1 INDEX

19th Century Latin American school 18C LEGER Fernand 121 LEWITT Sol 135B AKDEMIR Suat 157-158 LIBERMAN Sandu 227-228-229 ANDRE Pierre 104 LLONA Ramiro 58 ANKARCRONA Henrik August 238 LOZZA Raul 64-65-66 ASIS Antonio 63 LUKER SR. William 236 ARDEN QUIN Carmelo 59 Luo Brothers 153 BACON Francis 230 (Luo Wei Dong, Luo Wei Bing and Luo Wei Guo) BENOIS Alexandre 160-161-162-163-164-167 MALISSARD Georges 38 BOTELLO Angel 19 MANES Pablo Curatella 70-71 BOTO Martha 62-74 MAREVNA Marie 168 BOUDIN Eugène Louis 111 MATTA Roberto 212 BRAVO Claudio 56 MENENDEZ Cesar 43-44-45 BRUSILOVSKY Anatoly 185-186-187-188-193-194 METZINGER Jean 123 BUFFET Bernard 126 MICHELENA Arturo 8 BULATOV Erik 172-173 MIJARES Jose 10-11-12 CABALLERO Luis 4-7 MIKHNOV-VOYTENKO Evgeny 206-207 CAMACHO Jorge 5 MIRO Joan 125-232-233-234 CAMPOREALE Sergio 6 MOLINA CAMPOS Florencio 33 CARREÑO Mario 14 MONET Claude 116 CASIMIR Laurent 110 MONTENEGRO Roberto 13 CASTRO Humberto 49 MORALES Armando 18-48-50 CAVALCANTI (de) Emiliano 9 MUNIZ Vik 75-76-77 CHAGALL Marc 115, lots 208 to 211, lots 216 to 225 MURAKAMI Takashi 141-142-143 CHAVANNES Etienne 109 NEIZVESTNY Ernst 200 CHIA Sandro 136 NEMUKHIN Vladimir 202 CORDERO Horacio and BASQUIAT Jean-Michel 134-135 NOVOA Gustavo 54-55 COSTIGLIOLO José Pedro 61 CUGAT Delia 22-23-24-25 OPIE Julian 135D OSPINA Nadín 135C DAUSET 91 DE FREITAS Iole 78 PAILOS Manuel 53 DE QUIROS Lesver 39 PELLON Gina 40-41 DE SANTA MARIA Andres 36-37 PICASSO Pablo 117-214-215-231-235 DEPRATUS F. B. 105 PIVOVAROV Victor 199 DIAZ Juan A. 86-87-90 POLESELLO Rogelio 47-72-73 DOGANCAY Burhan 147-148 QUEMARE Anna Maria lots 92 to 103 DONG Wei 154 QUINN Marc 213 DYSHLENKO Yuri 180-181 RABUZIN Ivan 106 ECHEVARRIA Giovanni 88-89 RAMIREZ Saturnino 83-84-85 ESTOPINAN Roberto 3 RAMOS Mel 133 FABRES Y COSTA Antonio Maria 240 ROCKWELL Norman 226 FECHIN Nikolai Ivanovich 169 RODIN Auguste 118-119-120 FERNANDEZ Agustín 15-16 ROJAS Carlos 57 FERNANDEZ Jesse A. 1 ROSADO DEL VALLE Julio 2 FINALE Moisés 42 ROTELLA Mimmo 138 GANG Huang 159 RUKHIN Evgeny 191-192 GIACOMETTI Alberto 127 SAINT VIL Murat 107 GIACOMETTI Diego 128-129-130-131-132 SALAZAR Francisco 60 GIBBS Anthony 244 SAMBA Grâce 144 GONTCHAROVA Natalia 165-166 SANDOZ Adolf Karol 237 GRABAR Igor Emmanuilovich 174 SCHIELE Egon 122 GRANT Donald 245-246 SEEREY-LESTER John 247 GRECO Alberto 46 SILVA Leovid 80-82-81 GUANGYI Wang 156 SKORNIK Jacob 183 GURARIY Samariy 170-171 SOKOV Leonid 189-190 HANCHENG Cai 149 SOTO Jesús Rafael 79 HARING Keth 140 SVESHNIKOV Boris 178-204-205 HEATON COOPER Alfred 241 TAKADA Kenzo 145-146 HEIL Charles Emile 250 UJVARY Ignac 249 HENRI Robert 251 HOFMAN Eugene Ansen 242 VALMIER Georges 124 HONGTU Zhang 155 VAN ENGELEN Louis 243 VASSILIEV Oleg 175-176 ILSTED Peter Vilhelm 239 VILLACRES Cesar A. 18B INFANTE Francisco 195-196 VLAMINCK Maurice 114 IOMMI Enio 67-68-69 VOINOV Vadim 177 KABAKOV Ilya 197-198-201 WARHOL Andy 139-150 Kcho 51-52 WERTHEIMER Gustave 248 KINGMAN Eduardo 31 KISLING Moïse 112-113 YAKOVLEV Vladimir 182 KRASNOPEVTSEV Dmitri 179 YANKILEVSKY Vladimir 203 KRASSILNIKOVA Vlada 137 YANLING Ma 151-152 LAM Wifredo 17-32 ZARRAGA Angel 20-21 LAMOUR Fritzner 108 ZVEREV Anatoly 184 3 FINE ART AUCTIONS MIAMI 346 NW 29 street Miami FL 33127 Tel (1) 305-573-4228 Frederic THUT

Thursday 26th April, 2012 at 2:30pm IMPORTANT PAINTINGS & SCULPTURES Auction

SALE PREVIEWS Thursday 19th and Friday 20th - from 10am to 5pm Saturday 21th - from 1pm to 5pm Closed Sunday 22th Monday 23th to Wednesday 25th - from 10am to 5pm Thursday 26th - from 10am to 12pm

Telephone during the exhibitions: + 1 305-573-4228 or + 1 917-282 6044

SPECIALISTS IN NEW YORK & MIAMI Frederic Thut +1 212 829 89 53 - [email protected] SPECIALIST IN PARIS Dan Coissard +33 148 24 60 88 - [email protected] RESEARCHER FOR RUSSIAN ART : Professor Alla Rosenfeld, [email protected]

CATALOGUE ONLINE www.faamiami.com, www.liveauctioneers.com, www.the-saleroom.com, www.artfact.com LIVE BIDDING ONLY ON www.liveauctioneers.com

IMPORTANT NOTICE The conditions of sales and the absentee bid form are at the end of the catalog.

5 FINE ART AUCTIONS MIAMI (FAAM, LLC) 346 NW 29 street Miami FL 33127 Tel (1) 305-573-4228 - e-mail : info@faamiami .com

Auction license # AB3131

Auctioneers for this sale: Steve Little, FL Licence # AU4296

MIAMI APPRAISAL OFFICE BUSINESS MANAGER AND ART RESEARCHER 350 NW 29th STREET EDA AKSOY MIAMI, FL 33127 [email protected] Tel. +1 305 573 4228 RESEARCHER FOR RUSSIAN ART DIRECTOR AND ART EXPERT PROFESSOR ALLA ROSENFELD FREDERIC THUT [email protected] [email protected] Tel. +1 917 282 6044 PARIS APPRAISAL OFFICE CABI NET D’EXPERTISE DAN COISSARD BUSINESS MANAGER 61, PASSA GE JOUFFROY CORNELIA VAN DER GEEST PARIS 75009 [email protected] FRANCE Tel. +33 01 48 24 60 88 ACCOUNTING LESTER CAESAR DIRECTOR AND ART EXPERT [email protected] DAN COISSARD [email protected] LOGISTICS AND STORAGE Tel. +33 06 07 01 37 42 VANESSA AMOR [email protected] BUSINESS MANAGERS AND RESEARCHERS KRISTINA KEALL AND NATHALIE RUBINOS INTERNATIONAL SHIPMENT [email protected] JENNY TAYLOR [email protected]

NEW YORK APPRAISAL OFFICE EUROPEAN EVALUATORS 501 MADISON AVE, 14th FLOOR NEW YORK, NY 10022 Tel. +1 212 759 9803 [email protected]

7 PART I Latin American art 1 - Jesse A. FERNANDEZ (born in 1925) Cuban school Vanités, 69 Ink and watercolour, signed and dated lower right 66.5 x 50.5 cm - 261/8 x 193/4 in. Estimate: $ 2,000 - 3,000

2 - Julio ROSADO DEL VALLE (born in 1922) Puerto Rican school Composition, 1962 Watercolour, signed lower right 45 x 59.5 cm à vue - 173/4 x 231/2 in. Estimate: $ 2,000 - 3,000

3 - Roberto ESTOPINAN (born in 1920) Cuban school Composition, 1986 Pencil and crayon on paper, signed lower left and countersigned, dated 4-1986 and situated Montecatini on the reverse 48 x 33 cm - 187/8 x 13 in. Estimate: $ 400 - 800 9

4 - Luis CABALLERO (1943-1995) Colombian school Bodies, 75 Pencil and pastel on paper, signed and dated lower right 74 x 56 cm - 291/8 x 22 in. Estimate: Estimate: $ 5,000 - 6,000

5 - Jorge CAMACHO (born in 1934) Cuban school Composition, 76 Oil on canvas, signed and dated on the reverse 81 x 65 cm - 317/8 x 255/8 in.

Estimate: Estimate: $ 3,000 - 4,000 6 - Sergio CAMPOREALE (born in 1937) Argentinian school Retrato de familia, 1990 Watercolour and pencil on paper, signed lower right 118 x 78 cm - 463/8 x 305/8 in. Estimate: $ 3,000 - 4,000 7 - Luis CABALLERO (1943-1995) Colombian school Study for a Nude Sanguine on paper, signed lower right 50 x 35 cm - 193/4 x 133/4 in. Estimate: $ 4,000 - 6,000

8 - Arturo MICHELENA (1863-1898) Venezuelan school Boceta de la Cabeza de un Caballo del Cuadro, 1981 Indian ink on cardboard, annotated lower left and on the reverse 22 x 13 cm - 81/2 x 5 in. Estimate: $ 3,000 - 4,000 11

9 - Emiliano de CAVALCANTI (1897-1976) Brazilian school Dos Lorestes, 1964 Indian ink on Paper, signed and dated lower left, annotated on right margin 27 x 20 cm - 101/2 x 8 in. Estimate: $ 3,000 - 4,000 10 - Jose MIJARES (1921-2004) Cuban school Five women waiting Oil on canvas, signed lower right 76 x 101.5 cm - 30 x 40 in. Estimate: $ 12,000 - 15,000

Provenance Omar Cuan who acquired it directly from the artist Private Collection, Miami

José Maria Mijares studied at the school of Fine Arts in Havana. His eagerness to learn about other contemporary artists and discover modern influences took him to Mexico and the United States. He exhibited his work for the first time in 1947 in Cuba. His reputation was already well-established and he took part in many art salons. His works bring together the Caribbean influences of his upbringing and a form of Constructivism with Surrealist biomorphic shapes, much like the creations of other artists from the same period such as Camacho, Portocarrero and Pelaez. Filled with abstract organic forms, his compositions from the 1970s and 1980s are reminiscent of works by Wifredo Lam and Yves Tanguy. He continued to explore the fascination he had expressed for geometry in the 1950s, relying solely on lines to represent shapes and convey illusion in his works. Mijares took part in the Sao Paulo Biennale in 1953 and the one in Venice in 1956. His widely admired creations have formed part of group and solo exhibitions from South America and Europe to Japan. 13 11 - Jose MIJARES (1921-2004) Cuban school Woman and bird, 1968 Oil on canvas, signed and dated lower right 61 x 50.5 cm - 24 x 197/8 in. Estimate: $ 6,000 - 8,000

Provenance Omar Cuan who acquired it directly from the artist Private Collection, Miami 15

12 - Jose MIJARES (1921-2004) Cuban school Blue and green creatures, 1988 Acrylic on canvas, signed and dated lower right 151 x 122 cm - 591/2 x 48 in. Estimate: $ 15,000 - 20,000 13 - Roberto MONTENEGRO (1887-1968) Mexican school Nature morte, 1930 Oil on canvas mounted on cardboard, signed and dated lower right. 25 x 35 cm - 93/4 x 133/4 in. Estimate: $ 4,000 - 5,000

14 - Mario CARREÑO (1913-1999) Cuban school The birth of Venus, 80 Mixed media on paper, signed and dated upper right 52 x 38 cm - 201/2 x 15 in. Estimate: $ 6,000 - 8,000

Provenance Omar Cuan, exhibited previously at the Meeting Point Gallery, Coral Gables, circa 1984. Private Collection, Miami 17

15 - Agustín FERNANDEZ (1928-2006) Cuban school Still life with pomegranate, 1953 Oil on canvas, signed and dated on the reverse 35.5 x 41 cm - 14 x 161/8 in. Estimate: $ 4,000 - 6,000

Provenance Omar Cuan who acquired it directly from the artist Private Collection, Miami

16 - Agustín FERNANDEZ (1928-2006) Cuban school Pink and purple still life, 1954 Oil on canvas, signed and dated lower right, countersigned, dated and situated Habana on the reverse. 48 x 38.5 cm - 187/8 x 151/4 in. Estimate: $ 4,000 - 6,000

Provenance Omar Cuan who acquired it directly from the artist Private Collection, Miami

19 17 - Wifredo LAM (1902-1982) Cuban school Figure on brown background, 1964 Oil on canvas, signed and dated lower right 50 x 70 cm - 193/4 x 271/2 in. Estimate: $ 100,000 - 150,000

Exhibitions 2008 Miami, Gary Nader Fine Art, Wifredo Lam, One Man Show, February - April

This work is accompanied by a certificate of authenticity by Lou Laurin Lam.

Wifredo Lam is one of the most important Cuban artists of the 20th century, not only because of his vast artistic production but also for his strong commitment to the black Cuban community. His internationally renowned art draws from both his Afro-Caribbean and Chinese origins, bringing together modern Western ideas and traditional African and Eastern symbols. During his extended stay in Europe, he discovered the Avant-garde movements around at the time, such as Surrealism, Cubism and Cobra. All of them encouraged freedom and favoured the stimulation of the unconscious mind, particularly through graphic automatism. Lam was a deeply committed artist and his return to Cuba in 1941 led him to denounce the condition of the black people under Batista’s regime. His canvases became weapons with which he accused and protested, borrowing images from the magical world of his childhood and finding further inspiration in the Cuban Santeria religious ceremonies. With his very personal, unique and original language he painted the tragedy of his homeland, bringing the mythology of an oppressed and abused people back to life. His mission throughout his oeuvre was the same as his friend, the poet Aimé Césaire, and he explained it as follows: « I wanted with all my heart to paint the drama of my country, but by thoroughly expressing the Negro spirit, the beauty of the plastic art of the blacks ». 21 « Armando Morales is clearly capable of painting anything – any moment, any feeling – without binding himself to the services of any particular school. He is a realist of a reality that only he knows, one that can pertain to the 19th or 21st century ».

Gabriel Garcia Marquez in the preface to the FIAC exhibition catalogue, Paris 1992

Armando Morales is widely regarded as one of the greatest Central American painters of the 20th century. He first attended the Fine Arts school of Managua in 1941 and by the time he left in 1953 he was already internationally renowned. He continued his studies in New York and in 1959 he won the Ernest Wolf Award for best Latin American artist at the 5th Sao Paulo Biennale. There was, and still is today, an ever-increasing demand for his works which make regular appearances in exhibitions across South America and Europe. In the early 1960s his creations were influenced by the abstract works of European and American artists. However he rapidly drifted away from this particular trend and returned to a more figurative way of painting in 1966, gradually inventing his very own style: Magic Realism. He painted landscapes, men and women, using an Impressionist palette. The mysterious atmosphere which imbues his works, including the present one, is a result of the grainy texture Morales gave the surface of his canvases.

18 - Armando MORALES (1927-2011) Nicaraguan school Four shadowy figures, 1981 Oil on panel, signed and dated lower right 57 x 42 cm - 221/2 x 161/2 in. Estimate: $ 40,000 - 50,000 23 18B - Cesar A. VILLACRES (born in 1880) 18C - 19th Century Latin American school Ecuadorian school Fourcade y Goupil Las indias barredoras, 1918 Oil on canvas Oil on canvas, signed, situated Quito and dated lower right View of the first French store in Mexico city 39.5 x 53 cm - 151/2 x 207/8 in. 55 x 68 cm - 215/8 x 263/4 in. Estimate: $ 2,500 - 3,500 Estimate: $ 2,000 - 3,000 25

19 - Angel BOTELLO (1913-1986) Puerto Rican school Pensive woman Oil on hardboard, signed lower left 43.5 x 36.5 cm - 171/8 x 143/8 in. Estimate: $ 20,000 - 25,000 The Mexican painter and poet Angel Zarraga was drawn to art from a very early age. Following his studies at the School of Fine Arts in Mexico City, he left for Europe in 1904. He visited Spain and Italy where he exhibited his works before settling down in Paris in 1911. There he met the artists of the Parisian avant-garde, drawing his inspiration from the different artistic trends around at the beginning of the 20th century, all the while holding on to the characteristics of Mexican art. The freshness of his works is undeniable as can be seen with these two Cubism-tainted compositions. The bright and dazzling colours of Zarraga’s palette bring joy and humour to the scenes. On the one hand a fashionable young woman who is eager to pose and on the other a figure sat reading at a table, completely transfixed and lost in thought.

20 - Angel ZARRAGA (1889-1946) Mexican school Femme assise, circa 1916-1917 Oil on cardboard, signed upper right. 23.5 x 17 cm - 91/4 x 65/8 in. Estimate: $ 25,000 - 35,000

Provenance Private Collection

This work is accompanied by a certificate of authenticity by Madame Patout. 27 21 - Angel ZARRAGA (1889-1946) Mexican school Personnage, 1917 Oil on cardboard, signed and dated lower right. 32.5 x 26 cm - 123/4 x 101/4 in. Estimate: $ 25,000 - 35,000

Provenance Private Collection

This work is accompanied by a certificate of authenticity by Madame Patout. 29 22 - Delia CUGAT (born in 1935) Argentinian school Composition à la locomotive, 1990 Oil on canvas, signed lower right, countersigned on the reverse 61 x 46 cm - 24 x 181/8 in. Estimate: $ 3,000 - 4,000

23 - Delia CUGAT (born in 1935) Argentinian school Composition au portrait Oil on canvas, signed lower right, countersigned on the reverse 60 x 73 cm - 235/8 x 283/4 in. Estimate: $ 3,000 - 4,000 31

24 - Delia CUGAT (born in 1935) Argentinian school Turbulences Oil on canvas, signed lower left 92 x 73 cm - 361/4 x 283/4 in. Estimate: $ 4,000 - 5,000

25 - Delia CUGAT (born in 1935) Argentinian school El intermediario, 1991 Oil on canvas, signed middle right. 97 x 130 cm - 381/8 x 511/8 in. Estimate: $ 5 500 - 6,000 Eduardo Kingman is regarded as one of the most important Ecuadorian painters of the 20th century, sharing the limelight with the likes of Oswaldo Guayasamín. He began his studies at the School of Fine Arts in Quito before pursuing his education in Venezuela, Peru, Bolivia and then in the United States where he attended the San Francisco Art Institute. A recurring theme in Kingman’s paintings, lithographs and wood engravings is the condition of the Indian people of Ecuador. Poverty and suffering are masterfully conveyed through the expressive hands and faces of his models, as seen in the present portrait. Kingman was also a writer and social actor and it was through his works that he both denounced and defended the condition of a people that had been oppressed for too long.

31 - Eduardo KINGMAN (1913-1997) Ecuadorian school La comida, 72 Oil on canvas, signed and dated lower left, countersigned, titled and dated on the reverse. 81 x 49.5 cm - 317/8 x 191/2 in. Estimate: $ 12,000 - 15,000

Provenance Private Collection

This work is accompanied by a certificate of authenticity by S. Kingman. 33

35 32 - Wifredo LAM (1902-1982) Cuban school La nostra Notte, 1964 Oil on canvas, or mixed media, signed and dated lower right 50 x 70 cm - 193/4 x 271/2 in. Estimate: $ 80,000 - 120,000

Exhibitions 2008 Miami, Gary Nader Fine Art, Wifredo Lam, One Man Show, February – April This work is accompanied by a certificate of authenticity by Lou Laurin Lam. 37 33 - Florencio MOLINA CAMPOS (1891-1959) Argentinian school The polo player Gouache on paper, signed and numbered /931 lower right 49 x 34.5 cm - 191/4 x 131/2 in. Estimate: $ 6,000 - 8,000 39

36 - Andres DE SANTA MARIA (1880-1940) 37 - Andres DE SANTA MARIA (1880-1940) Colombian school Colombian school La course Deux cavaliers Oil on panel, label with the artist’s name on the reverse. Oil on panel, monogrammed lower right 16.5 x 22 cm - 61/2 x 85/8 in. 14 x 18 cm - 51/2 x 7 in. Estimate: $ 2,000 - 3,000 Estimate: $ 2,000 - 3,000 38 - Georges MALISSARD (1877-1942) Le joueur de polo Lost wax bronze with brown patina on marble stand, signed and marked with the stamp from the Valsuani foundry on the base H: 52 cm - L : 43 cm - P: 17 cm H : 201/2 in. - W : 17 in. - D : 63/4 in. Estimate: $ 30,000 - 40,000 41 39 - Lesver DE QUIROS (20th century) Cuban school The pretty guitar player, 1983 Oil on canvas, signed and dated lower left, countersigned, dated 2/83 and certified by the artist on the reverse 61 x 76 cm - 24 x 30 in. Estimate: $ 3,000 - 5,000

Provenance Private Collection, Miami

40 - Gina PELLON (born in 1926) 41 - Gina PELLON (born in 1926) Cuban school Cuban school Red figure Blue figure Colour lithograph, signed lower right, Colour lithograph, signed lower right, inscribed E.A and numbered 1/10 inscribed E/A lower left. lower left. 65 x 50 cm - 251/2 x 193/4 in. 65 x 50 cm - 251/2 x 193/4 in. Estimate: $ 200 - 300 Estimate: $ 200 - 300

42 - Moisés FINALE (born in 1957) Cuban school Man in dotted mask and snail, 1995 Mixed media, signed lower left, situated Paris and dated lower right 50 x 65 cm - 193/4 x 251/2 in. Estimate: $ 500 - 1000 43

43 - Cesar MENENDEZ (born in 1954) Salvadoran school Floating shape, 87 Oil on canvas, signed and dated upper right, countersigned and dated Oct/10/87 on the reverse 99 x 98.5 cm - 39 x 383/4 in. Estimate: $ 8,000 - 10,000

Provenance Omar Cuan who acquired it directly from the artist Private Collection, Miami

44 - Cesar MENENDEZ (born in 1954) 45 - Cesar MENENDEZ (born in 1954) Salvadoran school Salvadoran school El Sueño Naciente, 1992 Abstraction, 1989 Oil on canvas, signed and dated lower right, Pastel on paper, signed and dated countersigned, titled, dated 1993 and situated lower left El Salvador, C.A on the reverse 71 x 101 cm - 28 x 393/4 in. 100 x 120 cm - 393/8 x 471/4 in. Estimate: $ 6,000 - 8,000 Estimate: $ 3,000 - 4,000 Provenance Provenance Omar Cuan who acquired it directly from the artist Omar Cuan who acquired it directly from the artist Private Collection, Miami Private Collection, Miami 46 - Alberto GRECO (1931-1965) Argentinian school Composition Abstracta informalista, 1963-1964 Mixed media on cloth, signed lower left, label from the Lennox Gallery on the reverse 32.5 x 23 cm - 123/4 x 9 in. Estimate: $ 6,000 - 8,000

Provenance Quido Lavalle collection, Barcelona Lopez Cebrian collection

Exhibition Lennox Gallery, Latin American Art, 2004

47 - Rogelio POLESELLO (born in 1939) Argentinian school Autumn wind, 1960 Oil on canvas, signed lower left in red, plaque on the frame “Rogelio Polesello, oil on canvas, 1960, 20 x 24 in, OEA Museum, WA. DC, Dallas Museum Texas, Coll. Jose Gomez Sicre WA. DC.” 61 x 51 cm - 24 x 20 in. Estimate: $ 4,000 - 6,000

Provenance Omar Cuan who acquired it directly from the artist Private Collection, Miami

48 - Armando MORALES (1927-2011) Nicaraguan school Composition, 1967 Oil on canvas, signed and dated lower right. 46 x 38 cm - 181/8 x 15 in. Estimate: $ 4,000 - 6,000 45

49 - Humberto CASTRO (born in 1957) Cuban school Solo I Acrylic on canvas, signed, titled and dedicated on the reverse. 199.5 x 140 cm - 781/2 x 55 in. Estimate: $ 4,000 - 6,000

50 - Armando MORALES (1927-2011) Nicaraguan school Composition in green, 1964 Oil on panel, signed lower right 52.5 x 90 cm - 203/4 x 351/2 in. Estimate: $ 5,000 - 7,000

This work is accompanied by a certificate of authenticity signed by Horatio Sicre in 1998 and declaring that the piece had formed part of the collection of the legendary director of the OAS Museum, Jose Gomez Sicre, Horatio’s uncle. The work was acquired through Omar Cuan.

Provenance Private Collection, Miami 51 - Kcho (born in 1970) Cuban school The great propeller, 2004 Mixed media on paper, signed and dated 04 lower right. 52.5 x 73 cm - 203/4 x 283/4 in. Estimate: $ 6,000 - 8,000

52 - Kcho (born in 1970) Cuban school Living on a boat, 2003 Mixed media on paper, signed and dated 18.02.03 lower right 52.5 x 73 cm - 203/4 x 283/4 in. Estimate: $ 5,000 - 7,000

53 - Manuel PAILOS (1918-2005) Uruguayan school Untitled, 90 Watercolour on paper, signed and dated lower right 65.5 x 50 cm - 253/4 x 193/4 in. Estimate: $ 1,000 - 1,200 47

54 - Gustavo NOVOA (born in 1941) Chilean school Dark mirror Oil on hardboard, signed lower right, countersigned and titled on the reverse 89 x 77.5 cm - 35 x 301/2 in. Estimate: $ 1,000 - 1,500

Provenance Private Collection, Miami

55 - Gustavo NOVOA (born in 1941) Chilean school Smaller paradise Oil on hardboard, signed lower right, titled on the reverse 92 x 73 cm - 361/4 x 283/4 in. Estimate: $ 1,000 - 1,500

Provenance Private Collection, Miami

56 - Claudio BRAVO (1936-2011) Chilean school Galgo, 1980 Brown pencil on paper, signed and dated MCMLXXX upper left 27 x 44.5 cm - 105/8 x 171/2 in. Estimate: $ 6,000 - 8,000 57 - Carlos ROJAS (1933-1997) Colombian school Untitled, 1989 Mixed media on wood, signed on the reverse 80 x 81.5 cm - 31.5 x 32.25 in. Estimate: $4,000 - $6,000 49

58 - Ramiro LLONA (born in 1947) Peruvian school Lima, 1988 Oil on canvas, titled, dated and signed on the reverse 173 x 185 cm - 68 x 723/4 in. Estimate: $ 10,000 - 15,000 Carmelo Arden Quin was a Uruguayan painter and poet, remembered for having played a key role in the development of geometric abstraction. He met the artist Joaquin Torres Garcia in 1935, learning a great deal about abstract art by his side, and was one of the founding members of the Madí art group in 1946 in Buenos Aires. This particular movement focused on invention and motion, creating brightly coloured compositions with collages, geometric patterns and irregular planes. For years to come, Arden Quin would continue to explore different possible ways of renewing these esthetic principles. The artist moved to Paris in 1948 where he met Herbin, Arp and de Staël to mention a few and he spent the better part of his long career in the French capital. His art is ever- changing, inventive and playful, still completely relevant to artists today.

59 - Carmelo ARDEN QUIN (1913-2010) Uruguyan school Rouages, 1948 Oil on panel, monogrammed and dated lower right, countersigned, titled and dated on the reverse 77 x 51 cm - 301/4 x 20 in. Estimate: $ 60 000 - 80 000

This work is reproduced in the catalogue raisonné of the artist written by Alexandre De La Salle under the reference number 232, page 217. 51 60 - Francisco SALAZAR (born in 1937) Venezuelan school Positivo-Negativo, 1966 Oil and corrugated cardboard on canvas, titled and dated on the reverse 110 x 110 cm - 431/4 x 431/4 in. Estimate: $ 15,000 - 20,000

61 - José Pedro COSTIGLIOLO (1902-1985) Uruguayan school Cuadrados y rectangulos, 1980 Oil on canvas, signed and dated LXXX lower left, countersigned, dated and annotated «esta obra fue pintada por JP Costigliolo, cert. Maria de Costigliolo » on the reverse. 70 x 70 cm - 271/2 x 271/2 in. Estimate: $ 6,000 - 8,000 53

62 - Martha BOTO (1925-2004) Argentinian school Double fugue, 1975 Acrylic on canvas, signed lower right, countersigned, titled, dated and situated Paris on the reverse. 50 x 50 cm - 193/4 x 193/4 in. Estimate: $ 15,000 - 20,000

63 - Antonio ASIS (born in 1932) Argentinian school Composition in grey and black, 1965 Acrylic on panel, signed and dated on the reverse 50 x 50 cm - 193/4 x 193/4 in. Estimate: $ 10,000 - 15,000 64 - Raul LOZZA (1939-1997) 65 - Raul LOZZA (1939-1997) Argentinian school Argentinian school Composition Composition, 1953 Pencil and collage on paper, signed lower right, Pencil and pen on paper, signed lower left, dated, numbered and annotated upper right dated and numbered 313 twice lower right 25.3 x 18 cm - 10 x 7 in. 24.5 x 17 cm - 95/8 x 63/4 in. Estimate: $ 1,000 - 1,500 Estimate: $ 1,000 - 1,500

Provenance Provenance Private Collection Private Collection

66 - Raul LOZZA (1939-1997) Argentinian school Composition, 1985 Mixed media on paper, dated and numbered 958 upper right, annotated lower right 15.5 x 20 cm - 6 x 77/8 in. Estimate: $ 1,000 - 1,500

Provenance Private Collection 55

67 - Enio IOMMI (born in 1926) Argentinian school Composition, 77 Bronze sculpture on marble base, signed, dated and numbered 1/3. H: 18.5 cm - 71/4 in. / W: 6.5 cm - 21/2 in. / D: 8 cm - 31/8 in. Estimate: $ 1,500 - 2,000

Provenance Private Collection

68 - Enio IOMMI (born in 1926) Argentinian school Composition Bronze sculpture on marble base, signed on a leaf. H: 16 cm - 61/4 in. Estimate: $ 1,500 - 2,000

Provenance Private Collection

69 - Enio IOMMI (born in 1926) Argentinian school Composition Marble sculpture, signed on the base H: 22.5 cm - 87/8 in. / W: 18 cm - 7 in. Estimate: $ 1,500 - 2,000

Provenance Private Collection 70 - Pablo Curatella MANES (1891-1963) Argentinian school The guitar player Granite sculpture, signed on the base H: 51 cm - 20 in. W: 26 cm - 101/4 in. D: 15 cm - 6 in. Estimate: $ 12,000 - 15,000

Provenance Galerie Vallois, New York Private Collection

71 - Pablo Curatella MANES (1891-1963) Argentinian school Reclining figure, 1944 Bronze with black patina, signed, dated and marked with the stamp from the Valsuani foundry on the base. H: 36 cm - 141/8 in. W: 28 cm - 11 in. D: 20 cm - 77/8 in. Estimate: $ 6,000 - 8,000

Provenance Galerie Vallois, New York Private Collection 57

72 - Rogelio POLESELLO (born in 1939) 73 - Rogelio POLESELLO (born in 1939) Argentinian school Argentinian school Untitled, 1968 Untitled, 1968 Acrylic on canvas, signed and annotated on the reverse Acrylic on canvas, signed and annotated on the reverse 52 x 52 cm - 201/2 x 201/2 in. 52 x 52 cm - 201/2 x 201/2 in. Estimate: $ 3,000 - 4,000 Estimate: $ 3,000 - 4,000

74 - Martha BOTO (1925-2004) Argentinian school Deplacements Optiques ‘A’, 1968 Assembly with mirror and electric motor, signed, titled and dated on the reverse 22.5 x 40 x 49 cm - 81/2 x 153/4 x 191/4 in. Estimate: $ 15,000 - 20,000

59 75 - Vik MUNIZ (born in 1961) Brazilian school Diana (Gordian Puzzles), 2008 Digital C print, signed lower right Edition Size of 6 238 x 160 cm - 933/4 x 63 in. Estimate: $ 60,000 - 80,000 61 76 - Vik MUNIZ (born in 1961) 77 - Vik MUNIZ (born in 1961) Brazilian school Brazilian school Red and green gummy bears, 2002 Key - from pictures of earthworks, 2006 Two Duraflex prints, label on the reverse C-print, signed, dated and numbered of red gummy bear with 1/4 edition 72/100 82/100 on the reverse and on the reverse of green gummy bear 3/4 20.3 x 25.3 cm - 8 x 10 in. edition 72/100 Estimate: $ 2,000 - 3,000 35.5 x 28 cm - 14 x 11 in. (each) Estimate: $ 2,000 - 3,000 63

78 - Iole DE FREITAS (born in 1945) Brazilian school Untitled Graphite and crayon on paper, signed on the reverse 21 x 31 cm - 81/4 x 121/4 in. Estimate: $ 3,000 - 5,000

79 - Jesús Rafael SOTO (1923-2005) Venezuelan school Serie Jai- Alai, Composicion en Amarillo 1, 1969 Double side Serigraph on Plexi Edition: AP 62.2 x 47 cm - 241/2 x 181/2 in. Estimate: $ 2,000 - 3,000 80 - Leovid SILVA (born in 1954) 81 - Leovid SILVA (born in 1954) Colombian school Colombian school Plantain tree, 1994 Woman Carrying Fish Oil on canvas, signed and dated lower left Bronze 175 x 149 cm - 69 x 581/2 in. 48 x 35 x 92 cm - 19 x 131/2 x 36 in. Estimate: $ 12,000 - 15,000 Estimate: $ 8,000 - 10,000

82 - Leovid SILVA (born in 1954) Colombian school Reclining Nude, 1990 Oil on canvas, signed and dated upper left 120 x 170.5 cm - 67 x 47 in. Estimate: $ 12,000 - 15,000 65

83 - Saturnino RAMIREZ (born in 1946) 84 - Saturnino RAMIREZ (born in 1946) Colombian school Colombian school Hearts and Hands, 1991 Untitled, 1992 Oil on Canvas, signed lower right and inscribed ‘L/91’ Oil on canvas, signed upper left and inscribed ‘L/92’ 146 x 112 cm - 57.5 x 44 in. 127 x 114 cm - 57.75 x 45 in. Estimate: $ 8,000 - 10,000 Estimate: $ 12,000 - 15,000

85 - Saturnino RAMIREZ (born in 1946) Colombian school Billiards Scene, 1995 Oil on canvas, signed and dated upper left 128 x 195 cm - 501/2 x 77 in. Estimate: $ 15,000 - 20,000 86 - Juan A. DIAZ Vue de Pina del Rio, 2004 Acrylic on canvas, signed and dated 9-2004 lower left 73 x 100 cm - 283/4 x 393/8 in. Estimate: $ 4,000 - 6,000

Provenance Private Collection

87 - Juan A. DIAZ Vue de Pina del Rio, 2004 Acrylic on canvas, signed and dated 5-2004 lower left 73 x 100 cm - 283/4 x 393/8 in. Estimate: $ 4,000 - 6,000

Provenance Private Collection

88 - Giovanni ECHEVARRIA (born in 1968) Cuban school Paysage de Pina del Rio, 2003 Acrylic on canvas, signed and dated lower left 70 x 109.5 cm - 271/2 x 431/8 in. Estimate: $ 4,000 - 6,000

Provenance Private Collection 67

89 - Giovanni ECHEVARRIA (born in 1968) Cuban school Vue de Cuba, 2003 Acrylic on canvas, signed and dated lower right, countersigned and situated Cuba on the reverse. 69,5 x 109 cm - 271/4 x 427/8 in. Estimate: $ 4,000 - 6,000

Provenance Private Collection

90 - Juan A. DIAZ Vue de Cuba, 5-2002 Acrylic on canvas, signed and dated lower right, countersigned and situated on the reverse. 73,5 x 100.5 cm - 287/8 x 391/2 in. Estimate: $ 4,000 - 6,000

Provenance Private Collection

91 - DAUSET Claro de luna en oriente, 2003 Acrylic on canvas, signed and dated lower right, countersigned, titled and dated on the reverse. 139 x 114 cm - 545/8 x 443/4 in. Estimate: $ 6,000 - 8,000

Provenance Private Collection 92 - Anna Maria QUEMARE (20th century) Cuban school Vue de la Havane Watercolour on paper, monogrammed lower left, countersigned, titled and monogrammed on the reverse 14,5 x 38,5 cm - 53/4 x 151/8 in. Estimate: $ 1,000 - 1,500

93 - Anna Maria QUEMARE (20th century) Cuban school Vue de la Havane Watercolour on paper, monogrammed lower right, countersigned, titled and monogrammed on the reverse 14,5 x 38,5 cm - 53/4 x 151/8 in. Estimate: $ 1,000 - 1,500

94 - Anna Maria QUEMARE (20th century) Cuban school Vue de la baie Watercolour on paper, monogrammed lower right, countersigned, titled and monogrammed on the reverse 14,5 x 38,5 cm - 53/4 x 151/8 in. Estimate: $ 1,000 - 1,500

95 - Anna Maria QUEMARE (20th century) Cuban school Port de la Havane, circa 1897-1898 Watercolour on paper, monogrammed lower right, countersigned, titled and monogrammed on the reverse. Label from the Lennox Gallery on the reverse with the artist’s name, the title, date and provenance of the work 14,5 x 38,5 cm - 53/4 x 151/8 in. Estimate: $ 1,000 - 1,500

96 - Anna Maria QUEMARE (20th century) Cuban school Mouillage à Cuba Watercolour on paper, monogrammed lower right, countersigned, titled and monogrammed on the reverse 14,5 x 38,5 cm - 53/4 x 151/8 in. Estimate: $ 1,000 - 1,500

97 - Anna Maria QUEMARE (20th century) Cuban school Vue de la Havane Watercolour on paper, monogrammed lower left, countersigned, titled and monogrammed on the reverse 14,5 x 38,5 cm - 53/4 x 151/8 in. Estimate: $ 1,000 - 1,500

Provenance Private Collection 69

98 - Anna Maria QUEMARE (20th century) Cuban school Vie de la Havane Watercolour on paper, monogrammed lower left, signed, titled and monogrammed on the reverse 14 x 38,5 cm à vue - 51/2 x 151/4 in. Estimate: $ 1,000 - 1,500

99 - Anna Maria QUEMARE (20th century) Cuban school Vue de la Havane Watercolour on paper, monogrammed lower left, signed, titled and monogrammed on the reverse 14,5 x 38,5 cm - 53/4 x 151/4 in. Estimate: $ 1,000 - 1,500

100 - Anna Maria QUEMARE (20th century) Cuban school Mouillage à Cuba Watercolour on paper, monogrammed lower right, signed, titled and monogrammed on the reverse 14,5 x 39 cm à vue - 53/4 x 153/8 in. Estimate: $ 1,000 - 1,500

101 - Anna Maria QUEMARE (20th century) Cuban school Vue de la Havane Watercolour on paper, monogrammed lower right, signed, titled and monogrammed on the reverse 14,5 x 39 cm à vue - 53/4 x 153/8 in. Estimate: $ 1,000 - 1,500

102 - Anna Maria QUEMARE (20th century) Cuban school Vue de la Havane Watercolour on paper, monogrammed lower right 97 x 145 cm à vue - 381/8 x 57 in. Estimate: $ 3,000 - 4,000

103 - Anna Maria QUEMARE (20th century) Cuban school Vue de la Havane Watercolour on paper, monogrammed lower right 97 x 145 cm - 381/8 x 57 in. Estimate: $ 3,000 - 4,000

Provenance Private Collection 104 - Pierre ANDRE (born in 1964) Haitian school The magic potion Oil on canvas, signed lower right and annotated in the middle 40.5 x 60 cm - 16 x 235/8 in. Estimate: $ 1,200 - 1,800

Provenance Private Collection

105 - F. B. DEPRATUS Gathering crops Oil on canvas, signed lower left 59.5 x 90 cm - 231/2 x 351/2 in. Estimate: $ 1,200 - 1,800

Provenance Private Collection

106 - Ivan RABUZIN (1921-2008) Croatian school The pastel garden, 1980 Oil on canvas, signed and dated lower right 54 x 74.5 cm - 211/4 x 293/8 in. Estimate: $ 4,000 - 6,000

Provenance Private Collection, Miami

107 - Murat SAINT VIL (born in 1955) Haitian school Flowery hills Oil on canvas, signed lower left 102 x 184 cm - 401/8 x 721/2 in. Estimate: $ 1,200 - 1,800

Provenance Private Collection, Miami 71

108 - Fritzner LAMOUR (born in 1950) Haitian school Town by the sea Oil on canvas, signed lower right 74 x 100 cm - 291/8 x 393/8 in. Estimate: $ 800 - 1,000

Provenance Private Collection, Miami

109 - Etienne CHAVANNES (born in 1939) Haitian school Village scene Oil on hardboard, signed lower right 59.5 x 80 cm - 231/2 x 311/2 in. Estimate: $ 1,500 - 2,000

110 - Laurent CASIMIR (1928-1990) Haitian school A busy day in town, 1979 Oil on canvas, signed and dated 1/11/79 lower right 91.5 x 61 cm - 36 x 24 in. Estimate: $ 800 - 1,000

Provenance Private Collection, Miami

73 PART II Impressionist, Modern and Contemporary art 111 - Eugène Louis BOUDIN (1824-1898) Le Sas à Trouville, circa 1885-1890 Oil on panel, signed lower left 21.5 x 27 cm - 81/2 x 105/8 in. Estimate: $ 40,000 - 60,000

Provenance Private Collection

This work is reproduced in the catalogue raisonné of the artist written by Robert Schmit under the reference number 2003, page 268, Volume II. 75 112 - Moïse KISLING (1891-1953) Bouquet de fleurs, 1929 Oil on canvas, signed lower left 61 x 50 cm - 24 x 193/4 in. Estimate: $ 80,000 - 120,000

This work is accompanied by a certificate of authenticity by Jean Kisling 77 113 - Moïse KISLING (1891-1953) Buste, 1935 Oil on canvas, signed lower left, exhibition label on the reverse 66 x 51 cm - 26 x 20 in. Estimate: $ 120,000 - 150,000

Provenance Former collection of Oscar Ghez, Geneva

Exhibition “Kisling et son temps”, Palais de la Méditerranée, Nice, March-April 1973

This work is reproduced in the catalogue raisonné of the artist written by Jean Kisling, Kisling: 1891-1953, Tome II, page 336, under the reference number 64. 79

81 114 - Maurice VLAMINCK (1876-1958) La route sous la neige Oil on canvas, signed lower left 81 x 100.5 cm - 313/4 x 391/2 in Estimate: $ 150,000 - 180,000 83 115 - Marc CHAGALL (1887-1985) Bouquet au verre ou Bouquet de fleurs, 1959 Pastel, watercolour and gouache on Japan paper, signed and dated lower left 67 x 50.5 cm - 263/8 x 20 in. Estimate: $ 180,000 - 200,000

Provenance Sale Me Paul Martin, Versailles, 8 June 1969, lot # 108 Private Collection

This work is accompanied by a certificate of authenticity by The Comité Marc Chagall

Certificates Certificate by madame Ida Meyer Chagall Certificate by monsieur Daniel Lelong dated 11 Janvier 1966 Certificate by comité Chagall, signed by monsieur Jean-Louis Prat, dated 24 June 2005 85

87 In 1871, Claude Monet left his hotel room near the Gare Saint-Lazare determined to reflect the ephemeral effect of light on water, to in Paris and moved to Argenteuil in the suburbs. He lived and worked express the fluidity of air with rapid brushstrokes, something he there from 1871 until 1878, painting some of Impressionism’s greatest would pursue obsessively all his life. This canvas was created in canvases. Though just a small town on the river Seine, Argenteuil the early 1870s, during the fledgling years of the Impressionist was the setting for the movement’s most famous and joyful pieces movement, just a year before the famous “Impression, soleil and Monet was not the only artist who relished this serene and levant” and the same year as the magnificent “Régates à peaceful location: Renoir, Sisley, Caillebotte and Manet were also Argenteuil” which hangs today in the Musée d’Orsay. On account drawn to the so-called Petit Bras de la Seine. Argenteuil was famous of the similarities between this view and another that Monet for its annual regatta which attracted crowds of spectators each painted in 1872, Daniel Wildenstein reached the conclusion year and was a hot spot for boating amateurs. Depicting sailboats that the date of 1875 on the present canvas must have been on the Seine was one of Monet’s favourite activities and he loved to mistakenly added by the artist at a later point. evoke human silhouettes in his landscapes, celebrating modern life’s Here the pointed tip of the dazzling white sail and the slender and leisurely activities. graceful poplar trees direct the viewer’s eye towards the open Monet set up his easel wherever he found inspiration, whether clear blue sky itself reflected mirror-like into the gently flowing in a field or along a river bank, where he would paint en plein-air waters of the river. This brilliantly depicted composition exudes capturing nature in all its wild and wonderful splendour. He was irresistible charm and tranquility. 89

116 - Claude MONET (1840-1926) Voilier sur le petit bras de la Seine, Argenteuil,1872 Oil on canvas, signed and subsequently dated lower right: 75 Claude Monet 51 x 63.5 cm - 201/8 x 25 in. Estimate: $ 8,000,000 - 12,000,000

Provenance Durand-Ruel, acquired from the artist on February 18, 1873, Paris M Leclanché (circa 1889) Durand-Ruel, (on consignment from the above), New York Mr & Mrs H. O. Havemeyer, acquired from the above on 28 May 1901, New York Adaline Havemeyer Frelinghuysen, acquired by descent from the above in 1929, Morristown H.O.H. Frelinghuysen, by descent from the above H.O. Havemeyer Collection, by descent from the above

Exhibitions 1873 London, The Society of French Artists, h Exhibition of the Society of French Artists, no 120 1889 Paris, Galerie Georges Petit, Monet-Rodin, no 30 1899 Paris, Galerie Georges Petit, Tableaux par Besnard, Cazin, C. Monet, no 45 1993 New York, The Metropolitan Museum of Art, Splendid Legacy: The Havemeyer Collection, no 391, illus. 1994 New York, The Metropolitan Museum of Art, on loan from 1994 to 2009 2009 London, Helly Nahmad Gallery, Monet

Literature 1974 Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné, vol. 1. Lausanne & Paris, no 200, illus. p. 205, no 65, discussed as Printemps, p. 447 1979 Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné, vol. III. Lausanne & Paris, no 986, discussed as Printemps, p. 249 1991 Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné, vol. V. Lausanne & Paris, no 200, listed p. 25 1996 Daniel Wildenstein, Claude Monet, Biographie et catalogue raisonné, vol. II. Cologne, no 200, illus. p. 91 117 - Pablo PICASSO (1881-1973) Reclining Nude, 4/11/1970 Color ink, dated and signed upper left 22 x 30 cm - 85/8 x 11 ≤ in. Estimate: $ 120,000 - 150,000

Provenance Private Collection

Literature C. Zervos, Pablo Picasso. 1970’s works, Vol XXXII, Paris, 1977, n°64 91 118 - Auguste RODIN (1840-1917) Masque de Madame Rodin dit aussi Masque de Rose Beuret Bronze with black patina tainted with green, signed on the neck lower right, inscribed “Alexis Rudier Fondeur Paris” and stamped at the back of the stand Created circa 1882, this piece was cast in 1913 26 x 17.5 x 17 cm - 101/4 x 67/8 x 63/4 in. Estimate: $ 60,000 - 80,000

Provenance Auguste Rodin Mr. Hans Hermann Vogel, Chemnitz (acquired from the artist, 5 October 1913) Karl & Faber sale, Munich, 1962 Collection Hella Tischer, Germany Christie’s sale London, 28 June 1988, lot 118 Mr. Felipe Grimberg, Miami (purchased at the sale above) Private collection, Miami This work is accompanied by a certificate of authenticity by The Comité Auguste RODIN 93 119 - Auguste RODIN (1840-1917) Faune et Faunesse dit aussi “Vieux chêne” Bronze with dark brown patina, signed, dedicated “A mon ami Deschamp” numbered1/8 and inscribed “Georges Rudier fondeur Paris” on the base Created before 1896, this bronze was then cast in 1986 H: 39.5 cm - 151/2 in. W: 39 cm - 153/8 in. D: 26 cm - 101/4 in. Estimate: $ 40,000 - 60,000

Provenance Succession Léon Deschamps, Paris Christie’s sale London, 28 June 1988, lot 119 Mr. Felipe Grimberg, Miami (purchased at the sale above) Private collection, Miami

This work is accompanied by a certificate of authenticity by The Comité Auguste RODIN 95 120 - Auguste RODIN (1840-1917) Nijinsky, 1912 Bronze with black patina on wooden stand, signed and inscribed “Rudier Fondeur Paris” on the leg H: 16.5 cm - 61/2 in. (without base) Estimate: $ 8,000 - 10,000

Provenance Galerie Vallois Paris Private Collection 97 121 - Fernand LEGER (1881-1955) Composition, 1953 Gouache and ink on paper, signed and dated lower right 65.2 x 50.3 cm - 255/8 x 193/4 in. Estimate: $ 120,000 - 150,000

Provenance Serge Sabarsky, New York Private collection, acquired from the above 99 Egon Schiele showed great interest in drawing from a very early importance to him. Thanks to the narrow framing and the background age and was considered a child prodigy at the Vienna Academy of which is stripped of any decorative element that might distract us, Fine-arts which he attended from 1906 to 1909. Thirsty for innovative our attention is drawn straight to the young woman. techniques and tired of academic rules and traditions, the young man decided to leave the school to find a more personal style. He Schiele had perfect knowledge of the human body but deliberately met Gustav Klimt who took the 17 year-old boy under his wing and chose to show his models in unusual, sometimes caricatured would greatly influence the young Austrian’s work. Together they positions. He would, for example, spend hours observing the patients participated in the Vienna Kunstschau exhibition alongside famous of psychiatric hospitals and studying what strange positions a puppet artists such as Van Gogh, Gauguin, Vuillard and Matisse. It was not could adopt. Thus his creations took on a dismembered, tormented long before Schiele’s extraordinary talent and controversial paintings aspect, rather reminiscent of German Expressionism. Schiele once caught the eye of critics. His emotionally immersed portraits with wrote in a letter: “I wanted to look inside such passionate people”. their bold colours and expressive lines enabled him to break away Indeed, not only was he able to penetrate the mind of his models from the harmonious and decorative renderings of his predecessors. and explore their thoughts through his works, he could also express his very own anxieties. Here the figure is supposedly lying down but His works prior to 1909 show a fondness for flowing lines and the the artist chooses to show her in an upright position. This technique Jugendstil’s particular use of space. which enables him to study the body in its entirety also reminds us “Auf Polster liegendes Mädchen” (Reclining girl on a pillow) most of Klimt’s renditions of reclining figures as seen in “The Kiss” for definitely accounts for the influence of this artistic movement and that example. The wide round eyes, long eyelashes, pink mouth and the of Klimt; however by bringing a personal touch to the work, Schiele blond hair framing the girl’s small face give her the appearance of a showed his desire of independence, his wish for his very own style. porcelain doll and Schiele cleverly draws attention to these features Executed in 1910, when he was barely 20 years old but already a by placing a striking white pillow under her head. renowned artist, the present work is a striking and perfect example of his early Expressionist period, characterized by the proximity of Schiele believed that the modern artist needed to be completely true the subject, the elongated and angular silhouette thrust forward by to his own self. In order to innovate he must create without looking the plain background. Rather than dwelling on the aesthetic side into the relics and traditions of the past and he will find inside him all of his work, Schiele tried to convey emotion through the body. He the foundations on which to build. favoured gouache as a medium to draw the viewer’s attention to the Schiele passed away suddenly at the age of 28, leaving behind texture and movement in his portraits. Colour was an afterthought exceptional creations, precious witnesses of his wonderful talent and but flowing, dynamic and expressive lines were of the utmost his revolutionary portrayal of the human body and mind.

122 - Egon SCHIELE (1890-1918) Auf Polster liegendes Mädchen, 1910 Gouache, watercolor and pencil with white heightening, initialed “S” and dated lower right 45.9 x 30 cm - 181/8 x 113/4 in. Estimate: $ 3,000,000 - 4,000,000

Provenance Private collection Sotheby’s, London June 25, 1986, sale Loplop, lot 363

This work is reproduced in the catalogue raisonné of the artist written by Jane Kallir under the reference number 416, page 395. 101 124 - Georges VALMIER (1885-1937) Les tulipes, 1928 Oil on canvas, signed and dated lower right 92 x 65 cm - 361/8 x 251/2 in. Estimate: $ 160,000 - 180,000

Provenance Private Collection

Literature Denise Bazetoux, George Valmier, catalogue raisonné, éd. Noème, 1993, p.159, n°556 103 125 - Joan MIRO (1893-1983) Oiseau perché sur un arbre (AMA # 67) 1969 Bronze sculpture, number 1 from an edition of 2, inscribed on the base, Foundry Parellada, Barcelone 45.7 x 12.7 cm - 18 x 5 in. Estimate: $ 250,000 - 300,000

Provenance Pierre Matisse Gallery collection, New York

Literature Alain Jouffroy et Joan Teixidor, Miro Sculptures, Maeght Editeur. Paris, 1974, numéro 1. Ill. page 235. 105 126 - Bernard BUFFET (1928-1999) Le clown aux cheveux rouges, 1977 Oil on canvas, signed lower left and dated lower right 81 x 60 cm - 317/8 x 235/8 in. Estimate: $ 120,000 - 150,000

Provenance Private collection 107 127 - Alberto GIACOMETTI (1901-1966) Floor lamp with leaves Bronze with green patina H. 147,3 cm - 58 in. Estimate: $ 60,000 - 80,000

This floor lamp was created by Alberto Giacometti for Jean-Michel Frank circa 1935-1937 and was later cast by Diego Giacometti.

Provenance Raoul Lévy Maître Ullman Private collection Sotheby’s sale 8th November 2002, n°229 Private collection

Literature: Michel Butor, Alberto Giacometti, Paris 1985, illustration of another piece, p. 102 109

111

128 - Diego GIACOMETTI (1902-1985) Table with leaves and frogs Dining room table, bronze structure with green patina and round glass plate. H : 75.5 cm - L : 59.5 cm - P : 59.5 cm H : 293/4 in. - L : 233/8 in. - P : 233/8 in. Diametre of the plate: 100 cm - 393/8 in. Estimate: $ 80,000 - 100,000

Provenance Private Collection 129 - Diego GIACOMETTI (1902-1985) Hanging lantern Bronze with antique patina. Model with four posts decorated to resemble leafy branches, a bird is perched on a branch with a small cup on the round base. H : 81 cm - D : 41 cm H : 317/8 in. - D : 161/8 in. Estimate: $ 40,000 - 60,000

Provenance: Serge Matta collection, purchased in 1975 from the Pierre Matisse Gallery, New York. Private Collection

This lantern was part of a group of six suspensions commissioned from Diego Giacometti for the decoration of Serge Matta’s property at Milly la Forêt.

130 - Diego GIACOMETTI (1902-1985) Hanging lantern Bronze with antique patina. Model with four posts decorated to resemble leafy branches, a bird is perched on a branch with a small cup on the round base. H : 81 cm - D : 41 cm H : 317/8 in. - D : 161/8 in. Estimate: $ 40,000 - 60,000

Provenance: Serge Matta collection, purchased in 1975 from the Pierre Matisse Gallery, New York. Private Collection

This lantern was part of a group of six suspensions commissioned from Diego Giacometti for the decoration of Serge Matta’s property at Milly la Forêt. 113 131 - Diego GIACOMETTI (1902-1985) Pair of table lamps, bronze with brown patina, decorated with leaves and a bird drinking at the base, signed on the base. Original paper lampshade H : 58 cm - 223/4 in. with lampshade H : 45 cm - 175/8 in. without lampshade Estimate: $ 30,000 - 50,000

Provenance Private Collection 115

117

132 - Diego GIACOMETTI (1902-1985) Three-branch wall lights with birds, circa 1968 Pair of bronze wall lights, signed DIEGO and monogrammed DG H : 40 cm - L : 43 cm - P : 18 cm H : 153/4 in. - L : 167/8 in. - P : 7 in. Estimate: $ 15,000 - 20,000 each pair

Another pair of smaller wall lights, with a small cup, is reproduced in: Diego Giacometti, Editions de l’Amateur, Paris, 2003, page 91

Provenance Private Collection

119 133 - Mel RAMOS (born in 1935) Rhinoceros, 1967 Oil on canvas 177.8 x 243.8 cm - 70 x 96 in. Estimate: $ 1,500,000 - 2,000,000

Born in Sacramento, California in 1935, Mel Ramos is one of the leading artists of the American Pop Art movement of the sixties. Using images of nude pin-up girls from magazines and advertisements, Ramos comments on the increasing attention to sex in popular culture and mass media of the era. The highly realist, glossy, and sexualized portraits of the women in his works are synonymous with the time in which they were made, a time of sexual liberation. The present lot, Rhinoceros, 1967, is an iconic painting of Ramos, as it is one of his first animal paintings combining both his fascinations: the pin-up girl and the wild animal. Ramos unites elements which are not necessarily compatible, a girl and rhinoceros against a startling orange backdrop, and the results is glamorous. The rhinoceros, with its horn claimed to be used as an aphrodisiac in China is not only a phallic symbol, but it also represents the artist’s influence from the myth of the beauty and the beast. Ramos describes in an interview; « In late sixties I did some things with animals, which is a theme which comes from the tradition of Leda and the Swan, King Kong and so forth, and the animal influence, bestiality that appears in the history of art. Some of the very earliest paintings on cave walls are of animals, and I’m interested in the kind of things which seem to have strong interest in various epochs that seem to reoccur ». The artist’s principal model, his wife Leta, lounges casually on the rhinoceros while the animal looks eased in her presence. It is a scene that illustrates Ramos’s vast sense of humor in which the beauty has tamed the wild beast. 121

123 In 1979 I met a friendly young man of Puerto Rican origin called was living with one of his girlfriends, Suzanne Mallouck, a young Jean-Michel Basquiat. Although he was only doing graffiti with painter and musician. He showed me his latest creations: acrylics Diaz, another Puerto Rican artist, he showed a keen interest in art. on canvas, on cardboard, on panel and works in which he had used Jean-Michel signed his works with the pseudonym SAMO and had pastel, felt-tip, spray paint, collages and anything else he could lay no idea that he would one day be recognised as one of the greatest his hands on to create highly original and profound works in all American artists of the 20th century, one who would influence many different shapes and sizes. generations to come. We became close friends, he asked for my One day he said: “Master!” (for this was the way he used to call me), advice on painting and we discussed artists he admired such as “why don’t we paint something together?” to which I gladly replied: Pollock, De Koening and Cy Tombly at great length. At that time he “Sure, but in my studio at the Delmonico then!” was still hesitating between music and painting. Indeed at night he Jean-Michel knew of my passion for boxing, a sport which I had performed with a band called Channel 9 along with Waynes Clifford practiced for ten years in Buenos Aires, and for polo which I and Nick Taylor. It was through them that I met a young singer, a played for forty years all over the world. Thus the subject of the certain Madonna. painting was easy to find: a boxing match. Jean-Michel arrived I had a studio set up in the suite at the Delmonico hotel where I on the chosen date, slightly high as had been his habit of late. He was staying. Jean-Michel was thrilled and thoroughly enjoyed our immediately took the right-hand side of the canvas and began to cultural trips to the MoMA and the Met. Our nighttime ventures, paint. I started working on the left-hand side, depicting a boxer especially those to Studio 54 which he first discovered with me, who was looking at him and provoking him in Spanish. Jean- were equally entertaining. Michel replied on his side. It was great fun and we continued Meanwhile in Europe, new art movements were emerging: the to paint merrily, finishing the work that very night. Our painting Italian Transavanguardia with Sandro Chia, Francesco Clemente then stayed in my studio until a few days later when a friend and Mimmo Paladino, the Junge Wilde in Germany with Rainer of mine, the architect Juan Pablo Molyneux who had just moved Fetting, Helmut Middendorf, Elvira Bach. All those movements are to New York, came to see me. He saw the piece and bought it. linked to Basquiat’s art, who at the time was leaving graffiti on the When I went to find Jean-Michel and told him that the work had walls of New York along with Keith Haring and Kenny Scharf. been sold, he jumped for joy and threw a huge party in my honour. Nearly all our friends were there: Haring, Diaz, Maripol, Cortes, One day Jean-Michel introduced me to Maripol, a beautiful and very our Columbian friends, Robert Mapplethorpe and Madonna to creative artist, producer and stylist. My table at Studio 54 counted name but a few. Jean-Michel really was an extremely generous new members every day, our crowd just kept getting bigger: Jean- artist. A few years later, I had the pleasure of bumping into him in Michel, Keith Haring, Kiki Smith, Diego Cortes, models on occasion. Paris. He was already famous and staying at the Ritz. Together we And then one night Andy Warhol joined us. reminisced about our collaboration, no doubt his first of that kind. During the day we would all go our separate ways to work. Jean- He would then go on to work with other artists such as Clemente Michel who did not have a permanent studio sometimes used my and Andy Warhol. own. I did my best to point him in the right direction, taught him Our painting has remained in the same collection ever since the day various techniques and we discussed a wide range of topics. He it was purchased and has been exhibited in New York and Miami. listened carefully and learned quickly. It is a wonderful memory from the 1980s, a beautiful experience When I returned from my exhibition “Aperto 80” at the Venice shared with a brilliant artist and a great friend. Biennale in 1980, Basquiat had decided: he would be a painter. Not long after, I went to see him on 68 East 1st street where he Horacio CORDERO 125

134 - Horacio CORDERO (born in 1945) and Jean-Michel BASQUIAT (1960-1988) The two boxers, 1982 Acrylic, oil and wood on canvas, signed by the two artists lower right 195 x 269 cm - 763/4 x 103 in. Estimate: $ 50,000 - 70,000 135 - Horacio CORDERO (born in 1945) and Jean-Michel BASQUIAT (1960-1988) The King Picasso, 1981 Photograph enhanced with gouache, signed upper left, monogrammed JMBHSC lower right, label from the Lennox Gallery on the reverse 36 x 28 cm à vue - 141/8 x 11 in. Estimate: $ 4,000 - 6,000

Exhibition Lennox Gallery NYC, Horacio Cordero et Jean-Michel Basquiat, 1984 Art Fair Palmbeach, 2004

135B - Sol LEWITT (1928-2007) Waving Lines, 1999 Gouache on paper, signed and dated lower right 37 x 37 cm - 141/2 x 141/2 in. Estimate: $ 8,000 - 10,000 127

135C - Nadín OSPINA (born in 1960) Colombian school Mickey mouse, 2001 Stone, signed, dated and numbered on the bottom Edition 2 / 7 20 x 29 x 51 cm - 8 x 11.5 x 20 in. Estimate: $ 10,000 - 12,000

135D - Julian OPIE (born in 1958) Walk, 2009 Computer animation on LED display Edition of 200, numbered 2/200 Label from the Alan Cristea Gallery with the description of the work, the edition number and the artist’s signature on the reverse 25.6 x 13.4 x 4.2 cm - 101/8 x 51/4 x 15/8 in. Estimate: $ 4,000 - 6,000 136 - Sandro CHIA (born in 1946) Italian school Bou boul, 1981-82 Oil on canvas, signed and dated lower right 178 x 106 cm - 70 x 413/4 in. Estimate: $ 50,000 - 70,000 129 137 - Vlada KRASSILNIKOVA (born in 1967) 138 - Mimmo ROTELLA (1918-2006) Mona Lisa, 2011 Elvis Presley, 1995 C-print, mounted on aluminium, Ready Made, signed lower left, countersigned, signed and inscribed on the reverse titled and dated 95 on the reverse, Edition 1 of 6, under plexiglas label from the Lennox Gallery on the reverse 120 x 80 cm - 471/4 x 311/2 in. 76 x 193 cm (under glass) - 30 x 76 in. Estimate: $ 8,000 - 10,000 Estimate: $ 6,000 - 8,000

Provenance Private collection

Exhibition Mimmo ROTELLA, Miami, February 2003 131 139 - Andy WARHOL (1928-1987) Campbell’s Green pea soup Colour silkscreen, signed and annotated AP on the reverse 86 x 52,5 cm - 337/8 x 203/4 in. Estimate: $ 10,000 - 12,000

140 - Keth HARING (1958-1990) 2 T-Shirts 96 x 58 cm - 373/4 x 223/4 in. Estimate: $ 1,500 - 2,000 133

141 - Takashi MURAKAMI (born in 1962) My lonesome cowboy Offset colour print, signed and numbered 107/300 lower right 50 x 50 cm - 193/4 x 193/4 in. Estimate: $ 800 - 1000

142 - Takashi MURAKAMI (born in 1962) Hiropon Offset colour print, signed and numbered 112/300 lower right 50 x 50 cm - 193/4 x 193/4 in. Estimate: $ 800 - 1000

143 - Takashi MURAKAMI (born in 1962) !N !CHA Offset colour lithograph on metallic paper, signed and numbered 82/300 lower right 50 x 50 cm - 193/4 x 193/4 in. Estimate: $ 1,200 - 1,500 144 - Grâce SAMBA Kongo kongo, 2006 Oil on canvas, signed lower right, countersigned, dated 2006-2012 and titled on the reverse 80 x 40 cm - 311/2 x 153/4 in. Estimate: $ 5,000 - 8,000

145 - Kenzo TAKADA (born in 1939) Trois robes d’été Acrylic on canvas, signed lower left, titled on the right-hand side, countersigned and titled on the reverse 150 x 200 cm - 59 x 785/8 in. Estimate: $ 12,000 - 15,000 135

146 - Kenzo TAKADA (born in 1939) Sakura II Acrylic on canvas, signed on the right-hand side, countersigned and titled on the reverse 194,5 x 130 cm - 761/2 x 511/8 in. Estimate: $ 12,000 - 15,000 147 - Burhan DOGANCAY (born in 1929) Turkish school NY under the rain Gouache, signed lower right 50.5 x 39.5 cm - 20 x 151/2 in. Estimate: $ 2,000 - 2,500 137

148 - Burhan DOGANCAY (born in 1929) Turkish school Harbor scene Watercolor, signed lower right 35 x 50 cm - 133/4 x 193/4 in. Estimate: $ 1,000 - 1,500 149 - Cai HANCHENG (born in 1965) Chinese school Stone-breaking lacker bear Fiber glass, signed 152.4 x 94 x 63.5 cm - 60 x 37 x 25 in. Estimate: $ 20,000 - 25,000 139

150 - Andy WARHOL (1928-1987) Portrait of Gertrude Stein Serigraphy Signed and enumerated lower right Artist’s Proof, aside of the Edition 23/25 100 x 81 cm - 39.5 x 31.75 in. Estimate: $ 8,000 - 10,000 151 - Ma YANLING (born in 1966) Chinese school Hello Shanghai Ruan Lingyu Movie stard from 1910-35 Mixed media 108.5 x 74 cm - 42.75 x 29 in. Estimate: $ 12,000 - 15,000

152 - Ma YANLING (born in 1966) Chinese school Monroe, 2007 Mixed media 79 x 71 cm. – 31 x 28 in. Estimate: $ 12,000 - 15,000 141

153 - Luo Brothers 154 - Wei DONG (born in 1968) (Luo Wei Dong, Luo Wei Bing and Luo Wei Guo) Chinese school Chinese school Girl with lamb Red Box Oil on Canvas, stamped middle right Lacquer on wood, signed on reverse 31 x 41 cm - 12.25 x 16.25 in. 47 x 39 cm - 18.5 x 15.5 Estimate: $ 10,000 - 12,000 Estimate: $ 6,000 - 8,000 Acquired ditrectly from artist through Nicholas Robinson Acquired ditrectly from artist 155 - Zhang HONGTU (born in 1943) Chinese school Mao Lipstick, 1994 Mixed media 81 x 57 cm - 32 x 22.5 in. Estimate: $ 10,000 - 15,000 143

156 - Wang GUANGYI (born in 1957) Chinese school Coca Cola Lithograph, signed lower right 89 x 77 cm - 35 x 30.25 in. Estimate: $ 6,000 - 8,000 157 - Suat AKDEMIR (born in 1960) Turkish school Art Summer Mixed Media 70 x 70 cm - 28 x 28 in. Estimate: $ 4,000 - 6,000

158 - Suat AKDEMIR (born in 1960) Turkish school Art Summer, 2007 Charcoal on canvas; signed lower right and signed and dated on the reverse 145 x 158 cm - 57 x 62.25 in. Estimate: $ 4,000 - 6,000 145

159 - Huang GANG (born in 1961) Chinese school Pyramid of 45 sculptures Copper and Bronze, signed and enumerated 4/10 on the back of the base 13 x 13 x 33 cm - 5 x 5 x 13 in. Estimate: $ 10,000 - 15,000 PART III Russian non-conformist art Russian artists from the School of Paris Lithographs 147 PART III Russian non-conformist art Russian artists from the School of Paris Lithographs Founder and a leading member of Mir iskusstva (The World of Art) 160 - Alexandre BENOIS (1870-1960) group, Alexandre Benois’ greatest achievements in the arts were in Two costume designs for Igor Stravinsky’s book illustration and stage design. Benois moved to Paris in 1927, ballet Petrouchka (1911), production and thereafter worked chiefly as a stage designer. of the Royal Opera House, Covent Garden, The original production of the ballet Petrouchka was first presented London, 1957 by Serge Diaghilev’s Ballets Russes at the Théâtre du Châtelet, Paris, 1911. Vaslav Nijinsky gave one of his greatest ever performances in a. Two Stable Boys, 1956 the title role. The décor for this ballet is generally acknowledged to Gouache, watercolor and ink on paper, be the crowning achievement of Benois’ career. Not only did Benois signed lower right, inscribed in French design the sets and costumes, but he also wrote the libretto of the with instructions to the dressmaker, ballet, in collaboration with Stravinsky. Petrouchka is one of the best titled in French and Cyrillic and dated works of theatrical modernism that fuses music, choreography, and upper right. history in perfect balance. 32 x 23 cm - 121/2 x 91/8 in. Petrouchka became one of the most popular ballets in the international b. The Chief Nursemaid, 1957 repertoire, and Benois produced numerous versions of his designs for Gouache, watercolor, gold paint and ink many other subsequent productions of this ballet throughout his life. on paper, signed lower left, inscribed in French with instructions to the dressmaker, titled in French and Cyrillic and dated upper right 31 x 23 cm - 121/4 x 91/8 in. Estimate: $ 5,000 - 7,000 149

161 - Alexandre BENOIS (1870-1960) Two costume designs for Igor Stravinsky’s ballet Petrouchka (1911), production of the Ballets Russes de Monte Carlo, 1936 a. A Vendor Gouache, watercolor and ink on paper, signed and dated lower left and lower right, inscribed in French with instructions to the dressmaker, titled in French upper right. 31.5 x 24 cm - 123/8 x 91/2 in. b. Gouache, watercolor and ink on paper, signed and dated lower middle, inscribed in French with instructions to the dressmaker and titled in French upper right. 32 x 24.5 cm - 121/2 x 95/8 in. Estimate: $ 5,000 - 7,000 162 - Alexandre BENOIS (1870-1960) 163 - Alexandre BENOIS (1870-1960) Two costume designs for Igor Stravinsky’s ballet Petrouchka (1911) Two costume designs for Igor Stravinsky’s Ballet Petrouchka a. Two Officers a. Two Soldiers Gouache, watercolor and ink on paper, signed lower middle, Gouache, watercolor and ink on paper, signed lower left, titled in Latin titled in French upper right and dated upper left upper right, inscribed in French with instructions to the dressmaker 34.5 x 25.5 cm - 135/8 x 10 in. 32 x 24 cm - 125/8 x 91/2 in. b. Gouache, watercolor, graphite and ink on paper, signed lower left, b. A Woman titled upper left and upper right Gouache, watercolor and ink on paper, signed lower left, inscribed 30.5 x 23 cm - 12 x 9 in. in French with instructions to the dressmaker, titled in French upper right, inscribed “Petrouchka” upper left Estimate: $ 5,000 - 7,000 29.5 x 22 cm - 115/8 x 83/4 in. Estimate: $ 5,000 - 7,000 151

164 - Alexandre BENOIS (1870-1960) Two costume designs for Igor Stravinsky’s ballet Petrouchka (1911), production of the Royal Opera House, Convent Garden, London, 1957 a. An Old and Very Rich Merchant, 1956 Gouache, watercolor and ink on paper, titled in Latin and Cyrillic upper right, inscribed in Latin with instructions to the dressmaker, inscribed “Covent Garden” and dated upper middle, also inscribed “Petrouchka” and dated upper left 31.5 x 23 cm - 123/8 x 9 in. b. A Gentleman, 1956 Gouache, watercolor and ink on paper, signed and dated lower right, inscribed with instructions to the dressmaker, titled in Latin upper right, inscribed “Covent Garden” and “Petrouchka” and dated upper left. 32.5 x 231/2 cm - 12 7/16 x 91/4 in. Estimate: $ 5,000 - 7,000 165 - Natalia GONTCHAROVA (1881-1962) Bouquet de fleurs Oil on canvas, monogrammed NG lower left and signed on the reverse. 27 x 19 cm - 105/8 x 71/2 in. Estimate: $ 30,000 - 40,000

166 - Natalia GONTCHAROVA (1881-1962) Costume design for a bride in Serge Diaghilev’s “Les Noces” (Music by Igor Stravinsky, dances by Bronislava Nijinska), 1923 India ink and Chinese white on paper, inscribed with the date, title of the ballet and the ballerina’s name (F. Dubrovska) upper right and annotated upper left. 20 x 26 cm - 8 x 10 in. Estimate: $ 10,000 - 12,000

Bibliography Larissa Salmina-Haskell, Victoria and Albert Museum: Catalogue of Russian Drawings, London, 1972 153

167 - Alexandre BENOIS (1870-1960) Vue du parc du château de Versailles Oil on canvas, signed lower left 91 x 116 cm - 353/4 x 453/4 in. Estimate: $ 30,000 - 40,000

Provenance Former collection of the artist’s daughter Anna Benois, and her husband Georges (Yuri) Tcherkesoff Marie Vorobieff-Stebelskaya, known as Marevna, was born in was a form of figural Cubism. After her father’s death in 1914, Marevna Cheboksary, Kazan Province, in 1892. Her mother was the Russian was without his financial support and was now a struggling artist. In actress Maria Vorobieva (Vorobieff), who abandoned her daughter 1915, she met the famous Mexican artist Diego Rivera, had a passionate soon after she was born. Marie Vorobieff was therefore raised by and turbulent affair with him, and married him in 1917. Marevna spent her father, Bronislav Vikientievich Stebelsky, a Polish aristocrat and the last years of her life in London, completely impoverished and all but forestry official in the Tsar’s service. Marie spent her childhood with forgotten. In 1968, Robert Herbert selected two of Marevna’s works for her father in Tiflis, where she studied at the Tiflis Fine Arts School the Guggenheim Museum’s Neo-Impressionist exhibition of that year. (1907-08). In 1910, she continued her art education at the Stroganov Art Institute in Moscow. The following year she left for Italy, where Commenting on the development of her style, Marevna wrote: “When she met the famous Russian writer Maxim Gorky, who lived on the I began painting I found cubism exciting and interesting, and thought island of Capri from 1906 to 1913. It was Gorky who suggested that it gave another dimension to painting, since in impressionist art… that Marie sign her pictures as “Marevna,” taking the name from a there is little construction. I have followed Cézanne’s example—he Russian fairy tale about a sea princess. gave up impressionism on his own and began research into the use of structure by painters of the Quattrocento…Structure is of immense In 1912, Marevna moved to Paris, where she allied herself with importance to me, although I have never altogether abandoned my some of the greatest artistic talents of the time, including members pointillist style.” By the late 1920s she arrived at her own distinctive of La Ruche, a community of émigré painters and sculptors based style, a belated neo-impressionism in which the paint is applied in in Montparnasse. Among her friends and acquaintances were Pablo small, rather discrete strokes. Marevna’s mature style is exemplified Picasso, Georges Braque, Marc Chagall, Amedeo Modigliani, Chaim by the present lot. Soutine, Fernand Léger, Max Jacob, and Jean Cocteau. Matisse was very complimentary of Marevna’s paintings and wrote While in Paris, Marevna studied at the Académie russe and attended a short essay about them, which was later published in one of her classes at the Académie Colarossi. In 1913 she exhibited at the Salon exhibition catalogues. Marevna’s work was also championed from des Indépendants, and in 1913-19 at the Salon d’Automne. Marevna 1928 to 1935 by the critic Gustave Kahn, the Symbolist friend of had come to Paris in the heyday of Cubism, and her first mature work Seurat and Signac.

168 - Marie MAREVNA (1892-1984) Flowers by the window Oil on canvas, signed lower left 92 x 65 cm - 36.2 x 25.6 in Estimate: $ 35,000 - 40,000 155 Nikolai Fechin initially studied at the Kazan Art School from 1895 to 1900, then continued his studies at the Imperial Academy of Arts in St. Petersburg from 1900 to 1909. While there, he spent seven years studying under the famous Russian realist painter Ilya Repin. In 1909, Fechin received a gold medal at the International Exhibition in Munich. In 1910, he received a fellowship from the Imperial Academy of Arts to study in Germany, Italy, and Austria. Fechin became a member of the Wanderers (Association of the Traveling Art Exhibitions) in 1916, and exhibited with them from 1912 to 1922. After contributing to many important exhibitions, he was appointed Academician of painting in 1916. From 1908 to 1923, he also taught at the Kazan Art School/Free State Art Studios/State Art Institute. Fechin left for the USA in 1923 and took part at the Exhibition of Russian Art in New York in 1924. In the 1920s, he taught at the Academy of Arts of the Grand Central Gallery in New York. From 1927 to 1933, Fechin lived in Taos. He then moved to Los Angeles, where he remained until 1948.

Fechin’s work became popular among Russian and foreign collectors even in the artist’s lifetime. A virtuoso portraitist, Fechin often employed broad, free brushstrokes, used a palette-knife and a special method of rubbing paint into the ground.

169 - Nikolai Ivanovich FECHIN (1881-1955) Portrait of Daughter Eya, circa 1925 Oil on masonite, signed lower right 30.5 x 24 cm - 12 x 9.5 in. Estimate: $ 50,000 - 60,000

Provenance Collection of Joan F. Seifter (label on the back).

For similar portraits see G.P. Tuluzakova. Nikolai Ivanovich Feshin. St. Petersburg, 2007. Ill. on pp. 195,196. 157 170 - Samariy GURARIY (1916-1998) Sport Parade, 1950 Gelatin silver print, signed and stamped on the reverse 27.5 x 39 cm - 103/4 x 153/8 in. Estimate: $ 2,000 - 3,000

171 - Samariy GURARIY (1916-1998) Red Square, 1970 Gelatin silver print mounted on cardboard, signed and stamped on the reverse 40 x 57.5 cm - 153/4 x 225/8 in. Estimate: $ 2,000 - 3,000

Samariy Gurariy belonged to the highest echelon of Soviet photographer at various front-line positions. Beginning in 1956, photojournalists. He photographed many important historic he was also a photographer for the newspaper Trud. Following the events during the course of his prolific career. In his youth, Gurariy Soviet collapse of 1991, Gurariy immigrated to the United States. attended the same Moscow high school as, and was friendly with, Joseph Stalin’s children. Those relationships later afforded The present lot (lot 170), Sport Parade, depicts young and energetic Gurariy unparalleled access to Stalin, making him one of only athletes participating in ceremonial Stalin-era parades on Red Square two photographers regularly allowed to photograph the security- in Moscow. Emphasizing the physicality of movement and the beauty obsessed leader. of the trained body, these photographs evoke the following passage that appeared in a 1931 Soviet publication on physical education “In Gurariy’s first photograph was accepted for publication in 1934, the armies of physical education, nudity can be defined as socially when Gurariy was only eighteen years old. At that time, he was legitimate. Athetes’ bodies constitute a genuine work of art. In this already working for the newspaper Izvestiia as an assistant context, nudity in no way carries any sexual character, but has an illustrator. During the Second World War, he worked as a military aesthetic and social value” 159

172 - Erik BULATOV (born in 1933) 173 - Erik BULATOV (born in 1933) Sunset, Sunrise, 2007 Sunset, Sunrise, 2007 Certified print on canvas Certified print on canvas Signed lower left, edition written on reverse Signed lower left, edition written on reverse Edition 31/199 Edition 31/199 80 x 120 cm - 311/2 x 471/4 in. 100 x 100 cm - 393/8 x 393/8 in. $1,000 - 1,500 $1,000 - 1,500

Provenance Provenance Ars Mundi, Hannover, Germany. Ars Mundi, Hannover, Germany. 174 - Igor Emmanuilovich GRABAR (1872-1960) Portrait of Dr. Mikhailovski, 1924 Oil on canvas, signed, dated and inscribed « Pelham » lower right 63.5 x 71.5 cm - 25 x 281/8 in. Estimate: $ 15,000 - 20,000

Igor Grabar was born in Budapest, where his father was a member of the Hungarian Parliament. He moved with his family to Russia in 1880. In 1889-93 Grabar studied law, history, and philology at the St. Petersburg University. However, he became interested in art, and attended P.P. Chistiakov’s private art studio in 1892-94. He continued his art studies under V.E. Savinsky, N.A. Bruni, and I.E. Repin at the Academy of Fine Arts in St. Petersburg in 1894-96. From 1896 to 1899, Grabar attended the Anton Ažbe’s school in Munich, which was a popular school for Russian émigrés. In 1897, he briefly studied at the Académie Rudolphe Julian and at the Académie Collarossi in Paris. Grabar became a member of the World of Art Group in 1901 and was a member of the Union of Russian Artists from 1903 to 1910. Creating works that often captured a momentary impression, he became best known for his Impressionistic landscapes, still lifes, and portraits. In his book My Life , Grabar wrote about the present lot: “I went to New York in order to paint portraits… I painted a portrait of the famous physician Mikhailovsky, who, while still living in St. Petersburg, studied at the Naval Medical Academy there. This doctor emigrated from Russia about twenty years ago.” An accomplished art historian and critic, Grabar edited a multi- volume History of Russian Art (Moscow: Knebel, 1910-15). He was also the Director of the State Tretyakov Gallery in Moscow from 1918 to 1925. He headed the Academy of Fine Arts from 1943 to 1946, and from 1944 to 1960, he was the Director of the Institute of Art History in Moscow. 161 175 - Oleg VASSILIEV (born in 1931) The house, 1990 Lithograph, signed lower right, annotated EA (Artist’s proof) 6/40 lower left 71 x 49.5 cm - 28 x 191/2 in. Estimate: $ 1,000 - 1,500

176 - Oleg VASSILIEV (born in 1931) Life is beautiful, 1990 Lithograph, signed lower right, annotated EA (Artist’s proof) 6/40 lower left 71 x 49.5 cm - 28 x 191/2 in. Estimate: $ 1,000 - 1,500

177 - Vadim VOINOV (born in 1940) Windows in the album, 1994 Collage on wood, signed and titled in Cyrillic and dated on the reverse 39 x 24 cm - 15.5 x 9.5 in. Estimate: $ 2,500 - 3,000

Illustrated: Vadim Voinov, St. Petersburg: DEAN, 2002, page 202

In 1979, Vadim Voinov began creating what he calls “functio- collages.” These types of works incorporate discarded objects issued in large editions and containing little or no material value, such as old photographs and postcards, used tickets and receipts, medals and clocks. In Voinov’s works, the object never loses its own identity, its functional nature and material uniqueness. However, Voinov has raised the object, which was perceived as outdated and useless, to the level of the “historical.” Voinov’s study of history at Leningrad University and his employment as a curator at the Museum of the History of Leningrad have inflected his creative practice. As a part of his job as a curator, he had to investigate the premises of old houses and decide whether any of the details of the interiors held anything of cultural value. 163

178 - Boris SVESHNIKOV (1927-1998) Meeting in October, 1994 Watercolour and ink on paper, signed with initials and dated lower left, countersigned, titled and dated on the reverse 32 x 44 cm - 12.5 x 17 in. Estimate: $ 6,000 - 8,000

179 - Dmitri KRASNOPEVTSEV (1925-1995) Untitled, 1961 Pencil on paper, signed with initial and dated (K-61) lower right 28 x 20 cm - 11 x 8 in. Estimate: $ 4,000 - 6,000 180 - Yuri DYSHLENKO (1936-1995) The Emperor, from the Spiritus Loci series of 36 (36 Views Through the Window to Europe and Back), 1980-90 Acrylic on canvas, titled lower middle 112 x 87 cm - 44 x 341/4 in. Estimate: $ 15,000 - 20,000

An important member of the Leningrad nonconformist art movement, of popular culture, often including reproductions of slogans, product Yurii Dyshlenko participated in the first unofficial art exhibition labels, and cartoons. From 1989, he lived and worked in New York. in Leningrad, held at the Gaz Palace of Culture in December 1974. It was in New York that Dyshlenko completed Spiritus Loci, a series that However, Dyshlenko regarded the Moscow-based Conceptualists, a he had begun in Leningrad years earlier. As its title suggests the series group of artists that conducted an ongoing critique of representational deals with matters of local interest: Spiritus Loci is rich in allusions painting, as his closest contemporaries. to the history of St. Petersburg. The series’ subtitle, 36 Views through Dyshlenko received his formal art training at the Leningrad Institute the Window to Europe and Back, alludes to a cycle of woodcuts by the of Theater, Music, and Cinematography with the eminent stage Japanese printmaker Hokusai (1760-1849). It also makes reference to designer and theater director Nikolai Akimov. Dyshlenko graduated the frequent description of St. Petersburg as Russia’s “Window to the from the Institute in 1962 and worked as an illustrator before turning to West.” The scholar Janet Kennedy has described the series as follows: painting in the early 1970s. The language and methods of advertising, “Spiritus Loci is full of unstable illusions. These result in a visual the technology of reproduction—all this became a field for creative embodiment of an established trope: St. Petersburg is a city founded transformation and irony in Dyshlenko’s works. To create his paintings, on illusion, the acme of artificiality, a city whose grand facades conceal the artist employed motifs derived from advertising and other forms the often makeshift nature of daily life.” 165

181 - Yuri DYSHLENKO (1936-1995) St .Petersburg Sybil, from the Spiritus Loci series of 36 (36 Views Through the Window to Europe and Back), 1980-90 Acrylic on canvas, inscribed in Cyrillic lower right. 112 x 87 cm - 44 x 341/4 in. Estimate: $ 15,000 - 20,000

Exhibited: Selected bibliography: New Brunswick, New Jersey, Jane Voorhees Zimmerli Art Museum, Janet Kennedy, ed., Yurii Dyshlenko: Modernity, Abstraction and Mass Rutgers, The State University of New Jersey, Yurii Dyshlenko, Media, St. Petersburg: Palace Editions and the Zimmerli Art Museum, October 13, 2002-January 12, 2003; Rutgers University, 2002. (St .Petersburg Sybil is illustrated on p. 68) Durham, North Carolina, Duke University Museum of Art, Yuri Dyshlenko: Modernity, Abstraction and the Mass Media— Reformulating Modern Culture, 1998; New York, Phyllis Kind Gallery, Commemorating the Life and Career of Yuri Dyshlenko, 1995 182 - Vladimir YAKOVLEV (1934-1998) Portrait of a woman, 1973 Gouache on paper, signed and dated lower right 84 x 60.5 cm - 33 x 233/4 in. Estimate: $ 12,000 - 15,000

An important figure of the Soviet nonconformist art movement, numerous stays in mental hospitals. Yakovlev’s fear of blindness Vladimir Yakovlev lost most of his eyesight as a teenager, is reflected in much of his work, including haunting portraits, having being afflicted with an eye disease at the age of sixteen; many of whose subjects are depicted with damaged eyes. This by the mid-1970s, only a small portion of his vision remained. highly expressive portrait conveys an extraordinary sense of His degenerating sight led to severe depression, resulting in psychological nakedness. 167

183 - Jacob SKORNIK (born in 1977) La jeune fille à la perle, 2011 Acrylic paint and diamond dust on canvas, signed and dated on the reverse 157.5 x 122 cm - 62 x 48 in. Estimate: $ 15,000 - 20,000 184 - Anatoly ZVEREV (1931-1986) Tortue, 1985 Oil and mixed media on panel, monogrammed and dated lower right 70 x 50 cm -271/2 x 193/4 in. Estimate: $ 7,000 - 8,000

185 - Anatoly BRUSSILOVSKY (born in 1938) Untitled, 1974 Collage on cardboard, signed lower right 48 x 54 cm - 19 x 21.25 in. Estimate: $ 4,000 - 6,000

Moscow artist Anatoly Brusilovsky turned to collage in the early 1960s, Selected bibliography: seeking a way to break out of traditional painting. Brusilovsky uses other Alla Rosenfeld, “Stretching the Limits: On Photo-Related Works of Art in existing imagery and photographs only as a starting point, as material the Norton and Nancy Dodge Collection,” in Diane Neumaier, Ed. Beyond for further manipulations. These photographs were readily available Memory: Soviet Nonconformist Photography and Photo-Related Works of from a multitude of sources, including the daily newspapers and various Art, New Brunswick and London: Rutgers University Press, 2004, 131-175. magazines. Juxtaposing often unrelated elements appealed to Brusilovsky Similar collages by Brusilovsky are illustrated on p. 160. who often used collage and photo collage to make social and political statements. As the artist noted: “Although I often had a plan, a main idea, and even sketches of the composition, I did not know until the very end what the result would be… I had an enormous collection of cut-outs for every purpose – like a typesetter’s box that contains all the necessary letters.” 169

186 - Anatoly BRUSSILOVSKY (born in 1938) Untitled, 1974 Collage on Cardboard, signed lower right 48 x 53 cm - 18.9 x 20.9 in. Estimate: $ 3,000 - 5,000

187 - Anatoly BRUSSILOVSKY (born in 1938) Untitled, 1974 Collage on cardboard, signed lower right 48 x 53 cm - 18.9 x 20.9 in. Estimate: $ 3,000 - 5,000

188 - Anatoly BRUSILOVSKY (born in 1932) Untitled, 1974 Collage on cardboard, signed lower right 48 x 53 cm - 18.9 x 20.9 in. Estimate: $ 3,000 - 5,000 189 - Leonid SOKOV (born in 1941) 5 Limited Edition prints, 1990 Mix media prints on cardboard, signed and dated lower right Edition 50/99 78 x 58 cm - 303/4 x 227/8 in. (each) Estimate: $ 12,000 - 15,000 171

190 - Leonid SOKOV (born in 1941) Freedom, 1991 Collage on paper, signed and dated lower right and annotated AP (artist’s proof) lower left 129 x 98 cm - 503/4 x 385/8 in. Estimate: $ 10,000 - 12,000

The East-West dichotomy is a recurrent theme in Leonid Sokov’s his studio and was among the major exponents of Sots Art, which oeuvre, often manifested by the juxtaposition of symbols of the adopted a critical, satiric stance toward Socialist Realism and other Soviet Union and the United States. manifestations of Soviet ideology. Sokov emigrated from the Soviet Trained as a sculptor, Sokov studied at the Moscow Secondary Art Union in 1979, and has lived in New York since 1980. School from 1959 to 1961, and later at the Moscow School of Art American Pop Art was an important influence on Sokov, who was and Industry (the former Stroganov Institute) from 1964 to 1969. Like aware of artists like Andy Warhol and Jasper Johns by the time he many other nonconformist artists, Sokov simultaneously pursued returned from the army in 1964. In a recent interview, he explained, official and unofficial careers. On the one hand, he belonged to the “my task is to correctly understand American popular myths from the Artists’ Union, in which capacity he produced park statuary; on the point of view of a Russian/Soviet person and to present them in the other, he organized a 1976 showing of works by unofficial artists in context of my culture.” 191 - Evgeny RUKHIN (1943-1976) Untitled, 1973 Mixed media on canvas, signed in Cyrillic and dated upper right 70 x 65 cm - 27.6 x 25.6 in. Estimate: $ 20,000 - 25,000

The Leningrad artist Evgenii Rukhin was a major force behind the work took place at the Betty Parsons Gallery in 1966 in New York. Soviet unofficial art movement of the 1960s and 1970s. Although he The 1963 exhibition of American graphic art shown in Moscow and died at the age of thirty-two in a mysterious studio fire whose causes Leningrad had a major impact on Rukhin’s artistic development. are still unknown to this day, Rukhin—who tended to work on at least Having seen the work of such American artists as Jasper Johns, five or six pieces at once—managed to produce over one thousand Robert Rauschenberg, James Rosenquist, and Jim Dine, Rukhin went works during the course of his brief career. Most of Rukhin’s works are on to create paintings consisting of monochromatic fields, stenciled now located outside of Russia. Only a few pieces remain in his native phrases, and richly textured assemblages. country, some of which were given away as gifts by the artist himself, A self-taught artist who had studied geology in school, Rukhin for a while others were purchased by the rare collectors of nonconformist time experimented with different surfaces and textures. In 1968, he art. Foreigners were practically the only clients in Rukhin’s studio rejected a purely abstract style in favor of incorporating objects from during the 1960s-1970s. The first international showing of Rukhin’s everyday life—doors, broken pieces of furniture, and other items 173

192 - Evgeny RUKHIN (1943-1976) Two Columns, 1972 Mixed media on canvas, signed and dated lower right 70 x 66 cm - 27.6 x 26 in. Estimate: $ 20,000 - 25,000

that, as described by Rukhin, “civilization discarded as useless.” Selected bibliography: He transformed these familiar objects into elements of abstract Ruth Mayfield, Eugene Rukhin: A Contemporary Russian Artist, exh. compositions, often juxtaposing them with inscriptions. For these cat. Raleigh: North Carolina Museum of Art, 1975 works, Rukhin utilized canvases that were nearly square, explaining Marina Unksova, ed., “Minuvshikh dnei opal’naia chreda…”: that “this shape is most independent of the proportions of a portrait Khudozhnik Evgenii Rukhin i ego vremia. St. Petersburg: Izdatel’stvo (vertical) or of a landscape (horizontal).” imeni N. I. Novikova, 2005 Rukhin was both a fearless creator of nonconformist art, as well as a participant in many unofficial apartment exhibitions. He was arrested as one of the organizers of the notorious “Bulldozer Exhibition” (First Fall Open-Air Exhibition of Paintings), held on the outskirts of Moscow in 1974. 193 - Anatoly BRUSILOVSKY (born in 1932) 194 - Anatoly BRUSILOVSKY (born in 1932) Untitled Untitled Collage on cardboard Collage on cardboard 48 x 53 cm - 18.9 x 20.9 in. 48 x 53 cm - 18.9 x 20.9 in. Estimate: $ 4,000 - 6,000 Estimate: $ 4,000 - 6,000 175

195 - Francisco INFANTE (born in 1943) Near and Far, works from the Artefacts series, 1997 Cibochrome, signed, dated and inscribed in Cyrillic on the reverse 51 x 51 cm - 20 x 20 in. Estimate: $ 5,000 - 6,000

196 - Francisco INFANTE (born in 1943) Near and Far, from the Artefacts series, 1997 Cibochrome, signed, dated and inscribed in Cyrillic on the reverse 50 x 52 cm - 193/4 x 201/2 in. Estimate: $ 5,000 - 6,000 197 - Ilya KABAKOV (born in 1933) From the album «Mathematical Gorsky,» 1985 Colour print, signed and dated lower right and numbered 19/20 lower left 24 x 32 cm - 9.5 x 12.5 in. Estimate: $ 2,000 - 2,500

Selected bibliography: The entire album, Mathematical Gorsky, is illustrated on pp. 75-83

198 - Ilya KABAKOV (born in 1933) From the album «Mathematical Gorsky,» 1985 Colour print, signed and dated lower right and numbered 2/20 lower left 24 x 32 cm - 9.5 x 12.5 in. Estimate: $ 2,000 - 2,500

199 - Victor PIVOVAROV (born in 1937) Wandering among women, 1972 Lithograph, signed and dated lower right, numbered 16/19 and titled in Cyrillic lower left, 32 x 24.5 cm - 121/2 x 95/8 in. Estimate: $ 600 - 800

200 - Ernst NEIZVESTNY (born in 1925) Untitled, circa1980 Etching, signed lower right 32.5 x 63.5 cm - 123/4 x 25 in. Estimate: $ 800 - 1,000 177

201 - Ilya KABAKOV (born in 1933) Sovpadenia Lva Lvovicha, 1978 Color ink on paper, signed and dated lower right 41 x 26.5 cm - 16 x 101/2 in. Estimate: $ 6,000 - 8,000

Ilya Kabakov is one of the most influential conceptual artists on the and cannot be integrated, then it falls out of the series to form a international scene.. The album genre, that he started developing new, second, third, etc, series. The question is to what degree in Russia in the Spring of 1972, allowed Kabakov to introduce the does the object fit into the series, and whether its relationship is “fourth dimension”—time—into his work. The artist showed his qualified not so much by form, but by content. According to Amei albums, composed of similar-sized sheets housed in folders, to groups Wallach, this album also alludes to “…the concept of “otherness” of four to ten people at a time. The viewer was to turn the pages one in a mathematical equation, particularly the otherness of a Kabakov: by one—an action that, as Kabakov envisioned it, was to result in an Jewish, from the provinces, virtually without a family, feeling himself experience comparable to that of viewing a theatrical performance. always at odds and out of place in the Soviet dream.” Kabakov has created a total of 50 albums, including Mathematical Gorsky. The fictional personage of this album is obsessed with one problem, Selected bibliography: that of the “series.” In principle, one single series could be built from Amei Wallach. Ilya Kabakov: The Man Who Never Threw Anything all things in this world, no matter how diverse they are. Everything Away. With an introduction by Robert Storr and commentaries could be arranged in such a series. Things of equal size but of entirely by Ilya Kabakov. New York: Harry N. Abrams, 1996 different quality could exist in the same series. The thesis which Alla Rosenfeld, Editor. Moscow Conceptualism in Context. Munich- mathematical Gorsky postulates can be explained this way: if some London-New York: Prestel, 2011. The entire album, Mathematical element of the series is qualitatively juxtaposed to the entire series Gorsky, is illustrated on p. 75-83 202 - Vladimir NEMUKHIN (born in 1925) Cards, 2007 Collage on canvas, signed and dated on the reverse. 53 x 68 cm - 21 x 263/4 in. Estimate: $ 1,500 - 2,000

Abstract Expressionism was a major influence on Vladimir Nemukhin. After seeing examples of the style in Moscow in the late 1950s, amid the cultural liberalization of the Khrushchev thaw, Nemukhin began experimenting with abstract art, creating compositions that often combined abstract and highly stylized or simplified figural elements. Nemukhin appreciates the playing card for its associations with mystery, chance, and fate—a stark contrast to the Soviet government’s emphasis on planning and predetermined social processes. The playing-card motif figures prominently in Nemukhin’s oeuvre; from the mid-1960s through the mid-1980s the artist created works in various media featuring painted depictions of playing cards or incorporating actual ones. Part of the first generation of nonconformist artists, Nemukhin entered the studios of Petr Sokolov, a former student of Kazimir 203 - Vladimir YANKILEVSKY Malevich, and Pavel Kuznetsov, in 1942. Nemukhin, whose (born in 1938) unorthodox views got him expelled from the Surikov Art Institute in Composition from the cycle Moscow, was a member of the Lianozovo group, which advocated The Space of Experience, 1988 freedom of expression. He took part in notable nonconformist Pastel on paper, signed in Cyrillic exhibitions, including the 1967 show at the Druzhba Workers’ Club, and dated lower right which was shut down by the KGB and the Moscow Party Committee. 50 x 65 cm - 193/4 x 251/2 in. Nemukhin both participated and played a key role in the infamous “Bulldozer Exhibition” of 1974, in which the Soviet government sent Estimate: $ 7,000 - 9,000 bulldozers and water cannons to demolish an outdoor exhibition of nonconformist art held on the outskirts of Moscow. In the aftermath of the Bulldozer Exhibition, Nemukhin served as negotiator between unofficial artists and the authorities 179

A major Soviet nonconformist artist, Vladimir Yankilevsky has created form of ‘world energies,’ though now as a farce or parody… Each a stunningly diverse and complex body of work. Some of Yankilevsky’s time, holes and rapture literally implied the possibility for negating works, such as those belonging to the cycle The Space of Experience, the illusory idea of the world as something complete.” executed during the late 1980s, reflect the artist’s concern with creating a sense of a continuum between individual objects and the cosmos. Yankilevsky explains: “The interplay of forces in the space of the Exhibited world finds its reflection in human physiology and psychology. My Moscow, House of Architects, Graphics by Vladimir Yankilevsky, 1988 compositions, which I call ‘space of experience,’ are a certain image New York and San Francisco, Eduard Nakhamkin Fine Arts, of this interplay of forces, though this image is not physical or Retrospective Vladimir Yankilevsky, 1988 mathematical, but anthropomorphic. I want to render the interplay of these forces visible through human experience. In this sense, these Selected bibliography: ‘abstract’ compositions are actually dramatizations. In my collages, Vladimir Yankilevsky. Moment of Eternity, St. Petersburg: Palace they provide a backdrop for the human figure, which also takes the Editions, 2007, exhibition catalogue, p. 31 204 - Boris SVESHNIKOV (1927-1998) 205 - Boris SVESHNIKOV (1927-1998) Landscape Woodland Watercolor on paper Watercolor on paper 41 x 61 cm - 16 x 24 in 41 x 61 cm - 16 x 24 in Estimate: $ 1,200 - 1,500 Estimate: $ 1,200 - 1,500 181

206 - Evgeny MIKHNOV-VOYTENKO (1932-1988) 207 - Evgeny MIKHNOV-VOYTENKO (1932-1988) Untitled, 1980 Untitled, 1980 Watercolor on paper, signed with initials Watercolor on paper, signed with initials and dated lower left and dated lower left 63.5 x 61 cm - 25 x 24 in. 63.5 x 61 cm - 25 x 24 in. Estimate: $ 3,000 - 4,000 Estimate: $ 3,000 - 4,000

Evgenii Mikhnov-Voitenko was one of the best representatives of the Having studied from 1951 to 1954 at the Leningrad Institute of Leningrad underground intelligentsia of the 1950s and 1960s. In the Foreign Languages, in 1954 Mikhnov entered the Department of late 1950s, a handful of Soviet artists began to experiment and develop Stage Design at the Leningrad Institute of Theater, Music, and their own individual styles beyond the confines of Socialist Realism. Cinematography, where he studied under the experimental artist Characterized by fluidity of gesture, many of Mikhnov-Voitenko’s works, and theater director Nikolai Akimov. After graduating from the including the present lots, are inspired by Chinese calligraphy and the Institute in 1958, Mikhnov worked as an interior designer at the methods of Tachisme. Mikhnov was greatly influenced by the work of State organization of designers, painting experimental works American Abstract Expressionist artists. He received the catalogue of in his spare time and releasing himself from the constraints of the 1959 American National Exhibition in Sokolniki in Moscow, where conventionalized ways of seeing. one of Jackson Pollock’s most important paintings, Cathedral (1947) was featured. The Swiss artist Paul Klee (1879-1940) was also Mikhnov’s favorite painter. Music was another major inspiration for Mikhnov’s Selected bibliography: creative practice; he frequently painted to music, mainly classical. Mikhail Kulakov. “Leningradskaia shkola: E. G. Mikhnov-Voitenko” The artist would apply color pigment to paper that had absorbed (Moscow, 1975). Reprinted in Konstantin Kuzminsky and Gregory water to varying degrees and would often use only several colors, Kovalev, eds., The Blue Lagoon Anthology of Modern Russian Poetry, focusing instead on the subtle graduation from dark to light tones. Vol. 4A. Newtonville: Oriental Research Partners, 1980-86, The noted collector Norton Dodge described Mikhnov-Voitenko’s pp. 576-594 work as follows: “His art is not at all the product of chance, not at Evgeny Mikhnov-Voitenko: Abstract Vision, exh. cat. Jersey City: all a process of the artist pouring paint on paper and then selecting C.A.S.E. Museum of Contemporary Russian Art in Exile, 1988 the best of several efforts. On the contrary, Mikhnov had a clear Evgeny Mikhnov-Voitenko, 1932-1988, exh. cat. Helsinki: but evolving vision for each of his works as it progressed toward Hagelstam, 1988 completion. When he had finished a work it invariably looked right Evgeny Mikhnov-Voitenko: Gouache, exh. cat. New York: Tabakman and fully complete: nothing needed to be added or taken away.” Museum of Contemporary Art, 1997 Lithographs

208 - Marc CHAGALL (1887-1985) King David playing the lyre Colour lithograph, signed lower right and numbered 45/50 lower left 41 x 32 cm - 161/8 x 121/2 in. Estimate: $ 5,000 - 6,000

209 - Marc CHAGALL (1887-1985) Jacob’s Blessing Colour lithograph, signed lower right and numbered 44/50 lower left 44 x 36.5 cm - 171/4 x 143/8 in. Estimate: $ 2,000 - 3,000

210 - Marc CHAGALL (1887-1985) David and Bathsheba Colour lithograph, signed lower right and numbered 3/50 lower left 55.5 x 39 cm - 21 7/8 x 153/8 in. Estimate: $ 3,000 - 5,000

211 - Marc CHAGALL (1887-1985) Les amoureux au soleil rouge Colour lithograph, signed lower right and numbered 13/50 lower left 47.5 x 33 cm - 183/4 x 13 in. Estimate: $ 6,000 - 8,000

212 - Roberto MATTA (1911-2002) Chilean School Campionati mondiali di calcio, 1990 Portfolio of 9 colour lithographs, numbered 98/100 on page 2 and signed on page 8. Printed in Florence in June 1990, Edizioni della Bezzuga. 58 x 60 cm - 227/8 x 235/8 in. Estimate: $ 1,000 - 1,500 183

213 - Marc QUINN (born in 1964) Winter Garden 6, 2004 Colour print on paper, numbered 38 / 59 at the bottom, signed, titled and dated on the reverse 82 x 122.5 cm - 321/4 x 481/4 in. Estimate: $ 2,000 - 3,000

214 - Pablo PICASSO (1881-1973) DH. Kahnweiler II, Cannes 1957 Artist Proof; signed lower left and dated upper right 65 x 49.5 cm - 251/2 x 281/2 in. Estimate: $ 7,000 - 9,000

215 - Pablo PICASSO (1881-1973) Flautist Painted Ceramic dish Stamped on reverse Artist’s proof Diameter : 25.5 cm - 10 in. Estimate: $ 2,000 - 3,000 216

216 - Marc CHAGALL (1887-1985) Le tronc d’arbre aux fleurs Colour lithograph, signed and numbered 54/100 lower right 29 x 23 cm - 111/2 x 9 in. Estimate: $ 1,500 - 2,000

217 - Marc CHAGALL (1887-1985) The circus Lithography on Arches paper, signed lower right and numbered 15/40 lower left 74 x 54 cm - 291/8 x 211/4 in.

217 Estimate: $ 3,000 - 5,000

218 - Marc CHAGALL (1887-1985) Biblical scene Lithograph on Arches paper, signed lower right and numbered 13/50 lower left 27.5 x 35 cm - 103/4 x 133/4 in. $1,200 - 1,500

219 - Marc CHAGALL (1887-1985) Biblical scene 218 220 Lithograph on Arches paper, signed lower right and numbered 3/15 lower left 27.5 x 35.5 cm - 103/4 x 14 in. $1,200 - 1,500

220 - Marc CHAGALL (1887-1985) Les Prophètes, La Bible Lithograph, signed lower right and numbered 23/75 lower left 40 x 31 cm - 153/4 x 121/4 in. $1,200 - 1,500 219 185

221 - Marc CHAGALL (1887-1985) Woman, man and painter Lithograph on Arches paper, signed lower right and numbered 14/30 lower left 55.5 x 38 cm - 217/8 x 15 in. Estimate: $ 3,000 - 5,000

Provenance Private Collection

222 - Marc CHAGALL (1887-1985) Couple surrounded by angels Lithograph, signed lower right and numbered 15/50 lower left 1/4 3/4 64 x 47.5 cm - 25 x 18 in. 221 222 Estimate: $ 3,000 - 5,000

223 - Marc CHAGALL (1887-1985) The circus Lithography on yellow Arches paper, signed lower right and numbered 27/40 lower left 74 x 54 cm - 291/8 x 211/4 in. Estimate: $ 3,000 - 5,000

224 - Marc CHAGALL (1887-1985) 223 224 Nuit d’été Colour lithograph on Arches paper, signed lower right and numbered 16/50 lower left 56 x 38 cm - 22 x 15 in. Estimate: $ 2,000 - 3,000

225 - Marc CHAGALL (1887-1985) Le Village, from Chagall for Lassaigne Lithograph, signed lower right and numbered 30/90 lower left 32 x 31 cm - 121/2 x 121/4 in. $1,200 - 1,500 225 226 - Norman ROCKWELL (1894-1978) Doctor and doll Colour lithograph, signed lower right and numbered 126/200 71 x 58 cm - 28 x 22 7/8 in. Estimate: $ 1,000 - 1,200

227 - Sandu LIBERMAN (1923-1977) Romanian school Dancers Colour lithograph, signed lower right and numbered 41/250 lower left 63.5 x 45.5 cm - 25 x 18 in. Estimate: $ 500 - 800

226 227 Provenance Private Collection

228 - Sandu LIBERMAN (1923-1977) Romanian school Silent couple Colour lithograph, signed lower right, numbered 86/128 lower left 76.5 x 56.5 cm - 301/8 x 221/4 in. Estimate: $ 500 - 800

Provenance Private Collection

229 - Sandu LIBERMAN (1923-1977) Romanian school Father and daughter Colour lithograph, signed lower right and numbered 51/103 lower left 76.5 x 56.5 cm - 301/8 x 221/4 in. 228 229 Estimate: $ 500 - 800

Provenance Private Collection

230 - Francis BACON (1909-1992) Untitled, 1675 Edition: 72/170 159 x 109 cm - 62.5 x 43 in. Estimate: $ 3,000 - 4,000

231 - Pablo PICASSO (1881-1973) A Los Toros, Picador II, March 6th - April 21st 1961 231 Lithograph in colors on Arches paper Annotated épreuve de l’atelier Mourlot on lower left, annotated Lithograph originale de Pablo Picasso by Mourlot on lower right, printed by Mourlot, Paris Edition: printer’s proof, aside of the edition of 150 20.3 x 25.4 cm - 8 x 10 in. Estimate: $ 4,000 - 4,500 230 187

232 - Joan MIRO (1893-1983) 233 - Joan MIRO (1893-1983) Composition Composition Lithograph, signed lower right and numbered Colour lithograph, signed lower right XLVII/L lower left and numbered 21/75 lower left 44.5 x 66.5 cm - 171/2 x 261/4 in. 107.5 x 67 cm - 421/4 x 263/8 in. Estimate: $ 3,000 - 5,000 Estimate: $ 2,000 - 3,000

Provenance Provenance Private Collection Private Collection

234 - Joan MIRO (1893-1983) La translunaire Colour etching and aquatint, signed lower right and numbered 13/50 lower left 235 - Pablo PICASSO (1881-1973) 73.5 x 54 cm - 29 x 211/4 in. Composition à la guitare Estimate: $ 3,000 - 5,000 Colour lithograph, signed lower right 53.5 x 41 cm - 21 x 161/8 in. Provenance Private Collection Estimate: $ 400 - 600 PART IV Orientalist and 19th century painting 189 PART IV Orientalist and 19th century painting 236 - William LUKER SR. (1828-1905) The desert scouts Oil on canvas, signed and dated 186? lower right 60.5 x 91.5 cm - 233/4 x 36 in. Estimate: $ 12,000 - 15,000

Provenance Anonymous sale at Sotheby’s Belgravia, April 23rd, 1971 lot no 108 Christie’s New York, Forbes Magazine Collection of Orientalist Paintings, October 14th, 1993 lot no 210 Private Collection, USA 191

237 - Adolf Karol SANDOZ (born circa 1845) At the oasis, 79 Oil on canvas, signed and dated lower right 41 x 62 cm - 161/8 x 243/8 in. Estimate: $ 15,000 - 20,000

Provenance Christie’s London, November 19th, 1993 lot no 118 Private Collection, USA 238 - Henrik August ANKARCRONA (1831-1917) Halt at an oasis, 1894 Oil on canvas, signed and dated lower right 60 x 105 cm - 235/8 x 413/8 in. Estimate: $ 7,000 - 9,000

Provenance Sotheby’s London, November 17th, 1993 lot no 115 Private Collection, USA 193 239 - Peter Vilhelm ILSTED (1861-1933) Street scene in Tunisia, 1891 Oil on canvas, signed and dated lower right 86 x 65.5 cm - 337/8 x 253/4 in. Estimate: $ 5,000 - 7,000

Provenance Sotheby’s London, November 17th, 1993 lot no 125 Private Collection, USA 195

240 - Antonio Maria FABRES Y COSTA (1855-1938) Snipers Watercolour heightened with gum arabic, signed and situated Roma lower right 76.5 x 61 cm - 301/8 x 24 in. Estimate: $ 10,000 - 12,000

Provenance Sotheby’s London, November 17th, 1993 lot no 122 Private Collection, USA

241 - Alfred HEATON COOPER (1864-1929) Emissaries of the Sultan of Morocco, 1888 Oil on canvas, dated, situated Tangier and titled on the stretcher 91.5 x 71.5 cm - 36 x 281/8 in. Estimate: $ 12,000 - 15,000

Provenance Anonymous sale at Sotheby’s London, November 24th, 1976 Christie’s New York, Forbes Magazine Collection of Orientalist Paintings, October 14th, 1993 lot no 124 Private Collection, USA 242 - Eugene Ansen HOFMAN (1862-1955) The slave market Oil on canvas, signed lower right 89.5 x 124.5 cm - 351/4 x 49 in. Estimate: $ 12,000 - 15,000

Provenance Christie’s London, November 19th, 1993 lot no 122 Private Collection, USA 197 243 - Louis VAN ENGELEN (1856-1940) The victory of Julius Caesar over the Belgians Oil on canvas, signed and dated LXX? lower right 114 x 145 cm - 45 x 57 in. Estimate: $ 12,000 - 15,000

Provenance Sotheby’s London, November 17th, 1993 lot no 191 Private Collection, USA 199 244 - Anthony GIBBS (born in 1951) Elephant and her calf before a baobab tree, 1974 Oil on canvas, signed and dated lower left 61 x 91.5 cm - 24 x 36 in. Estimate: $ 6,000 - 8,000

Provenance Christie’s London, May 31st, 1996 lot no 87 Private Collection, USA 201 245 - Donald GRANT (1930-2001) Moonlight giants Oil on canvas, signed lower right 75 x 100 cm - 291/2 x 393/8 in. Estimate: $ 10,000 - 12,000

Provenance Christie’s London, May 31st, 1996 lot no 117 Private Collection, USA 203

246 - Donald GRANT (1930-2001) Serengeti lions Oil on canvas, signed lower right 49.5 x 105 cm - 191/2 x 413/8 in. Estimate: $ 8,000 - 10,000

Provenance Christie’s London, May 31st, 1996 lot no 121 Private Collection, USA 247 - John SEEREY-LESTER (born in 1946) 248 - Gustave WERTHEIMER (1847-1904) Leopard on a rock, 80 Lion and lioness amongst Egyptian ruins Pastel on grey paper, signed and dated lower right Oil on canvas, signed, dated 18?? 38 x 52.5 cm - 15 x 203/4 in. and situated Paris lower right 150.5 x 110 cm - 591/4 x 433/8 in. Estimate: $ 8,000 - 10,000 Estimate: $ 8,000 - 10,000 Provenance Christie’s London, July 27th, 1995 lot no 221 Provenance Private Collection, USA Christie’s London, July 27th, 1995 lot no 25 Private Collection, USA 205 249 - Ignac UJVARY (1880-1927) Hungarian school Jeune fille dans les champs, 1909 Oil on canvas, signed and dated lower left 130.5 x 89 cm - 513/8 x 35 in. Estimate: $ 12,000 - 15,000 207

250 - Charles Emile HEIL (1870-1950) Elégante aux affiches, 1889 Oil on panel, signed and dated lower right 55 x 38 cm - 215/8 x 15 in. Estimate: $ 4,000 - 5,000

251 - Robert HENRI (1865-1929) American school Jeune femme assise dans un paysage Oil on canvas, signed lower right 41 x 59 cm - 161/8 x 231/4 in. Estimate: $ 2,000 - 3,000 ABSENTEE BIDS FORM Fine Art Auctions Miami (FAAM, llc) IMPORTANT PAINTINGS & SCULPTURES Thursday, April 26th, 2012 at 2:30pm

346 NW 29th street Miami, FL 33127 - Tel (1) 305-573-4228 fax (1) 305-573 4245 www.faamiami.com - email: info @faamiami.com

LAST NAME (in capital letters): FIRST NAME: ADDRESS: ZIP / POSTAL CODE: CITY: COUNTRY: TELEPHONE (Required): EMAIL (Required): FAX:

Please provide credit card information. For reference purpose only. Please attach a photocopy of your passport or identity card. AMEX DINER’S VISA MASTERCARD Exp. Date: / Buyers premium 23 % of the hammer price on each lot up to and including $ 50,000, 20 % from $ 50,001 to $ 1,000,000 and 12 % of the excess of the hammer price above $ 1,000,000.

Please check one : ABSENTEE (Written) BID TELEPHONE BID Please bid on my behalf for the following lot(s) up to the net price(s) (excluding Buyer’s premium, taxes and other costs) mentioned below,purchasing as much below my indicated limit(s) as possible. I hereby agree and acknowledge that Faam,llc is not responsible for failing to execute such bids or for any errors or omissions in connection therewith. I have read, understand and agree to be bound by the Conditions of Sale and Important Notices contained in the catalogue for this sale are incorporated by reference herein. I hereby agree and acknowledge that I am obligated to purchase and shall have no right to revoke acceptance of any and all lots for which I am the highest bidder. I hereby authorize Faam, llc to charge my credit card for this invoice in the event it remains unpaid for twenty five (25) days following the sale. Please refer to the “Shipping & Insurance” section at the end of the catalogue for details. Please note Faam,llc is not responsible for shipping. Our shipping department will assist you in choosing a third party crating service.

LOT N° LOT DESCRIPTION LOT BID LIMIT IN $

Date: Signature (Required):

For credit limits above $ 20,000, first time bidders are required to submit the credit reference information in relation with the amount they bid for. While we take care to execute all written bids as submitted by our clients, we regret that we cannot accept responsibility for errors,omissions or late arriving bids. THIS DOCUMENT CAN BE FAXED to (1)305-573-4245 For online interactive bidding or online absentee bids please register online at www.faamiami.com. 209 Terms and Conditions of Auction

Auctioneer and Auction Conduction the Auction 1. This Auction is presented by Fine Art Auctions Miami, LLC. (FAAM) as identified with the 13. A “Minimum Bid” is an amount below which the lot will not sell. THE CONSIGNOR OF applicable licensing information on the title page of the catalogue. The Auction is conducted under PROPERTY MAY PLACE WRITTEN “Minimum Bids” ON HIS LOTS IN ADVANCE OF THE AUCTION; these Terms and Conditions of Auction and applicable state and local law. Announcements and ON SUCH LOTS, IF THE HAMMER PRICE DOES NOT MEET THE “Minimum Bid”, THE CONSIGNOR corrections from the podium and those made through the Terms and Conditions of Auctions appearing MAY PAY A REDUCED COMMISSION ON THOSE LOTS. “Minimum Bids” are generally posted online on the Internet at FAAMiami.com supersede those in the printed catalogue. several days prior to the Auction closing. For any successful bid placed by a consignor on his Property on the Auction floor, or by any means during the live session, or after the “Minimum Bid” Buyer’s Premium for an Auction have been posted, we will require the consignor to pay full Buyer’s Premium and 2. On bids placed through Auctioneer, a Buyer’s Premium of 23 percent (23%) will be added to Seller’s Commissions on such lot. the successful hammer price bid on each lot up to and including $50,000, 20% from %50,001 to 14. The highest qualified Bidder recognized by the Auctioneer shall be by the Buyer. In the event of $1,000,000 and 15% from $1,000,001 in all Auctions. There is a minimum Buyer’s Premium of $25 a tie bid, the earliest received or recognized wins. In the event of any dispute between any Bidders at per lot. an Auction, Auctioneer may at his sole discretion reoffer the lot. Auctioneer’s decision and declaration of the winning Bidder shall be final and binding upon all Bidders. Bids properly offered, whether by Auction Venues floor Bidder or other means of bidding, may on occasion be missed or go unrecognized; in such cases, 3. FAAM, LLC accepts bids from the Internet, telephone, fax, or mail first, followed by a floor bidding the Auctioneer may declare the recognized bid accepted as the winning bid, regardless of whether a session; and real-time telephone bidding are available to registered clients during these auctions. competing bid may have been higher. 15. Auctioneer reserves the right to refuse to honor any bid or to limit the amount of any bid, Bidders in its sole discretion. A bid is considered not made in “Good Faith” when made by an insolvent or 4. Any person participating or registering for the Auction agrees to be bound by and accepts these irresponsible person, a person under the age of eighteen, or is not supported by satisfactory credit, Terms and Conditions of Auction (“Bidders(s)”). collectibles reference, or otherwise. Regardless of the disclosure of his identity, any bid by a consignor 5. All Bidders must meet Auctioneers qualifications to bid. Any Bidder who is not a client in good or his agent on a lot consigned by him is deemed to be made in “Good Faith.” Any personal apparently standing of the Auctioneer may be disqualified at Auctioneer’s sole option and will not be awarded appearing on the OFAC list is not eligible to bid. lots. Such determination may be made by Auctioneer in its sole and unlimited discretion, at any time 16. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids, prior to, during, or even after the close of the Auction. Auctioneer reserves the right to exclude any or very nominal advances. If a lot bearing estimates fails to open for 40-60% of the low estimate, the person from the auction. Auctioneer may pass the item or may place a protective bid on behalf of the consignor. 6. If an entity places a bid, then the person executing the bid on behalf of the entity agrees to 17. Lots bearing bidding estimates shall open at Auctioneer’s discretion (approximately 50%-60% personally guarantee payment for any successful bid. of the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall pass as unsold. Credit 18. All items are to be purchased per lot as numerically indicated and no lots will be broken. 7. Bidders who have not established credit with the Auctioneer must either furnish satisfactory Auctioneer reserves the right to withdraw, prior to the close, any lots from the Auction. credit information (including two collectibles-related business references) well in advance of the 19. Auctioneer reserves the right to rescind the sale in the event of nonpayment, breach of a Auction or supply valid credit card information. Bids placed through our Interactive Internet program warranty, disputed ownership, auctioneer’s clerical error or omission in exercising bids and reserves, will only be accepted from pre-registered Bidders; Bidders who are not members of FAAM, LLC or or for any other reason in Auctioneer’s sole discretion. In cases of nonpayment, Auctioneer’s election affiliates should pre-register at least 48 hours before the start of the first session granted at the to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and discretion of the Auctioneer. Additionally Bidders who have no previously established credit or who buyer’s premium) and any other damages or expenses pertaining to the lot. wish to bid in excess of their established credit history may be required to provide their social security 20. Auctioneer occasionally experiences Internet and/or server service outages, and Auctioneer number or the last four digits thereof to us so as credit check may be performed prior to Auctioneer’s periodically schedules system downtime for maintenance and other purposes, during which Bidders acceptance of a bid. cannot participate or place bids. If such outages occur, we may at our discretion extend bidding for the Auction. Bidders unable to place their Bids through the Internet are directed to contact Client Services. Bidding Options 21. The Auctioneer, its affiliates, or their employees consign items to be sold in the Auction, and any 8. Bids in Auction may be placed as set forth in the printed catalog section entitled “Choose your bid on those lots or any other lots. Auctioneer or affiliates expressly reserve the right to modify any Bidding Method.” such bids at any time prior to the hammer based on upon data made known to the Auctioneer or its 9. Presentment of Bids: Non-Internet bids (including but not limited to podium, fax, phone and mail affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors. bids) are treated similar to floor bids in that they must be on-increment or at a half increment (called 22. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such a cut bid). Any podium, fax, phone, or mail bids that do not conform to a full or half increment will be lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such rounded up or down to the nearest fill or half increment and this revised amount will be considered sales including but not limited to the Buyer’s Premium, return rights, and disclaimers. your high bid. 10. Auctioneer’s execution of certain high bids. Auctioneer cannot be responsible for your errors Payment in bidding, so carefully check that every bid is entered correctly. When identical mail or FAX bids are 23. All sales are strictly for cash in United States dollars (including U.S> currency, bank wire, submitted, preference is given to the first received. To ensure the greatest accuracy, your written bids cashier checks, travelers checks, and bank money orders, all subject to reporting requirements). All are should be entered on the standard printed bid sheet and be received at Auctioneer’s place of business subject to clearing and funds being received in Auctioneer’s account before delivery of the purchases. at least two business days before the Auction start. Auctioneer is not responsible for executing mail Auctioneer reserves the right to determine if a check constitutes “good funds” when drawn on a bids or FAX bids received on or after the day the first lot is sold, nor Internet bids submitted by U.S. bank for ten days, and thirty days when drawn on an international bank. Credit Card (Visa or telephone, mail, FAX, e-mail, Internet, or in person once the Auction begins. Bids placed electronically Master Card only) and PayPal payments may be accepted up to $10,000 from non-dealers at the sole via the Internet may not be withdrawn until your written request is received and acknowledged by discretion of the Auctioneer, subject to the following limitations: a/ sales are only to the cardholder, the Auctioneer (FAX: 305-573-4245); such requests must state the reason, and may constitute grounds b) purchases are shipped to the cardholder’s registered and verified address, c) Auctioneer may pre- for withdrawal of bidding privileges. Lots won by mail Bidders will not be delivered at the Auction approve the cardholder’s credit line, d) a credit card transaction may not be used in conjunction with unless prearranged. any other financing or extended terms offered by the Auctioneer, and must transact immediately upon 11. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest invoice presentation, e) rights of return are governed by these Terns and Conditions, which supersede amount you may bid on a particular lot. Bids greater than one increment over the current bid can be those conditions promulgated by the card issuer, f) floor Bidders must present their card. any whole dollar amount. It is possible under several circumstances for winning bids to be between 24. Payment is due upon closing of the Auction session, or upon presentment of an invoice. increments, sometimes only $1 above the previous increment. Bids will be accepted in whole dollar Auctioneer reserves the right to void an invoice if payment in full is not received within 7 days after amounts only. No “buy” or “unlimited” bids will be accepted. the close of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) on the lot and The following Chart governs current bidding increments. any other damages pertaining to the lot. Current Bid…………. Bid Increment Current Bid…………. Bid Increment 25. Lots delivered to you, or your representative in the State of Florida, New York or other states where the Auction may be held, are subject to all applicable state and local taxes, unless appropriate $10 $1 $10,000 - $19,999 $1,000 permits are on file with Auctioneer. Bidder agrees to pay Auctioneer the actual amount of tax due $10 - $29 $2 $20,000 - $29,999 $2,000 in the event that sales tax is not properly collected due to: 1) an expired, inaccurate, inappropriate $30 - $49 $3 $30,000 - $49,999 $2,500 tax certificate or declaration, 2) an incorrect interpretation of the applicable statute, 3) or any other $50-$99 $5 $50,000 - $99,999 $5,000 reason. The appropriate form or certificate must be on file at an verified by Auctioneer five days prior $100 - $199 $10 $100,000 - $199,999 $10,000 to Auction or tax must be paid; only if such form or certificate is received by Auctioneer within 4 days $200 - $299 $20 $200,000 - $299,999 $20,000 after the Auction can a refund of tax paid e made. Lots from different Auctions may not be aggregated $300 - $499 $25 $300,000 - $499,999 $25,000 for sales tax purposes. $500 - $999 $50 $500,000 - $999,999 $50,000 26. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the $1,000 - $1,999 $100 $1,000,000 - $1,999,999 $100,000 maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck $2,000 - $2,999 $200 $2,000,000 - $2,999,999 $200,000 and your financial institution denies this transfer from your bank account, or the payment cannot $3,000 - $4,999 $250 $3,000,000 - $4,999,999 $250,000 be completed using the selected funding source, you agree to complete payment using your credit $5,000 - $9,999 $500 $5,000,000 - $9,999,999 $500,000 card on file. > $10,000,000 $1,000,000 27. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance will bear interest at the highest rate permitted by law from the date of invoice until paid. Any invoice 12. If Auctioneer calls for a full increment, a bidder may request Auctioneer to accept a bid at not paid when due will bear a three percent (3%) late fee on the invoice amount or three percent (3%) half of the increment (“Cut Bid”) only once per lot. After offering a Cut Bid, bidders may continue of any installment that is past due. IF the Auctioneer refers any invoice to an attorney for collection, to participate only at full increments. Off-increment bids may be accepted by the Auctioneer at the buyer agrees to pay attorney’s fees, court costs, and other collection costs incurred by Auctioneer. Auctions. If the Auctioneer solicits bids other than the expected increment, these bids will not be If Auctioneer assigns collection to its in-house legal staff, such attorney’s time expended on the considered Cut Bids. matter shall be compensated at a rate comparable to the hourly rate of independent attorneys. 28. In the event a successful Bidder fails to pay any amount due, Auctioneer reserves the right to Release sell the lot(s) securing the invoice to any under bidders in the Auction that the lot(s) appeared, or at 43. In consideration of participation in the Auction and the placing of a bid, Bidder expressly subsequent private or public sale, or relist the lot(s) in a future auction conducted by Auctioneer. released Auctioneer, its officers, directors, and employees, its affiliates, and its outside experts that A defaulting Bidder agrees to pay for the reasonable costs of resale (including a 10% seller’s provide second opines, from any and all claims, cause of action, chose of action, whether at law or commission, if consigned to an auction conducted by Auctioneer). The defaulting Bidder is liable to equity or any arbitration or mediation rights existing under the rules of any professional society or pay any difference between his total original invoice for the lot(s), plus any applicable interest, and affiliation based upon the assigned description, or a derivative theory, breach of warranty express the net proceeds for the lot(s) if sold at private sale or the subsequent hammer price of the lot(s) less or implied, representation or other matter set forth within these Terms and Conditions of Auction or the 10% seller’s commission, if sold at an Auctioneer’s auction. otherwise. In the event of a claim, Bidder agrees that such rights and privileges conferred therein are 29. Auctioneer reserves the right to require payment in full in good funds before delivery of the strictly construed as specifically declared herein; e.g., authenticity, typographical error, etc. and are merchandise. the exclusive remedy. Bidder, by non-compliance to these express terms of a granted remedy, shall 30. Auctioneer shall have a lien against the merchandise purchased by the buyer to secure waive any claim against Auctioneer. payment of the Auction invoice. Auctioneer is further granted a lien and the right to retain 44. Notice: Some Property sold by Auctioneer are inherently dangerous e.g. firearms, cannons, and possession of any other property of the buyer then held by the Auctioneer or its affiliates to small items that may be swallowed or ingested or may have latent defects all of which may cause secure payment of any Auction invoice or any other amounts due the Auctioneer or affiliates from harm to a person. Purchaser accepts all risk of loss or damage from its purchase of these items and the buyer. With respect to payment of the Auction invoice(s), the buyer waives any and all rights Auctioneer disclaims any liability whether under contract or tort for damages and losses, direct or of offset he might otherwise have against the Auctioneer and the consignor of the merchandise inconsequential, and expressly disclaims any warranty as to safety or usage of any lot sold. included on the invoice. If a Bidder owes Auctioneer or its affiliates on any account, Auctioneer and its affiliates shall have the right to offset such unpaid account by any credit balance due Dispute Resolution and Arbitration Provision Bidder, and it may secure possession lien any unpaid amount by any of the Bidder’s property in 45. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and their possession. Conditions of Auction, and specifically agrees to the dispute resolution provided herein. Consumer 31. Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility disputes shall be resolved through court litigation which has an exclusive Miami, Florida venue clause of the buyer to provide adequate insurance coverage for the items once they have been delivered to a and jury waiver. Non-consumer disputes shall be determined in binding arbitration which arbitration common carrier or third-party shipper. replaces the right to go to court, including the right to a jury trial. 46. Auctioneer in no event shall be responsible for consequential damages, incidental damages, Delivery, Shipping and Handling Charges compensatory damages, or any other damages arising or claimed to be arising from the auction of 32. Buyer is liable for shipping and handling. Auctioneer is unable to combine purchases from any lot. In the event that Auctioneer cannot deliver the lot or subsequently it is established that the other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a lot lacks title, or other transfer of condition issue is claimed, in such cases the sole remedy shall be commercially reasonable time after payment in good funds for the merchandise and the shipping fees limited to rescission of sale and refund of the amount paid by Bidder; in no case shall Auctioneer’s is received or credit extended, except when third-party shipment occurs. maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the 33. Successful international Bidders shall provide written shipping instructions, including value of the lot. After one year has elapses, Auctioneer’s maximum liability shall be limited to any specified customs declarations, to the Auctioneer for any lots to be delivered outside of the commissions and fees Auctioneer earned on that lot. United States. NOTE: Declaration value shall be the item(s) hammer price together with its buyer’s 47. In the event of an attribution error, Auctioneer may at its sole discretion, correct the error on the premium and Auctioneer shall use the correct harmonized code for the lot. Domestic Buyers on lots Internet, or, if discovered at a later date, to refund the buyer’s purchase price without further obligation. designated for third-party shipment must designate the common carrier, accept risk of loss, and 48. Dispute Resolution for Consumers and Non-Consumers: Any claim, dispute, or controversy in prepay shipping costs. connection with, relating to and/or arising out of the Auction, participation in the Auction, award of 34. All shipping charges will be borne by the successful Bidder. On all domestic shipments, any risk lots, damages of claims to lots, descriptions, condition reports, provenance, estimates, return and of loss during shipment will be borne by FAAM, LLC until the shipping carrier’s confirmation of delivery warranty rights, any interpretation of these Terms and Conditions, any alleged verbal modification to the address of record in Auctioneer’s file (carrier’s information is conclusive to prove delivery to of these Terms and Conditions and/or any purported settlement whether asserted in contract, tort, Bidder; if client has a Signature release on file with the carrier, the package is considered delivered under Federal or State statute or regulation shall or any other matter: a) if presented by a consumer without Signature) or delivery by FAAM, LLC to Bidder’s selected third-party shipper. On all foreign be exclusively heard by, and the parties consent to, exclusive in personam jurisdiction in the State shipments, any risk of loss during shipment will be borne by the Bidder following Auctioneer’s delivery District Courts of Miami-Dade County, Florida. THE PARTIES EXPRESSLY WAIVE ANY RIGHT TO TRIAL to the Bidder’s designated common carrier or third-party shipper. BY JURY. Any appeals shall be solely pursued in the appellate courts of the State of Florida or b) for 35. Due to the nature of some items sold, it shall be the responsibility for the successful Bidder to any claimant other than a consumer, the claim shall be presented in confidential binding arbitration arrange pick-up and shipping through third-parties; as to such items Auctioneer shall have no liability. before a single arbitrator, that the parties may agree upon, selected from the mediator list of Florida. Failure to pick-up or arrange shipping in a timely fashion (within thirty days) shall subject Lots to The case is not to be administrated by mediators; however, if the parties cannot agree on an arbitrator, storage and moving charges, including $100 administration fee plus $10 daily storage for larger items then mediators shall appoint the arbitrator and it shall be conducted under mediator’s rules. The locale and $5 daily for smaller items (storage fee per item) after 35 days. In the event the Lot is not removed shall be Miami, Florida. The arbitrator’s award may be enforced in any court of competent jurisdiction. within ninety days, the Lot may be offered for sale to recover any past due storage or moving fees, Any claim must be brought within one (1) year of the alleged breach, default or misrepresentation or including a 10% Seller’s Commission. the claim is waived. This agreement and any claims shall be determined and construed under Florida 36. The laws of various countries regulate the import or export of certain plant and animal law. The prevailing party (party that is awarded substantial) and material relief on its claim or defense) properties, including (but not limited to) items made of (or including) ivory, whalebone, turtle shell, may be awarded its reasonable attorneys’ fees and costs. coral, crocodile, or other wildlife. Transport of suck lots may require special licenses for export, import, 49. No claims of any kind can be considered after the settlements have been made with the or both. Bidder is responsible for: 1) obtaining all information on such restricted items for both export consignors. Any dispute after the settlement date is strictly between the Bidder and consignor without and import; 2) obtaining all such licenses and/or permits. Delay or failure to obtain any such license or involvement or responsibility of the Auctioneer. permit does not relieve the buyer of timely compliance with standard payment terms. 50. In consideration of their participation in or application for the Auction, a person or entity 37. Any request for shipping verification for undelivered packages must be made within 30 days of (whether the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) shipment by Auctioneer. agrees that all disputes in any way relating to, arising under, connected with, or incidental to these Terms and Conditions and purchases, or default in payment hereof, shall be arbitrated pursuant to the Cataloging, Warranties, and Disclaimers arbitration provision. In the event that any matter including actions to compel arbitration, construe 38. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY the agreement, actions in aid or arbitration or otherwise needs to be litigated, such litigation shall DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of the items be exclusively in the Courts of the State of Florida, in Miami-Dade County, Florida, and if necessary or second opine contained in this Auction is for the sole purpose of identifying the items for those the corresponding appellate courts. For such actions, the successful Bidder, purchaser, or Auction Bidders who do not have the opportunity to view the lots prior to bidding, and no description of participant also expressly submits himself to the personal jurisdiction of the State of Florida. items ahs been made part of the basis of the bargain or has created any express warranty that the 51. These Terms & Conditions provide specific remedies for occurrences in the auction and delivery goods would conform to any description made by Auctioneer. Color variations can be expected in process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that any any electronic or printed images, and are not grounds for the return of any lot. NOTE: Auctioneer, in claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided in these specified auction venues, for example, Fine Art, may have express written warranties and you are Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum liability exceed referred to those specific terms and conditions. the high bid on that lot, which bid shall be deemed for all purposes the value of the lot. 39. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have by virtue of consignment agreements on the date of auction and disclaims any warranty of title Miscellaneous to the Property. Auctioneer disclaims any warranty of merchantability or fitness for any particular 52. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, purposes. All images, descriptions, sales data, and archival records are the exclusive property of inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any the Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, other uses deemed appropriate. are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this 40. Translations of foreign language documents may be provided as a convenience to interested provision, Auctioneer reserves the right to charge the Bidder the applicable Buyer’s Premium and parties. Auctioneer makes no representation as to the accuracy of those translations and will not be consignor a Seller’s Commission as determined for each auction venue and by the terms of the Seller’s held responsible for errors in bidding arising from inaccuracies in translation. agreement. 41. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of 53. Acceptance of these Terms and Conditions qualifies Bidders as a client who has consented to or in connection with the sale of any Property by Auctioneer to Bidder. No third party may rely be contacted by FAAM, LLC in the future. In conformity with “do-not-call” regulations promulgated by on any benefit of these Terms and Conditions and any rights, if any, established hereunder are the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being personal to the Bidder and may not be assigned. Any statement made by the Auctioneer is an contact at the phone number shown in his application shall remain in effect until it is revoked in opinion and does not constitute a warranty or representation. No employee of Auctioneer may writing. FAAM, LLC may from time to time contact Bidder concerning sale, purchase, and auction alter these Terms and Conditions, and, unless signed by a principal of Auctioneer, any such opportunities available through FAAM, LLC and its affiliates and subsidiaries. alteration is null and void. 54. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and 42. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); as such, specific venues have promulgated supplemental Terms and Conditions of Auction by these such defects, in any event, shall not be a basic for any claim for return or reduction in purchase price. additional rules and shall be construed to give force and effect to the rules in their entirety. 211 Additional Terms & Conditions FINE & DECORATIVE ARTS AUCTIONS

Fine and Decorative Arts Term A: Limited Warranty Regardless of Purchaser’s submissions there is no assurance after such presentment that Auctioneer warrants authorship period or culture of each lot sold in this catalog as set out in the Auctioneer ill validate the claim. Authentication is not an exact science and contrary opinions BOLD face type heading in the catalog description of the lot, with the following exclusions. may not be recognized by Auctioneer. Even if Auctioneer agrees with the contrary opinion of This warranty does not apply to: such authentication and provides a remedy within these Terms and Conditions or otherwise, I. authorship of any paintings, drawings, or sculpture created prior to 1870, unless the lot is our liability for reimbursement for bidder’s third party opines shall not exceed $500. The right determined to be a counterfeit which has a value at the date of the claim for rescission which is of rescission, return, or any other remedy provided in these Terms and Conditions, or any other materially less than applicable law, does not extend to authorship of any lot which at the date of Auction was in the purchase price paid for the lot; or accordance with the then generally accepted opinion of scholars and specialists, despite the II. any catalog description where it was specifically mentioned that there is a conflict of specialist subsequent discovery of new information, whether historical or physical, concerning the artist, opinion on the authorship of a lot; or his students, school, workshop or followers. Purchaser by placing a bid expressly waives any III. authorship which on the date of sale was in accordance with the then generally accepted claim or damage based on such subsequent information as described herein. It is specifically opinion of scholars and specialists, despite the subsequent discovery of new information, whether understood that any refund agreed to by the Auctioneer would be limited to the purchase price. historical or physical, concerning the artist or craftsman, his students, school, workshop or followers; or Fine and Decorative Arts Term G IV. the identification of periods or dates of execution which may be proven inaccurate by Provenance and authenticity, excluding attributions in BOLD-face type, are guaranteed by means of scientific processes not generally accepted for use until after publication of the neither the consignor nor Auctioneer. While every effort is made to determined provenance and catalog, or which were unreasonably expensive or impractical to use at the time of publication authenticity, it is the responsibility of the Bidder to arrive at their own conclusion prior to bidding. of the catalog. The term counterfeit is defined as a modern fake or forgery, made less than fifty years ago with the intent to deceive. The authenticity of signatures, monograms, initials or other Fine and Decorative Arts Term H similar indications of authorship is expressly excluded as a controlling factor in determining On the fall of the Auctioneer’s hammer, Buyers of Fine Arts and Decorative Arts lots assume full whether a work is a counterfeit under the meaning of these Terms and Conditions of Auction. risk and responsibility for lot, including shipment by common carrier or third-party shipper, and must provide their own insurance coverage for shipments. Fine and Decorative Arts Term: Glossary of Terms Terms used in this catalog have the following meanings. Please note that all statements in this Fine and Decorative Arts Term I catalog, excluding those in BOLD-face type, regarding authorship, attribution, origin, date, age, Auctioneer complies with all Federal and State rules and regulations relating to the purchasing, provenance, and condition are statements of opinion and are not treated as a statement of fact. registration and shipping of firearms. A purchaser is required to provide appropriate documents 1. AUGUSTE RENOIR and the payment of associated fees, if any. Purchaser is responsible for providing a shipping In our opinion, the work is by the artist. address that is suitable for the receipt of a firearm. 2. ATTRIBUTED TO AUGUSTE RENOIR FAAM, LLC strongly encourages in-person inspections of lots by the Bidder. While FAAM, LLC In our opinion, the work is of the period of the artist which may be whole or in part the work of the is not obligated to provide a condition report of each lot, Bidders may feel free to contact the artist. department for a Condition Report and FAAM, LLC will attempt to furnish one, but shall not be 3. STUDIO, (CIRCLE OR WORKSHOP) OF AUGUSTE RENOIR liable for failing to do so. Condition is often detailed online, but is not included in our catalogues. In our opinion, the work is of the period and closely relates to his style. The Bidder should review online descriptions as the descriptions supersede catalog descriptions 4. SCHOOL OF AUGUSTE RENOIR and those condition reports otherwise provided. Statements by FAAM, LLC regarding the In our opinion, the work is by a pupil or a follower of the artist. condition of objects are for guidance only and should not be relied upon as statements of fact, 5. MANNER OF AUGUSTE RENOIR and do not constitute a representation, warranty, or assumption of liability by FAAM LLC. All lots In our opinion, the work is in the style of the artist is of a later period. offered regardless of condition report are sold “AS IS”. 6. AFTER TO AUGUSTE RENOIR In our opinion, this work is a copy of the artist. 7. ASCRIBED TO AUGUSTE RENOIR In our opinion, this work is not by the artist, however, previous scholarship has noted this to be a work by the artist. 8. SIGNED (OR DATED) The work has a signature (or date) which is in our opinion genuine. 9. BEARS SIGNATURE (OR DATE) The work has a signature (or date) which in our opinion is not authentic. Fine and Decorative Arts Term C: Presentment The warranty as to authorship is provided for a period of one (1) year from the date of the auction and is only for the benefit of the original purchaser or record and is not transferable. Fine and Decorative Arts Term D The Auction is not on approval. Under extremely limited circumstances (e.g. gross cataloging error), not including attributions in BOLD-face type, which are addressed in Term F below, a purchaser who did not bid from the floor may request Auctioneer to evaluate voiding a sale; such request must be made in writing detailing the alleged gross error, and submission of the lot to Auctioneer must be pre-approved by Auctioneer. A bidder must notify the appropriate department head (check the inside front cover of the catalog or our website for a listing of department heads) in writing of the purchaser’s request within three (3) days of the non-floor bidder’s receipt of the lot. Any lot that is to be evaluated for return must be received in our offices within 35 days after Auction. AFTER THAT 35-DAY PERIOD, NO LOT MAY BE RETURNED FOR ANY REASON. Lots returned must be in the same condition as when sold and must include any Certificate of Authenticity. No lots purchased by floor bidders (including those bidders acting as agents for others) may be returned. Late remittance for purchases may be considered just cause to revoke all return privileges. Fine and Decorative Arts Term E The catalog descriptions are provided for identification purposes only. Bidders who intend to challenge a BOLD-face provision in the description of a lot must notify Auctioneer in writing within thirty-five (35) days of the Auction’s conclusion. IN the event Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title or the BOLD-face section of description is incorrect, or other transfer or condition issue is claimed, Auctioneer’s liability shall be limited to rescission of sale and refund of purchase price. In no case shall Auctioneer’s maximum liability The Auctioneers for this sale will be : exceed the successful bid on that lot, which bid shall be deemed for all purposes the value of Steve Little FL licence AU4296 the lot. After one year has elapsed from the close of the Auction, Auctioneer’s maximum liability National Auctioneers Association shall be limited to any commissions and fees Auctioneer earned on that lot. FAAM, LLC Auction Business License: AB3131 Fine and Decorative Arts Term F Any claim as to authorship, provenance, authenticity, or other matter under the remedies Bank Reference provided in the Fine Arts Terms and Conditions or otherwise must be first transmitted to Citibank Auctioneer by credible and definitive evidence within the applicable claim period. Auctioneer, 2001 Biscayne Blvd, Miami, FL 33137 in processing the written claim, may require the Purchaser to obtain the written opinion of two Estrow Account 009119790578, ABA 266086554 recognized experts in the field who are mutually accepted by the Auctioneer and Purchaser. Upon receipt of the two opinions, Auctioneer shall determine whether to rescind the sale. The Purchaser’s claim must be presented in accord with the remedies provided herein and is subject to the limitations and restrictions provided (including within the described time limitations). SALES IN PREPARATION OCTOBER AND DECEMBER DURING ART MIAMI BASEL

PAINTINGS AND SCULPTURES AUCTION

Robert INDIANA (born 1928) Oil on canvas, 1970. 85 x 85 in. Sold for $ 1 476 000 on December 4th 2011

To include your property in this auction or for free appraisals, please contact our specialists.

Specialist in New York & Miami Specialist in Paris Frederic Thut Dan Coissard +1 917 282 6044 - [email protected] +33 148 24 60 88 - [email protected] 213

SALES IN PREPARATION OCTOBER AND DECEMBER DURING ART MIAMI BASEL

LATIN AMERICAN ART AUCTION

Candido PORTINARI (1903-1962) Oil on cardboard, 1948. 18.1 x 21.3 in. Sold for $ 455 100 on December 4th 2011

To include your property in this auction or for free appraisals, please contact our specialists.

Specialist in New York & Miami Specialist in Paris Frederic Thut Dan Coissard +1 917 282 6044 - [email protected] +33 148 24 60 88 - [email protected]