mot, Brussels LITERATURE Malasauskas, Raimundas, “Answer

194 ALAIN PINO HERNÁNDEZ CUBAN b. 1974 Daisy (from Confusion), 2000. Photograph and mixed media on canvas. 50 x 39 1/2 in. (127 x 100.3 cm). Signed “Alain” lower left and lower right. PROVENANCE Galeria Habana, Cuba Estimate $ 3 , 0 0 0 - 5 , 0 0 0

is never the same”, newspaper 43 (online content), August 2004

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 114

197 (detail)

198

197 ANA MENDIETA CUBAN AMERICAN 1948-1985 Silueta Works in Iowa, 1976-1978 . Color photograph, printed in 1991. 20 x 13 1/4 in. (50.8 x 33.7 cm). Stamp signed and stamped by the estate on the reverse. This work is from an edition of 20. PROVENANCE Acquired directly from

198 MIGUEL CALDERÓN MEXICAN b. 1971 Serie Historia Artificial (Artificial History Series), 1995. Two c-prints. 50 x 69 1/2 in. (127 x 176.5 cm) each. These works are unique from a series of one plus one artist’s proof and are accompanied by a certificate of authenticity signed by the artist. PROVENANCE kurimanzutto, Mexico City LITERATURE J. Rodrigues-Widholm, ed.,

the artist’s estate

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

Escultura Socio: A New Generation of Art from Mexico City, New Haven, 2007, p. 92

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

199

200 (i)

(ii)

199 DANIEL SCHEIMBERG ARGENTINE b. 1957 Untitled, 1994. Acrylic on canvas. 69 x 78 in. (175.3 x 198.1 cm). Signed and dated “D. Scheimberg 1994” on the reverse. PROVENANCE

200 GUILLERMO CAIVANO SPANISH b. 1977 Two works: (i) Untitled (Theatre), (ii) Untitled (Jai Lai). (i) Oil on canvas; (ii) oil on linen. (i) 12 x 11 in. (30.5 x 27.9 cm); (ii) 16 1/4 x 12 7/8 in. (41.3 x 32.8 cm). Each signed and dated “Caivano 2006” on the overlap. PROVENANCE

Acquired directly from the artist

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

IBID Projects, London; Private collection, Australia

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

201

202

201 JULIO GALÁN MEXICAN 1958-2006 El lobo sí se comió de verdad a Caperucita, 1993 . Pastel and collage on paper. 38 1/2 x 27 in. (97.8 x 68.6 cm). Signed “Julio Galán” lower right.

202 RONALD MORÁN SALVADORAN b. 1972 Cuchillo, 2008 . Oil on canvas. 57 1/4 x 80 1/2 in. (145.4 x 204.5 cm). Signed, titled and dated “Morán ‘Cuchillo’ 08” on the reverse.

PROVENANCE Private collection, Monterrey

PROVENANCE Private collection, Guatemala City

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

Estimate $ 1 2 , 0 0 0 - 1 5 , 0 0 0 117

203 (i)

(ii)

(iii)

(iv)

204

203 BETSABéE ROMERO mexican Four works: (i) Rodadas de diferentes latitudes I; (ii) Rodadas de diferentes latitudes II; (iii) Rodadas de diferentes latitudes III; (iv) Rodadas de diferentes latitudes IV, 2004. Rubber tires, wooden and plastic fans, carved wood and china. (i) 22 1/2 diameter x 7 1/8 in. (280.7 x 18.1 cm); (ii) 23 1/2 diameter x 6 in. (59.7 x 15.2 cm); (iii) 21 3/4 diameter x 6 in. (55.2 x 15.2 cm); (iv) 22 diameter x 7 1/8 in. (55.9 x 18.1 cm).

204 GRILLO DEMO argentine b. 1956 Two works: Ramblas, 2005. Acrylic on paper collage. 21 1/2 x 16 1/2 in. (54.6 x 41.9 cm) each. Each signed and dated “Grillo Demo 04.05” lower edge. provenance Acquired directly from the artist

Estimate $ 2 , 0 0 0 - 4 , 0 0 0

provenance Acquired directly from the artist

Estimate $ 8 , 0 0 0 -1 0 , 0 0 0 118

206

205

207

208

205 FERNANDA BRUNET MEXICAN b. 1964 POK, 2004. Acrylic on linen. 78 1/2 x 78 1/2 in. (199.4 x 199.4 cm). Signed, titled and dated “F. Brunet ‘POK’ 2004” on the reverse. PROVENANCE Acquired directly from the artist

207 ALEJANDRA SEEBER ARGENTINE b. 1969 Embajada de Austria, 2000. Oil on canvas. 43 1/4 x 44 in. (109.9 x 111.8 cm). Signed, titled and dated “Seeber ‘Embajada de Austria’ 2000” on the reverse. PROVENANCE Galleria Girondini, Verona EXHIBITED Verona, Galleria Girondini,

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

Alejandra Seeber: Entra, accomodati, April 5 – May 17, 2003

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 206 CISCO JIMÉNEZ MEXICAN b. 1969 Central Nuclear, 2001. Acrylic on wooden panel, framed photographs and metal hardware in artist’s handmade wooden frame. 51 3/4 x 76 x 3 1/2 in. (131.4 x 193 x 8.9 cm). Signed and dated “Cisco Jiménez 2001” lower center; signed, inscribed and dated “Cisco Jiménez Cuernavaca 2001” on the reverse. PROVENANCE

PROVENANCE Acquired directly from the artist

Acquired directly from the artist

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

208 FERNANDA BRUNET MEXICAN b. 1964 Leopardos, 2009. Acrylic on linen. 39 x 84 in. (99.1 x 213.4 cm). Signed, titled and dated “F. Brunet Leopardos 2009” on the reverse.

Estimate $ 8 , 0 0 0 - 1 0 , 0 0 0 119

210 (i)

209

(ii)

211

(iii)

(iv)

212

213 (i)

(ii)

209 AVAF (ASSUME VIVID ASTRO FOCUS) brazilian b. 1968 Freebird, 2002. Singlechannel video on DVD. Two minute loop duration. This work is from an edition of ten and is accompanied by a certificate of authenticity signed by the artist. provenance John Connelly Presents, New York

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

211 AVAF (ASSUME VIVID ASTRO FOCUS) brazilian b. 1968 Chandelier, 2002. Decal. Installation dimensions variable. This work is from an edition of ten plus one artist’s proof and is accompanied by a certificate of authenticity signed by the artist. provenance Peres Projects, Los Angeles

•

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

210 AVAF (ASSUME VIVID ASTRO FOCUS) brazilian b. 1968 Four works: (i) McCarren Swimming Pool; (ii) Chandelier (Venice); (iii & iv) Untitled (Big Sur 1 & 2), 2002. (i & ii) Hi-Fi prints; (iii & iv) Ink on acetate. (i) 39 1/4 x 33 7/8 in. (99.7 x 86 cm);(ii) 39 1/2 x 30 in. (100.3 x 76.2 cm); (iii & iv) 9 x 12 in. (22.9 x 30.5 cm) each. (i & ii) These works are each from an edition of five plus one artist’s proof and are accompanied by a certificate of authenticity signed by the artist; (iii & iv) Each part initialed “A.V.A.F.” lower right. provenance John Connelly Presents, New York

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

212 AVAF (ASSUME VIVID ASTRO FOCUS) brazilian b. 1968 Blood, 2003. Decal. Installation dimensions variable. This work is from an edition of ten plus one artist’s proof and is accompanied by a certificate of authenticity signed by the artist. provenance Peres Projects, Los Angeles

Estimate $ 1, 5 0 0 - 2 , 0 0 0 213 RUBÉN MÉNDEZ RAMOS mexican b. 1960 Two works: (i) Aviadores Anónimos; (ii) El Sol y la Luna, 2003. Oil and acrylic on board. 4 3/4 x 6 3/4 in. (12.1 x 17.1 cm) each. (i) Signed, titled and dated “Rubén Mendez Ramos ‘Aviadores anónimos’ 2003” on the reverse; (ii) signed, titled and dated “Rubén Mendez Ramos ‘El Sol y La Luna’ 2003” on the reverse.

•

provenance Acquired directly from the artist

Estimate $ 7 0 0 -1, 0 0 0 120

214

215

216

214 PETER SORIANO AMERICAN b. 1959 Other Side #53 (QUAR), 2009. Aluminum pipe, steel cable and spray paint. 76 x 82 x 7 in. (193 x 208.3 x 17.8 cm). This work is accompanied by a certificate of authenticity signed by the artist. PROVENANCE Acquired directly from the artist. Estimate $ 4 , 0 0 0 - 6 , 0 0 0

216 PETER SORIANO AMERICAN b. 1959 Other Side #22 (IVLE), 2008 . Steel cable and spray paint. 51 1/2 x 15 3/4 x 11 7/8 in. (130.8 x 40 x 30.2 cm). This work is accompanied by a certificate of authenticity signed by the artist. PROVENANCE Acquired directly from the artist LITERATURE Gallery Jean Fournier, ed. Peter Soriano, Other Side..(IDOL, AJAC, IONA, EMEU…).., Paris, 2008, p. 17 (illustrated)

215 ADÁN VALLECILLO HONDURAN b. 1977 Retráctil Modelo para Sopa, 2007. Wood with metal spoon. Installation dimensions variable. This work is from an edition of three.

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

PROVENANCE Private collection, Guatemala City

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

217 (i)

(iii)

(ii)

218

219

220

217 SERGIO HERNÁNDEZ MEXICAN b. 1957 Three works: Untitled, 1988 . Ink on paper. (i) 17 x 20 1/4 in. (43.2 x 51.4 cm); (ii) 16 1/2 x 20 1/4 in. (41.9 x 51.4 cm); (iii) 16 1/2 x 20 1/4 in. (41.9 x 51.4 cm). Each signed and dated “Hernández 1988” lower right. PROVENANCE Acquired

219 MARCO ARCE MEXICAN b. 1968 Tigre Caleidoscopio, 2005. Acrylic on linen. 23 1/2 x 23 1/2 in. (59.7 x 59.7 cm). Signed, titled and dated “Marco Arce ‘Tigre’ Caleidoscopio 2005” on the reverse. PROVENANCE Acquired directly from the artist Estimate $ 8 , 0 0 0 - 1 0 , 0 0 0

directly from the artist

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 220 QUIRARTE + ORNELAS (ANABEL QUIRARTE AND JORGE ORNELAS) MEXICAN b. 1980, b. 1979 Casa Portátil 1, 2005. Watercolor on paper in five parts. 6 x 8 in. (15.2 x 20.3 cm) each.

218 SERGIO HERNÁNDEZ MEXICAN b. 1957 Untitled, 1988 . Mixed media on paper. 16 1/2 x 20 1/4 in. (41.9 x 51.4 cm). Signed and dated “Hernández 1988” lower right.

PROVENANCE Acquired directly from the artist

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

PROVENANCE Acquired directly from the artist

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 122

221 (i)

(ii)

(iii)

(iv)

221 MARCO ARCE MEXICAN b. 1968 Four works: (i) The People’s Prick, 2005; (ii) Giotto, The Resurrection, 1305, 2001; (iii) Open Hole, 1999; (iv) Bruce Nauman, From Hand to Mouth, 1967, 2001. (i), (iii) watercolor on paper in four parts; (ii) watercolor and colored pencil on paper and board in four parts; (iv) watercolor and oil on paper and canvas in four parts. (i-iv) 5 x 7 in. (12.7 x 17.8 cm) each part. (i) Signed and dated “Marco Arce 1999” on three parts; (ii) Signed and dated “Marco Arce 2001” top two parts; (iii) Signed and dated “Marco Arce 1999” each part; (iv) Titled “Bruce Nauman, From Hand to Mouth, 1967” upper left panel. PROVENANCE Acquired directly from the artist Estimate $ 3 , 0 0 0 - 5 , 0 0 0 123

222

223

225

226

228

229

224

227

230

222 CLARE ROJAS AMERICAN b. 1976 Untitled, 2001. Oil on fiberboard. 12 x 9 in. (30.5 x 22.9 cm). Initialed and dated “CER 01” lower right. PROVENANCE New Image Art Gallery, West

226 JOSÉ TANNURI BRAZILIAN b. 1958 Rito de Passagem, 2005. Architectural model on wooden base in Plexiglas vitrine. 6 x 14 x 14 in. (15.2 x 35.6 x 35.6 cm). Signed and dated “Tannuri 2005” on the underside. PROVENANCE Acquired directly from the artist Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Hollywood EXHIBITED West Hollywood, New Image Art Gallery, Clare Rojas: I Want Super Powers, July 13 – August 17, 2002

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 227 RAY SMITH AMERICAN b. 1959 Cat, 1999. Oil on canvas. 96 x 72 in. (243.8 x 182.9 cm). Signed and dated “Ray Smith 1999” lower right. PROVENANCE Acquired directly from the artist Estimate $ 8 , 0 0 0 - 1 2 , 0 0 0

223 JORGE MÉNDEZ BLAKE MEXICAN b. 1974 Untitled, 2003 . Cut vinyl. Installation dimensions variable. The work is presented as a source disc and produced for each installation. This work is from an edition of three. PROVENANCE Galleria OMR, Mexico City Estimate $ 3 , 0 0 0 - 4 , 0 0 0

228 EDGAR NEGRET COLOMBIAN b. 1920 Deidad (3 pieces). Painted metal. 14 x 6 x 6 in. (35.6 x 15.2 x 15.2 cm) each. These works are each from an edition of 40 and numbered of 40 on each base. PROVENANCE Acquired directly from the artist Estimate $ 7, 0 0 0 - 9 , 0 0 0

224 LEDA CATUNDA BRAZILIAN b. 1961 Praia das Cigarras (Cigarras Beach), 2001. Acrylic on fabric. 46 1/2 x 43 1/2 in. (118.1 x 110.5 cm). Signed, titled and dated “Leda Catunda Praia das Cigarras 2001” on the reverse. Estimate $ 4 , 0 0 0 - 6 , 0 0 0

229 CARLOS CARDENAS AMERICAN b. 1962 Boxing (1), 1994. Oil on canvas. 23 x 32 in. (58.4 x 81.3 cm). Signed, titled and dated “Carlos R. Cardenas ‘Boxing’ (1) 1994” on the reverse.

225 CLARE ROJAS AMERICAN b. 1976 Untitled, 2002. Oil on fiberboard. 11 x 14 in. (27.9 x 35.6 cm). Initialed and dated “CER 02” lower right. PROVENANCE New Image Art Gallery, West

PROVENANCE Acquired directly from the artist

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

Hollywood

230 ARTURO ELIZONDO MEXICAN b. 1953 Calzador, 1998 . Oil, gouache and paper collage in the artist’s wooden frame. 24 1/2 x 30 1/2 in. (62.2 x 77.5 cm). Signed and dated “Elizondo 98” lower right. PROVENANCE Annina Nosei Gallery, New York Estimate $ 7, 0 0 0 - 9 , 0 0 0

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

∆

124

232

231

234

233

231 EDOUARD DUVAL-CARRIÉ HAITIAN b. 1954 VEN VEN e Spirituvega, 1994. Oil on canvas in artist’s wood and plaster compound frame. 56 1/2 x 56 1/2 in. (143.5 x 143.5 cm). Signed and dated “E.D.C. 1994” lower right. PROVENANCE Gutierrez Fine Arts, Miami Estimate $ 7, 0 0 0 - 9 , 0 0 0

233 GASTON UGALDE BOLIVIAN b. 1947 Simón Bolivar, 1992. Oil on paper collage (Bolivian bank notes) on canvas. 48 1/8 x 71 5/8in. (122.4 x 181.9cm). Signed, titled and dated “GASTON UGALDE ‘92, LA PAZ – BOLIVIA” lower right. PROVENANCE Acquired directly from the artist Estimate $ 5 , 0 0 0 - 7, 0 0 0

232 SEGUNDO PLANES HERRERA CUBAN b. 1965 Verano, 1994. Acrylic on two connected canvases. 47 1/4 x 47 1/4 in. (120 x 120 cm) overall. PROVENANCE Acquired directly from the artist Estimate $ 3 , 0 0 0 - 5 , 0 0 0

234 EUGENIA MARTÍNEZ MEXICAN b. 1976 Niña con Campana (mary, toñita, juanita y panchita primitiva, romy), 2005. Oil on cedar panel. 48 x 95 3/4 in. (121.9 x 243.2 cm). Signed, titled and dated “Eugenia Martinez ‘Niña con Campana’ 2005” on the reverse. PROVENANCE Acquired directly from the artist

Estimate $ 5 , 0 0 0 - 7, 0 0 0 125

235

236

235 GABRIEL KURI MEXICAN b. 1970 Poliptico (Polyptych), 1999. Screenprint, acrylic, felt-tip pen and ink on paper in ten parts. 13 5/8 x 10 5/8 in. (34.6 x 27 cm); 13 3/4 x 18 7/8 in. (34.9 x 47.9 cm). Each signed and titled “Gabriel Kuri Diaz Poliptico” and numbered consecutively one through ten on the reverse. PROVENANCE kurimanzutto, Mexico City Estimate $ 3 , 0 0 0 - 4 , 0 0 0

236 JORGE TACLA CHILEAN b. 1958 The Town, 1998 . Marble powder, acrylic and oil on canvas in two parts. 104 x 63 in. (264.2 x 160 cm) each; 104 x 126 in. (264.2 x 320 cm) overall. Signed, titled and dated “Jorge Tacla The Town, 1998” on the reverese of panel one; titled and dated “The Town 1998” on the reverse of panel two. PROVENANCE Acquired directly from the artist

Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0 126

237

238

237

GRILLO DEMO ARGENTINE b. 1956 Manto, 2007. Oil on canvas. 74 x 55 in. (188 x 139.7 cm).

238 TOMÁS ESSON CUBAN AMERICAN b. 1963 Retratos, No. 5, 1994. Oil on linen. 68 x 67 1/2 in. (172.7 x 171.5 cm). Signed and dated “T. Esson 94” lower right; signed, titled, dated and inscribed “T. Esson 94 Retratos, No. 5, 1994 Last Painting Signed on the front” on the reverse. PROVENANCE Acquired directly from the artist Estimate $ 8 , 0 0 0 - 1 0 , 0 0 0

PROVENANCE Acquired directly from the artist

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

127

240

239

241

242

239 ALEX HANK MEXICAN b. 1973 Untitled. Acrylic on canvas stretched over wooden panel with aluminum edging. 52 x 75 x 2 3/8 in. (132.08 x 190.5 x 6.1 cm). PROVENANCE Acquired

242 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) each; map: 21 3/4 in. (55.2 cm) diameter. This work is from an edition of three. PROVENANCE kurimanzutto, Mexico City EXHIBITED Mexico City, Casa del

directly from the artist

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

Lago Juan José Arreola de la UNAM, Reconstrucción, November 2006 – February 2007 (another example

240 MEYER VAISMAN VENEZUELAN b. 1960 Coins, 1989. Six metal coins in cherry wood box. Box: 10 3/4 x 13 1/4 x 2 in. (27.3 x 33.7 x 5.1 cm). Signed and numbered on label on verso. This work is from an edition of 50. PROVENANCE Editions Ilene Kurtz, New York Estimate $ 6 0 0 - 8 0 0

exhibited) LITERATURE P. Henninger, “Minerva Cuevas: Schwarzfahrer are my heroes,” Artnet (online content), October 2004 (illustrated); J. Ladrón de Guevara, “Art and Political Correctness,” Replica 21 (online content), February 2007 (illustrated)

•

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

241 MARIA MAGDALENA CAMPOS-PONS CUBAN b. 1959 Identity. Three large format Polaroid prints in the artist’s metal frame. 32 1/2 x 68 1/2 in. (82.6 x 174 cm) overall. PROVENANCE Martha Schneider Gallery, Chicago

Estimate $ 5 , 0 0 0 - 7, 0 0 0 128

243

244

243 FLAVIO GARCIANDIA CUBAN b. 1954 Jasper Johns Regresa a la Habana (otro mojito, por favor), 2001. Oil on canvas. 50 3/4 x 73 1/2 in. (128.9 x 186.7 cm). Signed, titled and dated “Flavio 01 ‘Jasper Johns Regresa a la Habana (otro mojito por favor)’” on the reverse. PROVENANCE

244 JORGE MÉNDEZ BLAKE MEXICAN b. 1974 Paraisos, 2002-2006. Cut vinyl. Installation dimensions variable. This work is presented as a source disc and produced for each installation. This work is unique. PROVENANCE Galleria OMR, Mexico City Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Acquired directly from the artist

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 129

“In a world in which the culture of the phallus has been imposed, and the vagina denigrated to the point of being seen as vulgar or pornographic, arises the proposal of its vindication.” Carlos Enriquez-Gonzalez

Carlos Enriquez-Gonzalez creates exciting works that blur the boundaries between the fantasy of comics and high art. The artist uses symbols that reflect his own intimate world such as mushrooms, eyes, monsters, brains, sacred elements and sexual organs which blend his concerns with energy, power, intuition and multidimensionality. In the present lot, Magical Vagina, the artist embodies the idea of the vagina as the giver of life—a symbolic portal through which we go from one world to another. The sensational female shape with enchanting eye, atop the strong stance of the figure’s psychedelic colored encephalic body is both confrontational and mesmerizing painted in shimmering magenta. Through this hypnotic work, the artist deals with themes of birth and transformation in a fantastically singular and sublime manner.

The artist with the present lot

130

245

245 CARLOS ENRIQUEZ-GONZALEZ VENEZUELAN b. 1968 Magical Vagina, 2009. Fiberglass, acrylic and urethane paint. 92 x 38 x 24 in. (233.7 x 96.5 x 61 cm). Signed and dated “Carlos Enriquez-Gonzalez” and numbered on the underside. This work is from a series of four differently colored works, one of which is an artist’s proof. PROVENANCE Acquired directly from the artist Estimate $ 1 2 , 0 0 0 - 1 5 , 0 0 0 131

247

246

248

246 CARLOS ENRIQUEZ-GONZALEZ VENEZUELAN b. 1968 Mushroom Brain Carousel, 2008 . Fiberglass. 14 x 10 1/2 x 12 in. (35.6 x 26.7 x 30.5 cm). Signed and dated “Carlos Enriquez Gonzalez A/P 2008” on the underside. PROVENANCE

247 CARLOS ENRIQUEZ-GONZALEZ VENEZUELAN b. 1968 Ear Monster, 2008 . Fiberglass. 15 x 7 x 4 in. (38.1 x 17.8 x 10.2 cm). Signed and dated “CEG 2008” on the underside. PROVENANCE Acquired directly from the artist

248 CARLOS ENRIQUEZ-GONZALEZ VENEZUELAN b. 1968 1 Armed Alien, 2007. Fiberglass. 15 x 8 x 4 in. (38.1 x 20.3 x 10.2 cm). Signed and dated “CARLOS ENRÍQUEZ GONZALEZ A/P 2007” on the underside. PROVENANCE Acquired directly

Acquired directly from the artist

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

from the artist

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

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 132

CONTEMPORARY ART LOTS 153 - 248

153 LOS CARPINTEROS

154 ERNESTO PUJOL

155 SANTIAGO CUCULLU

156 ALE XANDRE ARRECHEA

157 DR. LAKRA

158 ADÁN VALLECILLO

159 ERNESTO PUJOL

160 KCHO (ALE XIS LEYVA MACHADO)

161 ENRIQUE MARTÍNEZ CELAYA

162 ABRAHAM CRUZVILLEGAS

163 QUIRARTE + ORNELAS

164 TONY BECHARA

165 LEANDRO ERLICH

166 ADRIANA VAREJÃO

167 JORGE PARDO

168 ARTURO HERRERA

169 ROSÂNGELA RENNÓ

170 TONY BECHARA

171 FANNY SANÍN

172 EDUARDO ABAROA

173 EDUARDO ABAROA

174 ERNESTO NETO

175 JOSÉ BEDIA

176 JOSÉ BEDIA

177 TUNGA

178 FRANCISCO TOLEDO

179 IGNACIO ITURRIA

180 JOSÉ ANTONIO HERNÁNDEZ-DÍEZ

181 ROBERTO MATTA

182 JULIO LARRAZ

183 LEÓN FERRARI

184 WIFREDO LAM

185 RUFINO TAMAYO

186 JULIO GALÁN

187 ENRIQUE MARTÍNEZ CELAYA

188 JULIÃO SARMENTO

189 JOSÉ CLEMENTE OROZCO

190 GUILLERMO KUITCA

191 CANDIDA HÖFER

192 VIK MUNIZ

193 ANTHONY GOICOLEA

194 ALAIN PINO HERNÁNDEZ

133

CONTEMPORARY ART LOTS 153 - 248

195 JAVIER PIÑÓN

196 MARIO GARCIA TORRES AND STEFAN BRÜGGEMANN

197 ANA MENDIETA

198 MIGUEL CALDERÓN

199 DANIEL SCHEIMBERG

200 GUILLERMO CAIVANO

201 JULIO GALÁN

202 RONALD MORÁN

203 BETSABÉE ROMERO

204 GRILLO DEMO

205 FERNANDA BRUNET

206 CISCO JIMENEZ

207 ALEJANDRA SEEBER

208 FERNANDA BRUNET

209 AVAF (ASSUME VIVID ASTRO FOCUS)

210 AVAF (ASSUME VIVID ASTRO FOCUS)

211 AVAF (ASSUME VIVID ASTRO FOCUS)

212 AVAF (ASSUME VIVID ASTRO FOCUS)

213 RUBÉN MÉNDEZ RAMOS

214 PETER SORIANO

215 ADÁN VALLECILLO

216 PETER SORIANO

217 SERGIO HERNÁNDEZ

218 SERGIO HERNÁNDEZ

219 MARCO ARCE

220 QUIRARTE + ORNELAS

221 MARCO ARCE

222 CLARE ROJAS

223 JORGE MÉNDEZ BLAKE

224 LEDA CATUNDA

225 CLARE ROJAS

226 JOSÉ TANNURI

227 RAY SMITH

228 EDGAR NEGRET

229 CARLOS CARDENAS

Δ 230 ARTURO ELIZONDO

231 EDOUARD DUVAL-CARRIÉ

232 SEGUNDO PLANES HERRERA

233 GASTON UGALDE

234 EUGENIA MARTÍNEZ

235 GABRIEL KURI

236 JORGE TACLA

134

CONTEMPORARY ART LOTS 153 - 248

237 GRILLO DEMO

238 TOMÁS ESSON

239 ALE X HANK

240 MEYER VAISMAN

241 MARIA MAGDALENA CAMPOS-PONS

242 MINERVA CUEVAS

243 FLAVIO GARCIANDIA

24 4 JORGE MÉNDEZ BLAKE

245 CARLOS ENRIQUEZ-GONZALEZ

246 CARLOS ENRIQUEZ-GONZALEZ

247 CARLOS ENRIQUEZ-GONZALEZ

248 CARLOS ENRIQUEZ-GONZALEZ

135

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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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2 BIDDING IN THE SALE 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. 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 pre-sale 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. 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. 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. 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. $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

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. 3 THE AUCTION

Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips de

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. 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. 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. We will levy removal, interest, storage and handling charges on uncollected lots. 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. 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. 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. 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.

IMPORTANT NOTICE TO buyers of Post-1950 Furniture All items of furniture included in this sale are either items not originally supplied for use in a private dwelling or are offered for sale as works of art. The items may not comply with the UK Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993) and for this reason should not be used in a private home.

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.

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CONTEMPORARY ART PART I AUCTION THURSDAY 12 NOVEMBER 2009 PART II AUCTION FRIDAY 13 NOVEMBER 2009

7pm

10am & 2pm

Viewing 7 – 12 November

DESIGN AUCTION SATURDAY 14 NOVEMBER 2009

4pm

Viewing 7 – 14 November

PHOTOGRAPHS AUCTION SATURDAY 14 NOVEMBER 2009

10am & 1pm

Viewing 7 – 13 November

EDITIONS AUCTION SUNDAY 15 NOVEMBER 2009

2pm

Viewing 7 – 14 November

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1200 Catalogues +1 212 940 1240 / +44 20 7318 4039

www.phillipsdepury.com 00

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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. 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 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. 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. 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.

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. (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 $1000. 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. (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.

of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (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. (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. (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 Please reference the relevant sale and lot number.

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. (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. (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. (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. (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. 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

(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. (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. 5 CONDUCT OF THE AUCTION each lot is (a) Unless otherwise indicated by the symbol offered subject to a reserve, which is the 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. (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 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. (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. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (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. 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. (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

(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, 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. (b) The buyer must arrange for collection of a purchased lot within five days of the date of the auction. 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) 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) 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. 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. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury

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& 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. 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 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. (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) 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. 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.. 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. 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. 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.

(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 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. (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. (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. (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.

(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) ThThe 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.

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PHILLIPS de PURY & COMPANY

Senior Partners Michael McGinnis Dr. Michaela Neumeister

Chairman Simon de Pury Chief Executive Officer Bernd Runge

Advisory Board Maria Bell Janna Bullock Lisa Eisner Lapo Elkann Ben Elliot Lady Elena Foster H.I.H. Francesca von Habsburg Marc Jacobs Malcolm McLaren Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria vonThurn undTaxis Jean Michel Wilmotte Anita Zabludowicz

Partners Aileen Agopian Sean Cleary Alexander Payne Rodman Primack Olivier Vrankenne Tiffany Wood

WORLDWIDE OFFICES NEW YORK 450 West 15 Street NewYork NY 10011 USA +1 212 940 1200 +1 212 924 5403 fax

PARIS 28, rue Michel Le Comte 75003 Paris France +33 1 42 78 67 77 +33 1 42 78 23 07 fax

BERLIN Auguststrasse 19 10117 Berlin Germany +49 30 880 018 42 +49 30 880 018 43 fax

LONDON Howick Place London SW1P 1BB United Kingdom +44 20 7318 4010 +44 20 7318 4011 fax

MUNICH Maximiliansplatz 12a 80333 Munich Germany +49 89 238 88 48 0 +49 89 238 88 48 15 fax

GENEVA 23, quai des Bergues 1201 Geneva Switzerland +41 22 906 80 00 +41 22 906 80 01 fax

SPECIALIST AND SERVICE DEPARTMENTS

CONTEMPORARY ART NEW YORK Michael McGinnis, Worldwide Director +1 212 940 1254 Aileen Agopian, New York Director +1 212 940 1255 Jean-Michel Placent +1 212 940 1263 Timothy Malyk +1 212 940 1258 Chin-Chin Yap +1 212 940 1250 Sarah Mudge, Head of Part II, New York +1 212 940 1259 Roxana Bruno +1 212 940 1229 Sara Davidson +1 212 940 1262 Maria Bueno +1 212 940 1261 Peter Flores +1 212 940 1223 (Uli) Zhiheng Huang +1 212 940 1288 Eugenia Ballvé +1 212 940 1303 LONDON Anthony McNerney, Head of Evening Sale, London +44 20 7318 4067 Peter Sumner, Head of Day Sale, London +44 20 7318 4063 Laetitia Catoir +44 20 7318 4064 Silke Taprogge +44 20 7318 4012 Ivgenia Naiman +44 20 7318 4071 Fiona Biberstein +44 20 7318 4013 Siobhan O’Connor +44 20 7318 4093 Catherine Higgs +44 20 7318 4089 Raphael Lepine +44 20 7318 4078 Tanya Tikhnenko +44 20 7318 4065 Sarah Buchwald +44 20 7318 4085 Phillippa Willison +44 20 7318 4070

MODERN AND CONTEMPORARY EDITIONS NEW YORK Kelly Troester, Worldwide Co-Director +1 212 940 1221 Cary Leibowitz, Worldwide Co-Director +1 212 940 1222 Jannah Greenblatt +1 212 940 1332 Joy Deibert +1 212 940 1333 JEWELRY NEW YORK Nazgol Jahan, Worldwide Director +1 212 940 1283 Carmela Manoli +1 212 940 1302 Heather Zises +1 212 940 1290 GENEVA Carolin Bulgari +41 22 906 80 00 Veronica Lota +41 22 906 80 05 LONDON Lane McLean +44 20 7318 4032 THEME SALES Tiffany Wood, Worldwide Director +49 30 880 018 42 NEW YORK Corey Barr, New York Manager +1 212 940 1234 Anne Huntington +1 212 940 1210 Steve Agin, Consultant +1 908 475 1796 LONDON Tobias Sirtl, London Manager +44 20 7318 4095 Arianna Jacobs +44 20 7318 4054 George O’Dell +44 20 7318 4040

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 Stephanie Abraitis +1 212 940 1268 LONDON Alexander Payne, Worldwide Director +44 20 7318 4052 Ben Williams +44 20 7318 4027 Domenico Raimondo +44 20 7318 4016 Ellen Stelter +44 20 7318 4021 Marcus McDonald +44 20 7318 4014

CHAIRMAN LONDON Rodman Primack +44 20 7318 4017 MANAGING DIRECTORS Charlie Horne, New York +1 212 940 1292 Finn Dombernowsky, London +44 20 7318 4034 PRIVATE SALES Christina Scheublein +1 212 940 1248

INTERNATIONAL SPECIALISTS AND REPRESENTATIVES Berlin & Munich Dr. Michaela Neumeister Brussels & Paris Olivier Vrankenne Paris Leonie Moschner Paris & London Tamara Corm London Ivgenia Naiman Brooke de Ocampo Los Angeles Mimi Won Techentin Maya McLaughlin Milan Laura Garbarino Eugenia Bertelè Moscow Svetlana Marich Shanghai/Beijing Jeremy Wingfield

PHOTOGRAPHS NEW YORK Vanessa Kramer, New York Director +1 212 940 1243 Shlomi Rabi +1 212 940 1246 Caroline Shea +1 212 940 1247 Sarah Krueger +1 212 940 1245 LONDON Louise Proud +44 20 7318 4018 Sebastien Montabonel +44 20 7318 4025 Alexandra Bibby +44 20 7318 4087 Helen Hayman +44 20 7318 4092

+49 89 238 88 48 10 +32 486 43 43 44 +33 6 85 53 92 03 +33 6 75 07 04 71 +44 20 7318 4071 +44 777 551 7060 +1 310 600 9192 +1 323 791 1771 +39 339 478 9671 +39 02 3669 5895 +7 495 225 88 22 +86 135 0118 2804

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EDITOR Karen Wright PHOTOGRAPHY Kent Pell, Morten Smidt Kristensen, Matthew Kroening and Clint Blowers

LOT 42. BEATRIZ MILHAZES (DETAIL)

reserve unless otherwise indicated.

AMÉRICA LATINA y su única mezcla cultural son más importantes y vibrantes hoy que nunca. En Phillips de Pury & Company, nos complace ser los primeros en destacar a los artistas más fantásticos y prometedores de todo el mundo. Durante los últimos años, el excepcional talento que surge de América Latina ha estallado en el mundo artístico internacional. Tanto es así que sentimos que este fenómeno se merecía una mirada mucho más enfocada desde la perspectiva comercial. Es por eso que estamos estrenando con este catálogo y venta lo que esperamos se convierta en un evento anual. Como siempre, los coleccionistas privados bien informados nos han enseñado cómo hacerlo. Entre ellas, algunas damas magníficas como Rosa de la Cruz, Patricia Phelps de Cisneros o Tiqui Atencio han emprendido el camino para lograr una mayor exposición internacional para el mejor arte de América Latina y promovieron una gran apreciación del mejor arte contemporáneo de América Latina. Estamos muy agradecidos con Tiqui Atencio por habernos concedido una entrevista en la que sería la casa de mis sueños tipo James Bond, en algún lugar de Francia. Conocí a Tiqui hace algunos años cuando, en una vida anterior yo trabajaba en Sotheby’s. Su belleza y la vivacidad de sus ojos me impactaron inmediatamente. Muy pronto me di cuenta de que aquellos ojos tenían una capacidad muy aguda de descubrir la mejor calidad. Su entusiasmo y pasión por el arte se compensan con su compromiso de alcanzar una audiencia mayor para el arte de América Latina. El apoyo activo hacia sus amigos de América Latina en Tate Modern es sólo una expresión de esto. La total originalidad de los trabajos de Vik Muniz me atrajo desde la primera vez que los vi. En mi gran arrogancia, pensé que sería genial que él hiciera mi retrato. Cuando se lo comenté me hizo la siguiente pregunta: ‘¿color chocolate o rojo sangre?’ Como suizo y adicto al chocolate en primer lugar, tiendo a verme más natural en chocolate, pero como claramente prefiero el rojo intenso, entonces respondí ‘rojo sangre’. Vik no quería hacer un aburrido y apagado retrato, así que de repente hizo una pistola que me pidió que sostuviera al estilo 007. El resultado es un retrato que espero que mis nietos puedan apreciar de alguna manera. Lo que realmente nos complace en Phillips de Pury es haber vendido "Marat Dead", la fabulosa obra central de la conmovedora película You, Me, Garbage and Picasso, realizada por Karen Harley, de Vik Muniz. ¡Todo esto y mucho, mucho más gracias a AMÉRICA LATINA!

SIMON de PURY PRESIDENTE de PHILLIPS de PURY & COMPANY

P H I L L I P S d e P U R Y & C O M PA N Y 4 5 0 W E S T 1 5 S T R E E T N E W Y O R K N Y 1 0 0 11

MUSIC NOVEMBER 2009 LONDON

NEW YORK NEW YORK DECEMBER 2009 NEW YORK

NOW SEX MARCH 2010 NEW YORK

MARCH 2010 LONDON

AFRICA BRIC FILM ITALIA MARCH 2010 NEW YORK

80s JUNE 2010 NEW YORK

APRIL 2010 LONDON

NO RESERVE JULY 2010 LONDON

JAPAN MUSIC NOVEMBER 2010 LONDON

NOVEMBER 2010 NEW YORK

APRIL 2010 NEW YORK

NOW SEPTEMBER 2010 LONDON

JUNE 2010 LONDON

LATIN AMERICA OCTOBER 2010 NEW YORK

BLACK NO & RESERVE WHITE DECEMBER 2010 LONDON

DECEMBER 2010 NEW YORK

3 OCTOBER 2009 NEW YORK