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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 4

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

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 15June 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Tokyo, Isetan Museum of Art; Tokyo, Denki Bunka Kaikan; Kamakura, The Museum of Modern Art, Remedios Varo, June 10-November 28, 1999, p. 123, n. 63, illustrated in color

Fig. 1

Andrea Mantegna (1430-1506), Descent into Limbo, tempera and 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 9

FERNANDO BOTERO (B. 1932) 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 Acquired from the above by the present owner

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 wellendowed 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Guadalajara, Casa de la Cultura Jaliciense, Angel Zárraga, 1969 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

Fig. 1

Angel Zárraga in Paris, ca. 1917

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Marlborough Gallery, New York Sale: Christie's, New York, Latin American Sale Evening Session, May 28, 2008, lot 6, illustrated in color Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Sao Paolo, Bienal de Sao Paolo, August 1969 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, AugustOctober, 1989; Vero Beach, Center for the Arts, January-March, 1990

Fig. 1

The Arts Club of Chicago, 1968

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 15

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN GUNTHER GERZSO (1915-2000) 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 Mary-Anne Martin/Fine Art, New York

LITERATURE Luis Cardoza y Aragón, Gunther Gerzso, Mexico, 1972, no. 52, illustrated

Fig. 1

CATALOGUE NOTE The power of a Gerzso painting lies in its immediacy. Its presence grabs the moment one looks at it and won't let go. Where does that energy come from? How does it get there? What is its staying power?

Gunther Gerzso at the Galería de Arte Mexicano, Mexico City, ca. 1958

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 16

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN 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 Private Collection, Paris 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 Paris, Galerie Fabien Boulakia, Wifredo Lam, September-October, 1985, illustrated in color New York, The Studio Museum in Harlem, Wifredo Lam and his Contemporaries 19381952, 1992, p. 116, n. 27, illustrated in color

Fig. 1

Wifredo Lam in his garden in Havana, 1943.

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 17

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN WIFREDO LAM (1902-1982) SUR LES TRACES (TRANSFORMATION)
signed and dated 1945 lower right 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, illustrated San Juan, Arsenal de la Puntilla, Wifredo Lam, obras desde 1938 hasta 1975, de regreso al Caribe, 1992 New York, The Studio Museum in Harlem, Wifredo Lam and his Contemporaries 19381952, 1992, p. 122, n. 98, illustrated in color

Fig. 1

André Breton, Lam, and Pierre Mabille in Lam's Haitian exhibition, Port-au-Prince, 1946

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 cojoined. 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 18

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN 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 Mary-Anne Martin/Fine Art, New York Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 19

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN LEONORA CARRINGTON (B. 1917) 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 Mary-Anne Martin/Fine Art, New York

Fig. 1

LITERATURE Whitney Chadwick, Leonora Carrington. La Realidad de la Imaginación, Mexico City, 1994, n. 51, illustrated in color

Leonora Carrington in her studio in Calle Chihuahua in Mexico 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 20

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN MATTA (1911-2002) UNTITLED
signed and dated 51 lower right oil on canvas 46 1/2 by 68 1/4 in. 118 by 173.4 cm

ESTIMATE 350,000 - 450,000 USD

PROVENANCE Iolas Jackson Gallery, New York A. and V. Berliner, New York Mary-Anne Martin/Fine Art, 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 preColumbian 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 21

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN 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 Mary-Anne Martin/Fine Art, New York

Fig. 1

CATALOGUE NOTE 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.

Rodolfo Morales in his studio

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 22

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN WIFREDO LAM (1902-1982) 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, illustrated in color 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 23

MASTERWORKS FROM A PRIVATE COLLECTION, ASPEN GUNTHER GERZSO (1915-2000) 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 Mary-Anne Martin/Fine Art, New York

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 New York, America's Society, Gunther Gerzso, Sculpture and Prints, SeptemberOctober 1995, illustration of a different cast New York, Mary-Anne Martin/Fine Art; Zurich, Galerie Rahn, Gunther Gerzso, 80th Birthday Show, September 19951996, p. 17, n. 33, illustration of a different cast

Fig. 1

Gunther Gerzso and Alejandro Galindo in Chichén Itzá, Mexico, 1953.

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 24

PROPERTY FROM THE COLLECTION OF DR. AND MRS. SIDNEY MERIANS FERNANDO BOTERO (B. 1932) LA TOILETTE
signed and dated 80 lower right 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 Marlborough Gallery, New York Acquired from the above by the present owner

EXHIBITION New York, Marlborough Gallery, Fernando Botero - Recent Work, November 7December 2, 1980, p. 29, n. 21, illustrated in color

Fig. 1

LITERATURE Pierre Restany, Botero, Geneva 1983, illustrated in color "Botero", Découvrons l'art - 20e siècle, Paris, 1996, illustrated in color and reproduced on dust jacket

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

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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) Acquired from the above by the present owner

LITERATURE Fundación Zúñiga, Francisco Zúñiga: Catálogo Razonado/Catalogue Raisonné (19231993), Mexico City, 1999, p. 372, n. 630, illustrated (incorrectly dated 1971)
Fig. 1

Fig. 1 Desnudo en el Aire at Zúñiga's studio

Desnudo en el Aire at Zúñiga's studio

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 26

DIEGO RIVERA (1886-1957) LA TEJEDORA Y LOS NIÑOS
signed and dated 1953 lower right 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

LITERATURE Instituto Nacional de Bellas Artes, Diego Rivera, Catálogo General de Obra de Caballete, Mexico City, 1989, p. 267, n. 2057, illustrated

Diego Rivera, Mural at the Secretaría de Educación Pública, 1928 © 2010 Artists Rights Society (ARS), New York

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.

Fig. 2

Para 1953, el afamado pintor mexicano Diego Rivera tenía 67 años y no obstante, seguía emprendiendo múltiples proyectos artísticos, tanto públicos como privados: ya 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.

Diego Rivera, Mural at the Secretaría de Educación Pública, 1928 © 2010 Artists Rights Society (ARS), New York

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 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, de intentar dignificar la imagen de los indígenas de México, a través de su arte. En casi 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.

Fig. 3

Diego Rivera, Mural at the Secretaría de Educación Pública, 1928 © 2010 Artists Rights Society (ARS), New York

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 Diego Rivera, Mural at the Secretaría de Educación Pública, 1928 © 2010 Artists Rights Society (ARS), New York Fig. 3 Diego Rivera, Mural at the Secretaría de Educación Pública, 1928 © 2010 Artists Rights Society (ARS), New York

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 28

FERNANDO BOTERO (B. 1932) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 30

WIFREDO LAM (1902-1982) 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, 2007January 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 34

EMILIO PETTORUTI (1892-1971) ARMONIA-MOVIMENTO SPAZIO-DISEGNO ASTRATTO
signed and dated 914 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 35

PROPERTY FROM A PRIVATE COLLECTION, ARIZONA JESÚS RAFAEL SOTO (1923-2005) CADMIO CENTRAL
signed, titled and dated 1996 on the reverse 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 36

CARLOS CRUZ-DIEZ (B. 1923) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 39

JESÚS RAFAEL SOTO (1923-2005) ESCRITURA LILIA
signed, titled and dated 1991 on the reverse 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 41

GEGO (GERTRUDIS GOLDSCHMIDT) (1912-1994) SIN TÍTULO
signed and dated 70 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 42

JESÚS RAFAEL SOTO (1923-2005) ESCRITURA NEGRA A LA IZQUIERDA
signed, titled and dated 1977 on the reverse 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) Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 46

GUILLERMO KUITCA (B. 1961) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 47

FERNANDO BOTERO (B. 1932) UOMO CHE CAMMINA (WALKING MAN)
inscribed with signature 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 Acquired from the above by the present owner

Fig. 1 Fernando Botero in Pietra Santa, 2007

Fig. 1

Fernando Botero in Pietra Santa, 2007

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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, illustrated in color 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 49

ARMANDO REVERÓN (1889-1954) PAISAJE CON UVEROS
signed and dated 46 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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

I

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Thence by descent to the present owners

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 53

DIEGO RIVERA (1886-1957) 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 Private Collection, New York

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 to Mexico until 1957, the year he died. "Fortunately for me, Rivera seemed to be flattered by the continual attentions of a young American woman. I literally walked in his shadow, and he let me go with him everywhere as he spun his tales." (Diego Rivera, 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?"

Fig. 1

Diego Rivera dictating (My Art, My life) to Gladys March in his studio in Mexico

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 55

FERNANDO BOTERO (B. 1932) CAVALLINO
inscribed with signature and numbered 3/6 bronze, black patina 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 57

RUFINO TAMAYO (1899-1991) 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 Acquired from the above by the present owner

EXHIBITION California, B. Lewin Galleries, Rufino Tamayo, 1983, p. 104-105, illustrated in color Monterrey, Museo de Monterrey, Tamayo, January-Mach, 1986

AUTHENTICATION We wish to thank Juan Carlos Pereda for his kind assistance in the cataloguing of this work.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 58

EMILIO PETTORUTI (1892-1971) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 59

CUNDO BERMÚDEZ (1914-2008) TRES ARLEQUINES CON FONDO AMARILLO
signed and dated 56 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 60

FERNANDO BOTERO (B. 1932) STILL LIFE WITH FRUIT JUICE
signed and dated 83 lower right 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 Private collection, Mexico City Acquired from the above by the present owner

Fig. 1

LITERATURE Giorgio Soavi, Botero. Milano. 1988, p. 192, n. 164, illustrated in color (incorrectly dated 1982) 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

Juan van der Hamen y León, Un Almuerzo, circa 1630, Private Collection

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 61

CLAUDIO BRAVO (B. 1936) 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

LITERATURE Paul Bowles and Mario Vargas Llosa, Claudio Bravo, New York, 1997, p. 261 (photograph of the artist next to the work)

Claudio Bravo in his first solo exhibition at Fortuny Gallery, 1963.

Fig. 1 Claudio Bravo in his first solo exhibition at Fortuny Gallery, 1963.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 62

FRANCISCO RODÓN (B. 1934) LIRIOS CALA
signed and dated 58 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the artist by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 77

FROM THE COLLECTION OF RAFAEL DUBOIS, MIAMI 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

ESTIMATE 8,000 - 12,000 USD

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 78

FROM THE COLLECTION OF RAFAEL DUBOIS, MIAMI 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 79

PROPERTY FROM THE COLECCIÓN PEREGRINA VIRREINAL, FUNDACIÓN DE ARTE SACRO ANTONIO ROIGFERRÉ, 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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) Thence by descent to the present owners

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 81

VÍCTOR PATRICIO DE LANDALUZE (1827-1889) 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 Libros y Grabados Antiguos, Madrid Mr Ignacio Joaristi Lanzagorta, Madrid (acquired from the above) Thence by descent to the present owners

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 82

VÍCTOR PATRICIO DE LANDALUZE (1827-1889) 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 Libros y Grabados Antiguos, Madrid Mr Ignacio Joaristi Lanzagorta, Madrid (acquired from the above) Thence by descent to the present owners

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 83

ESTEBAN CHARTRAND (1824-1884) PAISAJE
signed and dated 1872 lower left 13 7/8 by 22 7/8 in. 35.4 by 53 cm

ESTIMATE 30,000 - 40,000 USD

PROVENANCE Mr Ignacio Joaristi Lanzagorta, Madrid Thence by descent to the present owners

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 84

PHILIPPE CHARTRAND 1800 - 1889 CUBA
signed, titled and dated 1890 on the reverse 7 by 9 1/2 in. 18 by 23.5 cm

ESTIMATE 15,000 - 20,000 USD

PROVENANCE Mr Ignacio Joaristi Lanzagorta, Madrid Thence by descent to the present owners

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 90

DOMINGO E. RAMOS (1894-1967) UNTITLED
signed and dated 1928 lower left 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 92

ALFONSO X. PEÑA (1903-1964) CAZA Y RECOLECCIÓN
signed and dated 46 lower left oil on masonite 29 1/8 by 120 in. 74 by 305 cm

ESTIMATE 50,000 - 70,000 USD

PROVENANCE Private collection, Mexico City Thence by descent to the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

AUTHENTICATION We wish to thank Juan Botello for his kind assistance in confirming the authenticity of this lot.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the artist by the previous owner Thence by descent to the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Executed circa 1923-26.

ESTIMATE 8,000 - 12,000 USD

PROVENANCE Bernard Solomon, Los Angeles Acquired from the above by the present owner (1966)

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 96

DIEGO RIVERA (1886-1957) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 97

RUFINO TAMAYO (1899-1991) MUJER CON REBOZO
signed and dated 40 lower right 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 We wish to thank Juan Carlos Pereda for his kind assistance in the cataloguing of this work.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the artist by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 99

DIEGO RIVERA (1886-1957) HORAS CORRIDAS
signed upper left watercolor on rice paper 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 Sale: Sotheby's, New York, Latin American Art, November 20, 2001, lot 25, illustrated in color Acquired from the above by the present owner

LITERATURE Instituto Nacional de Bellas Artes, Diego Rivera, Catálogo General de Obra de Caballete, Mexico City, 1989, p. 314, n. 2431, illustrated

AUTHENTICATION We wish to thank Professor Luis-Martín Lozano for his kind assistance in confirming the authenticity of this lot.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 100

DIEGO RIVERA (1886-1957) HOMBRE DE RODILLAS MARTILLANDO
signed lower center watercolor on rice paper 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 We wish to thank Professor Luis-Martín Lozano for his kind assistance in confirming the authenticity of this lot.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Thence by descent to the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Private Collection, Buenos Aires Sale: Christie's, New York, Important Latin American Paintings, Drawings and Sculpture, May 19, 1992, lot 112, illustrated in color

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Thence by descent to the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 104

JOAQUÍN TORRES-GARCÍA (1874-1949) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 110

JOSÉ GURVICH (1927-1974) EL DIARIO
signed and dated 1964 lower right oil on board 19 3/4 by 33 in. 50 by 83.8 cm

ESTIMATE 18,000 - 22,000 USD

PROVENANCE Private collection, Israel

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 111

PROPERTY FROM THE NEW YORK COMMUNITY TRUST, FROM THE ESTATE OF ROYAL S. MARKS JOAQUÍN TORRES-GARCÍA (1874-1949) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Private collection, Israel

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Sale: Sotheby's, New York, Latin American Art, November 21, 2001, lot 108, illustrated in color

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 115

JOAQUÍN TORRES-GARCÍA (1874-1949) DEUX FORMES ET GRATTOIR
signed and dated 28 lower left 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 Sale: Sotheby's, New York, Latin American Art, November 21, 2001, lot 105, illustrated in color Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Executed circa 1950.

ESTIMATE 30,000 - 40,000 USD

PROVENANCE Ruth Moskin Fineshriber, New York (acquired from the artist, circa 1950s) Sale: Christie's, New York, Latin American Sale, June 1, 2007, lot 206, illustrated in color

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Executed circa 1950.

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, illustrated in color

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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) Thence by descent to the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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) Sale: Christie's, New York, Latin American Sale, June 1, 2007, lot 204, illustrated in color

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 123

WIFREDO LAM (1902-1982) FORÊTE
signed and dated 1962 lower right 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, illustrated in color

AUTHENTICATION This lot is accompanied by a certificate of authenticity from Madame Lou Laurin Lam, signed and dated 24/03/2009.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 124

GUNTHER GERZSO (1915-2000) COMBATE
signed and dated 46 lower right; also signed, titled and dated on the reverse 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 Sale: Sotheby's, New York, Latin American Art, November 20, 2006, lot 27, illustrated in color Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 125

RENÉ PORTOCARRERO (1912-1986) FIGURA EN AZUL
signed and dated 1960 lower right; also signed, titled and dated on the reverse 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 126

FRANCISCO ZÚÑIGA (1912-1998) 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 Private collection, New York

LITERATURE Fundación Zúñiga, Francisco Zúñiga: Catálogo Razonado/Catalogue Raisonné (1923-1993), Mexico City, 1999, p. 422, n. 727, illustrated

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 127

FERNANDO BOTERO (B. 1932) MOTHER SUPERIOR
signed and dated 66 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 128

PROPERTY FROM THE COLLECTION OF DR. AND MRS. SIDNEY MERIANS FERNANDO BOTERO (B. 1932) GIRL WITH HOOP
signed and dated 80 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 129

PROPERTY FROM THE COLLECTION OF DR. AND MRS. SIDNEY MERIANS FERNANDO BOTERO (B. 1932) 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 Marlborough Gallery, New York Acquired from the above by the present owner (March 16, 1981)

EXHIBITION New York, Marlborough Gallery, November 8-31, 1975

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 129A

JULIO LARRAZ (B. 1944) 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 130

FERNANDO BOTERO (B. 1932) 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, illustrated in color Galería El Museo, Bogotá Private Collection, Florida

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 134

FERNANDO BOTERO (B. 1933) 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 Marlborough Gallery, New York Galería Fernando Quintana, Bogotá Acquired from the above by the present owner (1992)

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 135

PROPERTY OF THE LOS ANGELES COUNTY MUSEUM OF ART SOLD TO BENEFIT ACQUISITIONS OF LATIN AMERICAN ART CARLOS MÉRIDA (1891-1984) UNTITLED
signed and dated 1964 lower left duco and sand on paper on board 20 1/2 by 15 in. 50 by 38 cm

ESTIMATE 15,000 - 20,000 USD

PROVENANCE B. Lewin Galleries, Beverly Hills

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 136

AGUSTÍN CÁRDENAS (1927-2001) PERSISTENCIA ÍNTIMA (PERSISTENCE INTIME)

inscribed with signature and dated 1989; also numbered II/III bronze, black patina 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 137

GUNTHER GERZSO (1915-2000) 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 Acquired from the artist Sale: Sotheby's, New York, Latin American Art, May 29, 2008, lot 12, illustrated in color

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 138

AGUSTÍN CÁRDENAS (1927-2001) TÊTE DE MARBRE
Carrara marble inscribed with signature and dated 71 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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, illustrated in color

AUTHENTICATION This lot is accompanied by a photo-certificate of authenticity from Germana Ferrari, signed and dated 19 mai 1994.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 140

MARIO CARREÑO (1913-1999) ANTILLAS
signed and dated 48 upper left 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 Sale: Sotheby's, New York, Latin American Art, May 29, 2002, lot 137, illustrated in color Mary-Anne Martin/Fine Art, New York Acquired from the above by the present owner

EXHIBITION New York, Nassau County Museum of Art, The Latin Century: Beyond de border, August 18-November 3 2002

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 141

ANTONIO BANDEIRA (1922 - 1967) UNTITLED
signed and dated 59 lower right 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 Thence by descent to the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 142

ANTONIO BANDEIRA (1922 - 1967) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 143

WIFREDO LAM (1902-1982) 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 Sale: Sotheby's, New York, Latin American Art, May 29, 1997, lot 157, illustrated in color Private Collection, Florida

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 144

FERNANDO BOTERO (B. 1932) 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 Private collection, Mexico City Thence by descent to the present owners

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Nohra Haime Gallery, New York Private Collection, New York

EXHIBITION New York, Nohra Haime Gallery, Lika Mutal: Silent Stone, March 15-April 15, 1989, p. 6, illustrated in color

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 146A

ANTONIO BANDEIRA (1922 - 1967) COMPOSITION
signed and dated 63 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 148

FRANCISCO ZÚÑIGA (1912-1998) DOS MUJERES
signed and dated 1973 lower right 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 149

FRANCISCO ZÚÑIGA (1912-1998) 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 Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 150

PROPERTY OF THE LOS ANGELES COUNTY MUSEUM OF ART SOLD TO BENEFIT ACQUISITIONS OF LATIN AMERICAN ART RUFINO TAMAYO (1899-1991) 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 B. Lewin Galleries, Beverly Hills

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 We wish to thank Juan Carlos Pereda for his kind assistance in the cataloguing of this work.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the artist Sale: Sotheby's, New York, Latin American Paintings, Drawings and Sculpture, November 26 1986, lot 139, illustrated

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 153

JULIO LARRAZ (B. 1944) STUDY FOR THE TWO O'CLOCK EXPRESS
signed and dated 89 lower right oil on canvas 47 1/2 by 49 in. 120.7 by 124.5 cm

ESTIMATE 60,000 - 80,000 USD

PROVENANCE Nohra Haime Gallery, New York Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 154

FERNANDO BOTERO (B. 1932) MÚSICO CIEGO
signed and dated 91 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 156

CLAUDIO BRAVO (B. 1936) 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 Marlborough Gallery, New York Sale: Sotheby's, New York, Latin American Art, May 31, 2000, lot 56, illustrated in color

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 157

GUILLERMO KUITCA (B. 1961) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Galería de Arte Mexicano, Mexico City Professor Robert D. Wilson, Seattle Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 159

PEDRO FRIEDEBERG (B. 1937) UNTITLED
painted wood 44 7/8 by 49 3/8 in. 114 by 125.3 cm Executed circa 1970.

ESTIMATE 12,000 - 18,000 USD

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 160

PEDRO FRIEDEBERG (B. 1937) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the artist 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 162

FERNANDO BOTERO (B. 1932) WOMAN ON TRAPEZE
signed and dated 08 lower right 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 Acquired from the artist by the previous owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 163

FERNANDO BOTERO (B. 1932) WOMAN ON TRAPEZE WITH HOOPS
signed and dated 08 lower left 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 Acquired from the artist by the previous owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 164

FERNANDO BOTERO (B. 1932) WOMAN ACROBAT
signed and dated 08 lower right 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 Acquired from the artist by the previous owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 165

FERNANDO BOTERO (B. 1932) WOMAN WITH MONKEY
signed and dated 08 lower right 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 Acquired from the artist by the previous owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the artist by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 167

FRANS KRAJCBERG (B. 1921) UNTITLED
signed and dated 68 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 168

ANTONIO SEGUÍ (B. 1934) MIRANDO ATRÁS
signed, titled and dated 91 on the reverse oil on canvas 31 3/4 by 39 1/2 in. 80.7 by 100.3 cm

ESTIMATE 30,000 - 40,000 USD

PROVENANCE Acquired from the artist by the present owner

LITERATURE The San Juan Star, April 21, 1993 , n.p., illustrated El Nuevo Día, May 23, 1993, n.p., illustrated

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 169

PEDRO FRIEDEBERG (B. 1937) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 170

SERGIO CAMARGO (1930-1990) UNTITLED
inscribed with signature and dated 70 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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

ESTIMATE 8,000 - 10,000 USD

PROVENANCE Acquired from the artist by the previous owner 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 174

CARLOS CRUZ-DIEZ (B. 1923) 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 175

MATHÍAS GOERITZ (1915-1990) 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 Private Collection, New York Acquired from the above by the present owner

EXHIBITION New York, Galería Ramis Barquet, Mathias Goeritz, November 8-December 8, 2007

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 176

GUNTHER GERZSO (1915-2000) VERDE-AZUL
signed and dated 80 lower right oil on masonite 6 7/8 by 7 1/8 in. 17.4 by 18.2 cm

ESTIMATE 12,000 - 18,000 USD

PROVENANCE Acquired from the artist by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 177

MATHÍAS GOERITZ (1915-1990) MENSAJE Nº13, DEUT. XXVII:17
signed, titled and dated 59 on the reverse 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 Private collection, New York Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Private collection, Mexico City Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 182

EDUARDO MACENTYRE (B. 1929) VARIANTE II SOBRE UN CUADRO NEGRO
signed, titled and dated 1969 on the reverse 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 183

GYULA KOSICE (B. 1924) GOTA DE AGUA Y AREADOBAS AZULES
inscribed with signature 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 Acquired from the artist by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 184

GREGORIO VARDANEGA (1923-2007) UNTITLED
inscribed with signature and dated 1958 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 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 Paris 1958

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 185

MARTHA BOTO (1922-2004) INTUICIÓN Nº2
signed and dated 54 lower right; also signed, titled and dated on the reverse 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 186

ELSA GRAMCKO (1925-1994) EL FORTÍN
signed, titled and dated 1963 on the reverse 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Private Collection, Paris

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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) Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 189

JESÚS RAFAEL SOTO (1923-2005) 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 190

CÉSAR PATERNOSTO (B. 1931) AYAMARKA
signed, titled and dated 1980 on the reverse 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 Private Collection, Buenos Aires

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 192

MANABU MABE (1924-1997) SORRISO
signed and dated 1977 lower right; also signed, titled and dated on the reverse 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 Thence by descent to the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 193

JULIO LE PARC (B. 1928) MODULATION 808
signed, titled and dated 1986 on the reverse 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Iolas Jackson Gallery, New York

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Executed circa 1980.

ESTIMATE 10,000 - 15,000 USD

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 196

WIFREDO LAM (1902-1982) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 197

FERNANDA BRUNET (B. 1964) BRR-CLA-NG-RT!
signed, titled and dated 2004 on the reverse acrylic on linen 71 by 94 1/2 in. 180.3 by 240 cm

ESTIMATE 8,000 - 10,000 USD

PROVENANCE Acquired from the artist by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the artist by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 199

JOSÉ BEDIA (B. 1959) A DONDE NO EXISTE LA MUERTE
signed and dated 04 lower right acrylic on canvas 70 by 97 1/4 in. 177.8 by 247 cm

ESTIMATE 15,000 - 20,000 USD

PROVENANCE Acquired from the artist by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 200

RAFAEL RIVERA GARCÍA (B. 1929) BORINQUEN
signed and dated 67 lower right oil on masonite 29 7/8 by 47 7/8 in. 76 by 121.6 cm

ESTIMATE 10,000 - 15,000 USD

PROVENANCE Private Collection, Florida

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 204

JOSÉ BEDIA (B. 1959) 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 Acquired from the artist by the present owner

EXHIBITION Monterrey, Museo de Arte Contemporáneo de Monterrey, Obras de José Bedia, Crónica Americanas, JuneOctober 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 206

GUSTAVO ACOSTA (B. 1958) MITO
signed and dated 1992 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the artist by the present owner

AUTHENTICATION This lot is accompanied by a photo-certificate of authenticity from the artist

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 208

JOSÉ BEDIA (B. 1959) SI LA VIERAS DESDE EL AIRE TU TAMBIÉN
signed and dated 96 lower right oil on canvas 51 1/2 by 130 1/4 in. 130.8 by 330.8 cm

ESTIMATE 15,000 - 20,000 USD

PROVENANCE Private Collection, New York

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 209

AGUSTÍN CÁRDENAS (1927-2001) UNTITLED
inscribed with signature numbered III/III dated 1989 bronze, black patina 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 1March 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 212

REYNALDO FONSECA (B. 1925) MOÇA COM TAMBOE
signed and dated 1984 upper left 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 215

LUIS CABALLERO (1943-1995) UNTITLED
signed and dated 86 lower left oil on paper 76 1/2 by 38 in. 194.3 by 96.5 cm

ESTIMATE 18,000 - 22,000 USD

PROVENANCE Nohra Haime Gallery, New York Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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.

ESTIMATE 8,000 - 12,000 USD

PROVENANCE Deitch Projects, New York

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 218

RAFAEL CORONEL (B. 1932) NIÑO EN LA MESA
signed and dated 65 lower left 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 219

ELENA CLIMENT (B. 1955) MESA ROSA CON OBJETOS
signed and dated 90 lower right oil on canvas laid down on board 18 by 24 in. 45.7 by 61 cm

ESTIMATE 10,000 - 15,000 USD

PROVENANCE Galería de Arte Mexicano, Mexico City Mary-Anne Martin/Fine Art, New York Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner (1984)

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 221

ROBERTO FABELO (B. 1950) PASTA DE OCA A LA ORILLA DEL MALECÓN
signed and dated 1996 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Executed circa 1987-1988.

ESTIMATE 12,000 - 18,000 USD

PROVENANCE Sale: Sotheby's, New York, Latin American Art, May 16, 1989, lot 48, illustrated in color

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 223

GONZALO CIENFUEGOS (B. 1949) UNA FAMILIA
signed and dated 80 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 224

ROBERTO FABELO (B. 1950) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 225

ROBERTO FABELO (B. 1950) SERIE ANIMALIA
inscribed with signature and numbered 1/7 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 228

FRANCISCO TOLEDO (B. 1940) 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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 229

FRANCISCO TOLEDO (B. 1940) 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 Sale: Sotheby's, New York, Latin American Art, May 26, 2002, lot 158, illustrated in color Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 230

PROPERTY OF THE LOS ANGELES COUNTY MUSEUM OF ART SOLD TO BENEFIT ACQUISITIONS OF LATIN AMERICAN ART FELIPE CASTAÑEDA (B. 1933) UNTITLED (COUPLE EMBRACING)
numbered V/VII inscribed with signature and dated 1991 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 231

PROPERTY OF THE LOS ANGELES COUNTY MUSEUM OF ART SOLD TO BENEFIT ACQUISITIONS OF LATIN AMERICAN ART RAFAEL CORONEL (B. 1932) 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 B. Lewin Galleries, Beverly Hills

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 232

PROPERTY OF THE LOS ANGELES COUNTY MUSEUM OF ART SOLD TO BENEFIT ACQUISITIONS OF LATIN AMERICAN ART RAFAEL CORONEL (B. 1932) 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 B. Lewin Galleries, Beverly Hills

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 233

RICARDO MARTÍNEZ (1918-2009) MADRE E HIJO EN AMARILLO
signed and dated 61 lower left 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 Private collection, 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 234

GUILLERMO MEZA (1917-1997) ESTUDIO
signed and dated 1962 lower right 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 237

JAVIER PELÁEZ (B. 1976) UNTITLED
signed and dated 2005 lower right oil on canvas 35 1/2 by 42 1/4 in. 90.1 by 107.3 cm

ESTIMATE 10,000 - 15,000 USD

PROVENANCE Private collection, Miami

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the artist by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 239

SANTIAGO CARBONELL (B. 1960) UNTITLED
signed and dated 07 lower left oil on canvas 31 1/2 by 56 in. 80 by 142.3 cm

ESTIMATE 30,000 - 40,000 USD

PROVENANCE Private collection, Caracas Private collection, Miami

AUTHENTICATION This lot is accompanied by a photo-certificate of authenticity from Praxis Gallery.

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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 Acquired from the above by the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 243

ÁNGEL BOTELLO (1913-1986) 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
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 244

ÁNGEL BOTELLO (1913-1986) 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 Thence by descent to the present owner

Latin American Art
New York | 27 May 2010, 7:00 PM, 28 May 2010, 10:00 AM | N08642

LOT 245

PROPERTY IS SOLD TO BENEFIT THE PARADIS DES INDIENS FOUNDATION IN ABRICOT, HAITI TO SUPPORT THE HAITIAN RELIEF FUND ÁNGEL BOTELLO (1913-1986) CHRISTIANE MARIA
inscribed with signature and numbered 8/10 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