Fine Art Auctions Miami Fine Art Auctions Miami October 25Th 2012

FINE ART AUCTIONS MIAMI FINE ART AUCTIONS MIAMI OCTOBER 25TH 2012

IMPORTANT PAINTINGS AND SCULPTURES OCTOBER 25TH 2012

IMPORTANT PAINTINGS AND SCULPTURES AUCTION

FINE ART AUCTIONS MIAMI OCTOBER 25TH 2012 - MIAMI IMPO RT ANT P AINTINGS AND SCULPTURE S AUCTION

back and cover.indd 1 9/29/2012 7:26:49 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. The Auctioneers for this sale will be : Steve Little FL licence AU4296 Fine and Decorative Arts Term C: Presentment Frederic Thut FL licence AU4372 The warranty as to authorship is provided for a period of one (1) year from the date of the auction National Auctioneers Association and is only for the benefit of the original purchaser or record and is not transferable. FAAM, LLC Auction Business License: AB3131 Fine and Decorative Arts Term D The Auction is not on approval. Under extremely limited circumstances (e.g. gross cataloging Bank Reference error), not including attributions in BOLD-face type, which are addressed in Term F below, a Citibank purchaser who did not bid from the floor may request Auctioneer to evaluate voiding a sale; such 2001 Biscayne Blvd, Miami, FL 33137 request must be made in writing detailing the alleged gross error, and submission of the lot to Estrow Account 009119790578, ABA 266086554 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 exceed the successful bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed from the close of the Auction, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot. Fine and Decorative Arts Term F Any claim as to authorship, provenance, authenticity, or other matter under the remedies provided in the Fine Arts Terms and Conditions or otherwise must be first transmitted to Auctioneer by credible and definitive evidence within the applicable claim period. Auctioneer, in processing the written claim, may require the Purchaser to obtain the written opinion of two 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).

Cover: Lot 56 Back cover: Lot 66

inside cover and back.indd 1 9/29/2012 1:15:47 PM FINE ART AUCTIONS MIAMI 346 NW 29 Street Miami FL 33127 Tel (1) 305 573 4228 www.faamiami.com [email protected] Frederic THUT

IMPORTANTPAINTINGS & SCULPTURES AUCTION THURSDAY 25TH OCTOBER, 2012 AT 2:30PM

SALE PREVIEWS Friday 19th from 10am to 5pm Saturday 20th from 1pm to 5pm Monday 22nd from 10am to 5pm Tuesday 23rd from 10am to 5pm Wednesday 24th from 10am to 5pm Thursday 25th from 10am to 12pm

SPECIALISTS IN NEW YORK & MIAMI SPECIALISTS IN PARIS

Frederic Thut and Dr. Alla Rosenfeld Dan Coissard +1 212 829 8952 - [email protected] +33 1 48 24 6088 - [email protected]

TELEPHONE during the exhibitions: +1 305 573 4228 or +1 917 282 6044 CATALOGUE ONLINE www.faamiami.com, www.liveauctioneers.com, www.the-saleroom.com, www.artfact.com LIVE BIDDING ONLY ON www.liveauctioneers.com IMPORTANT NOTICE The condition of sales and the absentee bid form are at the end of the catalog.

CATALOG OCT25 FINAL indesign.indd 1 9/29/2012 6:51:31 PM INDEX

ARDEN QUIN Carmelo 40 ARTEAGA Jose Yepez 69 MALDONADO Estuardo 66 MALFROY Henri 107 BACON Francis 85-86 MARCACCIO Fabian 65 BELKIN Arnold 9 MENENDEZ Cesar 13-14 BLASZKO Martin 48 BOTO Martha 41-45-47-50 MENDIVE Manuel 34 MIJARES Jose 4 CABALLERO Luis 7 MIRO Joan 82-83 CAMPOREALE Sergio 8 CAVALCANTI (de) Emiliano MORELLET Francois 84 CAPEK Josef 95-96-97 MUNIZ Vik 23 CASSIGNEUL Jean Pierre 103 CEPEDA Ender 26 NEDO 56 CEZANNE Paul 92-93 NEMUKHIN Vladimir 99bis CHAGALL Marc 72-73-74-76-77-78-79-80-81 CHALIAPIN Boris 98 CIKOVSKY Nicolia 101a-101e O’HIGGINS Pablo 5 COGOLO Heriberto 21-22 CORONEL Rafael 19 CUGAT Delia 10-11-12 PAILOS Manuel 59-60

DALI Salvador 104 PAVLOTSKY Raul 51- 64 DE FREITAS Iole 54 PETTORUTI Emilio 67 DE QUIROS Lesver 28 PICASSO Pablo 94 DEMARCO Hugo 42-43-44 DEREDIA Jorge Jimenez 62 PHILLIPS Peter 90 DEVRIM Nejad 108 POLESELLO Rogelio 70 Di ROSA Herve 91 DUFY Jean 109 RAMOS Mel 87-89 RIVERA Diego 1 FERNANDEZ Agustín FERNANDEZ Jesse A. ROMANACH Leopoldo 25 RUKHIN Evgeny 102 GIACOMETTI Diego 111-112-113-114 GILLINI P. 106 GUAYASAMIN Oswaldo 16 SANTOYO Alfredo Araujo 27-29 GURVICH Jose 57-58-61 SIQUIEROS David Alfaro 20 SOTO Jesús Rafael 79 INDIANA Robert 88 SOYER Moses 101c-101d IOMMI Enio 52 STRAUSER Dorothy 101b

KINGMAN Eduardo 2-3-17-18 TAKADA Kenzo 110 KOSICE Gyula 49 KRAJCBERG Frans 15 TOLEDO Francisco 35-36-37-38-39

LANDALUZE Victor Patricio 71 VARI Sophia 63 LARAZ Julio 31-32-33 VASARELY Jean Pierre 55 VASSILIEFF Nicolas 100 LE PARC Julio 46 VILLAMIZAR Eduardo Ramirez 53

LEVIER Charles 105 VILLEGAS Armando 24

LISSIM Simon 99 ZABALETA Vladimir 6 MATISSE Henri 75 MANES Pablo Curatella 68

CATALOG OCT25 FINAL indesign.indd 2 9/29/2012 6:51:31 PM FINE ART AUCTIONS MIAMI 346 NW 29 Street Miami FL 33127 Tel (1) 305 573 4228 www.faamiami.com [email protected]

AUCTION LICENSE #AB3131

AUCTIONEERS FOR THIS SALE: STEVE LITTLE, FL LICENCE #AU4296 FREDERIC THUT, FL LICENCE #AU4372

MIAMI APPRAISAL OFFICE NEW YORK APPRAISAL OFFICE 350 NW 29TH STREET EUROPEAN EVALUATORS MIAMI, FL 33127 501 MADISON AVE, 14TH FLOOR Tel. +1 305 573 4228 NEW YORK, NY 10022 Tel. +1 212 759 9803 DIRECTOR AND ART EXPERT [email protected] FREDERIC THUT [email protected] BUSINESS MANAGER AND ART RESEARCHER Tel. +1 917 282 6044 EDA AKSOY [email protected] BUSINESS MANAGER CORNELIA VAN DER GEEST RESEARCHER FOR RUSSIAN ART [email protected] DR ALLA ROSENFELD [email protected]

LOGISTICS AND INVENTORY PARIS APPRAISAL OFFICE EDGAR TORO CABINET D’EXPERTISE DAN COISSARD [email protected] 61, PASSA GE JOUFFROY PARIS 75009 ACCOUNTING FRANCE LESTER CAESAR Tel. +33 01 48 24 60 88 [email protected] DIRECTOR AND ART EXPERT DAN COISSARD INTERNATIONAL SHIPMENT [email protected] JENNY TAYLOR Tel.+33 06 07 01 37 42 [email protected] BUSINESS MANAGERS AND RESEARCHERS GRAPHIC DESIGN KRISTINA KEALL AND NATHALIE RUBINOS Eda Aksoy [email protected] Pilar Mediavilla

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CATALOG OCT25 FINAL indesign.indd 5 9/29/2012 6:51:32 PM Diego Rivera’s gift for drawing was apparent from a very early age. Following a brief stay at military school he eventually enrolled at the Academy of San Carlos where his talent drew considerable attention. In 1904 he received a scholarship to complete his training in Europe. For the next seventeen years he studied the great European painters and adapted his style to the new artistic movements such as Impressionism and Cubism. He returned to Mexico in 1921 leaving behind the abstract avant-garde that had been the trend in Paris to best concentrate on his own country, wishing to introduce a typi- cally Mexican form of art. Although his style would continue to change and evolve, he never strayed from the themes he favoured the most, such as rural landscapes and portraits, a choice that enabled him to remain close to his roots.

Rivera’s works are moving, they celebrate the beauty and purity of the Mexican people, hardworking and proud. He enjoyed depicting moments from the daily life of peasants, women and children. « Mujer con niño » is a wonderful example of Diego Rivera’s art. With a simple composition and soft earthly colours outlined with black, the focus is on representing this working woman followed by her son. These two barefoot figures, from the poorer Mexican class, seem to be heading down a path filled with uncertainty.

1 Diego RIVERA (1886-1957) Mexican School Mujer con Nino Watercolor on paper; signed lower right 15.25 x 10.75 in. - 39 x 27.5 cm.

Estimate: $30,000 - $40,000

This work is accompanied by a certificate of authenticity issued by Galeria Central de Arte Moderno Misrachi, Mexico in 1966.

Provenance: Galeria Central de Arte Moderno Misrachi, Mexico Property of the Estate of Benno Gitter Acquired at Sotheby’s New York, Nov. 2005

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CATALOG OCT25 FINAL indesign.indd 7 9/29/2012 6:51:33 PM 2 Eduardo KINGMAN (1913-1998) Ecuadorian School La Comida, 1972 Oil on canvas Signed and dated lower left, countersigned, titled and dated on the reverse 32 x 19.5 in - .81 x 49.5 cm.

Estimate: $ 8,000 – 12,000

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

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3 Eduardo KINGMAN (1913-1999) Ecuadorian School La Lavanderia, 1956 Oil on canvas; signed and dated lower right, titled and situated on the reverse 23.5 x 27.25 in. – 60 x 70 cm.

Estimate: $8,000 - $12,000

Provenance: Private Collection, Ecuador

Soledad Kingman has confirmed the authenticity of this work.

Eduardo Kingman is regarded as one of the most important Poverty and suffering are masterfully conveyed through the ex- Ecuadorian painters of the 20th century, sharing the limelight pressive hands and faces of his models, as seen in the present lots. with the likes of Oswaldo Guayasamín. He began his studies at the School of Fine Arts in Quito before pursuing his Kingman was also a writer and social actor and it was through education in Venezuela, Peru, Bolivia and then in the United his works that he both denounced and defended the con- States where he attended the San Francisco Art Institute. A re- dition of a people that had been oppressed for too long. curring theme in Kingman’s paintings, lithographs and wood engravings is the condition of the Indian people of Ecuador.

CATALOG OCT25 FINAL indesign.indd 9 9/29/2012 6:51:39 PM 4 Jose MIJARES (1921-2004) Cuban School Five Women Waiting Oil on canvas; signed lower right 30 x 40 in. - 76 x 101.5 cm.

Estimate: $8,000 - $10,000

5 Pablo O’HIGGINS (1904-1983) Mexican School Three Figures Oil on canvas; signed and labeled on the reverse 15 x 12 in. - 38 x 30.5 cm.

Estimate: $2,000 - $3,000

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6 Vladimir ZABALETA (born in 1944) Venezuelan School Menina Oil on Canvas; dedicated, signed and dated 1990 on the reverse 49.5 x 69.5 in. - 126 x 176.5 cm.

Estimate: $8,000 - $10,000

CATALOG OCT25 FINAL indesign.indd 11 9/29/2012 6:51:45 PM 7 Luis CABALLERO (1943-1995) Colombian school Bodies, 75 Pencil and pastel on paper; signed and dated lower right 74 x 56 cm - 29 1/8 x 22 in.

Estimate: $3,000 - $4,000

8 Sergio CAMPOREALE (born in 1937) Argentine School Retrato de familia, 1990 Watercolor and pencil on paper, signed lower right 30.75 x 46.5 in. - 78 x 118 cm.

Estimate: $3,000 - $4,000

9 Arnold BELKIN (1930-1992) Mexican School Two Figures, 1953 Oil on panel, signed and dated lower left 22 x 28.75 in. - 56 x 73 cm.

Estimate: $1,500 - $2,000

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10 Delia CUGAT (born in 1935) Argentine School El intermediario, 1991 Oil on canvas, signed middle right. 38 x 51 in. - 97 x 130 cm.

Estimate: $3,000 - $3,500

11 Delia CUGAT (born in 1935) Argentine School Turbulences Oil on canvas; signed lower left 36.25 x 28.75 in. - 92 x 73 cm.

Estimate: $1,500 - $2,000

12 Delia CUGAT (born in 1935) Argentine School Composition au portrait Oil on canvas; signed lower right and countersigned on the reverse 23.5 x 28.75 in. - 60 x 73 cm.

Estimate: $2,000 - $2,500

CATALOG OCT25 FINAL indesign.indd 13 9/29/2012 6:51:57 PM 13

13 Cesar MENENDEZ (born in 1954) 14 Cesar MENENDEZ (born in 1954) Salvadoran School Salvadoran school Floating shape, 1987 Abstraction, 1989 Oil on canvas; signed and dated upper Pastel on paper; signed and dated right, countersigned and dated Oct/10/87 lower left on the reverse 28 x 39.75 in. - 71 x 101 cm. 39 x 38.75 in. - 99 x 98.5 cm. Estimate: $3,000 - $5,000 Estimate: $6,000 - $8,000

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15 Frans KRAJCBERG (born in 1921) Brazilian School Untitled Mixed media on paper, signed lower left 64 x 51 cm - 25 x 20 in.

Estimate: $ 12,000 – 15,000

After losing his family in the Holocaust, the Polish-born artist Frans Krajcberg moved to Stuttgart where he discovered the Bauhaus and the great modern art movements. His teacher Willi Baumeister encouraged him to go to Paris which he did in 1947. But Krajcberg struggled to make a living in the French capital and stayed with Chagall who helped him move to Brazil. He thus discovered the incredibly rich Brazilian nature and, having spent some time in Rio and Sao Paulo, he retreated to the forest where he began to paint the wild surroundings, incorporating natural elements such as earth and stones into his creations. In 1957 he exhibited some of his works at the Sao Paulo Biennale and won the award for best Brazilian painter. Fame quickly came knocking on his door so Krajcberg was able to sell his works and moved back to Paris. He began to favour collage, various printing techniques and eventually tried his hand at photography.

Krajcberg travelled to Amazonia where he came face to face with the horrors of deforestation. Filled with outrage at the thought of man destroying so many natural resources, he began to condemn such actions through his works, sculpting burnt tree trunks for example. His use of natural materials makes him a great pioneer of both Poor art and Land art. As he fights to raise awareness and protect the environment Krajcberg continues to translate the ephemeral beauty of nature through his art.

CATALOG OCT25 FINAL indesign.indd 15 9/29/2012 6:52:04 PM Oswaldo Guayasamin’s artistic vocation became clear at a very early age. He was brought up in a humble family and quickly began selling his art work in the squares of his home- town Quito. Ignoring his father’s disapproval he enrolled at the Quito School of Fine Arts in 1932. The death of his best friend Manjarres during a worker’s protest would greatly influence his painting. Indeed it was the moment when he began to see man and society in a much darker light.

In 1942 he organised his first exhibition in Quito aged 23 and his works caught the attention of many pa- trons including Nelson Rockefeller who would follow Guayasamin’s work for many years. The artist left Ecua- dor that same year and went to the United States and Mexico where he met the muralist Jose Orozco who became his teacher. Through his frequent trips to South America he grew more aware of the condition of the indigenous population and his works became a means of describing, defending and denouncing its situation.

His father was Indian, his mother mixed-race and his art sprang from these deeply rooted origins. The suffering and the misery of the Indian people were the themes that connected all of his artistic creations. He captured the oppression, racism, poverty and injustice that tor- mented his people with great strength and touching empathy. However his works were not only about an- ger: he also celebrated love, the tenderness of a mother and a woman as a source of comfort and courage.

Guayasamin is considered one of the most significant South American artists and was declared best South Ameri- can painter during the 4th Biennale of Sao Paulo in 1957. His works are recognised the world over and are often the subject of great exhibitions. He was an artist who was actively involved with and committed to the indigenous people and who was determined to tell its story and stand up for its cause through his many unforgettable works.

“A Devotee” is the first painting of Guayasamin’s series entitled El camino del Llanto or The Path of Tears.

16 Oswaldo GUAYASAMIN (1919-1999) Ecuadorian School Beata (Devotee) Oil on board; signed lower right 34.25 x 27.5 in. – 87 x 70 cm.

Estimate: $30,000 - $40,000

Provenance: Private Collection, Paris

Exhibited: Museum of Modern Art, Santo Domingo, 1992

This work is part of the first collection painted by Guayasamin entitled ‘Huacaynan: El Camino del Llanto’ as well as published in a book that has the same name. We are grateful to the Guayasamin Foundation for helping to describe, identify, and authenticate this painting

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CATALOG OCT25 FINAL indesign.indd 17 9/29/2012 6:52:05 PM 17 Eduardo KINGMAN (1913-1998) Ecuadorian School La Mariposa, 1956 Oil on canvas; signed and dated lower left; titled, dated and situated on the reverse 23.5 x 27.5 in. – 60 x 70 cm.

Estimate: $8,000 - $12,000

Provenance: Private Collection, Ecuador Thank you to Soledad Kingman for confirming the authenticity of this work.

CATALOG OCT25 FINAL indesign.indd 18 9/29/2012 6:52:07 PM 19

18 Eduardo KINGMAN (1913-1998) Ecuadorian School Vinculos, 1956 Oil on canvas; signed and dated lower right, titled and dated on the reverse 23.5 x 27.5 in. – 60 x 70 cm.

Estimate: $8,000 - $12,000

Provenance: Private Collection, Ecuador

Thank you to Soledad Kingman for confirming the authenticity of this work.

CATALOG OCT25 FINAL indesign.indd 19 9/29/2012 6:52:10 PM 19 Rafael CORONEL (born in 1931) Mexican School Man with a Mask Oil on canvas; signed lower left, dedicated to Luis Guerra on the reverse 38.5 x 48 in. – 100 x 124 cm.

Estimate: $25,000 - $30,000

Provenance: Gift from the artist to Juan Luis Guerra, Mexico, 1992

Rafael Coronel has established himself as one of the most recognizable artists of the Rupture Generation seeking to shift away from Muralism towards a more traditional way of art-making. His predilection for portraiture suggests a return to the Old Master tradition, especially Goya and 17th century Spanish painting that have continued to inspire him ever since his travels to Europe in the 1960s.

Man with a Mask is representative of Coronel’s body of work and portrays an older man isolated and floating in a nebulous space of warm orange tones, holding a mask. His work often focuses on popular themes and stages a play of visual sobriety and sentimentality.

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20 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: $30,000 - $40,000

Provenance: Private Collection, Puerto Rico, 1996

As a student at the School of Fine Arts in Mexico City, the young Siqueiros was an idealist and like many of his fellow-pupils he could no longer stand the oppressing dictatorship of Porfirio Diaz. He quickly enlisted in the revolutionary army in 1914 so that he could take part in the budding revolution. This experience of war greatly affected him and would have a huge impact on his art. Siqueiros himself later declared that, had he not taken part in the revolution, the modern Mexican movement would not have been born.

He is considered one of the greatest representatives of Mexican muralism along with Diego Rivera and Orozco and is well known for his social realist works, most notably his frescoes depicting scenes from the official Mexi- can history. Siqueiros was obsessed with movement which he believed should prevail over colour. His numerous brushstrokes bring a rich dynamism to his creations. Thick lines of black paint outline the subject which is pushed to the foreground and the artist’s use of intense colour emphasises the critical aspect of his work. Al- though the present portrait is rather atypical of Siqueiros’ work, his very personal style is still highly recognisable.

CATALOG OCT25 FINAL indesign.indd 21 9/29/2012 6:52:14 PM 21 Heriberto COGOLLO (born in 1945) Columbian School Squatting Nude, 2003 Oil on canvas; signed and dated lower right 32 x 40 in. – 81.5 x102 cm.

Estimate: $15,000 - $20,000

CATALOG OCT25 FINAL indesign.indd 22 9/29/2012 6:52:17 PM 23

Heriberto Cogollo is considered today as one of the most important Latin American figura- tive painters. He moved to Paris in 1966 where he lived until 1996 and came in contact with the rich pictorial traditions of Europe and Af- rica, gaining knowledge that would heav- ily influence his artwork. He attempts to appre- hend and adapt these traditions to his cultural heritage and personal experiences as an artist.

A recurring theme in Cogollo’s work is the human body staged in mysterious and silent landscapes or interior settings. This silent contemplation of voluptuous and exuberant nudes, the smoothness of the glowing skin, the translucence of light and the use of chiaroscuro converge to create some of the most intense and revealing Columbian art.

22 Heriberto COGOLLO (born in 1945) Columbian School 9th Round, 2004 Oil on canvas; signed and dated lower right 26 x 36 in. – 66 x 94 cm.

Estimate: $15,000 - $20,000

CATALOG OCT25 FINAL indesign.indd 23 9/29/2012 6:52:19 PM 23 Vik MUNIZ (born in 1961) Brazilian School The Tower of Babel after Pieter Brueghel (Gordian Puzzles), 2007 Digital C-Print; signed and label from Galerie Xippas and signed on the reverse Edition size 1 of 6 39.5 x 50 in. - 100.5 x 127 cm

Estimate: $30,000 - $40,000

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CATALOG OCT25 FINAL indesign.indd 25 9/29/2012 6:52:20 PM 24 Armando VILLEGAS (born in 1926) Colombian School Caballero no. 3, 1995 Oil on canvas; signed lower right and inscribed on the reverse 15.75 x13.5 in. – 40 x 30 cm.

Estimate: 8,000 - $10,000

25 Leopoldo ROMANACH (1862–1951) Cuban School Portrait of a Woman Oil on canvas 20.75 x 30 in. - 53 x 76 cm.

Estimate: $4,000 - $6,000

26 Ender CEPEDA (born in 1945) Venezuelan School El Matrimonio del Policia, 1990 Watercolor on paper; signed, titled, and dated lower left 38 x 26 in. - 96.5 x 71 cm.

Estimate: $5,000 - $7,000

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27 Alfredo Araujo SANTOYO (born in 1972) Colombian School Relicario, 2009 Acrylic on canvas; signed lower right 71 x 40 in. – 180 x 101.5 cm.

Estimate: $5,000 - $7,000

28 Lesver DE QUIROS (20th century) Cuban School The Pretty Guitar Player, 1983 Oil on canvas; signed and dated lower left, countersigned, dated 2/83 and certified by the artist on the reverse 24 x 30 in. - 61 x 76 cm.

Estimate: $1,500 - $2,000

29 Alfredo Araujo SANTOYO (born in 1972) Colombian School Grietas, 2002 Acrylic on canvas; signed and dated lower right 32 x 42 in. – 81 x 61 cm.

Estimate: $3,500 - $5,000

CATALOG OCT25 FINAL indesign.indd 27 9/29/2012 6:52:30 PM 31 Julio LARRAZ (born in 1944) Cuban School The Legend of Sleepy Hollow Watercolor on paper; signed lower right 23.5 x 17.5 in. - 60 x 44 cm.

Estimate: $4,000 - $6,000

32 Julio LARRAZ (born 1944) Cuban school Still Life with a Lemon Etching and color on paper, signed and dedicated “Isabelle with all my love” lower right, numerated 26/50 lower left, label from the Lennox Gallery on the reverse 24.5 x 36.25 in. – 62 x 92 cm.

Estimate: $800 - $1,000

CATALOG OCT25 FINAL indesign.indd 28 9/29/2012 6:52:33 PM 29

33 Julio LARRAZ (born in 1944) 34 Manuel MENDIVE (born in 1944) Cuban School Cuban School Diva Carnero de Chango, 1970 Oil on canvas; signed and described on Oil on panel; signed lower right reverse 24.5 x 54.5 in. – 62.25 x 138.5 cm. 22 x 28 in. – 56 x 71 cm. Estimate: $4,000 - $6,000 Estimate: $20,000 - $30,000

CATALOG OCT25 FINAL indesign.indd 29 9/29/2012 6:52:37 PM Francisco Toledo is widely regarded today as one of the greatest Mex- ican artists of all time. Not only is he admired for his incredible talent and complete mastery of an impressive range of techniques including drawing, sculpture, weaving, ceramics, engraving and prints, but also for his deep and never-ending commitment to the well-being and development of his home state of Oaxaca. Indeed upon his return to Mexico, following a five-year trip to Europe, he threw himself into encouraging and defending the local arts and crafts, becom- ing involved in numerous projects most notably the founding of art centres, libraries and the Museum of Contemporary Art of Oaxaca.

Toledo’s powerful art is proof of his tremendous pride in Mexican history and heritage, drawing on pre-Colombian symbolism, question- ing both indigenous and worldwide cultures. Frequently praised by none-other than the great Rufino Tamayo, Toledo acquired rapid fame; his wonderful works have been exhibited in the four corners of the world and have since continued to influence generations of artists.

35 Francisco TOLEDO (born in 1940) Mexican School Hunting Scene Watercolor and pen on paper 8.5 x 11 in. – 22 x 28 cm.

Estimate: $6,000 - $8,000

Provenance: Pierre Gervais Collection, Paris

CATALOG OCT25 FINAL indesign.indd 30 9/29/2012 6:52:39 PM 31

36 Francisco TOLEDO (born in 1940) Mexican School Mask Oil on paper laid on canvas 18 x 19.5 in. – 46 x 49 cm.

Estimate: $15,000 - $20,000

Provenance : Pierre Gervais Collection, Paris

CATALOG OCT25 FINAL indesign.indd 31 9/29/2012 6:52:41 PM 37Francisco TOLEDO (born in 1940) Mexican School The Blue Swirl Watercolor on paper 16.5 x 12 in. – 42 x 32 cm.

Estimate: $6,000 - $8,000

Provenance : Pierre Gervais Collection, Paris

38 Francisco TOLEDO (born in 1940) Mexican School Woman with Chair Gouache, watercolor and pen on paper; signed lower left, label from Thomas R. Monahan Fine Arts on the reverse 8.25 x 10.75 in. – 21 x 27 cm.

Estimate: $8,000 - $12,000

Provenance: Private Collection, Mexico

CATALOG OCT25 FINAL indesign.indd 32 9/29/2012 6:52:43 PM 33

39 Francisco TOLEDO (born in 1940) Mexican School Arrival of the Egyptians Gouache on Amate paper; signed middle right 11 x 15 in. - 28 x 38 cm.

Estimate: $15,000 - $20,000

Provenance: A c q u i r e d a t S o t h e b y ’ s N e w Y o r k , M a y 2 0 0 6

CATALOG OCT25 FINAL indesign.indd 33 9/29/2012 6:52:46 PM Carmelo Arden Quin was a Uru- guayan painter and poet, remem- bered for having played a key role in the development of geometric abstraction. He met the artist Joa- quin Torres Garcia in 1935, learning a great deal about abstract art by his side, and was one of the founding members of the Madí art group in 1946 in Buenos Aires. This particular movement focused on invention and motion, creating brightly coloured compositions with collages, geometric patterns and irregular planes.For years to come, Arden Quin would continue to explore different possible ways of renewing these esthetic principles. The artist moved to Paris in 1948 where he met Herbin, Arp and de Staël to mention a few and he spent the better part of his long career in the French capital. His art is everchang- ing, inventive and playful, still completely relevant to artists today.

40 Carmelo ARDEN QUIN (1913- 2000) Uruguyan school Rouages, 1948 Oil on panel, monogrammed and dated lower right, countersigned, titled and dated on the reverse 30.3 x 20 in. – 77 x 51 cm

This work is reproduced in the catalogue raisonné of the artist written by Alexandre De La Salle under the reference number 232, page 217.

Estimate: $60,000 - $80,000

CATALOG OCT25 FINAL indesign.indd 34 9/29/2012 6:52:46 PM 35

CATALOG OCT25 FINAL indesign.indd 35 9/29/2012 6:52:50 PM Martha Boto moved to Paris in 1959 where she remained until the end of her career. Early on, she investigated the possibilities offered by abstract and constructivist art and became an active figure of the Kinetic Art and Op Art movements. During her career, she was influenced by artistic research from a wide variety of schools and styles rang- ing from impressionist to expressionist painting or even surrealism and abstraction.

Martha Boto began to take an interest in geometric abstraction around 1954 when she experimented with light and colour, as well as randomness and the constantly mor- phing nature of movement. In her paintings, Boto expresses movement using undulating rhythms and plays with the tangible texture of paint. In the present work from 1955, she incorporates more graphic and defined patterns, pushing the limits of the artist’s ability to distort space and create undefined depth, and setting in motion more or less rhythmi- cally arranged reflecting elements that repro- duce three-dimensional structures of geometric abstraction. In both works, Boto seems to have a preference for more subdued tones, whereas in later works, she evolved towards a sharper and more defined colour scheme.

41 Martha BOTO (1925-2004) Argentine school Proyeccion, 1954 Oil on canvas, signed and dated lower right, countersigned, dated, titled, situated Argen- tine and label from the Sammer Gallery on the reverse 37.4 x 22.5 in. – 95 x 57 cm.

Estimate: $ 30,000 – 40,000

Provenance Private Collection Sotheby’s New York, May 27, 2009 Latin American Art Sale, lot n28 Acquired directly from the artist

CATALOG OCT25 FINAL indesign.indd 36 9/29/2012 6:52:50 PM 37

CATALOG OCT25 FINAL indesign.indd 37 9/29/2012 6:52:54 PM 42 Hugo DEMARCO (1932–1995) Argentine school Untitled, 1972 Acrylic on canvas, signed, dated and situated Paris on the reverse 32 x 19.5 in. – 81 x 49.5 cm.

Estimate: $ 8,000 – 10,000

Provenance Private Collection

43 Hugo DEMARCO (1932–1995) Argentine school Vibration, 1961 Acrylic on paper, signed, dated, titled, numbered 23 and situated Paris on the reverse 19.8 x 19.8 in. – 50.5 x 50.5 cm.

Estimate: $ 5,000 – 6,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 38 9/29/2012 6:52:57 PM 39

44 Hugo DEMARCO (1932-1995) Argentine School Untitled, 1969 Oil on canvas, signed, dated and situated Paris on the reverse 56 x 56 in. – 142 x 142 cm.

Estimate: $ 10,000 – 12,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 39 9/29/2012 6:53:00 PM 45 Martha BOTO (1925-2004) Argentine school Untitled, 1955 Oil on jute, signed and dated lower right 19.7 x 15.75 in. – 50 x 40 cm. (à vue)

Estimate: $ 30,000 – 40,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 40 9/29/2012 6:53:00 PM 41

CATALOG OCT25 FINAL indesign.indd 41 9/29/2012 6:53:02 PM 46 Julio LE PARC (born in 1928) Argentine school Serie 34B N12-8 8-12, 1959-1970 Collage on paper, signed lower right, countersigned, titled and numbered on the reverse 20 x 20 in. (collage) - 51 x 51 cm (sheet)

Estimate: $ 6,000 – 8,000

Provenance Private Collection Tajan, November 28th 2007, Contemporary Art Sale, lot n165

47 Martha BOTO (1925- 2004) Argentine school Atractions, 1975 Oil on canvas, signed lower right, countersigned, titled, dated and situated Paris on the reverse 19.75 x 19.75 in. – 50 x 50 cm. (à vue)

Estimate: $ 8,000 – 10,000

Provenance Private Collection Lombrail & Teucqam, April 14, 2008 Art Contemporain Tableaux et Sculptures, lot n16

CATALOG OCT25 FINAL indesign.indd 42 9/29/2012 6:53:09 PM 43

48 Martin BLASZKO (1920-2011) Argentine school 1, 2, 3 … infinito, 1993 Acrylic and collage on hardboard, monogrammed and dated lower left, countersigned, titled, dated and label from the Galerie Claude Dorval on the reverse 9.5 x 12.5 in. – 24 x 32 cm (à vue)

Estimate: $ 10,000 – 12,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 43 9/29/2012 6:53:12 PM Gyula Kosice has defined himself as one of the most important figures of kinetic art and luminance vanguard of the 20th century, with more than 50 personal and 500 group exhibitions featuring his artwork. He was the first on the international scene to incorporate elements such as water and neon gas in his works, while also tapping into experiments with light and movement.

Towards the middle of the 1940s he pro- moted the Arte Madì movement by producing his first mobile sculptures with removable elements thus inviting the spectator to inter- act with his artwork. He not only used wood and metal, but also neon gas. Later on, by choosing Plexiglas as a main support for his sculptures, he transcends the boundaries of the physical work and plays with light effects.

It was in the 1950s that he began to incorporate the aquatic element in his Hy- drosculptures as seen in the present work. Its shape is irregular and boasts three-dimensional mechanical elements as well as a refined combination of various tones of blue, each sharply defined and individual.

49 Gyula KOSICE (born in 1924) Argentine school Untitled Varnish on Plexiglas and water structure 28.3 x 7 x 1.25 in. – 72 x 18 x 3 cm.

Estimate: $ 12,000 – 15,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 44 9/29/2012 6:53:13 PM 45

CATALOG OCT25 FINAL indesign.indd 45 9/29/2012 6:53:17 PM 50 Martha BOTO (1925-2004) Argentine school Espera, 1954 Oil on canvas, signed and dated lower right, countersigned, dated, titled and situated Buenos Aires on the reverse 37.4 x 27.5 in.— 95 x 70 cm.

Estimate: $ 30,000 – 40,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 46 9/29/2012 6:53:17 PM CATALOG OCT25 FINAL indesign.indd 47 9/29/2012 6:53:19 PM 51

51 Raul PAVLOTZKY (1918-1998) Uruguayan school Untitled, 1956 Paint on sheet metal, signed and dated upper left 19.8 x 23.75 in. – 50.5 x 60.5 cm. (à vue)

Estimate: $ 8,000 – $10,000

Provenance Private Collection

52 Enio IOMMI (born in 1926) Argentine school Untitled, 1971 Metal sculpture on stone base, signed and dated on the base Height : 33.5 in. – 85 cm (base included)

Estimate: $ 25,000 – $30,000

Born in 1926 into a family of artists, Enio Iommi is one of the most representative Constructiv- ist sculptors in Argentina and one of the co-founders of the Arte Concreto-Invención movement in 1946. It was in his father’s metal workshop that he started practicing sculpture, and by the late 1940s he was creating his first abstract works in stainless steel, aluminum, wood, bronze and acrylics. Provoking through the deliberately limited variety of materials, interplay of clear-cut lines and powerful movement, these sculptures represent the emergence of avant-garde art in Argentina.

CATALOG OCT25 FINAL indesign.indd 48 9/29/2012 6:53:22 PM 49

CATALOG OCT25 FINAL indesign.indd 49 9/29/2012 6:53:27 PM 53 Eduardo Ramírez VILLAMIZAR (1992-2004) Colombian School Mayan Serpent No. 2, 1961 Wood and metal relief; signed on the reverse 38 x 45.25 in. – 96.5 x 115 cm.

Estimate: $20,000 - $30,000

CATALOG OCT25 FINAL indesign.indd 50 9/29/2012 6:53:31 PM 51

54 Iole de FREITAS (born in 1945) Untitled, 1996 Mesh and brass wire sculpture 31.5 x 23.5 x 15.75 in. - 80 x 59.5 x 40 cm

Estimate: $15,000 - $20,000

CATALOG OCT25 FINAL indesign.indd 51 9/29/2012 6:53:31 PM 55 Jean-Pierre VASARELY (1934-2002) Plano Serial, 1968 Metal and paint; signed Artist’s Proof 23.75 x 23.75 x 10.5 in. - 60 x 60 x 27 cm

Estimate: $6,000 - $8,000

CATALOG OCT25 FINAL indesign.indd 52 9/29/2012 6:53:31 PM 53

56 NEDO (1926-2001) Progresión 41, 1970 Oil on wood, signed on the reverse 26.25 x 40 x 2.25 in. - 66.5 x 102 x 6 cm.

Estimate: $20,000 - $25,000

CATALOG OCT25 FINAL indesign.indd 53 9/29/2012 6:53:32 PM 57 Jose GURVICH (1927-1974) Uruguayan school Figuras constructivas, 1949 Oil on canvas, signed lower left and dated lower right, label from the Galería de la Ciudadela (Uruguay) on the reverse 16.5 x 13.75 in. – 42 x 35 cm. (à vue)

Estimate: $15,000 – $20,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 54 9/29/2012 6:53:36 PM 55

58 Jose GURVICH (1927-1974) Uruguayan school Pez constructivo n°83, circa 1950-1952 Oil on wood 12.25 x 18 .5 in. – 31 x 47 cm.

Estimate: $25,000 – $30,000

Provenance Private Collection Private Collection, Santiago, Chile Exhibition “Un canto a la vida” Santiago, Chile, March 2003 under number 83

CATALOG OCT25 FINAL indesign.indd 55 9/29/2012 6:53:38 PM 59 Manuel PAILOS (1918-2005) Uruguayan school Untitled Oil on panel, signed upper right 12.5 x 14.5 in. – 31.5 x 37 cm.

Estimate: $6,000 – $7,000

Provenance Private Collection

Manuel Pailos is one of the most prominent figures of Constructivism in Uruguay and Latin America.

He was fascinated by art from an early age and studied in the Circulo de Bellas Artes under such masters as Laborde and Cuneo. Soon after, he joined the studio of Joaquin Torres-Garcia who would have a huge impact on his art. There he experimented with materials such as plaster, wood, porous cement and brick dust as well as different natural pigments.

His paintings are easily identifiable thanks to the consistency of visual elements that he used during his whole career and through a profusion of geometrical elements and primal colours. His paintings on panel and canvas exemplify the perpetually shifting character of perception, the simultaneity of different points of view that morph in one’s mental representations of the world by means of the artist’s deep sensitivity towards graphic design and chromatic refinement.

60 Manuel PAILOS (1918-2005) Uruguayan school Untitled Oil on canvas mounted on cardboard, signed upper left 11.25 x 13.75 in. - 28.5 x 35 cm

Estimate: $ 5,000 – $7,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 56 9/29/2012 6:53:42 PM 57

61 Jose GURVICH (1927-1974) Uruguayan school Yerba, 1949 Oil on canvas, dated upper left 13.75 x 16.75 in. - 35 x 42.5 cm

Estimate: $ 20,000 – 22,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 57 9/29/2012 6:53:50 PM 62 Jorge Jiménez DEREDIA (born in 1954) Costa Rican School Untitled Series of four bronze figures with granite base; signed, stamped and numbered 9/100 on the largest sculpture 19.75 x 4.75 x 6 in. - 50 x 12 x 15.5 cm.

Estimate: $6,000 - $8,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 58 9/29/2012 6:53:54 PM 59

63 Sophia VARI (born in 1940) Untitled Bronze with granite base; signed, numbered 1/6, and stamped with the foundry mark on the side 18 x 4.75 x 4.75 in. - 46 x 12.5 x 12.5 cm.

Estimate: $12,000 - $15,000

Provenance Private Collection

CATALOG OCT25 FINAL indesign.indd 59 9/29/2012 6:53:58 PM 64

64 Raul PAVLOTZKY (1918-1998) 65 Fabian MARCACCIO (born in 1963) Uruguayan school Argentinean School Untitled Untitled, 1995-96 Oil on canvas; signed lower right Acrylic, burlap, and mixed media on 13.4 x 23.75 in. - 34 x 60.5 cm canvas; signed and dated on the reverse 53.5 x 49 in. – 136 x 125 cm. Estimate: $ 6,000 – 8,000 Estimate: $15,000 - $20,000 Provenance Private Collection Provenance: Purchased from the artist

CATALOG OCT25 FINAL indesign.indd 60 9/29/2012 6:54:02 PM 61

The Ecuadorian sculptor and painter Estuardo Maldonado decided at an early age that the best possible way to gain knowledge was by observing nature. Thus the natural world as well as his ancestors’ culture greatly inspired him and are reflected throughout his oeuvre. Maldonado adhered to the Constructivist ideology, embracing abstract and geometric forms, and became a member of the Informalist art group VAN (Vanguardia Artísti- ca Nacional). In 1957, he was able to travel to France, Germany and the Netherlands thanks to a scholarship and eventually settled in Rome where he pursued his studies.

Maldonado has taken part in a great number of exhibitions and Biennales around the world. He has won many awards in France, Italy, Spain and in his home country, including the Premio Eugenio Espejo, Ecuador’s most prestigious award for the Arts.

66 Estuardo MALDONADO (born in 1930) Ecuadorian School Dimensionalista Cinque, 1986 Acero-Inox color; described and signed on the reverse 37 x 37 in. - 94 x 94 cm.

Estimate: $15,000 - $20,000

Provenance Purchased from the artist

CATALOG OCT25 FINAL indesign.indd 61 9/29/2012 6:54:04 PM 67 Emilio PETTORUTI (1892-1971) Argentine school Jeune femme assise, 1920 Ink on paper, signed and dated lower right, countersigned on the reverse 5.25 x 3.75 in. – 13.5 x 9.5 cm. (à vue)

Estimate: $ 6,000 – 8,000

CATALOG OCT25 FINAL indesign.indd 62 9/29/2012 6:54:07 PM 63

68 Pablo Curatella MANES (1891-1963) Argentine school Chevalier Bronze sculpture, signed on the right-hand side of the base, founder’s stamp on the left 28 x 22 x 9.5 in. – 71 x 56 x 24 cm.

Estimate: $ 40,000 – 50,000

CATALOG OCT25 FINAL indesign.indd 63 9/29/2012 6:54:11 PM 69

69 Jose Yepez ARTEAGA (20th century) Ecuadorian School Mountain Landscape Oil on canvas, signed lower right 19 x 26 in. - 48.25 x 66 cm.

Estimate: 1,500- 2,000

70 Rogelio POLESELLO (born in 1939) Argentinean school Autumn Wind, 1960 Oil on canvas; signed lower left in red, plaque on the frame “Rogelio Polesello, oil oncanvas 34 x 20 in. - 61 x 51 cm.

Estimate: $3,000 - $5,000

OEA Museum, WA. DC, Dallas Museum Texas, Coll. Jose Gomez Sicre WA. DC.

CATALOG OCT25 FINAL indesign.indd 64 9/29/2012 6:54:19 PM 65

71 Victor Patricio LANDALUZE (1830-1889) Cuban School The Storyteller Watercolor on paper 8.25 x 10.5 in. - 21 x 27 cm.

Estimate: $6,000 - $8,000

Provenance Private Collection, Paris

CATALOG OCT25 FINAL indesign.indd 65 9/29/2012 6:54:20 PM 72 Marc CHAGALL (1887-1985) Woman, man and painter Lithograph on Arches paper, signed lower right and numbered 14/30 lower left 22 x 15 in. - 55.5 x 38 cm.

Estimate: $ 1,500 – 2,000

73 Marc CHAGALL (1887-1985) Nuit d’été Colour Lithograph on Arches paper, signed lower right and numbered 16/50 lower left 22 x 15 in. - 56 x 38 cm

Estimate: $ 1,500 – 2,000

74 Marc CHAGALL (1887-1985) Le Tronc d’Arbre aux Fleurs Color lithograph, signed and numbered 54/100 lower right 11.5 x 9 in. - 29 x 23 cm

Estimate: $ 1,000 – 1,200

CATALOG OCT25 FINAL indesign.indd 66 9/29/2012 6:54:24 PM 67

75 Henri MATISSE (1869 – 1954) Chinoise au visage de face, 1947 Lithograph, annotated épreuve de l’Atelier Mourlot lower left and annotated lithographie originale de Henri Matisse, #623 lower right, printed by Mourlot, Paris 19 x 13 in. – 48.5 x 33 cm.

Estimate: $ 1,200 – 1,500

76 Marc CHAGALL (1887-1985) David & Bathsheba Color lithograph on rice paper, signed lower right and numbered 24/50 lower left 21.5 x 15.75 in. - 55 x 40 cm.

Estimate: $ 4,000 – 6,000

77 Marc CHAGALL (1887-1985) King David Playing the Lyre Color lithograph, signed lower right and numbered 45/50 lower left 16 x 12.5 in. - 41 x 32 cm.

Estimate: $ 2,500 – 3,000

CATALOG OCT25 FINAL indesign.indd 67 9/29/2012 6:54:28 PM 78 Marc CHAGALL (1887-1985) The Circus Lithograph on Arches paper, signed lower right and numbered 15/40 lower left 29 x 21.25 in. - 74 x 54 cm.

Estimate: $ 2,000 – 2,500

79 Marc CHAGALL (1887-1985) Biblical scene Lithograph on Arches paper, signed lower right and numbered 13/50 lower left 10.75 x 13.75 in. - 27.5 x 35 cm.

Estimate: $ 1,000 – 1,200

80 Marc CHAGALL (1887-1985) Les Prophètes, La Bible Lithograph, signed lower right and numbered 23/75 lower left 15.75 x 12.25 in. - 40 x 31 cm.

Estimate: $600 - $800

81 Marc CHAGALL (1887-1985) Biblical scene Lithograph on Arches paper, signed lower right and numbered 3/15 lower left 10.75 x 14 in. - 27.5 x 35.5 cm.

Estimate: $ 1,000 – 1,200

CATALOG OCT25 FINAL indesign.indd 68 9/29/2012 6:54:37 PM 69

82 Joan MIRO (1893-1983) Composition Lithograph, signed lower right and numbered XLVII/L lower left 17.5 x 26.25 in. - 44.5 x 66.5 cm.

Estimate: $ 2,000 – 2,500

83 Joan MIRO (1893-1983) La Translunaire Color etching and aquatint, signed lower right and numbered 13/50 lower left 29 x 21.25 in. - 73.5 x 54 cm.

Estimate: $ 2,500 – 3,000

84 Francois MORELLET (born in 1926) Untitled, 1952 Serigraphy, signed and dated lower right, numbered 74/ 90 lower left Edition of 90 27 x 27 in. - 68.5x 68.5 cm.

Estimate: $ 2,000 – 3,000

CATALOG OCT25 FINAL indesign.indd 69 9/29/2012 6:54:47 PM 85 Francis BACON (1909-1992) The Human Body (Study for Metropolitan Museum), 1975 Color lithograph, signed lower left and numbered 126/200 lower right 45.25 x 34 in. - 115 x 86 cm.

Estimate: $8,000 - $10,000

CATALOG OCT25 FINAL indesign.indd 70 9/29/2012 6:54:49 PM 71

86 Francis BACON (1909-1992) Bullfight no. 1 (study), 1971 Color lithograph; signed lower right and numbered 109/150 lower left 49.5 x 45.25 in. – 126 x 115 cm.

Estimate: $40,000 - $60,000

In 1969, while he was living in London, Francis Bacon became interested in Corrida, or bullfighting, a rare theme throughout his oeuvre. Indeed he would only paint three canvases on the subject, including Etude pour une corrida n°2 which hangs today in the Musée des Beaux-Arts in Lyon, France. The present lithograph was made after Etude pour une corrida n°1, 1969. All three works boast very similar compositions in which brown shades prevail. The bull and the torero are isolated in a circular space, a set-up which the artist was especially fond of. The playful use of curves and counter-curves guides the viewers’ eyes and invites them to step in and join the dance. These curves imbue the composition with a dynamic feel and mimic the spinning of the bull as it dodges the torero’s attacks, all the while highlighting the vio- lence of the scene. With so much going on in the foreground, the audience, crammed into a rather sad- looking cylindrical space taken over by greyish tones and disorder, almost goes unnoticed in the distance.

CATALOG OCT25 FINAL indesign.indd 71 9/29/2012 6:54:52 PM 87 Mel RAMOS (born in 1935) Tea at 5pm, 2008 Enamel on steel; hand signed lower right and numbered 30/125 lower left 23.6 x 27.1 in. – 60 x 68.5 cm.

Estimate: $2,000 - $3,000

88 Robert INDIANA (born in 1928) Love, 1995 Print; signed and dated lower right, numbered 97/300 lower left 39 x 39 in. – 99 x 99 cm.

Estimate: $5,000 - $7,000

89 Mel RAMOS (born in 1935) Woman with Chimpanzee, 1969 Litho- graph in colors; signed and dated in pencil lower right , Annotated Mourlot Proof lower left, printed by Mourlot, Paris Edition: printer’s proof, aside of the edition of 100 24 x 32 in. – 61 x 81.3 cm

Estimate: $ 300 – 500

CATALOG OCT25 FINAL indesign.indd 72 9/29/2012 6:55:07 PM 73

90 Peter PHILLIPS (born in 1939) Hex a Doodle Doo Oil on canvas; signed and titled on the reverse 27.5 x 19.75 in. - 70 x 50 cm.

Estimate: $8,000 - $10,000

91 Herve Di ROSA (born in 1959) French School Untitled, 2006 Acrylic on canvas; signed, dated and monogramed M.B. lower left 36 x 60 in. - 91.5 x 152.5 cm.

Estimate: $6,000 - $8,000

Exhibition: One Man Show, Bass Museum of Art, Miami Beach, FL 2006 Literature: ‘Made in Miami: Herve Di Rosa’s Around the World / 12th Stage’, Bass Museum of Art (2006)

CATALOG OCT25 FINAL indesign.indd 73 9/29/2012 6:55:22 PM 92

92 Paul CEZANNE (1839-1906) 93 Two-volume catalogue raisonné Etudes d’après Madame Cézanne et le petit Paul Pencil on greyish-brown of Paul Cézanne’s work by paper Lionel VENTURI. 9 x 7.8 in. – 23 x 20 cm. Paul Rosenberg Editeur, 1936 Edition of 1000 copies, this is Estimate: $ 20,000 – 30,000 number 11

Sir Kenneth Clarke collection, London Estimate: $ 8,000 – 10,000 Leicester Galleries collection 1946 Gismond Visgani Whitford Fine art collection, London Private collection NYC This work is reproduced in the artist’s catalogue raisonné written by L.VENTURI under the reference number n°1472

CATALOG OCT25 FINAL indesign.indd 74 9/29/2012 6:55:35 PM 75

CATALOG OCT25 FINAL indesign.indd 75 9/29/2012 6:55:56 PM 94 Pablo PICASSO (1881-1973) Nu debout, 1906 Pencil on paper 6.75 x 4.25 in. – 17 x 10.5 cm.

Estimate: $ 30,000 – 40,000

Maya Widmaier Picasso has confirmed the authenticity of this lot.

CATALOG OCT25 FINAL indesign.indd 76 9/29/2012 6:55:57 PM 77

CATALOG OCT25 FINAL indesign.indd 77 9/29/2012 6:56:06 PM 95 Josef CAPEK (1887-1945) Czech School Woman with a Guitar, 1917 Terracotta; signed and dated on the base 11 x 4.25 x 4.25 in. - 28 x 10.8 x 10.8 cm.

Estimate: $3,000 - $4,000

96 Josef CAPEK (1887-1945) Czech School Composition, 1919 Terracott;, signed and dated on the base 10.5 x 3 x 2.75 in. - 27 x 8 x 7 cm.

Estimate: $3,000 - $4,000

CATALOG OCT25 FINAL indesign.indd 78 9/29/2012 6:56:14 PM 79

97 Josef CAPEK (1887-1945) Robot Bronze; monogramed J.C. 17 on the bottom 14 x 12 x 50 in - 35.5 x 30.5 x 127 cm.

Estimate: $12,000 - $15,000

CATALOG OCT25 FINAL indesign.indd 79 9/29/2012 6:56:20 PM 98 Boris CHALIAPIN (1904-1979) An extremely prolific artist with diverse interests, Boris Chaliapin painted Russian School portraits of actors, musicians, and dancers, in addition to nudes and land- Portrait of Madame Elena Balieff, 1937 scapes. He also created caricatures, costume designs, and sculptures. Oil on Canvas; signed and dated lower In 1935, Chaliapin left Paris for New York.This portrait depicts Elena left Balieff, the wife of the Moscow theater director Nikita Balieff, who 24.75 x 20.5 in. - 63 x 52 cm. opened his Theatre de la Chauve-Souris (The Bat Theater) in Paris in 1920. Balieff’s shows consisted of songs, dances, and sketch- Estimate: $12,000 - $15,000 es. Following Balieff’s relocation to New York in 1922, the theater was in existence in that city from then until Balieff’s death in 1936.

In the United States, Chaliapin became one of the most prized il- lustrators for Time magazine, producing over four hundred cover illustrations for the magazine between 1939 and 1970. Among his most famous images for Time are portraits of Jawa- harlal Nehru, Jacqueline Kennedy, and Richard Nixon.

CATALOG OCT25 FINAL indesign.indd 80 9/29/2012 6:56:23 PM 81

99 Simon LISSIM (1900-1981) Untitled, 1959 Oil on panel; signed and dated lower right 30 x 24 in. - 76.25 x 61 cm.

Estimate: $6,000 - $8,000

99bis Vladimir NEMUKHIN (born in 1925) Cards, 2007 Collage on canvas, signed and dated on the reverse Edition of 20

Estimate: $2,000 - $2,500

100 Nicholas VASSILIEFF (1892 – 1970) Russian School Country Road Oil on canvas, signed lower right 19.25 x 24.5 in. - 49 x 62 cm.

Estimate: $ 4,000 – 6,000

CATALOG OCT25 FINAL indesign.indd 81 9/29/2012 6:56:31 PM a

b c

101 Group of 5 portraits of David Burliuk by various artists

Estimate: $2,500 - $3,000 d e

a. Nicolai CIKOVSKY b. Dorothy STRAUSER c. Moses SOYER (1894-1984) (1908-2005) (1898-1973) Portrait of David Burliuk Marussia and David Portrait of David Burliuk Oil on canvas; signed Burliuk on Motif, 1965 Pen on paper, signed lower right and in- Oil on board; signed lower left scribed on the reverse and dated lower right, 12 x 9.5 in. – 16.25 x 14 in. – inscribed on the reverse 30.5 x 24 cm. 40.5 x 65.5 cm. 12 x 15.75 in. – 30.5 x 40 cm.

e. Nicolai CIKOVSKY d. Raphael SOYER (1894-1984) (1898-1987) Portrait of David Burliuk, Portrait of David Burliuk 1927 Pen on Paper; dedicated, Mixed media on paper; signed and located lower signed and dated lower right right 11 x 8 in. – 12 x 9 in. – 28 x 20.5 cm. 30.5 x 23 cm.

CATALOG OCT25 FINAL indesign.indd 82 9/29/2012 6:56:31 PM 83

102 Yevgeny RUKHIN (1943-1976) Russian School Untitled, 1975 Mixed Media on canvas; signed in cyrillic and dated ‘75 lower right 27 x 25 in. - 68.5 x 65 cm.

Estimate: $15,000 - $20,000

Provenance: Galina Popova, widow of the artist Sol Del Rio Gallery, San Antonio, TX Private Collection, Abilene, TX

CATALOG OCT25 FINAL indesign.indd 83 9/29/2012 6:56:33 PM 103 Jean Pierre CASSIGNEUL (Born 1935) The Series ‘Toquades’, 1991 Goup of eight: La Curieuse, La Narcissique, La Perverse, La Distraite, La Sportive, La Pleurnicheuse, L’Idiote Color Lithograph, Edition size of 200 numbered 88/200 lower left; signed lower right 23.2 x 16.5 in. - 59 x 42 cm.

Estimate: $1,500 - $2,000

104 Salvador DALI (1904-1989) Los Caballos Dalinianos, 1981 1: Caligula 2: El Centauro de Creta3: Don Quijote 4:Principe Set of 4 Porcelain plates; each signed on the reverse Edition size of 4,000 Diameter: 11 in. – 28 cm.

Estimate:$2,000 - $3,000

Each plate is accompanied by a no- tarized letter stating that the edition was authorized in 1981

CATALOG OCT25 FINAL indesign.indd 84 9/29/2012 6:56:33 PM 85

105 Charles LEVIER (1920-2003) French School Dos Mujeres Watercolor and pen on paper; signed lower left 27.5 x 21.5 in. - 69 x 53.5 cm.

Estimate: $800 - $1,000

106 P. GILLINI (19th century) French School Views of Paris (Porte Saint-Martin and Les Grands Boulevards), c. 1900 Pair of oils on canvas, signed lower left 7 x 11 in. - 18 x 28 cm.

Estimate: $ 2,000 – 4,000

107 Henry MALFROY (1895-1944) French School Le Carrousel Oil on canvas; signed and titled lower right 10.75 x 16.25 in. - 27.5 x 41 cm.

Estimate: $3,000 - $5,000

CATALOG OCT25 FINAL indesign.indd 85 9/29/2012 6:56:37 PM 108 Nejad DEVRIM (1923- 1995) New York, 1980 Watercolor; signed and dated lower right 8 x 11.5 in. - 20 x 29 cm

Estimate: $2,000 - $3,000

109 Jean DUFY (1888-1964) French School La Perche Chinoise Watercolor and Gouache on paper; signed and dedicated to Lucette Descaves lower right 15 x 7 7/8 in. - 38 x 20 cm.

Estimate: $12,000 - $15,000

Literature : Ref j1322 in the catalogue raisonné de jacques bailly volume II page 289.

CATALOG OCT25 FINAL indesign.indd 86 9/29/2012 6:56:38 PM 87

110 Kenzo TAKADA (born in 1939) Japanese School Collection hiver Acrylic on canvas; signed lower left and titled upper left, countersigned and titled on the reverse 59 x 79 in. - 150 x 200 cm.

Estimate: $8,000 - $10,000

CATALOG OCT25 FINAL indesign.indd 87 9/29/2012 6:56:41 PM 111 Diego GIACOMETTI (1902-1985) Les Dompteuses Plaster Model used by Giacometti for lamp stands, table legs and fire dogs. 28.75 x 9.75 x 7.9 in. – 73 x 25 x 20 cm.

Estimate: $ 70,000 – 80,000

Provenance Former collection of Mrs. Darmon acquired from the heirs of the Amaury Foundry

Literature Daniel MARCHESSEAU “Diego Giacometti” ed. Hermann. Paris, 1986. Similar model reproduced on pages 60 and 61.

CATALOG OCT25 FINAL indesign.indd 88 9/29/2012 6:56:41 PM 89

CATALOG OCT25 FINAL indesign.indd 89 9/29/2012 6:56:46 PM 112 Diego GIACOMETTI (1902-1985) 12 leaf-shaped napkin rings Bronze with green patina 4 x 2.4 x 2 in. – 10 x 6 x 5 cm.

Estimate: $10,000 – 12,000

Provenance Private European collection Binoche Renaud-Giquello & Associes, December 15, 2011

CATALOG OCT25 FINAL indesign.indd 90 9/29/2012 6:56:51 PM 91

113 Diego GIACOMETTI (1902-1985) The Ostrich Bronze with brown-green patina and ostrich egg; signed under the ostrich’s body 6 x 9 x 19.75 in. - 15 x 23 x 50 cm.

Estimate: $20,000 - 30,000

CATALOG OCT25 FINAL indesign.indd 91 9/29/2012 6:56:54 PM 114 Diego GIACOMETTI (1902-1985) Lustre aux acrobates Hanging Chandelier Bronze with brown patina; signed along bottom 60 x 30 x 16.25 in. - 152.5 x 76 x 41.5 cm.

Estimate: $60,000 - 80,000

CATALOG OCT25 FINAL indesign.indd 92 9/29/2012 6:57:01 PM FINE ART AUCTIONS MIAMI License: AB3131 346 NW 29 Street Miami FL 33127 Tel (1) 305 573 4228 www.faamiami.com [email protected]

During Art Basel Miami Major Modern Paintings & Sculptures Evening Sale on December 6th at the Ritz Carlton Hotel South Beach in partnership with Nader’s

FREE APPRAISAL FOR CONSIGNMENTS

SPECIALISTS IN NEW YORK & MIAMI SPECIALISTS IN PARIS

Frederic Thut and Dr. Alla Rosenfeld Dan Coissard +1 212 829 8952 - [email protected] +33 1 48 24 6088 - [email protected] Carlos CRUZ-DIEZ (b.1923), Color Aditivo Permutable, 1982. Acrylic on aluminium, 23.6x23.6 in. aluminium, 1982. Acrylic on Permutable, Aditivo Color (b.1923), CRUZ-DIEZ Carlos

CATALOG OCT25 FINAL indesign.indd 93 9/29/2012 6:57:07 PM ABSENTEE BIDS FORM Fine Art Auctions Miami (FAAM, LLC) IMPORTANT PAINTINGS & SCULPTURES Thursday, October 25th, 2012 at 2:30pm

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

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

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

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

Date: Signature (Required):

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

CATALOG OCT25 FINAL indesign.indd 94 9/29/2012 6:57:08 PM 95 Terms and Conditions of Auction

Auctioneer and Auction Conduction the Auction 1. This Auction is presented by Fine Art Auctions Miami, LLC. (FAAM) as identified with the 13. A “Minimum Bid” is an amount below which the lot will not sell. THE CONSIGNOR OF applicable licensing information on the title page of the catalogue. The Auction is conducted under PROPERTY MAY PLACE WRITTEN “Minimum Bids” ON HIS LOTS IN ADVANCE OF THE AUCTION; these Terms and Conditions of Auction and applicable state and local law. Announcements and ON SUCH LOTS, IF THE HAMMER PRICE DOES NOT MEET THE “Minimum Bid”, THE CONSIGNOR corrections from the podium and those made through the Terms and Conditions of Auctions appearing MAY PAY A REDUCED COMMISSION ON THOSE LOTS. “Minimum Bids” are generally posted online on the Internet at FAAMiami.com supersede those in the printed catalogue. several days prior to the Auction closing. For any successful bid placed by a consignor on his Property on the Auction floor, or by any means during the live session, or after the “Minimum Bid” Buyer’s Premium for an Auction have been posted, we will require the consignor to pay full Buyer’s Premium and 2. On bids placed through Auctioneer, a Buyer’s Premium of 23 percent (23%) will be added to Seller’s Commissions on such lot. the successful hammer price bid on each lot up to and including $50,000, 20% from %50,001 to 14. The highest qualified Bidder recognized by the Auctioneer shall be by the Buyer. In the event of $1,000,000 and 15% from $1,000,001 in all Auctions. There is a minimum Buyer’s Premium of $25 a tie bid, the earliest received or recognized wins. In the event of any dispute between any Bidders at per lot. an Auction, Auctioneer may at his sole discretion reoffer the lot. Auctioneer’s decision and declaration of the winning Bidder shall be final and binding upon all Bidders. Bids properly offered, whether by Auction Venues floor Bidder or other means of bidding, may on occasion be missed or go unrecognized; in such cases, 3. FAAM, LLC accepts bids from the Internet, telephone, fax, or mail first, followed by a floor bidding the Auctioneer may declare the recognized bid accepted as the winning bid, regardless of whether a session; and real-time telephone bidding are available to registered clients during these auctions. competing bid may have been higher. 15. Auctioneer reserves the right to refuse to honor any bid or to limit the amount of any bid, Bidders in its sole discretion. A bid is considered not made in “Good Faith” when made by an insolvent or 4. Any person participating or registering for the Auction agrees to be bound by and accepts these irresponsible person, a person under the age of eighteen, or is not supported by satisfactory credit, Terms and Conditions of Auction (“Bidders(s)”). collectibles reference, or otherwise. Regardless of the disclosure of his identity, any bid by a consignor 5. All Bidders must meet Auctioneers qualifications to bid. Any Bidder who is not a client in good or his agent on a lot consigned by him is deemed to be made in “Good Faith.” Any personal apparently standing of the Auctioneer may be disqualified at Auctioneer’s sole option and will not be awarded appearing on the OFAC list is not eligible to bid. lots. Such determination may be made by Auctioneer in its sole and unlimited discretion, at any time 16. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids, prior to, during, or even after the close of the Auction. Auctioneer reserves the right to exclude any or very nominal advances. If a lot bearing estimates fails to open for 40-60% of the low estimate, the person from the auction. Auctioneer may pass the item or may place a protective bid on behalf of the consignor. 6. If an entity places a bid, then the person executing the bid on behalf of the entity agrees to 17. Lots bearing bidding estimates shall open at Auctioneer’s discretion (approximately 50%-60% personally guarantee payment for any successful bid. of the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall pass as unsold. Credit 18. All items are to be purchased per lot as numerically indicated and no lots will be broken. 7. Bidders who have not established credit with the Auctioneer must either furnish satisfactory Auctioneer reserves the right to withdraw, prior to the close, any lots from the Auction. credit information (including two collectibles-related business references) well in advance of the 19. Auctioneer reserves the right to rescind the sale in the event of nonpayment, breach of a Auction or supply valid credit card information. Bids placed through our Interactive Internet program warranty, disputed ownership, auctioneer’s clerical error or omission in exercising bids and reserves, will only be accepted from pre-registered Bidders; Bidders who are not members of FAAM, LLC or or for any other reason in Auctioneer’s sole discretion. In cases of nonpayment, Auctioneer’s election affiliates should pre-register at least 48 hours before the start of the first session granted at the to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and discretion of the Auctioneer. Additionally Bidders who have no previously established credit or who buyer’s premium) and any other damages or expenses pertaining to the lot. wish to bid in excess of their established credit history may be required to provide their social security 20. Auctioneer occasionally experiences Internet and/or server service outages, and Auctioneer number or the last four digits thereof to us so as credit check may be performed prior to Auctioneer’s periodically schedules system downtime for maintenance and other purposes, during which Bidders acceptance of a bid. cannot participate or place bids. If such outages occur, we may at our discretion extend bidding for the Auction. Bidders unable to place their Bids through the Internet are directed to contact Client Services. Bidding Options 21. The Auctioneer, its affiliates, or their employees consign items to be sold in the Auction, and any 8. Bids in Auction may be placed as set forth in the printed catalog section entitled “Choose your bid on those lots or any other lots. Auctioneer or affiliates expressly reserve the right to modify any Bidding Method.” such bids at any time prior to the hammer based on upon data made known to the Auctioneer or its 9. Presentment of Bids: Non-Internet bids (including but not limited to podium, fax, phone and mail affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors. bids) are treated similar to floor bids in that they must be on-increment or at a half increment (called 22. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such a cut bid). Any podium, fax, phone, or mail bids that do not conform to a full or half increment will be lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such rounded up or down to the nearest fill or half increment and this revised amount will be considered sales including but not limited to the Buyer’s Premium, return rights, and disclaimers. your high bid. 10. Auctioneer’s execution of certain high bids. Auctioneer cannot be responsible for your errors Payment in bidding, so carefully check that every bid is entered correctly. When identical mail or FAX bids are 23. All sales are strictly for cash in United States dollars (including U.S> currency, bank wire, submitted, preference is given to the first received. To ensure the greatest accuracy, your written bids cashier checks, travelers checks, and bank money orders, all subject to reporting requirements). All are should be entered on the standard printed bid sheet and be received at Auctioneer’s place of business subject to clearing and funds being received in Auctioneer’s account before delivery of the purchases. at least two business days before the Auction start. Auctioneer is not responsible for executing mail Auctioneer reserves the right to determine if a check constitutes “good funds” when drawn on a bids or FAX bids received on or after the day the first lot is sold, nor Internet bids submitted by U.S. bank for ten days, and thirty days when drawn on an international bank. Credit Card (American telephone, mail, FAX, e-mail, Internet, or in person once the Auction begins. Bids placed electronically Express, Visa or Master Card only) and PayPal payments may be accepted up to $10,000 from non- via the Internet may not be withdrawn until your written request is received and acknowledged by dealers at the sole discretion of the Auctioneer, subject to the following limitations: a/ sales are the Auctioneer (FAX: 305-573-4245); such requests must state the reason, and may constitute grounds only to the cardholder, b) purchases are shipped to the cardholder’s registered and verified address, for withdrawal of bidding privileges. Lots won by mail Bidders will not be delivered at the Auction c) Auctioneer may pre-approve the cardholder’s credit line, d) a credit card transaction may not be unless prearranged. used in conjunction with any other financing or extended terms offered by the Auctioneer, and must 11. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest transact immediately upon invoice presentation, e) rights of return are governed by these Terns and amount you may bid on a particular lot. Bids greater than one increment over the current bid can be Conditions, which supersede those conditions promulgated by the card issuer, f) floor Bidders must any whole dollar amount. It is possible under several circumstances for winning bids to be between present their card. increments, sometimes only $1 above the previous increment. Bids will be accepted in whole dollar 24. Payment is due upon closing of the Auction session, or upon presentment of an invoice. amounts only. No “buy” or “unlimited” bids will be accepted. Auctioneer reserves the right to void an invoice if payment in full is not received within 7 days after the close of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve The following Chart governs current bidding increments. the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) on the lot and Current Bid…………. Bid Increment Current Bid…………. Bid Increment any other damages pertaining to the lot. 25. Lots delivered to you, or your representative in the State of Florida, New York or other states $10 $1 $10,000 - $19,999 $1,000 where the Auction may be held, are subject to all applicable state and local taxes, unless appropriate $10 - $29 $2 $20,000 - $29,999 $2,000 permits are on file with Auctioneer. Bidder agrees to pay Auctioneer the actual amount of tax due $30 - $49 $3 $30,000 - $49,999 $2,500 in the event that sales tax is not properly collected due to: 1) an expired, inaccurate, inappropriate $50-$99 $5 $50,000 - $99,999 $5,000 tax certificate or declaration, 2) an incorrect interpretation of the applicable statute, 3) or any other $100 - $199 $10 $100,000 - $199,999 $10,000 reason. The appropriate form or certificate must be on file at an verified by Auctioneer five days prior $200 - $299 $20 $200,000 - $299,999 $20,000 to Auction or tax must be paid; only if such form or certificate is received by Auctioneer within 4 days $300 - $499 $25 $300,000 - $499,999 $25,000 after the Auction can a refund of tax paid e made. Lots from different Auctions may not be aggregated $500 - $999 $50 $500,000 - $999,999 $50,000 for sales tax purposes. $1,000 - $1,999 $100 $1,000,000 - $1,999,999 $100,000 26. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the $2,000 - $2,999 $200 $2,000,000 - $2,999,999 $200,000 maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck $3,000 - $4,999 $250 $3,000,000 - $4,999,999 $250,000 and your financial institution denies this transfer from your bank account, or the payment cannot $5,000 - $9,999 $500 $5,000,000 - $9,999,999 $500,000 be completed using the selected funding source, you agree to complete payment using your credit > $10,000,000 $1,000,000 card on file. 27. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance 12. If Auctioneer calls for a full increment, a bidder may request Auctioneer to accept a bid at will bear interest at the highest rate permitted by law from the date of invoice until paid. Any invoice half of the increment (“Cut Bid”) only once per lot. After offering a Cut Bid, bidders may continue not paid when due will bear a three percent (3%) late fee on the invoice amount or three percent (3%) to participate only at full increments. Off-increment bids may be accepted by the Auctioneer at of any installment that is past due. IF the Auctioneer refers any invoice to an attorney for collection, Auctions. If the Auctioneer solicits bids other than the expected increment, these bids will not be the buyer agrees to pay attorney’s fees, court costs, and other collection costs incurred by Auctioneer. considered Cut Bids. If Auctioneer assigns collection to its in-house legal staff, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.

CATALOG OCT25 FINAL indesign.indd 95 9/29/2012 6:57:09 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. If the successful bidder wishes FAAM, LLC to organize the the claim is waived. This agreement and any claims shall be determined and construed under Florida shipment of their items, FAAM, LLC. reserves the right to charge a conveniance fee of $50 for an law. The prevailing party (party that is awarded substantial) and material relief on its claim or defense) invoice totaling less than $5000, and $100 for an invoice totaling $5000 and higher. may be awarded its reasonable attorneys’ fees and costs. 36. The laws of various countries regulate the import or export of certain plant and animal 49. No claims of any kind can be considered after the settlements have been made with the properties, including (but not limited to) items made of (or including) ivory, whalebone, turtle shell, consignors. Any dispute after the settlement date is strictly between the Bidder and consignor without coral, crocodile, or other wildlife. Transport of suck lots may require special licenses for export, import, involvement or responsibility of the Auctioneer. or both. Bidder is responsible for: 1) obtaining all information on such restricted items for both export 50. In consideration of their participation in or application for the Auction, a person or entity and import; 2) obtaining all such licenses and/or permits. Delay or failure to obtain any such license or (whether the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) permit does not relieve the buyer of timely compliance with standard payment terms. agrees that all disputes in any way relating to, arising under, connected with, or incidental to these 37. Any request for shipping verification for undelivered packages must be made within 30 days of Terms and Conditions and purchases, or default in payment hereof, shall be arbitrated pursuant to the shipment by Auctioneer. arbitration provision. In the event that any matter including actions to compel arbitration, construe the agreement, actions in aid or arbitration or otherwise needs to be litigated, such litigation shall Cataloging, Warranties, and Disclaimers be exclusively in the Courts of the State of Florida, in Miami-Dade County, Florida, and if necessary 38. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY the corresponding appellate courts. For such actions, the successful Bidder, purchaser, or Auction DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of the items participant also expressly submits himself to the personal jurisdiction of the State of Florida. or second opine contained in this Auction is for the sole purpose of identifying the items for those 51. These Terms & Conditions provide specific remedies for occurrences in the auction and delivery Bidders who do not have the opportunity to view the lots prior to bidding, and no description of process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that any items ahs been made part of the basis of the bargain or has created any express warranty that the claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided in these goods would conform to any description made by Auctioneer. Color variations can be expected in Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum liability exceed any electronic or printed images, and are not grounds for the return of any lot. NOTE: Auctioneer, in the high bid on that lot, which bid shall be deemed for all purposes the value of the lot. specified auction venues, for example, Fine Art, may have express written warranties and you are referred to those specific terms and conditions. Miscellaneous 39. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have 52. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, by virtue of consignment agreements on the date of auction and disclaims any warranty of title inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize to the Property. Auctioneer disclaims any warranty of merchantability or fitness for any particular the Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, purposes. All images, descriptions, sales data, and archival records are the exclusive property of are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any provision, Auctioneer reserves the right to charge the Bidder the applicable Buyer’s Premium and other uses deemed appropriate. consignor a Seller’s Commission as determined for each auction venue and by the terms of the Seller’s 40. Translations of foreign language documents may be provided as a convenience to interested agreement. parties. Auctioneer makes no representation as to the accuracy of those translations and will not be 53. Acceptance of these Terms and Conditions qualifies Bidders as a client who has consented to held responsible for errors in bidding arising from inaccuracies in translation. be contacted by FAAM, LLC in the future. In conformity with “do-not-call” regulations promulgated by 41. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being or in connection with the sale of any Property by Auctioneer to Bidder. No third party may rely contact at the phone number shown in his application shall remain in effect until it is revoked in on any benefit of these Terms and Conditions and any rights, if any, established hereunder are writing. FAAM, LLC may from time to time contact Bidder concerning sale, purchase, and auction personal to the Bidder and may not be assigned. Any statement made by the Auctioneer is an opportunities available through FAAM, LLC and its affiliates and subsidiaries. opinion and does not constitute a warranty or representation. No employee of Auctioneer may 54. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and alter these Terms and Conditions, and, unless signed by a principal of Auctioneer, any such as such, specific venues have promulgated supplemental Terms and Conditions of Auction by these alteration is null and void. additional rules and shall be construed to give force and effect to the rules in their entirety. 42. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); such defects, in any event, shall not be a basic for any claim for return or reduction in purchase price.

CATALOG OCT25 FINAL indesign.indd 96 9/29/2012 6:57:09 PM 27. Pour toute facture émise par le commissaire-priseur et non réglée à son échéance, le solde dû portera des intérêts au plus haut taux légal à compter de la date de facturation et ce jusqu’au paiement. Toute facture non réglée à son échéance portera des intérêts de retard de trois pourcent (3%) sur le montant de la facture ou trois pourcent (3%) sur les acomptes encore dus. Si le commissaire-priseur doit faire appel à un avocat pour recouvrer la créance, l’acheteur s’engage à payer les frais d’avocat et toute autre dépense encourue par le commissaire-priseur. Si le commissaire-priseur confie à son personnel judiciaire la tâche de recouvrement, une compensation comparable au taux horaire d’un avocat indépendant sera demandée pour le temps consacré à l’affaire.

28. En cas de défaut de paiement de l’adjudicataire, le commissaire-priseur a le droit de vendre le(s) lot(s) au sous-enchérisseur de cette même vente ou de le(s) présenter lors d’une vente publique ou privée ultérieure. L’adjudicataire défaillant s’engage à payer les frais de remise en vente (dont les 10% de frais vendeur si remis en vente chez le même commissaire-priseur). L’adjudicataire défaillant s’engage à payer soit la différence entre le prix total facturé à l’origine, plus les intérêts le cas échéant, et le produit net de la vente du ou des lots si vendu en vente privée, soit la différence entre le nouveaux prix marteau du ou des lots et les 10% de frais vendeur si vendu aux enchères avec le commissaire-priseur.

30. Le commissaire-priseur pourra exercer un droit de rétention sur le bien adjugé afin de garantir le paiement de la facture. Le commissaire-priseur pourra aussi exercer un droit de rétention sur tout autre bien appartenant à l’acheteur que le commissaire-priseur ou ses partenaires auraient en leur possession afin de garantir le paiement de toute facture ou somme due au commissaire-priseur ou à ses partenaires par l’acheteur. Concernant le paiement des factures de vente, l’acheteur renonce à tout droit de compensation dont il aurait pu bénéficier à l’encontre du commissaire-priseur et du vendeur sur la marchandise figurant sur la facture. Si l’adjudicataire est redevable envers le commissaire-priseur ou ses partenaires, ces derniers auront un droit de compensation sous forme de tout solde restant dû à l’adjudicataire, et ils pourront exercer un droit de rétention sur toute marchandise appartenant à l’adjudicataire et qu’ils auraient en leur possession.

31. Aucun lot ne sera délivré à l’adjudicataire tant que toutes les factures n’auront pas été réglées dans leur intégralité. Il est de la responsabilité de l’acheteur d’assurer les biens une fois ces derniers délivrés au transporteur de la maison ou à un transporteur tiers. Additional Terms & Conditions FINE & DECORATIVE ARTS AUCTIONS

Cover: Lot 56 Back cover: Lot 66

inside cover and back.indd 1 9/29/2012 1:15:47 PM FINE ART AUCTIONS MIAMI FINE ART AUCTIONS MIAMI OCTOBER 25TH 2012

IMPORTANT PAINTINGS AND SCULPTURES OCTOBER 25TH 2012

IMPORTANT PAINTINGS AND SCULPTURES AUCTION

FINE ART AUCTIONS MIAMI OCTOBER 25TH 2012 - MIAMI IMPO RT ANT P AINTINGS AND SCULPTURE S AUCTION

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