AUCTION 7 7 LA TIN CATALOGUE 1 1 AMERICAN 0 0 EXPE RIENCE

2 µ˙The Museum of Fine Arts, Houston 2 Front: José Mijares, Cuban, 1921-2004, Untitled (detail), 1966, oil on canvas. LLAATTIINN AMERICAN EXPERIENCE µ˙The Museum of Fine Arts, Houston

AUCTION CATALOGUE

Auctioneer— August Uribe, Deputy Chairman, Americas, PHILLIPS

Benefiting the Latin American Art Department and the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston

March 4, 2017, 8:30 p.m.

The live and silent auctions can also be viewed online at paddle8.com after February 10, 2017.

Live Auction Lots 1–23 FOREWORD

I am delighted to present the seventh biennial Latin American Experience auction catalogue. Every two years, collectors, patrons, gallerists, and artists gather at the Museum of Fine Arts, Houston, to participate in the Latin American Experience Weekend. These enthusiasts come from around the world to celebrate and support our Latin American Art Department and its International Center for the Arts of the Americas (ICAA). This catalogue features objects available for this year’s live auction on March 4, 2017. Within these pages you will find an impressive selection of works from modern and contemporary artists who illustrate the diversity and vitality of Latin America.

This year we celebrate the culture and visual arts of Cuba, and Latin America as a whole. Concurrent with the Gala, we will open Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950 . This momentous exhibition marks the first comprehensive display of contemporary Cuban art ever seen in the United States. It sheds light on the intricate relationship between artistic production and the utopian spirit that defined Cuba’s revolutionary period, exposing the diverse and complex processes whereby art charted, commented on, and/or confronted the country’s social utopia and its contradictions. After the success of last year’s artists’ symposium, we are excited to present Art and the Cuban Revolution: A Critical Dialogue , an exclusive series of dialogues that will enable participants to interact and engage with many of the Cuban artists whose works are exhibited in Adiós Utopia .

These outstanding initiatives depend, in part, on the generosity of those who participate in the Gala and Auction. I would like to thank Chairman Mary Lile, and Auction Advisers Brad Bucher, George Kelly, and María Inés Sicardi for their dedication in making the weekend a success. We are also extremely grateful to all the artists, dealers, and artists’ estates who generously con - tributed important works to the live and silent auctions. Additionally, the Museum of Fine Arts, Houston, has received tremendous support for the auction from P HILLIPS Auction House. Not only have they provided the weekend with extraordinary monetary support, they also have been invaluable in the organization of this spectacular auction.

The 2017 Latin American Experience Auctions provide the perfect opportunity to begin or expand your collection of Latin American artworks. Thank you, again, for your generosity toward the Museum and our Latin American Art Department.

Gary Tinterow Director The Museum of Fine Arts, Houston Presenting Auction House and Corporate Underwriter PHILLIPS

We would like to express our deep appreciation to everyone who contributed to make the live and silent auctions possible for the 2017 Latin American Experience Weekend:

Alexander and Bonin, New York Florencia Kaplan Francisco Arevalo Sean Kelly, New York Carla Arocha Latin Art Core, Miami Magdalena Atria Glenda León Amadeo Azar Hugo De Marziani Abel Barroso Magnan Metz Gallery, New York Tony Bechara Gary Nader Fine Art, Miami José Bedia Ernesto Neto Ana Bidart Edgar Orlaineta Josée Bienvenu Gallery, New York Pan American Art Projects, Miami Tanya Bonakdar Gallery, New York Andrés Paredes Fernando Bryce Karina Peisajovich Chus Burés Martin Pelenur Yoan Capote Eduardo Ponjuan Los Carpinteros Proyectos Monclova, Mexico City Couturier Gallery, Los Angeles Jorge Riveros Roberto Diago Galeria Nara Roesler, São Paulo Marcolina Dipierro José Rosabal Durban Segnini Gallery, Miami Sammer Gallery, Miami Leandro Erlich Mira Schendel Estate Mariano Ferrante Stéphane Schraenen René Francisco Jack Shainman Gallery, New York Debbie Frydman Sicardi Gallery, Houston Carlos Garaicoa Aldo de Sousa, Buenos Aires Fundación Gego Ana Tiscornia Jamie Gili Cecila de Torres, Ltd., New York Alfredo Gisholt Leon Tovar Gallery, New York Galeria Enrique Guerrero, Ciudad de México TRESART, Miami Hauser & Wirth Ungallery, Buenos Aires Pablo Helguera Mariana Valdés Carmen Herrera Alejandra von Hartz Gallery, Miami KaBe Contemporary Gallery, Miami

Special Thanks to We Ship Art for their support of the Live and Silent Auctions.

We Ship Art provides clients with economic and competitive rates to ship artwork worldwide, while providing exceptional and personalized customer service. 5 µ˙The Museum of Fine Arts, Houston 2017 LATIN AMERICAN EXPERIENCE

CHAIRMAN Cecilia and Tomás Gunz Mary Lile Celina Hellmund Cecily E. Horton Joanne M. Houck HONOREE and Tim Singletary Ella Fontanals-Cisneros Olive M. Jenney Linda and George Kelly AUCTION ADVISERS Nancy and Rich Kinder Brad Bucher Karol Kreymer and Robert Card, M.D. George Kelly Adolpho Leirner María Inés Sicardi Cornelia and Meredith Long Lawrence Luhring HOST COMMITTEE Stephanie and Paul Madan Sofia Adrogué Rebecca and Morgan de Marigny and Sten Gustafson Cynthia and Robert McClain Roland Augustine Kathrine G. McGovern Allison and David Ayers Karen Benbow McRae Patricia and José Luis Barragán Gary Mercer Frances and Don Baxter Sara and Bill Morgan William Bickford Carol and David Neuberger and Oscar Cuellar Nicholas Pardon Robert Borlenghi Cecilia and Ernesto Poma Leslie and Brad Bucher Francisco Rivero Cecilia and Luis T. Campos Martin Rozenblum Martín Cerruti Cesar and Sulai Segnini Jereann Chaney Mariana Servitje Carolyn Covault Elizabeth Shamas Mary Cullen María Inés Sicardi Hilda and Greg Curran Reid Sutton and Brad Nagar Johanna and Steve Donson Judy and Charles Tate Susan and Mac Dunwoody Isabel and Ignacio Torrás Alfred C. Glassell, III Joanna and Rusty Wortham Sam Gorman Lan Phuong Vu-Yu and Tse-Kuan Yu

7 µ˙

International Center for the Arts of the Americas at the Museum of Fine Arts, Houston

The International Center for the Arts of the Americas is the research arm of the MFAH’s Latin American Art Department. As such it supports the department in its mission to collect, exhibit, research, and educate audiences about the diverse artistic production of Latin American and U.S. Latino artists. Since its inception in 2001, the ICAA has organized research- based exhibitions, pursued a dynamic publications program, 2 01 7 and developed research and education projects that comple - ment the MFAH’s renowned collection of Latin American art.

The cornerstone project of the ICAA is the Documents of 20th-century Latin American and Latino Art , a digital archive and publications initiative dedicated to the recovery of primary- source materials on Latin American and Latino art. Since its public launch in 2012, the Documents Project’s online platform LATIN provides free access to an expansive corpus of documents serv - ing as the intellectual foundation for the exhibition, collection, AMERICAN EXPERIENCE and interpretation of this art. Cutting across national and cultural boundaries, this key resource also connects geograph i- cally dis persed scholars and other producers of knowledge. LIVE AUCTION

For more information, contact [email protected] or visit icaadocs.mfah.org.

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LOT 1 One of the most recognized artists to emerge in Argentina during LOT 2 The Antwerp-based artistic duo Carla Arocha and Stéphane the 1930s, the Uruguayan Carmelo Arden Quin made incomparable Schraenen began collaborating in 2005. Their body of work Carmelo Arden Quin contributions to Latin American art. In 1946 he helped to establish Carla Arocha consists of sculpture, photography, installation, works on paper, Uruguayan the Madí movement and served, along with Gyula Kosice, as one of Venezuelan (born 1961) and performance, which they often blend into unexpected genres- (1913-2010) its principal theoreticians. Among his many artistic proposals, Arden within-genres. Their work combines abstracted geometries and Quin advocated that each work be conceived in its physical and pure Stéphane Schraenen patterns with a narrative content inspired by the nature of images Belgian (born 1971) Losange Bleu form. By divesting painting from its traditional support—in favor of and the relationships between the visible/invisible, the tangible/ [Blue Diamond], 1 952 the non-orthogonal frame—, the nucleus of the work could in fact imperceptible, and clarity/complexity. The resulting tensions play be inscribed into the background. In 1948 Arden Quin settled in Gold, 2010 with the viewer’s sensory perception. In Gold , the grid of mirrors Lacquered wood Mirrored acrylic and enameled MDF 5 Paris, where he spent most of his life. He participated in a number leads the viewer from one side to the other while complicating 17 ⁄16 x 16 inches (44 x 41 cm) 7 11 13 of well-known series of exhibitions organized by the Salon des 68 ⁄8 x 19 ⁄16 x 11 ⁄16 inches access, creating an optic game, forcing one to look closely at the Courtesy of Durban Segnini Gallery, (175 x 50 x 30 cm) Miami Réalités Nouvelles; these enabled him and numerous Concrete work and creating the illusion of movement in this static object. artists from around the world to broaden the audiences for their Courtesy of the artists and Gol d has been exhibited and featured in Ljubljana, Slovenia work. Throughout the 1950s, Arden Quin explored another significant KaBe Contemporary Gallery, Miami (Ganes Pratt / Mala Galerija, 2012), and in Chicago (Monique Estimate: $80,000 –$100,000 dimension of his work through a series of plastique blanche (white Meloche Gallery, 2010). Arocha and Schraenen have major public plastic), which are highly polished enameled wood pieces. After Estimate: $20,000 –$25,000 art pieces in Chicago (Chicago Transit Authority, Howard Station), meeting the Belgian sculptor Georges Vantongerloo—founder of 100% Donation as well as have been featured in solo exhibitions at the FRAC the De Stijl movement—Arden Quin began to break away from the Auvergne, Clermont-Ferrand, France; the Kunsthalle Bern, contrasting colors of his previous works and use increasingly whiter Switzerland; and the MUHKA in Antwerp, Belgium. tones. Losange Bleu is a prime example of this transition, one that also reflects his enduring interest in the cutout frame.

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LOT 3 Tony Bechara is well known for his large and significant body LOT 4 Painter, muralist, and printmaker Cundo Bermúdez is among the of abstract work based on principles of color, organization, and foremost artists of the Cuban avant-garde. He is best known for Tony Bechara randomness. In his own words, “my paintings tackle phenome- Cundo Bermúdez his vividly colored paintings celebrating the landscapes, still lifes, Puerto Rican nological questions that explore historical problems associated Cuban portraits, and interiors of his native island. Bermúdez joined the (born 1942) with representation, the visual, and ultimately visibility itself.” (1914-2008) Escuela Nacional de Bellas Artes San Alejandro in Havana and later Bechara’s work, often departing from a solid single color, is based traveled to Mexico City to study at the San Carlos Academy of Fine 38 Reds, 2015 on Geometric Abstraction with a twist: the textures of his paintings Untitled, 1974 Art under the renowned artist Manuel Rodríguez Lozano (1894–1971). Acrylic on canvas are rough and uneven, almost organic, creating the illusion of depth, Wash on paper mounted on canvas While working in Mexico, Bermúdez enjoyed recognition among other 60 x 60 inches (152.4 x 152.4 cm) movement, and brightness. 38 Reds belongs to the Random series, 41 x 28 inches (104 x 71 cm) artists, as David Alfaro Siqueiros once declared: “Bermúdez represents Courtesy of the artist a group of works he started in the early 2000s. In this series, Courtesy of Gary Nader Fine Art, boldness in the arts. He knows how to build in a synchronized manner. Bechara makes use of puntillismo abstracto (abstract Pointillism), Miami With both distant and close-up images locat ed in pictorial depth, a process by which the surfaces of the paintings resemble in contrast, his work builds and organizes, sometimes almost Estimate: $20,000 –$25,000 a pixelated screen. During his multifaceted career, he has been miraculously.” In 1944 Bermúdez participated in an exhibition at 100% Donation a printmaker and a lecturer at Rutgers University, New Jersey, Estimate: $40,000 –$50,000 the Museum of Modern Art, New York, that featured Cuban art. and has served on several important nonprofit boards in the New Following this show, his work acquired an international reputation, York City area. Bechara’s work is represented in numerous private and in 1956 he was the recipient of the International Caribbean and public collections, including the Albright Museum (Reading, Exhibition Award given by the Museum of Fine Arts, Houston. Pennsylvania), the Aldrich Museum of Contemporary Art (Ridgefield, During the early 1970s, Bermúdez became increasingly interested Connecticut), The Brodsky Organization (New York), El Museo del in the intersection of figuration and abstraction. In Untitled , the Barrio, the Harlem Art Collection, the Massachusetts Institute of stylization of the female figure is achieved through vibrant colors Technology, and the Museo de Arte de Puerto Rico. and geometric patterning.

12 13 LOT 5 Considered to be among the foremost contemporary Latin American LOT 6 Born in Pinar del Río, Yoan Capote studied drawing, painting, and artists today, Fernando Bryce is well known for his challenging printmaking as a child. His interest in becoming an artist developed Fernando Bryce works dealing with years of postcolonial history in the Americas Yoan Capote when he enrolled at the Instituto Superior de Arte, Havana, where Peruvian and Europe. Since 2000, Bryce has developed a curiosity for Cuban (born 1977) he graduated in 2001. Capote utilizes quotidian materials to build (born 1965) the archives of print publications, advertisements, newspapers, his works, entwining political, ludic, and psychological themes. pamphlets, and ephemera that he began reproducing in ink Deep Cuts I (Visceral), 2015 According to Capote, “this personalization of everyday objects ARTnews 1948 I, 2016 drawings. He coined the process “mimetic analysis”: selected 3 plastic laminate cutting boards, highlights the extent to which we are the silent victims of our social Ink on paper in 12 parts portions of these print materials are photographed and then animal blood backgrounds and habits of thought.” The work Deep Cuts I (Visceral) 7 3 1 is one of the best examples of the artist’s keen ability to reconsider Overall: 46 x 87 ⁄8 inches, framed carefully traced onto paper. This system allows Bryce to appropriate 17 ⁄4 x 34 ⁄8 inches (45.1 x 86.7 cm) (116.8 x 223.2 cm) mass-media representations of historical moments and to produce Courtesy of the artist and history through poignantly charged symbols. Capote shapes the Courtesy of the artitst and his own episodic “reconstructions,” creating a different, personal Jack Shainman Gallery, New York typical incisions found on a cutting board into the horizon line of Alexander and Bonin, New York visual memory of events. In ARTnews 1948 I , twelve framed the ocean, an icon within the Cuban landscape. He then fills these black-and-white ink drawings reproduce fractions of advertise - incisions with blood, which aesthetically highlights the image and ments for exhibitions by renowned artists taking place in New Estimate: $18,000 –$22,000 refers to the painful history of isolation and emigration from the Estimate: $40,000 –$50,000 York City in 1948. The clippings stand not only for momentous 100% Donation island. Indeed, during the so-called Special Period in the 1990s, events in the individual careers of artists and prominent galleries a time of extreme poverty in Cuba, many fled on handmade rafts, but also as a kind of “screenshot” of the art scene in postwar only to be tragically engulfed by the sea. Since the early 2000s, New York City. Notably, the Haitian artists advertised by Capote has enjoyed increased international recognition and has Carlebach Gallery (specialized in Primitive art) are not distin - received prestigious awards, including the UNESCO prize at the guished by name. In the layout of Bryce’s sets of drawings, the 7th Havana Biennial and the John Simon Guggenheim Memorial viewer perceives a balance among the aesthetic, political, and Foundation Fellowship in 2006. ethnographic information presented. This systematic approach to twentieth-century historical investigation into print media has earned Bryce increased recognition. 14 15 LOT 7 The collective Los Carpinteros has established itself among the most LOT 8 Part of the group Diez Pintores Concretos of Cuba, Romanian-born important artists to emerge from Latin America in recent years, as well artist Sandú Darié played a key role in consolidating the Universalist Los Carpinteros as the most innovative from Cuba. The group, formed in 1991 during Sandú Darié ideals of Concrete art in Cuba during the 1950s. Long before other artists espoused these tendencies, his work from the late 1940s and Marco Antonio Castillo Valdés their tenure at the Instituto Superior de Arte, creates meticulously Cuban, born in Romania crafted works that navigate the space between functional and futile (1908-1991) early 1950s demonstrated a strong commitment to non-objective art. Cuban (born 1971) by merging architecture, landscape, design, and sculpture in unexpected The artist also established a close connection with Argentinean Dagoberto Rodríguez Sánchez and often humorous ways. This outstanding watercolor depicts receding Sin título [Untitled], c. 1950 artist Gyula Kosice and others from the Grupo Madí with whom he Cuban (born 1969) mountains building planks, as one would find in a lumberyard. The title Collage, pencil, and ink on paper exchanged correspondence and joined in several international exhibi - 5 Calle de Madera, however, refers to Calle Tacón, the only remaining 31 x 10 ⁄8 inches (78.7 x 27 cm) tions. A prime example of this early period, Darié’s collage Sin títul o Calle de Madera street in Havana with the original wood installed by the General Courtesy of TRESART, Miami [Untitled] was created as an aesthetic meditation on abstraction [Wooden Street], 2013 Captain of the Island in the 1830s. Los Carpinteros at once suggests applied to form and three- dimensional space. This series of collages Watercolor on paper Cuba’s illustrious architecture, and refers to the island’s current inability was first shown in the exhibition Estructuras Pictóricas 1950 at the 1 11 Estimate: $30,000 –$40,000 31 ⁄2 x 44 ⁄16 inches (80 x 113.5 cm) to create new structures, as resources of this nature only exist in an Lyceum de La Habana on October 9, 1950. In the introduction to the Courtesy of the artists and imagined future. Their works are part of the permanent collections of exhibition catalogue, Darié explains that he sought to evoke a new Sean Kelly, New York the Museum of Contemporary Art, Los Angeles; the Los Angeles County pictorial structure with which, in the spirit of Concrete art, he was © Los Carpinteros Museum of Art; the Museum of Modern Art, New York; the Solomon R. able to eradicate the visual “confusion” of figurative compositions in Guggenheim Museum, New York; the Tate Modern, London; and many favor of a new geometric sensibility. Darié’s works have been shown internationally and form part of important collections, such as the Estimate: $20,000 –$25,000 others. Los Carpinteros live and work between Madrid and Havana. Museum of Modern Art, New York; Museo Nacional de Bellas Artes, 100% Donation Havana; and the Cisneros Fontanals Collection (CIFO), Miami.

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LOT 9 Buenos Aires–based artist Leandro Erlich is well known for LOT 10 One of the most prolific artists working in Cuba during the 1980s, creating monumental outdoor installations that create uncanny René Francisco was among the first to enroll and graduate from the Leandro Erlich and unstable situations. His Cloud series represents a prime René Francisco Instituto Superior de Arte in 1982. His work is grounded in a critique Argentinean example of these seemingly fluid situations. In Large Cloud Vitrine, Cuban of modes of artistic representation, Cuban society, and art itself, as (born 1973) a work from this series, Erlich creates the surreal impression of (born 1960) he constantly references Pop Art, kitsch, and the Cuban Revolution. capturing a cloud formation and freezing it in a glass at a particular René Francisco significantly influenced younger generations of Large Cloud Vitrine, 2016 moment in time, playing with the spectator’s visual senses. The Give Me a Hand, 2012 artists through the creation of Galería DUPP (Desde una Pedagógia Edition: USA “encapsulated cloud” is the illusionistic result of layering panels Pencil, toothpaste tubes, wood, Práctica [Through a Pedagogic Practice]) in 1989, a group that pro - Extra clear glass, ceramic ink of glass that are individually embellished with acrylic, lending the graph paper, and objects moted community engagement in their art. A paradigmatic work impression of three-dimensionality. Calling himself an “architect 3 1 digital printing, wooden vitrine, 5 parts, each 15 ⁄4 x 47 ⁄4 inches from his recent production, Give Me a Hand employs a number of and LED lights of the uncertain,” Erlich commonly gives these delicate clouds an (40 x 120 cm) anthropomorphized, headless tubes of toothpaste. These figures 1 11 7 irregular silhouette. Large Cloud Vitrine adopts the appearance of 78 ⁄2 x 80 ⁄16 x 31 ⁄8 inches Courtesy of the artist and work together to draw a mural in five stages. As each phase pro - (199.5 x 205 x 81 cm) the territory of the continental United States. As such, the artist Galeria Nara Roesler, São Paulo gresses, additional figures join. Their drawing becomes increasingly Courtesy of the artist and transforms the wealthy and large region into something ephemeral. Photos: Everton Ballardin complex and appropriates a schematic language typically used for Sean Kelly, New York © Galeria Nara Roesler industrial and architectural development. These depersonalized, © Leandro Erlich robotic figures humorously criticize the de-individualization of society within both the Cuban ideology of collectivization and the capitalistic Estimate: $55,000 –$65,000 drive toward mechanic efficiency. Estimate: $150,000 –$175,000

18 19 LOT 11 Constructivist painter and sculptor María Freire was a leading LOT 12 Contemporary Cuban artist Carlos Garaicoa is well known proponent of Concrete and non-figurative art in her native for his investigations of Havana’s urban landscapes. Since María Freire Uruguay. Graduating from the Universidad del Trabajo in Carlos Garaicoa the 1990s, he has used them as tropes to comment on the Uruguayan Montevideo in 1943, Freire was among the founders of the Cuban popular disillusionment with the Cuban Revolution (or on (1917-2015) Grupo de Arte No Figurativo in 1952. Her explorations of abstract (born 1967) what he identifies as the ruinous utopia of his country). art led her to collaborate with Rhod Rothfuss, among other artists, Since 2015, Garaicoa has produced a series of works titled Black and Blue Capricorn XXXV, from the Argentinean abstract art Grupo Madí. Beginning in the Testigos: Paisaje IX Testigos [Witnesses], mixing abstract geometric line drawings, [Witnesses: Landscape IX] , 2015 1965 late 1950s, Freire’s works deviated from her previous hard-edged frottage (texture captured with graphite on paper), and small rigidity to feature vigorous repetitions of curvilinear forms and Frottage and graphite on Bioprima paper architectural models made of balsa wood that he attaches Acrylic on canvas (100 gr.), balsa wood maquette 1 3 to the external frame of each work. The three-dimensionality 2 4 vibrant colors. An exceptional example of this transformation, 1 5 35 ⁄ x 26 ⁄ inches (90.2 x 67.9 cm) 31 ⁄2 x 23 ⁄8 inches (80 x 60 cm) the painting Black and Blue Capricorn XXXV is part of a sequence of these pieces highlights the compositional precision of the Courtesy of Cecilia de Torres, Ltd., Courtesy of the artist New York of series, including Sudamérica (1958–60), Córdoba (1965–75), three central components, allowing the artist to recreate Capricórnio (1965–75), and Variantes y Vibrantes (1975–85), in the architectural sensibility embraced by avant-garde artists which the artist alludes to the aesthetics of Pre-Columbian and Estimate: $18,000 –$22,000 of the early twentieth century. Estimate: $50,000 –$60,000 other indigenous cultures with varying degrees of abstraction. 100% Donation In this work, lines and concentric semicircles rupture a black layer to reveal various bands of colors behind it. Freire herself related the sensuality of the curved line with the Maori culture.

20 21 LOT 13 Originally from Venezuela, London-based Jaime Gili is greatly LOT 14 Born in Havana, Carmen Herrera enrolled at the Universidad de la influenced by Op Art, Kinetic art, and midcentury modern art, Habana in 1938 to study architecture while she was in her early Jaime Gili inflected with a distinctive South American perspective. Inspired Carmen Herrera twenties. In 1939 she met and married a visiting American teacher, Venezuelan by Carlos Cruz-Diez, Jesús Rafael Soto, and Alejandro Otero, Cuban Jesse Loewenthal. She then abandoned her studies and moved (born 1972) Gili combines Geometric Abstraction with dynamic forms and (born 1915) with him to New York City. There, Herrera attended the Art Students vibrant colors. Gili’s large canvases captivate viewers with their League from 1943 to 1947; during this time, Abstract Expressionism A284 Barricade Scarpa Socle, visual power. His works are frequently displayed in groups that Untitled (Black and White), 2012 was at its apogee. The following year, Herrera moved to Paris to 2015 are not hung on but rather leaned against the wall, creating Acrylic black gesso on paper take advantage of the rebuilding environment of postwar Europe. Acrylic on canvas architectural environments that resemble the development of 3 25 x 36 ⁄4 inches (63.5 x 93.3 cm) While in Paris, Herrera participated in the historical group exhibi - 49 x 118 inches (125 x 300 cm) urban spaces. About A284 Barricade Scarpa Socle, Gili wrote: tions of the Salon des Réalités Nouvelles, from 1949 to 1953. She Courtesy of the artist and Courtesy of the artist and “After a series of paintings related to an investigation around returned in 1954 to New York City, where her work was considered Alejandra von Hartz Gallery, Miami Lisson Gallery, New York Max Bill…and another around the work of Carlo Scarpa …, part of the development of hard-edge abstraction (or Geometric this painting appears like a classic rarity that should stay in the Minimalism). By the late 1960s, Herrera had been awarded two Estimate: $30,000-$40,000 artist’s studio for a while. A284 leaves both series behind but Estimate: $35,000 –$45,000 fellowships from the Cintas Foundation, and by the end of the simultaneously contains them.” In fact, other works emerged 100% Donation 1970s, she was given a grant by the Creative Artists Public Service. from this transitional piece. Gili’s works are displayed in numerous Remarkably, in 2004 and at eighty-nine years old, Herrera experi - public art collections around the world, including the Patricia enced a transformative breakthrough in the art market, when her Phelps de Cisneros Collection, New York; Banco Mercantil, works began commanding record prices at auction. Untitled (Black Caracas; and Saatchi Collection, London. and White) showcases Herrera’s enduring ability to achieve visual harmony through chromatic planes, symmetry, and pure abstraction.

22 23 LOT 15 Luis Martínez Pedro was part of Diez Pintores Concretos, Cuba’s LOT 16 José Mijares began his artistic studies in 1936 at the prestigious foremost group of artists working in the language of Geometric Escuela Nacional de Bellas Artes San Alejandro in Havana, Luis Martínez Pedro Abstraction. Active between 1958 and 1961, the group also consisted José Mijares studying with such prominent professors as Fidelio Ponce de León Cuban of Loló Soldevilla, Sandú Darié, Pedro Álvarez, Salvador Corratgé, Cuban (1895–1949), whom he later recognized as the most influential in (1910-1990) José Mijares, Rafael Soriano, and Wifredo Arcay. Prior to this period, (1921-2004) his career. In 1943 one of Mijares’s works was included in the First during his formative years, Martínez Pedro left Cuba because of the Anti-Fascist Salon, along with Wifredo Lam’s works. While Mijares Sin título, de la serie dictatorship of Gerardo Machado and moved to the United States, Untitled, 1966 began to paint in the figurative tradition, he embraced Concrete art Aguas territoriales where he studied at the New Orleans School of Art and Craft. Upon Oil on canvas in the early 1950s and then became an integral member of the group [Untitled, from the series returning to Cuba in 1933, the artist began working in advertising— 36 x 24 inches (91.4 x 61 cm) Diez Pintores Concretos when it formed in 1959. As eloquently Territorial Waters], c. 1962 an experience that deeply informed his vibrant, graphic compositions. Courtesy of Francisco Arevalo demonstrated by Untitled (1966), the artist fused concrete forms Mixed media on board His now iconic Aguas territoriales series, first exhibited in 1963 at with organic elements, evocative of Caribbean colonial architectural 3 patterns, to produce interlaced, rhythmic, chromatic shapes. Despite 27 ⁄4 x 34 inches (70.5 x 86.4 cm) Galeria La Habana, abstracts swirls of water into concentric circles of Estimate: $30,000 –$40,000 Courtesy of Sammer Gallery, Miami varying shades of blue. In this extraordinary early work from the series, the challenging art scene in Havana during the 1950s, Mijares the churning water, which draws the eye to the central core, floats atop achieved international recognition for his explorations of Geometric a dark, monochromatic background. These paintings, exhibited in Adiós Abstraction. He was appointed to the position of professor at the Estimate: $40,000 –$50,000 Utopia: Dreams and Deceptions in Cuban Art Since 1950 , are immer - same school he attended, but he resigned after Fidel Castro came sive, entrancing, and meditative, combining the formal elements of to power and moved to Miami in 1968. The new environment influ - the Concrete art movement with powerful political commentary on enced Mijares’s style, as he returned to figurative painting and the divisive power of the ocean as a border. Indeed, the sea proved to frequently employing the color blue. to be a dialectical entity in the years following the Cuban Revolution. Although the sea provided an escape to the outside world, it created barriers that divided a vast number of Cuban families.

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LOT 17 Born in Rio de Janeiro, Ernesto Neto works somewhere between LOT 18 Mexican artist Edgar Orlaineta is a rising star in the contemporary art sculpture and architecture. From 1994 to 1997, he studied at the world. He studied art at the Escuela Nacional in Mexico City and at the Ernesto Neto city’s Escola de Artes Visuais do Parque Lage. There, he was influ - Edgar Orlaineta Pratt Institute in New York, where he developed a signature style char - Brazilian enced by the Neo-Concrete movement, which gained momentum Mexican acterized by incorporating memorabilia and design objects into his (born 1964) in Brazil in the 1960s and 1970s and sought to create artworks (born 1972) sculptures. Orlaineta’s meaningful and precisely crafted sculptures and that became active upon the viewer’s participation. Influenced by installations are the result of a thorough study of design and architec - Untitled (Provisory), 2016 this movement, Neto’s work is often described as sensuous and Anachronic Dance ture, informed by a deep understanding of cultural symbolism. His work Cotton voile crochet and organic, inspired by Minimalist and Conceptual Brazilian work as (after Isamu Noguchi), 2015-16 has been described as a testament to the transformative power of the wooden knobs well as by the multitude of cultures, people, scents, and sounds Walnut, brass, wax, magazine everyday and its relentless aspiration toward a utopian way of life. 3 32 x 96 x 1 ⁄8 inches he encounters every day. Neto’s monumental architectural sculptures (Theatre Arts , January 1945), Anachronic Dance (after Isamu Noguchi) stems from his most recent (81.3 x 243.8 x 3.5 cm) are often made of delicate nylon or string, combined with sacks Measured Time clock and project, a series inspired by Isamu Noguchi’s (1904–1988) Interlocking Courtesy of the artist and Tanya of herbs and spices that activate every sense and envelop the kitchen timer Sculptures of the 1940s. Here, the “Measured Time” clock and the Bonakdar Gallery, New York viewer. This work, featured in Neto’s most recent exhibition at (designed by Isamu Noguchi, kitchen timer designed by Noguchi are used to show the contradictory the Tanya Bonakdar Gallery in New York, showcases the artist’s USA, c. 1932) historical/cultural ideologies that are forced upon artworks over time. 13 1 9 renowned crochet technique and his collaboration with the Huni 74 ⁄16 x 30 ⁄2 x 27 ⁄16 inches In a nod to the Japanese-American artist, Orlaineta selected walnut Estimate: $30,000 –$40,000 Kuin, an indigenous culture in the Brazilian Amazon. Through the (190 x 77.5 x 70 cm) as the primary material of this sculpture; in doing so, he also empha - 100% Donation intertwining lines of vibrant, woven color, Neto explores the inter - Courtesy of the artist and sized the artisanal over the industrial. Orlaineta has been granted connectivity of the natural world. Proyectos Monclova, Mexico City numerous awards and residencies by institutions, including the Pollock- Krasner Foundation, the Banff Center (Canada), FONCA (Mexico), ArtOmi (New York), and Braziers (London). Estimate: $30,000 –$40,000

26 27 LOT 19 Mercedes Pardo was an important proponent of the Venezuelan LOT 20 Jorge Riveros graduated in 1956 from the Escuela Nacional de abstract art movement of the 1950s and 1960s. After attending Bellas Artes in Bogotá, where he began a dual career as a painting Mercedes Pardo the Academia de Bellas Artes in Caracas, she moved in 1949 to Jorge Riveros instructor and an artist. He was vastly influenced by Joaquín Venezuelan Paris to study art at the École du Louvre. While in Europe she Colombian Torres-García’s book El Universalismo constructivo [Constructive (1921-2005) met a number of Venezuelan artists, such as Alejandro Otero (born 1934) Universalism] (1944), from which he assimilated complex conceptual (who later became her husband), Jesús Rafael Soto, Mateo arguments about abstract art. In 1960 Riveros had his first solo Morada de luz Manaure, and Luis Guevara Moreno, whom she joined to form Cósmico II [Cosmic II], 1976 exhibition of figurative-impressionist works, only to abandon this [House of Light], 1996 the group Los Disidentes. In 1951 Pardo returned to Caracas and Oil on canvas style to embrace avant-garde Constructive geometry. In 1964 he for nearly two decades remained actively involved in key abstract 3 7 moved to Europe, where he spent nearly a decade studying muralist Acrylic on canvas 39 ⁄8 x 35 ⁄16 inches (100 x 90 cm) 7 art exhibitions that helped to consolidate the new aesthetic trend. painting in Spain and exhibiting his works in Germany (where he 33 ⁄8 x 50 inches (86.1 x 127 cm) Courtesy of the artist and By the end of the 1960s, Pardo started focusing on the role color joined the German artist group Semikolon and the International Courtesy of Durban Segnini Gallery, Leon Tovar Gallery, New York Miami played in her work. Her chromatic investigations thus became the Organization of Constructive Painters). Riveros returned to Bogotá to signature element of her long career. Created when the artist was teach at the Universidad Nacional de Colombia in 1975. During this seventy-five years old, Morada de luz demonstrates Pardo’s skillful Estimate: $20,000 –$25,000 time, his works evolved to include paintings, sculpture, and large- Estimate: $35,000 –$45,000 manipulation of various planes of color to produce the illusion 100% Donation format murals. As seen in Cósmico II , his geometry reveals an artist of Modernist buildings on the horizon. Pardo’s works are part of who masterfully reduces shapes to lines, circles, rectangles, and several important collections, including the Art Institute of Chicago; triangles, alongside imaginative combinations of these figures. Color Biblioteca Luis Ángel Arango, Bogotá; and Galería Nacional de Caracas. planes also play an important role in compositions such as Cósmico II , introducing sober blues, purples, greys, and greens that vibrate next to each other. As Riveros explains, these shapes seem to have broken the mold, “but from the smallest to the greatest, what I do always has the golden rule (ratio of measures),” revealing the influence of his German training.

28 29 LOT 21 Mira Schendel is considered to be one of the most significant Latin LOT 22 Horacio Torres was born in Livorino, Italy, after his father, Joaquín American artists of the twentieth century. Through her prolific work Torres-García, moved the family there so that he could operate his Mira Schendel as a painter, poet, and sculptor, Schendel inspired a new sui generis Horacio Torres toy factory. Torres grew up in a very intense artistic environment, Brazilian, artistic language in Brazil. Born in Switzerland, Schendel studied Uruguayan, born Italy moving later to Paris, and then to Madrid before settling in Uruguay, born in Switzerland philosophy in Milan, where she was stripped of her citizenship (1924-1976) where he studied painting with his father. Torres participated in (1919-1988) by the fascist government because she was Jewish. Schendel several of the Asociación de Arte Consructivo exhibitions and fled Italy in 1939 and migrated to several countries until she arrived Construcción won the portrait award at the Salón Nacional de Bellas Artes de Untitled (from the Lines-Pre- in Brazil, where she settled in 1949. Because she was poor during [Construction] , c. 1956 Montevideo in 1941. He traveled the next year to Peru and Bolivia architectures series), 1965 these years, Schendel crafted her works using simple materials, Painted wood with the Taller Torres-García artists to learn about Pre-Columbian Oil on rice paper but always in a delicate and pensive way. About 1960, the artist 25 x 12 inches (63.5 x 30.5 cm) art; he also traveled and exhibited in Europe. This exceptional 1 18 ⁄2 x 9 inches (47.2 x 22.8 cm) received a gift of rice paper from the physicist and art critic Mário Courtesy of Cecilia de Torres, Ltd., painted wood construction comes from Torres’s engagement with Courtesy of the Mira Schendel Schemberg. Fragile and nearly transparent, rice paper became New York Constructive Universalism, a philosophy toward art developed by Estate and Hauser & Wirth Schendel’s preferred medium as a way of expressing some of the artist’s father and promoted by the Taller Torres-García. Within © Mira Schendel Estate her phenomenological ideas of being and nothingness. The work this artistic language, artists strove to unite abstraction with its Untitled (from the Lines-Pre-architectures series), which is part Estimate: $18,000 –$22,000 original sources from ancient civilizations, particularly Pre-Columbian of the Monotypes series, is emblematic of this paradigmatic moment cultures. Torres moved in 1969 to New York, where he was intro - Estimate: $20,000 –$25,000 in the artist’s career. In this work, Schendel creates a miniature archi - duced to the contemporary art world by art critic Clement Greenberg. 100% Donation tectural structure through rhythmically alternating, delicate lines. Torres dedicated himself to figuration as a way to experiment with classical art within a contemporary context.

30 31 LOT 23 In 1943, Virgilio Villalba found himself at the center of a heated debate. While studying at the Escuela de Bellas Artes Prilidiano Virgilio Villalba Puyerredón in Buenos Aires, his classmates Alfredo Hlito, Claudio Argentinean Girola, Tomás Moldonado, and Jorge Britos wrote and distributed (1925-2009) their “Manifiesto de cuatro jóvenes.” In this declaration, Villalba’s peers described the antagonism between figurative and non-figura - Pintura concreta tive artists and the university’s role in prioritizing traditional, pictorial [Concrete Painting], 1954 arts over avant-garde movements. These aesthetic and theoretical Oil on canvas discussions, as well as those generated by the turmoil unleashed 7 26 x 22 ⁄16 inches (66 x 57 cm) by World War II, solidified several emerging art trends in Argentina, Courtesy of Aldo de Sousa, giving birth to a number of abstract art associations that included Buenos Aires Arte Concreto-Invención, of which Villalba became a key member. This group subscribed to Concretism and non-objectivity as a means for eliminating the subjective presence of the “artist’s hand.” Villalba’s Estimate: $55,000 –$65,000 1954 work titled Pintura concreta [Concrete Painting] embodies such notions of Objective Universalism. Here, Villalba, working in mono - chromatic hues of blue, paints a curved line stretching from the top to the bottom of the canvas, broken and displaced by a horizontal black streak. Just below the line sits a small lone black square in the sea of blue. Villalba worked exclusively in this vein throughout the 1940s and 1950s until his departure for Paris, where his work became figurative and remained as such until his death in 2009.

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