Sothebys Maio 2010

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642
LOT 1
LEONORA CARRINGTON (B. 1917)

UNTITLED (ANIMAL GROUP)
signed lower left

watercolor and ink on heavy paper
20 7/8 by 30 in.
52.8 by 76.2 cm
Painted circa 1970.
ESTIMATE 25,000 - 30,000 USD
PROVENANCE
Iolas Jackson Gallery, New York
Latin American Art
LOT 2
FRANCISCO TOLEDO (B. 1940)

AQUI HAY COCODRILOS
signed lower right

gouache and ink on paper
22 by 29 3/4 in.
56 by 76.2 cm
Painted in 1987.
ESTIMATE 70,000 - 90,000 USD
PROVENANCE
Mary-Anne Martin/Fine Art, New York
Galería López Quiroga, Mexico City
Latin American Art
LOT 3
PROPERTY FROM THE ESTATE OF A DISTINGUISHED AMERICAN COLLECTOR
MATTA (1911-2002)
UNTITLED
signed lower left

oil on canvas
45 by 57 3/4 in.
114.3 by 146.7 cm
Painted circa 1960.
ESTIMATE 70,000 - 90,000 USD
PROVENANCE
Robert Fraser Gallery, London
Sale: Parke Bernet Galleries, New York, November 20, 1966, lot 159
Acquired from the above by the present owner
Latin American Art
LOT 4

SIN TÍTULO
signed and dated 1964 lower left

oil on canvas
13 1/8 by 31 7/8 in.

33.3 by 81 cm
ESTIMATE 150,000 - 200,000 USD

PROVENANCE
Acquired from the artist by the previous owner
Gift to the present owner from the above
CATALOGUE NOTE
The relationship between Leonora Carrington's visual and written work is nowhere better illustrated than in this
remarkable oil on canvas, dated 1964. The Surrealist leader and poet, André Breton, was delighted with
Carrington's fantastical and slightly wicked stories and included her in his landmark anthology Black Humor. This
work bears thematic resemblance to a short story the artist wrote in 1941 while living in New York City, titled White
Rabbits, first published in the Surrealist journal View (nos. 9-10, 1941-42). In this tale, the artist turned-around the
status quo by transforming rabbits, those most docile of animals, into ravenous meat-eating creatures.
In the 1950s and 1960s Carrington was actively involved in the theater in Mexico and this painting has the feeling of
a staged performance. While ghostly spectators look on from an arena in the background, cages have been opened
to let forth a surprising group of creatures. A hybrid monster, part horse, bird, and human, confronts a band of
attacking rabbits, to the viewer's quizzical surprise. The delicate pastel tones of the pink sky and green ground lend
the scene a fairy tale air redolent of one of the Victorian era nursery rhymes the artist grew up with, full of gleeful
violence.
Susan L. Aberth
Bard College, Annandale-on-Hudson, NY
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Galería El Estudio signed by the artist and dated
México D.F. a 18 de noviembre de 2007.
Latin American Art
LOT 5
AGUSTÍN CÁRDENAS (1927-2001)

BOIS BRÛLÉ I
inscribed with signature

wood
height: 41 in.;
104.1 cm
Executed in 1958.
ESTIMATE 150,000 - 200,000 USD

PROVENANCE
Private Collection, Paris
Galerie Vallois, Paris
Private Collection, Caracas
EXHIBITION
Paris, Galerie Vallois, Agustín Cárdenas 1927-2001; Trois Galeries un artiste, May 15-
June 15, 2003, n. 4 from the Galerie Vallois volume, illustrated Fig. 1
Cardenas in his studio, Paris,
1965.
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Robert Vallois
numbered 10.05.586.
Fig. 1
Cardenas in his studio, Paris, 1965.
Latin American Art
LOT 6
REMEDIOS VARO (1908-1963)

INVOCACIÓN
signed lower right

vinyl resin on board laid down on masonite
19 5/8 by 17 3/4 in.

50 by 45.2 cm
Painted in 1963.
ESTIMATE 600,000 - 800,000 USD

PROVENANCE
Galería Juan Martín, Mexico City
María Felix, Mexico City
Mr and Mrs Alex Berger, Mexico
Montiel Saucedo Family collection, Mexico
Private collection, Mexico City
EXHIBITION Fig. 1
Tokyo, Isetan Museum of Art; Tokyo, Denki Bunka Kaikan; Kamakura, The Museum of Andrea Mantegna (1430-1506),
Modern Art, Remedios Varo, June 10-November 28, 1999, p. 123, n. 63, illustrated in Descent into Limbo, tempera and
color gold leaf on panel, Private
Collection
LITERATURE
Resumen, Pintores y Pintura Mexicana, Remedios Varo. Guillermo López Beltrán, May
1996 ed., Mexico City, p. 2, illustrated in color
Ricardo Ovalle and Walter Gruen, Remedios Varo: Catalogue Raisonné, Fourth
Edition, Mexico City, 2008, p. 288, n. 357, illustrated in color
Teresa del Conde, Remedios Varo 1908-1963, Mexico City, 1997, p. 86, n. 166,
illustrated in color
Artes de México, Cinco Llaves del Mundo Secreto de Remedios Varo, Mexico City,
2008, p. 204, illustrated in color
CATALOGUE NOTE
The childhood of Remedios Varo was typical of that of a girl being raised in Spain
during the first quarter of the 20th century. Though her father Rodrigo was an agnostic,
her mother Ignacia was pious and ensured that Remedios follow a religious upbringing.
Consequently, Remedios' primary education was received in Catholic convent school.
Years of parochial instruction led to a doubting belief in organized religion; more
importantly, influenced by her father's own wavering faith, Varo became fascinated at
an early age in the fantastical, mysticism and even the occult. "Varo believed
throughout her life in the power of such dream images and in the blurring of boundaries
between them and waking reality. She first developed these magical ideas in fanciful
stories that she wrote as a child and buried for privacy beneath the stones of her
bedroom floor. Thus began her preoccupation with an imagined subterranean life lived
secretly under floors, behind walls, and within furniture... Using characters bearing her
features as emblems of herself, she humorously mocked the constraints of convent
education (Kaplan, Remedios Varo, Unexpected Journeys, Abbeville Press, 1988, p.
18).
Varo's father, a hydraulic engineer, recognized her innate talent for drawing and he
encouraged the budding artist to apply herself and learn how to use the mechanical
drawing instruments of his trade. In 1924, when Varo was merely 15, she gained
admittance, via a practical entrance exam, to the San Fernando Academy of Art in
Madrid. Precocious in temperament and ever-wanting to escape the watchful eyes of
her parents, Varo quickly left home when she wed her art school partner Gerardo
Lizarraga in 1930. Her matrimony with her husband was to be short-lived; Varo, a free
spirit, left Lizarraga under amicable terms in 1935 after falling for fellow Surrealist
painter Esteban Francés. Her liaison with Francés was also brief. Surrealist poet
Benjamin Péret fell in love with Varo when visiting Barcelona's artistic milieu in 1937
and he returned to Paris with her where she was introduced to André Breton, Yves
Tanguy, Victor Brauner, Oscar Domínguez, among others.
Working conditions became impossible with the War and Varo, along with many of her
Surrealist painter friends fled Nazi-occupied France and went into exile in Mexico in
1941. It was during her stay in Mexico that, subconsciously, her childhood visits to the
Prado and other museums in later life would prove to be the catalyst of her unique style
of painting. The influence of Renaissance masters Hieronymus Bosch, El Greco and
Andrea Mantegna as well as the fantastical imagery of Francisco Goya helped forge
Varo's artistic vision. Francois De Poortere states, "[Varo's] Invocation is reminiscent of
the work of Andrea Mantegna. The rhythmic arrangement of the figures in the frieze
(Mantegna was obsessed with antiquity), their elongated shapes, the complex
perspective created with the pinnacle in the upper part of the composition flanked by
the peeled-away rocky formation, these are all elements that hark back to Mantegna's
work" (interview with the author, April, 2010).
Painted at the culmination of Varo's career, Invocación opens an autobiographical

window into the artist's reminiscence of youth. Dressed in the trappings of Catholic
school, a uniformed juvenile Remedios stands at center stage. Blowing a horn whose
notes summon non-Christian deities, godly figures emerge from the peeled-back and
encrusted walls' gaping holes. The spectacle unfolds revealing the standing juvenile
anticipating the oracle of these "gods."
Fig. 1 Andrea Mantegna (1430-1506), Descent into Limbo, tempera and gold leaf on
panel, Private Collection
Fig. 1
Andrea Mantegna (1430-1506), Descent into Limbo, tempera and gold leaf on panel,
Private Collection
Latin American Art
LOT 7
MATTA (1911-2002)
CUBO ABIERTO
oil on canvas laid down on wood with metal hinges
overall dimensions variable

Each panel: 22 5/8 by 22 5/8 in.; 57.7 by 57.7 cm
Executed in 1977.
ESTIMATE 200,000 - 250,000 USD

PROVENANCE
Gallerie du Dragon, Paris (acquired from the artist)
Isaac and Betty Abadi, Caracas (acquired in 1978)
Private collection
EXHIBITION
Santiago de Chile, Museo Nacional de Bellas Artes de Chile, Matta, Exposición Uni Verso, November 11-December
30, 1991; Caracas, Museo de Bellas Artes, February 16-April 19, 1992, n. 44, illustrated in color; also illustrated on
the cover
AUTHENTICATION
This lot is accompanied by a certificate of authenticity from Germana Matta Ferrari signed and dated 28.01.1992
Latin American Art
LOT 8
FERNANDO BOTERO (B. 1932)

DONNA A CAVALLO
inscribed with signature and stamped with foundry mark; also numbered 1/6
bronze, dark brown patina
25 by 10 by 15 3/4 in.
63.5 by 25.4 by 40 cm
Executed in 2000.
ESTIMATE 250,000 - 350,000 USD

PROVENANCE
Private Collection, New York (acquired from the artist)
James Goodman Gallery Inc, New York
Acquired from the above by the present owner (February, 2002)
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the artist, signed and dated Botero 2001
Latin American Art
LOT 9

ODALISCA
signed and dated 98 lower right

oil on canvas
53 1/8 by 78 5/8 in.

135 by 200 cm
ESTIMATE 700,000 - 900,000 USD

PROVENANCE
Marlborough Gallery, New York
LITERATURE
Bejamin Genocchio, "Larger than Life", The New York Times, New York Region, Art
Review, March 31, 2010, discussed Fig. 1
Jean Auguste Dominique Ingres,
Grand Odalisque, oil on canvas,
Musée du Louvre, Paris
CATALOGUE NOTE
If women are often my subjects, it's because they have been one of the main subjects
in painting for centuries. What really guides me above all, when I sculpt or paint men,
women, animals, or objects, is the plastic aspect of beings and things. Plasticity exists
indiscriminately in a woman, a still life, or landscape.
--Fernando Botero(1)
One of the most ubiquitous images throughout the history of art from antiquity to the
present is the female nude. From the Venus of Willendorf (24,000 - 22,000 B.C.),
Botticelli's The Birth of Venus (c. 1485), and Ingres' Grand Odalisque (1814) to Manet's
Olympia (1863), representations of the female body have provided artists with fertile
territory for exploring a range of formal, conceptual, political, and social concerns.
Likewise, a mere cursory inventory of these masterpieces of Western art illustrate
changing cultural or societal values vis-à-vis notions of gender, sexuality, and the body
as well as the many artistic and formal conventions or tropes associated with this genre
throughout the history of art.
Perhaps no subject matter has occupied Botero's creative musings and production
more than that of the nude. And, while he has painted countless female figures in a
variety of poses and situations, the reclining nude has proven to be particularly
fascinating and provided the artist with ample opportunity to revisit and expand the
formal metaphors associated with this recurrent motif throughout the ages. Botero's
voluptuous nudes, such as the woman depicted in Odalisca areunlike most of their
historical forerunnersunabashedly confident, strong. Like Ingres' confident femme fatale
represented in his masterpiece Grand Odalisque (Fig. 1), Botero's women are far from
being delicate nymphs or love slaves. They own their pictorial space and stare back at
the viewer with a certain matter-of-factness that neutralizes or challenges the proverbial
"male gaze." Our protagonist is not demure, but rather she alone dominates her
territory and it is the viewer who seems to be caught off guard by her assuredness.
Indeed, never voyeuristic, Botero's sensuous reclining nudes invite the viewer into a
dialogue that not only celebrates the female form in all its plenitude and exuberance à
la baroque renderings of Rubens and Titian, but suggests a bridge between those art
historical antecedents and the possibilities of painting and representations of the body
and gender in contemporary art and culture today.
It is interesting to note that while representations of the female nude are often conflated
with myriad symbolic and literal references to notions of womanhood, femininity, and
traditional gender roles, they have also served to buttress or perpetuate ideas about
beauty across cultures and centuries. Botero's rotund ladies not only recall the well-
endowed woman of the Baroque masters, but by painting these confident, joyous, plus-
size women, the artist asserts an alternative standard of beauty that challenges
prevailing Western ideals.
(1) Fernando Botero with an Introduction by Carlos Fuentes, Botero: Women, New
York: Rizzoli, 2003, p. 34
Fig. 1
Jean Auguste Dominique Ingres, Grand Odalisque, oil on canvas, Musée du Louvre,
Paris
Latin American Art
LOT 10
PROPERTY FROM AN AMERICAN PRIVATE COLLECTION
ÁNGEL ZÁRRAGA (1886-1946)

MUCHACHITA CON FRUTAS
signed lower center; also signed Paris Angel Zarraga on the reverse
oil on canvas
19 3/4 by 16 1/4 in.

50.1 by 41.3 cm
Painted circa 1915.
ESTIMATE 150,000 - 200,000 USD

PROVENANCE
Sale: Sotheby's, New York, Latin American Art, November 20, 1989, lot 26, illustrated
in color
Private Collection, New York
Sale: Christie's, New York, The Latin American Art Sale; Important Paintings, Drawings
and Sculpture, November 25 1998, lot 122, illustrated in color
EXHIBITION Fig. 1
Guadalajara, Casa de la Cultura Jaliciense, Angel Zárraga, 1969 Angel Zárraga in Paris, ca. 1917
Mexico City, Museo de Arte Moderno, Homenaje a Angel Zárraga, 1969, n. 18
Mexico City, El Salón de la Plástica Mexicana, Homenaje a Angel Zárraga, 1982
LITERATURE
Paulette Patout, "La Aventura Europea", Zárraga, Milan, 1997, p. 162, illustrated in
color
CATALOGUE NOTE
Angel Zárraga studied at the National School of Fine Arts along with fellow artists Diego
Rivera and Saturnino Herrán. Born into affluence, he was able to afford a trip to Europe
in 1904 where he visited the museums of Italy, France and Spain admiring the works of
the great masters and absorbing the tenets of realism and symbolism. In Spain he
exhibited with Ignacio Zuloaga, met Julio Romero de Torres and studied under Joaquín
Sorolla.
After a brief trip home to Mexico in 1907, Zárraga returned to Spain in 1908 to continue
his exposure and involvement in the leading intellectual circles of the time, exhibiting
successfully with Giorgio de Chirico in Italy and at the Paris Autumn Salon a year later.
It is during this period, under the influence of Pablo Picasso and Juan Gris that Zárraga
and his friend Diego Rivera explored and incorporated cubism into their work.
Zárraga's cubism reflects a gentle and sensual exploration of form and color. His
compositions are classical and balanced with a sumptuous use of color that betrays the
influence of Cezanne. In Muchachita con frutas we see a woman holding a bowl of fruit
with her right hand. The explosion of color and rich surface texture combine to produce
a work that charms our eye as it catches the balance between the opposing diagonals
of the girl's hat with the streaks of light on the upper right. The subject's round hairdo is
also repeated by the voluptuous fruit and grapes that hang from the bowl.
The cubist works of Zárraga's are rare as he spent only a few short years painting in
this style. As his portraits of the 1920's and 30's gave way to the collapse of the
international art market during the Great Depression and his mural commissions toward
the end of his life, it is the dynamism of his cubist paintings that reflect the mastery of
Angel Zárraga.
Fig. 1
Angel Zárraga in Paris, ca. 1917
Latin American Art
LOT 11
CLAUDIO BRAVO (B. 1936)

WHITE AND YELLOW PACKAGE
signed lower left and dated MMV lower right

oil on canvas
36 by 28 5/8 in.
91.4 by 72.8 cm
Painted in 2005.
ESTIMATE 400,000 - 500,000 USD

PROVENANCE
Sale: Christie's, New York, Latin American Sale Evening Session, May 28, 2008, lot 6, illustrated in color
EXHIBITION
Madrid, Marlborough Gallery, Claudio Bravo Painting and Drawings, February 7-March 11, 2006; London,
Marlborough Gallery, March 30-May 6, 2006; Monaco, Marlborough Gallery, June 29-September 8, 2006, p. 28, n.
24, illustrated in color, also illustrated on the cover
CATALOGUE NOTE
"There was only one subject...parcels... with a cross in the center of one or several strings. They were abstract
paintings but perfectly realist: in the parcels you could touch the paper but the composition was completely abstract
and the colors were taken from abstract painting. There the subject of the abstractrealist combination was definitely
mature."
Claudio Bravo1
(1) Edward Sullivan Interview with Claudio Bravo, 1995 as referenced in his essay for "Paquete Marfil", Latin
American Art, November 19, 2002, Sotheby's, New York, lot 20, p.50
Latin American Art
LOT 12
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
GUNTHER GERZSO (1915-2000)

ROJO Y BLANCO (RED LANDSCAPE)
signed and dated 64 lower right; also signed, titled and dated III 64 on the reverse
oil on canvas
31 7/8 by 25 1/2 in.

96.5 by 65.1 cm
ESTIMATE 125,000 - 175,000 USD

EXHIBITION
Phoenix, Phoenix Museum of Art, 20 Years of Gunther Gerszo, February 1970, n. 51
New York, Mary-Anne Martin/Fine Art, Gunther Gerzso: A retrospective, May 24-June 27, 1984, n. 4
New York, Mary-Anne Martin/Fine Art, Gunther Gerzso; In his Memory, October 12-November 11, 2000, p. 62-63,
n. 29, illustrated in color
LITERATURE
Luis Cardoza y Aragón, Gunther Gerzso, Colección de Arte no. 22, Mexico, 1972, n. 56, illustrated
Rita Eder, Gunther Gerzso; El Esplendor de la muralla, Mexico, 1994, n. 39, illustrated in color
CATALOGUE NOTE
"When you try to look into one of my paintings, you'll always run into a wall that keeps you from going any further. It
will stop you with the brilliance of its light, but at the back there's a black plane; it's fear."
Gunther Gerzso to Rita Elder in El esplendor de la muralla, 1994

Latin American Art
LOT 13
CARLOS CRUZ-DIEZ (B. 1923)

PHYSICHROMIE Nº 2236
signed, titled and dated Octubre 1988 on the reverse

acrylic and pcv paint on wood panel with plastic elements over aluminum backing
23 7/8 by 71 3/8 in.

60.6 by 181.3 cm
Executed in 1988.
ESTIMATE 150,000 - 200,000 USD

PROVENANCE
Galería de Arte Díaz Mancini, Caracas
CATALOGUE NOTE
I want to bring the spectator to live a changing situation which allows him to discover color becoming itself, as well
as the possibility of finding its own emotional resonance.
Carlos Cruz-Diez(1)
(1) Carlos Cruz-Diez in Cruz-Diez' Virtual Colors, (Paris) n.p. Originally published in Cimaise No. 163/163, Paris
1983.
(1)Cruz-Diez' Virtual Colors, (Paris) n.p. Originally published in Cimaise No. 163/163, Paris 1983.
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from L'Atelier Cruz-Diez, signed by Carlos Cruz
Delgado
Latin American Art
LOT 14
MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN
MARCELO BONEVARDI (1929-1994)

THE ARCHITECT
signed and dated Bonevardi-64 and inscribed with title on the reverse
oil and wood on canvas
70 by 49 3/4 in.
177.8 by 126.4 cm
ESTIMATE 20,000 - 30,000 USD

PROVENANCE
Bonino Gallery, New York
Sale: Christie's, New York, Latin American Paintings, Drawings and Sculpture, May 16,
1991, lot 96, illustrated in color
EXHIBITION
Chicago, The Arts Club of Chicago, Marcelo Bonevardi: Paintings Constructions, March
1-29, 1968 Fig. 1
Sao Paolo, Bienal de Sao Paolo, August 1969 The Arts Club of Chicago, 1968
Bronx, The Bronx Museum of Arts, The Latin American Spirit: Art and Artists in the
United States, 1920-1970, Sept. 1988-Jan. 1989, p. 138, n. 90, illustrated in color. This
exhibition later travelled to El Paso Museum of Art, February-April, 1989; San Diego
Museum of Art, May-July, 1989; San Juan Instituto de Cultura Puertorriquena, August-
October, 1989; Vero Beach, Center for the Arts, January-March, 1990
LITERATURE
John Canaday, "Three to the Good" The New York Times, October 31, 1965, discussed
CATALOGUE NOTE
Trained as an architect, the largely self-taught Argentine painter Marcelo Bonevardi
arrived in New York in 1958 as a recipient of the prestigious Guggenheim Fellowship
and soon became immersed in the City's dynamic cultural milieu. Already conversant
with the language of geometric abstraction and the teachings of the modernist pioneer
Joaquín Torres García whose theories about "universal constructivism" shaped
countless generations of artists in the Southern Cone region, it was not until
Bonevardi's move to New York that he came into contact with the more gestural and
painterly possibilities of abstraction through the works of the abstract expressionists.
But, alas it was the seemingly mysterious and lyrical boxes of Joseph Cornell that
captured Bonevardi's imagination and wherein he felt a more profound affinity vis à vis
his own pursuit of what he defined as "the labyrinths of a mystical geography."1 Other
contemporaries with whom Bonevardi's work resonates include Lee Bontecou's
mechanistic and organic wall constructions and Gonzalo Fonseca's stone assemblage
sculptures that function as metaphorical palimpsests.2 Indeed Bonevardi's painted
relief constructions blur the boundaries between painting, sculpture and architecture to
reveal geometric topographies informed by an abstract language of symbols that evince
ancient and timeless rituals evocative of the mythical secrets of origins and continuity.
Rooted in his study of mathematics, astronomy, geography, and ancient cultures,
Bonevardi worked like an alchemist gently coaxing from these disparate sources their
talismanic properties that he ably transmitted to his paintings.
In keeping with this aesthetic and spiritual vision, the works Bonevardi constructed
between 1963 and 1965 reveal architectural elements frieze-like wooden structures
akin to remnants of archeological excavations unearthed from the inner depths of his
canvases. These wooden armatures are divided into recessed areas or niches that
contain small objects and figurinestools, geometric shapes, metal hinges, bolts, and
other machine-like parts meticulously fashioned or forged by the artist. Unlike Cornell
who relied on found or ready-made objects, Bonevardi constructed his own thereby
asserting the sense of ritual inherent in the very process of artmaking. In works such as
The Architect, the artist's use of spheres, rhomboids, planes, and pyramidal forms
coupled with a muted, earthy palette and textured and layered surfaces underscore
Bonevardi's desire to evoke the timeless and mystical properties of Amerindian and
other ancient cultures. The artist's reliance on a cross cultural symbolic lexicon is not
unlike Torres-Garcia's elaboration of a "universal" archetypal language derived from
pre-Columbian and other western and non-western cultures. Moreover in works such as
this, Bonevardi effectively transgresses the boundaries of painting, creating a work
equally informed by architectural and sculptural practices as well as by a profound
metaphysical and oneiric sensibility that transform his painted wall constructions into
mnemonic landscapes evincing a certain spiritual kinship between distant civilizations
and our own contemporary reality.
-Marysol Nieves
Independent curator based in New York
1 As quoted in Dore Ashton, "Introduction," in exhibition catalogue Bonevardi (New

York: Center for Inter-American Relations, 1980), p. 10.
2 Although it is not clear whether Bonevardi was aware of the work of Lee Bontecou, he
and the Uruguayan artist Gonzalo Fonseca coincided in New York and were well
acquainted.
Fig. 1
The Arts Club of Chicago, 1968
Latin American Art
LOT 15

ESTRUCTURAS VERDES
signed and dated 64 lower right; also signed, titled and dated III.64 on the reverse
oil on canvas
40 1/4 by 18 1/4 in.

102.2 by 46.4 cm
ESTIMATE 120,000 - 180,000 USD

PROVENANCE
LITERATURE
Luis Cardoza y Aragón, Gunther Gerzso, Mexico, 1972, no. 52, illustrated
Fig. 1
CATALOGUE NOTE Gunther Gerzso at the Galería de
The power of a Gerzso painting lies in its immediacy. Its presence grabs the moment Arte Mexicano, Mexico City, ca.
one looks at it and won't let go. Where does that energy come from? How does it get 1958
there? What is its staying power?
When asked these questions, Gunther Gerzso replied in simple terms. Gerzso never
painted with the intention of making a statement, nor did he think about what he was
feeling while working out a composition. Suddenly, in the midst of the act of painting, he
might become irritated when a thought such as "I forgot to pick up my clothes from the
cleaners," or "I need to deliver this painting on Saturday, and I don't know if I'll be
finished," came to mind. That is as far as his feelings went. His concerns and
unflinching focus were technical, and that was it. "When I'm painting, my biggest
problem," he would say, "is seeing [the image] in my head and getting it to come down
my arm to my hand." Long agoand accidentallyhe learned that the unconscious had a
life of its own and one did not need to do anything for it to emerge, often showing things
one might prefer to conceal. The emotional content that imbued Gerzso's work would
invisibly transfer effortlessly from him onto the canvas, without his having any control
over it.
Gunther Gerzso was an exquisite draughtsman and could draw with photographic
precision, but he developed a style of non-objective works that he found 'felt' closer to
how he experienced life. He drew freely, spontaneously, the way he longed to live but
had suppressed all his life. In adolescence, the young Gunther began drawing for
himself, never interested in showing his work, before venturing into painting his first
canvas, Dos Mujeres, 1940. Late in life, he destroyed many early drawings as he found
them too derivative.
It was not until 1961, with the painting Avila Negra, that Gerzso introduced an
iconography that became the style for which his work is more readily recognized,
composed of blades, wounds and the element of sadism. By 1963, the color had
become` uniformly aggressive and the compositions ambiguous, beckoning as well as
threatening. The anger he had been withholding in silence now was pushing for
acknowledgement. Deluding himself he was in control, he began applying the Golden
Mean to his paintings, searching for a balance of geometric and mathematical
proportions through which to achieve beauty. Many creative people had used the
Golden Mean. The Greeks used it to build the Parthenon, the French to build Notre
Dame de Paris. Leonardo used it to paint The Last Supper, Uccello his three versions
of The Battle of San Romano, and even Mondrian, whose work Gerzso greatly admired,
applied it in constructing his compositions.
Gerzso deluded himself that transforming his conflicts into art would be enough, that
this would spare him the confrontation with himself. He was partially correct, and he
was able to create a body of work no less than extraordinary. These ravishing paintings
suddenly drew institutions and serious collectors to pay closer attention to his artistic
production. The Palacio de Bellas Artes presented the most comprehensive exhibition
of Gerzso's painting in his lifetime. On the other hand, Gerzso discovered that
sublimating was not enough, that he needed "to face my demons," as he called them.
Estructuras Verdes, 1964, a relatively unknown work by Gunther Gerzso, comes from
this stunning period. A vertical composition painted flat, one cannot see evidence of
brushwork. The dark sky, Gerzso's most often recurring theme, represents the
unconscious, where conflicts brew without one's being aware of them. While the green
fragments, representing a broken Gerzso, first draw the viewer to approach, the white
shapes, or blades, on either side warn they will slice anyone that attempts to come
near. In Estructuras Verdes, Gerzso portrays a no-win situation: he reaches out while
simultaneously rejecting the viewer. He pleads for compassion but also warns: get
close and you will pay.
Salomon Grimberg
Dallas, Texas
March 27, 2010
Fig. 1
Gunther Gerzso at the Galería de Arte Mexicano, Mexico City, ca. 1958
Latin American Art
LOT 16
WIFREDO LAM (1902-1982)

SANS TITRE
signed lower right

oil and graphite on paper
25 1/8 by 31 1/2 in.

64 by 80 cm
Painted in 1944.
ESTIMATE 250,000 - 350,000 USD

PROVENANCE
Pierre Matisse Gallery, New York
Sale: Christies, New York, Important Latin American Paintings, Drawings and
Sculpture, May 18 1992, lot 36, illustrated in color
EXHIBITION
New York, Pierre Matisse Gallery, Group Show, 1970-1971 Fig. 1
Paris, Galerie Fabien Boulakia, Wifredo Lam, September-October, 1985, illustrated in Wifredo Lam in his garden in
color Havana, 1943.
New York, The Studio Museum in Harlem, Wifredo Lam and his Contemporaries 1938-
1952, 1992, p. 116, n. 27, illustrated in color
LITERATURE
"Wifredo Lam", Cimaise, n. 177, Paris, 1985, p. 5, illustrated in color
Lou Laurin-Lam, Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume I,
1923-1960, Lausanne, 1996, p. 362, n. 44.77
CATALOGUE NOTE
Painted in the same mode as Sur les Traces (lot 17), this painting demonstrates how
Lam utilized his open-form stippled technique in color. This can be seen as earlier as
1943 in the enigmatic Untitled [Ñañigo] which features a drummer clad in the conical
mask and elaborately ruffled and raffia-ed costume of the figure known as a "diablito" in
Afro-Cuban parlance. Even more so than in Sur les Traces the conglomerate of this
composition is mysterious. The beings that emerge from the blurry effects of the
stippled color and form resemble variously underwater creatures all mouth and eyes,
inverted humanoids with horse-shoe-shaped heads. One of the creatures has several
sprigs of an unidentified plant extending from its head at the lower edge of the
composition in the center. Various vessels and containers hold what could be sprouting
bulbs or candles whose blooms or flames are halo-ed in white and which morph into
orifices of other beings scarcely perceived in the ensemble. A stalk of some
superannuated palm stretches off to the right from the concentration of forms at the left
hand side of the compositions which include another stalk with four leafed branched, a
section of cane stalk extending from a head above a candle flame.
What Lam may be representing in compositions such as this one and Untitled
[Ñañigo]is the physical experience of Afro-Cuban spirits and entities inhabiting the
vegetation of the Cuban countryside, known variously as "el monte," "la selva," La
maleza," or "la brousse"--all of which were the themes of many of Lam's compositions
after the mid- 1940s. The interchangability of these forms and the vegetational
ambiance in which they are situated advance Lam's sense of hybrid imagery to the next
level. The specificity of the designation of the vegetation cautions us about primitivist
generalizations that often accompany notions of the generic "tropics" where even Lam's
Cuban-inspired "Jungle" would be an anachronism.
Lowery Stokes Sims
Fig. 1
Wifredo Lam in his garden in Havana, 1943.
Latin American Art
LOT 17

SUR LES TRACES (TRANSFORMATION)

oil on canvas
61 by 49 1/4 in.
155 by 125 cm
ESTIMATE 1,200,000 - 1,800,000 USD

PROVENANCE
Pierre Matisse Gallery, New York
Acquavella Modern Art, Reno
Galerie Lelong, Paris
EXHIBITION
New York, Pierre Matisse Gallery, Lam, Recent Paintings, 1945
New York, Pierre Matisse Gallery, Wifredo Lam, Early Works, 1942-1951, 1982, n. 11, Fig. 1
illustrated André Breton, Lam, and Pierre
San Juan, Arsenal de la Puntilla, Wifredo Lam, obras desde 1938 hasta 1975, de Mabille in Lam's Haitian
regreso al Caribe, 1992 exhibition, Port-au-Prince, 1946
New York, The Studio Museum in Harlem, Wifredo Lam and his Contemporaries 1938-
1952, 1992, p. 122, n. 98, illustrated in color
LITERATURE
M. Leiris, Lam, Milano, 1970, n. 52, illustrated
M.-P. Fouchet, Wifredo Lam, Barcelona/Paris, 1976 ed., p. 233, n. 378, illustrated
Lou Laurin-Lam, Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume I,
1923-1960, Lausanne, 1996, p. 368, n. 45.03
CATALOGUE NOTE
While his particular synthesis of Cubism and Surrealism predicated the success of
Wifredo Lam in the period of 1941-43, he did not linger long in that mode. In fact a
glimpse at the entire decade of the 1940s reveals a restless experimentation that
resulted in his moving through several stylistic approaches, often working on
subsequent ones at the same time. Sur les traces [also known as Transformation] was
one of several black and white compositions exhibited in Lam's 1945 exhibition, Lam,
Recent Paintings at the Pierre Matisse Gallery in New York City. Others included
Rythme mimétique (Fundactó Joan Miró, Barcelona), Au défut du jour (Collection R and
N. Cernuda, Miami). Their open forms could be glimpsed in several works of 1944
particularly Les Noces chimiques (Private collection, New York) and Sans Titre (lot 16)
In these compositions the fluid, multi-referential forms of the earlier 1940s that flowed
effortlessly one into the othercreating "cadaver-exquise"-like hybrids of human, plant
and animal entitiesand the strong, angular references to African and Pacific art forms
have given way to shapes articulated by stippled brushwork that silhouettes their form.
The visual effect is one in which metaphysical forces emerge from the foliage of the
Cuban landscape, barely perceptible except in Lam's delicate drawing on the canvas.
While here color has been drastically reduced to black or white, in related compositions
such as San Titre the palette consists of daubs of fully-saturated red, blues, greens,
yellow and orange. These compositions tend to focus on plant life and still life with only
shadowy references to any figureshuman or other worldly. This composition is
anchored by three vertical elements that dominate the composition by virtue of their
more dramatic light/dark articulation. At the left there is a lit candle in an elaborate
holder; slightly higher or further back in the composition two vessel-like forms against a
diamond shaped one; and then slightly lower to the right a composite form with the
diamond-shaped or rhomboids that became Lam's familiar mode for indicating a
spiritual presence. Four horns protrude from each plane of the diamond and they are
framed by angular auras.
These three forms are situated in a complex of forms that are both distinctive and co-
joined. At the upper left of ghostly forms that defy identification that sit on a ledge that
morphs into an organic form that joins the central vessel forms. They in turn are joined
to the right hand side of the composition by lines that resemble elements borne by
Lam's "femme chevals" that can be read variously as hair, a horse tail or flows of water.
This central form is framed by a shadowy entity sporting multiple horns or knives that
suggests those seen at the right hand side of Lam's 1944 composition, "L'Annonciation"
(Museum of Contemporary Art, Chicago) or the centrally place figure in Le Présence
eternal [Hommage à Alejandro Garcia Cartula] of the same year. At the center, nestled
under two of the many arc-ing phalanges, one of the "popcorn" floral motifs that appear
in the interstitial spaces among the tobacco leaves and cane stalks of the 1942-1943
compositions can be sighted. This seeming insignificant compositional device would
appear later in the 1950s to form the facial features of a number of female busts.
But what is most telling are the new elements in this composition: three egg forms at
the lower edge of the composition. They are incubating in nests that sprout the
aforementioned horn/ knife forms and striated markings of light beams. This egg form
would become the pivotal element in Lam's 1947 Nativité [Annonciation] (Private
Collection, San Juan) where it is being "birthed" from a womb-like form surmounted by
phalanges and horns seen here in Sur les Traces. By the later 1940s such elements
coalesce into references to esoteric belief and ritual where the luminous egg shape
recalls the fabled philosopher's stone. The introduction of these elements demonstrates
how Lam's creative sources become increasing eclectic and guide the evolution of his
stylistic development.
It is important to note that this painting was first seen in New York City in Lam's third
exhibition at the Pierre Matisse gallery in 1945. The gallery had been an important and
essential site where Lam's work was introduced to the art world in New York. Cuba was
more isolated despite refugees like Pierre Loeb and Igor Stravinsky who took up
residence there during World War II, and incredibly Lam didn't have a solo exhibition of
his work in Cuba until 1946 because of his complicated relationship with the Cuban
vanguard artists. As Julia Herzberg notes writings and reactions to Lam's work in Cuba
was predicated on a wide-spread familiarity with African cultures and recognition of
those elements his work.[1] This is reflected in the writing on Lam's work by individuals
such as Lydia Cabrera, Alejo Carpentier and Pierre Loeb in Cuban periodicals such as
Gaceta del Caribe and Orígenes: Revista de arte y Literatura.[2] In January 1945, the
French critic and diplomat Pierre Mabille published an article on Lam in Tropiques, the
journal created and edited by the Martincan poet Aimé Césaire, his wife Suzanne and
writer René Ménil. Although both Lam and Césaire had been expatriates in Paris before
the outbreak of World War II, they did not meet until 1941 when Lam was temporarily
quarantined on Martinique with the fabled group of Surrealists including André Breton
who had been evacuated from France with the help of Varian Fry and Operation
Rescue. In the Caribbean the dynamics of modernist primitivism were enfolded within
the discourse on history, decolonialism and landscape that defined the cultural and
political aspirations of that part of the world.
Lam's presentation in New York resulted in his work being seen in the context of the
burgeoning Abstract Expressionist movement. That is reflected in the critical response
to his work at this time. Some critical reviews complained that compared to work seen
in previous years the work of 1945 seems more "anemic," "thin and sparse" with its
"stippled...black and white forms."[3] On the other hand, Margaret Breuning notes
importantly in Art Digest that Lam had evolved beyond his Surrealist roots and was now
creating "an occult mysterious universe governed not by the laws that regulate our
cosmos, but by some undercurrent of magic."[4] While Breuning goes onto note the
relationship of Lam's work to "Chinese painting....Primitive African art, and ....the
symbolic figure of the Alaskan Indians," she concludes that his work does not "so
much" represent "realities" as it does "the symbols of an inner mystical existence."[5]
We read here a sense that developments in Lam's art at this timeproduced in
Cubaparallels that of his Abstract Expressionist contemporaries in New York City. Lam
reflects the emphasis on mythic and sacred pretentions that mark the early
development of this movement. While the Americans focused on Native American and
the Pacific, Lam's amalgamation of African, Pacific and Afro-Cuban elements found a
comparable expression in his experimentation with form and color. It is then most
interesting to read an unsigned article in the August 12, 1946 of Newsweek magazine
in which the writer positions Lam, along with Robert Motherwell and Adolph Gottlieb as
artists "being identified with the new trend" that are "evolve[ing] shapes, images and
ideas of the subconscious."[6] Lam's relationship with the then burgeoning Abstract
Expressionist movement continued into the late 1940s when reproductions of his work
were published in periodicals such as Tiger's Eye and Instead. It was fostered also by
the artistic circles he moved in during his post-war sojourns to New York City. Two
artists who met him on his first trip were Arshile Gorky and Jeanne Reynal and among
the others he met and socialized with were Motherwell, Isamu Noguchi, Jackson
Pollock and Lee Krasner.
Lowery Stokes Sims
[1] See Julia P. Herzberg, "Wifredo Lam: The Development of A Style and Wrodl View,
The Havana Years, 1941-1952," in Wifredo Lam and His Contemporaries, 1938-1952,
[exh. cat.]. (New York: The Studio Museum in Harlem, 1992), 31-51.
[2] Ibid, 47.
[3] "Wifredo Lam, Gouaches at Pierre Matisse," Art News 44 (December 15-31, 1945),
21.
[4] Margaret Breuning, "Lam's Magical Incantations and Rituals," Art Digest 20
(December 1, 1945), 16.
[5] Ibid.
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Lou Laurin Lam
signed and dated Paris 21-02-95
Fig. 1
André Breton, Lam, and Pierre Mabille in Lam's Haitian exhibition, Port-au-Prince, 1946
Latin American Art
LOT 18
MATTA (1911-2002)
SANS TITRE
oil on canvas
36 1/2 by 28 3/4 in.

92.7 by 73 cm
Painted in 1948.
ESTIMATE 150,000 - 200,000 USD

PROVENANCE
Private Collection, London
Sale: Sotheby's, London, Post War and Contemporary Art, June 30, 1988, lot 659
Sale: Christies, New York, Important Latin American Paintings, Drawings and Sculpture, November 19, 1991, lot
44, illustrated
CATALOGUE NOTE
The year 1948 marked a turbulent year for the peripatetic artist Matta who was unceremoniously expelled from the
Surrealists group for abandoning abstraction and exploring an increasingly narrative and sociopolitical context in his
work. Thus, after a nearly decade long and highly productive sojourn in New York, Matta returned to Paris briefly
only to encounter equal scorn from the artistic and social milieu that had previously embraced his unique vision and
spirited lifestyle. Indeed, at this juncture in Matta's life and career the artist had seemingly and irretrievably
breached certain aesthetic and moral codes and in the process ruptured a number of significant relationships on
both sides of the Atlantic. Devastated by these events, Matta traveled to Chile and later that year settled in Rome
where he would remain until 1955 before again returning to Paris.
Sans Titre was painted amidst these dramatic circumstances in 1948. While it undoubtedly incorporates a number
of elements that by the late 1940s had become hallmarks of Matta's unique style and approach to biomorphic
abstraction, the conflation of the human body with the natural landscape coupled with the presence of overtly
sexualized imagery unabashedly assert Matta's belief in the continuum of natural phenomena and his vision of the
earth as an erotically-charged mass of energy in perpetual transformation and regeneration. In keeping with the
language of his biomorphic landscapes, here Matta evokes a diaphanous topography set against a gelatinous white
background that suggests an infinite and ineffable cosmos. Black orthogonal lines along with sensuous red
mountainous peaks and valleys create an illusion of three-dimensionality while an elongated, white female torso
languidly spills across the full length of terrain mirroring its contours and producing a decidedly erotic effect. Matta's
volcanic imagery first employed in the early 1940s proceeding his trip to Mexico in 1941, reappear here in the guise
of fiery pulsating bosom, while the nebulous skies above reveal a bright yellow piercing form that suggest the
electrical discharge of lightning or the ejaculation of bodily fluids. Together these elements reveal a primordial
landscape in which human and cosmic elements are seamlessly interconnected and one is equated with the other.
Although somewhat unusual for its exceedingly direct reference to figurative elements, Sans Titre eloquently
expresses Matta's understanding of the natural worlda holistic view that echoes that of Amerindian cultures and
other ancient civilizations that the artist had studied closely.
Indeed it is difficult to observe the highly overt figurative references in this painting without pondering the personal
and professional circumstances that besieged Matta in 1948. While it is unquestionable that from 1945 onwards,
Matta's work took on an increasingly different mood and social relevance in which the figure became more central, it
is equally true that the artist never completely abandoned representational elements in his work. And thus, the
motives for his separation from the Surrealists group demands further consideration. By the mid-1940's Matta had
become a lightning rod of contention among the Surrealists, but perhaps it was the salacious events of 1948
involving Matta and abstract expressionist painter Archille Gorky's wife, Agnes Magruder (aka Mougouch) followed
by Gorky's suicide a few months latera tragedy that many felt had been prompted by the illicit affairwhat seems to
have sealed Matta's fate among the New York School and the Parisian Surrealists. The centrality of the female
figure in Sans Titre may be seen as a reference to these events, but it would be a mistake to limit the painting's
meaning to such a literal interpretation. However, what remains clear is that here as in elsewhere throughout his
long and prodigious career, Matta remained steadfast to his creative visionone that resonated with aspects of
Surrealism but reflected a decidedly innovative and unique approach. The latter not only solidified his position as
one of the most fascinating and compelling artists of his generation but also continues to define his unique
contribution to the history of modern vanguard art practices during the first half of the twentieth century.
--Marysol Nieves
Independent curator based in New York
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Germana Ferrari Matta signed and dated 1er
novembre 1993
Latin American Art
LOT 19

THE ORDEAL OF OWAIN
signed lower left; also inscribed with title on the stretcher

oil on canvas
39 1/4 by 31 1/4 in.

100 by 79.4 cm
Painted in 1959.
ESTIMATE 600,000 - 800,000 USD

PROVENANCE
Sale: Sotheby's, New York, Latin American Art, May 20, 1987, lot 155, illustrated in
color
Sale: Christie's, New York, Important Latin American Paintings, Drawings and
Sculpture, November 19, 1991, lot 22., illustrated in color
Fig. 1
LITERATURE Leonora Carrington in her studio
Whitney Chadwick, Leonora Carrington. La Realidad de la Imaginación, Mexico City, in Calle Chihuahua in Mexico
1994, n. 51, illustrated in color City, 1956
CATALOGUE NOTE
British-born Leonora Carrington joined the Surrealist Movement in 1937, two years
before it disbanded due to World War II. In 1942, she immigrated to Mexico where she
joined Kati and José Horna, Esteban Francés, Edward James, Wolfgang Paalen,
Benjamin Peret, Alice Rahon, and Remedios Varo, other Surrealists in exile. In Mexico,
Carrington produced her most important work. A recurring theme in Leonora
Carrington's oeuvre is an interest in her Celtic ancestry. Although Carrington's painting
generally arises from an event or narrative, the final result is multilayered, making its
reading a complex but fascinating endeavor. Peeling back the layers of her work
renders a rich sense of her perception and interpretation of experiences. In order to
grasp an understanding of The Ordeal of Owain, one first needs to know who Owain
was.
Owain was the son of Cadwgan ap Bleddyn, a prince of Powis in Wales, and he was
trouble. Wherever he went, he created havoc, and even got away with murder. Early
on, Owain established a bad reputation for himself after killing the sons of a neighboring
prince to steal their lands. He went on to hurt many people and do much damage; but
the vengeful are patient, and eventually he reaped what he sowed.
During a feast given by his father, he heard about the beautiful Nest. Owain did not stop
thinking about her until he could see her with his own eyes, and when he did, he was
love struck. That Nest was married to Gerald of Windsor and had children did not
matter to him. Determined to make her his, Owain began scheming to kidnap her. One
night, with the help of 15 cronies, he smuggled himself into Gerald's castle, abducting
Nest and the children. Gerald, barely escaping with his life, swore vengeance. From the
endless damage that Owain did in his lifetime, the rape of Nest earned him the most
infamy.
The abduction was followed by one destructive event after another, as Owain's father
found himself under siege and lost the family lands to enemies within Wales as well as
to King Henry of England. Cadwagn regained, lost, and regained his land numerous
times, but at last found himself isolated and never at peace. Owain, whether in exile in
Ireland or back on the family estates, continued his trouble-making. He raided his
uncle's lands, sold captives as slaves, and committed murder after murder, finally
getting his own father killed as a victim of revenge. As King Henry prevailed over the
territories of Wales, Owain eventually joined with him and his forces. Among these
troops was Gerald of Windsor, the husband of Nest, who had been returned to him with
two children by Owain. Having never forgotten the insult, Gerald killed Owain.
In The Ordeal of Owain, Carrington records Owain's last moment on earth. The Celts
chose natural places for religious activity, especially for very specific ceremonies. In a
sacred grove used for druidical sacrifice, four women, three acolytes in attendance on
the left and one priestess on the right, perform their ceremonial duties. The blue
acolyte, as a witness of grief, weeps a pearl into a glass vessel; the red one, bringing
light and warmth in the form of fire, foretells sacrifice; and the golden one provides the
vital breath. The priestess is stirring a cauldron. Among the Celts, these ceremonial
cooking vessels were associated with rebirth and resurrection, which is why the
priestess is adding an apple to the brew. Fruit was considered a source of the Origin,
for its seeds produced life. The cauldron is balanced and warmed over a four-walled
enclosure in which Owain, mounted on his horse, is starting to burn. The enclosure
itself is suspended over flames rising from a burner resting on the ground. This
enclosure and all that is in it comprise the brew. One Celtic tale narrates how the Irish
cooked their dead soldiers in a cauldron at night, to rise and fight again the next day.
Salomon Grimberg
Dallas, Texas
March 27, 2010
Fig. 1
Leonora Carrington in her studio in Calle Chihuahua in Mexico City, 1956
Latin American Art
LOT 20
MATTA (1911-2002)
UNTITLED

oil on canvas
46 1/2 by 68 1/4 in.

118 by 173.4 cm
ESTIMATE 350,000 - 450,000 USD

PROVENANCE
A. and V. Berliner, New York
CATALOGUE NOTE
By 1951 Matta had settled in Rome far removed from the professional and personal polemics that had alienated
him from the New York and Parisian vanguards and which culminated in his break from the surrealists group in
1949. However far from allowing these circumstances to hinder his artistic vision Matta appeared to use this time to
initiate a new phase of creativity and exploration unencumbered by the limitations and tenets of the Surrealists
movement. Indeed as art historian Martica Sawin well indicates, as early as the late 1930s when Matta joined the
Surrealists movement it was evident that "his vision did not conform to the general conception of surrealist art."1 As
the youngest recruit to Surrealism, Matta had already defined his own approach to art making which he termed
"Psychological Morphologies"that is to give vision to the inner workings of the psyche as being in a constant state of
transformation. This notion of perpetual change would soon permeate his conception of the cosmos and give way to
diaphanous and mysterious landscapes that revealed both inner and outer worlds in constant state of turmoil,
destruction and regeneration. And, thus by the late 1940s when Matta's rift from the Surrealists came to its logical
conclusion, the artist must have felt liberated and empowered to pursue his own objectives.
Principle among these was Matta's mounting concerns about the horrors of the War and news unfolding regarding
the unspeakable atrocities of the Holocaust. It became evident that he could no longer afford to merely express his
intimate dream world or inner psyche, but rather a new found urgency emerged that demanded he give vision to the
broader issues relevant to all humanitya universal consciousness. Matta expressed this shift as follows: "I was
attempting to use a social morphology, not a personal psycho-morphology: to move away from intimate, imaginary
forms . . . towards the cultural, totemic expressions of civilizations . . . the formation of cultures in confrontation with
social landscapes."2 One may argue that this social and global consciousness had been ignited during Matta's
1941 trip to Mexico, an experience that had profound impact on the artist as the following statement surely
indicates, "I found in Mexico a class violence. The silence between foreigner, Spaniard, and Indian was a
frightening silence of drawn knives . . . an interior battlefield."3 Indeed Matta's renewed contact with his Latin
American roots during the 1940s, his relationship with the Chilean writers Gabriela Mistral and Pablo Neruda, his
growing admiration for the work of the Mexican muralists, Diego Rivera, David Alfaro Siqueiros, and José Clemente
Orozco that spurred his own desire to work in a much larger scale, as well as his enthusiasm for collecting pre-
Columbian and later Native American and tribal objects all informed his increased interest in developing a more
humanistic and socio-politically engaged practice.
Thus by the late 1940s and 1950s, Matta's biomorphic landscapes and "psychological morphologies" had evolved
into ethereal and disturbing Kafkaesque worlds populated by tubular humanoids partially inspired by mythical
totemic figures transformed into monstrous, insect-like beings or "mechanomorphs" victims of the dehumanizing
effects of technology, social injustice, and political corruption. Executed in 1951, Untitled bears the key elements
that define Matta's production during this period, cosmic and social landscapes that simultaneously evince recent
historical events while providing a metaphorical window into the timeless struggles of humanity. Here Matta
employs his familiar use of thin layers of white paint, sponged and wiped onto the canvas to create a veiled and
limitless space. Shades of viridian green, orange-yellow, purple, bright red, and cool grays draw our attention to
fixed points while tubular beings with elongated limbs along with insect-like automatons seem to surround a
mechanical structure, airplane or force field positioned in the center of this mysterious composition. Rhomboids and
translucent planes puncture the pictorial space imparting an illusion of three-dimensionality while suggesting the
winged apparatus of this fantastical flying machine. Likewise these forms reveal Matta's longtime fascination with
the mathematical theories of Jules Henri Poincaré along with study and application of non-Euclidean spatial
relationships.
The cruciform structure doubles as a central nave or totemic life force whose bodily parts have been supplanted
with propellers perhaps un an effort to assert its mystical powers or its ability to transcend the physical realm. The
mood here is decidedly somber informed by a dystopian, post war sensibility while also indicative of the artist's
Catholic upbringing and his fears about judgment day dating back to his Jesuitical training. Thus the image
inevitably conjures religious references to the crucifixion or apocalypse as well as to the Nuremberg Trials in the
1940s or the trial of Julius and Ethel Rosenberg that was held in New York in March 1951. The trial culminated with
their conviction and eventual execution for espionage against the US government and was certainly a subject Matta
was familiar with as it was the impetus for his canvas Les Roses Sont Belles painted that same year.
While it is tempting to interpret this paintings in such literal terms it's important to note that even as the figurative
and narrative elements in Matta's work became more prevalent, he remained committed to making visual a cosmic
reality that transcended traditional notions of time and space. Moreover in keeping with the Surrealist belief that in
order to change society one must first transform individual consciousness, works such as this appear to embody
this "humanistic" mantra by asserting the redemptive power of the individual. Alas, in keeping with a cosmological
vision rooted in perpetual transformation, here Matta appears to posit that eternal and primordial force as a catalyst
for achieving a greater balance between man and his environment. Thus, while Matta's artistic practice may have
evolved, the guiding precepts he had articulated from the beginninghis belief in the fusion between inner and outer
worldsand which informed his approach and contribution to the Parisian vanguard and the nascent New York
School would persists throughout his unparalleled and prolific career.
Marysol Nieves, independent curator based in New York
1 Martica Sawin, "Matta: Endless Nudes," in auction catalogue Latin American Art (New York: Sotheby's, 2009), lot
11, p. 24.
2 As quoted in Valerie Fletcher, "Matta," in exhibition catalogue Crosscurrents of Modernism: Four Latin American
Pioneers, Diego Rivera, Joaquín Torres-García, Wifredo Lam, Matta (Washington, D.C.: Hirschhorn Museum and
Sculpture Garden in association with the Smithsonian Institution Press, 1992), p. 247.
3 As quoted in Elizabeth T. Goizueta, "The Artist as Poet: Symbiosis between Narrative and Art in the Work of
Matta" in exhibition catalogue Matta: Making the Invisible Visible (Boston, MA: Charles S. and Isabella V. McMullen
Museum of Art, Boston College, 2004, p. 22.
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Germana Ferrari Matta, signed and dated
27.07.1990
Latin American Art
LOT 21
RODOLFO MORALES (1925-2001)

RETORNO AL PASADO
signed lower right

oil on canvas
53 7/8 by 68 3/4 in.

136.7 by 174.6 cm
Painted circa 1980.
ESTIMATE 120,000 - 180,000 USD

PROVENANCE
Galería Estela Shapiro, Mexico City
Private Collection, Mexico City
Sale: Sotheby's, New York, Latin American Paintings, Drawings, Sculpture and Prints,
November 18, 1991, lot 72, illustrated in color
Fig. 1
CATALOGUE NOTE Rodolfo Morales in his studio
Born to working class parents in the small town of Ocotlán de Morelos in the state of
Oxacaca, Rodolfo Morales's oneiric and melancholic paintings are poetic musings
inspired by his childhood recollections and enduring love for the region's indigenous
people, its popular traditions, and its natural beauty. And, although Morales lived in
Mexico City for over thirty years where he taught at the prestigious Escuela Nacional
Preparatoria, in 1985 he returned to Oaxaca where he continued to devote himself to
painting and to spearheading a number of charitable efforts to preserve the regions
architectural landmarks and natural resources. As a key member of the School of
Oaxaca, which includes such notable artists as Rufino Tamayo and Francisco Toledo,
Morales' paintings possesses a "naïve," surreal-like quality heavily informed by folk
traditions not unlike the images created by the Mexican painter María Izquierdo and the
Russian-French artist Marc Chagall. Like the aforementioned artists, for Morales the
past and the world of dreams are recreated through the veil of memory and imbue his
paintings with a fantastical, otherworldly quality.
In Retorno al pasado, Morales paints a familiar scene that evinces a "dream-like reality"
that celebrates small town values while honoring women and his familial past.
Rendered in a rich palette that suggests the bright colors one encounters in Oaxaca's
local markets, colonial buildings and in its varied flora, an aura of nostalgia and
yearning permeates the scene. Morales 'naïve" like approach disposes of traditional
linear perspective and instead reveals a stage-like setting populated by floating heads
of women, a lone female figure with disproportionately large hands embracing a
seemingly infinitesimal number of heads, and an image of the artist's childhood home in
Octolán. The presence of a number of empty chairs in differing sizes and scales
function as stand-ins for his familial ancestors, while a veiled female 'bride" head further
underscores the themes of ritual, melancholy, and the desire to return to the simpler
values and traditions of the past. Morales once famously stated that, "Mexico would be
lost without the steadfast work of women. They bear the burden of day-to-day living and
find solutions to those problems which men simply resign themselves." In Retorno al
pasado, Morales not only pays tribute to the role of women as caretakers and nurtures,
but also equally posits their significance as the keepers of memorythe bridge between
the past and the present.
Marysol Nieves, independent curator based in New York
Fig. 1
Rodolfo Morales in his studio
Latin American Art
LOT 22

LA FEMME MAGIQUE
signed and dated 1951 lower left; also signed on the reverse
oil on canvas
31 5/8 by 23 3/4 in.

80.2 by 60.3 cm
ESTIMATE 300,000 - 400,000 USD

PROVENANCE
Sale: Loudmer Scp, Importants Tableaux Modernes et Sculptures, November 19, 1989, lot 54
CDS Gallery, New York
EXHIBITION
New York, The Studio Museum in Harlem, Wifredo Lam and his Contemporaries 1938-1952, 1992, p. 128, n. 52,
Coral Gables, Gary Nader Fine Art, Wifredo Lam: A tribute, 1993, illustrated in color
LITERATURE
Lou Laurin-Lam, Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume I, 1923-1960, Lausanne, 1996, p.
438, n. 51.04, illustrated
CATALOGUE NOTE
This 1951 painting demonstrated the many guises in which Lam's "femme cheval" figure appeared that transformed
her into a vehicle a great virtuosity and variation in his work. La Femme magique is distinct from her relatives of the
early 1940s and represents distinct developments in Lam's work over all in the late 1940s. While Lam frequently
painted his early "femme chevals" in warm earth tones, here the palette is more strictly held to browns, blacks and
beiges with some tinges of yellow and orange. Also where the femme chevals of the earlier 1940s are more cubistic
in quality with multiple and overlapping, fractured but volumetric planes, by the late 1940s the figural elements have
become flatter. As seen here the single femme cheval, invariably seen in ¾ length retains an "Egypt-izing"
presentation of the head in profile, the upper torso and shoulder frontally and the lower torso in profile again.
This femme cheval has a trumpet-shaped headone of many versions including elongated horse snouts, ovals and
circleswith three protruding spiney elements that replace features. Her head is surmounted by another circular head
and she sports horns. Such elements have been seen variously as retrospective references to the mantillas and
combs worn by the women whose portraits Lam did in Spain in the 1920s and as avatars of Yoruba deities who
manifest through the head.
It is interesting that many of these elements can be seen as early as 1940-41 in the suite of drawings that Lam did
in Marseilles which formed the basis of his signature style. In what has by now become a familiar compositional
element in Lam's work another shadowy figure looms behind the femme cheval. Both shadow and doppelganger it
can be seen as a reference to a dream experience from Lam's youth as well as an intimation of racial origins that
haunt those who would hide their genetic roots. Given the extraordinary mixtures among Europeans, Africans and
Indians that have occurred in the Americas since their first encounters, this is pertinent reading. In the final analysis,
however, it may just be yet another representation of the other dimensions of reality that coexist with that of the
empirical world or an avatar of the female as devotee of the Afro-Cuban religion.
Lowery Stokes Sims
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the artist signed and dated 1958; also signed by
Lou-Laurin-Lam
Latin American Art
LOT 23

CONSTELACIÓN
inscribed with siganture and dated 89

bronze with unique patina
43 by 16 1/8 by 11 ¼ in.
109.2 by 41 by 28.6 cm
ESTIMATE 40,000 - 60,000 USD

PROVENANCE
Hine Editions, San Fancisco
EXHIBITION
Mexico City, Galería de Arte Mexicano, Gunther Gerzso, May 1990, n. 13, illustration of
a different cast
Los Angeles, Wenger Gallery, Gunther Gerzso, October-November 1991 Fig. 1
New York, America's Society, Gunther Gerzso, Sculpture and Prints, Gunther Gerzso and Alejandro
SeptemberOctober 1995, illustration of a different cast Galindo in Chichén Itzá, Mexico,
New York, Mary-Anne Martin/Fine Art; Zurich, Galerie Rahn, Gunther Gerzso, 80th 1953.
Birthday Show, September 19951996, p. 17, n. 33, illustration of a different cast
LITERATURE
Marie-Pierre Colle, Latin American Artists in their Studios, 1994, illustration of the artist
in the foundry with an unpainted cast from this edition
Rita Eder, Gunther Gerzso. El Esplendor de la Muralla, Mexico, 1994, n. 109,
illustration of a different cast
CATALOGUE NOTE
"I use the tropical landscape, Pre-Hispanic figures and Pre-Hispanic architecture as a
starting point in the same way that cubists used African art, Matisse used Persian
miniatures, or the masters of the Renaissance used Greek and Roman art."
- Gunther Gerzso1
(1) Diana C. du Pont, El Riesgo De Lo Abstracto: El Modernismo Mexicano Y El Arte

De Gunther Gerzso. [Ciudad De México]: DGE Equilibrista, 2003, p. 110.
Fig. 1
Gunther Gerzso and Alejandro Galindo in Chichén Itzá, Mexico, 1953.
Latin American Art
LOT 24
PROPERTY FROM THE COLLECTION OF DR. AND MRS. SIDNEY MERIANS

LA TOILETTE

oil on canvas
73 by 57 1/2 in.
185.4 by 145.3 cm
73 x 58 inches
ESTIMATE 500,000 - 700,000 USD

PROVENANCE
EXHIBITION
New York, Marlborough Gallery, Fernando Botero - Recent Work, November 7-
December 2, 1980, p. 29, n. 21, illustrated in color Fig. 1
Fernando Botero, Woman Before
a Mirror, 1980, oil on canvas laid
down on panel, 161/4 by 111/4
LITERATURE in. Photo: Sotheby's, November,
Pierre Restany, Botero, Geneva 1983, illustrated in color 1997
"Botero", Découvrons l'art - 20e siècle, Paris, 1996, illustrated in color and reproduced
on dust jacket
CATALOGUE NOTE
Fernando Botero's interpretation of reality is unique in style as well as in execution. In a
world where the viewer has been lulled into a trance by the media's bombardment,
Botero's imagery still has the power to stop, provoke and even shock.
Botero's paintings, as we know them, came to be after a series of logical progressions.
His early paintings resulted from an intense study of the works of the Old Masters as
well as analyzing the paintings of the father of modernism, Paul Cézanne. In addition to
seeing those works during a trip to Europe in 1952, the paintings of New York's
Abstract Expressionists were also of theoretical interest to the young artist. After giving
up a professorship at the School of Fine Arts at the National University in Bogotá,
Botero traveled to New York where he decided to make his mark in the art world. He
arrived in America after already having had a one-man show at the Pan American
Union in Washington, D.C. It was in 1961, though, when The Museum of Modern Art in
New York acquired his 1959 masterpiece Mona Lisa, Age Twelve that Botero launched
into the mainstream.
As his style matured, the genre of his imagery became satirical renditions of fantastical
personages of Latin America that are literally "larger than life." Depictions of generals,
bishops, nuns, politicos, musicians, nudes, brothel scenes and even the mundane still
life were "updated" to be seen in a new light.
Painted in 1980, Fernando Botero's La Toilette is a masterful rendition of one of the
artist's favorite subjects, the female in an intimate setting. Botero tends to primarily
focus on standing and reclining female nudes that are posed in surroundings
reminiscent of the Old Masters who were inspirational to his painting. Sensuality is
explored in Botero's compositions (see fig. 1); the fleshy, eroticized, voluptuous nude is
captured in an private moment. This preparatory work was re-worked, resulting in the
large-scale canvas, La Toilette. In the final composition, the same model is depicted;
though, in this case she is seen in a yellow floral-printed dress. Characteristic of works
painted during this period, La Toilette exacts the flourish that Botero commands with his
brush. Botero has made great efforts to carefully delineate the figure's coiffed hair, as
evidenced by the comb in her hand. Additionally, the woman's flesh has been rendered
delicately; a small beauty mark adorns her shoulder. Her beaded necklace glistens from
the light reflected by the large looking glass. Extraneous elements have been
eliminated in order for the viewer to focus on the moment when the woman is applying
her bright-red lipstick, prior to her meeting her lover or client.
Fig. 1 Fernando Botero, Woman Before a Mirror, 1980, oil on canvas laid down on
panel, 16 3/8 by Photo: Sotheby's, November, 1997, $90,500
Fig. 1
Fernando Botero, Woman Before a Mirror, 1980, oil on canvas laid down on panel,
161/4 by 111/4 in. Photo: Sotheby's, November, 1997
Latin American Art
LOT 25
FRANCISCO ZÚÑIGA (1912-1998)

DESNUDO EN EL AIRE
inscribed with signature and stamped 1970; also stamped with foundry mark
bronze; ed. III
Length: 67 in.
170 cm
ESTIMATE 125,000 - 175,000 USD

PROVENANCE
Laura Villaseñor (acquired from the artist)
LITERATURE
Fundación Zúñiga, Francisco Zúñiga: Catálogo Razonado/Catalogue Raisonné (1923-
1993), Mexico City, 1999, p. 372, n. 630, illustrated (incorrectly dated 1971)
Fig. 1
Desnudo en el Aire at Zúñiga's
Fig. 1 studio
Desnudo en el Aire at Zúñiga's studio
Latin American Art
LOT 26
DIEGO RIVERA (1886-1957)

LA TEJEDORA Y LOS NIÑOS

oil on canvas
47¾ by 60¼ in.

121.5 by 153 cm
ESTIMATE 1,300,000 - 1,500,000 USD

PROVENANCE
Private Collection, Mexico
Thence by descent to the present owners
EXHIBITION
Mexico City, Museo Nacional de Arte Moderno, Instituto Nacional de Bellas Artes,
Secretaría de Educación Pública, Obras de Diego Rivera. Homenaje en el 72
aniversario de su nacimiento. December 1958-February 1959 Fig. 1
Diego Rivera, Mural at the
Secretaría de Educación Pública,
1928 © 2010 Artists Rights
LITERATURE Society (ARS), New York
Instituto Nacional de Bellas Artes, Diego Rivera, Catálogo General de Obra de
Caballete, Mexico City, 1989, p. 267, n. 2057, illustrated
CATALOGUE NOTE
This painting is part of the National Heritage of Mexico and cannot be
permanently exported from the country. Accordingly, it is offered for sale in New
York from the catalogue and will not be available in New York for inspection or
delivery. The painting will be released to the purchaser in Mexico in compliance
with all local requirements. Prospective buyers may contact Sotheby's
representatives in Mexico City and Monterrey for an appointment to view the
Fig. 2
work.
Para 1953, el afamado pintor mexicano Diego Rivera tenía 67 años y no obstante, 1928 © 2010 Artists Rights
seguía emprendiendo múltiples proyectos artísticos, tanto públicos como privados: ya Society (ARS), New York
fuesen murales al fresco y en mosaico veneciano, como para el Teatro de los
Insurgentes y el Hospital de La Raza en la ciudad de México, como además diversas
pinturas de caballete para los numerosos coleccionistas mexicanos y extranjeros que
continuaban solicitando obras al célebre artista. Para los años cincuenta, sin duda
Rivera había logrado posicionarse como el más renombrado pintor de retratos de la
ascendente burguesía mexicana y la posesión de sus pinturas por encargo, eran
indicador del mayor reconocimiento de condición de clase al que podía aspirarse en el
México de la postguerra.
Tras más de tres décadas de intenso trabajo creativo, Diego Rivera continuaba
descubriendo y pintando la diversidad cultural de México. Desde que arribó procedente
de Europa en 1921, el pintor no sesgó en revelar a los ojos de propios y extraños, su
Fig. 3
visión amorosa sobre el país que le vio nacer. Tras haber realizado un viaje a la
península de Yucatán, Campeche y al Istmo de Tehuantepec hacia 1922, el muralista
se enamoró de la diversidad étnica de los mexicanos y se dio a la tarea, como artista,
1928 © 2010 Artists Rights
de intentar dignificar la imagen de los indígenas de México, a través de su arte. En casi
Society (ARS), New York
todos sus murales, numerosas pinturas e incontables dibujos y acuarelas, el tema de
su trabajo fue la condición de vida de los mexicanos; su realidad social y cultural; su
origen e historia; sus fiestas y tradiciones; su paisaje, valores y costumbres; incluso
sus sueños y aspiraciones en el concierto del orden mundial.
Esta pintura al óleo y temple, que el maestro intitulo La tejedora y los niños es una obra
que se ha mantenido ajena a los ojos del público por más de cincuenta años, y es
conocida solo para los especialistas y estudioso del arte de Rivera a través del
Catálogo general de obra de caballete, donde mal se reproduce y solo en blanco y
negro. La pieza posee innegables méritos estéticos que la ubican entre las obras de
mayor importancia que Rivera realizó en la última década de su vida. Temáticamente
se sitúa en continuidad con las primeras imágenes paradisíacas sobre el istmo y el
trópico mexicano, que pintó en los murales de la Secretaría de Educación Pública en
1923; con evidentes vínculos a la pintura europea postimpresionista que Rivera
conoció y estudió en París, particularmente las escenas bucólicas de Paul Gauguin y
Puvis de Chavannes. En cuanto al estilo, esta obra de caballete esta relacionada con
dos proyectos de decoraciones de gran formato, elaborados por Rivera entre 1953 y
1954 para el empresario Santiago Reachi: dos escenas de tradiciones navideñas (La
piñata y Los niños pidiendo posada) y cuatro tableros al óleo y mural veneciano con el
tema de Río Juchitán , que realizó poco más de un año después. La tejedora y los
niños es quizá la última visión idílica de Diego Rivera sobre el Istmo de Tehuantepec,
donde el maestro ha reinterpretado los arquetipos de estilo que comenzó a desarrollar
en los años veinte y a los que regresó hacia el final de su vida, aunando una mayor
soltura en los trazos, una invención cromática más audaz y una solución compositiva
que exalta las virtudes de la visión romántica del pintor, sobre su México tan amado.
Profesor Luis-Martín Lozano, abril, 2010
By 1953, the famous Mexican painter Diego Rivera was 67 years-old and actively
involved in many artistic projects, both public and private, whether they were fresco or
venetian mosaic murals (such as those for the Teatro de los Insurgentes and the
Hospital de la Raza in Mexico City) or works on canvas for the numerous Mexican and
foreign collectors that continued to commission paintings from the celebrated artist. By
the 1950s, Rivera had undoubtedly established himself as the most renowned portrait
painter for the rising bourgeois class; owning one of his commissioned works was the
ultimate status symbol in post-war Mexico.
After more than three decades of intense creative work, Diego Rivera continued to
discover and paint Mexico's cultural diversity. From the time of his arrival from Europe
in 1921, the painter did not shy away from revealing, both to himself and others, his
loving vision of the country where he was born. After a trip to the Yucatán Peninsula
and the Tehuantepec Isthmus in 1992, the muralist fell in love with the ethnic diversity
of Mexicans and took to the task, as an artist, of trying to dignify the image of the
Mexican indigenous people through his art. In almost all of his murals, numerous
paintings and countless drawings and watercolors, the recurring theme centers around
the lives of Mexicans; their social and cultural reality; their history and origins; their
festivals and traditions; their landscape, values and customs; even their dreams and
aspirations within the harmony of world order.
This oil on canvas that the master titled La tejedora y los niños, is a work that has been
hidden from the public eye for more than fifty years and is known only to specialists and
experts in the art of Rivera by means of the Catálogo general de obra de caballete,
where it is poorly reproduced in black and white. The piece has an undeniable aesthetic
merit that places it among the most important works that Rivera completed in the last
decade of his life. Thematically, it can be placed in continuation to the first paradisiacal
images of the isthmus and of the Mexican tropic, which he painted for the murals of the
Secretaría de Educación Pública in 1923 and which reveals clear links to the European
postimpressionist painting that Rivera saw and studied while in Paris, particularly Paul
Gauguin and Puvis de Chavannes' bucolic scenes.
Stylistically this painting relates to two large-scale decorative projects that Rivera
completed between 1953 and 1954 for businessman Santiago Reachi: two scenes of
Christmas traditions (La Piñata and Los niños pidiendo posada) and four oil and
Venetian mural on board pieces about the Río Juchitán, which he completed a little
over a year later. La tejedora y los niños is perhaps the last of Diego Rivera's idyllic
visions about the Tehuantepec Isthmus. In it, the master has reinterpreted the stylistic
archetypes that he began to develop in the 1920s and to which he returned at the end
of his life, combining a greater ease in his brushstroke, a more daring use of color and
a mastered composition, all highlighting the virtues of the painter's romantic vision of
his beloved Mexico.
Professor Luis-Martín Lozano, April, 2010
Fig. 1
Diego Rivera, Mural at the Secretaría de Educación Pública, 1928 © 2010 Artists
Rights Society (ARS), New York
Fig. 2
Fig. 3
Latin American Art
LOT 27
ALFREDO RAMOS MARTÍNEZ (1872-1946)

LA OFRENDA
oil on paper laid down on panel
31 by 95 5/8 in.
78.7 by 242.9 cm
ESTIMATE 450,000 - 650,000 USD

PROVENANCE
Armando Villavicencio Rudametkin
Private Collection, Mexico
EXHIBITION
Monterrey, Museo de arte contemporáneo de Monterrey, Un Homenaje a Alfredo
Ramos Martínez (1871-1946), August 1996 - February 1997, p. 157, n. 69, illustrated in
color Fig. 1
Alfredo Ramos Martínez painting
the mural at Scripps College,
1946
AUTHENTICATION
We are grateful to María Ramos Martinez Bolster, Margarita Nieto and Louis Stern for
their assistance in confirming the authenticity of this work. To be included in the
forthcoming catalogue raisonné of the artist's paintings to be published by the Alfredo
Ramos Martinez Research Project.
Fig. 1
Alfredo Ramos Martínez painting the mural at Scripps College, 1946
Latin American Art
LOT 28

FEMME NUE ALONGÉE
inscribed with signature and numbered 2/6

bronze, black patina
20 1/2 by 42 1/2 by 22 in.

52 by 108 by 56 cm
Executed in 2000.
ESTIMATE 450,000 - 650,000 USD
PROVENANCE
Acquired from the artist by the present owner
Latin American Art
LOT 29
JOAQUÍN TORRES-GARCÍA (1874-1949)

CONSTRUCTIVO
signed upper left and dated 30 upper right

oil on canvas
29 1/8 by 39 in.
74 by 99 cm
ESTIMATE 350,000 - 450,000 USD

PROVENANCE
Jorge Castillo, Buenos Aires
Private Collection, Switzerland (acquired from the above, June 27, 1984)
EXHIBITION
Galería Bildstein, Buenos Aires
Galería Sur, Punta del Este
Madrid, Museo Nacional Centro de Arte Reina Sofía; Valencia, IVAM, Centre Julio González, La Escuela del Sur:
El Taller Torres-García y su Legado, July 18-November 10, 1991, no. 47
AUTHENTICATION
This work will be included in the forthcoming Catalogue Raisonné being prepared by Cecilia de Torres, listed as Nº
P1930.40.
Latin American Art
LOT 30

TOTEM
stamped with signature of the artist by Lou Laurin-Lam lower right

oil on canvas
35 5/8 by 23 1/2 in.

90.7 by 59.7 cm
Painted in 1951.
ESTIMATE 325,000 - 400,000 USD

PROVENANCE
Galleria Ferrari, Treviglio
C. Bruni, Rome
Private collection, Rome
Sale: Christie's, New York, Important Latin American Paintings, Drawings and Sculpture, November 20, 1995, lot
63, illustrated in color
Sale: Gary Nader, Latin American Art Auction: Important Paintings, Sculpture and Drawings, January 11, 1998, lot
26
EXHIBITION
Miami, Gary Nader, Wifredo Lam. Homage 100 Birthday, December 2002, illustrated in color
Milwaukee, The Patrick and Beatrice Haggerty Museum of Art, Wifredo Lam in North American, October 11, 2007-
January 21, 2008, p. 126, n. 52, illustrated in color
LITERATURE
Lou Laurin-Lam, Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume I, 1923-1960, Lausanne, 1996, p.
441, n. 51.15
CATALOGUE NOTE
"When I look at all these paintings I remember that Wifredo always told me that a painting is like a dialogue
between the figures on the canvas and the onlooker. It evokes different sensations even in the same person from
one day to the next, depending on his or her mood." (Helena Benitez, Wifredo and Helena, My Life with Wifredo
Lam 1939-1950, Lausanne, 1999, p. 122)
Latin American Art
LOT 31
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
EMILIO PETTORUTI (1892-1971)

QUIÉTUDE AU DELÀ
signed, titled and dated 56 on the reverse

oil on canvas
25 5/8 by 39 1/2 in.

65 by 100.3 cm
ESTIMATE 110,000 - 160,000 USD

PROVENANCE
Private Collection, France (acquired from the artist)
Thence by descent to the previous owner
EXHIBITION
New York, Galerie Chalette, 1960
Cincinatti, Contemporary Art Center, 1960
Chicago, The Arts Club of Chicago, 1960
Minneapolis, Walker Art Center, 1961
Buenos Aires, Galería Rubbers, Emilio Pettoruti, 1964, no. 2
LITERATURE
Angel Osvaldo Nessi, Emilio Pettoruti: Un Clásico en la Vanguardia, Buenos Aires, Estudio de Arte, 1987, p. 181,
no. 441
Fundación Pettoruti, Emilio Pettoruti, Buenos Aires, Gráfica Eco, 1995, no. 440, illustrated in color
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the Fundación Pettoruti signed and dated 29 de
febrero de 2008.
Latin American Art
LOT 33
LYGIA CLARK (1920-1988)

ANIMAL (BICHO)
labeled with artist's name, title and dated 1969; also numbered series 2, no. 6 (multiple, ed. Jeremy Fry)
metal
dimensions variable
approx. 10 by 10 in.; 25.5 by 25.5 cm
ESTIMATE 30,000 - 40,000 USD
PROVENANCE
Private collection, Caracas, Venezuela
Latin American Art
LOT 34

ARMONIA-MOVIMENTO SPAZIO-DISEGNO ASTRATTO

charcoal on paper laid down on board
17 5/8 by 22 3/4 in.

44.8 by 57.9 cm
Executed in 1914.
ESTIMATE 90,000 - 120,000 USD

PROVENANCE
Alberto Sartoris, Lutry
EXHIBITION
Paris, Galerie Hautefeuille, 1958
Florence, Galleria Vigna Nuova, 1959, n. 21
Paris, Gelerie Charpentier, Pettoruti, 50 ans de Peinture, 1964, n. 2
Basel, Kunsthalle, 1969, n. 3
Geneva, Musée Rath, 1969, n.3
LITERATURE
Angel Osvaldo Nessi, Emilio Pettoruti. un clásico en la vanguardia, Buenos Aires, 1987, n. 10, p. 114, illustrated
Fundación Pettoruti, Emilio Pettoruti, Buenos Aires, 1995, n. 21, illustrated
CATALOGUE NOTE
Emilio Pettoruti left Buenos Aires in 1913 and sailed for Europe arriving several months later in Genoa and
eventually making his way to Florence. Once there, he joined the ranks of artists from around the world who were
flocking to Italy to study the masters of the Renaissance and the legacy of the Roman Empire.
Interestingly, it was not the lure of the old that interested Pettorutti but rather the challenge of the new. He devoured
the magazine Lacerba, which published the Futurist Manifesto by Filippo Tommaso Marinetti and other theorists.
Soon after he saw the Espozisione Futurista Lacerba at the Libreria Gonnelli in Florence which included works by
Gino Severini and Umberto Boccioni.
Pettoruti immersed himself in this new world and produced a series of visceral Futurist works, mostly on paper,
including Armonia-Movimento Spazio-Disegno Astratto which conveys the energy he felt upon encountering this
new language, so different from the Impressionist-inspired works he produced in Buenos Aires.
Latin American Art
LOT 35
PROPERTY FROM A PRIVATE COLLECTION, ARIZONA
JESÚS RAFAEL SOTO (1923-2005)

CADMIO CENTRAL

painted wood and metal panels
60 1/4 by 59 3/4 by 5 3/4 in.

153 by 150.5 by 14.6 cm
Executed in 1996.
ESTIMATE 100,000 - 150,000 USD
PROVENANCE
Riva Yares Gallery, Scottsdale
Latin American Art
LOT 36

PHYSICHROMIE Nº 321-A
signed, titled and dated Paris.AUR.67 on the reverse

23 7/8 by 95 in.
60.5 by 241 cm
Executed in 1967.
ESTIMATE 200,000 - 250,000 USD

PROVENANCE
Galería Arte Contacto, Caracas
Private collection, Miami (acquired from the above in 1968)
CATALOGUE NOTE
"I propose an autonomous color without anecdotes or symbols, like an evolving phenomenon that involves us; color
in constant mutation creating autonomous realities : realities because the events happen in space and time and
autonomous because they don't refer to anything in nature".
Carlos Cruz Diez(1)
(1) Cruz Diez, Atelier Cruz Diez Ed., Paris, 2007, p. 1

Latin American Art
LOT 37
GEGO (GERTRUDIS GOLDSCHMIDT) (1912-1994)

SIN TÍTULO (3 SCULPTURES)
welded bronze wires
Each is approx. 26 1/4 in.; 64 cm (diameter)

Executed circa 1977.
ESTIMATE 200,000 - 300,000 USD

PROVENANCE
Fundación GEGO, Caracas
Manuel Vegas, Caracas
EXHIBITION
Caracas, Museo de Arte Contemporáneo, Gego, September 1977 (the complete series shown)
Caracas, Museo de Bellas Artes, Gego, 1955-1990, November 2000-April 2001, n. 985 (a selection of the series
shown)
Porto, Museu de Arte Contemporaneo de Serralves, Gego. Defying Structures, July-October 2006; Barcelona,
Museu dárt Contemporani de Barcelona MACBA, November 2006-January 2007 (a selection of the series shown)
LITERATURE
Iris Peruga et al., Gego. Obra Completa, 1955-1990, Caracas, 2003
CATALOGUE NOTE
Thirty years ago I was trained as an architect, committed to draw lines with a definite meaning, lines that determine
forms or spaces as symbols of limits, never with a life of their own.
Many years later I discovered the charm of the line in and of itself the line in space as well as the line drawn on the
surface, and the nothing between the lines and the sparkling when they cross, when they are interrupted, when
they are of different colors or different types. I discovered that sometimes the in-between the lines is as important
as the line by itself.
There is still much to be experienced.
GEGO
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the Fundación GEGO dated 02 dias del mes de
abril de 2009
Latin American Art
LOT 38
MATHÍAS GOERITZ (1915-1990)

MENSAJE
gold painted perforated metal on painted wood panel
36 1/2 by 174 1/2 in.

92.7 by 443.2 cm
Executed in 1979.
ESTIMATE 150,000 - 250,000 USD

PROVENANCE
Atlantic Richfield Collection, Denver
Denver Art Museum, Denver (Deaccessioned, 2009)
LITERATURE
Lily Kassner, Mathias Goeritz, Obras 1915 - 1990, Mexico City, 1998, no. 717, p. 178, illustrated
CATALOGUE NOTE
Both Herbert Bayer and Mathias Goeritz were known for being extraordinary teachers. Bayer was dedicated to
teaching in the Bauhaus school, and Goeritz implemented his own methodology, based on the ideas put forth by
this school.
In 1968, Herbert Bayer was invited by Mathias Goeritz to the XIX Cultural Olympics in Mexico, where he completed
a magnificent urban sculpture. This bears witness to the close friendship and collaboration that arose between
these two great creators. Later, Mathias Goeritz would visit Herbert Bayer in the United States to collaborate in
diverse projects for the Atlantic Richfield Company.
In 1979, as part of these projects, Goeritz proposes the placement of two Mensajes in the offices of the Anaconda
Tower in Denver. These works of great artistic quality would have different colored backgrounds, one red and one
green.
The Mensaje shown in this catalogue is one of these two exceptional works, done on wood painted green and
covered with a perforated golden sheet. Each one refers to a Biblical verse, chosen for an exacerbated sense of
drama.
Goeritz defended a stance of anonymity and absence of vanity when it came to his work, thus adopting an absolute
and uninterested delivery, like that of the artisans of the past.
Dr Lily Kassner,
Spring 2010
Latin American Art
LOT 39

ESCRITURA LILIA

acrylic on wood, nylon string and painted metal wire
32 by 71 3/4 by 13 1/2 in.

81.2 by 182.3 by 34.3 cm
Executed in 1991.
ESTIMATE 175,000 - 225,000 USD
PROVENANCE
César Quintana, Caracas
Latin American Art
LOT 40
GERD LEUFERT (1914 - 1998)

LISTONADO
polichromed paint on wood
35 1/2 by 31 1/2 by 2 1/2 in.

90 by 80 by 6.4 cm
Executed in 1972.
ESTIMATE 20,000 - 25,000 USD

PROVENANCE
Fundación Leufert, Caracas
EXHIBITION
Caracas, Galería Conkright, 1972
Caracas, Sala Mendoza, Gerd Leufert. Exposición Antológica 1960-1972, Pinturas y Listonados, July 8-September
23, 2007. There is a forthcoming catalogue for this exhibition to be published in 2010
Latin American Art
LOT 41
GEGO (GERTRUDIS GOLDSCHMIDT) (1912-1994)

SIN TÍTULO

ink on paper
25 1/2 by 19 5/8 in.

64.8 by 50 cm
ESTIMATE 100,000 - 150,000 USD

PROVENANCE
Private Collection, Florida
EXHIBITION
Barquisimeto, Museo de Barquisimeto, 5/85, July-August 1985
AUTHENTICATION
This work is accompanied by a photo-certificate of authenticity by the Fundación Gego, dated Caracas, 5 dias del
mes de septiembre de 2008
Latin American Art
LOT 42

ESCRITURA NEGRA A LA IZQUIERDA

acrylic on wood with nylon string and painted metal
48 by 51 by 18 3/4 in.
122 by 129.5 by 47.6 cm
Executed in 1977.
ESTIMATE 200,000 - 300,000 USD
PROVENANCE
Private Collection, Korea (acquired from the artist)
Latin American Art
LOT 43
GUILLERMO KUITCA (B. 1961)

UNTITLED
signed and dated 1994 on the reverse

acrylic and oil on canvas
58 1/2 by 76 1/2 in.

148.6 by 194.3 cm
ESTIMATE 70,000 - 90,000 USD
PROVENANCE
Sperone Westwater, New York
Sale: Sotheby's, New York, Latin American Art, November 20, 2000, lot 59, illustrated in color
Latin American Art
LOT 44
DORIS SALCEDO (B. 1958)

CAMISAS BLANCAS
cloth, plaster and steel construction
60 by 10 by 13 1/2 in.
152.4 by 25.4 by 34.3 cm
Executed circa 1991-1993.
ESTIMATE 80,000 - 120,000 USD
PROVENANCE
Galeria Garces Velásquez, Bogotá, Colombia
Private Collection, Colombia
Latin American Art
LOT 45
MARISOL ESCOBAR (B. 1930)

PICASSO
inscribed with signature and dated 1977; also inscribed 2 AP

bronze; ed. AP 2/3
50 3/4 by 26 3/4 by 28 in.

129 by 68 by 71 cm
Executed in 1977.
ESTIMATE 70,000 - 90,000 USD

PROVENANCE
Galería Juan Ruiz, Maracaibo
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Galeria Juan Ruiz signed by the artist and dated
10/02/06
Latin American Art
LOT 46

UNTITLED
signed and dated 1992 on the reverse

mixed media on canvas
70 by 66 1/4 in.
177.8 by 168.3 cm
ESTIMATE 80,000 - 100,000 USD

PROVENANCE
Sperone Westwater Gallery, New York
EXHIBITION
New York, Sperone Westwater, Guillermo Kuitca, May 1993, no. 7, illustrated
Miami, Center for the Fine Arts, Guillermo Kuitca, Burning Beds: A Survey 1982-1994, January 27-April 26 1995
LITERATURE
Contemporary Art Foundation Amsterdam, Un Libro sobre Guillermo Kuitca, Valencia, 1993, p. 220, illustarted
Latin American Art
LOT 47

UOMO CHE CAMMINA (WALKING MAN)

marble (unique)
20 3/4 by 20 7/8 by 10 in.

52.7 by 53 by 25.4 cm
Executed in 2007.
ESTIMATE 300,000 - 350,000 USD

PROVENANCE
Felipe Grimberg Fine Art, Miami
Fig. 1
Fernando Botero in Pietra Santa, 2007
Fig. 1
Fernando Botero in Pietra Santa,
2007
Latin American Art
LOT 48
ANONYMOUS, MEXICAN SCHOOL (EARLY 18TH CENTURY)

LA ENTRADA DE JESÚS A JERUSALEM
oil and mother of pearl and plaster on canvas laid down on panel
26 5/8 by 36 in.
67.6 by 91.4 cm
ESTIMATE 80,000 - 100,000 USD

PROVENANCE
Sale: Sotheby's, New York, Latin American Paintings, Drawings and Sculpture, Part II, November 16, 1994, lot 150,
Private Collection, Monterrey
CATALOGUE NOTE
This work may be considered an artistic monument of Mexico and, if so, could not be exported without the approval
of the Instituto Nacional de Antropología e Historia (INAH). Accordingly, it is offered for sale in New York from the
catalogue and will not be available in New York for inspection or delivery. The painting will be released to the
purchaser in Mexico in compliance with all local requirements. Prospective buyers may contact Sotheby's
representatives in Mexico City and Monterrey for an appointment to view the work.
Latin American Art
LOT 49
ARMANDO REVERÓN (1889-1954)

PAISAJE CON UVEROS

oil on burlap laid down on canvas
34 1/2 by 42 1/2 in.

87.6 by 108 cm
ESTIMATE 175,000 - 225,000 USD

PROVENANCE
Private Collection, Miami (acquired from the artist)
LITERATURE
Juan Calzadilla, Armando Reverón, Caracas, 1979, p. 220, no. 335, illustrated in color
CATALOGUE NOTE
Ever since he moved to the isolated stretch of the central Venezuelan coast in the early 1920´s, Reverón would be
intrigued by the vast rocky beach that stretched for miles near his castillete or "little castle" in Macuto. These
landscapes took different shapes over the years: from predominantly bluish and whimsical compositions in the
1920´s, to whitewashed, blinding landscapes in the early 1930´s. The art historian Alfredo Boulton, the artist's
principal biographer, grouped Reverón's works from the late thirties and forties under the label Sepia as they are of
an earthier palette.
Paisaje con Uveros, 1945, is one of the largest and finest landscapes made by the artist in this Sepia period. It was
executed at the moment when the first lights of dawn broke over Caraballeda point. The use of burlap as a support
determines the overall earthy character of the painting. He defines the dark mass of the mountain by painting whites
around it, he suggests water and sky with pale blue dots and short lines in oddly selected spots. The two tree trunks
have been delineated across the composition with sensual care while the heavy grape tree leaves have been
added with a hand-made organic "brush" in punctual and rapid movements.
In this work, Reverón abandons the color modulation of the broad daylight paintings of the previous years in favor of
shadowy accents over the dry support that work to recreate the ethereal qualities observed between the latest
moments of night and the break of day.
AUTHENTICATION
We wish to thank the Comité Reverón for their kind assistance in confirming the authenticity of this lot. This lot will
be included in the forthcoming Catalogue Raisonné being prepared by the Comité Reverón.
Latin American Art
LOT 50
MARTÍN TOVAR Y TOVAR (1827-1902)

PORTRAIT OF A YOUNG GIRL
signed and dated Caracas 1858 lower right

oil on canvas
39 3/8 by 31 3/8 in.

100 by 79.8 cm
ESTIMATE 250,000 - 350,000 USD

PROVENANCE
Private Collection, Caracas
CATALOGUE NOTE
Descubrimiento, arte y memoria. El retrato de una joven pintado por Martín Tovar
y Tovar
Fig. 1
María Elena Huizi * Martîn Tovar y Tovar, (Ana Tovar
y Tovar de Zuloaga), 1858, oil on
canvas
En lo referente a ciertos aspectos sociales diría que desde la más tierna infancia una
niña de esa época tenía más o menos programada su vida de esta manera: sería
recibida en moisés de seda, con finos encajes; al ser blanca y de "buena familia"
pasaría su infancia entre mimos de la madre, las tías solteronas y esclavas cariñosas.
Al llegar a la crucial edad de los quince años ingresaba al convento o ya su padre
tendría concertado un matrimonio conveniente...
Ermila Troconis de Veracoechea
En enero de 1827, el Cónsul británico en la Guaira y Caracas Sir Robert Ker Porter
escribe refiriéndose a la situación del país: "la corrupción de los gobernantes y sus
satélites durante su ausencia [del Libertador] es la causa del descontento y la rebelión
que actualmente aquejan la República"[1]. Coincidencialmente, un mes después de la
lamentable narración del Cónsul nace en Caracas Martín Tovar y Tovar. Hijo del
legionario español Antonio María Tovar llegado a estas provincias en 1817, quien
provenía de Cájar de Granada, y de la joven criolla Damiana Tovar Liendo,
descendiente de José de Oviedo Ibáñez, primer historiador del territorio que hoy
conocemos como Venezuela. Para ese tiempo Caracas contaba con 50.067 habitantes
y aún sufría las secuelas de pobreza y devastación de la Guerra de la Independencia.
Como apunta Ramón de La Plaza, en las artes sólo se disponía de "los elementos
rudimentarios" que había dejado la pintura colonial. Ante tal panorama, no existía clima
para el surgimiento de una "pintura venezolana". Sin embargo, desde niño, Martín
mostró gran talento para el arte; y, ya en 1839 estudia dibujo con el maestro Carranza
y luego con Carmelo Fernández, sobrino del General Páez.
En verdad, son admirables las vueltas de la historia, así como los castigos y premios
de la providencia: si bien es cierto que la Colonia en nuestras precarias provincias no
nos favoreció con un legado artístico comparable al de los Virreinatos; también es
cierto que permitió que surgiera en Venezuela, durante la segunda mitad del siglo XIX,
el más grande movimiento de la pintura académica latinoamericana, representado por
Marín Tovar y Tovar, Arturo Michelena y Cristóbal Rojas principalmente.
A los 23 años, Tovar viaja a Madrid y se matricula en la Academia de San Fernando,
allí tiene como maestro en colorido y composición a José Madrazo. Dos años después,
en 1852 se va a Paris en dónde continuará su formación con el maestro León Coignet.
Esta primera experiencia europea va a ser definitiva para el artista. El crítico e
historiador de arte Enrique Planchart señala dos tendencias en la pintura española de
aquel momento, una afrancesada que sigue a David y otra tradicionalista, tras la huella
de Goya. Nuestro artista toma lo mejor de ambas, aunque conservando un estilo
independiente.
Cuando regresa a Caracas, en 1855, ya domina las técnicas y secretos de la pintura

académica. Sin embargo el país sigue atravesando situaciones difíciles, y sin
posibilidades de conseguir financiamiento para regresar a Europa, Tovar se dedica a
hacer retratos para las familias acomodadas y de sus parientes cercanos, entre los que
resalta el de su padre.
Cuatro años después viaja de nuevo a París y en1864 regresa a Caracas. No sabía,
aún, que en su país le esperaba la realización de una de las obras más hermosas y
descomunales de la historia de la pintura venezolana y de América Latina. En 1884
comienza la obra muralista que le propone Guzmán Blanco, siete grandes lienzos de
las Batallas y dos alegorías (a la paz y al progreso) y el Tratado de Coche, no logra
realizarlos todos, por razones políticas. Este proyecto lo llevará a su fin Antonio
Herrera Toro, quien lo asistió en la titánica empresa.
En 1888 pinta la obra maestra del muralismo venezolano, la Batalla de Carabobo, en

ella el paisaje es protagonista junto a las figuras humanas. Refiriéndose a esta obra sin
precedentes en el arte Latinoamericano, el mexicano David Alfaro Siqueiros afirmó que
era Martín Tovar, sin duda alguna, al más grande muralista latinoamericano del siglo
XIX y uno de los más brillantes del mundo.
II
Cuando nos enteramos de algo sorprendente, por ejemplo que una agencia de
Ámsterdam informa que en febrero de 2010 "una nueva obra del maestro holandés
Vincent Van Gogh (1853-1890) acaba de ver la luz; una tela de 1886 que reproduce un
molino de viento, Le blute-fin mill", nos sentimos emocionados como miembros que
somos, más o menos lejanos, de una época y una cultura. Ante cada hallazgo de un
maravilloso objeto, los seres humanos revivimos la experiencia y la sorpresa y el
descubrimiento. Puede ser el encuentro de un libro deseado, de un lugar de la infancia,
o el saber que se descubre una obra de arte en la que nos reconocemos cultural y
colectivamente. Las dimensiones históricas y el impacto cultural, así como la riqueza
del tesoro o su valor estético, pueden ser inmensamente variables. Pero la emoción
ante lo nunca visto adquiere una significación mayor cuando nos toca de cerca.
MARTÍN TOVAR Y TOVAR (1827-1902)
RETRATO DE UNA JOVEN CARAQUEÑA. Firmado y fechado: Caracas 1858 abajo

derecha; óleo sobre tela; 100 x 79.8 cm.; Colección privada, Caracas.
Hoy se ha incorporado a la historia del arte venezolano y latinoamericano una

excelente obra pictórica nunca antes expuesta ni reproducida en libros. Se trata del
Retrato de una joven caraqueña realizado, en 1958, por nuestro gran maestro del arte
académico Martín Tovar y Tovar (1827-1902). Sabemos que el artista a su regreso de
Paris, en 1955, se dedicó, como afirma su contemporáneo y discípulo Antonio Herrera
Toro "... a hacer lo único que en materia de arte le ofrecía el estrecho escenario de la
capital de Venezuela; es decir, retratos. Retratos que maravillaron, por la extraordinaria
semejanza, por la frescura del colorido, por la manera nueva, enteramente diferente de
las que entonces eran aquí conocidas. Los salones de las principales familias
caraqueñas guardan algunas joyas de esta época laboriosa de Tovar."[2]. El retrato
que hoy se da a conocer públicamente permaneció durante muchos años en una de
estas familias. Debió estar sumamente resguardado, pues cuando los historiadores y
críticos Alfredo Boulton y Juan Calzadilla escriben sobre la obra retratística de Tovar y
Tovar, destacan, con justicia, el Retrato de Ana Tovar de Zuloaga (1858), como la obra
maestra de este género del arte venezolano, sin mención alguna sobre esta pintura.
El personaje del inédito retrato es una jovencita, de expresión y compostura seria, de

piel blanca y ojos negros, que nos recuerdan la mirada sosegada y profunda de Ana
Tovar de Zuloaga en el retrato que le hiciera su hermano. Ambas obras fueron
realizadas en 1858. La descripción de las mujeres caraqueñas del siglo XIX que, en los
inicios del siglo, hace Francisco Dupont, se nos presenta como un anticipado o intuido
análisis plástico, casi un retrato hablado de la joven señora Zuloaga y de la jovencita
caraqueña recién descubierta: "Hay pocas rubias dice el cronista- la mayoría tienen
cabellos negros como el azabache y tez de alabastro. Sus ojos, grandes y rasgados,
hablan expresivamente ese lenguaje común a todos los países, pero no a todas las
edades. Sus labios encarnados matizan agradablemente la blancura de la piel y
contribuyen a formar ese conjunto que se llama belleza. Es lástima que la estatura de
las mujeres de Caracas no corresponda a la armonía de sus facciones..." [3]
La muchacha está de pie en primer plano, su sombrero de ala ancha y su brazo

izquierdo reposan sobre una piedra o ladera arcillosa rodeada de un follaje espeso y
oscuro, de altos ramajes, antesala del hermoso paisaje en panorámica que se abre
detrás de su figura en que se divisa un río y en la lejanía, detrás de las colinas,
levemente la caída del atardecer. Intuimos que es el valle de Caracas. El cielo y el
vestido azul, armado y de seda liviana, junto a la luminosidad del sobrero con sus orlas
de flores de gasa espumosa, crean un lírico contraste, un ámbito de elegancia, de
frescura y de calma. Entonces, esta joven, inmersa en el paisaje y en la luz de
Caracas, adquiere para nosotros un sentido simbólico. Su fuerza significativa se
impone como imagen de una época, de una cultura, de una forma de ser y una
mentalidad: las mujeres y las niñas venezolanas del siglo XIX. Y con ellas parte de la
narración visual de Venezuela y América Latina.
III
Un amigo y coleccionista me habló de este Retrato de una joven caraqueña pintado en

1858 por Tovar y Tovar prácticamente desconocido para el público. Conversamos
sobre los rasgos que comparte la recién descubierta obra con el famoso retrato de la
hermana de la artista y sus diferencias, especialmente en relación al ámbito: el paisaje
al aire libre de la joven y el interior del porche de la casa de la señora Tovar de
Zuloaga. Luego, posiblemente llevado por esa costumbre que tenemos los curiosos del
arte de buscar, intuitiva o concientemente, analogías entre imágenes, me hizo llegar
una reproducción del Retrato de la señora de Carballo niña (1838-1840) del pintor
español Vicente López Porteña (1772-1850), perteneciente al Museo del Prado. Es
sorprendente, porque nos aporta también datos sobre las diferencias entre el clima
cultural y psicológico de los dos personajes. La niña española refresca sus manos en
el agua; está en un lugar campestre en el que hay signos de labores, una "canaleja"
por donde cae el agua, una cubeta al fondo; uno de sus pies está descalzo. Aunque la
tela de su vestido es muy fina, signo de opulencia y de gusto por lo barroco y colorido,
la niña está sentada con desenfado y sensualidad. Ambas jóvenes comparten el
carácter pastoril, la belleza y frescura de la adolescencia, así como los signos de una
clase social. Pero la niña mantuana caraqueña, a pesar de su corta edad, nos recuerda
la moral decimonónica. Su gracia, su elegancia y su porte, más que en la sensualidad
o el desparpajo de una ninfa del bosque, rallan en la austeridad de lo monjil.
En el paisaje no se distinguen los límites de un jardín, es un campo abierto, pero el

lugar es tranquilo. La joven no pareciera estar fatigada por un largo paseo, su peinado
está perfecto y no tiene nada en común con el pelo rubio y revuelto de la agreste
señorita española. Está posando, en pose de descanso para su retrato. Sus enaguas
están limpias, su vestido sin arrugas. Hay una estudiada delicadeza en toda la imagen
de la niña, en la que cumplen una significación no sólo estética, sino muy acertada en
relación a lo femenino, las florerillas en sus manos, las mismas que adornan el porche
de la señora Zuloaga. Estas florecillas tienen todo el aspecto de ser una de las muchas
especies del género Petunia, perteneciente a la familia de las Solanáceas, nativas del
Trópico americano. Sus botines y su resplandeciente sombrero son la precisa narrativa
visual de una clase social, de las costumbres de las damas y señoritas de Caracas
que, desde la colonia no habían cambiado mucho en el siglo XIX, y hasta comienzos
del XX, si recordamos el diario de María Eugenia Alonso en la Ifigenia de Teresa de La
Parra.
Es, entonces, cuando una obra de arte se convierte en imagen que atinadamente
penetra en la memoria del espectador, en sus recuerdos y vivencias propias y como
parte de una memoria colectiva. Se nos presenta como imagen estética o de género
pictórico, y también como puerta que abre nuestra memoria, hacia la Caracas de
mediados del siglo XIX, con sus prejuicios y supersticiones; ingenua y golpeada por las
recientes guerras que han dejado en ella un rostro y un sentimiento de tristeza, pero
que en muchos sentidos era feliz y sencilla.
IV
Se considera a Martín Tovar y Tovar como el precursor de la pintura del paisaje al aire
libre (plein air) en el arte venezolano, que luego será la búsqueda fundamental de los
pintores del Círculo de Bellas Artes creado en1912. Juan Calzadilla destaca que la
importancia de Tovar como paisajista se ubica ya en1885, y se reafirma en 1888 con la
pintura mural la Batalla de Carabobo. Este monumental paisaje -afirma Calzadilla-
"significa el descubrimiento de la luz".
Contemplamos a nuestra jovencita criolla a la luz del paisaje Playa de Macuto (de la
que reproducimos un detalle) realizado en 1890, en los años finales la trayectoria del
artista, cuando pasaba largas temporadas en Macuto. En Playa de Macuto, el follaje
oscuro se asemeja a la vegetación tupida del recodo de sombra en donde descansa la
joven del retrato. Estas dos obras, tan distantes en el tiempo de la trayectoria del
pintor, comparten el contraste entre la vegetación espesa y la claridad del azul cielo y
el blanco, así como el tema de la lejanía y el horizonte en el paisaje.
Luis Pérez Oramas señala tradiciones que establecen una continuidad en nuestras
artes visuales, siendo el paisaje una de las de mayor peso. El Retrato de una joven
caraqueña es, a mi modo de ver, uno de los significativos nudos en ese hilo que se
extiende desde la época colonial hasta el presente. Dice Pérez Oramas que el
surgimiento de una corriente neo-constructivista, entre 1950 y 1975, y especialmente
del cinetismo, generó una forma de "continuidad" desde la negación de "la modesta
tradición paisajística que lo precedía". Y que "la invención de la continuidad vendría a
estar, "como un ritornello", en el mismo sitio: en el paisaje, tan "negado por nuestra
ilusión moderna"[4]. Es así, que a esta jovencita retratada por Tovar y Tovar constituye
también un vaso comunicante, un gozne en esa continuidad del legado y el hacer del
arte venezolano; continuidad de gestos, signos y formas que nos incitan a una
relectura de la relación del artista con el paisaje.
Finalmente, la obra de Tovar y Tovar que ahora se incorpora al registro de de nuestras

artes plásticas, contribuye, como un brillante grano de arena del pasado en apoyo al
presente, a la negación de un mito que renace cada cierto tiempo pontificando la
"muerte de la pintura". Como ha escrito hace poco la crítico Roberta Smith [5] en
relación a una exposición de jóvenes pintores que emergen en la década pasada:
"Pictorial communication signs, symbols, images and colors on a flat surface is one of
the oldest and richest of human inventions, like writing or music..." Ω
* Escritora y museóloga
[1] S. Robert Ker Porter. Diario de un diplomático británico en Venezuela. Caracas,

Fundación Polar, 1997
[2] El Cojo Ilustrado nº 59; Caracas 1º de junio 1894
[3] Carlos F. Duarte. La vida cotidiana en Venezuela durante el Período Hispánico.

Tomo I. Caracas, Fundación Cisneros, 2001.
[4] Luis Pérez Oramas. "La invención de la continuidad". En La invención de la

continuidad. Caracas, Galería de Arte Nacional, 1997.
[5] Roberta Smith. "It's Not Dry Yet". New York Times. N. Y., 28-03.2010
Fig. 1
Martîn Tovar y Tovar, (Ana Tovar y Tovar de Zuloaga), 1858, oil on canvas
Latin American Art
LOT 51
FRANCISCO MANUEL OLLER (1833-1917)

PAISAJE NOCTURNO
signed lower left

oil on wood panel
11 5/8 by 26 in.
29.5 by 66 cm
ESTIMATE 40,000 - 60,000 USD

PROVENANCE
Collection of Dr. Manuel Zeno Gandía (acquired from the artist)
Hence by desdent to the present owner
LITERATURE
Marimar Benítez, Francisco Oller, Un realista del Impresionismo, Ponce, 1983, no. 66, p. 209, illustrated
CATALOGUE NOTE
Paisaje nocturno is perhaps the only noctural landscape painted by Puerto Rico's iconic nineteenth century painter
Francisco Oller. Despite its limited palette its attention to the subtle atmospheric effects and topographic details of
the scene reveal Oller's deft use of color and his innate ability to render nature and the ethereality of Caribbean
light. Equally significant is the history of this unique painting which was originally in the collection of Oller's friend,
the naturalist writer and author of La charca (1894) Manuel Zeno Gandía. La charca eloquently recounts the harsh
realities of plantation life among the struggling classes in the late 19th century, a subject akin to that explored by
Oller in his masterpiece El velorio (c. 1863). And thus, it is not unusual that Oller and Zeno Gandía felt a mutual
respect for each other's work as both lived through a period of extraordinary transformation on the island and
sought to convey the poignancy of that historical moment in their respective work.
Latin American Art
LOT 52
ESTEBAN CHARTRAND (1824-1884)

ATARDECER (SUNSET)
signed and dated 1874 lower center

oil on canvas
17 by 29 in.
43.2 by 73.7 cm
ESTIMATE 45,000 - 55,000 USD

PROVENANCE
Mr Ignacio Joaristi Lanzagorta, Madrid
CATALOGUE NOTE
Esteban Sebastian Chartrand Dubois was born 1840 in the province of Matanzas, Cuba. Chartrand, whose family
wealth derived from the sugar industry and had active business interests in the southern United States, was actively
encouraged to paint and traveled to France in 1854 and again in 1864 to further his studies. While in Europe he
was greatly influenced by the teachings of Theodore Rousseau and the Barbizon School of landscape painting.
Upon returning to Cuba, Chartrand reinterpreted the romantic atmospheric style of the Barbizon School in the
context of the tropical light and landscapes of the Caribbean. During his short lifetime, Chartrand became a highly
respected artist, exhibiting both in Cuba and the United States, including the 1876 Centennial Exhibition in
Philadelphia. Esteban and his brothers, Philippe and Augusto, formed the most important dynasty of Cuban
landscape painters of the nineteenth century.
Latin American Art
LOT 53

PORTRAIT OF GLADYS MARCH
signed and dated 1946 upper right; also inscribed To Gladys with love upper right
oil on canvas
30 by 27 7/8 in.
76.2 by 70.7 cm
ESTIMATE 225,000 - 275,000 USD

PROVENANCE
CATALOGUE NOTE
Gladys March met Diego Rivera in the spring of 1944 when he granted her an interview
for a newspaper article she was writing. Though married to a Miami Beach physician,
she continued work as a journalist and returned to Mexico the next year to spend six
months with Rivera as he dictated his memoirs to her. This was followed by yearly visits Fig. 1
to Mexico until 1957, the year he died. "Fortunately for me, Rivera seemed to be Diego Rivera dictating (My Art,
flattered by the continual attentions of a young American woman. I literally walked in his My life) to Gladys March in his
shadow, and he let me go with him everywhere as he spun his tales." (Diego Rivera, studio in Mexico
My Art, My Life, An authobiography with Gladys March, p. 11)
This lot includes personal photographs, articles, research material and the original
manuscript for the book, originally titled Mexico's Bad Boy. These documents contain
notes and stories that were edited before publication. Among these is a visit from
Chester Dale during the painting of Gladys March's portrait in which the three shared
lunch and Diego popped a fly into this mouth; a proposition that Frida Kahlo received
from a Swedish millionaire while in San Francisco with Rivera; Diego's theories on the
differences in the sexual practices of Russians versus Americans and a program he
called "Lubrication for Reconciliation"; and a comment from Frida who tells Gladys, "If
my next operation turns out successfully, you and I will go out and get cockeyed
together, okay, kid?"
AUTHENTICATION
This lot is accompanied by an archive of materials relating to My Art, My Life: Diego
Rivera by Gladys March including her manuscript notes, various typescript fragments
with extensive emendations constituting hundreds of pages in addition to letters notes
and clippings.
Fig. 1
Diego Rivera dictating (My Art, My life) to Gladys March in his studio in Mexico
Latin American Art
LOT 54
RUFINO TAMAYO (1899-1991)

MUJER MORADA
signed and dated O-66 upper left; titled on the reverse

oil on canvas
51 1/4 by 38 1/2 in.

130 by 98 cm
ESTIMATE 350,000 - 450,000 USD

PROVENANCE
Rafaela Arocena de Ussia, Coyoacán, Mexico
Thence by descent to present owner
EXHIBITION
Mexico City, Sala Nacional Palacio de Bellas Artes SEP/INBA, 50 años de labor artística Exposición Homenaje a
Rufino Tamayo, December 1, 1967, n. 51
Paris, Musée d'Art Moderne de la Ville de Paris, Tamayo Peintures, 1960-1974, November 27, 1974-February 2,
1975, n. 21, illustrated
Florence, Palazzo Strozzi, Rufino Tamayo, March 1-April 30, 1975, p. 55, n. 17, illustrated in color
LITERATURE
Juan Garía Ponce, Tamayo, Mexico City, 1967, illustrated in color
Diálogos vol. 4, n. 7-9, February 1968, Mexico City, p. 11, illustrated
Octavio Paz, "Tamayo en la Pintura mexicana en Rufino Tamayo gloria de la pintura mexicana" Mujeres, March 31,
1971, p. 33, illustrated
Emily Genauer, Rufino Tamayo, New York, 1974, n. 87, illustrated
Juan García Ponce, "Rufino Tamayo", Guadalimar Revista mensual de las artes, año 2, n. 16, Octubre 10, 1976,
Madrid, p. 78, illustrated
CATALOGUE NOTE
The peculiar quality of many of Rufino Tamayo's female figures goes beyond stylizations, reconstructions and
syntheses to show aspects of a more extravagant appearance. Such is the case of Mujer morada whose
extraordinarily thin and long neck becomes one of her most attractive qualities. She is immersed in a harmony of
elegant and delicate chromatic contrasts that give way to a gusty atmosphere where the exuberance of the gold
and grays contrast with pink, lavender, purple and red tones, evoking a garden where we find the rare beauty of this
naked woman. Our Venus shows a thick body with long upper extremities and an attitude that could be associated
to the female sensuality expressed in the cadent and slow movements of a rhythmic, even ritual, dance. The theme
could be a new version of the ecstatic dancers that emerge in Tamayo's paintings during the forties and fifties,
where sleepwalking figures dance at midnight or the overjoyed and lively dancers that fill his canvases in the
following decade. Like in those pieces, this woman appears to be intensely focused, in a state of ecstasy and pure
self-absorption. Her schematic nature does not take away eloquence and attention from the movement of the body,
which is enriched by her belt, turgid breasts, and the bodily adornment that encompasses the upper part of her
body.
The opulent sensuality of the paint application is achieved with long and diluted brushstrokes and strong and
gestural lines. The rapid mark-making could constitute in themselves a painting that can be associated with the best
and most characteristic work of the informalismo, an aesthetic current at the time of the execution of this painting.
Nothing in this work is incidental in the perfect harmony of form and content. Beyond the magnificent presence of
the female nude, there is also an intention to evoke with delicate distance the inner life of this genre. A chain of
delicate emotions innate to the female nature permeate this canvas.
Juan Carlos Pereda

Art Historian, Mexico City
AUTHENTICATION
We wish to thank Juan Carlos Pereda for his kind assistance in the cataloguing of this work.
Latin American Art
LOT 55

CAVALLINO

16 by 14 by 8 in.
40.6 by 35.6 by 20.3 cm
Executed in 2001.
ESTIMATE 250,000 - 350,000 USD
PROVENANCE
Galerie Contini, Venice
Latin American Art
LOT 56
JULIO LARRAZ (B. 1944)

ITINERANT ORACLE
signed lower left, also signed, titled and dated 2 agosto 97 on the reverse
oil on canvas
59 7/8 by 71 7/8 in.

154.8 by 184.5 cm
ESTIMATE 150,000 - 250,000 USD

PROVENANCE
Acquired from the artist
Sale: Sotheby's, New York, Latin American Art, June 3, 1999, lot 70, illustrated in color
EXHIBITION
Boca Raton, Boca Raton Museum of Art, March 26-May 17, 1998, p. 69, illustrated in color; also illustrated in color
on the cover
LITERATURE
Arte en Colombia, July/September, 1998, No. 75, p. 123, illustrated
Art nexus, August/October, No. 29, p. 131, illustrated
Edward Lucie-Smith, Julio Larraz, Milano, 2003, p. 206, n. 157, illustrated in color
Latin American Art
LOT 57

HEAD WITH BLACK
signed and dated O-70 lower left

oil and sand on canvas
11 3/4 by 15 7/8 in.

29.8 by 40.3 cm
ESTIMATE 80,000 - 100,000 USD

PROVENANCE
B. Lewin Galleries, Beverly Hills
Gift to the Los Angeles Country Museum of Art, Los Angeles
Sale: Christie's, New York, Latin American Art, May 24, 2006, lot 601, illustrated in color
Sale: Christie's, New York, Latin American Art, November 20, 2008, lot 292, illustrated in color
EXHIBITION
California, B. Lewin Galleries, Rufino Tamayo, 1983, p. 104-105, illustrated in color
Monterrey, Museo de Monterrey, Tamayo, January-Mach, 1986
AUTHENTICATION
Latin American Art
LOT 58

RÍO DE LA PLATA
signed and dated 48 upper left; also titled and dated on the reverse
oil on canvas
10 5/8 by 13 3/4 in.

27 by 35 cm
ESTIMATE 40,000 - 60,000 USD

PROVENANCE
Private Collection, Buenos Aires
Private Collection, Miami
Sale: Christie's, New York, Latin American Sale, June 1, 2000, lot 27, illustrated in color
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the Pettoruti Foundation signed by Tomás
Roberto Díaz Varela and dated 4 de octubre de 2007.
Latin American Art
LOT 59
CUNDO BERMÚDEZ (1914-2008)

TRES ARLEQUINES CON FONDO AMARILLO

oil on canvas
55 1/4 by 45 1/2 in.

140.3 by 115.6 cm
ESTIMATE 225,000 - 275,000 USD

PROVENANCE
Private collection Madrid, Spain (acquired from the artist)
Jessica Reina Fernández collection, Miami
EXHIBITION
Miami, The Freedom Tower and Miami Dade College, Cundo Bermúdez into the 21st
century, September 3-November 7, 2009, p. 24, illustrated in color
Fig. 1
Cundo Bermúdez circa 1948
CATALOGUE NOTE
"...One of the most expressive of the colorist school in Cuba. Author of an unreal world
peopled with archaic pomp and hinter hierarchy. His painting can be traced to tradition,
datin from early Egysptian reliefs to contemporary primitive paintings, with a palette
equal in intensity to that of (Amelia) Peláez... his high colorist sensuality flows,
expressing the free and powerful imagination of this master of color". (José Gómez
Sicre, The Martínez Cañas Collection, Arte en Colombia, 1979)
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the artist, signed and
dated Miami, 8 de Octubre de 001
We wish to thank Mr Conrado Basulto for his kind assistance in confirming the
authenticity of this lot.
Fig. 1
Cundo Bermúdez circa 1948
Latin American Art
LOT 60

STILL LIFE WITH FRUIT JUICE

oil on canvas
41 3/4 by 63 in.
104.7 by 160 cm
ESTIMATE 400,000 - 600,000 USD

PROVENANCE
Galerie Beyeler, Basel
Galerie Daniel Varenne, Geneva
Quintana Fine Art Gallery, Bogotá
Mira Godard Gallery, Toronto
Fig. 1
LITERATURE Juan van der Hamen y León, Un
Giorgio Soavi, Botero. Milano. 1988, p. 192, n. 164, illustrated in color (incorrectly dated Almuerzo, circa 1630, Private
1982) Collection
Edward J Sullivan and Jean Marie Tasset, Fernando Botero: Monograph &Catalogue
Raisonné, Paintings 1975-1990, Lausanne, 2000, p. 343, n. 1983/25, illustrated
Bejamin Genocchio, "Larger than Life", The New York Times, New York Region, Art
Review, March 31, 2010, illustrated in color
CATALOGUE NOTE
Still-life painting dates to the sixteenth century in Western art and remains a popular
subject of artists to the present day. Still Life with Fruit Juice is a striking example of this
genre by one the great masters in the cadre of artists of the post War, Fernando
Botero. Indeed, throughout his career, Botero has been quite at home experimenting
with interpretations of still lifes. After the mid-1960s, Botero's compositions became
tighter and the influence of the Abstract Expressionist painters lost their grip on the
artist. The brushwork in his paintings became tighter, more voluminous and
complemented by a lighter palette. Botero's canvases evolved from reinterpretations of
the works of Mantegna, Rubens, Velásquez and van der Hamen y León. Like the
masters who preceded him, Botero has anchored the present work with attributes that
inform the viewer that the bountiful offerings presented are ubiquitous in the markets of
his native Colombia.
Impressive in scale, Still Life with Fruit Juice exhibits the extraordinary attention to
detail that is associated with his mature oeuvre. Confident brush strokes combine rich
tones of red, brown and white resulting in the tablecloth upon which the footed bowl
rests. Verdant greens and canary yellows that denote the fruit and juice are punctuated
by the light blue background creating a soft backdrop. The static scene is enlivened by
the flies which hover over the table. The insects are a possible reference to the work of,
amongst others, that of Juan van der Hamen y León, the master whose richly-painted
canvases were the epitome of still lifes produced during the Golden Age of Spanish
painting during the early 1600s. As if to challenge the critics of so-called
"Contemporary" painting, Botero's feather-like handling of the glass, capturing its
transparency and content, demonstrate the painter's facility with brush and oil palette.
Fig. 1, Juan van der Hamen y León, Un Almuerzo, circa 1630, Private Collection
Fig. 1
Juan van der Hamen y León, Un Almuerzo, circa 1630, Private Collection
Latin American Art
LOT 61

LAS DAMAS Y EL PIERROT
signed and dated MCMLXIII lower center

oil on canvas
51 1/8 by 51 1/8 in.

130 by 130 cm
Painted in 1963.
ESTIMATE 120,000 - 180,000 USD

PROVENANCE
Galería Fortuny, Madrid
Private Collection, Madrid
EXHIBITION
Madrid, Galería Fortuny, 1963
Fig. 1
Claudio Bravo in his first solo
exhibition at Fortuny Gallery,
LITERATURE 1963.
Paul Bowles and Mario Vargas Llosa, Claudio Bravo, New York, 1997, p. 261
(photograph of the artist next to the work)
Fig. 1
Claudio Bravo in his first solo exhibition at Fortuny Gallery, 1963.
Latin American Art
LOT 62
FRANCISCO RODÓN (B. 1934)

LIRIOS CALA

oil on canvas
34 by 45 3/4 in.
86.4 by 116.2 cm
ESTIMATE 80,000 - 100,000 USD
PROVENANCE
Acquired directly from the artist
Hence by descent to the present owner
Latin American Art
LOT 63
TOMÁS SÁNCHEZ (B. 1948)

MEDITACIÓN ANTES DEL AMANECER
signed and dated 94 lower right; also signed, titled and dated on the reverse
acrylic on canvas
18 by 23 7/8 in.
45.7 by 60.5 cm
ESTIMATE 100,000 - 150,000 USD

PROVENANCE
LITERATURE
Martha Zamora, Tomás Sánchez, Mexico City, 1994, illustrated on the cover
Gabriel García Márquez and Edward J. Sullivan, Tomás Sánchez, Milan 2003, p. 141, n. 112, illustrated in color
Latin American Art
LOT 76
FROM THE COLLECTION OF RAFAEL DUBOIS, MIAMI
ANONYMOUS, VENEZUELAN (17TH CENTURY)

SILLÓN FRAILERO
polychromed painted wood and leather armchair
43 3/4 by 25 1/4 by 27 1/4 in.

111.2 by 34.1 by 69.2 cm
ESTIMATE 8,000 - 10,000 USD
LITERATURE
Carlos Duarte, Muebles Venezolanos, siglos XVII y XVIII, Caracas, 1966, p. 54, n. 13, illustrated
Latin American Art
LOT 77
ANONYMOUS, SOUTH AMERICAN (MID-18TH CENTURY)

A SOUTH AMERICAN ROCOCCO SIDE TABLE
mahogany
37 by 35 1/2 by 24 1/8 in.

94 by 90.2 by 61.4 cm

Latin American Art
LOT 78
ANONYMOUS, SPANISH SCHOOL (17TH CENTURY)

A SPANISH BAROQUE TORTOISE SHELL VENEERED AND ENGRAVED IVORY, EBONIZED CABINET WITH
DRAWERS
ivory, tortoise shell and wood
32 1/2 by 39 3/4 by 15 5/8 in.

82.6 by 101 by 39.6 cm
ESTIMATE 15,000 - 20,000 USD
CATALOGUE NOTE
Potential bidders who intend to export this lot are advised that certain permits are required for export. If you are
interested in this lot, please contact the Latin American Art Department before bidding.
Latin American Art
LOT 79
PROPERTY FROM THE COLECCIÓN PEREGRINA VIRREINAL, FUNDACIÓN DE ARTE SACRO ANTONIO ROIG-
FERRÉ, SAN JUAN
ANONYMOUS, MEXICAN (18TH CENTURY)

PRIMERA APARICIÓN DE LA VIRGEN DE GUADALUPE
oil on canvas
33 1/2 by 18 1/2 in.

85 by 47 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Morgenstern Gallery, Miami
Sale: Sotheby's, New York, Latin American Art, May 30, 1997, lot 91, illustrated in color
Latin American Art
LOT 80
VÍCTOR PATRICIO DE LANDALUZE (1827-1889)

TIPOS POPULARES (LA INSTITUTRIZ)
signed lower left

oil on canvas
13 1/2 by 10 7/8 in.

34.5 by 27.5 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Libros y Grabados Antiguos, Madrid
Mr Ignacio Joaristi Lanzagorta, Madrid (acquired from the above)
Latin American Art
LOT 81

TIPOS POPULARES (GUAJIRO CON GALLO)
signed lower left

oil on canvas
13 1/2 by 10 7/8 in.

34.3 by 27.5 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Latin American Art
LOT 82

TIPOS POPULARES (DAMA A CABALLO)
signed lower left

oil on canvas
13 5/8 by 10 3/4 in.

34.5 by 27.5 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Latin American Art
LOT 83
ESTEBAN CHARTRAND (1824-1884)

PAISAJE

13 7/8 by 22 7/8 in.
35.4 by 53 cm
ESTIMATE 30,000 - 40,000 USD
PROVENANCE
Latin American Art
LOT 84
PHILIPPE CHARTRAND 1800 - 1889

CUBA

7 by 9 1/2 in.
18 by 23.5 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Latin American Art
LOT 85
CONRAD WISE CHAPMAN (1842-1913)

TERRENOS BALDÍOS METLATONICA MEXIQUE (2 PAINTINGS)
each signed and dated 1879 lower left

oil on wood panel
ea. 6 by 4¼ in.
15.2 by 10.8 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Private collection, Switzerland
Latin American Art
LOT 86
JOHANN MORITZ RUGENDAS (1802-1858)

VISTA DEL VALLE DE MÉXICO CON ARRIERO Y JINETES EN PRIMER PLANO Y LOS VOLCANES
POPOCATÉPETL E IZTACCÍHUATL AL FONDO
oil on canvas
19 1/2 by 24 1/4 in.

49.5 by 61.6 cm
Painted circa 1832.
ESTIMATE 30,000 - 40,000 USD

PROVENANCE
Private collection, France
AUTHENTICATION
This lot is accompanied by a certificate of authenticity from Pablo Diener, signed and dated noviembre de 2009.
Latin American Art
LOT 87
F. DÄUBLER
RIO INHOMIRIN DANS LA BAIE DE RIO DE JANEIRO
signed, titled and dated 1880 lower left

oil on canvas
20 1/8 by 27 1/8 in.

51 by 70.6 cm
ESTIMATE 18,000 - 22,000 USD
PROVENANCE
Private collection, Italy
Latin American Art
LOT 88
PAUL FISCHER (1864-1931)

CHAPALA
signed and titled Chapala.Mex lower left

watercolor on paper
10 7/8 by 19 1/8 in.

27.6 by 47.5 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Private collection, California
Latin American Art
LOT 89
ANTON GOERING (1836-1905)

VENEZUELAN LANDSCAPE
signed and dated 1888 lower right; also faintly signed and dated 1887 below
gouache on heavy paper
16 3/8 by 24 3/4 in.

41.7 by 62.9 cm
ESTIMATE 20,000 - 30,000 USD
PROVENANCE
Sale: Villa Grisebach Auktionen GmbH, Berlin, Auction 171, November 28, 2009, lot 644
Latin American Art
LOT 90
DOMINGO E. RAMOS (1894-1967)

UNTITLED

oil on canvas
12 1/4 by 15 3/4 in.

31 by 40 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Dr. J Hyman, Delray Beach, Florida
Latin American Art
LOT 91
PROPERTY FROM AN AMERICAN PRIVATE COLLECTION
JUAN GIL GARCÍA (1879-1932)

NATURALEZA MUERTA CON ANONES
signed and dated 1924

oil on canvas
26 by 38 1/2 in.
66 by 97.8 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Private collection, Coral Gables
Sale: Christie's, New York, The Latin American Sale. Important Paintings, Drawings and Sculpture, November 25,
1998, lot 232, illustrated in color
Latin American Art
LOT 92
ALFONSO X. PEÑA (1903-1964)

CAZA Y RECOLECCIÓN

oil on masonite
29 1/8 by 120 in.

74 by 305 cm
ESTIMATE 50,000 - 70,000 USD
PROVENANCE
Thence by descent to the present owner
Latin American Art
LOT 93
ÁNGEL BOTELLO (1913-1986)

PAISAJE DE SANTO DOMINGO
signed lower left

oil on canvas
26 by 27 3/4 in.
66 by 70.5 cm
Painted circa early 1940s.
ESTIMATE 20,000 - 25,000 USD

PROVENANCE
Private collection, Dominican Republic
AUTHENTICATION
We wish to thank Juan Botello for his kind assistance in confirming the authenticity of this lot.
Latin American Art
LOT 94
ROSARIO CABRERA (1901-1975)

CAMPANARIO
signed lower right

oil on canvas
29 1/4 by 25 1/4 in.

74.3 by 64.1 cm
ESTIMATE 10,000 - 15,000 USD

PROVENANCE
EXHIBITION
Bernheim-Jeune, Paris
Mexico City, Museo Mural Diego Rivera, Instituto Nacional de Bellas Artes, Rosario Cabrera: Entre la impaciencia y
el olvido, 1998, p. 131, illustrated
Latin American Art
LOT 95
PROPERTY FROM THE ESTATE OF A DISTINGUISHED AMERICAN COLLECTOR
JOSÉ CLEMENTE OROZCO (1883 - 1949)

LA FAMILIA (STUDY FOR MURAL AT E.N.P)
signed lower left

graphite on paper
11 3/4 by 17 1/2 in.

29.8 by 44.5 cm
PROVENANCE
Bernard Solomon, Los Angeles
Acquired from the above by the present owner (1966)
Latin American Art
LOT 96

LAS ELEGANTES DE TEXCOCO
signed upper left

watercolor on rice paper
15 1/8 by 10 7/8 in.

38.4 by 27.6 cm
Executed in 1935.
ESTIMATE 22,000 - 28,000 USD

PROVENANCE
Central Art Gallery, Mexico City
Phoebe-Anne and Russell Alexander Alger (acquired circa 1936)
Private Collection, Florida (by descent from the above)
LITERATURE
Portait of Mexico, New York, 1937, Covici-Friede, no. 44, illustrated
Diego Rivera: Catálogo General de Obra de Caballete, Instituto Nacional de Bellas Artes, Mexico City, 1989, p.
154, no. 1167, illustrated
AUTHENTICATION
We wish to thank Professor Luis-Martín Lozano for his kind assistance in confirming the authenticity of this lot.
Latin American Art
LOT 97

MUJER CON REBOZO

gouache on paper
17 by 13 1/4 in.
43.2 by 33.7 cm
ESTIMATE 20,000 - 25,000 USD
PROVENANCE
Hood Museum of Art at Dartmouth University, Hanover
AUTHENTICATION
Latin American Art
LOT 98
DAVID ALFARO SIQUEIROS (1896-1974)

EL ÁRBOL DE LA LIBERTAD
signed and dated 8-64 lower right

pyroxilin on wood panel
24 by 18 1/8 in.
61 by 46 cm
ESTIMATE 30,000 - 40,000 USD

PROVENANCE
CATALOGUE NOTE
This painting is part of the National Heritage of Mexico and cannot be permanently exported from the country.
Accordingly, it is offered for sale in New York from the catalogue and will not be available in New York for inspection
or delivery. The painting will be released to the purchaser in Mexico in compliance with all local requirements.
Prospective buyers may contact Sotheby's representatives in Mexico City and Monterrey for an appointment to view
the work.
AUTHENTICATION
This lot is accompanied by a certificate of authenticity for the artist signed and dated 21 de septiembre de 1964.
Latin American Art
LOT 99

HORAS CORRIDAS
signed upper left

7 by 10 5/8 in.
17.8 by 27 cm
Painted in 1944.
ESTIMATE 40,000 - 60,000 USD

PROVENANCE
Sr. Olivesky (acquired from the artist)
Private collection, New York
Sale: Christie's, New York, Important Latin American Paintings, Drawings and Sculpture, November 24-25, 1992,
lot 197, illustrated in color
LITERATURE
Instituto Nacional de Bellas Artes, Diego Rivera, Catálogo General de Obra de Caballete, Mexico City, 1989, p.
AUTHENTICATION
Latin American Art
LOT 100

HOMBRE DE RODILLAS MARTILLANDO
signed lower center

15 1/8 by 10 5/8 in.

38.3 by 27 cm
Painted in 1938.
ESTIMATE 40,000 - 60,000 USD

PROVENANCE
Linda Kohen (acquired from the artist in 1946)
AUTHENTICATION
Latin American Art
LOT 101
PEDRO FIGARI (1861-1938)

EN LA PLAYA
signed lower right

oil on fiberboard
12 7/8 by 15 5/8 in.

32.7 by 39.7 cm
ESTIMATE 18,000 - 22,000 USD

PROVENANCE
R.A.C. Du Vivier CBE, Montevideo and Great Britain
EXHIBITION
Montevideo, Salón Nacional de Bellas Artes, Exposición Pedro Figari 1861-1938, August-September, 1945 , no.
299
AUTHENTICATION
We wish to thank Fernando Saavedra Faget for his kind assistance in confirming the authenticity of this lot.
Latin American Art
LOT 102
PEDRO FIGARI (1861-1938)

CONSTERNACIÓN
signed lower center

oil on fiberboard
20 1/2 by 26 5/8 in.

52 by 67.6 cm
ESTIMATE 35,000 - 45,000 USD

PROVENANCE
Margarita Figari de Faget, Montevideo
Dr. Gutierrez Blanco, Montevideo
Sale: Christie's, New York, Important Latin American Paintings, Drawings and Sculpture, May 19, 1992, lot 112,
EXHIBITION
Montevideo, Salón Nacional de Bellas Artes, Exposición Pedro Figari 1861-1938, August-September, 1945, no. 385
AUTHENTICATION
We wish to thank Fernando Saavedra Faget for his kind assistance in confirming the authenticity of this lot.
Latin American Art
LOT 103
BENITO QUINQUELA MARTÍN (1890-1977)

ENTRANDO A PUERTO
signed lower right; also signed, titled and dated 1950 on the reverse
oil on masonite
19 5/8 by 23 1/2 in.

50 by 59.7 cm
ESTIMATE 18,000 - 22,000 USD
PROVENANCE
Private collection, Caracas
Latin American Art
LOT 104

EL CARBA BALAGER
signed lower left and dated 44 lower right

oil on board
14 3/8 by 19 5/8 in.

36.5 by 50 cm
ESTIMATE 25,000 - 35,000 USD

PROVENANCE
Private Collection, Nantes
AUTHENTICATION
This lot will be included in the forthcoming Catalogue Raisonné being prepared by Cecilia de Torres, listed as Nº
P1944.20.
Latin American Art
LOT 105
FLORENCIO MOLINA CAMPOS (1891-1959)

POLO PLAYER
signed and numbered /938 upper left

gouache on paper
13 3/4 by 19 1/2 in.

35 by 49.5 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Private Collection, Palm Beach
AUTHENTICATION
We wish to thank Marcos Bledel for his kind assistance in confirming the authenticity of this lot.
Latin American Art
LOT 106
FLORENCIO MOLINA CAMPOS (1891-1959)

DRUNK RIDER
signed and numbered /935 upper left

gouache on paper
12 1/4 by 18 7/8 in.

31 by 48 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Private Collection, Palm Beach
AUTHENTICATION
We wish to thank Marcos Bledel for his kind assistance in confirming the authenticity of this lot.
Latin American Art
LOT 108
RAFAEL PÉREZ BARRADAS (1890-1928)

DELMIRA AGUSTINI
signed lower right

pastel and ink on paper
8 1/4 by 5 3/4 in.

21 by 14.5 cm
ESTIMATE 10,000 - 15,000 USD

Latin American Art
LOT 109
JOSÉ GURVICH (1927-1974)

UNTITLED
signed and dated 1950 upper left

oil on board
16 1/2 by 19 1/2 in.

42 by 49.5 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Private collection, Israel
Latin American Art
LOT 110
JOSÉ GURVICH (1927-1974)

EL DIARIO

oil on board
19 3/4 by 33 in.
50 by 83.8 cm
ESTIMATE 18,000 - 22,000 USD
PROVENANCE
Latin American Art
LOT 111
PROPERTY FROM THE NEW YORK COMMUNITY TRUST, FROM THE ESTATE OF ROYAL S. MARKS

THREE WORKS: ESTRUCTURA, CASA AND HOMBRE ABSTRACTO
unsigned; signed lower left and dated 28 lower right; signed lower left and dated 28 lower right
all ink on paper
5 1/2 by 4 1/8 in; 3 7/8 by 5 1/4 in.; 3 3/4 by 3 3/8 in.

14 by 10.5 cm; 9.8 by 13.4 cm; 9.5 by 8.7 cm
Executed in 1934, 1928 and 1928.
ESTIMATE 15,000 - 20,000 USD

Latin American Art
LOT 112
AUGUSTO TORRES (1913-1992)

IN THE VILLAGE
signed, lower left

oil on board
16 1/4 by 21 1/2 in.

41.2 by 54.6 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Latin American Art
LOT 114
JULIO ALPUY (1919-2009)

TRES FIGURAS
oil on carved wood
20 3/4 by 12 by 3 7/8 in.

52.7 by 30.5 by 9.7 cm
Executed in 1948.
ESTIMATE 30,000 - 40,000 USD

PROVENANCE
Collection of the artist, New York
EXHIBITION
Madrid, Museo Nacional Centro de Arte Reina Sofía; Austin, The Archer M. Huntington Art Gallery, The University
of Texas at Austin; Monterrey, Museo de Monterrey; New York, Bronz Museum of the Arts; Mexico City, Museo
Rufino Tamayo, El Taller Torres-García; the School of the South and its legacy, June 1991-May 1993, p. 204, n. 29,
illustrated in color, p. 337
Latin American Art
LOT 115

DEUX FORMES ET GRATTOIR

oil on board
14 5/8 by 10 1/4 in.

37 by 26 cm
ESTIMATE 40,000 - 60,000 USD

PROVENANCE
Estate of the artist, no. 663
Dau al Set Galería d'Art, Barcelona
EXHIBITION
Barcelona, Dau al Set Galería d'Art, Torres García, November 1976, no. 49
Barcelona, Dau al Set Galería d'Art, Avantguarda Catalana 1920-1936, May 1977, no. 44
AUTHENTICATION
This work will be included in the forthcoming Catalogue Raisonné being prepared by Cecilia de Torres, listed as Nº
P1928-89.
Latin American Art
LOT 116
MATTA (1911-2002)
AN OUTLOOK INTO
indistinctly inscribed along the bottom; also signed, titled, inscribed and numbered AN OUTLOOK INTO, to feel social progress as
a personal matter, #857 on the reverse
graphite and crayon on paper
9 7/8 by 28 1/8 in.

25.1 by 71.4 cm
ESTIMATE 30,000 - 40,000 USD
PROVENANCE
Ruth Moskin Fineshriber, New York (acquired from the artist, circa 1950s)
Latin American Art
LOT 116A
MATTA (1911-2002)
LA COPA NEGRA
inscribed: Como una copa negra que bebía temblando--Y cuando poco a poco el hombre fue negandome along lower edge
color crayon and graphite on paper
12 3/4 by 19 5/8 in.

35 by 50 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
José R. Bordes-Barrera, New York
Sale: Christie's New York, Important Latin American Paintings, Drawings and Sculpture, May 19, 1992, lot 145,
Latin American Art
LOT 117
ARMANDO REVERÓN (1889-1954)

DESNUDO
oil on canvas
18 1/2 by 17 7/8 in.

47 by 45.5 cm
Painted circa 1937.
ESTIMATE 60,000 - 80,000 USD

PROVENANCE
Sonia León Hernández
Sale: Sala de Exposiciones Fundación Eugenio Mendoza, Caracas, November 13, 1974, lot 68
EXHIBITION
Caracas, Museo de Bellas Artes, Armando Reverón, Retrospectiva, 1955, no. 127, illustrated
AUTHENTICATION
We wish to thank the Comité Reverón for their kind assistance in confirming the authenticity of this lot. This lot will
be included in the forthcoming Catalogue Raisonné being prepared by the Comité Reverón.
Latin American Art
LOT 118
MANUEL RENDÓN (1894-1980)

PERSONAJES ELONGADOS
signed lower left

oil on canvas
36 1/4 by 25 5/8 in.

92 by 65 cm
Painted in 1930.
ESTIMATE 30,000 - 40,000 USD

PROVENANCE
Private Collection, Switzerland
EXHIBITION
Guayaquil, Mercado Sur, Manuel Rendón Seminario. Restrospectiva, Novemver 12-December 15, 2002, p. 24, n.
33, illustrated in color
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Juan Castro y Velázquez, signed and dated 8 de
mayo de 2005
Latin American Art
LOT 119
VICENTE DO REGO MONTEIRO (1899 - 1970)

UNTITLED
signed and dated 1928 upper right

oil on silk laid down on panel
8 1/8 by 5 7/8 in.

20.7 by 17.9 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Private collection, Paris (acquired circa 1935)
Latin American Art
LOT 120
CARLOS MÉRIDA (1891-1984)

UNTITLED
signed and dated 1939 lower center; also inscribed To John A. Twaites from his friend Carlos Merida, 1941 lower left
oil on canvas
21 1/2 by 26 in.
54.6 by 66 cm
ESTIMATE 25,000 - 35,000 USD
PROVENANCE
Private collection, Germany (acquired circa 1995)
Latin American Art
LOT 121
MATTA (1911-2002)
OEFICIENCY
titled, indistinctly inscribed along bottom and numbered ANJ 2150-EX21 KAP lower right
graphite and crayon on paper
9 3/4 by 13 1/8 in.

24.6 by 33.3 cm
Executed in 1951.
ESTIMATE 30,000 - 40,000 USD

PROVENANCE
Ruth Moskin Fineshriber, New York (acquired from the artist, circa 1950s)
EXHIBITION
New York, The Museum of Modern Art; Minneapolis, Walker Art Center; Boston, Institute of Contemporary Art,
Matta, September, 1957-March, 1958, p. 35, no. 34
Latin American Art
LOT 122
PROPERTY OF THE LUCID ART FOUNDATION, INVERNESS
MATTA (1911-2002)
UNTITLED
signed lower right

ink and colored pencil on paper
8 1/2 by 10 7/8 in.

21.8 by 27.7 cm
Executed in 1938.
ESTIMATE 35,000 - 45,000 USD

PROVENANCE
Gordon Onslow-Ford (gift of the artist, circa 1939)
Fig. 1
Matta and the Surreaslists; photo credit:¿Gertrude Stein, 1939
Fig. 1
Matta and the Surreaslists; photo
credit:¿Gertrude Stein, 1939
Latin American Art
LOT 123

FORÊTE

gouache on paper laid down on canvas
28 7/8 by 21 3/4 in.

73.3 by 55.2 cm
Painted in 1962.
ESTIMATE 50,000 - 60,000 USD

PROVENANCE
Galleria dell' Annunciata, Milano
Galleria del Girasole, Udine
Studio Kostel, Paris
Sale: Christie's, New York, Important Latin American Paintings, Drawings and Prints, May 18, 1993, lot 239,
AUTHENTICATION
This lot is accompanied by a certificate of authenticity from Madame Lou Laurin Lam, signed and dated 24/03/2009.
Latin American Art
LOT 124

COMBATE
oil on board laid down on masonite
24 1/8 by 17 3/8 in.

61.3 by 44.1 cm
ESTIMATE 60,000 - 80,000 USD
PROVENANCE
Galería de Arte Mexicano, Mexico City
Latin American Art
LOT 125
RENÉ PORTOCARRERO (1912-1986)

FIGURA EN AZUL
oil on canvas
28 3/4 by 18 1/2 in.

73 by 47 cm
ESTIMATE 25,000 - 35,000 USD
PROVENANCE
Cisneros Gallery, New York
Dr. and Mrs. Francisco Venegas
Sale: Sotheby's, New York, Latin American Art, November 20 2001, lot 4, illustrated in color
Latin American Art
LOT 126

TEHUANA DE PIE
inscribed with signature and dated 1977; also numbered I/VI

bronze, dark brown patina
17 3/4 by 8 by 6 in.
45 by 22.8 by 15.2 cm
ESTIMATE 18,000 - 22,000 USD

PROVENANCE
LITERATURE
Fundación Zúñiga, Francisco Zúñiga: Catálogo Razonado/Catalogue Raisonné (1923-1993), Mexico City, 1999, p.
Latin American Art
LOT 127

MOTHER SUPERIOR

oil on canvas
33 1/2 by 30 5/8 in.

85 by 78 cm
ESTIMATE 90,000 - 120,000 USD
PROVENANCE
Quintana Fine Art, Bogotá
Private Collection, Switzerland
Latin American Art
LOT 128

GIRL WITH HOOP

sanguine on paper
15 7/8 by 13 3/4 in.

40.5 by 35 cm
ESTIMATE 30,000 - 40,000 USD
PROVENANCE
Il Gabbiano, Roma
James Goodman Gallery, New York
Acquired from the above by the present owner (December 8, 1982)
Latin American Art
LOT 129

SUNDAY AFTERNOON
signed, titled and dated 73 lower right

graphite on ingres paper
19 3/4 by 25 1/2 in.

50.2 by 64.8 cm
19 x 25 inches
ESTIMATE 35,000 - 45,000 USD

PROVENANCE
Acquired from the above by the present owner (March 16, 1981)
EXHIBITION
New York, Marlborough Gallery, November 8-31, 1975
Latin American Art
LOT 129A

THE SOUTHERN CROSS
oil on canvas
50 1/8 by 28 3/4 in.

127.3 by 73 cm
Painted in 1986.
ESTIMATE 35,000 - 45,000 USD
PROVENANCE
Nohra Haime Gallery, New York
Latin American Art
LOT 130

CABEZA DE MUJER
inscribed with signature and dated 75

white marble
Height: 15 in.
38.1 cm
Executed in 1975.
ESTIMATE 60,000 - 80,000 USD

PROVENANCE
Galerie Claude Bernard, Paris
Sale: Sotheby's, New York, Latin American Paintings, Drawings, Sculpture and Prints, November 18, 1991, lot 44,
Galería El Museo, Bogotá
EXHIBITION
Beverly Hills, Louis Stern Galleries, Fernando Botero - Pinturas, Trabajos en Papel y Esculturas, April 1992
Caracas, Galería Espacio Fenix, Maestros Colombianos, April 1993
Bogotá, Galería El Museo, Fernando Botero-Esculturas, April 1994, p. 5, illustrated
Bogotá, Galería El Museo, Selecciones para una colección, December 1994
LITERATURE
Edward J. Sullivan, Botero Sculpture, New York, 1986, p. 62, illustrated (incorrectly dated 1976)
CATALOGUE NOTE
Pre-registration required in order to bid on this lot. Please contact Sotheby's Bid Department at 212-606-7414 to
pre-register.
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the artist.
Please note that pre-registration is required in order to bid on this lot. Please contact Sotheby's Bid Department at
212.606.7414 to pre-register.
Latin American Art
LOT 131
MATTA (1911-2002)
UNTITLED
signed lower right

pastel on paper
20 by 20 in.
50 by 50 cm
Painted in 1980.
ESTIMATE 10,000 - 15,000 USD

PROVENANCE
Fuji TV Gallery, Tokyo
EXHIBITION
Napoli, Palazzo Reale, July-October 1981
Tokyo, Fuji TV Gallery, May 8-June 1, 1985, no. 25, illustrated
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity by Germana Matta Ferrari, signed and dated 30 janvier
1990
Latin American Art
LOT 132
MATTA (1911-2002)
UNTITLED
signed lower right

pastel on paper
20 1/8 by 20 1/8 in.

50 by 50 cm
Painted in 1980.
ESTIMATE 10,000 - 15,000 USD

PROVENANCE
Fuji TV Gallery, Tokyo
EXHIBITION
Napoli, Palazzo Reale, July-October 1981
Tokyo, Fuji TV Gallery, May 1985
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Germana Matta Ferrari, signed and dated 30
janvier 1990
Latin American Art
LOT 133
MATTA (1911-2002)
UNTITLED
signed lower center-left

oil on canvas
53 3/4 by 51 1/2 in.

136.5 by 130.8 cm
Painted circa 1970.
ESTIMATE 80,000 - 100,000 USD

PROVENANCE
Bernard Giron, Brussels
Private collection, Brussels
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Germana Matta Ferrari, signed and dated 3 juin
2005.
Latin American Art
LOT 134

MAN AND WOMAN
inscribed with signature and numbered 3/6; also stamped with foundry mark
bronze
15 1/4 by 16 1/2 by 12 in.

38.7 by 42 by 30.5 cm
Executed in 1988.
ESTIMATE 200,000 - 300,000 USD

PROVENANCE
Galería Fernando Quintana, Bogotá
LITERATURE
Vittorio Sgarbi, Botero: Dipinti, Sculture, Disegni, Milan, 1991, Arnoldo Mondadori Arte, p. 97, illustration of another
cast
Jean-Clarence Lambert and Benjamín Villegas, Botero sculptures, Bogota, 1998, Villegas Editores, no. 139,
illustration of another cast
AUTHENTICATION
This lot is accompanied by a certificate of authenticity from the artist signed and dated 92.
Latin American Art
LOT 135
PROPERTY OF THE LOS ANGELES COUNTY MUSEUM OF ART SOLD TO BENEFIT ACQUISITIONS OF LATIN
AMERICAN ART
CARLOS MÉRIDA (1891-1984)

UNTITLED

duco and sand on paper on board
20 1/2 by 15 in.
50 by 38 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Latin American Art
LOT 136

PERSISTENCIA ÍNTIMA (PERSISTENCE INTIME)
inscribed with signature and dated 1989; also numbered II/III

5 1/4 by 12 3/4 by 4 3/4 in.

13.4 by 32.4 by 12.2 cm
ESTIMATE 15,000 - 20,000 USD

PROVENANCE
Galería Durban Segnini, Miami (acquired from the artist)
Galería Oñate Fine Art, Miami
Private collection, Miami
LITERATURE
Paris, Galerie Vallois, Agustín Cárdenas 1927-2001; Trois Galeries un artiste, May 15-June 15, 2003, n. 38 from
the Galerie Vallois volume, illustration of a different cast
AUTHENTICATION
This lot is accompanied by a certificate of authenticity from Livia Cárdenas, signed and dated 18-08-2000
Latin American Art
LOT 137

NARANJA-VERDE
signed and dated 70 lower right; also signed, titled and dated VIII.70 on the reverse
oil on masonite
20 by 18 1/4 in.
50.8 by 46.3 cm
ESTIMATE 70,000 - 90,000 USD
PROVENANCE
Latin American Art
LOT 138

TÊTE DE MARBRE
Carrara marble
marble
23 5/8 by 17 3/4 by 15 3/4 in.

60 by 45 by 40 cm
Executed in 1976.
ESTIMATE 35,000 - 45,000 USD

PROVENANCE
Le Point Cardinal, Paris
EXHIBITION
Paris, Fondation Nationale des Arts Graphiques et Plastiques, Cárdenas, sculpteur,
June 16-September 30, 1981, no. 60, illustrated
Barcelona, Oriol Galería d'Art, Agustín Cárdenas, September 28-November 15, 2006,
p. 45, no. 10, illustrated in color Fig. 1
Cárdenas in his Paris studio,
1971
Fig. 1
Cárdenas in his Paris studio, 1971
Latin American Art
LOT 139
MATTA (1911-2002)
UNTITLED
signed lower left

oil on canvas
25 1/4 by 28 1/2 in.

64.1 by 72.4 cm
Painted in 1960.
ESTIMATE 60,000 - 80,000 USD

PROVENANCE
Guiseppe Gastaldelli/Arte Contemporanea, Milan
Private collection, London
Sale: Christie's, New York, Latin American Paintings, Drawings and Sculpture (Part II), May 17, 1995, lot 146,
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Germana Ferrari, signed and dated 19 mai 1994.
Latin American Art
LOT 140
MARIO CARREÑO (1913-1999)

ANTILLAS

ink and gouache on scratchboard
10 1/4 by 14 1/2 in.

26 by 30.8 cm
ESTIMATE 12,000 - 18,000 USD

PROVENANCE
Galeria Bonino, Rio de Janeiro
EXHIBITION
New York, Nassau County Museum of Art, The Latin Century: Beyond de border, August 18-November 3 2002
Latin American Art
LOT 141
ANTONIO BANDEIRA (1922 - 1967)

UNTITLED

oil on paper
18 3/8 by 12 3/4 in.

46.7 by 32.4 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Professor Maria Isabel de Andrade Abreu
Latin American Art
LOT 142

UNTITLED
signed and dated 61 lower right; also inscribed Pour Neneu e Dede lower left
gouache and ink on paper
12 3/4 by 9 1/2 in.

32.4 by 24.1 cm
ESTIMATE 10,000 - 15,000 USD

Latin American Art
LOT 143

LE REFLET D'UN MIROIR VIOLET
signed and dated 74 lower right; also signed and dated on the reverse
oil and charcoal on canvas
19 1/2 by 27 5/8 in.

49.5 by 70.2 cm
ESTIMATE 70,000 - 90,000 USD

PROVENANCE
Afinsart, Madrid
EXHIBITION
Paris, Artcurial, Wifredo Lam, oeuvres historiques, oeuvres récentes, 1979
Twello, Galerie Jacques Sieverding, Wifredo Lam, recente werken, 1980
Madrid, Galería Afinsa, 1988, illustrated in color
LITERATURE
Lou Laurin-Lam, Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Lausanne, 1996, p.
444, n. 74.27, illustrated
Galería Heller, Poliscopio Cubano II, Madrid, 1993, illustrated in color
Latin American Art
LOT 144

FLORERO
signed lower left

oil on canvas
70 7/8 by 70 in.
180 by 170 cm
Painted circa 1962.
ESTIMATE 100,000 - 150,000 USD

PROVENANCE
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Gloria Zea from the
Museo de Arte Moderno de Bogotá dated 24 de octubre del 2000.
Fig. 1
Botero in his studio, 1950s
Fig. 1
Botero in his studio, 1950s
Latin American Art
LOT 145
MATTA (1911-2002)
DANCE DES DÉMÉNAHEURS DE SUJETS INQUIÉTANTS ET PRÉOCUPANTS - INDUCTION DES FORCES
QUI FORMENT
signed and dated 11 59 lower right; also inscribed with title lower center
wax crayon and graphite on paper
19 5/8 by 25 3/4 in.

50 by 65.4 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Sale: Calmels Cohen, Art Moderne et Contemporain, May 4, 2004, lot 204
Creighton-Davis Gallery, Washington D.C.
Latin American Art
LOT 146
LIKA MUTAL (B. 1939)

ONE
travertine
15 1/2 by 9 1/4 in
39.4 by 23.5 cm
Executed in 1988.
ESTIMATE 18,000 - 22,000 USD

PROVENANCE
EXHIBITION
New York, Nohra Haime Gallery, Lika Mutal: Silent Stone, March 15-April 15, 1989, p. 6, illustrated in color
Latin American Art
LOT 146A

COMPOSITION

gouache on paper
18 1/8 by 24 5/8 in.

46 by 62 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Jean Ozouf, France
Acquired from the above and by descent to the present owner
Latin American Art
LOT 147
MATTA (1911-2002)
PLUS SIMPLE PLUS CLAIR
signed lower right

oil on canvas
38 1/4 by 41 in.
97 by 104 cm
Painted in 1984.
ESTIMATE 60,000 - 80,000 USD

PROVENANCE
Galleri GKM Siwert Bergström, Malmö
LITERATURE
Octavio Paz and Lasse Söderbergm, Matta, Matta, Matta, Matta..., Malmö, 1988, p. 92-93, illustrated in color
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Germana Ferrari Matta, signed and dated
Décembre 1986, Paris.
Latin American Art
LOT 148

DOS MUJERES

watercolor and crayon on paper
19 5/8 by 25 1/2 in.

49.2 by 64.7 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Hooks-Epstein Galleries, Houston
Latin American Art
LOT 149

MADRE E HIJA SENTADAS
Inscribed with signature, numbered II/III and dated 1964

bronze with brown patina
9 1/4 by 12 1/2 by 10 in.

23.5 by 31.8 by 25.4 cm
ESTIMATE 15,000 - 20,000 USD

PROVENANCE
Galería Bryna, Mexico City
LITERATURE
Fundación Zúñiga, Francisco Zúñiga: Catálogo Razonado/Catalogue Raisoné (1923-1993), Mexico City, 1999, p.
268, n. 423, illustration of another cast
Latin American Art
LOT 150
AMERICAN ART

SOL DE AGOSTO
signed and dated O-59 upper right

oil on canvas
13 by 21 1/2 in.
33 by 54.6 cm
ESTIMATE 70,000 - 90,000 USD

PROVENANCE
M. Knoedler and Co., New York
EXHIBITION
New York, Knoedler Galleries, Tamayo, November 17-December 12, 1959, n. 17
Mexico City, Museo de Arte Moderno, Rufino Tamayo, September-November 1964, p.22
Beverly Hills, Bernard Lewin Galleries, Rufino Tamayo, 1983, p. 49, illustrated in color
Charlottemborg, Charlottenborg Exhibition Hall, Mexico, Passion and Myth, September 4-October 4 1992, p. 54, n.
207
AUTHENTICATION
Latin American Art
LOT 151
FERNANDO DE SZYSZLO (B. 1925)

TRAVESÍA II
signed lower center; also titled and dated Orrantia/73 on the reverse
acrylic on canvas
58 by 46 in.
147.3 by 116.8 cm
ESTIMATE 18,000 - 22,000 USD
PROVENANCE
Sale: Sotheby's, New York, Latin American Paintings, Drawings and Sculpture, November 26 1986, lot 139,
illustrated
Latin American Art
LOT 152
FERNANDO DE SZYSZLO (B. 1925)

DUINO
signed lower right; also titled and dated E.H./92 on the reverse
oil on canvas
47 1/2 by 47 1/2 in.

120.6 by 120.6 cm
ESTIMATE 25,000 - 35,000 USD

Latin American Art
LOT 153

STUDY FOR THE TWO O'CLOCK EXPRESS

oil on canvas
47 1/2 by 49 in.
120.7 by 124.5 cm
ESTIMATE 60,000 - 80,000 USD
PROVENANCE
Latin American Art
LOT 154

MÚSICO CIEGO

graphite on amate paper
21 1/8 by 15 5/8 in.

53.7 by 39.6 cm
ESTIMATE 25,000 - 35,000 USD

PROVENANCE
Galería El Museo, Bogotá (acquired from the artist)
EXHIBITION
Paris, Didier Imbert Fine Art, Botero aux Champs Elysées, October 22-November 30 1992
Singapore, Trèsor D'Art, September-October 1993
Latin American Art
LOT 155
JUAN CÁRDENAS (B. 1939)

FEMME DEVANT D'UN MIROIR
signed lower left

oil on canvas
25 1/8 by 20 1/2 in.

63.8 by 52 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Galerie Claude Bernard, Paris
Private collection, France
Latin American Art
LOT 156

FRENO DE CABALLO
signed and dated MCMXCVII lower right

oil on canvas
12 3/4 by 16 in.
32.4 by 40.6 cm
Painted in 1997.
ESTIMATE 70,000 - 90,000 USD

PROVENANCE
LITERATURE
Paul Bowles, Francisco Calvo Serraller and Edward J Sullivan, Claudio Bravo, Paintings and Drawings
(1964/2004), New York, 2005, p. 292, illustrated in color
Latin American Art
LOT 157

SIN TÍTULO
signed, dated 1983 and dedicated a Josefina Robirosa, de memoria a memoria lower left
acrylic on canvas
23 5/8 by 31 1/2 in.

60 by 80 cm
ESTIMATE 40,000 - 60,000 USD

PROVENANCE
Josefina Robirosa, Buenos Aires (gift from the artist)
Acquired from the above by the previous owner
EXHIBITION
Buenos Aires, Fundación Proa, Colecciones de Artistas, March 3, 2001, p. 55, illustrated
Latin American Art
LOT 158
PEDRO CORONEL (1923-1985)

DOLOR OPACO
signed, titled and dated Mexico 1964 on the reverse

oil on canvas
37 3/8 by 31 1/2 in.

95 by 80 cm
Painted in 1964.
ESTIMATE 25,000 - 35,000 USD
PROVENANCE
Professor Robert D. Wilson, Seattle
Latin American Art
LOT 159
PEDRO FRIEDEBERG (B. 1937)

UNTITLED
painted wood
44 7/8 by 49 3/8 in.

114 by 125.3 cm
ESTIMATE 12,000 - 18,000 USD

Latin American Art
LOT 160

2 BUTTERFLY CHAIRS AND 1 BUTTERFLY TABLE
each is inscribed with signature

painted and gilt wood
chairs (each): 35 1/4 by 20 1/4 by 17 in.; 89.5 by 51.4 by 43.2 cm

table: 22 3/4 by 29 3/4 by 23 1/4 in.; 57.8 by 75.6 by 59 cm
ESTIMATE 12,000 - 18,000 USD

Latin American Art
LOT 161
MATTA (1911-2002)
L'ENFANCE DU JEU
signed lower right

oil and mixed media on canvas
71 1/2 by 95 in.
182 by 241 cm
Painted in 1990.
ESTIMATE 80,000 - 120,000 USD

PROVENANCE
Galleri GKM Siwert Bergström Malmö, Sweden
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Germana Ferrari Matta signed and dated
19.09.1990.
Latin American Art
LOT 162

WOMAN ON TRAPEZE

graphite and color pencil on paper
16 1/8 by 11 1/4 in.

41 by 28.6 cm
ESTIMATE 35,000 - 45,000 USD
PROVENANCE
Latin American Art
LOT 163

WOMAN ON TRAPEZE WITH HOOPS

graphite and watercolor on paper
16 1/8 by 11 1/4 in.

41 by 28.6 cm
ESTIMATE 35,000 - 45,000 USD
PROVENANCE
Latin American Art
LOT 164

WOMAN ACROBAT

16 1/8 by 11 1/4 in.

41 by 28.6 cm
ESTIMATE 35,000 - 45,000 USD
PROVENANCE
Latin American Art
LOT 165

WOMAN WITH MONKEY

16 1/8 by 11 1/4 in.

41 by 28.6 cm
ESTIMATE 35,000 - 45,000 USD
PROVENANCE
Latin American Art
LOT 166
ANTONIO SEGUÍ (B. 1934)

PENSANDO EN TODO
signed and dated 84 lower center; also signed, titled and dated on the reverse
acrylic on canvas
31 7/8 by 39 1/2 in.

81 by 100.3 cm
ESTIMATE 30,000 - 40,000 USD
PROVENANCE
Latin American Art
LOT 167
FRANS KRAJCBERG (B. 1921)

UNTITLED

watercolor on molded paper laid down on canvas
39 1/2 by 25 1/2 in.

100 by 64.8 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Eiteljorg Collection, Indianapolis
Acquired from the above by the present owner (July 1st, 2004)
Latin American Art
LOT 168
ANTONIO SEGUÍ (B. 1934)

MIRANDO ATRÁS

oil on canvas
31 3/4 by 39 1/2 in.

80.7 by 100.3 cm
ESTIMATE 30,000 - 40,000 USD

PROVENANCE
LITERATURE
The San Juan Star, April 21, 1993 , n.p., illustrated
El Nuevo Día, May 23, 1993, n.p., illustrated
Latin American Art
LOT 169

SILLÓN LUIS FELIPE CON MANOS
cowhide and gilt wood
44 by 25 by 21 in.
111.7 by 63.5 by 53.3 cm
Executed in 1973.
ESTIMATE 15,000 - 20,000 USD
AUTHENTICATION
This lot is accompanied by a certificate of authenticity signed by the artist.
Latin American Art
LOT 170
SERGIO CAMARGO (1930-1990)

UNTITLED

marble
8 by 13 1/4 by 13 3/4 in.

20.3 by 33.7 by 35 cm
Executed in 1970.
ESTIMATE 25,000 - 35,000 USD
PROVENANCE
Acquired from the artist by the present owner (1971)
Latin American Art
LOT 171
RUBENS GERCHMAN (1942-2008)

ALONE
wood construction
10 by 26 1/8 by 8 in.
25.4 by 66.4 by 20.3 cm
Executed in 1970.
ESTIMATE 30,000 - 40,000 USD
PROVENANCE
Julio Cytrangulo Art Enterprise
LITERATURE
Rubens Gerchman, São Paulo, Gráficos Brunner, n.n., illustrated
Latin American Art
LOT 172
HELIO OITICICA (1937-1980)

21/CC1 (TRASHICAPES/COSMOCOCA-PROGRAMA-IN-PROGRESS),
(collaboration with Neville D'Almeida)

c-print
30 by 44 3/4 in.
76.2 by 113.7 cm
Executed in 1973/2003.
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Galeria Fortes Vilaça, Sao Paolo
Latin American Art
LOT 173
REGINA VATER (B. 1943)

TINA AMERICA
signed, titled and dated S. Paolo, July '76 lower left

12 photographic black and white prints by Maria da Garça Lopes Rodrigues of the performance Tina America (June 27, 1976)
14 3/4 by 14 5/8 in.

37.5 by 37 cm

PROVENANCE
Collection of Carol Newman, Maryland
EXHIBITION
Rio de Janeiro, Sao Paolo Museum of Modern Art, 1976 (artist book with photographs)
Buenos Aires, Centro de Artes y Comunicaciones, 1977, (illustration of an artist book with photographs)
New York, C-Space Gallery, 1978 (artist book with photographs)
New York, Kathleen Cullen Fine Arts Gallery, Safe, 2006, (artist book with photographs)
CATALOGUE NOTE
I consider this one of my seminal works because I did this piece in 1975 prior to the work of Cindy Sherman that
only started in 1977. "Tina America" was a kind of companion work to my first film installation "The Advice from a
Caterpillar" that I first show in New York in 1977 in the C-Space , gallery of Mrs. Marina Urbach.
Tina America was shown several times in different places such as at in my one-woman show at the Museum of
Modern Art Rio 1975-76. at in my one-woman show at the Museum of Brazilian Art Sao Paulo 1976. CAYC Buenos
Aires 1976. In the early eighties in Americas Society by invitation of his director John Stringer.
Regina Vater 2010

Latin American Art
LOT 174

PHYSICHROMIE Nº 1078
signed, titled and dated Paris 1977 on the reverse

acrylic on wood with plastic elements on metal backing
19 7/8 by 39 5/8 in.

50.4 by 100 cm
ESTIMATE 90,000 - 120,000 USD
PROVENANCE
César Quintana, Caracas
Latin American Art
LOT 175

MENSAJE
signed upper left; also signed and dated 58 on the reverse

The work is inscribed on the reverse with a passage from Isaiah: The grass withereth, the flowers fadeth; because the spirit of the
LORD bloweth upon it: surely the people is grass, Isa. 40:7
perforated metal on painted wood panel
18 1/2 by 13 1/2 in.

47 by 34.3 cm
ESTIMATE 18,000 - 22,000 USD

PROVENANCE
Carstairs Gallery, New York
H. Kaye collection, New York
EXHIBITION
New York, Galería Ramis Barquet, Mathias Goeritz, November 8-December 8, 2007
Latin American Art
LOT 176

VERDE-AZUL

oil on masonite
6 7/8 by 7 1/8 in.

17.4 by 18.2 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Latin American Art
LOT 177

MENSAJE Nº13, DEUT. XXVII:17

clouage, tin and painted nails on wood
17 3/4 by 14 1/2 in.

45 by 37 cm
ESTIMATE 25,000 - 35,000 USD

PROVENANCE
Carstairs Gallery, New York
H. Kaye collection, New York
EXHIBITION
New York, Galería Ramis Barquet, Mathias Goeritz, November 8-December 8, 2007
LITERATURE
O. Zuñiga, Mathias Goeritz: Obra, 1915-1990, Mexico, 1987, p. 144, n. 595, illustrated
Latin American Art
LOT 178
ALICE RAHON (1916-1987)

ESTACIÓN SUBMARINA
signed and dated 68 lower right; also signed, titled and dated Mexico 68 on the reverse
oil and sand on wood panel
30 3/8 by 21 5/8 in.

77.3 by 55 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Latin American Art
LOT 179
EDGAR NEGRET (B. 1920)

METAMORFOSIS
signed, titled and dated 1982 at the underside of base

painted aluminum with painted wood base
11 by 10 by 9 in.
28 by 25.4 by 22.9 cm
ESTIMATE 15,000 - 20,000 USD

Latin American Art
LOT 180
OMAR RAYO (B. 1928)

EASY TO FALL
signed, titled and dated New York - 66 on the reverse

acrylic and wood construction on canvas
26 1/8 by 26 1/8 by 2 3/4 in.

66.5 by 66.5 by 7 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Collection of Carol Newman, Maryland (acquired from the artist)
Latin American Art
LOT 181
NEDO (1926-2001)
PROGESIÓN 27
signed, titled and dated Caracas 1970 on the reverse

hyplar gesso and acrovinyl on board laid down on wood
50 7/8 by 29 1/4 by 2 1/4 in.

129.2 by 74.3 by 5.7 cm
Executed in 1970.
ESTIMATE 18,000 - 22,000 USD

PROVENANCE
Estate of the artist, Caracas
Sala Mendoza, Caracas
EXHIBITION
Caracas, Sala Mendoza, El Otro Nedo, November 2, 2008-February 1, 2009, n. 56
Latin American Art
LOT 182
EDUARDO MACENTYRE (B. 1929)

VARIANTE II SOBRE UN CUADRO NEGRO

acrylic on canvas
47 1/2 by 47 1/2 in.

120.6 by 120.6 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Collection of Carol Newman, Maryland (acquired from the artist)
Latin American Art
LOT 183
GYULA KOSICE (B. 1924)

GOTA DE AGUA Y AREADOBAS AZULES

plexiglass and motor
27 1/2 by 22 1/4 by 8 in.

70 by 56.5 by 20.3 cm
Executed in 1999.
ESTIMATE 30,000 - 40,000 USD

PROVENANCE
EXHIBITION
Zaragoza, Muestra Agua y Desarrollo Sostenible, June 14-September 14, 2008
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity signed by the artist.
Latin American Art
LOT 184
GREGORIO VARDANEGA (1923-2007)

UNTITLED

plexiglass and metal
height: 13 5/8 in.; 34.8 cm

diameter: 21 1/2 in.; 54.6 cm
ESTIMATE 18,000 - 22,000 USD
PROVENANCE
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the artist signed and dated Paris 1958
Latin American Art
LOT 185
MARTHA BOTO (1922-2004)

INTUICIÓN Nº2
oil on burlap
16 by 21 3/4 in.
40.6 by 55.3 cm
ESTIMATE 30,000 - 40,000 USD
PROVENANCE
Estate of the artist, Paris
Latin American Art
LOT 186
ELSA GRAMCKO (1925-1994)

EL FORTÍN

mixed media on wood
18 1/2 by 26 7/8 in.

47 by 68.3 cm
ESTIMATE 25,000 - 35,000 USD
PROVENANCE
Maria I. Hurtado, San José Costa Rica
Latin American Art
LOT 187
OSWALDO VIGAS (B. 1926)

CARORENA
signed and dated 63 lower left; also signed and dated on the reverse
19 5/8 by 23 3/4 in.
50 by 60.5 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Latin American Art
LOT 188
OSWALDO VIGAS (B. 1926)

UNTITLED (ESTUDIO PARA MURAL DE LA UNIVERSIDAD CENTRAL DE VENEZUELA)
signed upper right; dated 53 Paris lower left

oil on canvas laid down on masonite
15 1/2 by 24 3/4 in.

39.3 by 62.9 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
J.R. Guillén Pérez (gift of the artist)
Latin American Art
LOT 189

TIRATURA
inscribed with signature; titled, dated 1966, and numbered 14/45 edizioni Sergio Tosi
painted wood and metal
25 1/2 by 6 3/4 by 6 3/4 in.

63.5 by 17 by 17 cm
ESTIMATE 22,000 - 28,000 USD
PROVENANCE
Sergio Tosi
Latin American Art
LOT 190
CÉSAR PATERNOSTO (B. 1931)

AYAMARKA

acrylic on canvas
30 1/4 by 30 3/8 in.

76.7 by 77.1 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Arte Nuevo Galería de Arte, Buenos Aires
Latin American Art
LOT 191
PROPERTY BEING SOLD TO BENEFIT THE MUSEO GURVICH, MONTEVIDEO
RICARDO PASCALE (B. 1942)

PARA FOGGY BOTTOM
carved wood construction
diameter: 39 in.; 99 cm
depth: 6 1/4 in.; 15.9 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Galería del Paseo, Montevideo
Latin American Art
LOT 192
MANABU MABE (1924-1997)

SORRISO
oil on canvas
39 7/8 by 39 7/8 in.

101.5 by 101.5 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Sandra Helen Payson
Latin American Art
LOT 193
JULIO LE PARC (B. 1928)

MODULATION 808

acrylic on canvas
27 1/2 by 13 3/4 in.

70 by 35 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Gallery Egelund, Copenhagen
Latin American Art
LOT 194
MATTA (1911-2002)
UNTITLED (TRIPTYCH)
signed lower left

oil crayon on paper laid down on cardboard
each: 36 3/4 by 32 in. (93.4 by 81.3 cm)

overall: 36 3/4 by 96 in. (93.4 by 243.8 cm)
Painted circa 1966.
ESTIMATE 40,000 - 60,000 USD
PROVENANCE
Latin American Art
LOT 195
MATTA (1911-2002)
LE ROI ET LA REINE
each stamped with siganture and numbered 51/150; Puttnam, ed.

gilt bronze
height: 16 in.
40.7 cm
ESTIMATE 10,000 - 15,000 USD

Latin American Art
LOT 196

L'OISEAU DE FEU
both Inscribed with signature and numbered 320/500A and 320/500B

polished bonze and chrome plated metal
ea. 10 1/2 by 5 1/2 in.

ea. 26.7 by 14 cm
Executed in 1970.
ESTIMATE 10,000 - 15,000 USD
LITERATURE
Lam (exhibition catalogue) Galerie Tronche, Paris, 1972, illustration of another cast from this edition
Wifredo Lam: The Messenger, Tresart, Miami, March 17-April 17, 2006, p. 28-29, n. 12, Illustration of another cast
from this edition
Latin American Art
LOT 197
FERNANDA BRUNET (B. 1964)

BRR-CLA-NG-RT!

acrylic on linen
71 by 94 1/2 in.
180.3 by 240 cm
PROVENANCE
Latin American Art
LOT 198
ZILIA SÁNCHEZ (B. 1928)

TOPOLOGÍA ERÓTICA (FROM THE SERIES LAS AMAZONAS)
signed, titled and dated 1968; also signed twice, inscribed Maqueta and dated on the reverse
acrylic on canvas
41 by 55 7/8 by 12 in.
104.1 by 141.8 by 30.5 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Latin American Art
LOT 199
JOSÉ BEDIA (B. 1959)

A DONDE NO EXISTE LA MUERTE

acrylic on canvas
70 by 97 1/4 in.
177.8 by 247 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Latin American Art
LOT 200
RAFAEL RIVERA GARCÍA (B. 1929)

BORINQUEN

oil on masonite
29 7/8 by 47 7/8 in.

76 by 121.6 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Latin American Art
LOT 201
JORGE PARDO (B. 1963)

THREE UNTITLED WORKS
pantone ink on vellum
33 7/8 by 23 3/4 in., 33 7/8 by 23 3/4 in., 38 by 25 in.

86 by 60.3 cm, 86 by 60.3 cm, 96.5 by 63.5 cm
First two: painted in 1998
Third: Painted in 2003.
ESTIMATE 15,000 - 25,000 USD
PROVENANCE
First two: Neugerriemschneider, Berlin; Private collection, Europe
Third: Friedrich Petzel Gallery, New York
Latin American Art
LOT 202
JAMES MATHISON (B. 1966)

MANO GRANDE
ed. 4/8 and 2 AP

bronze
12 1/4 by 39 in.
31 by 100 cm
Executed in 2007.
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Acquired from the artist by the present owner (2007)
Private Collection, United States
Latin American Art
LOT 203
ROBERTO OBREGÓN (1946-2003)

DISECCIÓN
watercolor on paper
4 1/2 by 30 5/8 in.

11.4 by 77.9 cm
Painted circa 1980.
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Valerie Brathwhite, Caracas
Latin American Art
LOT 204

NDOKI ÑOKA DE LA NOCHE (THE DOOMED SNAKE OF THE NIGHT)
titled across right edge

acrylic on canvas
95 1/4 by 73 5/8 in.

242 by 186 cm
ESTIMATE 15,000 - 20,000 USD

PROVENANCE
EXHIBITION
Monterrey, Museo de Arte Contemporáneo de Monterrey, Obras de José Bedia, Crónica Americanas, June-
October 1997, p. 175, n. 95, illustrated in color
LITERATURE
Galeria Ramis Barquet, José Bedia, works 1978-2006, Spain, 2007, p. 25, illustrated in color
Latin American Art
LOT 205
KCHO (B. 1970)

SERIE COLUMNA INFINITA. IDEAS FRAGMENTADAS
signed lower left of second panel

Natural pigment on canvas
153 1/2 by 78 3/4 in.

390 by 200 cm
Painted in 2006.
ESTIMATE 18,000 - 22,000 USD

PROVENANCE
Galería Juan Ruiz, Maracaibo
EXHIBITION
Maracaibo, Galería Juan Ruíz, El Cuaderno del Hombre de los pies de barro, 2006, p. 35, illustrated in color; also
illustrated on the cover of the catalogue
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Galeria Juan Ruiz, signed by the artist.
Latin American Art
LOT 206
GUSTAVO ACOSTA (B. 1958)

MITO

acrylic on canvas
55 1/4 by 63 in.
140.3 by 160 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Private collection, Miami (acquired from the artist, 2003)
Latin American Art
LOT 207
THE-MERGER: MARIO MIGUEL GONZÁLEZ (B. 1971), NIELS MOLEIRO LUIS (B. 1970), ALAIN PINO (B. 1974)
INFLACIÓN
signed lower right; also signed, titled and dated 2009 on the reverse
oil on canvas
48 by 62 3/4 in.
122 by 160 cm
ESTIMATE 18,000 - 22,000 USD
PROVENANCE
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the artist
Latin American Art
LOT 208

SI LA VIERAS DESDE EL AIRE TU TAMBIÉN

oil on canvas
51 1/2 by 130 1/4 in.

130.8 by 330.8 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Latin American Art
LOT 209

UNTITLED
inscribed with signature numbered III/III dated 1989

height: 19 1/4 in.

48.9 cm
ESTIMATE 12,000 - 18,000 USD
LITERATURE
Paris, Galerie Vallois, Agustín Cárdenas 1927-2001; Trois Galeries un artiste, May 15-June 15, 2003, n. 31 from
the Galerie Vallois volume, illustration of a different cast
Latin American Art
LOT 210
LUIS ARMANDO ZESATTI (B. 1967)

RINCONES DEL VALLE
signed lower left; also signed, titled and dated 2005 on the reverse
acrylic on canvas
47 1/4 by 71 in.
120 by 180 cm
ESTIMATE 30,000 - 35,000 USD
PROVENANCE
Galería Interart, Mexico City Private collection, California
Latin American Art
LOT 211
GUILLERMO MUÑOZ-VERA (B. 1956)

CAPOTE DE TIENTA
signed and dated 2000 lower left; also signed, titled and dated on the reverse
oil on canvas laid down on board
14 1/8 by 14 1/8 in.

35.8 by 35.8 cm
ESTIMATE 12,000 - 18,000 USD

PROVENANCE
Galerie Levy, Hamburg (2002)
Private Collection, Germany
EXHIBITION
Madrid, Centro Cultural de la Villa, Muñoz-Vera: Exposición Antológica, Retrospective: 1973-2000, February 1-
March 12, 2000, n.n.
LITERATURE
Vittorio Sgarbi, "Guillermo Muñoz-Vera: Moderno nella forma, antico nell'anima," Muñoz-Vera: Exposición
Antológica 1973-2000, Galleria Marieschi, Milan, no. 18, illustrated in color
Latin American Art
LOT 212
REYNALDO FONSECA (B. 1925)

MOÇA COM TAMBOE

oil on board
47 1/4 by 35 3/8 in.

120 by 90 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Private Collection, South Africa
Latin American Art
LOT 213
MANUEL MENDIVE (B. 1944)

UNTITLED
signed lower right

oil on canvas
35 3/4 by 50 in.
90.8 by 127 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Gary Nader Fine Art, Miami
Latin American Art
LOT 214
KCHO (B. 1970)

LA INOCENCIA DE MIS SUEÑOS
signed and dated 2001 lower right and titled lower center
charcoal and ink on canvas
54 by 54 in.
137 by 137 cm
ESTIMATE 10,000 - 15,000 USD
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the artist, signed and dated La Habana 25 de
Febrero del 2002
Latin American Art
LOT 215
LUIS CABALLERO (1943-1995)

UNTITLED

oil on paper
76 1/2 by 38 in.
194.3 by 96.5 cm
ESTIMATE 18,000 - 22,000 USD
PROVENANCE
Latin American Art
LOT 216
CLARE ROJAS (B. 1976)

SIMBA AND UNTITLED (TWO WORKS)
Simba: signed and dated 02 on the reverse

gouache on wood
15 5/8 by 12 in. and 14 by 11 in.

40 by 30.5 cm and 35.6 by 28 cm
Painted in 2002.
PROVENANCE
Deitch Projects, New York
Latin American Art
LOT 217
ARMANDO ROMERO (B. 1964)

AMAZING ANIMAL 2
signed and dated R-08 lower left; also signed and dated center right
oil on canvas
24 by 27 3/4 in.
60.1 by 70.5 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Leslie Feely Fine Arts, New York
EXHIBITION
Los Angeles, Tasende Gallery, Armando Romero, May 14 - June 20, 2009, p. 15, n. 8, illustrated in color
Latin American Art
LOT 218
RAFAEL CORONEL (B. 1932)

NIÑO EN LA MESA

oil on canvas
47 1/2 by 39 1/4 in.

120.7 by 99.7 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Alice Simsar Gallery, Ann Arbor
Latin American Art
LOT 219
ELENA CLIMENT (B. 1955)

MESA ROSA CON OBJETOS

oil on canvas laid down on board
18 by 24 in.
45.7 by 61 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Latin American Art
LOT 220
GONZALO CIENFUEGOS (B. 1949)

UNTITLED (DIPTYCH)
each signed and dated 85 lower right; each also signed and dated on the reverse
oil on canvas
62 3/4 by 110 5/8 in.

159.4 by 281 cm
ESTIMATE 30,000 - 40,000 USD
PROVENANCE
Galería Lagarde, Buenos Aires
Latin American Art
LOT 221
ROBERTO FABELO (B. 1950)

PASTA DE OCA A LA ORILLA DEL MALECÓN

watercolor on heavy paper
22 1/2 by 30 1/4 in.

57.1 by 76.8 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Private collection, Palm Beach
Latin American Art
LOT 222
ALIRIO PALACIOS (B. 1944)

IMAGES IN LANDSCAPE Nº 3
pastel and charcoal on paper

signed and titled lower right
67 1/2 by 58 1/4 in.
171.3 by 158 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Latin American Art
LOT 223
GONZALO CIENFUEGOS (B. 1949)

UNA FAMILIA

oil on canvas
47 by 55 in.
119.4 by 139.7 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Sale: Sotheby Parke Bernet, New York, 19th and 20th Century Latin American Paintings, Drawings and Sculpture,
November 30, 1983, lot 106, illustrated
Acquired from the above sale by the present owner
Latin American Art
LOT 224

VIAJES FANTÁSTICOS
signed and dated 09 lower right; titled lower left

oil on canvas
49 by 41 in.
124.5 by 104. cm
ESTIMATE 25,000 - 35,000 USD
PROVENANCE
acquired from the artist by the present owner
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the artist, signed and dated 16/01/10
Latin American Art
LOT 225

SERIE ANIMALIA

bronze with brown patina
30 1/2 in. by 24 in.

77.5 by 61 cm
Executed in 2009.
ESTIMATE 35,000 - 45,000 USD

PROVENANCE
Acquired directly from the artist by the present owner
AUTHENTICATION
This lot is accompanied by a photo-certificate from the artist signed and dated 18/12/09
Latin American Art
LOT 226
PROPERTY FROM A DISTINGUISHED COLLECTION
RODOLFO NIETO (1936-1988)

UNTITLED
oil on canvas
signed lower right; also signed on the reverse
oil on canvas
21 5/8 by 18 in.
55 by 45.7 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Gift from the artist to the present owner
Latin American Art
LOT 227
PROPERTY FROM A DISTINGUISHED COLLECTION
RODOLFO NIETO (1936-1988)

UNTITLED
signed center left; also signed and dated 27 de octubre 66 on the reverse
paper collage, pastel and charcoal on canvas
25 5/8 by 19 1/2 in.

65 by 49.5 cm
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Gift from the artist to the present owner
Latin American Art
LOT 228

UNTITLED
signed lower right

gouache on paper
10 3/4 by 8 1/2 in.

27.3 by 21.6 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Galería Arte Actual Mexicano, Mexico City
Latin American Art
LOT 229

ARRIVAL OF THE EGYPTIANS
signed right center; also signed and titled on the reverse

gouache on amate paper
11 by 15 in.
28 by 38 cm
Painted circa 1970.
ESTIMATE 20,000 - 25,000 USD
PROVENANCE
Galería Juan Martin, Mexico City
Sale: Sotheby's, New York, Latin American Art, November 27, 1985, lot 250, illustrated
Mary Anne Martin/Fine Art, New York
Latin American Art
LOT 230
AMERICAN ART
FELIPE CASTAÑEDA (B. 1933)

UNTITLED (COUPLE EMBRACING)
numbered V/VII
bronze
21 1/2 by 24 by 20 in.
54.6 by 61 by 50.8 cm
ESTIMATE 10,000 - 15,000 USD

Latin American Art
LOT 231
AMERICAN ART

UNTITLED
signed lower right

oil on canvas
33 1/2 by 39 3/4 in.

85 by 101 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Latin American Art
LOT 232
AMERICAN ART

UNTITLED
signed lower left

oil on canvas
49 3/8 by 39 1/2 in.

125 by 99.7 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Latin American Art
LOT 233
RICARDO MARTÍNEZ (1918-2009)

MADRE E HIJO EN AMARILLO

oil on canvas
35 1/2 by 59 in.
90 by 150 cm
ESTIMATE 25,000 - 35,000 USD

PROVENANCE
The Contemporaries, New York
Charles H. Gross Collection, New York
Mary-Anne Matin/Fine Art, New York
Sale: Christie's, New York, Latin American Sale, May 25, 2005, lot 39, illustrated in color
EXHIBITION
New York, The American Federation of Arts, Mother and Child in Modern Art, December 1963-December 1965, n.
14
Mexico City, Museo de Arte Moderno, Ricardo Martínez, September 1969
AUTHENTICATION
This work is included as Nº61017 in the archives of Dr. Mark Ruben.
Latin American Art
LOT 234
GUILLERMO MEZA (1917-1997)

ESTUDIO

oil and gold leaf on wood panel
13 1/2 by 11 3/4 in.

34.3 by 29.8 cm
ESTIMATE 12,000 - 18,000 USD
PROVENANCE
Alice Simsar Gallert, Ann Arbor
Latin American Art
LOT 235
JORGE CAVELIER (B. 1953)

RIO MÚLTIPLE
oil on canvas
50 1/4 by 71 3/4 in.

127.6 by 182.3 cm
Painted in 2009.
ESTIMATE 10,000 - 15,000 USD
PROVENANCE
Oswaldo Agudelo Fine Art
Latin American Art
LOT 236
RENATO MEZIAT (B. 1952)

CABBAGES AND TOMATOES
signed lower left; also signed, titled and dated 2008 on the reverse
oil on canvas
35 1/2 by 49 1/4 in.

90 by 127.6 cm
ESTIMATE 12,000 - 18,000 USD

Latin American Art
LOT 237
JAVIER PELÁEZ (B. 1976)

UNTITLED

oil on canvas
35 1/2 by 42 1/4 in.

90.1 by 107.3 cm
ESTIMATE 10,000 - 15,000 USD

PROVENANCE
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from the artist, signed and dated 10 de diciembre de
2005.
Latin American Art
LOT 238
JUAN MANUEL HERNÁNDEZ (B. 1969)

SOMBRAS EN EL CAMINO
signed and dated 2008 lower left; also signed, titled and dated on the reverse
oil on canvas
59 by 41 1/4 in.
150 by 104.8 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Latin American Art
LOT 239
SANTIAGO CARBONELL (B. 1960)

UNTITLED

oil on canvas
31 1/2 by 56 in.
80 by 142.3 cm
ESTIMATE 30,000 - 40,000 USD

PROVENANCE
Private collection, Caracas
AUTHENTICATION
This lot is accompanied by a photo-certificate of authenticity from Praxis Gallery.
Latin American Art
LOT 240
EDUARDO KINGMAN (1913-1997)

CEASING STORM
signed and dated California-VI-46 lower left; also signed, titled and dated San Francisco 1946 on the reverse
oil on canvas
38 by 25 3/4 in.
96.5 by 65.4 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Private collection, Chicago
Latin American Art
LOT 241
OSWALDO GUAYASAMÍN (1919-1999)

IGLESIA
signed lower right

oil on masonite
23 1/4 by 29 3/8 in.

59 by 74.5 cm
ESTIMATE 18,000 - 22,000 USD
PROVENANCE
Estate of Ardath U. Deaton, New York
Latin American Art
LOT 242
OSWALDO GUAYASAMÍN (1919-1999)

FLORES SECAS
signed lower right

oil on canvas
31 1/4 by 31 1/4 in.

79.4 by 79.4 cm
Painted in 1980.
ESTIMATE 30,000 - 40,000 USD
PROVENANCE
Mercado de Arte, Madrid
Galería Todo Arte, Guayaquíl
Latin American Art
LOT 243

UNTITLED (GIRL SLEEPING)
signed lower left; inscribed Nº471 on the reverse

oil on wood panel
18 by 21 7/8 in.
45.7 by 55.3 cm
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Private Collection, Pennsylvania
Latin American Art
LOT 244

UNTITLED
signed lower left

oil on panel
17 1/8 by 12 5/8 in.

43.5 by 32 cm
ESTIMATE 18,000 - 22,000 USD
PROVENANCE
Galeria Botello, Puerto Rico
Acquired from the above
Latin American Art
LOT 245
PROPERTY IS SOLD TO BENEFIT THE PARADIS DES INDIENS FOUNDATION IN ABRICOT, HAITI TO SUPPORT THE
HAITIAN RELIEF FUND

CHRISTIANE MARIA

bronze, silver patina
22 1/4 by 9 by 5 in.
56.5 by 22.8 by 12.7 cm
Executed in 1983.
ESTIMATE 15,000 - 20,000 USD
PROVENANCE
Galeria Botello, San Juan

Sothebys Maio 2010

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Latin American Art

LEONORA CARRINGTON (B. 1917)

signed lower left

ESTIMATE 25,000 - 30,000 USD

FRANCISCO TOLEDO (B. 1940)

signed lower right

ESTIMATE 70,000 - 90,000 USD

PROPERTY FROM THE ESTATE OF A DISTINGUISHED AMERICAN COLLECTOR

signed lower left

ESTIMATE 70,000 - 90,000 USD

LEONORA CARRINGTON (B. 1917)

signed and dated 1964 lower left

13 1/8 by 31 7/8 in.

ESTIMATE 150,000 - 200,000 USD

AGUSTÍN CÁRDENAS (1927-2001)

inscribed with signature

ESTIMATE 150,000 - 200,000 USD

REMEDIOS VARO (1908-1963)

signed lower right

19 5/8 by 17 3/4 in.

ESTIMATE 600,000 - 800,000 USD

Painted at the culmination of Varo's career, Invocación opens an autobiographical

oil on canvas laid down on wood with metal hinges

overall dimensions variable

ESTIMATE 200,000 - 250,000 USD

FERNANDO BOTERO (B. 1932)

ESTIMATE 250,000 - 350,000 USD

FERNANDO BOTERO (B. 1932)

signed and dated 98 lower right

53 1/8 by 78 5/8 in.

ESTIMATE 700,000 - 900,000 USD

PROPERTY FROM AN AMERICAN PRIVATE COLLECTION

ÁNGEL ZÁRRAGA (1886-1946)

19 3/4 by 16 1/4 in.

ESTIMATE 150,000 - 200,000 USD

CLAUDIO BRAVO (B. 1936)

signed lower left and dated MMV lower right

ESTIMATE 400,000 - 500,000 USD

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

GUNTHER GERZSO (1915-2000)

31 7/8 by 25 1/2 in.

ESTIMATE 125,000 - 175,000 USD

Gunther Gerzso to Rita Elder in El esplendor de la muralla, 1994

CARLOS CRUZ-DIEZ (B. 1923)

signed, titled and dated Octubre 1988 on the reverse

23 7/8 by 71 3/8 in.

ESTIMATE 150,000 - 200,000 USD

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN

MARCELO BONEVARDI (1929-1994)

ESTIMATE 20,000 - 30,000 USD

1 As quoted in Dore Ashton, "Introduction," in exhibition catalogue Bonevardi (New

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN

GUNTHER GERZSO (1915-2000)

40 1/4 by 18 1/4 in.

ESTIMATE 120,000 - 180,000 USD

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN

WIFREDO LAM (1902-1982)

signed lower right

25 1/8 by 31 1/2 in.

ESTIMATE 250,000 - 350,000 USD

Lowery Stokes Sims

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN

WIFREDO LAM (1902-1982)