February 13 Catalog.indd 1 2/2/2013 2:07:12 PM INDEX
Mario Alberto AGATIELLO 48 Marcos LOPEZ 24bis Julio ALPUY 74/102/105 Alexis AKRITHAKIS 29 / 30 Stevenson MAGLOIRE 22 Erol AKYAVAS 38/39 Fabian MARCACCIO 63 ARMAN 95 Roberto MATTA 88/89/90/91 Jose Yepez ARTEAGA 93 Francisco MATTO 73 Hulusi MERCAN 40 / 41 Stephan Wladislawowitsch BAKALOWICZ 106 Simin MEYKADEH 31 BANKSY 6 / 7 Hector MOLNE 70 Luis Fernando BENEDIT 55/56 Robert MOTHERWELL 19 Cundo BERMUDEZ 67 José Chávez MORADO 57 Oswaldo BORDA 61 Estuardo MALDONADO 47 Mr. BRAINWASH 1 David BURLIUK 33 Hamed NADA 28 Alberto Ulloa BURGOS 81 Hector NAVARRO 54 Hebru BRANTLEY 5 Loiuse NEVELSON 16
Lita CABELLUT 13 Marie ORENSANZ 77 Mario CARRENO 43 Mubin ORHON 35 Eduardo Oliveira CEZAR 51 Ardan OZMENOGLU 15 CHRISTO 18 Gail Sherman CORBETT 190 Manuel PAILOS 98/99/100 Horacio CORDERO 24 A.R. PENCK 17 Rogelio POLESELLO 65/66 Jorge Jiménez DEREDIA 94 Danilo di PRETE 53 Juan A. DIAZ 113/114 Saliba DOUAIHY 42 Anna Maria QUEMARE 111/112/116 Carmelo ARDEN QUIN 44/45/46 Giovanni ECHEVARRIA 115 Carlos ESTEVEZ 58/62 Maurice RENOMA 23 Leopoldo ROMANACH 69 Pedro FIGARI 101 Vitaly RUSAKOV 14 Robert FREEMAN 60 Maria FREIRE 78 SEEN 8 Juan Jose SEGURA 68 Rocío GARCIA 79 David Alfaro SIQUIEROS 64/71 Joaquín Torres GARCIA 92 Venancio SHINKI 52 Diego GIACOMETTI 27 Andres GILES 11 / 12 Kenzo TAKADA 25 Alain GODON 9 Francisco TOLEDO 82/83/84 Greg GOSSEL 96 Michael TRACY 2 / 4 José GURVICH 104 Victor VASARELY 49 Valerie HAMMOND 97 Gregorio VARDANEGA 50 John HARDY 26 Sergei Semyonovich VOROSHILOV 107
Robert INDIANA 21 Andy WARHOL 20
Eduardo KINGMAN 72 Yigit YAZICI 3 Naum KNOP 76 Purvis YOUNG 10 Dmitry KRASNOPEVTSEV 34 Fahr El Nissa ZEID 36 / 37 Wilfredo LAM 85/86 Julio LARRAZ 87 Luigi LOIR 109
2
February 13 Catalog.indd 2 2/2/2013 2:07:13 PM FINE ART AUCTIONS MIAMI 346 NW 29 street Miami FL 33127 Tel (1) 305-573-4228 [email protected] www.faamiami.com Frederic THUT
Saturday February 23rd at 3pm
MODERN, CONTEMPORARY AND STREET ART
SALE PREVIEWS Tuesday 19th until Friday 22nd from 10am to 5pm
SPECIALISTS IN NEW YORK & MIAMI Frederic Thut +1 917 282 6044 - [email protected]
SPECIALIST IN PARIS Dan Coissard +33 6 77 82 5330 - [email protected]
CATALOGUE ONLINE ON www.faamiami.com LIVE BIDDING ON www.liveauctioneers.com IMPORTANT NOTICE: The conditions of sales and the absentee bid form are at the end of the catalog. 3
February 13 Catalog.indd 3 2/2/2013 2:07:13 PM FINE ART AUCTIONS MIAMI (FAAM) 346 NW 29 street Miami FL 33127 Tel (1) 305-573-4228
4 www.faamiami.com
February 13 Catalog.indd 4 2/2/2013 2:07:14 PM FINE ART AUCTIONS MIAMI 346 NW 29 street Miami FL 33127 Tel (1) 305-573-4228 [email protected] www.faamiami.com
AUCTION LICENSE # AB3131 AUCTIONEERS FOR THIS SALE: FREDERIC THUT, FL LICENCE #AU4372
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 DR. ALLA ROSENFELD FREDERIC THUT [email protected] [email protected] Tel. +1 917 282 6044 PARIS APPRAISAL OFFICE CABINET D’EXPERTISE DAN COISSARD BUSINESS MANAGER 61, PASSAGE 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 INVENTORY MANAGER Tel. +33 06 07 01 37 42 INTERNATIONAL SHIPMENT EDGAR TORO BUSINESS MANAGERS AND RESEARCHERS [email protected] KRISTINA KEALL AND NATHALIE RUBINOS [email protected] NEW YORK APPRAISAL OFFICE EUROPEAN EVALUATORS 501 MADISON AVE, 14th FLOOR NEW YORK, NY 10022 Tel. +1 212 759 9803 [email protected]
www.faamiami.com 5
February 13 Catalog.indd 5 2/2/2013 2:07:15 PM What started out as graffiti in 1970s Philadelphia and New York gradually turned into bona fide works of art and has become the most talked about art movement of the 21st century. Street artists work with all kinds of material using aerosols, acrylic, mosaic, stickers, posters, chalk, stencils and a few are now household names such as Banksy, Mr. Brainwash, Shepard Fairey, D*Face, Invader and Blek le Rat. Street artists wish to create a space of observation and reflexion, to form a bond between themselves, the city and the viewer, to entertain if only for a short while by offering a poetic or critical take on the world we live in. We are constantly bombarded with images of a commercial nature and it is somewhat refreshing and inspiring to occasionally stumble upon a great piece of art where least expected.
Increasing interest and demand have encouraged auction houses to dedicate a section of their contemporary sales to street art and have seen some pieces fetch incredible prices. More and more galleries specialise in this art form and, in 2008, Tate Modern asked six street artists to create works on the building’s famous river facade. That street art has become part of our daily lives is undeniable. Celebrities and brands have realised just how popular the style has become, jumped on the band wagon and commissioned works by different artists to promote their products or campaigns. Thus Shepard Fairey gained international recognition when he created the HOPE poster for Barack Obama’s 2008 campaign and in 2010 Madonna entrusted Mr. Brainwash with the design of her album cover.
There are many debates in the art world revolving around the relevance of street art in the art market, one of the main concerns being: can art still be qualified as street if it is removed from its original location and taken out of context? Indeed the meaning of a piece of street art depends of course on its form and content but even more so on its location. For example, Banksy's painting of a white dove wearing a bullet proof vest would not have the same impact had it not been painted on a bullet riddled wall in Palestine. And the same goes for Vexta's "Welcome to Australia" which she painted on a warehouse door in Melbourne’s docklands: showing an intimidating line of policemen, the work clearly criticised the strict immigration policies of the artist’s country.
Yet other artists believe that creating street art legally still makes sense. It further means that they can make a living from it and thus more and more artists are adapting to the consumer art market. Many have adopted canvas as a support, meaning that they can exhibit their works in galleries, while others refuse to restrict their audience, being keen to reach out to as many people as possible in the streets. Those who criticise the consumerist nature of society are against taking their work off the streets and naturally want it to remain free and accessible to all. Some artists actually wish for the concept to remain illegal arguing that it fuels their work with excitement, energy and mystery. Street artists are fully aware that their creations might not stand the test of time: they risk being covered by the work of other artists, destroyed by local authorities or damaged by poor weather conditions. However, generally their aim is not to create a long-lasting work but to stir our imagination, provoke thought and surprise us. The artist Mosstika creates even more ephemeral pieces and takes Land Art by the likes of Andy Goldsworthy to the next level. Her creations are made of natural elements such as moss and placed around the city as a reminder of the natural world which lies beyond the city walls.
Despite the unprecedented nature and spirit of street art, its goals as an artistic movement run parallel to almost all emerging and avant-garde movements of the past. During the mid-nineteenth century in France, the Realists shocked the Academics by replacing ideological imagery glorifying Emperor Napoleon with that of daily life and in turn the Impressionists progressed Realism by increasing the fluidity of the brush stroke, empowering the use of colour, and debunking the idea concrete subject matter altogether. As spectators of the 21st century, we find ourselves confronted with images, content and techniques that may make us uncomfortable yet we must recognize that this sense of discomfort finds its roots in the unfamiliarity of such images, content, and techniques. As a modern society, we should not fear such changes but look forward and embrace them.
1 MR. BRAINWASH (born in 1966)
Chaplin (Blue Heart) Stencil and mixed media on canvas 36 x 24 in. – 91.5 x 61 cm.
Estimate: $ 20,000-25,000
6
February 13 Catalog.indd 6 2/2/2013 2:07:15 PM 7
February 13 Catalog.indd 7 2/2/2013 2:07:16 PM 2 Michael TRACY (born in 1958) American School Tracy on Starfield, 1984 Mixed media on canvas Signed “Tracy 168” lower right, inscription on the reverse 24 x 36 in. - 60 x 91 cm.
Estimate: $ 3,000-4,000 Provenance Private Collection, New York
8
February 13 Catalog.indd 8 2/2/2013 2:07:18 PM 3 Yigit YAZICI (born in 1969) Turkish School Untitled, 2012 Acrylic on canvas; signed and dated upper right 51.2 x 51.2 in. - 130 x 130 cm.
Estimate: $ 5,000-7,000
9
February 13 Catalog.indd 9 2/2/2013 2:07:19 PM 4 Michael TRACY (born in 1958) American School Self-portrait stencil, 1998 Mixed media on canvas 36x 36 in. – 91.5 x 91.5 cm.
Estimate: $ 4,000-6,000 Provenance Private Collection, New York
10
February 13 Catalog.indd 10 2/2/2013 2:07:20 PM 5 Hebru BRANTLEY (born in 1981) American School A Song by Sade, 2012 Acrylic on canvas 52 x 52 in. - 132 x 132 cm.
Estimate: $ 8,000-10,000
11
February 13 Catalog.indd 11 2/2/2013 2:07:23 PM 12
February 13 Catalog.indd 12 2/2/2013 2:07:23 PM 13
February 13 Catalog.indd 13 2/2/2013 2:07:23 PM It is not easy to find someone who has never heard of Banksy. Indeed whether art lovers or not, most people are familiar with the work of the anonymous street artist from Bristol. Recognisable at first glance for their simple yet powerful style, his creations are loaded with meaning and he is admired the world over for his witty social and political observations. There seems to be no limit to the artist’s audacity and in 2005 he even managed to adorn the West Bank barrier with nine brilliant anti-war paintings, precious messages of peace and freedom.
Banksy’s perfected stencil technique means he is able to work fast, an advantage if trying not to be caught, and is able to create a complex yet precise image. As in the present lots, his works often feature children or animals which embody innocence and vulnerability. “Slave Labor (Bunting Boy)”, is a unique stencil work which appeared on the side of a discount ‘Poundland’ store in North London in 2012. A small boy is shown hard at work, sewing small Union Jack flags. It can be regarded as a comment on the merchandising frenzy that led up to the Queen’s Diamond Jubilee celebrations and the London Olympic Games which followed close behind, whilst also working as a reminder of child labour as well as mass production and mass consumption. “Wet Dog” is another unique piece featuring a dog shaking itself dry and was originally set in the West Bank in Bethlehem to coincide with the artist’s 2007 ‘Santa’s Ghetto’ project.
The world was hoping for Banksy to reveal his true identity in his acclaimed 2010 film on street art “Exit through the gift shop” but it was not meant to be. Indeed, despite constant CCTV coverage, to which the artist often refers in his work, and huge media attention, Banksy continues to remain anonymous.
Whether dealing with political, social, war or environmental issues, every single one of his works carries a thought-provoking message, one of the many reasons why he has become one of the most loved artists of our time. When they set up the “Banksy vs Bristol Museum” exhibition in 2009, the curators had no idea how popular the show would turn out to be but visitors came from all over the world and happily queued for hours, proof of the internatio- nal recognition he has acquired.
14
February 13 Catalog.indd 14 2/2/2013 2:07:24 PM Photograph by Jon Hutchinson
6 BANKSY Slave Labor (Bunting Boy), London, 2012 Stencil and spray paint on render with additional jubilee bunting 48 x 60 in. - 122 x 152 cm. Unique Street Work
Estimate: $ 500,000-700,000 This work is reproduced on Banksy's website: www.banksy. co.uk/outdoors/jb1.html and www.banksy.co.uk/outdoors/bb2.html A letter of provenance will be provided by the consignor
15
February 13 Catalog.indd 15 2/2/2013 2:07:26 PM 16
February 13 Catalog.indd 16 2/2/2013 2:07:26 PM 17
February 13 Catalog.indd 17 2/2/2013 2:07:26 PM 7 BANKSY
Wet Dog, Bethlehem, 2007 Stencil and spray paint on stone 79 x 63 in. - 200 x 160 cm. Unique Street Work
Estimate: $ 600,000-800,000 A letter of provenance will be provided by the consignor
18
February 13 Catalog.indd 18 2/2/2013 2:07:26 PM 19
February 13 Catalog.indd 19 2/2/2013 2:07:28 PM 8 SEEN (born in 1961)
Dr. Doom, 1996 Aerosol on canvas 78.7 x 31.5 in. – 200 x 80 cm. Estimate: $ 25,000-30,000
20
February 13 Catalog.indd 20 2/2/2013 2:07:30 PM 9 Alain GODON (born in 1964) French School Les VRP du Seigneur (from the architectural series) Oil on canvas ; signed lower right, titled and countersigned on the reverse 57.5 x 31.2 in. – 146 x 97 cm.
Estimate: $30,000-40,000 Provenance Private Collection, France
21
February 13 Catalog.indd 21 2/2/2013 2:07:30 PM 10 Purvis YOUNG (1943-2010) American School Untitled Acrylic on board; signed upper right 14 x 21.75 in. – 35 x 55.5 cm.
Estimate: $ 1,000-1,500
Provenance Acquired directly from the artist Private Collection, Miami
11 Andres GILES (born in 1980) Abstraction no. 1, 1995 Mixed media on paper; signed and dated lower right; label from the Celita de Cardenas foundation on the reverse 14.75 x 9.25 in. - 37.5 x 23.5 cm.
Estimate: $500 - $700
Provenance Private Collection
12 Andres GILES (born in 1980) Abstraction no. 1, 1995 Mixed media on paper; signed and dated lower right; label from the Celita de Carde- nas foundation on the reverse 14.75 x 9.25 in. - 37.5 x 23.5 cm.
Estimate: $500 - $700
Provenance Private Collection
22
February 13 Catalog.indd 22 2/2/2013 2:07:34 PM 13 Lita CABELLUT (born in 1961)
Coco's model 14, 2011 Mixed media on canvas 59 x 51 in. -150 x 130 cm.
Estimate: $ 30,000-40 000
23
February 13 Catalog.indd 23 2/2/2013 2:07:34 PM 14 Vitaly RUSAKOV (born in 1985)
I Love Lenin No. 7, 2010 Aerosol on canvas 39.4 x 319 in. – 100 x 81 cm.
Estimate: $ 5,000-6,000
24
February 13 Catalog.indd 24 2/2/2013 2:07:35 PM 15 Ardan OZMENOGLU (born in 1979) Turkish school
Columbus V Mixed Media 59 x 46 in. – 150 x 117 cm.
Estimate: $ 10,000-12,000
25
February 13 Catalog.indd 25 2/2/2013 2:07:38 PM 16 Louise NEVELSON (1899- 1988)
Untitled, 1957 Painted on a wood construction; signed and dated on the back 17.2 x 15.5 in. - 43.8 x 39.4 cm
Estimate: $ 50,000-70,000
26
February 13 Catalog.indd 26 2/2/2013 2:07:40 PM 17 A.R. PENCK (born in 1939)
Schritt in den Tempel des Unbekannten, 2001 Acrylic on canvas; signed lower left 19.7 x 23.6 in. - 50 x 60 cm
Estimate: $ 20,000-25,000
27
February 13 Catalog.indd 27 2/2/2013 2:07:41 PM Private Collection
18 CHRISTO
Pink Storefront, 1980 Color Lithograph with Collage of Brown Paper; titled and annotated L.P. IMP lower left, signed and dated lower right 22.5 x 20 in. - 57.2 x 50.8 cm.
Estimate: $ 2,000-3,000
19 Robert MOTHERWELL (1915-1991) American School
Roth Handle II, 1975 Aquatint with watercolor; signed, numbered 2/6 and stamped lower right 24.5 x 21.5 in. - 62.2 x 54.6 cm.
Estimate: $ 3,000-5,000
28
February 13 Catalog.indd 28 2/2/2013 2:07:42 PM Private Collection
20 Andy WARHOL (1928-1987) The super dress, circa 1960 Color screenprint on a cotton paper A-line dress H: 37.4 in. - 95 cm.
Estimate : $ 5,000 – 7,000
Literature: Mark Francis, The Warhol Look: Glamour, Style, Fashion, New York 1997, similar model reproduced
21 Robert INDIANA (born in 1928) Love Golden aluminium, reproduced in 2009 by the Morgan Art Foundation / ARS, NY 3.1 x 3.1 in. - 8 x 8 cm.
Estimate : $2,000 – 3,000
22 Stevenson MAGLOIRE (1963-1994) Haitian School Untitled Oil on canvas; signed lower right 24 x 24 in. - 61 x 61 cm.
Estimate : $ 4,000-6,000
29
February 13 Catalog.indd 29 2/2/2013 2:07:44 PM 23 Maurice RENOMA (born in 1940) French School
Horse 593 (from the Mythology Collection) Original photography on Baryte paper; Edition 4/8; signed and num- bered lower left 39.3 x 31.5 in. – 100 x 80 cm. Estimate: $ 3,000-5,000
30
February 13 Catalog.indd 30 2/2/2013 2:07:47 PM 24
24 24bis Horacio CORDERO (born 1945) Marcos LOPEZ (born in 1958) Argentine school The Last Supper, 1980 Mixed Media and Collage on cardboard; signed, Artesania paraguaya, 1996 situated NYC and dated lower left Photograph, numbered 2/5 from the series Poplatino 16 x 24 in. - 40.5 x 61 cm. 28 x 42.1 in. - 71 x 107 cm à vue
Estimate: $ 8,000-12,000 Estimate: $ 4,000-6,000
24bis
31
February 13 Catalog.indd 31 2/2/2013 2:07:48 PM 25 Kenzo TAKADA (born in 1939)
Hommage à Hokusai Acrylic and collage on canvas; signed lower right, countersigned and titled on the reverse 59 x 78.6 in. - 150 x 200 cm.
Estimate: $ 10,000-15,000
32
February 13 Catalog.indd 32 2/2/2013 2:07:48 PM 26 John HARDY (born in 1923) American School
Romance in an Uncertain World, 2005 Oil on canvas; signed lower left, titled and countersigned on the reverse 48 x 60 in. - 122 x 152.5 cm
Estimate: $ 12,000-15,000
33
February 13 Catalog.indd 33 2/2/2013 2:07:48 PM 27 Diego GIACOMETTI (Swiss, 1902-1985)
Table berceau, second version, circa 1965 Bronze with green patina, with a glass table top H : 15.7 in. - 40 cm. L : 45.7 in. - 116 cm. W : 17 in. - 43 cm.
Estimate : $ 40,000-60,000
This work is accompanied by a certificate of authenticity by James Lord.
Provenance Gallery Pierre Matisse, New York Collection Pierre de Tartas, Moulin de Vau- boyen, France Private Collection
34
February 13 Catalog.indd 34 2/2/2013 2:07:50 PM 35
February 13 Catalog.indd 35 2/2/2013 2:07:51 PM 28 Hamed NADA (1924-1990) Egyptian school Figures, 1988 Oil on plywood, signed and dated lower right 29 x 20.5 in. - 73.5 x 52 cm.
Estimate : $ 4,000 – 6,000
Provenance Private Collection
29 Alexis AKRITHAKIS (1939-1994) Greek school A Day at the Beach, 1968 Gouache on paper, signed and dated lower right 13.6 x 19.5 in. - 34.5 x 49.5 cm
Estimate : $1,500 – 2,000
Provenance Private Collection
30 Alexis AKRITHAKIS (1939-1994) Greek school The Seaside, 1967 Gouache on paper, signed and dated lower right 25.6 x 19.7 in. - 65 x 50 cm.
Estimate : $ 2,000 – 3,000
Provenance Private Collection
36
February 13 Catalog.indd 36 2/2/2013 2:07:55 PM 31 Simin MEYKADEH Iranian school
Applause, 1992 Acrylic on canvas, signed lower left 44 x 36.5 in. - 111.7 x 92.7 cm.
Estimate: $ 5,000-7,000
32 Eugene BERMAN (1899-1972) Russian school
Portrait of a Woman, 1941 Ink and wash, monogrammed and dated lower right 17.25 x 12.7 in. - 44 x 32.8 cm
Estimate : $6,000 – 8,000
37
February 13 Catalog.indd 37 2/2/2013 2:07:57 PM 33 David BURLIUK (1882-1967) Russian School
Untitled Oil on canvas; signed lower right 21.75 x 25.75 in. – 55 x 65.5 cm.
Estimate: $ 12,000-15,000 Provenance Private Collection
38
February 13 Catalog.indd 38 2/2/2013 2:07:58 PM 34 Dmitry KRASNOPEVTSEV (1925-1995) Russian school
Still life, 71 Mixed media on paper, monogrammed and dated lower right 12.6 x 11 in. - 32 x 28 cm.
Estimate : $4,000 – 6,000 Provenance Former collection Mr Geyser Collection of the family
39
February 13 Catalog.indd 39 2/2/2013 2:08:00 PM 35 Mubin ORHON (1924-1981) Turkish school
Composition, 1959 Oil on canvas, signed and dated lower right, countersigned, dated and situated Paris on the reverse 63.8 x 51.2 in. - 162 x 130 cm.
Estimate : $60,000-80,000
Provenance Private Collection
40
February 13 Catalog.indd 40 2/2/2013 2:08:00 PM 41
February 13 Catalog.indd 41 2/2/2013 2:08:04 PM 36 Fahr El Nissa ZEID (1901-1991) Turkish school
Composition Gouache on paper, signed lower left 27.2 x 22 in. - 69 x 56 cm.
Estimate : $ 6,000 – 8,000
Provenance Private Collection
37 Fahr El Nissa ZEID (1901-1991) Turkish school
Composition in blue, red and orange Gouache on paper, signed lower left 27.2 x 22 in. - 69 x 56 cm.
Estimate : $ 6,000 – 8,000
Provenance Private Collection
42
February 13 Catalog.indd 42 2/2/2013 2:08:07 PM 38 Erol AKYAVAS (1932-1999) Turkish school
Composition Oil on canvas, signed upper right 29.9 x 22 in. - 76 x 56 cm.
Estimate : $ 4,000 – 6,000
Provenance Private Collection
39 Erol AKYAVAS (1932-1999) Turkish school
Composition Oil on canvas, signed upper right 29.9 x 22 in. - 76 x 56 cm.
Estimate : $ 4,000 – 6,000
Provenance Private Collection
43
February 13 Catalog.indd 43 2/2/2013 2:08:12 PM 40 Hulusi MERCAN (1913-1988) Turkish school
The concert Oil on canvas, signed lower right 27.6 x 23.6 in. - 70 x 60 cm.
Estimate : $ 6,000-8,000
41 Hulusi MERCAN (1913-1988) Turkish school
Village scene Oil on canvas, signed lower right 21.3 x 25.6 in. - 54 x 65 cm.
Estimate : $ 5,000-6,000
44
February 13 Catalog.indd 44 2/2/2013 2:08:17 PM 42 Saliba DOUAIHY (1915-1994) Lebanese school
Multicoloured geometry Oil on cardboard, signed on the reverse 30.9 x 23.6 in. - 78.5 x 60 cm.
Estimate : $ 8,000 – 10,000 Provenance Private Collection
45
February 13 Catalog.indd 45 2/2/2013 2:08:20 PM The precocious Mario Carreño began his artistic training in 1925 at the prestigious San Alejandro Academy in his native city of Havana when he was only twelve years old. Just five years later, he gave his first solo exhibition. Keen to broaden his horizons, he then moved to Madrid where he took drawing classes at the San Fernando Academy, making a living by illustrating current social and political events in various newspapers and magazines. When the Spanish Civil War broke out in 1936, Carreño decided to return to Cuba. This was just the first of many trips which would greatly impact on the artist’s work and provide him with a true appreciation of the different artistic trends around at the time.
Carreño is widely regarded as a key figure of Cuba's second modernist generation along- side the likes of René Portocarrero and Cundo Bermudez. Showing the same concerns as fellow artist Wifredo Lam, he strove to combine contemporary styles with traditional Cuban culture and create a harmonious blend of the two. Carreño was a prolific painter who tried his hand at different styles. During his trip to Mexico in 1936, he discovered the work of the famous muralists Diego Riviera, José Clemente Orozco and David Alfaro Siqueiros which left a deep impression. However, it was his meeting with the Dominican painter Jaime Colson that had the greatest impact on the 23 year old. Indeed Colson shared his love of Classicism with his pupil and urged Carreño to go to Paris, which he did in 1937. There he joined the Académie Julian where he was taught by the French artist Jean Souverbie and spent hours studying the masterpieces in the Louvre which imbued his early paintings with a Classical feel. Still keen to explore the world, Carreño traveled to Italy in 1939 where he visited Florence, Naples, Pompeii and then moved on to New York where he would return in 1944, when the MoMA featured some of his works in its “Modern Cuban Painters” exhibition.
It was his great friendship with the poet Pablo Neruda, whom he had met in Madrid, which took Carreño to Chile. Together with other artists, he founded the School of Art at the Catholic University in Santiago where he taught a whole generation of Chilean artists. Carreño eventually obtained the Chilean nationality and in 1982, he was awarded the National Prize of Art for his outstanding contribution to the arts.
Thus, over the years, Carreño explored Classicism, Cubism, Surrealism and even Futurism. As he pointed out himself, “everything was moving towards the square” and thus his style gradually shifted towards the geometric abstraction that can be admired in the present composition. Painted in 1956, it belongs to a period characterised by clean geometric shapes, vibrant colours and dynamic compositions, inspired by the cubist works he had seen in Paris. The viewer’s eye glides across the canvas, moving from rectangle to lozenge. Two curved segments soften the ensemble and steer the eye from the bottom to the top of the composition. Carreño cleverly sets off the lighter shapes against the darker ones, adding depth and volume to his work. The effect is that of light dancing through a stained glass window, casting shades in every direction for the greatest pleasure of the viewer.
43 Mario CARRENO (1913-1999) Cuban School
Untitled, 1956 Oil on canvas; signed and dated lower right 51.5 x 37 in. – 130.8 x 94 cm.
Estimate: $120,000-150,000
Provenance Private Collection, Miami
46
February 13 Catalog.indd 46 2/2/2013 2:08:20 PM 47
February 13 Catalog.indd 47 2/2/2013 2:08:20 PM 44
44 45 Carmelo ARDEN QUIN (1913-2010) Carmelo ARDEN QUIN (1913-2010) Uruguayan school Uruguayan school Composition, 1956 Composition, 1986 Collage on paper, signed and dated lower right India ink on silkscreen, monogrammed and dated lower right 13 x 19.7 in. - 33 x 50 cm. 18.7 x 18.7 in. - 47.5 x 47.5 cm.
Estimate : $ 6,000 – 8,000 Estimate : $3,000 – 4,000
45
48
February 13 Catalog.indd 48 2/2/2013 2:08:24 PM 46 Carmelo ARDEN QUIN (1913-2010) Uruguayan school
Composition, 1964 Collage on paper, signed and dated lower right 12.2 x 8 in. - 31 x 20.5 cm.
Estimate : $ 8,000 – 10,000
49
February 13 Catalog.indd 49 2/2/2013 2:08:26 PM 47 Estuardo MALDONADO (born 1930) Ecuadorian School
Dimensionalista Cinque, 1986 Acero-Inox color; described and signed on the reverse 37 x 37 in. – 94 x 84 cm.
Estimate: $ 8,000 - 10,000
48 Mario Alberto AGATIELLO (born in 1943) Argentine school
Metrus IV, 2008 Acrylic on paper, signed and dated lower right, titled lower middle Side of the octagon: 7.3 in. - 18.5 cm., Width and height: 17.3 in. - 44 cm.
Estimate: $ 2,000-3,000
50
February 13 Catalog.indd 50 2/2/2013 2:08:28 PM 49 Victor VASARELY (1906-1997)
Orne, 1957-87 Oil on cardboard; signed "VASARELY" lower middle, signed, titled and dated on the back 17.5 x 12.5 in. - 44.5 x 31.7 cm.
Estimate: $ 40,000 - 60,000
51
February 13 Catalog.indd 51 2/2/2013 2:08:31 PM 50
50 51 Gregorio VARDANEGA (born in 1923) Eduardo Oliveira CEZAR (born in 1942) Argentine school Argentine school Equation chromatique, hommage à G. Rossini, 1991 Gouache, collage and pencil on cardboard, signed and Composition, 1974 dated lower right Oil on canvas, signed and dated on the reverse 11.6 x 11.6 in. - 29.5 x 29.5 cm à vue 32 x 39.4 in. - 81 x 100 cm.
Estimate: $ 8,000-10,000 Estimate: $ 12,000-15,000
51
52
February 13 Catalog.indd 52 2/2/2013 2:08:32 PM 52 Venancio SHINKI (born in 1932) Peruvian school
Warm shade and cold, 1968 Oil on canvaas, signed lower right, countersigned, dated and situated Lima, Peru on the reverse 47.2 x 39.4 in. - 120 x 100 cm
Estimate: $ 3,000-4,000
53 Danilo di PRETE (1911-1985) Italian school
Composition, 1975 Mixed media on canvas, signed and situated Sao Paulo on the reverse 39.4 x 39.4 in. - 100 x 100 cm.
Estimate: $ 4,000-6,000
54 Hector NAVARRO (born in 1937) Mexican school
Joven ex soldado, 1966 Mixed media on canvas, signed lower right 47.2 x 39.4 in. - 120 x 100 cm.
Estimate: $ 4,000-6,000
53
February 13 Catalog.indd 53 2/2/2013 2:08:34 PM Luis Fernando Benedit is an Argentine painter, sculptor and architect who has won many awards and taken part in exhi- bitions around the world, including the Venice Biennale in 1970 where he presented his critically-acclaimed installation “Biotron”. He graduated from the University of Buenos Aires in 1963 with a degree in architecture but as an artist, he is self-taught.
Highly influenced by the Art Brut, Cobra and Informalism movements, Benedit questions the relationship between art and science, the individual and society, the natural and the artificial world. His fascination for biology, chemistry, physics and the natural world transpires in his work.
The present works belong to the early paintings which he crea- ted between 1961 and 1967. They feature colourful figures, animals, architectural, mechanical and organic elements. In his later works Benedit mainly focused his attention on ani- mals, insects and plants, carefully observing their behaviour within natural and artificial environments.
55 Luis Fernando BENEDIT (1937 – 2011) Argentinean School
Silla Presidential von aparata eyector Oil on canvas; signed on the support on the reverse 59 x 37 in. - 150 x 100 cm.
Estimate: $ 20,000 - 25,000
Provenance Private Collection
54
February 13 Catalog.indd 54 2/2/2013 2:08:34 PM 55
February 13 Catalog.indd 55 2/2/2013 2:08:35 PM 56 Luis Fernando BENEDIT (1937 – 2011) Argentinean School
El Titi, 1965 Oil on canvas; Signed, titled, dated and located on the reverse 31.5 x 33.5 - 80 x 85 cm.
Estimate: $ 12,000 - 15,000
Provenance Private Collection
56
February 13 Catalog.indd 56 2/2/2013 2:08:35 PM 57
February 13 Catalog.indd 57 2/2/2013 2:08:35 PM 57 José Chávez MORADO (1909-2002) Mexican school
Siesta en hamaca Pencil on paper, signed lower left 13.6 x 18.1 in. - 34.5 x 46 cm à vue
Estimate: $ 2,000-3,000
58 Carlos ESTEVEZ (born in 1969) Cuban school
L’invencion del destino, 2001 Mixed media on paper, signed lower left, dated, titled and situated Havana at the bottom 12.6 x 8.6 in. - 32 x 22 cm
Estimate: $ 1,500-2,000
59 Yonel HIDALGO (born in 1970) Cuban school
Untitled, 1990 Pencil and crayon on paper, signed and dated lower middle 19.3 x 29 in. - 49 x 73.5 à vue
Estimate: $ 3,000-4,000
58
February 13 Catalog.indd 58 2/2/2013 2:08:37 PM 60 Robert FREEMAN (born in 1936)
Man carrying a table, 1980 Photograph, signed lower right, numbered 8/25 lower left 17.3 x 12.2 in. - 44 x 31 cm à vue
Estimate: $ 1,200-1,500
61 Oswaldo BORDA
Untitled, 1968 Watercolour and ink on paper, signed and dated lower right 18.5 x 12.2 in. - 47 x 31 cm
Estimate: $ 1,200-1,500
62 Carlos ESTEVEZ (born in 1969) Cuban school
El arte sin su historia, 2001 Mixed media on paper, signed lower left, situated Havana lower right, dated and titled lower middle 12.4 x 8.6 in. - 31.5 x 22 cm à vue
Estimate: $ 1,500-2,000
59
February 13 Catalog.indd 59 2/2/2013 2:08:39 PM 63 Fabian MARCACCIO (born 1963) Argentinian School
Untitled, 1995-96 Acrylic, burlap, and mixed media on canvas; signed and dated on the reverse 53.5 x 49 in. – 136 x 125 cm.
Estimate: $ 8,000 - 10,000
64 David Alfaro SIQUIEROS (1896- 1974) Mexican School
Viva la Vida, 1969 Acrylic on cardboard; signed lower right 12.2 x 9.1 in. – 31 x 23 cm.
Estimate: $ 8,000 - 10,000
Provenance Private Collection, Venezuala
60
February 13 Catalog.indd 60 2/2/2013 2:08:41 PM 53
65 66 Rogelio POLESELLO (born in 1939) 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 20.5 x 20.5 in. – 52 x 52 cm. 20.5 x 20.5 in. – 52 x 52 cm. Estimate: $ 2,000 - 3,000 Estimate: $ 2,000-3,000
54
61
February 13 Catalog.indd 61 2/2/2013 2:08:43 PM 67 Cundo BERMUDEZ (1914-2008) Cuban School
Flora de la Recogedora de Sueños Bronze Sculpture; signed and numbered 1/9 on the reverse 21 x 13 x 86 in. – 53.3 x 33 x 218.4 cm.
Estimate: $ 220,000-250,000
Provenance Private Collection, Miami
Literature This work is reproduced on the 21st page of the catalog from the exhibition Under a Brilliant Sun: Cundo Bermudez into the 21st century that took place at Miami Dade College September 4th to November 7th, 2009.
62
February 13 Catalog.indd 62 2/2/2013 2:08:43 PM 63
February 13 Catalog.indd 63 2/2/2013 2:08:43 PM 68
68 69 Juan Jose SEGURA (born in 1901 - ?) Leopoldo ROMANACH (1862–1951) Brazilian School Cuban School Los compañeros, 1932 Portrait of a Woman Oil on canvas, signed and dated lower left, countersi- Oil on canvas gned, dated, titled and situated Paris on the reverse. 20.75 x 30 in. - 53 x 76 cm. 28.25 x 23.5 in. - 72 x 60 cm Estimate : $3,000-4,000 Estimate: $ 2,500-3,000 Provenance Private Collection
69
64
February 13 Catalog.indd 64 2/2/2013 2:08:48 PM 70 Hector MOLNE (born 1937) Cuban School
Baile, 2004 Oil on canvas; signed lower left, annotated, dated and countersigned on the reverse 43.5 x 40 in. – 110.5 x 101.6 cm.
Estimate: $ 15,000-20,000
This work is accompanied by two annotated pho- tographs of the artist painting the piece.
Provenance Private Collection, Miami
65
February 13 Catalog.indd 65 2/2/2013 2:08:48 PM 71 David Alfaro SIQUIEROS (1896-1974) Mexican School
Portrait of a Woman, 1956 Oil on panel; signed and dated lower right 46.5 x 37.25 in. – 118 x 95 cm.
Estimate: $ 20,000-25,000
66
February 13 Catalog.indd 66 2/2/2013 2:08:49 PM 72 Eduardo KINGMAN (1913-1997) Ecuadorian School Vinculos, 1956 Oil on canvas; signed and dated lower right; titled and dated on the reverse 27.5 x 23.5 in. – 70 x 60 cm.
Estimate: $ 6,000-8,000
Thank you to Soledad Kingman for confirming the authenticity of this work.
73 Francisco MATTO (1911-1995) Uruguayan school
Untitled, 1952 Oil on canvas, signed and dated lower left 19.3 x 22.8 in. - 49 x 58 cm.
Estimate: $ 8,000-10,000
67
February 13 Catalog.indd 67 2/2/2013 2:08:51 PM 74 Julio ALPUY (1919-2009) Uruguayan school
Still life, 1947 Oil on canvas mounted on cardboard, signed upper left 13 x 18.3 in. - 33 x 46.5 cm
Estimate: $ 8,000-10,000
75 Carlos LLANOS (born in 1930) Uruguayan school
Harbour scene Watercolour on paper, signed lower left 15.5 x 11.4 in. - 39.5 x 29 cm à vue
Estimate: $ 2,000-3,000
76 Naum KNOP (1917-1993) Argentine school
Adam and Eve Wood sculpture, monogrammed lower right 16.5 x 13.8 x 3.5 in. - 42 x 35 x 9 cm.
Estimate: $ 2,000-3,000
77 Marie ORENSANZ (born in 1936) Argentine school
Untitled, 1991 Marble and wood sculpture, monogrammed and dated on the marble. 16.5 x 5.9 x 3.1 in. - 42 x 15 x 8 cm
Estimate: $ 2,000-3,000
68
February 13 Catalog.indd 68 2/2/2013 2:08:53 PM 78 Maria FREIRE (born in 1917) Uruguayan school
Abstract Composition, 1974 Acrylic on canvas, signed and dated lower left 39.4 x 25.6 in. - 100 x 65 cm
Estimate: $ 8,000-10,000
79 Rocío GARCIA (born in 1955) Cuban school
El regreso de Jack, 2000 Oil on canvas, signed and dated lower right 13.8 x 17.5 in. - 35 x 44.5 cm
Estimate: $ 1,500-2,000
80 Carlos LLANOS (born in 1930) Uruguayan school
Still life with jug, circa 1950 Oil on cardboard, signed lower left 34 x 49.5 cm
Estimate: $ 4,000-6,000
81 Alberto Ulloa BURGOS (born in 1950) Dominican school
The Cow, 1999 Acrylic on canvas, signed and dated lower right, countersigned, dated and titled on the reverse 16 x 19.9 in. - 40.5 x 50.5 cm.
Estimate: $ 1,500-2,000
69
February 13 Catalog.indd 69 2/2/2013 2:08:56 PM 82 Francisco TOLEDO (born 1940) Mexican School
Woman with Chair Gouache; watercolor and pen on paper signed lower left 8.25 x 10.75 – 21 x 27 cm.
Estimate: $ 5,000-7,000
83 Francisco TOLEDO (born 1940) Mexican School
Mask Oil on paper laid on canvas 718 x 19.5 in. – 46 x 49 cm.
Estimate: $ 10,000-12,000
84 Francisco TOLEDO (born 1940) Mexican School
The Blue Swirl Watercolor on paper 16.5 x 12 in. – 42 x 32 cm.
Estimate: $ 4,000-6,000
70
February 13 Catalog.indd 70 2/2/2013 2:08:59 PM 85 Wifredo LAM (1902-1982)
Composition, 1948 Oil pastel, ink and watercolor on paper, signed, dated and dedicated 1950 lower right 13.75 x 10.25 in. - 35 x 26 cm.
Estimate : $ 8,000 – 10,000
This work is accompanied by a certificate of authenticity by Lou Laurin Lam.
86 Wifredo LAM (1902-1982)
Composition, 1947 Ink and watercolor on paper, signed, dated and dedicated 1950 lower right. 13 x 10.25 in. - 33 x 26 cm.
Estimate : $ 8,000 – 10,000
This work is accompanied by a certificate of authenticity by Lou Laurin Lam.
87 Julio LARRAZ (born 1944) Cuban School
La Fuga del General Acapulco, 1985 Pencil on Paper, signed and dated Lower right. Inscribed “Estudio para la fuga del General Acapulco. Para Isabellita Paris 1985” 56 ½ x 50 in – 143.5 x 127 cm.
Estimate: $ 5,000-7,000
Provenance Private Collection, Miami
71
February 13 Catalog.indd 71 2/2/2013 2:09:02 PM 88 Roberto MATTA (1911-2002) Chilean school
Untitled, 1955 Ink on paper, dated lower right 18.1 x 24.4 in. - 46 x 62 cm à vue
Estimate: $ 6,000-8,000
89 Roberto MATTA (1911-2002) Chilean school
Volupté d’un amour propre, 1945 Ink and graphite on paper 7.8 x 8.3 in. - 20 x 21 cm à vue
Estimate: $ 3,000-4,000
90 Roberto MATTA (1911-2002) Chilean school
Composition, circa 1965 Ink on paper 17.7 x 23.4 in. - 45 x 59.5 cm à vue
Estimate: $ 6,000-8,000
72
February 13 Catalog.indd 72 2/2/2013 2:09:04 PM 91 Roberto MATTA (1911-2002) Chilean school
Celui qui obtient…, circa 1950 Ink and pencil on tracing-paper, titled lower right 8.3 x 7.8 in. - 21 x 20 cm à vue
Estimate: $ 3,000-4,000
92 Joaquín Torres GARCIA (1874-1949) Uruguayan school
Still life with bottle, 1928 Drawing, dated lower right 4.3 x 3.5 in. - 11 x 9 cm à vue
Estimate: $ 10,000-12,000
73
February 13 Catalog.indd 73 2/2/2013 2:09:06 PM 93
93 94 Jose Yepez ARTEAGA (20th century) Jorge Jiménez DEREDIA (born in 1954) Ecuadorian School Costa Rican School Mountain Landscape Untitled Oil on canvas; signed lower right Series of four bronze figures with granite base; 19 x 26 in. – 48.25 x 66 cm. signed, stamped and numbered 9/100 on the largest sculpture Estimate: $800 - $1,000 19.75 x 4.75 x 6 in. – 50 x 12 x 15.5 cm. Estimate: $ 4,000 - 6,000
94
74
February 13 Catalog.indd 74 2/2/2013 2:09:09 PM 95 ARMAN (born in 1928)
Numbered 101/125 lower left; signed and stamped by the Stamperia d’arte Urbino lower right 39 x 27.5 in. - 95 x 70 cm.
Estimate: $ 3,000-4,000
96 Greg GOSSEL (born in 1982) American School
Untitled Serigraphy; Edition of 3 + 1 AP 30 x 22.5 in. - 76.5 x 56 cm.
Estimate: $ 600-800
97 Valerie HAMMOND American School
Voyageur Relief printed lithograph on handmade Kozo paper Unique variable print 71 x 47.5 in. - 180.5 x 121 cm.
Estimate: $ 2,000-3,000
75
February 13 Catalog.indd 75 2/2/2013 2:09:11 PM 98 Manuel PAILOS (1918-2005) Uruguayan school
Composition, 1990 Gouache on paper, signed and dated lower right 31.1 x 22 in. - 79 x 56 cm.
Estimate : $ 4,000 – 6,000
76
February 13 Catalog.indd 76 2/2/2013 2:09:15 PM 99 Manuel PAILOS (1918 – 2005) Spanish school
Still life with bottle Gouache on paper, signed lower left 14.15 x 10.2 in. - 36 x 26 cm.
Estimate : $ 3,000 – 4,000
100 Manuel PAILOS (1918 – 2005) Spanish school
Seascape Gouache on paper, signed lower left 14.15 x 10.2 in. - 36 x 26 cm.
Estimate : $ 3,000 – 4,000
77
February 13 Catalog.indd 77 2/2/2013 2:09:18 PM 101
101 102 Pedro FIGARI (1861-1938) Julio ALPUY (1919-2009) Uruguayan school Uruguayan school Hacia el paso Oil on cardboard, signed lower right, annotated XVIII AL and titled on Landscape, 1946 the reverse Oil on panel, signed and dated lower left 13.6 x 19.5 in. - 34.5 x 49.5 cm 14.8 x 19.7 in. - 37.5 x 50 cm.
Estimate: $ 12,000-15,000 Estimate: $ 8,000-10,000
Provenance Christie’s New York, November 18th, 2004, lot 68.
102
78
February 13 Catalog.indd 78 2/2/2013 2:09:19 PM 103 Edgardo RIBEIRO (born in 1921) Uruguayan school
The windmill, 1969 Oil on canvas, signed and dated lower right 19.5 x 24 in. - 49.5 x 61 cm à vue
Estimate: $ 3,000-4,000
104 José GURVICH (1927-1974) Uruguayan school
Harvest, 1946 Oil on panel, signed and dated lower right 16.1 x 17.7 in. - 41 x 45 cm à vue
Estimate: $ 6,000-8,000
105 Julio ALPUY (1919-2009) Uruguayan school
Village, 1943 Oil on canvas, signed lower right, dated lower left 15.7 x 19.7 in. - 40 x 50 cm
Estimate: $ 8,000-10,000
79
February 13 Catalog.indd 79 2/2/2013 2:09:22 PM 80
February 13 Catalog.indd 80 2/2/2013 2:09:23 PM 81
February 13 Catalog.indd 81 2/2/2013 2:09:23 PM Stefan Bakalowicz was born in Warsaw, into an artistic Polish family. His father was a painter, his mother an actress and so it was only natu- ral for the boy to be drawn to a career in the arts. He received his first painting lessons from his father and then went on to study at the War- saw School of Art before joining the Saint Petersburg Imperial Aca- demy of Arts in 1876. He was a brilliant student, winning numerous medals and awards for his praised works and he was eventually granted a scholarship which enabled him to travel extensively for the next few years. He visited Paris, Rome, Egypt and Algeria, trips which imbued his paintings with a noticeable exoticism as seen in his beautiful “Prayer of Khonsu” from 1904. During his stay in Italy, Bakalowicz spent time in Naples, Pompeii and Capri. He avidly studied Ancient art and in a quest to broaden his knowledge of all things Greco-Roman, even took part in archaeological excavations. He is often compared today to the British artist Sir Lawrence Alma-Tadema for his classical renderings of beautiful figures in blissful environments. Bakalowicz showed great skill when representing light and shadow effects, natural elements and complex folds of drapery as seen in the present “Bacchanalia” from 1887. He depicts a joyful procession set against an idyllic backdrop, perhaps inspired by the breathtaking sce- nery of the Amalfi coast. A bearded Bacchus, thyrsus in one hand and cup in the other, sits upon a tiger-drawn chariot, two harp players at his side and another reclining at his feet. A chubby Silenus needs propping up on his donkey as he drunkenly leads the parade, a steady flow of wine pouring from the bottom of his horn-shaped cup straight into his mouth. Twirling Bacchantes with long flowing hair put the final touch to this euphoric, meticulously arranged and wonderfully detailed composition.
106 Stephan Wladislawowitsch BAKALOWICZ (1857-1947) Polish school
Bacchanalia, 1887 Oil on canvas, signed and dated in Roman numerals lower left 33 x 59 in. – 84 x 150 cm.
Estimate: $ 60,000 - 80,000
Provenance Private Collection
82
February 13 Catalog.indd 82 2/2/2013 2:09:23 PM 83
February 13 Catalog.indd 83 2/2/2013 2:09:24 PM 107 Sergei Semyonovich VOROSHILOV (1865-1911)
Young Russian Girl Oil on canvas, signed lower left 17.7 x 26.7 in. - 45 x 68 cm.
Estimate : $4,000-5,000
84
February 13 Catalog.indd 84 2/2/2013 2:09:26 PM 108
108 109 Eugène GALIEN-LALOUE dit LIEVIN Luigi LOIR (1845-1916) (1854-1941) Stroll along the waterfront Les bords de seine Gouache on paper, signed lower right Oil on paper, signed lower left 8.5 x 12.6 in. - 21 x 32 cm 7.25 x 12.25 in. - 18.5 x 31 cm. Estimate : $4,000-5,000 Estimate : $2,000-3,000
109
85
February 13 Catalog.indd 85 2/2/2013 2:09:30 PM 110 Anonymous The Storyteller Watercolor on paper 8.25 x 10.5 in. – 21 x 27 cm.
Estimate: $ 5,000-7,000
111 Anna Maria QUEMARE (20th century) Cuban school Vue de la Havane Watercolor on paper; monogrammed lower left, countersigned, titled and monogrammed on the reverse 5.75 x 15.1 in. – 14.5 x 38.5 cm.
Estimate: $ 500-700
112 Anna Maria QUEMARE (20th century) Cuban school Vue de la Havane Watercolor on paper; monogrammed lower left, signed, titled and monogrammed on the reverse 5.75 x 15.25 in. – 14.5 x 38.5 cm.
Estimate: $ 500-700
86
February 13 Catalog.indd 86 2/2/2013 2:09:33 PM 113 Juan A. DIAZ Vue de Pina del Rio, 2004 Acrylic on canvas, signed and dated 9-2004 lower left 28.75 x 39.4 in. – 73 x 100 cm
Estimate: $ 1,500-2,000
114 Juan A. DIAZ Vue de Pina del Rio, 2004 Acrylic on canvassigned and dated 5-2004 lower left 28.75 x 39.4 in. – 73 x 100 cm.
Estimate: $ 1,500-2,000
115 Giovanni ECHEVARRIA (born in 1968) Cuban school Paysage de Pina del Rio, 2003 Acrylic on canvas; signed and dated lower left 27.5 x 43.1 in. – 70 x 109.5 cm.
Estimate: $ 1,500-2,000
116 Anna Maria QUEMARE (20th century) Cuban school Mouillage à Cuba Watercolor on paper; monogrammed lower right, countersigned,titled and monogrammed on the reverse 5.75 x 15.1 in. – 14.5 x 38.5 cm.
Estimate: $ 500-700
87
February 13 Catalog.indd 87 2/2/2013 2:09:38 PM 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 25 percent (25%) 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.
88
February 13 Catalog.indd 88 2/2/2013 2:09:38 PM 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.
89
February 13 Catalog.indd 89 2/2/2013 2:09:38 PM 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 Frederic Thut AU 4372 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).
90
February 13 Catalog.indd 90 2/2/2013 2:09:38 PM FINE ART AUCTIONS MIAMI
WORLD RECORD FOR A RUSSIAN PAINTING
by Valentin Aleksandrovich SEROV (1865-1911) Portrait of Oskar and Roza Gruzenberg, 1910 Tempera on canvas, 39.4 x 24.4 in. - 100 x 62 cm Sold on December 6th, 2012: $ 4,673,500
NEXT IMPORTANT PAINTINGS AND SCULPTURES AUCTION - APRIL, 2013
FOR CONSIGNMENTS, PLEASE CONTACT OUR EXPERTS BELOW:
FINE ART AUCTIONS MIAMI DAN COISSARD [email protected] [email protected] +1 305 573 4228 +33 6 77 82 5330 www.faamiami.com www.cedc.fr 91
February 13 Catalog.indd 91 2/2/2013 2:09:40 PM ABSENTEE BIDS FORM Fine Art Auctions Miami (FAAM, LLC) MODERN, CONTEMPORARY AND STREET ART Saturday February 23rd, 2012 at 3pm
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 25 % of the hammer price on each lot up to and including $ 50,000, 20 % from $ 50,001 to $ 1,000,000 and 15 % 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.
February 13 Catalog.indd 92 2/2/2013 2:09:40 PM