Latin America by Phillips de Pury & Co.

C ON TE MP OR ARY AR T

L ATIN AMERICA 20

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NOVEMBER

2 012

4 5 0 PARK AVENUE

NEW YORK

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L ATIN AMERICA 20

NOVE MB ER

2 0 12

4 PM

NE W YO RK

LOTS 1- 6 9

VIEWING 450 West 15 Street New York 10011 3 – 15 November 450 Park Avenue New York 10022 17 – 20 November

Monday – Saturday 10am – 6pm Sunday 12pm – 6pm

Front Cover Frsncis Alÿs, Untitled, 1996, lot 8 (detail) Inside Front Cover Hélio Oiticica, Metaesquema 167, 1958, lot 15 (detail) Os Gêmeos, Untitled, 2008-2010, lot 6 (detail) Opposite Jesús Rafael Soto, Orinoco, 1983, lot 14 (detail)

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ARTURO HERRERA VENEZUELAN b. 1959 Untitled, 1999 wool felt 86 x 54 1/2 in. (218.4 x 138.4 cm)

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

Sikkema Jenkins & Co., New York Acquired from the above by the present owner

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OS GÊMEOS BRAZILIAN b. 1974 Dolores Fortes de Barriga, 2012 mixed media on panel 20 x 15 x 1 in. (50.8 x 38.1 x 2.5 cm)

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

Prism Gallery, Los Angeles Private Collection EXHIBITED

Los Angeles, Prism Gallery, Os Gêmeos: Miss You, February 25 - March 24, 2012

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OS GÊMEOS BRAZILIAN b. 1974 Amin Amou Amada, 2012 mixed media on panel 20 x 15 x 1 in. (50.8 x 38.1 x 2.5 cm)

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

Prism Gallery, Los Angeles Private Collection EXHIBITED

Los Angeles, Prism Gallery, Os Gêmeos: Miss You, February 25 - March 24, 2012

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DAMIĂ N ORTEGA MEXICAN b. 1967 Proyecto para bolido, 2005 three c-prints each image: 10 1/2 x 15 3/4 in. (26.7 x 40 cm) each sheet: 11 x 14 in. (27.9 x 35.6 cm) This work is number two from an edition of five plus two artist proofs.

Estimate $10,0 0 0 -15 ,0 0 0 PROVENANCE

Kurimanzutto, Mexico City Acquired by the present owner from the above

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VIK MUNIZ BRAZILIAN b. 1961 Rouen Cathedral Façade (Gray Day), after Claude Monet (from Pictures of Pigment), 2005 chromogenic print 60 x 40 in. (152.4 x 101.6 cm) Signed and dated “Vik Muniz 2005” on a label affixed to the reverse of the backing board. This work is number six from an edition of six.

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

Sikkema Jenkins & Co., New York Acquired from the above by the present owner LITERATURE

P. Corrêa do Lago, ed., Vik Muniz: Complete Works 1987-2009 Catalogue Raisonné, São Paulo, 2009, p. 601 (illustrated)

Marcel Duchamp, L.H.O.O.Q., 1919. Graphite on reproduction of Leonardo da Vinci’s Mona Lisa. 7 3/4 x 4 7/8 in. (19.7 x 12.4 cm). Private collection, Paris. © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris / Succession Marcel Duchamp

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OS GÊMEOS BRAZILIAN b. 1974 Untitled, 2008-2010 mixed media 177 1/8 x 161 3/8 x 68 7/8 in. (450 x 410 x 175 cm)

Estimate $ 2 5 0,0 0 0 - 4 5 0,0 0 0 PROVENANCE

Galeria Fortes Vilaça, São Paulo Acquired from the above by the present owner EXHIBITED

New York, Deitch Projects, Too Far Too Close, June 28- August 9, 2008 Curitiba, Museu Oscar Niemeyer; São Paulo, Museu de Arte Brasileira-FAAP; Rio de Janeiro, Centro Cultural Banco do Brasil; Brasília, Centro Cultural Banco do Brasil; Vertigem, October 4, 2008- May 16, 2010. Traveling exhibition. LITERATURE

P. Alonzo, Os Gêmeos, Berkeley, 2012, pp. 21, 68, 71, 74-75 (illustrated) Os Gêmeos, exh. cat., Curitiba, 2009 (illustrated)

Brazilian artist duo Os Gêmeos, the collaborative venture of twin brothers Gustavo and Otavio Pandolfo, has gained widespread recognition for its visually impacting, large-scale graffiti works, which grace public spaces across the world. They began their career twenty years ago as graffiti artists, working in urban neighborhoods in São Paulo. Nowadays, in cities such as New York, Berlin, and Lisbon, among many others, one can turn a corner and find a large yellow figure, usually dressed in colorful clothing, looking out unto the surrounding urban landscape. Os Gêmeos have succeeded in internationalizing their visual language, and they have long been a leading force in the global street art scene. Although they have since branched out into a wide variety of mediums and modes of artistic expression—comprising installation, painting, and sculpture— their signature style and creative energy remain intact. Os Gêmeos’ works are riots of color and form, always immediately recognizable as their own. Inspired by their heritage, the brothers often incorporate imagery from Brazilian popular culture, such as festivals and street performers. While harnessing the concept of spectacle as an ingenious compositional tool, their body of work also offers interesting contrasts between rural and urban landscapes. As graffiti artists, their first forays into art centered on the streets of a crowded metropolis. However, Os Gêmeos have always been interested in popular culture of all kinds, understanding that any given society is composed of a wide range of influences and realities. Many of their paintings offer insights into rustic, countryside settings, where figures look out from bucolic mountains or desert regions. The brothers have traveled across Brazil to learn about life in different rural communities, and these sensibilities are present throughout much of their work.

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Installation view of the present lot in Vertigem, 2009. Museu de Arte Brasileira, São Paulo. Photo: Os Gêmeos

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To improvise is the best way to make art. South America thrives on improvisation. Brazil is a country of great miscegenation of peoples, races, beliefs, folklores, popular cultures, foods, et cetera. It’s as if there were many worlds within a larger world called Brazil. OS GÊMEOS

(V. Muniz and BOMB, “Os Gêmeos”, BOMB, Winter 2008, No. 102, p. 61).

(detail of exterior of the present lot)

The present lot takes its roots in an earlier painting by Os Gêmeos titled Serenade (2008), where two men wearing head-shaped hats play musical instruments against a rural backdrop and a night sky filled with fireworks. They are in the midst of an outdoor celebration, which the viewer experiences through the vibrant palette and exaggerated figures. In the background, the viewer can discern a giant head on top of a pickup truck. While creating Untitled, Os Gêmeos brought elements of Serenade to life. They created a wooden version of the enormous head and laid it on the chassis of a Volkswagen Beetle. The head opens on hinges to reveal a glittering purple interior, similar to the exterior of a disco ball. The reverse of the face has been turned into a cabinet of curiosities, featuring antique radios, clocks, and figurines. The car’s wooden armature is intricately decorated with flower motifs, found objects, yellow human figures, and several musical instruments, including a piano keyboard and several trumpets. The work’s interactive nature enables the viewer to discover countless details and hidden treasures, such as a music box and an intricate metal fence that functions as a bumper. Os Gêmeos, Serenade, 2008. Acrylic, latex, and spray paint on wood panel. 82 3/4 x 78 3/4 in. (210 x 200 cm). © Os Gêmeos

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(detail of interior of the present lot)

(detail of exterior of the present lot)

Untitled is one of the most elaborate art objects Os Gêmeos have ever created, and it contains elements that have come to define their influential artistic career. It is an extraordinary celebration of popular culture and contemporary artistic freedom, which echoes the very foundations of street art, as well as the artists’ deep-rooted interests in fostering positive interactions between all sectors of society. By bringing elements of popular art and culture into the gallery space, Os Gêmeos’ work blurs the boundaries between street and fine art, successfully balancing the supposed differences between counter-culture movements and more traditional aesthetics. The present lot is a direct result of Os Gêmeos’ boundless imagination and material resourcefulness, and it exemplifies the artists’ philosophy and groundbreaking talents.

Hélio Oiticica, Tropicalia, in the exhibition Nova Objetividade Brasileira at Museu de Arte Moderna, Rio de Janeiro, 1967. © Projeto Hélio Oiticica

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JOSÉ DAMASCENO BRAZILIAN b. 1968 Cinegrama, 2000 three c-prints each: 27 1/2 x 27 1/2 in. (70 x 70 cm) Signed and inscribed “Damasceno A.P.” on the reverse. This work is an artist proof from an intended edition of three.

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

Acquired directly from the artist by the present owner

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FRANCIS ALŸS BELGIAN b. 1959 Untitled (Installation of two works, in collaboration with Emilio Rivera), 1996 i) collage and oil on canvas, laid on board; ii) airbrush on metal sheet i) 6 1/8 x 8 1/8 in. (15.6 x 20.6 cm); ii) 36 x 51 1/4 in. (91.4 x 130.2 cm) i) Signed and dated “F. Alÿs 1996” on the reverse. ii) Signed and dated “Emilio Rivera F. Alÿs ©1996” on the reverse.

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

Galería Ramis Barquet, New York Private Collection LITERATURE

T. Vischer, ed., Francis Alÿs: Sign Painting Project with Juan García, Emilio Rivera, Enrique Huerta, Göttingen, 2011, p. 161 (illustrated)

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ACTUAL SIZE

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The style of these paintings… was directly borrowed from street advertisements encountered in my neighborhood in the Centro Histórico. These metal sheets painted by sign painters are propped on sidewalks or hung over storefronts and they immediately seduced me by the communicative power of their iconography. FRANCIS ALŸS

(T. Vischer, ed., Francis Alÿs: Sign Painting Project with Juan García, Emilio Rivera, Enrique Huerta, Göttingen, 2011, p. 7).

Joseph Kosuth, One and Three Chairs, 1965. Wood folding chair, mounted photograph of a chair, and mounted photographic enlargement of the dictionary definition of “chair”, Chair 32 3/8 x 14 7/8 x 20 7/8 in. (82 x 37.8 x 53 cm), photographic panel 36 x 24 1/8 in. (91.5 x 61.1 cm), text panel 24 x 24 1/8 in. (61 x 61.3 cm). Larry Aldrich Foundation Fund. © 2012 Joseph Kosuth / Artists Rights Society (ARS), New York

Moving to Mexico City from Europe in 1986, Francis Alÿs left behind his

blurs the boundary between the world of art and the world of people,

formal training as an architect to become an artist. He was conflicted with

and through philosophical and aesthetic tools he conveys that these

architecture’s authoritarian effects on its environments, believing that it

worlds are, in truth, one and the same. In his painting practice, Alÿs’

often imposed a foreign spatial and visual order on people’s lives. Alÿs’

use of commonplace supports such as cloth and used particle boards

artistic practice revolves around the problems and experiences of urban

communicates a desire to embed art in an intensely human—and thus

spaces, and the manifold ways in which human actions are influenced by

problematic—reality. Instead of illusionism and escapism, his beautifully

their surroundings. Employing a wide variety of art forms—from painting

rendered pictorial compositions channel the concerns and circumstances

to video and performance—Alÿs studies the tension between poetics and

of our everyday experience. This concept is mirrored in a now-legendary

social realities, delving deeply into the fundamental questions that arise

performance in which the artist walked around a city with a dripping can

from the human condition.

of blue paint tracing his path (The Drip, São Paulo, 1995).

Alÿs’ approach involves a dedicated observation of the social, cultural,

The present lot has its roots in Alÿs’ Sign Painting Project, which he

and political circumstances of particular places. His body of work

carried out between 1993 and 1997. Inspired by the ordinary street

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advertisements that could be seen everywhere in Mexico City, Alÿs

symbols of contemporary urbanization. The red dress in the present lot,

hired commercial sign painters to work with him on an innovative artistic

conveyed in Alÿs’ initial painting through the use of collage, reminds

venture. Looking for “a social experience of collaboration and exchange,”

us that in spite of the angular uniformity and concrete visual order, this

he asked the sign painters to create reinterpretations of his own paintings,

setting is also a profoundly human one, built and inhabited by people.

thereby radicalizing the concept of authorship and evoking the historical

Unique to this specific iteration of the Sign Painting Project, the dress

concept of the artists’ guild. For the project, Alÿs developed a total 74

adds an element of lyrical beauty to its rigid surroundings, and it instills

pictorial motifs, which were divided into three different categories: The

in the work a distinctly poetic quality often found at the intersection of art

Liar, the Copy of the Liar, which focused on the male figure and explores

and life.

the concept of illusionism and representation in art; The White Series, depicting the method that brought the images into existence through

In order to convey the real visual effect of his surroundings, Alÿs initially

the practice of artistic, technical, and intellectual collaboration; and

considered using photographs instead of paintings. However, Alÿs

Cityscapes, comprised of several renditions of metropolitan landscapes,

understood that paintings have particular auras, and their status as

which illustrate the effects that urban development and commercial

unique objects born of human thought and talent transports them into

iconography have on people’s experience of their surroundings.

the realm of the extraordinary. The present lot embodies Alÿs’ perceptive observations regarding the collective mythology of urban spaces, as he

The paintings in the Cityscapes group consist of panoramic views of

employs the visual effects of our environment to examine the ways in

buildings, along with an assortment of billboards, planks, and other

which it conditions our human experience.

René Magritte, The Human Condition, 1933. Oil on canvas. 39 3/8 x 31 7/8 in. (100 x 81 cm). Richard Diebenkorn, Window, 1967. Oil on canvas. 92 x 80 in. (233.7 x 203.2 cm). Stanford University Museum and Art Gallery, California. © 2012 The Richard Diebenkorn Foundation

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CILDO MEIRELES BRAZILIAN b. 1948 Inserções em circuitos ideológicos, 1970 transfer text on three Coca-Cola glass bottles each: 9 7/8 x 2 1/4 x 2 1/4 in. (25.1 x 5.7 x 5.7 cm) Each printed “CM 5-70” center right. This work is from an unnumbered edition.

Estimate $ 5 0,0 0 0 -70,0 0 0 PROVENANCE

Gift of the artist to the present owner EXHIBITION

New York, The Museum of Modern Art, Information, 1970 (another example exhibited) London, Tate Modern, Open Systems: Rethinking Art c.1970, June 1- September 18, 2005 (another example exhibited) Zurich, Daros-Latinamerica Collection at Daros Exhibitions, Seduções: Valeska Soares, Cildo Meireles, Ernesto Neto, June 9- October 15, 2006 (another example exhibited) London, Tate Modern; Barcelona, Museu d’Art Contemporani de Barcelona; Houston, The Museum of Fine Arts; Los Angeles, Los Angeles County Museum of Fine Arts; Toronto, Art Gallery of Ontario, Cildo Meireles, October 14, 2008 – June 27, 2010. Traveling exhibition. (another example exhibited) LITERATURE

K. McShine, Information, exh. cat., New York, 1970 (another example illustrated) D. Cameron, P. Herkenhoff, and G. Mosquera, Cildo Meireles, London, 1999, pp. 108109, 111 (another example illustrated) Open Systems: Rethinking Art c.1970, exh. cat., London, 2005, p. 138 (another example illustrated) H-M. Herzog, Seduções: Valeska Soares, Cildo Meireles, Ernesto Neto, Zurich, 2006 p. 92, 105 (another example illustrated) G. Brett, ed., Cildo Meireles, exh. cat., London, 2008, pp. 62-63, 65 (another example illustrated)

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Orson Welles’ War of the Worlds is another work at the (unconscious) source of the Insertions. It is an example of an object that exists precisely at this borderline between fiction and reality—it belongs to those two worlds simultaneously. I consider readymades and the War of the Worlds to be two or three of the greatest art objects of the twentieth century. CILDO MEIRELES

(G. Brett, ed., Cildo Meireles, London, 2008, p. 65).

Cildo Meireles is internationally recognized as one of the most influential Latin American artists of the 20th century. His body of work is comprised of such a wide array of media that it is impossible to classify him within a single style or movement. Having emerged as an artist in the 1960s, his artistic practice is often described as an example of a politicized version of conceptualism, although that label does not accurately encapsulate the nuances of his observations. As the artist stated, “In some way you become political when you don’t have a chance to be poetic. I think human beings would much prefer to be poetic.” Much of Meireles’ work deals with the intricacies of social interactions and how they are affected by structures of power, which can be of a political, social, cultural, or physical nature. The present lot is one of his most celebrated works, and it embodies the artist’s insurmountable ability to expose unsuspecting socio-political mechanisms through art.

Andy Warhol, Green Coca-Cola Bottles, 1962. Silkscreen, acrylic, and graphite on canvas. 82 3/8 x 57 in. (209.2 x 144.8 cm).Whitney Museum of American Art, New York. Purchase, with funds from the Friends of the Whitney Museum of American Art (68.25). © 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

This lot is part of a large scale art project titled Insertions into Ideological Circuits. Meireles began to execute his Insertions in 1970, during a period of intense political oppression in Brazil. He found a way to circumvent the government censors by printing political messages of protest on glass Coca-Cola bottles, which were then returned into circulation. Meireles was channeling the idea of the castaway’s message in a bottle, which is thrown in the ocean in hopes of eventual communication. Meireles’ replaced the ocean with the Brazilian public and the means of commercial production that daily life inevitably centers around. Almost invisible when empty, the messages printed on transfer text became more legible when the bottles were refilled at the factory. Few people Marcel Duchamp, Fountain, 1964. Urinal inscribed, “R. Mutt 1917”, replica of lost original, 1917. 14 1/8 x 18 7/8 x 24 in. (36 x 48 x 61 cm). Fondation Maillol, Paris. © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris / Succession Marcel Duchamp

noticed the alterations on the bottles until they began to drink. While using an existing commercial mode of distribution, Meireles destabilized the ideology behind it. Coca-Cola represented the invasion of American

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(detail of the present lot)

brands into the Brazilian mindset, and Meireles employed the company’s

As the artist states, “A readymade involves taking an industrial product

own methods to denounce what he believed to be cultural and economic

and making it unique through a subjective process. The basic premise of

imperialism.

Insertions is the opposite: starting from a small, individual thing, you can then reach a very large scale through ramifications and branching out.”

Insertions into Ideological Circuits is an important example of the development of conceptual art in Latin America. Meireles credits Marcel

The idea of depending on the public for the artwork to achieve its

Duchamp as a major influence in his work, which is evidenced in the

purpose has its origins in Brazilian Neo-Concretism, a tradition that

present lot. In the United States in 1917, Duchamp removed an ordinary

Meireles inherited from predecessors like Hélio Oiticica and Lygia

urinal from its commercial circuit and placed it in the elevated stage of art,

Clark. In order for the artist’s message to come across, the public must

titling it Fountain. In Brazil 53 years later, Meireles inserted messages into

become active participants, and they must physically interact with the

the commodities market, relying on the triviality of the objects to get his

art object. Insertions into Ideological Circuits therefore places Meireles in

messages across. Like Duchamp, Meireles altered readymade objects to

a prominent position within Brazilian art history, as the torch-bearer for

make an artistic and socio-political statement, but he employed a different

a new generation of artists who faced rapidly changing socio-political

strategy that corresponded to the socio-political context he denounced.

landscapes on both local and global stages.

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ANTONIO DIAS BRAZILIAN b. 1944 Free Continent: Natural Richnesses, 1968-1969 matte varnish Liquitex on canvas 51 1/8 x 76 3/4 in. (130 x 195 cm) Signed, titled, dated, and inscribed “A Dias Antonio Dias Free Continent: Natural Richnesses 1968/69 Milan” on the reverse.

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

Orsatti and Antonini Collection, Verona Private collection, Italy

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I regard everything as a territory in which I am moving pieces around. I have never learned to play chess, but I imagine this is a similar process, because I can always make out those movements and think: ‘I won’t go down that road,’ or ‘I’ll go this way because this works.’ There are times one thinks about one’s life and work and where they connect. So in those moments I put myself in a position where I can observe the chessboard. And of course, it isn’t only me moving the pieces around—everyone is. ANTONIO DIAS

(H-M. Herzog, Antonio Dias: Anywhere is My Land, Zurich, 2009, p. 155).

(detail of the present lot)

Throughout the past 40 years Antonio Dias has produced a significant

command of line and proportion. He then became a graphic assistant for

body of work, celebrated for its courageous experimentation and

poster design and book illustration at the Ministry of Health, where he

sophisticated intellectual engagement. His aesthetic approaches

learned various printing techniques. At the age of sixteen, Dias attended

to painting have constantly changed throughout the years, as he

a woodcut course given by the renowned engraver Oswaldo Goeldi at the

incorporated different methods and experiences into his work. Although

National School of Fine Arts. Aside from that course, his involvement

he has spent much of his life outside of Brazil and has ingrained himself

with the artistic avant-garde centered on Ivan Serpa and Aluisio Carvão,

into the European contemporary art scene, his stature as one of the

both of whom were professors at the art school of the Museum of Modern

seminal figures of Brazilian contemporary art is unquestionable. The

Art in Rio de Janeiro. This exposure played a formative role in Dias’

present lot, Free Continent: Natural Richnesses, is an important example

development as an artist. Ivan Serpa was one of the key players in the

of Dias’ uniquely creative exploration of the meaning and purpose of art

Brazilian Concrete movement, and as the present lot exemplifies, Serpa’s

throughout decades of shifting personal, social, and political contexts.

use of pure form and geometry as expressive mechanisms was influential in Dias’ work.

Since childhood, art has been a determining force in Dias’ life. His paternal grandfather taught him the basic principles of drawing, instilling

By his early twenties, Dias had become one of the most active

in him the profound understanding of proportion and color that has since

proponents of Brazil’s artistic avant-garde. His first solo exhibition at

informed his work. As a young teenager, he was inspired by popular comic

Galeria Sobradinho in 1962 consisted of drawings and paintings he had

strips in Brazilian newspapers and magazines, such as Jerônimo, o Herói

produced since 1960, which incorporated formal and symbolic elements

do Sertão by Edmundo Rodrigues and the globally recognized comic book

from indigenous civilizations and Brazilian popular culture. He also

worlds of Hugo Pratt and Flavio Colin. He soon began to produce his own

became deeply interested in the Brazilian Neo-Concrete movement,

comic strips, which allowed him to explore the use of text and language

which embraced art’s subjective qualities and focused on fostering the

as powerful aesthetic tools. The imprint of these early formative years is

creative relationship between the artist, the work, and the viewer. Like

wondrously visible throughout Dias’ career.

his predecessor Hélio Oiticica and his contemporary Cildo Meireles, Dias was very interested in exploring art’s manifold roles in society. As a result,

In 1957, Dias moved to Rio de Janeiro to live with his mother. He worked

much of Dias’ work attempts to draw his viewers within the picture plane,

as a draftsman for an architectural firm, where he further developed his

and actively engages them in the process of signification.

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Antonio Dias, Você escapando, 1964. Oil and acrylic on wood and masonite. 48 x 48 in.

Ed Ruscha, Untitled, 1987. Acrylic and oil on canvas. 60 x 60 in. (152.4 x 152.4 cm).

(122 x 122 cm). Private Collection.

Collection Heide Duerr, Berlin. © Ed Ruscha

Towards the end of the 1960s, Dias distanced himself from the exuberant

independent entity capable of changing the world outside of it. This

figuration that characterized his earlier works, which echoed the influence

highlights an essential characteristic of Dias’ work as a whole: although

of Pop and the graphic arts. In 1966, Dias traveled to Paris after receiving

many of his works, at first glance, may seem minimalistic and formalist,

a grant from the French government. What was originally planned as a

there are multiple layers of meaning beneath the surface. Disguised amidst

six month stay became a protracted period of voluntary exile, which was

the seemingly straightforward lines and monochromatic structures, the

partially a result of the oppressive political reality in Brazil. It is during this

present lot is rich in intricate allusions and personal expressions that

time that he develops the aesthetic approach evidenced by the present

Dias eloquently shares with his audience. We are drawn into the black

lot, which reflects elements of concrete Poetry, Neo-Concretism, and

expanse—encased in its own white frame— as we actively search for

Conceptual Art without abandoning his ethical and political concerns.

meaning and resolution.

During this time, Dias’ body of work acquired a strict two-dimensional rigor, showcasing diagrams and environments through words and signs. He employed language as a ready-made, laconically moving simple texts and catchphrases across his surfaces. Drawn from advertising jargon and the political mood of the period, his paintings became enigmatic expressions that offered valuable insight into his artistic and political context. Words like “The Prison” and “Free Continent” are important examples of how Dias’ incorporated new interests and situations into his practice. At face value, many of these elements seem to refer exclusively to the Brazilian political reality, yet nothing in Dias’ art is one-dimensional. He uses the word “prison” to refer to a dictatorial system that expected artists to obey its mandates, and also to the concept of the modernist grid that revolutionized art and enabled it to free itself from the confines of pictorial realism. Dias’ art is at once a denunciation, a celebration, and an intellectual debate. He reveals the strength of a new international order in art and culture. This oscillation in purpose is present in Free Continent: Natural Richnesses. Dias’ selection of words reminds us of the infinite resources that Brazil

René Block, Antonio Dias, Joseph Beuys, and Richard Long, Biennale di Venezia,

and Latin America in general posses. He alludes to a continent that should

1978. Photo: André Morain

be free to develop according to its own natural gifts and potential. Yet the painting is also a strong statement in favor of the intrinsic importance of art—in his hands, the painting becomes a continent unto itself, an

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LYGIA PAPE BRAZILIAN 1927-2004 Four elements from the Night and Day Book, 1963/1976 tempera on wood constructions each: 6 1/4 x 6 1/4 x 0 5/8 in. (16 x 16 x 1.5 cm) Each signed “Pape” on the reverse.

Estimate $10 0,0 0 0 -15 0,0 0 0 PROVENANCE

Private collection, Portugal Galeria Graça Brandão, Lisbon

Lygia Pape, Ttéia Quadrada, 2002. Wire installation. Paço Imperial. © Projeto Lygia Pape

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LYGIA PAPE BRAZILIAN 1927-2004 O olho do guará (No. 13), 1984 synthetic fur, gesso, and neon fixture 23 5/8 x 23 5/8 x 1 5/8 in. (60 x 60 x 4 cm) Signed, titled, and dated “Lygia Pape/ 84 O olho do guará No. 13” on the reverse.

Estimate $15 0,0 0 0 - 2 5 0,0 0 0 PROVENANCE

Private Collection EXHIBITED

Rio de Janeiro, Centro Empresarial Rio Art Gallery, Nova Escultura Para a Praça Mauá, 1989

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I try to walk through the shadows of things. What I want is the other side. I want to see through the cracks and discover something. I’m interested in the unknown. LYGIA PAPE

(M.L. Blanco, ed., Lygia Pape: Espacio Imantado, Madrid, 2011, p. 374).

Lygia Pape was one of the most prominent figures in Brazil’s NeoConcrete group. Her beginnings as an artist centered on Grupo Frente, an association of artists dedicated to developing the visual language of geometric abstraction, in keeping with the dictates of the global Concrete movement. Although her affiliation with Grupo Frente lasted a short time, its aesthetic values proved to be an important influence in her career. Pape’s artistic vision quietly rejects figuration in the traditional sense. Rather than superimposing representational figures on a background, she enabled her works to become forms in their own right, existing independently in space and interacting freely with their real surroundings. Mario Merz, Impermeabile, 1967 and 1989. Waterproof wood, wax, neon tube,

It was her fascination with form in all its manifestations that led Pape to

and waterproof sticks. 49 x 27 1/5 x 15 in. (125 x 70 x 40 cm). Collection Christian

distance herself from Grupo Frente in the late 1950s, believing that the

Concrete approach to artistic creation was too reductive and formulaic. Pape, along with Lygia Clark and Hélio Oiticica, thought that Concretism’s view of art as purely self-referential failed to account for the importance

This ideological rupture led to the foundation of the Neo-Concrete group,

of artistic process and viewer involvement. Concrete artists held on to

which forever changed the course of Brazilian art history. Pape’s oeuvre is

an a priori approach to art-making: they executed paintings according

at the center of this phenomenon. Inspired by Marcel Duchamp and Dada,

to strict plans and detailed studies, and they believed that the meaning

the Neo-Concretes defined art as a profoundly subjective and intuitive

and character of a work are not affected by conditions outside the

experience for both the artist and the viewer. Their creative approach

canvas. Pape, on the other hand, recognized that art relies heavily on its

was firmly rooted in the practice of collaboration, and they adhered to

environment—on the uncontrollable circumstances of its creation and

the conviction that an artwork should be continuously re-invented by its

reception—in order to acquire and communicate meaning. In her eyes,

audience. O olho do guará is exemplary of the manifold influences that

art is not self-contained but rather uncontainable, and its beauty largely

shaped Pape’s career, and it embodies the aesthetic and philosophical

results from its interaction with the world.

concerns she continuously experimented with throughout her life.

Meret Oppenheim, Object, 1936, Fur-covered cup, saucer, and spoon. Cup 4 3/8 in. (10.9 cm) in diameter; saucer 9 3/8 in. (23.7 cm) in diameter; spoon 8 in. (20.2 cm) long, overall height 2 7/8 in. (7.3 cm). The Museum of Modern Art, New York. Purchase. © 2012 Artists Rights Society (ARS), New York / Pro Litteris, Zurich

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(detail of the present lot)

The present lot challenges the concept of the picture as a realistic window

and situations. Created in the twilight of the tumultuous 20th century, the

into the world, celebrating the transformative power of visual invention.

work displays the artist’s understanding of an increasingly complex world,

Decades after her associations with Grupo Frente and Neo-Concretism,

in which contrasting elements must find a way to not only coexist, but also

she evokes the simplicity of the square and the line, combining it with

thrive, regenerate, and inspire innovation.

materials that activate our senses. Playing with form, texture, and light, she succeeded in creating a commanding object that firmly exists in our

Pape’s body of work presents a thorough questioning of the modernist art

environment and attracts our curiosity as it radiates energy unto our space.

historical canon, and her pioneering vision has cemented her stature as

Pape wisely subverts the age-old concept of the frame, a traditionally

one of the most creatively accomplished Latin American artists of the past

divisive structure that separates the artwork from our reality, and instead

century. She saw art in everything, and her passion for experimentation

uses it as a tool to invite interaction and imagination. She deconstructs the

led her to delve into a wide variety of media, from painting and sculpture to

art historical notion of background, renouncing illusionistic depth in favor

installation, cinema, and performance. Regardless of her chosen art form,

tangible materiality and rich texture. True to Pape’s artistic philosophy, O

she succeeded in communicating her positive energy and receptivity. The

olho do guará transcends conventional mediums as it seeks to establish

present lot, in its uniqueness and ingenuity, is a testament to Pape’s belief

new visual relationships between unsuspecting forms and materials. It

that art can be made manifest everywhere— in every situation, and under

is evidence of her love for discovering beauty in the unlikeliest of places

every circumstance.

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12A

WALTERCIO CALDAS BRAZILIAN b. 1946 Azul de SuperfĂcie, 2005 stainless steel and tinted Plexiglas 20 1/2 x 51 1/8 x 47 1/4 in. (52 x 130 x 120 cm) This work is from an edition of three unique variants.

Estimate $ 8 0,0 0 0 -12 0,0 0 0 PROVENANCE

Private collection, Paris

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CARMEN HERRERA CUBAN b. 1915 La Noche, 2006 acrylic on canvas 36 x 36 in. (91.4 x 91.4 cm) Signed, titled, and dated “Carmen Herrera 2006 ‘La Noche’” on the reverse.

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

Lisson Gallery, London Private Collection

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JESÚS RAFAEL SOTO VENEZUELAN 1923-2005 Orinoco, 1983 painted aluminum and wood construction 39 3/8 x 39 3/8 x 14 5/8 in. (100 x 100 x 37 cm) Signed, titled, dated “Orinoco Soto 1983,” and dedicated on the reverse. This work is accompanied by a letter of authenticity signed by Gloria Carnevali.

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

Gift of the artist to Gloria Carnevali, Ciudad Bolívar Acquired from the above by the present owner

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The square represented—and still represents for me—the most genuinely human form, in the sense that it is a pure creation of man. The square and geometrical shapes in general are an invention of the human spirit. JESÚS RAFAEL SOTO

(A. Jiménez, Conversations with Jesús Soto, Caracas, 2005, p. 156).

Among the most celebrated artists of the 20th century, Jesús Rafael Soto

space—exploring how they can be harnessed without confining them to

is known for his commanding use of light, space, and materiality. In his

representation. He also realized that one of art’s most important functions

hands, wood, metal, and paint become active agents that awaken the

is to awaken reactions and reflections in the spectator. Art should be

viewer’s physical and mental energies. From an early age, he approached

about more than aesthetic pleasure and arrested contemplation, and the

the process of creating art as a way of examining the most pressing

modern viewer should not be expected to be a passive one. Soto sought to

aesthetic and philosophical concerns of his time. According to Soto, art

create works that involved light, movement, and space in all their physical

moves through history in a linear fashion, and young artists must learn

manifestations, bringing his art into the third dimension. In doing so, he

from their predecessors in order to seek new answers to fresh problems,

crossed the boundary between the work’s reality and the viewer’s, forging

rather than imitate the successes of the past. The present lot, Orinoco, is

a tangible relationship between the two.

emblematic of Soto’s inquisitive and unfailingly creative mind, and it represents the work of a master at the height of his intellectual capabilities.

The present lot is a direct result of these ideas, and the work’s history illustrates Soto’s primary concerns throughout his life. The diagonal

Throughout his life, Soto always considered himself a student of art

planes jut confidently into our space, playing with the varying forces of

history. As a young student in Venezuela, he began to train as a naturalist

light and shadow. The hanging aluminum rods, juxtaposed against the

painter, paying close attention to how light and movement can be represented on a picture plane. In his eyes, a tree was not really a tree unless it captured the breeze sifting through it, and the way the sunlight affected the colors of the leaves in millions of different ways. As such, throughout his career Soto remained aware of the Impressionist movement, whose concentration on the nuances of light and color influenced him from an early age. He sought to build on the Impressionists’ accomplishments because, as he later stated, “Art is structured in a way that is not limited to the imitation of natural forms… Even during historical periods where art seemed to have no other purpose, great artists used nature as a starting point to create another reality that is the true meaning of art” (quoted in A. Jiménez, 161). Soto dedicated his life to the creation of this other reality, constantly searching for a new way to decipher the physical universe through art. His predecessors had already conquered representation, and Soto instead focused his artistic curiosity on the concepts of light, movement, and

visually dynamic background, directly interact with the most basic elements of our reality, testing the boundaries of perception and spatial relationships through subtle aesthetic and physical vibrations. True to its maker’s intentions, the work can be experienced in a variety of different ways. The viewer is free to experiment with its manifold vantage points, which continuously revolutionize the surrounding space. Furthermore, the work’s title is an important consideration. Although the Donald Judd, Untitled 85-20, 1985. Enameled aluminum. 11 3/4 x 23 5/8 x 11 3/4 in.

majority of his career developed in Europe, Soto never lost touch with his

(30 x 60 x 30 cm). Art © Judd Foundation. Licensed by VAGA, New York, NY

origins in Venezuela. The Orinoco is one of the largest rivers in South

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(alternate view of the present lot)

America, and it has played a major role in Venezuela’s development

Latin America was undergoing a different change, one that at the time

throughout history. In fact, Soto’s profound understanding of Latin

required development rather than deconstruction. This contributed to his

American realities had always been a factor in his artistic philosophy.

life-long determination to build structures that advanced human thought

When speaking of his friendship with some of the French New Realists, he

and intellectual pursuit. As he stated, “That’s why I have always defended

acknowledged that while he understood and admired their approaches,

the idea of structure, and I want to leave at least this idea to my country… I

his creative process would always be profoundly different. Tinguely and

want structure for Venezuela, and thus for Latin America. What is most

Villeglé, for example, largely employed their art as a contrasting force to

important, what concerns me the most, is to leave in my field an idea of

the established French and European cultures. They were calling for

what this country must be someday” (quoted in A. Jiménez, 173). Orinoco is

regeneration, and their work often involved altering or destroying visual

thereby a crucial example of Soto’s visionary energy and unwavering

representations of the status quo. Soto, on the other hand, believed that

dedication to innovative progress.

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HÉLIO OITICICA BRAZILIAN 1937-1980 Metaesquema 167, 1958 gouache on cardboard 11 3/4 x 15 1/4 in. (29.8 x 38.7 cm) Signed, titled, inscribed, and numbered by César Oiticica “Cesar O Projeto HO N 446 MET 167” on the reverse. This work is accompanied by a certificate of authenticity signed by César Oiticica.

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

Private collection, Rio de Janeiro

Long considered one of the most influential Brazilian artists of the 20th

and meaning. Their ideal viewer would interact with a work physically,

century, Hélio Oiticica championed avant-garde cultural production

mentally, and emotionally, and together, the object and the spectator—or

during times of great socio-political transformations. While he was still

participant—would constantly create and contextualize new meanings

a teenager in the 1950s he became one of the prominent members of

and forms of expression. This Neo-Concrete idea of placing the audience

Grupo Frente, an artistic association in Rio de Janeiro dedicated to the

on equal footing with the artist changed the course of Brazilian art history,

development and study of the European Concrete movement. Influenced

laying the groundwork for future luminaries such as Cildo Meireles,

by the Concrete theories of Max Bill, Grupo Frente sought to liberate art

Ernesto Neto, and Tunga.

from the confines of realistic representation, which was the predominant stylistic approach supported by the Brazilian government. Along with

The Metaesquemas are a direct result of Oiticica’s intellectual and aesthetic

Ivan Serpa, Lygia Pape, João José Costa, Lygia Clark, among many other

explorations between his Grupo Frente and Neo-Concrete affiliations.

visionaries, Oiticica heatedly debated the role of art and artists in society.

Incorporating the visual language of Concretism, he creates compositions

He subsequently sought to test the limits of the Concrete manifesto with

that ingeniously challenge the rigidity and objectivity of geometry in its

regard to public engagement, and he became intimately involved in the

purest form. He coined the term Metaesquema to illustrate this tug of

Brazilian counter-culture and protest movements throughout the 1960s.

war between formalism and subjectivity. It is evident that the works are schematic (esquema) in visual content. However, Oiticica’s juxtaposition

These concerns led Oiticica and many of his colleagues to distance

of straight and narrowly diagonal lines opens the work to the infinite

themselves from Grupo Frente, in an effort to reconcile their Concrete

interpretations, an intellectual concept inherent to metaphysics (meta).

aesthetic influences with the socio-political upheaval in Brazil. They

The delicate black forms seem to be moving on the surface, exercising

endeavored to demonstrate that art did not have to be representational

their individual character within their geometric boundaries. As a result,

to encourage social and intellectual engagement. To this end, Oiticica,

Oiticica’s viewers are drawn into the composition, actively negotiating

Clark, Pape and others formed the hugely influential Neo-Concrete group

meaning between subtle forms and dynamic spaces.

(1959-1961), which placed the viewer at the center of an artwork’s purpose

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LUIS TOMASELLO ARGENTINE b. 1915 Atmosphère chromoplastique No. 168, 1967 acrylic and wood construction on board 23 5/8 x 23 5/8 in. (60 x 60 cm) Signed, titled, and dated “Atmosphere Chromoplastique No. 168 1967 L. Tomasello Luis Tomasello” on the reverse.

Estimate $ 5 0,0 0 0 -70,0 0 0 PROVENANCE

Galerie Denise René, Paris Private collection, Italy

(alternate view)

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SERGIO CAMARGO BRAZILIAN 1930-1990 Untitled (No. 461), 1970 white Carrara marble 25 5/8 x 6 3/4 x 1 7/8 in. (65 x 17 x 5 cm) This work is accompanied by a certificate of authenticity issued by Galeria Raquel Arnaud.

Estimate $15 0,0 0 0 - 2 5 0,0 0 0 PROVENANCE

Estate of Sergio Camargo Private collection, Miami

(alternate view)

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Sergio Camargo has solidified his position as one of the leading figures

Camargo returned to Brazil in 1948 and soon became a pivotal

in 20th century Latin American art. His formative years coincided with

member of the Constructivist movement. His sculptural application of

a cardinal generation in Brazilian art history, fueled by the influence

Constructivism’s aesthetic goals manifested itself in a vibrant interplay

of Cándido Portinari and Emiliano di Cavalcanti’s pioneering stylistic

of contrasting lines and shapes, giving his works a commanding physical

experimentation. During this time, traditional modes of representation

presence in any given space. Due to his contemporary enthusiasm for

were giving way to new aesthetic approaches that challenged the

the minimalist monochrome, Camargo almost exclusively used white in

predominance of realism and illusionism. Camargo’s first forays into art

his work throughout the 1960s and 70s. He found himself captivated by

took place at the Academia Altamira in Buenos Aires, where he studied

the myriad of ways in which the color white could revolutionize spatial

under two of the most important members of the period’s avant-garde,

relationships, maximizing the interplay between light and shadow and

Emilio Pettoruti and Lucio Fontana. While spending time in Paris as a

allowing the angular shapes to interact directly with their surroundings.

young man, the artist developed an affinity for Constantin Brancusi’s

As such, his sculptures either jaggedly emerge or softly sway into our

minimalist geometric abstraction and Jean Arp’s sinuous use of soft

three-dimensional reality, presenting viewers with detained meditations

curves and interplaying shadows. His studies in philosophy at the

on the dynamics between pure form and spatial conditions.

Sorbonne served as further artistic inspiration. Camargo became well acquainted with the ongoing post-war debates concerning the need for a

The breadth of his education and inspiration is made manifest in his

new visual language that corresponded to a world transformed by recent

appropriation of kinetic and abstract visual vocabularies. Comparisons

socio-political events. Subsequently, his body of work marries his wide-

can be drawn between Camargo’s relief and Fontana’s Slash series, the

ranging influences with his unparalleled technical skill, serving as an

difference being that whereas Fontana uses color to contrast negative

extraordinary example of the innovative energy that characterized artistic

space, Camargo uses three-dimensional forms to establish dynamic

production at the time.

relationships between the tactile and the ocular, and between uniformity

Alfredo Volpi, Mastros, 1970. Oil on canvas.

Constantin Brancusi, La Maiastra, 1914. Polished brass on stone base. 37 3/4 in. (95.88 cm). The Minneapolis Institute of Fine Arts, Lilian Z. Turnblad Foundation. © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris (detail of the present lot)

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(detail of the present lot)

and disruption. Moreover, Camargo’s use of monochromatic white

as the viewer’s perspectives shift around the work. The medium and

surfaces reflects a profound understanding of the artistic discussions of

technique provide a fascinating contrast to Camargo’s wood reliefs,

his time, particularly those related to the allure and nature of color. The

while presenting further proof of the artist’s commitment to formal

monochrome also refers to Camargo’s interest in the dichotomy between

experimentation. Rather than juxtaposing geometrical wooden shapes

balance and chaos, juxtaposing the relative tranquility of white against

on panels, Camargo expertly carved angular forms out of white Carrara

the pulsating noise of protruding forms.

marble, widely celebrated throughout art history as the purest white marble in Italy. Untitled, oscillating between geometric uniformity and

The present lot occupies a special place within his body of work. Camargo

three-dimensional interplay, combines the cubist approach of Pettoruti,

created Untitled as a study for a large outdoor sculpture commissioned

the spatial awareness of Fontana, and the sensuous surfaces of Brancusi.

in Caracas, and it continues to serve as a prominent illustration of the

True to its Constructive context and minimalist influences, the work’s

artist’s revolutionary approach to spatial volume. What may initially seem

ability to awaken the senses evokes the talent of a master at the height of

like a uniform composition soon acquires a three-dimensional vibrancy

his creative talents.

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AMILCAR DE CASTRO BRAZILIAN 1920-2002 Untitled, 1998 SAC41 steel 11 1/2 x 19 1/2 x 15 3/8 in. (29.2 x 49.5 x 39.1 cm) Signed “Amilcar de Castro” underneath the base. This work is accompanied by a certificate of authenticity issued by Instituto Amilcar de Castro.

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

Silvia Cintra + Box 4, Rio de Janeiro Acquired from the above by the present owner

Lygia Pape, O homem começou a marcar o tempo (Livro da criação), 1959. Six c-prints. © Projeto Lygia Pape

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LUIZ SACILOTTO BRAZILIAN 1924-2003 Concreta 7964, 1979 oil and tempera on plywood 19 5/8 x 39 3/8 in. (50 x 100 cm) Signed “Sacilotto” upper left. Also signed ,titled, and dated “Sacilotto Concreta 7964 1979” on the reverse.

Estimate $12 0, 0 0 0 -18 0,0 0 0 PROVENANCE

Private collection, São Paulo EXHIBITED

São Paulo, Museu de Arte Moderna, Expressões & Concreções, 1980

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HÉRCULES BARSOTTI BRAZILIAN 1914-2010 Urgimento Ortogonal I, 1971 acrylic on canvas 39 3/8 x 19 5/8 in. (99.9 x 49.7 cm) Signed, titled, and dated “Barsotti Urgimento Ortogonal I 1971” on the reverse.

Estimate $12 0,0 0 0 -18 0,0 0 0 PROVENANCE

Private collection, São Paulo

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EDGAR NEGRET COLOMBIAN 1920-2012 Fiesta andina, 1992 painted aluminum 46 1/2 x 67 7/8 x 27 in. (118.1 x 172.4 x 68.6 cm) Signed, titled, and dated “Fiesta Andina Negret 1992” underneath the base. This work is unique and is accompanied by a certificate of authenticity signed by the artist.

Estimate $ 5 0,0 0 0 -70,0 0 0 PROVENANCE

Private collection, Bogotá

Edgar Negret was one of the most accomplished Colombian artists of the 20th century, and he played an important role in the development of modern sculpture in Latin America. Due to his innovative use of simple forms, industrial materials, and stark colors, he is considered a pioneer of Colombian Constructivism along with Omar Rayo and Carlos Rojas. His first forays into art-making involved traditional mediums such as wood and stone, recalling the influence of European modernists like Jean Arp and Constantin Brancusi. Educated at the School of Fine Arts in Cali, Negret traveled a great deal during the 1950s, living in New York, Paris, and Barcelona. It was in New York that he was first exposed to the work of Alexander Calder, Louise Nevelson, and Jack Youngerman, whose visual language would become a central influence in Negret’s art. Fiesta andina is an enthusiastic celebration of color and structure, and it displays Negret’s technical and conceptual abilities at the height of his creative powers. Considered one of Negret’s most important works, Fiesta andina evokes the vibrant imagery and graceful movement characteristic of traditional Andean popular festivals. The proliferation of color in the undulating aluminum sheets provides an interesting contrast to the solidity of the armature, resulting in an elegant display of Constructivist principles and vivacious aesthetic relationships. Fiesta andina is emblematic of Negret’s belief that the simplest shapes and materials possess a distinctly noble quality, which is manifested through creative juxtapositions and elegant spatial interactions.

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JOAQUÍN TORRES GARCÍA URUGUAYAN 1874-1949 Río Negro (Arte Constructivo), 1943 oil on board 19 3/4 x 27 1/2 in. (50.2 x 69.9 cm) Initialed and dated “JTG 43” lower left, and titled “Rio Negro” center right. Also titled and dated “Arte Constructivo 1943” on the reverse.

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

Rose Fried Gallery, New York Private collection, Buenos Aires Galería Der Brücke, Buenos Aires Sale: Christie’s, New York, Latin American Paintings, Drawings and Sculpture, November 20, 1990, lot 35 Private collection, Caracas Sale: Christie’s, New York, Important Latin American Paintings, Drawings and Sculpture, May 15, 1996, lot 54 Acquired at the above sale by the present owner EXHIBITED

Madrid, Museo Español de Arte Contemporáneo, Exposición Antológica Torres García, April-May, 1973 LITERATURE

Exposición Antológica Torres García, exh. cat., Madrid, 1973, p. 112 (illustrated) E. Jardí, Torres García, Barcelona, 1974, p. 243 (illustrated) This lot will be included in the forthcoming Catalogue Raisonné being prepared by Cecilia de Torres, listed as P1943.77.

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He will work, he will paint, he will battle to the end, he will bring to all his ventures a most obstinate conviction, to all his teaching an affirmative, dogmatic tone, to all his polemics an accent of passion; he will always live as an artist, sometimes as a litigant, very often indeed as an apostle; and he will always be like that right to the end. J.M. PODESTÀ

(E. Jardi, Torres García, Barcelona, 1974 p. 253).

Joaquín Torres García dedicated his life to examining the physical and

constant fixture in local intellectual and artistic circles, where he partook

social utility of art, believing that it should embody reality rather than

in elevated discussions about the principles and functions of art in the new

merely copy it. His sophisticated approach to composition often

century that was about to begin. Paying close attention to the emergent

manifested itself as playful experimentation, testing the particularities of

field of poster art, he began to sketch street scenes and figures in a style

form on divergent planes and constructions. Torres García’s belief in art

reminiscent of Toulouse-Lautrec. Although his first forays into art were

as a collaborative relationship between the physical medium and its

very much tied to realism and representation, these early drawings hint at

surroundings originated when he was a child playing in his father’s

the compositional master he would eventually become. Even as a young

carpentry workshop. Long hours spent assembling pieces of wood led to

man with only a few years of artistic education, he knew how to populate a

a distinct visual language that reflects his life-long admiration for everyday

surface with forms and lines that comprised a cohesive unity, seducing his

objects and materials, which in his hands would become illuminating

viewers with his dominion of balance and proportion.

examples of natural beauty and human creative potential. His vision of art as a universally accessible educational tool that fosters personal and

During his formative years in Barcelona, Torres García also drew a great

social development cemented his position as one of the founding fathers

deal of inspiration from the French Impressionists, who channeled the

of Latin American modernism.

inherent materiality of painting through thick brushwork and subtle gradations within color fields. The Impressionists changed the course of

In 1891, Torres García’s family relocated to Spain and eventually settled in

art history by doing away with illusionistic representation and celebrating

Barcelona, where he enrolled in the School of Fine Arts. He avidly explored

the natural texture of paint in all its expressive qualities. This adherence

his new metropolitan surroundings, and the cultural vitality of Barcelona

to the properties of the physical medium made a strong and lasting impact

prompted him to pursue a career as a professional painter. He became a

in Torres García’s artistic philosophy, as he learned to trust the natural qualities of his materials.

Joaquín Torres García, Street Scene with Horse and Cart, n.d. Incised and painted wood. 1/2 x 11 3/8 in. (9 x 29 cm). Private Collection.

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Robert Indiana, Orb, 1960. Oil, iron wheels, and iron on wood.

Society (ARS), New York / ADAGP, Paris

62 x 19 1/2 x 19 in. (157 x 49.5 x 48 cm). Private Collection.

In 1901, drawn by the timeless of the older works he avidly studied, Torres

geometry, rhythm, proportion, lines, planes, idea of object. These are the

García began to paint frescos. During this time he is known to have worked

elements of work—they act, they form, they construct and gain significance

for Antonio Gaudí in connection with the Sagrada Familia, a magnum opus

through the law of unity.”

of structural intricacy and hyperbolic design. This collaboration exposed Torres García to Gaudí’s collaborative and interdisciplinary professional

The present lot, Rio Negro (Arte Constructivo) is emblematic of the

style, and it ingrained in him the belief that painting and architecture were

principles that drove Torres García’s most groundbreaking aesthetic

not parallel practices. They are both concerned with the development of

innovations. What may at first seem like a formalist composition of color

structures in different planes and environments. When combined, they are

blocks and geometric forms soon transforms into a figurative landscape,

ultimately a testament to the infinite creative capabilities of the human mind.

complete with a railroad locomotive and human figures. Each shape maintains its individual physical presence, yet true to Torres García’s

With this in mind, Torres García’s work started to evolve towards

vision, the composition is dominated by a sense of dynamic solidity and

abstraction and alternative approaches to figuration, in keeping with the

cohesion. He employed the modernist grid to arrange his elements into a

nascent philosophy of Constructivism. By the time he returned to Uruguay

harmonious structure, where his viewers can examine the multifaceted

in 1934, he had become fascinated by the idea of achieving unity out of

relationships between the parts and the whole. He wanted his art to be a

diverse individual forms, believing it to me a model for a progressive

model for society, and he became an educator in order to demonstrate

society. Torres García would eventually refer to this idea as “Universal

art’s powerful constructive influence. Through works like Rio Negro (Arte

Constructivism”, believing that, “Structure means recognition that unity is

Constructivo), Torres García laid the groundwork for the development of a

at the foundation of everything. To say structure is also to say abstraction:

new visual language in Latin America, one that embraced its heritage as it looked ahead to a new era of unprecedented transformations.

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WIFREDO LAM CUBAN 1902-1982 Personnage, 1970 oil on canvas 31 7/8 x 45 5/8 in. (81 x 116 cm) Signed and dated “Wi Lam 1970” lower right. Also signed and dated “Wi Lam 1970” on the reverse. This work is accompanied by a certificate of authenticity signed by Lou Laurin-Lam.

Estimate $ 2 5 0,0 0 0 - 3 5 0,0 0 0 PROVENANCE Galerie Maeght-Lelong, Zurich Private Collection Sale: Loudmer Scp., Paris, Importants Tableaux Abstraitset Contemporains, June 10, 1990, lot 207 Private Collection Sale: Christian de Quay, Paris, Tableaux Modernes & Anciens, Art Nouveau, Art Deco, June 22, 1995, lot 86 Private Collection EXHIBITED

Paris, Zurich, Galerie Maeght-Lelong, Wifredo Lam, Peintures 1965-1976, 1987 LITERATURE

M.P. Fouchet, Wifredo Lam, Barcelona/Paris, 1976, p. 244, no. 570 (illustrated) M.P. Fouchet, Wifredo Lam, Barcelona/Paris, 1989, p. 264, no. 602 (illustrated) L. Laurin-Lam and E. Lam, Wifredo Lam Catalogue Raisonné of the Painted Work Volume II 19611982, Lausanne, 2002, pp. 141, 342, no. 70.83 (illustrated)

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There is a duality between what emerges from the conscious mind and the unconscious. What interests me above all is the idea delivered by a painting; in the face of my work, I no longer exist. WIFREDO LAM

(L. Laurin-Lam and E. Lam, Wifredo Lam Catalogue Raisonné of the Painted Work Volume II 1961-1982, Lausanne, 2002, p. 18).

Jacqueline Roque, Wifredo Lam, Pablo Picasso, and Lou Laurin-Lam at Picasso’s house, Mougins, 1966.

The internationally renowned Cuban painter Wifredo Lam has long been considered one of the formative figures of Latin American modernism. His inimitable approach to figuration and his cross-cultural aesthetic vision earned him the admiration of contemporaries such as Henri Matisse, Pablo Picasso, and Joan Miró. Taking cues from Cubism and Surrealism, Lam devised a unique style that infused Western modernism with African and Caribbean symbolism. His steadfast belief in artistic freedom spurred nearly seven decades of artistic and intellectual production, resulting in a widely celebrated body of work that serves as a testament of the artist’s passionate dedication to his socio-cultural origins. Wifredo Lam was born in 1902 in a Cuban sugar-farming province, to a family of mixed-race ancestry. His grandmother was a former slave from the Congo, and his father was a Chinese immigrant. His village was mostly populated by descendants of African slaves, and his family, like many others, incorporated African traditions and mysticism into their Catholic faith. From an early age Lam witnessed the spiritual practices of Santería, a syncretic belief system that blends elements of Catholicism with those of West African religions introduced to the New World by the slave trade. His personal knowledge of these rites, which often involved vibrant imagery and music, would become a decisive influence in his art.

Julio González, Femme se coiffant, 1930-1933. Iron. 67 x 21 5/8 x 7 7/8 in. (170 x 55 x 20 cm). Musée National d’Art Moderne, Centre Georges Pompidou, Paris. © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris

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(detail of the present lot)

Lam also paid close attention to his natural surroundings. At the age

with a distinctly West African angularity and fluidity. His figures are

of 14 he began to study tropical plants in Havana, gaining an intimate

never fully geometric—they evoke hand-carved idols and animist icons,

understanding of the shapes and colors that characterize his native

often rendered from several angles on one-dimensional planes. Further

Caribbean landscape. Shortly thereafter he decided to study painting,

inspired by the Surrealist belief in the powers of the unconscious, Lam

and after five years at the School of Fine Arts in Havana, he traveled to

incorporated automatic writing into the preparatory stages of many of

Spain in 1923 to expand on his training. This marked the beginning of a

his works. He blended Cubist and Surrealist philosophies with the visual

long period of education and artistic experimentation, and his exposure

language of Afro-Caribbean spirituality, and by the time he returned to

to art history and to the leading artists of the period further shaped his

Cuba in 1941, the signature style that would change the course of Latin

career. After traveling through the Spanish countryside and witnessing

American art history had emerged.

the travails of the peasant class, he volunteered for the Republic in the Spanish Civil War, until a severe illness in 1937 sent him to Catalonia to

The present lot is comprised of a set of characters that Lam continuously

recover. Dividing his time between Barcelona and a convalescent home in

revisited throughout his life-long career. We see what appears to be a

Caldes de Montbui, Lam became closely acquainted with the intellectual

human figure on the right, interacting with an amalgamation of angular

and artistic circles in the region. Following a period of prolific creation

forms that Lam often employed to render birds, one of his most famous

in Catalonia, he made his way to Paris, where he developed a close

subjects. The figures subtly blend into each other, establishing a balanced

friendship with Picasso.

and cohesive unity that reigns over the composition. The transformational power of nature is the most iconic theme in Lam’s oeuvre, and he

As evidenced in the present lot, Picasso and his contemporaries proved

dedicated his talents to representing it in all its metaphysical splendor.

to be a crucial influence in Lam’s approach to figuration and composition.

Personnage represents a period of maturity and confidence in the artist’s

From 1938 onwards, Lam would continue to experiment with highly

life, and it embodies the multi-faceted influences and passions that drove

stylized figures and Cubism-inspired planes, imbuing his creations

Lam’s unparalleled artistic production and creative vision.

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ROBERTO MATTA CHILEAN 1911-2002 The Boxers, 1955 oil on canvas 35 x 45 5/8 in. (89 x 116 cm) This work is registered in the Matta Archives under no. 55/52.

Estimate $ 2 8 0,0 0 0 - 3 5 0,0 0 0 PROVENANCE

William Copley, New York Private Collection Sale: Christieâ&#x20AC;&#x2122;s, London, Contemporary Art, June 29, 1989, lot 579 Private Collection Sale: Loudmer Scp., Paris, Importants Tableaux et Sculptures Modernes, June 13, 1994, lot 45 Private Collection EXHIBITED

Santiago, Museo Nacional de Bellas Artes, Matta Uni Verso 11-11-11, November-December 1991 LITERATURE

Matta Uni Verso 11-11-11, exh. cat., Santiago, 1991, no. 21 (illustrated)

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Jean-Michel Basquiat, Untitled (Boxer), 1982. Acrylic and oil paintstick on linen. 76 x 94 in. (193 x 239 cm). Private Collection. © 2012 The Estate of Jean-Michel Basquiat / ADAGP, Paris / Artists Rights Society, New York

For decades Roberto Matta has been considered a defining presence in Surrealism and Abstract Expressionism, two of the most significant movements in modern Western art. His artistic career flourished during a period of great socio-political tensions and global unrest, a time when armed conflict consumed Europe, dictatorships reigned in Latin America, and scientific developments in warfare threatened the lives of populations around the world. The international climate of anxiety was felt across all sectors of society, and it changed the way artists approached and experienced their creative processes. The very purpose of art had to be reexamined, and the visual language of the past no longer seemed relevant. This prompted Matta to delve into the philosophy of Surrealism, seeking to study the inner workings of the human mind as it related to art, culture, and science. He also paid close attention to social phenomena around the world, incorporating the effect of new technologies and cultural trends into his paintings. The present lot is an important example of Matta’s sophisticated and ingenious responses to the turbulent PostWar conditions. Through works like The Boxers, Matta cemented his prominent position within the modern art historical canon. Willem de Kooning, Pink Angels, circa 1945. Oil and charcoal on canvas, 52 x 40 in. (132.1 x 101.6 cm). Frederick R. Weisman Art Foundation, Los Angeles. © 2012 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York

Born and raised in Chile, Matta journeyed to Paris as a young man in 1934, where he worked as an apprentice for modernist architect Le Corbusier. Inspired by the studio’s visionary projects, Matta developed a talent for displaying otherworldly beauty through physical structures. He became an integral member of the Parisian artistic circles, and at the insistence of Salvador Dalí and André Breton, he decided to take up painting in 1938. Like his peers in the Surrealist movement, Matta was deeply interested in the workings of the human subconscious, believing it to be the breeding ground for the ideas and innovations that have come to define civilizations. Matta’s initial forays into painting are characterized by an ethereal fluidity in form and composition. His canvases appear to oscillate between liquid and solid states, enrapturing the eye with a subtle dance of color and amorphous figures. He illustrates the phenomenon of thoughts taking physical shape, battling for survival in our collective unconscious.

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(detail of the present lot)

At the onset of World War II Matta moved to New York City, where

of white, black, and red paint Matta expertly renders the visceral energy

Surrealism was giving way to Abstract Expressionism. His use of vibrant

of the punches, as the boxing gloves come into forceful contact with the

color and sweeping compositions was a major influence for young artists

embattled subjects. Using a visual vocabulary that corresponded to his

at the time. Matta is credited with stimulating creative adventurousness in

socio-cultural context, Matta demonstrates that conflict presents itself

the new generation that was coming of age during the war, and although

to the world in innumerable ways, and its causes and circumstances are

that generation did not commit itself to symbolic figuration as Matta did,

rarely as clear as its effects.

the master’s intellectual brilliance and visual acumen is noticeable in the historical imprint of the Abstract Expressionist movement.

Throughout his life, Matta lived and worked in Chile, Cuba, France, Spain, Italy, England, and the United States, and while current international

The present lot, created in the immediate Post-War period, displays

events occupy a prominent place in his artistic approach, his art cannot

Matta’s manifold influences and experimental journeys. The color

be classified within any nationality’s parameters. He drew his initial

gradations and bursts of illuminating brushwork on the background

vision from the idea of the human subconscious, which is universal in its

suggest an undefined, surrealist setting. In the foreground we are

machinations and cannot be uniquely tied to any particular ideology. The

confronted with a violent boxing match consisting of a myriad of distended

Boxers is an astute observation on the physical and mental ramifications

limbs and distorted figures. Matta’s theme evidences his awareness of

of belligerence. True to his reputation, Matta employs compositional

current affairs and social practices—in the aftermath of World War II,

dynamism and pulsating color to evoke a scene of chaotic beauty and

boxing became one of the most popular sports in the world, and it was the

corporeal might, one that is at once relevant to its historical context and

first-ever televised sport in some Latin American countries. With streaks

evocative of the inherent power of painting.

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MIRA SCHENDEL BRAZILIAN 1919-1988 Notebook, 1971 Letraset on 22 parchment sheets, encased in Plexiglas, with metal ring binders 3 7/8 x 12 5/8 in. (10 x 32 cm) Signed and dated “mira, 1971” in print, lower edge.

Estimate $ 8 0,0 0 0 -12 0,0 0 0 PROVENANCE

Private collection, São Paulo EXHIBITED

São Paulo, Instituto de Arte Contemporânea, Mira Schendel: Avesso do avesso, November 21, 2010- February 27, 2011 LITERATURE

C. Alves, Mira Schendel: Avesso do avesso, exh. cat., São Paulo, 2011 (illustrated)

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ANTONIO DIAS BRAZILIAN b. 1944 The Prison, 1968 acrylic on canvas 33 3/4 x 33 3/4 in. (85.7 x 85.7 cm) Signed and dated “Antonio Dias 68” on the reverse.

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

Studio Marconi, Milan Private Collection

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ANTONIO DIAS BRAZILIAN b. 1944 The Art of Transference, circa 1970-1972 acrylic on paper 27 3/4 x 39 3/4 in. (70.5 x 101 cm) Signed “Antonio Dias” lower right.

Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE

Studio Marconi, Milan Private Collection

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CILDO MEIRELES BRAZILIAN b. 1948 Untitled, 1980 graphite, ink, gouache, watercolor, and pastel on paper 19 11/16 x 13 3/4 in. (50 x 34.9 cm) Signed and dated “Cildo Meireles 80” lower right, and dedicated on the reverse.

Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE

Gift of the artist to the present owner

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CILDO MEIRELES BRAZILIAN b. 1948 Untitled, 1974 ink, acrylic, and gouache on paper 19 3/8 x 13 5/8 in. (49.2 x 34.6 cm) Signed and dated “Cildo Meireles 74” lower right, and dedicated on the reverse.

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

Gift of the artist to the present owner

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Actual size

CILDO MEIRELES BRAZILIAN b. 1948

Two Works: i), ii) Zero Dollar, 1984

Three Works: i), ii) Zero Cruzeiro; iii) Zero Centavo, 1978

i), ii) offset print on paper

i), ii) offset print on paper; iii) nickel

i), ii) 2 5/8 x 6 3/8 in. (6.7 x 16.2 cm)

i), ii) 2 3/4 x 6 1/8 in. (7 x 15.6 cm); iii) 1/2 in. (1.3 cm)

Each signed “Cildo Meireles” lower right.

i), ii) Each signed “Cildo Meireles” lower right; iii) Stamped “CM 1978” along the edges.

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

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

PROVENANCE

Gift of the artist to the present owner

EXHIBITED

London, Tate Modern; Barcelona, Museu d’Art Contemporani de Barcelona; Houston,

The Museum of Fine Arts; Los Angeles, Los Angeles County Museum of Fine Arts;

Toronto, Art Gallery of Ontario, Cildo Meireles, October 14, 2008 – June 27, 2010.

Traveling exhibition. (another example exhibited)

LITERATURE

G. Brett, Ed., Cildo Meireles, London, 2008, p. 81 (another example illustrated)

i), ii) G. Brett, Ed., Cildo Meireles, London, 2008, p. 79 (another example illustrated) D. Cameron, P. Herkenhoff, and G. Mosquera, Cildo Meireles, London, 1999, p. 45 (another example illustrated) iii) G. Brett, Ed., Cildo Meireles, London, 2008, p.78 (another example illustrated)

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Actual size

Larger than actual size

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reverse

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CILDO MEIRELES BRAZILIAN b. 1948

Untitled, 1993

Untitled, 1987

lithograph

13 15/16 x 39 3/8 in. (35.4 x 100 cm)

image: 35 3/8 x 14 3/16 in. (89.9 x 36 cm); sheet: 39 3/8 x 17 7/8 in. (100 x 45.4 cm)

Signed, numbered, dated “14/100 Cildo Meireles 93,” and dedicated, lower edge.

Signed, numbered, and dated “87/100 Cildo Meireles 87” lower edge. This work is

This work is number 14 from an edition of 100.

number 87 from an edition of 100.

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

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

PROVENANCE

Gift of the artist to the present owner

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HÉLIO OITICICA & NEVILLE D’ALMEIDA BRAZILIAN 1937-1980, b. 1941 28/CC3 (Marilyn/ Cosmococa Program-in-Progress), 1973. Printed in 2003. c-print, flush-mounted on aluminum 30 x 44 7/8 in. (76.2 x 114 cm) This work is number three from an edition of 12.

Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE

Galeria Fortes Vilaça, São Paulo Private Collection LITERATURE

C. Basualdo, Hélio Oiticica: Quasi-cinemas, Ostfildern, 2002, pp. 62– 65, p. 146 (another example illustrated)

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DAMIÁN ORTEGA MEXICAN b. 1967 Reglas e Instintos, 1997 two c-prints, flush-mounted on Sintra each: 27 9/16 x 34 11/16 in. (70 x 88.1 cm) Each signed, titled, numbered, and dated “Damián Ortega.s ‘Reglas e Instintos’ 1997 1/3” on the reverse of the backing board. This work is number one from an edition of three.

Estimate $ 8 , 0 0 0 -12,0 0 0 PROVENANCE

Acquired directly from the artist by the present owner LITERATURE

J. Morgan, Damián Ortega: Do It Yourself, exh. cat., New York, 2009, p. 53 (illustrated)

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DAMIĂ N ORTEGA MEXICAN b. 1967 Proyecto para accidente, 2005 three c-prints each image: 10 1/4 x 15 1/8 in. (26 x 38.4 cm) each sheet: 10 1/2 x 16 in. (26.7 x 40.6 cm) This work is number two from an edition of five plus two artist proofs.

Estimate $10,0 0 0 -15 ,0 0 0 PROVENANCE

Kurimanzutto, Mexico City Acquired by the present owner from the above

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MIGUEL RIO BRANCO BRAZILIAN b. 1946 Barocco, 1992 cibachrome, in nine parts each: 31 x 31 in. (78.7 x 78.7 cm) This work is number one from an edition of three.

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

Dâ&#x20AC;&#x2122;Amelio Terras, New York Private Collection

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VIK MUNIZ BRAZILIAN b. 1961 Carcere XIII, The Well (from Carceres- After Piranesi), 2002 cibachrome 30 x 40 in. (76.2 x 101.6 cm) Signed and dated “Vik Muniz 2002” on a label accompanying the work. This work is number three from an edition of ten plus five artist proofs.

Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE

Sikkema Jenkins & Co., New York Acquired from the above by the present owner LITERATURE

P. Corrêa do Lago, ed., Vik Muniz: Complete Works 1987-2009 Catalogue Raisonné, São Paulo, 2009, p. 464 (illustrated)

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RIVANE NEUENSCHWANDER BRAZILIAN b. 1967 Conversation 12, 2002 c-print, flush-mounted on aluminum 26 3/4 x 40 1/4 in. (67.9 x 102.2 cm) This work is number four from an edition of six plus two artist proofs.

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

Galeria Fortes Vilaรงa, Sรฃo Paulo Acquired from the above by the present owner

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ARTUR LESCHER BRAZILIAN b. 1962 Rio Prata, 2006 aluminum with wood armature Dimensions variable. Approximately: 33 1/2 x 17 3/4 x 2 3/4 in. (85 x 45 x 7 cm)

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

Galeria Nara Roesler, S達o Paulo Acquired from the above by the present owner

Mira Schendel, Ondas paradas de probabilidade, 1969 . Nylon thread and wall text on acrylic sheet, installation. Dimensions variable. Collection of Ada Schendel.

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LOS CARPINTEROS CUBAN b. 1969, 1970 and 1971 Coco solo, 2004-2005 color lithograph and woodcut 42 x 74 1/2 in. (106.7 x 189.2 cm) Signed, titled, numbered, and dated “6/20 Coco solo Los Carpinteros 2004” lower edge.

Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE

Anthony Grant, Inc., New York Private Collection

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LOS CARPINTEROS CUBAN b. 1969, 1970 and 1971 Counter Party, 2005 watercolor on paper 44 7/8 x 81 1/2 in. (114 x 207 cm) Signed, titled, inscribed, and dated “Counter Party Los Carpinteros, La Hab 2005” lower edge.

Estimate $12, 0 0 0 -18 ,0 0 0 PROVENANCE

Galeria Fortes Vilaça, São Paulo Private Collection LITERATURE

G. Ankele and D. Zyman, eds., Los Carpinteros: Handwork- Constructing the World, Cologne, 2010, p. 89 (illustrated)

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MIGUEL ÁNGEL RÍOS ARGENTINE b. 1943 La sombra impalpable, 1994 acrylic, photo print, pleated cardboard, and push pins, on canvas 46 x 46 in. (116.8 x 116.8 cm)

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

Acquired directly from the artist

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MACAPARANA BRAZILIAN b. 1952 Untitled (from Estruturas), 2012 acrylic and pigments on wood diameter: 15 3/4 in. (40 cm) Signed and dated “Macaparana 2012” on the reverse.

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

Arevalo Gallery, Miami

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JESÚS RAFAEL SOTO VENEZUELAN 1923-2005 Estructura cinética (from the Sotomagie Portfolio), 1967 silkscreen on Plexiglas with metal rods

EXHIBITED

Paris, Galerie Denise René, Soto, May - June 1967 (another example exhibited) Madrid, Ministerio de Cultura/Dirección General de Bellas Artes, Archivos y Bibliotecas, Soto, 1982 (another example exhibited)

13 3/8 x 13 3/8 x 7 3/8 in. (34 x 34 x 18.7 cm) Signed “Soto” on a label affixed to the reverse. This work is number seven from an

LITERATURE

edition of 100.

Soto, exh. cat., Paris, 1967, no. 11 (another example illustrated) Soto, exh. cat., Madrid, 1982, p. 126, no. M8 (another example illustrated)

Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE

Éditions Denise René, Paris

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JESÚS RAFAEL SOTO VENEZUELAN 1923-2005 Estructura cinética (from the Sotomagie Portfolio), 1967 silkscreen on Plexiglas with metal rods

EXHIBITED

13 3/8 x 13 3/8 x 7 3/8 in. (34 x 34 x 18.7 cm) Signed “Soto” on a label affixed to the reverse. This work is number 37 from an edition of 100.

Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE

Éditions Denise René, Paris

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JESÚS RAFAEL SOTO VENEZUELAN 1923-2005 Spirales 1955 (from the Sotomagie Portfolio), 1967 silkscreen on Plexiglas with metal rods

EXHIBITED

13 3/8 x 13 3/8 x 7 3/8 in. (34 x 34 x 18.7 cm) Signed “Soto” on a label affixed to the reverse. This work is number 34 from an

LITERATURE

edition of 100.

Soto, exh. cat., Paris, 1967, no. 9 (another example illustrated) Soto, exh. cat., Madrid, 1982, p. 126, no. M8 (another example illustrated)

Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE

Éditions Denise René, Paris

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MAGDALENA MURÚA ARGENTINE b. 1975 Círculos vacíos, 2010 collage and acrylic on canvas 39 1/4 x 39 1/4 in. (99.7 x 99.7 cm) Signed and titled “Murúa ‘Círculos vacíos’” on the reverse.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE:

Praxis International Art, New York Acquired by the present owner from the above (detail)

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EDGAR NEGRET COLOMBIAN 1920-2012 Flor Sanky, 1991 painted aluminum 16 1/2 x 11 3/4 x 11 3/4 in. (42 x 30 x 30 cm) Signed, titled, numbered, and dated “Flor Sanky Negret 1991 4/7” underneath the base. This work is number four from an edition of seven, and is accompanied by a certificate of authenticity signed by the artist.

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

Private collection, Bogotá

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LEÓN FERRARI ARGENTINE b. 1920 Untitled, 2006 acrylic on canvas 12 x 9 1/2 in. (30.5 x 24.1 cm) Signed and dated “león ferrari 2/10/06” on the reverse.

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

Acquired directly from the artist by the present owner

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RAFAEL GĂ&#x201C;MEZ BARROS COLOMBIAN b. 1972 Hormigas (from the series Casa Tomada), 2007 fiberglass, resin, sand, and wood, in five parts each: 28 x 27 x 7 in. (71.1 x 68.6 x 17.8 cm)

Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE

Acquired directly from the artist by the present owner

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ENOC PEREZ PUERTO RICAN b. 1967 Iris Chacón/ Paul McCartney, 1993 acrylic on canvas 52 x 54 in. (132.1 x 137.2 cm) Signed and dated “Enoc Perez 1993” on the stretcher.

Estimate $18 ,0 0 0 - 2 5 ,0 0 0 PROVENANCE

Leonora Vega, San Juan Private Collection

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FERNANDO DE SZYSZLO PERUVIAN b. 1925 El Visitante (from Serie Orrantia), 1988 acrylic on canvas 39 3/8 x 31 7/8 in. (100 x 81 cm) Signed “Szyszlo” lower central edge. Also titled and dated “Visitante Orrantia/88” on the reverse.

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

Galería Alfred Wild, Bogotá Acquired from the above by the present owner, in 1989

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EDUARDO HOFFMANN ARGENTINE b. 1957 Untitled (No. 3424), 2012 mixed media on canvas 86 5/8 x 70 7/8 in. (220 x 180 cm) Signed, titled, and dated “Eduardo Hoffmann S. Título No. 3424 2012” on the reverse.

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

Private Collection

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EMMANUEL NASSAR BRAZILIAN b. 1949 Sem Título (Homenagem a Brasília), 1987 acrylic on canvas 39 3/8 x 39 3/8 in. (100 x 100 cm) Signed and dated “Emmanuel Nassar 87” lower edge.

Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE

Private Collection

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WANDA PIMENTEL BRAZILIAN b. 1943 Montanhas do Rio (Homenagem a Raimundo Colares), 1986 acrylic on canvas 43 1/4 x 43 1/4 in. (110 x 110 cm) Signed, titled, and dated “Montanhas do Rio (Homenagem a Raimundo Colares) Wanda Pimentel 1986” on the reverse.

Estimate $15 , 0 0 0 - 2 0,0 0 0 PROVENANCE

Private Collection

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JORGE LUIS VARONA CUBAN b. 1955 The Ordinary Icon, 2012 oil on canvas 69 1/2 x 36 5/8 in. (176.5 x 93 cm) Signed, titled, and dated “Varona The Ordinary Icon 12” upper right.

Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE

Acquired directly from the artist by the present owner

Claudio Bravo, Horse’s Bit, 1997. Oil on canvas. 13 x 16 1/7 in. (13 x 16 cm).

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FLOR GARDUÑO MEXICAN b. 1957 Two Works: i) Canasta de luz, Sumpango, Guatemala; ii) Calabazas, 1989 gelatin silver print i) image: 9 3/8 x 7 5/16 in. (23.8 x 18.6 cm); sheet: 10 x 8 in. (25.4 x 20.3 cm) ii) image: 4 x 5 1/2 in. (10.2 x 14 cm); sheet: 7 x 9 7/8 in. (17.8 x 25.1 cm) i) Signed and numbered “Flor Garduño 1/25” on the reverse. This work is number one from an edition of 25. ii) Signed and numbered “Flor Garduño 5/50” lower edge. This work is number five from an edition of 50.

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

Martha Schneider Gallery, Chicago Acquired from the above by the present owner

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ANTHONY GOICOLEA CUBAN-AMERICAN b. 1971 Puppy Love, 1999 c-print, flush-mounted to plastic board 58 3/4 x 39 3/8 in. (149.2 x 100 cm) This work is number three from an edition of five, and it is accompanied by a certificate of authenticity signed by the artist.

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

GalerĂa Luis Adelantado, Valencia Acquired from the above by the present owner

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ARTUR BARRIO BRAZILIAN b. 1945 De dentro para fora, 1970 photograph collage and ink on cardboard 29 7/8 x 29 1/2 in. (76 x 75 cm) Signed, titled, dated, and inscribed “De dentro para fora. Trabalho realizado em junho de 1970. Rio de Janeiro. Artur Barrio” lower edge.

Estimate $ 8 , 0 0 0 -12, 0 0 0 PROVENANCE

Private Collection LITERATURE

A. Barrio, A Metáfora dos Fluxos 2000/1968, Rio de Janeiro, 2000 (illustrated)

IGNACIO ITURRIA

b. 1949

Trenes, 1998 oil on canvas 14 1/4 x 18 1/4 i.n (36.2 x 46.4 cm) Signed “Iturria” lower right.

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

Praxis International Art, New York Acquired from the above by the present owner

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MARIANO RODRÍGUEZ CUBAN 1912-1990 Boomerang, 1958 oil on canvas 32 1/2 x 45 3/4 in. (82.6 x 116.2 cm) Signed and dated “Mariano 58” lower right.

Estimate $15 , 0 0 0 - 2 0,0 0 0 PROVENANCE

Acquired by the present owner directly from the artist’s estate

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SIRON FRANCO BRAZILIAN b. 1947 What I Have Seen in the T.V. Screen #1, n.d. oil on canvas 15 3/4 x 15 7/8 in. (40 x 40.3 cm) Signed “Siron” on the reverse.

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

Elite Fine Art, Coral Gables Acquired from the above by the present owner, in 2000

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JADIR FREIRE BRAZILIAN 1957-1993 Ponto de vista I, 1987 acrylic on canvas 70 7/8 x 64 7/8 in. (180 x 165 cm) Signed, dated, and inscribed “Jadir Freire 87 Rio” center right.

Estimate $10, 0 0 0 -15 ,0 0 0 PROVENANCE

Private Collection

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FRANCISCO TOLEDO MEXICAN b. 1940 Suspended, 1963 ink and gouache on paper 9 7/8 x 12 5/8 in. (25.1 x 32.1 cm) Signed and dated “Toledo 63” lower right.

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

Annely Juda Fine Art, London Vivian and Edward Benesch Collection, New York Acquired from the above by the present owner

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FRANCISCO TOLEDO MEXICAN b. 1940 Untitled, 1990 three-color etching 23 1/2 x 37 3/8 in. (59.7 x 94.9 cm) Signed, inscribed, and numbered “Estado IV/VI 9/14 Toledo” lower edge. This work is number nine from an edition of 14.

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

Acquired directly from the artist by the present owner, in 1992

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LUIS CRUZ AZACETA

b. 1942

The Fool, 1998 graphite, charcoal, acrylic, shellac, and nails on wood 24 5/8 x 26 5/8 in. (62.5 x 67.6 cm) Signed and dated “Luis Cruz Azaceta 1998” on the reverse.

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

Fredric Snitzer Gallery, Coral Gables Acquired from the above by the present owner

ARTURO HERRERA VENEZUELAN b. 1959

VÍCTOR RODRIGUEZ MEXICAN b. 1970

Untitled, 2008

Belle du jour (Catherine Deneuve), 2005

mixed media and collage on handmade paper

graphite on board

17 x 17 in. (43.2 x 43.2 cm)

12 x 9 in. (30.5 x 22.9 cm)

Initialed and dated “AH 08” lower right.

Signed, titled, dated, and inscribed “Belle du Jour Victor Rodriguez Nov 2005 NYC” on the reverse.

Estimate $ 5 ,0 0 0 -7,0 0 0 Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE

Dieu Donné, New York

PROVENANCE:

Acquired from the above by the present owner

Galería Ramis Barquet, New York Acquired from the above by the present owner

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INDEX

Alÿs, F. 8 Barrio, A. 60 Caldas, W. 12A Camargo, S. 17 Cruz Azaceta, L. 66 Damasceno, J. 7

Macaparana 44

de Castro, A. 18

Matta, R. 24

de Szyszlo, F. 53

Meireles, C. 9, 28, 29, 30, 31, 32, 33

Dias, A. 10, 26, 27

Muniz, V. 5, 38 Murúa, M. 48

Ferrari, L. 50 Franco, S. 62

Nassar, E. 55

Freire, J. 63

Negret, E. 21, 49 Neuenschwander, R. 39

Garduño, F. 58 Goicolea, A. 59

Oiticica, H. 15, 34

Gómez Barros, R. 51

Ortega, D. 4, 35, 36 Os Gêmeos 2, 3, 6

Hércules Barsotti 20 Herrera, A. 1, 68

Pape, L. 11, 12

Herrera, C. 13

Perez, E. 52

Hoffmann, E. 54

Pimentel, W. 56

Iturria, I. 61

Rio Branco, M. 37 Ríos, M.A. 43

Lam, W. 23

Rodríguez, M. 67

Lescher, A. 40

Rodríguez, V. 69

Los Carpinteros 41, 42 Sacilotto, L. 19 Schendel, M. 25 Soto, J.R. 14, 45, 46, 47 Toledo, F. 64, 65 Tomasello, L. 16 Torres García, J. 22 Varona, J. 57

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GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you.

∆ Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller.

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.

BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

Ω Endangered Species Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. 2 BIDDING IN THE SALE

1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010. Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician. 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 Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration received in connection with the guarantee against the final purchase price if such party is the successful bidder.

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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. 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. 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 multilingual 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.

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3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. 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; No Reserve Lots 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. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of seven 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

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.

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. Please note that lots containing potentially regulated

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.

plant or animal material are marked as a convenience to our clients, but Phillips de Pury & Company does not accept liability for errors or for failing to mark lots containing protected or regulated species.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy a late collection fee of $50, an additional administrative fee of $10 per day and insurance charges of 0.1% of the Purchase Price per month on each uncollected lot.

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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 directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips de Pury & Company may own a lot, in which case we will act as agent for that company, or Phillips de Pury & Company or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 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 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

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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 $1,000. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (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. (e) By participating in the auction, whether in person, by absentee bid or on the telephone, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state antitrust law. (f) 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. (g) 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 offered subject to a reserve, (a) Unless otherwise indicated by the symbol 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.

(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. Phillips de Pury & Company shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips de Pury & Company provided that the bidder does not know the reserve placed on the lot. (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. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (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

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price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. Phillips de Pury & Company reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (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. (d) 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. (e) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, and no later than five days after the conclusion of the auction, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven 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) seven 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.

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, each lot will incur a late collection fee of $50, administrative charges of $10 per day and insurance charges of .1% of the Purchase Price per month on each uncollected lot. We will not release purchased lots to the buyer until all such charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 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 seven 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; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) 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; or (x) take such other action as we deem necessary or appropriate. (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. As a courtesy to clients, Phillips de Pury & Company has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species.

(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.

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AUTHORSHIP WARRANTY 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.

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 where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) 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 or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) there has been no material loss in value of the lot from its value had it been as described in the heading of the catalogue entry. (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.

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) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 LAW AND JURISDICTION (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (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.

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PHILLIPS de PURY & COMPANY

CHAIRMAN Simon de Pury

CHIEF EXECUTIVE OFFICER Michael McGinnis

CHIEF OPERATING OFFICER

CHIEF BUSINESS DEVELOPMENT OFFICER

Sean Cleary

Patricia G. Hambrecht

SENIOR DIRECTOR

MANAGING DIRECTOR, EUROPE

DIRECTORS

Dr. Michaela de Pury

Finn Schouenborg Dombernowsky

Olivier Vrankenne Alexander Payne Vanessa Kramer

ADVISORY BOARD Christiane zu Salm

Maria Bell

Lady Elena Foster

Janna Bullock

H.I.H. Francesca von Habsburg

Juergen Teller

Lisa Eisner

Marc Jacobs

Princess Gloria von Thurn und Taxis

Lapo Elkann

Ernest Mourmans

Jean Michel Wilmotte

Ben Elliot

Aby Rosen

Anita Zabludowicz

INTERNATIONAL SPECIALISTS Berlin Brussels

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, Senior International Specialist, Contemporary Art +32 486 43 43 44 Bérénice Chef, Specialist, Contemporary Art +32 473 12 27 06

Buenos Aires & London Brooke Metcalfe, International Specialist, Contemporary Art +44 777 551 7060 Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

Istanbul Deniz Atac, Consultant +90 533 374 1198 London Los Angeles Milan Moscow Paris

Dr. Michaela de Pury, Senior International Director, Contemporary Art +49 17 289 736 11 Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Thomas Dryll, Senior Specialist, Contemporary Art +33 1 42 78 67 77 Edouard de Moussac, Specialist, Contemporary Art +33 1 42 78 67 77

Zurich

Niklaus Kuenzler, Specialist, Contemporary Art +41 79 533 90 00

WORLDWIDE OFFICES NEW YORK

NEW YORK

LONDON

450 Park Avenue, New York, NY 10022, USA

450 West 15 Street, New York, NY 10011, USA

Howick Place, London SW1P 1BB, United Kingdom

tel +1 212 940 1300 fax +1 212 940 1378

tel +1 212 940 1200 fax +1 212 924 3185

tel +44 20 7318 4010 fax +44 20 7318 4011

BERLIN

ISTANBUL

MILAN

Auguststrasse 19, 10117 Berlin, Germany

Meclisi Mebusan Caddesi, Deniz Apartmani No. 79/8

via Vincenzo Monti 26, 20123 Milan, Italy

tel +49 30 8800 1842 fax +49 30 8800 1843

Beyoglu 34427, Istanbul, Turkey

tel +39 339 478 9671

tel +90 533 3741198 MOSCOW

BRUSSELS rue Jean Baptiste Colyns 72, 1050 Brussels, Belgium

LOS ANGELES

TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia

tel +32 486 43 43 44

7285 Woodrow Wilson, Los Angeles, CA 90068, USA

tel +7 495 225 88 22 fax +7 495 225 88 87

tel +1 323 791 1771 ZURICH

GENEVA 23 quai des Bergues, 1201 Geneva, Switzerland

PARIS

Restelbergstrasse 89, 8044 Zurich, Switzerland

tel +41 22 906 80 00 fax +41 22 906 80 01

6 avenue Franklin D. Roosevelt, 75008 Paris, France

tel +41 79 533 90 00

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

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SPECIALISTS AND DEPARTMENTS CONTEMPORARY ART

DESIGN

Michael McGinnis, Chief Executive Officer

+1 212 940 1254

Alexander Payne, Director

Joseph Carlucci, International Business Director

+1 212 940 1366

and Worldwide Head, Design

+44 20 7318 4052

NEW YORK

NEW YORK Zach Miner, Head of Evening Sale

+1 212 940 1256

Alex Heminway, New York Director

+1 212 940 1268

Sarah Mudge, Head of Day Sale

+1 212 940 1259

Marcus Tremonto

+1 212 940 1268

Peter Flores, Business Director

+1 212 940 1223

Meaghan Roddy

+1 212 940 1266

Lauren Sohn

+1 212 940 1268

Corey Barr

+1 212 940 1234 LONDON

Benjamin Godsill

+1 212 940 1333

Jean-Michel Placent

+1 212 940 1263

Domenico Raimondo

Amanda Stoffel

+1 212 940 1261

Ben Williams

+44 20 7318 4027

Marine Hartogs

+44 20 7318 4021

+44 20 7318 4016

Joshua Friedman

+1 212 940 1392

Laura González

+1 212 940 1216

Marcus McDonald

+44 20 7318 4014

Viola McGowan

+1 212 940 1226

Annabelle Wills

+44 20 7318 4019

Jed Moch

+1 212 940 1301

Alexandra Raponi

+1 212 940 1292

Jonathan Winter

+1 212 940 1252

PHOTOGRAPHS Vanessa Kramer, Director

+1 212 940 1243

and Worldwide Head, Photographs LONDON Peter Sumner, Head of Evening Sale

+44 20 7318 4063

George O’Dell, Head of Day Sale

+44 20 7318 4093

Paul de Bono, Business Director

+44 20 7318 4070

Henry Allsopp

+44 20 7318 4060

NEW YORK Shlomi Rabi

+1 212 940 1246

Caroline Deck

+1 212 940 1247

Sarah Krueger

+1 212 940 1225

Matt Langton

+44 20 7318 4074

David Rimoch

+1 212 940 1245

Karen Levy

+44 20 7318 4082

Carol Ehlers, Consultant

+1 212 940 1245

Henry Highley

+44 20 7318 4061

Helen Rohwedder

+44 20 7318 4042

Larkin Erdmann

LONDON Lou Proud, Head of Photographs, London

+44 20 7318 4018

+44 20 7901 2909

Sebastien Montabonel

+44 20 7318 4025

Tamila Kerimova

+44 20 7318 4085

Alexandra Bibby

+44 20 7318 4087

Charlotte Salisbury

+44 20 7318 4058

Simon Tovey

+44 20 7318 4084

Rita Almeida Freitas

+44 20 7318 4062

Emma Lewis

+44 20 7318 4092

MODERN AND CONTEMPORARY EDITIONS Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

PARIS Jonas Tebib, Consultant Specialist

JEWELS

NEW YORK Audrey Lindsey

+1 212 940 1285

Jannah Greenblatt

+1 212 940 1332

NEW YORK Nazgol Jahan, Worldwide Director

+1 212 940 1283

Joanna Bengoa

+1 212 940 1302

Brittany Gersh

+1 212 940 1365

LONDON Robert Kennan, Head of Sale

+33 1 42 78 67 77

+44 20 7318 4075 PRIVATE SALES Susan Brockman

+44 20 7318 4041

EXHIBITIONS Arianna Jacobs

PRIVATE CLIENT SERVICES Philae Knight, New York

+1 212 940 1313

Meredith Ostrom, New York

+1 212 940 1323

Anna Poulsen, New York

+1 212 940 1300

Sara Tayeb-Khalifa, New York

+1 212 940 1383

Michael Berger-Sandhofer, London

+44 20 7318 4048

Carina Brun, London

+44 20 7318 4066

+44 20 7318 4054

CLIENT DEVELOPMENT

MUSEUM SERVICES DEPARTMENT

Marya Oja, Worldwide Head

Lauren Shadford, New York

+1 212 940 1257

Cecilia Wolfson, New York

+1 212 940 1258

LONDON

NEW YORK

Isadora Tharin

Carolyn Bachman

Linda Pyke

Holly Bawden

PROPOSALS

Carly Murphy

C. K. Swett, New York +1 212 940 1271

OFFICE OF THE CHAIRMAN

OFFICE OF THE CHIEF EXECUTIVE OFFICER

Mark Ferkul, New York +1 212 940 1238

Alyse Serrell, New York +1 212 940 1303

Harmony Hambly-Smith, London +44 20 7318 4099

Eloise Ashcroft, London +44 20 7318 4047

ART AND PRODUCTION

MARKETING & COMMUNICATIONS

Mike McClafferty, Art Director NEW YORK

LONDON

NEW YORK

LONDON

Andrea Koronkiewicz, Studio Manager

Mark Hudson, Deputy Art Director

Trish Walsh, Marketing Manager

Fiona McGovern,

Orlann Capazorio, US Production Manager

Andrew Lindesay, Sub-Editor

Tiana Webb-Evans, Director of Communications

Communications and Marketing Officer

Steven Mosier, Graphic Designer

Tom Radcliffe, Production Director

Fernando Dias de Souza, Graphic Designer

Alex Godwin-Brown, Communications and Marketing Manager

Jeff Velazquez, Production Artist

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SALE INFORMATION

AUCTION

PRINCIPAL AUCTIONEER

450 PARK AVENUE NEW YORK 10022

Simon de Pury 0874341

20 November 2012, 4pm AUCTIONEERS VIEWING

Sarah Mudge 1301805

450 WEST 15 STREET NEW YORK NY 10011

Alexander Gilkes 1308958

3-15 November

CK Swett 1407750

450 PARK AVENUE NEW YORK NY 10022 17-20 November

CATALOGUES

Monday – Saturday 10am – 6pm

Emma Miller +1 212 940 1240

Sunday 12pm – 6pm

$35/€25/£22 at the gallery catalogues@phillipsdepury.com

SALE DESIGNATION In sending in written bids or making enquiries please

ABSENTEE AND TELEPHONE BIDS

refer to this sale as NY000312 or Latin America.

Main +1 212 940 1228 fax +1 212 924 1749 bids@phillipsdepury.com Marissa Piedra, Bid Manager +1 212 940 1304

HEAD OF SALE Henry Allsopp +44 20 7318 4060

Katherine Lukacher, Bid Clerk +1 212 940 1215 CLIENT ACCOUNTING

SPECIALIST

Sylvia Leitao +1 212 940 1231

Corey Barr +1 212 940 1234

Buyers Accounts Nicole Rodriguez +1 212 940 1235

CATALOGUER Laura González +1 212 940 1216

Seller Accounts Barbara Doupal +1 212 940 1232

ADMINISTRATOR Jed Moch +1 212 940 1301

CLIENT SERVICES 450 Park Avenue +1 212 940 1300

PROPERTY MANAGER

450 West 15 Street +1 212 940 1200

Rob Weingart, +1 212 940 1241 SHIPPING PHOTOGRAPHY

Beth Petriello +1 212 940 1373

Matt Kroening

Jennifer Brennan +1 212 940 1372

Kent Pell Morten Smidt

Opposite Cildo Meireles, Inserções em circuitos ideológicos, 1948, lot 9 (detail) Inside Back Cover Edgar Negret, Fiesta andina, 1992, lot 21 (detail) Back Cover Lygia Pape, O olho do guará (No. 13), 1984, lot 12 (detail)

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29/10/12 08.23

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29/10/12 10.40

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29/10/12 10.40

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

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