Important Cuban Artworks Volume Fifteen

IMPORTANT CUBAN ARTWORKS VOLUME FIFTEEN

Cernuda Arte 1

NOT AVAILABLE Cundo Bermúdez (1914–2008), After the Performance, (Después de la Función), ca. 1956, watercolor on heavy paper laid down on board, 12 x 17 ¾ inches This painting is accompanied by a photo-certificate of authenticity signed by the artist.

René Portocarrero, Landscape, 1944 (illustrated on the cover) René Portocarrero (1912–1985), Landscape, (Paisaje), 1944, oil on board, 31 x 35 inches Please reference pages 52–53 for additional information.

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IMPORTANT CUBAN ARTWORKS VOLUME FIFTEEN

W

elcome to Important Cuban Artworks, in its Fifteenth Edition. This past year, 2017, has seen a whirlwind of activities around Cuban art.

So many events in museums, and gallery exhibitions, public conversations by panelists and speakers, articles and critical essays in the general press and the trade media, awards and scholarships to creators on the Island and in exile have occurred this year in our chosen field, that it would be impossible to detail it all now. Suffice to say, that the art of the Island and its Diaspora dispersed throughout the world, especially its twentieth century modernists and its more recent contemporary output, continues its advance into the highest levels of international recognition.

While all these highly visible happenings are taking place, assiduously and with little fanfare, experts and academics have been producing monographs and books related to the Island’s art and its artists. These contributions, significant as they are, generally do not attract the most attention, nor substantial enumeration.

Books so often are taken for granted, while ironically being the essential component to an art field that aspires to transcend the fashionable, the hip and the epidermal. To consolidate connoisseurship and expand advanced knowledge, the availability and access to the sources that store wisdom is indispensable. (continues on next page)

Cernuda Arte’s Staff (from left to right): Eric González, Nercys Cernuda, Ramón Cernuda, Isabel M. Suárez and Jorge Palomino Cernuda Arte provides a warranty of authenticity for every artwork offered in this catalog, according to the terms established in the Certificate of Authenticity that Cernuda Arte issues to the buyer(s) of artworks acquired from Cernuda Arte.

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Today we highlight the publications that have recently reinforced the bookshelves of our libraries, books about different aspects of Cuban art that will illuminate the path of many, now and in the future.

• Mariano - Catálogo Razonado, 1935-1949, Anexo al Volumen 1, and Mariano - Catálogo Razonado, Volumen 2, 1950-1966. (Two Books). José Veigas and Beatriz Gago, Fundación Arte Cubano. Printer: Artes Gráficas Palermo, Madrid, Spain, 2017.

• Fabelo - Persistencia, Roma, Palazzo della Cancelleria. Texts by: Luciano Caprile and Eusebio Leal.

Coordination: Mario José Hernández. Printer: Tipolitografía Campisi, Arcugnano, Italy, 2017.

• Diago: The Pasts of This Afro-Cuban Present, Alejandro de la Fuente, Harvard University Press, Cambridge, Massachusetts, 2017.

• Pedro Pablo Oliva - Extraños Juegos. Texts by: Pedro Pablo Oliva, David Horta, Nelson Herrera Ysla, Jorge de la Fuente, Dagoberto Valdés, and others. General Coordination: Silvia Oliva. Printer: Selvi Artes Gráficas, Valencia, Spain, 2017.

• Andrés, (a book about artist, Andrés García). Texts by: Alejandro Rodríguez Alomá, Martín Garrido Gómez and Jorge R. Bermúdez, Eduardo Arrocha and Axel Li. Producer: Jorge Luis del Busto. Editor: A. Li Cabrera. Fundación de Arte Cubano, Printer: Artes Gráficas Palermo, Madrid, Spain, 2016.

• Mírame Así: Habaneras y Guajiros de Servando Cabrera Moreno, (a book dedicated to artist, Servando Cabrera Moreno), authored by: Rosemary Rodríguez and Neida Peñalver. Publisher: Editorial Polymita, Guatemala City, Guatemala, 2017.

• Aldo Menéndez. Text by Aldo Menéndez. Editor: Carlos Villanueva Frigola. Printer: Bio Partners, SAC, Santiago de Surco, Lima, Peru, 2017.

• Rafael Soriano: The Artist as Mystic. Editor: Elizabeth Thompson Goizueta. Texts by: Alejandro Anreus, Elizabeth Thompson Goizueta, Roberto Cobas Amate, Roberto Goizueta and Claude Cernuschi.

Publisher: Mc Mullen Museum of Art, Boston College, 2017.

• Del Arte en Cuba, Las Artes Visuales Entre 1900 y 1930, Llilian Llanes Godoy, Editorial Letras Cubanas, Havana, Cuba.

The intellectual output of these investigators and art historians, coupled with the economic support of producers and collectors, along with the expertise and tradesmanship of laborious printers has yielded a record crop of reference publications in the near past. This enhanced and cumulative bibliography, secured without governmental involvement, is gradually changing the panorama of Cuban Art, as readers now can familiarize themselves with the body of works of artists, art movements and different periods in Cuban art history.

To all who have made available this wealth of knowledge, we extend our most sincere gratitude.

Ramón C ernuda

Esteban Chartrand (1840-1883), Landscape with River and Royal Palm, (Paisaje con Río y Palma Real ), ca 1870, graphite on heavy paper laid down on board, 3 3/8 x 5 5/8 inches

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Marqués de Almendares (Cuba) Canton Famille Rose Porcelain Spoon Rest, from the Armorial Service, ca. 1843, made for the Marqués de Almendares Ignacio Herrera, hand-painted, 7 x 5 x 1 inches

Marqués de Almendares (Cuba) Canton Famille Rose Porcelain Salt Bowl, from the Armorial Service, ca. 1843, made for the Marqués de Almendares Ignacio Herrera, hand-painted, 4 x 3 x 1 1/4 inches 5

José Nicolás de la Escalera (1734 – 1804) The first Cuban-born painter to be recorded and recognized as an artist in the island’s colonial society, José Nicolás de la Escalera, executed paintings of religious subject matters in a baroque style, as well as portraits of distinguished persons of Cuba’s colonial elite. His most important works are located in chapels and Catholic churches in and around Havana, such as the oils that adorn the Church of Santa María del Rosario. In his compositions, the influences of Spanish master, Bartolomé Esteban Murillo (1617-1682), and of other Andalusian paintings of the 17th century, together with the preferred palette of the Sevillian School of that epoch, are observed.

Historical data and Provenance of The Virgin of Sorrows, by José Nicolás de la Escalera: Various generations of the extended Martínez de Pinillos family have been in possession of this painting since it was acquired from the artist in Havana in the late seventeen hundreds. The first owner of The Virgin of Sorrows, Don Bernabé Matínez de Pinillos y Saén de Cabezón was born in the Logroño, Spain, in 1752 and died in Havana, Cuba, in 1829. The characteristics of the family founded in the colonial city of Havana by Don Bernabé point to the high probability that he was a collector of artworks by José Nicolás de la Escalera and that the Martínez de Pinillos family commissioned this artwork directly from the artist. It is known that Don Bernabé and Escalera were contemporary residents of Havana for a period of over twenty five years.

The artist had a distinguished reputation as a painter of religious subjects which were much appreciated by the Havana families of status and wealth, as a means of manifesting their devotion and also to adorn their homes.

Escalera’s talent and Church connections facilitated him to develop relations with the small colonial elite of the island, especially the most active in religious matters. The Martínez de Pinillos family was much part of that class.

Don Bernabé was an important and successful member of the colonial establishment. Throughout his lifetime he was a Coronel in the Royal Spanish Armies, an Honorary Commissioner of the Royal Spanish Armanda, a Mayor Sheriff of the Sacred Inquisition and Knight of the Order of Charles III of Spain. In 1825 he was rewarded the extraordinary distinction of the title of nobility, Count of Villanueva, by the Spanish Crown.

Upon Don Bernabé’s passing in 1829, a sizable part of his considerable fortune and the title of nobility went to his first born son, Don Claudio Martínez de Pinillos y Cevallos (1780-1852). Don Claudio, II Count of Villanueva, received a polished education in the Catholic Seminary of San Carlos y Ambrosio, in Havana, where he became a prominent and successful figure in Havana’s society. He served in the military, as an astute government administrator and as a politician. During his lifetime, he significantly expanded the family’s wealth. Don Claudio died in Madrid where he and his wife María Teresa Ugarte had relocated and established permanent residence in 1849. In his will and testament, a group of valuable artworks are mentioned among the contents of the household. After Don Claudio Martínez de Pinillos y Cevallos death in 1852, his only son and heir (Claudio Martínez de Pinillos y Ugarte, 1832 to 1858) died young, unmarried and without children (Claudio Martínez de Pinillos y Ugarte, 1832 to 1858).

The continued trajectory of this painting, The Virgin of Sorrows by Escalera, is unclear, except for the fact that the artwork stayed in the possession of members of the Pinillos family. Upon the death of Doña Carmen Martínez de Pinillos, (1919-2005) in Cadiz, Spain, the 260 year old artwork is rediscovered among the contexts of her house.

Doña Carmen left this artwork and many others to his two nephews, the Benjumeda Martínez de Pinillos heirs.

They in turn commissioned the Galería y Antigüedades Minerva, from Cadiz, Spain, to conduct the deaccession of the art collection. Cernuda Arte acquired the painting from this gallery.

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José Nicolás De la Escalera (1734-1804), Holy Virgin of the Sorrows, (La Virgen Dolorosa), 1767, oil on canvas, 24 x 19 3/8 inches This painting is accompanied by a dossier which includes: • Several photos of the work prior to and after restoration.

• A condition report on the artwork.

• A report on the history of the Martínez Pinillos family in Cuba, by Dr. María Teresa Cornide Hernández, author of the book De La Havana, de siglos y de familias, Editorial de Ciencias Sociales, La Habana, 2008.

• Copy of the bill of sale from Galería + Antiguedades Minerva, Cádiz, Spain (on behalf of the Martínez Pinillos family) to Cernuda Arte.

• Copy of the Authorization of Export documents from the Ministry of Education, Culture and Sports of Spain, number 2015/01023, issued on April 4, 2015.

• Copy of the document of expertise and identification of the artwork signed by Dr. Juan Ramón Cirici Narváez, and Dr. Fernando Pérez Mulet, both art history professors at the Universidad de Cádiz, Spain.

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Esteban Chartrand (1840–1884), El Abra (Yumurí River, Matanzas), (El Abra de Matanzas), ca. 1865, oil on canvas, 24 ¼ x 36 ¼ inches Provenance: Collection Auxerre, France.

Esteban Sebastián Chartrand Dubois (1840–1884), was born in the Ariadne Hacienda, in Limonar, Matanzas, on October 11, 1840. From an early age Esteban manifested a clear vocation and talent for painting, surely stimulated by his mother. A cultured lady, Luisa Carlota Dubois was a pianist and portrait artist. Young Esteban visited France in 1854 and again in 1864 to study painting. He was a disciple of the renowned landscape artist Theodore Rousseau.

In 1866 and in 1867 Chartrand secured his initial recognitions by winning First Prizes and Gold Flowers in fairs in Havana and Matanzas. In 1870, he exhibited in The Floral Fair of Charleston, South Carolina, a place he visited frequently to spend time with family.

In 1876, he was offered a teaching position at the prestigious Alejandro Arts Academy in Havana that, for personal reasons, he did not accept. That same year, Chartrand presented the painting Yumurí Valley in the International Centennial of the United States, in Philadelphia, as part of the Spain pavilion. (continues on next page)

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In 1881 Chartrand again exhibited at the Matanzas Exposition. That year, on June 30th, the artist documented in his own writing a list of the oil paintings he created since he finished his studies in 1865. He acknowledged a total production of 107 works in 16 years. Towards the end of 1882 or early 1883, Chartrand traveled with his wife, Merced Rosalia Gálvez, to Hoboken, New Jersey, under medical advice. He sought a better climate to treat his advanced tuberculosis affliction. However, he did not recover and died there on January 26, 1884.

Art historians consider Esteban Chartrand one of the best landscape artists of all time in Cuba. His paintings have been included in numerous exhibitions in Europe and the United States.

Island museums such as the National Museum, The Museum of Colonial Art and others currently possess fortyseven oils by the artist. In the US, nearly thirty works by Esteban Chartrand have been located, including three in Florida: two at the Daytona Museum and one at the Flagler Museum.

Esteban Chartrand (1840–1884), Landscape with Sailboats, (Paisaje con Veleros), ca. 1865, oil on canvas, 24 ¼ x 36 ¼ inches Provenance: Collection Auxerre, France.

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Adolf Hoeffler (1825–1898), Plaza de Armas, Havana, (Plaza de Armas, La Habana), 1854, lithograph on heavy paper, 16 ½ x 22 ¼ inches This lithograph was drawn by Adolf Hoeffler and lithographed by E. Ciceri and Ph. Benoist.

Printed by Lemercier, Paris, and produced by Goupil and Co., Paris, New York, and Germany.

Under the lithograph it reads: “Entered according to act of Congress in the year 1854 by Mr. Knoedler in the Clerk’s office of the District Court of the United States for the Southern District of New York.”

Cuban art in colonial times during the 19th century includes the production by foreigners who came to the Island already trained as painters and draftsmen. Some stayed in Cuba for most of the rest of their lives, while others visited the colony for months, or even a few years. The latter group of traveling painters made important contributions to the early iconography of the country and its settlers.

In this regard, the concept of “Cuban art” when the Island was under Spanish rule is not one that was limited to those criollo artists born in the colony, as it included artists and their works that alluded to Cuban themes and were created by traveling painters while visiting the country.

The more notorious names of these visitors were the British James Sawkins (1806–1879); the French Federico Mialhe (1810–1881); the Spanish Leonardo Baragaño (1822–?); the Dutch Henri Cleenewerk (1835–1901), and the German Adolf Hoeffler (1825–1898).1 Hoeffler was born in Frankfurt, Germany in 1825. His father, Heinrich Hoeffler was a painter of some note who taught his son the profession. In 1848, December 7, to be precise, Adolf arrives in New Orleans and begins his career as an itinerant artist in America. (continues on next page) 10

ADOLF HOEFFLER (1825–1898), Cuban Landscape, (Paisaje Cubano), ca. 1851, oil on canvas, 44 ¼ x 34 ½ inches Provenance: Collection Salzburg, Germany.

From 1848 to 1851 he is known to have been traveling and painting up the Mississippi River to St. Louis, then, he moved to Belleville, Illinois, and to Saint Paul, the capital of Minnesota.2 From there, he went to Cincinnati, then to Pittsburg, Baltimore, and Philadelphia. In 1850, Hoeffler was again painting in Trenton and that same year he was submitting his artworks to the New York American Art Union.

In October and November of 1851, Hoeffler’s explorations took him to Cuba where he was active and productive with his graphite and brushes. The only known documented description of this trip is the article “Three Weeks in Cuba By an Artist”, attributed to Hoeffler himself and published in Harper’s New Monthly Magazine for January of 1853.

The twenty woodcut prints and illustrations that adorn this article are identified as from Hoeffler's hand.

In recent years, Hoeffler’s Cuban paintings, drawings, and prints have begun to surface, mostly in German and Spanish collections and art galleries. The one known drawing at the National Museum in Havana3 is now part of a larger island oeuvre by the artist.

Ramón Cernuda Amauri Gutiérrez Coto, El Catastrofismo en la Poesía Cubana, Cuban Studies 40, Louis A. Pérez, editor, University of Pittsburgh Press, 2010, pages 20–21.

2 Minnesota 100 Years Ago, by Adolf Hoeffler, edited by Professor John Francis McDermott, Minnesota History, Minnesota Historical Society, www.mmhs.org/mmhistory 3 Museo Nacional de Bellas Artes, La Habana, Cuba: Colección de Arte Cubano, 2nd Edition, 2008, p. 292.

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Víctor Patricio Landaluze (1828–1889), Countryside Party, (Fiesta Campesina), ca. 1880, ink and watercolor on heavy paper laid down on board, 4 ¼ x 5 5/8 inches

Víctor Patricio Landaluze (1828–1889), After the Fight, (Después de la Pelea), ca. 1880, ink and watercolor on heavy paper laid down on board, 4 x 5 ½ inches 12

Víctor Patricio Landaluze (1828–1889), Flirtations of a Coachman, (Amores de Calesero), ca. 1880, ink and watercolor on heavy paper laid down on board, 5 x 4 ¼ inches

Víctor Patricio Landaluze (1828–1889), Carnival Figure with Rooster and Drum, (Diablito con Gallo y Tambor), ca. 1880, ink and watercolor on heavy paper laid down on board, 4 ¼ x 5 ½ inches 13

Philippe Chartrand (1825–1889), Landscape with Ceiba Tree and Palms, (Paisaje con Ceiba y Palmas), ca. 1870, oil on canvas, 8 x 14 inches This painting is presented in its original nineteenth century stretcher.

Provenance: Collection Berlin, Germany.

Philippe Chartrand Du Bois (1825–1889) was born in Cuba on May 31, 1825, at the Ariadne sugar plantation in the region of Limonar, Matanzas. Son of a family of wealth, he traveled to Paris in the 1840s and again in the 1850s where he studied painting under the influence of the artists of the Barbizon School of landscape. In later trips to Europe, Philippe surely became aware of the artistic innovations of Jean-Baptiste Corot and of the Impressionist Revolution that ensued in the country of his ancestors.

Along with his brothers, Esteban and Augusto Chartrand, he dedicated his artistic oeuvre to landscape painting.

He excelled in smaller format works, oftentimes on boards, on china plates, hand-held fans and miniatures. In August of 1886, he was named the first Interim Professor of Landscape and Perspective at the San Alejandro Academy in Havana, where he taught until November of that year. He was again asked to teach at San Alejandro in January of 1888.

His known and properly identified pictorial production is not abundant. Only one work is listed in permanent exhibition at the national museum of Cuba, while thirty others are known to be in the Museum's deposits. Five works have been presented at international auction houses in the past twenty-five years. Philippe’s paintings have been included in major Cuban Colonial art exhibitions, such as: 300 Years of Art in Cuba, at the University of Havana, April, 1940; and in Colonial Painting in Cuba, at the National Capital Building, Havana, 1950. (continues on next page) 14

In Miami, his works were exhibited at the Bacardi Gallery, in 1988, as part of the show entitled Cuban Painting and Lithographs (1825–1925), and in the exhibition, One Hundred Years of Cuban Landscape, 1850 to 1950, at Cernuda Arte, in 2001.

Philippe’s contributions to the development of the genre in Cuba have not been fully studied and certainly not properly recognized. Particularly during the last years of his life (1880s), his creations evolved from Romanticmelancholic landscapes with naturalist inclinations (à la Barbizon) to looser, spontaneous compositions with visible and forceful brushstrokes. The application of color was executed in a way that accentuated the effect of light on the various forms, and the undefined linear contours emphasized motion versus the static characteristics of his earlier work. In the last years of his life, Philippe Chartrand in Havana had quietly linked with the ranks of the rebellious Impressionists of the Paris of his days, making him the first Cuban painter to produce art in what was then a revolutionary style. If we take into account that Monet, Renoir, Pissarro and other Impressionists were still facing in Europe the rejection of the critics and limited collector acceptance, Philippe Chartrand’s bold and drastic works of his late period deserve the attention of art historians.

Ramón Cernuda

Philippe Chartrand (1825-1889), Glorious Sunset, (Glorioso Atardecer), 1886, oil on wood, 9 1/2 x 14 inches Illustrated in Important Cuban Artworks, Volume Ten, Cernuda Arte, December 2011, page 8.

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Eduardo Morales (1862–1938), Rider and Stagecoach, (Calesero y Volanta), 1918, oil on canvas, 22 x 26 inches Provenance: Collection Madrid, Spain.

NOT AVAILABLE Eduardo Morales (1862–1938), The Morro Castle of Havana, (El Castillo del Morro de La Habana), 1917, oil on wood, 8 x 10 1/2 inches 16

Teodoro Ríos (1917–1992), Still Life with Flowers, (Bodegón de Flores), 1946, oil on canvas, 25 ¼ x 29 ¼ inches

Teodoro Ríos (1917–1992) was born on October 29, 1917 in Cabaiguán, Cuba. At the age of twelve, he moved with his family to the Canary Islands in Spain. He studied at the Circle of Fine Arts of Santa Cruz de Tenerife and in 1935 he was awarded a scholarship and attended the School of Fine Arts of San Fernando in Madrid. Ríos had various one-person exhibitions in several cities in Spain and the United States. In 1949 he returns to Cuba and participates in the Lyceum of Havana where he exhibits thirty artworks.

Distinguished still life, landscape and physiognomic painter he created, among other notable works, the widely recognized portrait of writer Dulce María Loynaz.1 This portrait was the chosen published depiction of the writer when she won the Cervantes Award in 1992.

The 1953 Teodoro Ríos exhibited at the Circle of Professionals Camagüey and also at the Catholic Cultural House.

In 1954 he exhibited at the controversial second Hispanic-American Arts Biennial in Havana with two artworks.

His painting, The Refuge, was selected for distinction.

In 1959, Ríos returned to the Canary Islands where he continued his fruitful career. On February 7, 1992 Teodoro Ríos died in Santa Cruz de Tenerife.

Ramón Cernuda Dulce María Loynaz y la Ciudad de las Columnas - La ciudad de La Habana vista por sus pintores - Homenaje al Premio Cervantes, 1992, Universidad de Alcalá, p. 41.

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Armando Menocal (1863–1942), Young Lady with a Spanish Shawl, (Muchacha con Mantón), 1892, oil on canvas, 25 x 20 inches

Armando G. Menocal. “Cuban painter born in Havana on July 8, 1863; he died in the same city on September 28, 1942. A descendant from an illustrious Cuban family, he added on to the excellences of a refined artistic temperament and vast culture, a fervent love of country and liberty.

Menocal studied painting and drawing at the School of Fine Arts at San Alejandro in Havana under the guidance of Miguel Melero. In 1880, his parents sent him to Spain, and there he expanded his knowledge of the arts… At the National Exposition of Madrid, in 1884, he obtained a Second Place Award for his painting, Castilian Generosity…

Once the Cuban Republic was proclaimed, Menocal was reintegrated to his position as the Chair of Landscape at the San Alejandro School… He obtained a Gold Medal at the Exposition of California in 1915. In 1918… he accomplished the decoration of the Presidential Palace of Cuba… He became director of the San Alejandro School in 1927 and was a member of the National Academy of Arts and Letters of Havana. Menocal cultivated various modalities of pictorial art with brilliant success, distinguishing himself as an admirable portraitist and eminent landscape artist.

Bernard Lerner,

Enciclopedia del Arte en América, volumen cuatro, Bibliografía Omeba, 1968 18

Leopoldo Romañach (1862–1951), Young Lady with Fan, (Joven con Abanico), ca. 1940, oil on canvas, 20 x 27 ½ inches Exhibited at Exposición Póstuma Leopoldo Romañach, Capitolio Nacional, Salón de Los Pasos Perdidos, February, 1952, and listed in the corresponding exhibition catalog, number 129.

This painting is illustrated in Leopoldo Romañach, Cuaderno de Arte 3, Ministry of Education, Havana, Cuba, 1952, unnumbered page.

Oscar García Rivera (1914 - 1971) , Street Festivity by The Malecón, (Verbena por El Malecón), ca 1940, oil on canvas, 10 3/8 x 14 7/8 inches 19

Fidelio Ponce de León (1895–1949), Painting, Three Women, (Pintura, Tres Mujeres), 1935, oil on canvas, 24 x 29 ½ inches Provenance: Private Collection, Santo Domingo, Dominican Republic.

This painting will be included and illustrated in the forthcoming book, Fidelio Ponce de León, A Cuban Original,

by Professor Juan A. Martínez.

This painting is also signed, titled, and dated by the artist on the back.

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NOT AVAILABLE Fidelio Ponce de León (1895–1949), Flower Vase, (Florero), ca. 1933, oil on canvas, 26 x 29 inches Provenance: Joseph Cantor, who acquired it from the artist’s widow in Havana, in 1951.

Sotheby’s Latin American Art, New York, November 29, 1984, Lot 14.

Private Collection, New York.

Exhibited in Exposición Ponce, Ministry of Education, Parque Central, Havana, October 1949; listed in the exhibition catalog as Flowers, number 22.

This painting will be included and illustrated in the forthcoming book, Fidelio Ponce de León, A Cuban Original,

by Professor Juan A. Martínez.

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NOT AVAILABLE Víctor Manuel García (1897–1969), Townscape, (Paisaje de Pueblo), ca. 1930s, oil on canvas, 20 ¼ x 19 ¼ inches Provenance: Private Collection, Santo Domingo, Dominican Republic.

Sold prior to the publication of this catalog.

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Víctor Manuel García (1897–1969), City Park, (Parque en la Ciudad ), ca. 1940, oil on canvas, 28 ¼ x 19 inches Provenance: Private Collection, Madrid, Spain.

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NOT AVAILABLE Víctor Manuel García (1897–1969), Night Scene, (Paisaje Nocturno), ca. 1950, mixed media on cardboard laid down on board, 30 x 22 inches Provenance: Private Collection, San Juan, Puerto Rico Sold prior to the publication of this catalog.

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NOT AVAILABLE Víctor Manuel García (1897–1969), Young Lady with Scarf, (Muchacha con Pañuelo), ca. 1950, oil on canvas, 26 x 22 inches Provenance: Private Collection, Coral Gables, Florida.

Sold prior to the publication of this catalog.

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Víctor Manuel García (1897–1969), By the Park, (Por el Parque), ca. 1930s, mixed media on heavy paper, 18 ¼ x 13 inches 26

Víctor Manuel García (1897–1969), Figures at the Beach, (Figuras en la Playa), ca. 1940s, mixed media on heavy paper laid down on board, 12 ½ x 14 ¾ inches

NOT AVAILABLE

Víctor Manuel García (1897–1969), Ladies by the Balcony, (Jóvenes en el Balcón), ca 1950's, mixed media on heavy paper laid down on board, 11 x 14 ½ inches 27

NOT AVAILABLE Wifredo Lam (1902–1982), Transformation, (Transformación), 1945, oil on canvas, 61 x 49 ¼ inches Please reference page 29 of this catalog for additional information on this artwork.

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Wifredo Lam (1902–1982), Untitled [Bird with Figures], (Sin Título [Pájaro con Figuras]), 1972, oil on canvas, 19 1/2 x 27 1/2 inches This painting is illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1980, Project Director: Eskil Lam, Acatos, 2002, page 380, no. 72.128.

Also illustrated in, “Sei Opere di Lam”, Notizie d’Arte, Milano, Italy, June – July, 1974 Illustrated in Important Cuban Artworks,Volume Ten, Cernuda Arte, December 2010, page 62.

Wifredo lam (1902–1982), illustrated on page 28, Transformation, (Transformación), 1945, oil on canvas, 61 x 49 ¼ inches Signed and dated “Wifredo Lam, 1945 ” on the lower right corner.

Provenance: Pierre Matisse Gallery, New York.

Acquavella Modern Art, New York.

Galerie Lelong, Paris.

M. W. Knyper collection, Aspen, sale, Sotheby’s, New York, May 27, 2010, lot #17 (illustrated in color in the sale catalog).

Exhibited in Lam, Recent Paintings, 1945, and Wifredo Lam, Early Works, 1942–1951, 1982, Pierre Matisse Gallery, New York. Illustrated as no. 11 in the exhibition catalog.

Exhibited in Wifredo Lam, Obras desde 1938 hasta 1975, de regreso al Caribe, 1992, Arsenal de la Puntilla, San Juan.

Also exhibited in Wifredo Lam and His Contemporaries 1938–1952, 1992, The Studio Museum in Harlem, New York. Illustrated as no. 98 in the exhibition catalog, page 122.

Illustrated in Lam, by M. Leiris, Fratelli Fabbri, Milan, 1970, no. 52.

Illustrated in Wifredo Lam, by Max-Pol Fouchet, Polígrafa/Cercle d’Art, Barcelona/Paris, 1976 ed, page 233, no. 378.

Also illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume 1, 1923–1960, Project Director: Eskil Lam, Acatos, 1996, page 368, no. 45.03.

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Wifredo Lam (1902–1982), Snail, (Caracol ), 1975, bronze sculpture, Artist Proof, 2 of 10, 19 ½ x 23 ¼ x 6 inches This sculpture (different number) is illustrated in the book Wifredo Lam, by Max-Pol Fouchet, Ediciones Polígrafa, S.A., Barcelona, Spain, Second Edition, 1989, page 241.

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Wifredo Lam (1902–1982), Living Beacon, (Guía Viviente), 1977, bronze sculpture, 19 of 50, 11 ¼ x 5 x 4 inches This sculpture (different number) was exhibited in Wifredo Lam: The Changing Image—Centennial Exhibition, Yokohama Museum of Art, Yokohama, Japan, October 26, 2002–January 13, 2003, and is illustrated and listed as number 113 in the accompanying catalog.

This sculpture (different number) is illustrated in Journal Artcurial, no. 14, October 1979, Paris, France.

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Domingo Ravenet (1905–1969), Portrait of a Woman, (Retrato de Mujer), ca. 1935, oil on canvas, 21 x 20 inches Provenance: Carlos Padial Collection, Louisiana.

Private Collection, Santo Domingo, Dominican Republic.

This painting is illustrated in the book Ravenet, Fundación Arte Cubano, Madrid, 2015, page 37.

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Eduardo Abela (1889–1965), Surrealist Dream, (Sueño Surrealista), ca. 1953, mixed media on heavy paper laid down on board, 12 3/4 x 9 1/8 inches Provenance: Estate of Hosanna Abela Alonso, daughter of the artist.

By descent to Marco Prieto Abela, grandson of the artist.

Illustrated in Important Cuban Artworks, Volume Twelve, Cernuda Arte, December 2014, page 64.

In 1949, while Eduardo Abela was residing in Guatemala as Cuba’s ambassador in that country, his wife Carmen passed. This loss, “the saddest event’ in the artist’s life, provoked a sense of hopelessness and despair that pushed Abela to an acute depression. Upon doctor’s advice, he actively began “playing with the brushes”1 without any preconceived ideas or any specific plan. He freed his hand allowing it to distance itself from pictorial ideas. This was the origin of an abstract phase in the oeuvre of the artist.

Ramón Cernuda 1

Eduardo Abela, Cerca del Cerco, José Seoane Gallo, Editorial Letras Cubanas, La Habana, 1986, pages 206-209.

33

Eduardo Abela (1889–1965), The Visitor, (El Visitante), 1953, mixed media on heavy paper laid down on board, 7 7/8 x 6 1/2 inches

“Without question, Abela’s preferred theme was centered in the universe of children and in the fantasies derived from it. From this powerful source of inspiration, the solid nucleus of his final creative cycle emerged.

In this ambiance, the most incredible wonders are interwoven into fable and reality. Abela felt finally free, since –once he defined his esthetic interest in the world of children– all of his artistic transgressions were possible.

NOT AVAILABLE

Abela discovered this unexplored space in the culture of the island, enriching his repertoire with innovative painting solutions. His endeavor was enhanced in a particular way by an absolute liberty in the application of color, achieving audacious combinations and tonalities that drew the admiration of the spectator. With this series, Abela confirmed his ranking as one of the most notable master colorists of Cuban art.”

Dr. Roberto Cobas Amate, Abela: pintor cubano y universal; Abela, de lo real a lo imaginario, Ediciones Vanguardia Cubana, 2010, Escandón Impresores, Madrid, page 25.

Eduardo Abela (1889–1965), The Fool (El Bobo), 1955 - 1956, mixed media on heavy paper laid down on board, 5 3/4 x 3 3/4 inches Provenance: The Collection of Adela Jaume.

34

NOT AVAILABLE Eduardo Abela (1889–1965), Childhood Dreams, (Sueños de la Infancia), ca. 1955, oil on board, 13 ½ x 14 ½ inches

35

NOT AVAILABLE

Eduardo Abela (1889–1965), Men with Roosters, (Hombres con Gallos), ca. 1960, oil on board, 13 ¾ x 12 inches

36

NOT AVAILABLE

Eduardo Abela (1889–1965), Young Bride with Flower Bouquet, (Novia con Bouquet de Flores), 1964, oil on canvas laid down on board, 12 ½ x 14 ½ inches

37

NOT AVAILABLE Amelia Peláez (1896–1968), Untitled, (Sin Título), 1950, oil on canvas, 45 x 34 ¾ inches Provenance: Private Collection, Coral Gables , Florida.

Christie’s, Latin American Sale, New York, 24 November 1998, lot 41 (illustrated in color).

Jerry Lindzon Collection, Coconut Grove, Florida 1998 to 2007.

Mary-Anne Martin/Fine Art, New York, New York.

Private Collection, Coral Gables, Florida, 2008 to 2016.

Christie’s, Latin American Sale, New York, 22 November 2016, lot 48 (illustrated in color).

Exhibited in Amelia Peláez: The Craft of Modernity, Pérez Art Museum Miami, Miami, Florida, December 2013–February 2014, and illustrated in the accompanying catalog, page 99.

Illustrated in Amelia Peláez, Cerámica, by M.E. Jubrías, Havana Ediciones Vanguardia Cubana, 2008, page 13.

38

Amelia Peláez (1896–1968), Flower Vase on a Lace Tablecloth, (Jarrón de Flores sobre Mantel de Encaje), 1960, mixed media on heavy paper laid down on board, 31 x 25 inches This painting is accompanied by a photo-certificate of authenticity signed by Ramón Vázquez Díaz.

39

Carlos Enríquez (1900–1957), Female Nude, (Desnudo de Mujer), 1948, ink on paper, 23 x 17 inches Illustrated in the book, Carlos Enríquez, The Painter of Cuban Ballads, Juan A. Martínez, 2010, page 208.

Carlos Enríquez (1900–1957), Horses in Combat, (Caballos en Combate), 1953, ink on paper, 15 ¼ x 11 ¾ inches Illustrated in the book, Carlos Enríquez, The Painter of Cuban Ballads, Juan A. Martínez, 2010, page 230.

40

NOT AVAILABLE Víctor Manuel García (1897–1969), Landscape with River, (Paisaje con Río), ca. 1940s, oil on canvas, 33 1/2 x 23 1/2 inches Exhibited in Cuban Art and Identity 1900-1950, Vero Beach Museum of Art, Vero Beach, Florida, 2013, and illustrated in the corresponding catalog, page 32.

Illustrated in Víctor Manuel, R. Vázquez Díaz, Ediciones Vanguardia Cubana, Madrid, 2010, page 128.

Also illustrated in Pintores Cubanos: Víctor Manuel, J. Rigol and R. Vázquez Díaz, Editorial Letras Cubanas, La Habana, 1990, page 33.

41

NOT AVAILABLE

Cundo Bermúdez (1914–2008), Romeo and Juliet, (Romeo y Julieta), 1943, oil on canvas, 27 x 21 ½ inches Provenance: Galería del Prado, Havana.

Giulio V. Blanc Collection, Coral Gables.

Private Collection, Santo Domingo, Dominican Republic.

Exhibitions: Modern Cuban Painters, 1944, Museum of Modern Art, New York, New York. · Munson-Williams-Proctor Art Institute, Utica, NY, October1–30, 1944 · Art Club of Chicago, Chicago, IL, December 1–29, 1944 · National Gallery of Art, Washington, D.C., February 1–March1, 1945 · St. Paul Gallery & School of Art, St. Paul, MN, March 15–April 1, 1945 · University Gallery, University of Minnesota, Minneapolis, MN., May 27–June 24, 1945 · Portland Art Museum, Portland, OR, July 19 – August 16, 1945 · Seattle Art Museum, Seattle, WA, August 30 – September 27, 1945 · San Francisco Museum of Art, San Francisco, CA, October 11 – November 8, 1945 · J. B. Speed Art Museum, Louisville, KY, November 22 –December 20, 1945 · Alexandria Art League, Alexandria, LA, January 3 – 24, 1946 · Person Hall Art Gallery, University of North Carolina, Chapel Hill, NC, February 7–March 7, 1946 · Rollins College, Winter Park, FL, March 21 – April 16 Exhibition of Works of Modern Cuban Painters, February 2–25, 1945, National Museum, Washington, D.C. Cundo Bermúdez, Un Homenaje, May–June, 1987, Cuban Museum of Arts and Culture, Miami, Florida.

Illustrated in the accompanying exhibition catalog on page 8.

Literature: Pintura Cubana de hoy, Havana, J. Gómez Sicre, María Luisa Gómez Mena, and Galería del Prado, 1944, page 157.

Latin American Art in the Twentieth Century, London, Phaidon Press Limited, E. J. Sullivan, 1966, page 88, no. 88.

Cundo Bermúdez, Miami, Cuban-American Endowment for the Arts, Inc., V. Baez (editor), 2000, page 16 and page 70, no. 43.4.

Memoria: Cuban Art of the 20th Century, Los Angeles, International Arts Foundation, J. Veigas, et al., 2002, page 101.

Sold prior to the publication of this catalog.

42

CUNDO BERMÚDEZ (1914–2008), Portrait of Marta, (Retrato de Marta), 1947, oil on canvas, 26 x 21 ¼ inches Provenance: Marta Sardiñas de Fernández de Castro, Havana, Cuba, who acquired it directly from the artist.

Illustrated in Important Cuban Artworks, Volume Six, Cernuda Arte, December 2006, cover page.

Illustrated in the book Pintores Cubanos, Ediciones R, Havana, 1962, page 125.

Illustrated in the Enciclopedia de Cuba, Enciclopedia y Clásicos, San Juan. First Edition, 1974; Second Edition, 1977.

Illustrated in the book, Cundo Bermúdez, Cuban-American Endowment for the Arts, Miami, 2000, page 48.

This painting is accompanied by a photo-certificate of authenticity, signed by Cundo Bermúdez, dated October 1, 2007.

43

NOT AVAILABLE Cundo Bermúdez (1914–2008), Flower Vase on a Table, (Florero sobre una Mesa), ca. 1956, mixed media on heavy paper laid down on board, 23 ¾ x 17 ¾ inches This painting is accompanied by a photo of the artwork, Cundo Bermúdez, and Mrs. Gladys Pérez, the prior owner of the work.

44

NOT AVAILABLE Cundo Bermúdez (1914–2008), Reclining Woman, (Mujer Reclinanda), 1969, mixed media on heavy paper, 35 ½ x 52 inches Exhibited in Christie’s, New York, November 20, 2007 and illustrated in the corresponding auction catalog, lot no. 97.

Sold prior to the publication of this catalog.

45

Roberto Diago Querol (1920–1955), Seated Woman, (Mujer Sentada), 1944, mixed media on heavy paper laid down on board, 14 ¾ x 11 inches Provenance: Edouard Mathon, who acquired it directly from the artist in 1947 during Roberto Diago’s exhibition at the Centre d’Art, in Port-au-Prince, Haiti.

NOT AVAILABLE

Roberto Diago Querol (1920-1955) is considered a key figure in 20th century Cuban Modernism. Born in Havana, Diago belongs to the second generation of the Cuban Vanguardia or Havana School, and from an early age showed interest and talent for the visual arts. The artist attended the prestigious San Alejandro Academy, completing his studies in 1941.

As part of the the Afro-Cuban intelligentsia, the artist found himself immersed in a cultural milieu during the 1930s and 40s that sought to affirm refined images of Afro-Cuban popular culture.

In 1944, Diago had his first one-person exhibition at the Havana Lyceum entitled, Expone Diago: Dibujos y gouaches en el Lyceum. In the same year, his work was included in the seminal group exhibition Modern Cuban Painters at the Museum of Modern Art in New York which propelled his artistic career to national and international prominence.

It was during this important year that Diago produced the work, Seated Woman. In this expressionistic composition, the artist underscores his preoccupation with European avant-garde artistic practices such as, Cubism and NeoClassicism.

In the mid-1940s, Diago embarked on an expansive artistic tour and visited Washington, New York, Boston and Canada. In his travels, he focused on seeking new intellectual avenues to delve into Afro-Cuban and Afro-Caribbean cultural influences. The trip culminated in Haiti which provided the ideal platform for this context, as the country was experiencing its own cultural renaissance –one rooted in the Negritude movement, influenced by the Harlem Renaissance. Roberto Diago, like other prominent Cuban modernists such as, Carlos Enríquez, Mario Carreño and Wifredo Lam, exhibited extensively in Hati during this period.

In 1945, Diago participated in the critically acclaimed exhibition Modern Cuban Painters held at the Centre d’Art in Porte au Prince, Haiti. Two years later, in 1947, he had his own one person exhibition at this same Haitian venue.

It can be speculated that Seated Woman could have been part of these two exhibitions, given the year and provenance of the work.

Isabel M. Suárez 46

NOT AVAILABLE Luis Martínez Pedro (1910–1990), The Abduction - Antillean Legend of Guagoniana, (El Rapto - Leyenda Antillana de Guagoniana), 1945, graphite on paper, 29 x 23 inches Exhibited in 11 Pintores Cubanos, July 2–25, 1946, Museo de Bellas Artes, La Plata, Argentina, and illustrated in the accompanying catalog, listed as no. 33.

47

NOT AVAILABLE Mario Carreño (1913–1999), Woman with Guitar and Horse, (Mujer con Guitarra y Caballo), 1940, mixed media on board, 14 x 11 ½ inches Provenance: Private Collection, San Juan, Puerto Rico Sold prior to the publication of this catalog.

Mario Carreño (1913-1999), Still Life, (Bodegón), 1947, oil on heavy paper laid down on canvas, 16 ½ x 25 ½ inches Provenance: Private Collection, Santo Domingo, Dominican Republic Exhibited in Latin American Still Life, September–November, 2005, Boca Raton Museum of Art, and illustrated in the accompanying catalog, page 16.

NOT AVAILABLE

48

NOT AVAILABLE Mario Carreño (1913–1999), Women and Corals, (Mujeres y Corales), 1945, oil on canvas, 29 ½ x 35 ¼ inches Provenance: Collection of the artist.

Private Collection, Santiago de Chile, Christie’s New York, November 20, 1995, lot 18.

Private Collection, Santiago de Chile (acquired from the above sale).

Cernuda Arte, Coral Gables, Florida.

Acquired from the above by the present owner in 2004.

Exhibited in Mario Carreño: Recent Paintings, November–December 1945, Perls Galleries, New York, no. 2.

Exhibited in Exposición Restrospectiva de Mario Carreño, 1991, Museo de Bellas Artes, Santiago, Chile.

Exhibited in Mario Carreño: Exposición Restrospectiva, 1939–1993, March–May, 2004, Museo de Artes Visuales, Colección Santa Cruz-Yaconi, Santiago, Chile, page 15.

Illustrated in the book, Mario Carreño: Cronología del recuerdo, Santiago, Chile, Editorial Antártica S.A., 1991, page 64.

Illustrated in Cuban Art: Remembering Cuba Through its Art, Private Collections in Exile, Volume I, F. R. Padrón, et al., 2004, page 138.

Also illustrated in Important Cuban Artworks, Volume III, Cernuda Arte, Coral Gables, Florida, 2004, page 26.

49

NOT AVAILABLE Mario Carreño (1913–1999), The Breakfast, (El Desayuno), 1947, mixed media on heavy paper, 29 x 23 inches This work is dedicated “To Helen and Dave Harriton, Very Truly, Carreño—47 ”, on the bottom left corner.

Provenance: Private Collection, David and Helen Harriton, New York, New York, acquired directly from the artist.

Private Collection, Santo Domingo, Dominican Republic.

Exhibited at Sotheby’s, New York, November 16, 2004, and illustrated in the corresponding auction catalog, lot no. 2.

50

Loló Soldevilla (1901–1971), Untitled, (Abstraction), (Sin Título(Abstracción)), 1956, mixed media on board, 11 x 14 inches Provenance: Tresart, Miami, Florida.

Private Collection, Orlando, Florida.

Exhibited in Loló Soldevilla, November 2011, Tresart, Miami, and illustrated in the corresponding exhibition catalog, page 44.

NOT AVAILABLE NOT AVAILABLE

Carmelo González (1920–1990), Workers’ Town, (Pueblo de Trabajadores), 1956, oil on canvas, 19 x 26 ½ inches Sold prior to the publication of this catalog.

51

NOT AVAILABLE

René Portocarrero (1912–1985), Landscape, (Paisaje), 1944, oil on board, 31 x 35 inches Provenance: Juan David Collection, Havana, Cuba.

Time Dimension + Color, Coral Gables, Florida.

José Cordera Collection, San Juan, Puerto Rico.

Cernuda Arte, Coral Gables, Florida.

Private Collection, Coral Gables, Florida.

Exhibited at René Portocarrero Exposición Retrospectiva, National Museum, Havana, Cuba, July 1967, lot 47.

(Museum’s exhibition label attached on the back of the work.)

This painting is illustrated in the book Cuban Art, Remembering Cuba Through its Art, 2004, Arte el Día International, Miami, Florida, page 147.

It is also illustrated in the book Portocarrero, Ramón Vázquez Díaz, Fundación Arte Cubano, 2015, pages 124–125.

Rural Landscapes, 1944 Portocarrero was a painter of urban landscapes, from his primitive “cathedrals” and town parks to panoramas of large cities—which would come to be known as “Havana landscapes.” Rarely do we see rural landscapes in the rest of his oeuvre. Nevertheless, the year 1944 is almost defined in Portocarrero’s body of work by his series of oil paintings of rural landscapes. They surpass in number and equal in importance many of his other series, although they leave few marks in the future. It’s a surprising eruption that remains as a milestone, not only in his body of work, but also in the large number of good landscapes that were created in Cuba from the nineteenth century to modernity.

These guajiro-like incursions lack any connection, not from a thematic point of view nor in execution, to the Cerro neighborhood interiors or the feasts, recently rendered by the artist, or to the "brujos", which would surface immediately after. We must consider this unexpected turn in Portocarrero more than a consequence of his formal or thematic trajectory, but rather an experience or a personal motivation that demanded an emotive and plastic art response. The triggering factor was a trip to the Viñales Valley, prompting him to an “ecstasy in the face of natural beauty.” He refers to this experience in an interview: (...)“It was the nature of Pinar del Río that so impressed me.” The artist talks about a two-week stay on the San Vicente ranch. “I did a series of landscapes, but never from nature, rather, from my personal feeling, from the impressions that such experiences leave with one: they were exhibited in New York and the critics remarked how peculiar it was to observe that, in this showing, there were landscapes and mythological figures (some from ‘44 and others from ‘45), all rendered by the same artist.” Portocarrero refers to a painting, La guardarraya; he remembers that he began to address the subject with a strong, primitive narrative; later drifting into elements of post impressionism.

(continues on next page) 52

“I captured some imagery of small towns—it was a voyage of love— I visited the valleys... No, this motivation has not lost its relevance which comes from having contact with nature (…)” (Alonso 1982).

Portocarrero alternates a delicate and forceful approach. On the one hand, his attraction to primitive painting reappears when he executes the unstable disorder of the mogote hills and houses. Such is the case of the scene depicting a rider on a blue horse and the swaying of the cheerfully painted huts, like those seen by Samuel Feijóo, who could have set one of his guajiro novels in this scenery.

In other depictions, the figures disappear and the naked landscape emerges as the absolute protagonist. While in another there is a recreation of the most tender nuances of a sunrise, or of flowers and bushes that grow in the rustic hut gardens, and in others, the portrayal of the solid trunk of the jagüey, the cedars of mahoganies, or the immense ceiba tree, impose their fulsome rhythm. At times, the landscapes twist, as if whipped by cyclone winds. Then they become dramatic. In the ceiba forests, dense yet not impenetrable, Portocarrero has let the trunks’ movement, the tangled naked branches and strong roots anchored to the earth, express themselves. During a visit to the Viñales Valley in 1930, Federico García Lorca was awe-struck with the impressive geological landscape. A witness took note of Lorca’s words: “Viñales is like a kind of tellurian drama.” (El poeta… 1961).

The work Landscape with Figures from 1944 is derived from this series. He has embraced these personages scattered through the hilltops, but the approach has stripped away their charm and conferred to them instead, dramatism, such that it recalls, without intending to, The Family Portrait, by the ill-fated Arístides Fernández, painted a decade before. There is a nexus between these two works. Portocarrero surprises the figures surrounding the hut; he does not portray them as an affected group of people that lines up facing the street photographer. The grotesque in Portocarrero’s work does not match Arístides’s drama, which is more silent and acute. In Portocarrero, the grotesque is rarely applied—if ever— with a social intent. These poor rural people will pirouette and end up in other paintings carrying out a circus scene, or an Icarus fall, or wandering in the nude through the forest.

NOT AVAILABLE René Portocarrero (1912–1985), Figures in Interior, (Figuras en Interior), 1949, ink on heavy paper, 17 1/2 x 22 1/4 inches 53

NOT AVAILABLE

René Portocarrero (1912–1985), Viñales Valley, (Valle de Viñales), 1944, oil on canvas, 16 ¼ x 14 ¼ inches This painting is accompanied by a photo-certificate of authenticity signed by Ramón Vázquez Díaz, dated 21 August, 2003.

Provenance: Private Collection, Santo Domingo, Dominican Republic.

54

René Portocarrero (1912–1985), Santa Bárbara, (Santa Bárbara), ca. 1960, oil on canvas, 13 x 9 ¼ inches This painting is accompanied by a photo-certificate of authenticity signed by Ramón Vázquez Díaz.

René Portocarrero (1912-1985), Flower Vase, (Florero), 1942, mixed media on heavy paper laid down on board, 14 x 9 1/2 inches Provenance: This artwork was part of the Odette Lavergne Collection, Paris, France. It is illustrated in the Besch Commissaire- Priseur exhibition catalogue of the Mme. Odette Lavergne Collection, Cannes, France, November 1, 2009, page 58.

55

NOT AVAILABLE René Portocarrero (1912–1985), Winged Figure in the Bush, (Figura Alada en el Monte), 1947, mixed media on heavy paper laid down on board, 24 ¾ x 21 ¼ inches Provenance: The Estate of Joshua and Nedda Logan, New York, New York.

Joshua Logan (1908-1988) was an actor, director and writer. He was active in Broadway productions such as Annie Get Your Gun, South Pacific, Mister Roberts and others. He was awarded the Pulitzer Prize for Drama for co-writing South Pacific in 1950.

56

NOT AVAILABLE René Portocarrero (1912–1985), Flowers in Interior, (Flores en Interior), 1947, mixed media on heavy paper laid on board, 16 ½ x 12 ¾ inches Provenance: The Estate of Joshua and Nedda Logan, New York, New York.

57

NOT AVAILABLE

René Portocarrero (1912–1985), Boy King, (Niño Rey), 1955, mixed media on heavy paper laid down on board, 15 x 11 inches 58

NOT AVAILABLE René Portocarrero (1912–1985), Woman in Yellow Background, (Mujer en Fondo Amarillo), 1960, oil on canvas laid down on Masonite, 23 x 19 ¼ inches

59

NOT AVAILABLE René Portocarrero (1912–1985), Little Devil, (Diablito), 1962, oil on canvas, 20 ¼ x 16 ¼ inches This painting is accompanied by a photo-certificate of authenticity signed by Ramón Vázquez Díaz.

60

NOT AVAILABLE

René Portocarrero (1912–1985), City of Havana, (Ciudad de La Habana), 1972, mixed media on heavy paper laid down on board, 25 ½ x 30 ½ inches

61

René Portocarrero (1912–1985), Ornamented Head of a Woman, (Cabeza de Mujer Ornamentada), 1975, mixed media on heavy paper, 29 x 20 inches Provenance: Collection Warsaw, Poland.

62

René Portocarrero (1912–1985), Masked Figures (from the Carnival series), (Figuras Enmascaradas, de la Serie Carnavales), 1970, mixed media on heavy paper laid down on board, 19 ¾ x 25 ½ inches Provenance: Collection Bern, Switzerland.

63

Mariano Rodríguez (1912–1990), Woman with Flowers in Her Hand, (Mujer con Flores en la Mano), ca. 1943, mixed media on paper laid down on masonite, 19 ¼ x 14 ½ inches Provenance: The Estate of Mariano Rodríguez.

This painting is accompanied by a photo-certificate of authenticity signed by Dolores and Alejandro Rodríguez, daughter and son of the artist.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 155, no. 43.103.

64

NOT AVAILABLE Mariano Rodríguez (1912–1990), Roosters, (Gallos), 1941, mixed media on paper laid down on Masonite, 17 ¾ x 22 ¼ inches Provenance: The Estate of Mariano Rodríguez.

Exhibited in Mariano. Pinturas., Lyceum, Havana, Cuba, January 13–20, 1943, no. 10 in the catalog.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 87, no. 41.74.

This painting is accompanied by a photo-certificate of authenticity signed by Alejandro Rodríguez, son of the artist.

Sold prior to the publication of this catalog.

65

Mariano Rodríguez (1912–1990), Two Women in an Interior, (Dos Mujeres en Interior), ca. 1942, mixed media on paper laid down on board, 22 ¾ x 15 ¾ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 109, no. 42.46.

66

Mariano Rodríguez (1912–1990), Peasant Couple, (Pareja de Guajiros), ca. 1945, mixed media on paper laid down on masonite, 14 x 15 ¼ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 194, no. 45.39.

Mariano Rodríguez (1912–1990), Three Women in Interior, (Tres Mujeres en Interior), ca. 1943, mixed media on heavy paper, double sided, 13 ½ x 10 ¾ inches Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 95, no. 43.171.

67

Mariano Rodríguez (1912–1990), Sketch for Maternity, (Boceto para Maternidad ), ca. 1943, mixed media on paper laid down on board, 15 ¾ x 11 ¾ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 132, no. 43.18.

Mariano Rodríguez (1912–1990), Study for Descent and Portrait of Christ, (Boceto para Descendimiento y Retrato de Cristo), ca. 1943, mixed media on heavy paper, 13 1/2 x 10 3/4 inches, double sided, Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 146, no. 43.79a.

68

Mariano Rodríguez (1912–1990), Two Women with a Bull and a Horse, (Dos Mujeres con Toro y Caballo), 1945, mixed media on heavy paper laid down on board, 11 x 13 ¾ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 191, no. 45.23.

NOT AVAILABLE

Mariano Rodríguez (1912–1990), Two Women and a Man, (Dos Mujeres y Un Hombre), 1945, mixed media on paper laid down on board, 13 ¾ x 17 ¾ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 193, no. 45.32.

69

Mariano Rodríguez (1912–1990), Portrait of Lolita, (Retrato de Lolita), ca. 1947, oil on canvas laid down on board, 16 x 15 inches Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 221, no. 47.26.

70

Mariano Rodríguez (1912–1990), Breakfast, (Desayuno), ca. 1944, ink on paper laid down on board, 17 ¼ x 21 ¾ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 177, no. 44.63.

Mariano Rodríguez (1912–1990), Figures in Interior, (Figuras en Interior), ca. 1944, mixed media on heavy paper laid down on board, 13 x 16 ¼ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 171, no. 44.66.

Mariano Rodríguez (1912–1990), Peasant and Nude Woman Outdoors, (Guajiro y Mujer Desnuda en Exterior), ca. 1945, mixed media on heavy paper laid down on board, 13 x 16 ¼ inches Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 199, no. 45.67.

71

Mariano Rodríguez (1912–1990), Couple (Pareja), ca. 1948, mixed media on heavy paper, double sided, 10 ¾ x 13 ½ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 227, no. 48.01 and 48.02.

Mariano Rodríguez (1912–1990), Figures in a Landscape (Figuras en el Paisaje), ca. 1949, mixed media on heavy paper laid down on board, 11 x 13 ¾ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume I, 2nd Edition, page 249, no. 49.37.

72

Mariano Rodríguez (1912–1990), Fishermen, (Pescadores), ca. 1951, mixed media on heavy paper laid down on board, 10 ¾ x 14 ¾ inches Provenance: The Estate of Mariano Rodríguez.

Illustrated in Mariano, Catálogo Razonado, Volume II, page 89, no. 51.16.

Mariano Rodríguez (1912–1990), Figure with Rooster, (Figura con Gallo), 1956, mixed media on heavy paper laid down on board, 11 ¾ x 17 ¾ inches Illustrated in Mariano, Catálogo Razonado, Volume II, page 183, no. 56.18.

73

NOT AVAILABLE Mariano Rodríguez (1912–1990), Birds, (Pájaros), 1958, oil on canvas, 44 ¼ x 49 ¾ inches Exhibited in Mariano, The National Museum of Fine Arts, Caracas, Venezuela, June 1958, and listed as no. 16 in the exhibition catalog.

Also exhibited at the Center of Fine Arts in Maracaibo, Venezuela, in 1958.

This painting is accompanied by a photo-certificate of authenticity signed by Alejandro Rodríguez, son of the artist, dated April 26, 2010.

Illustrated in Important Cuban Artworks, Volume Nine, Cernuda Arte, Coral Gables, Florida, page 48.

74

NOT AVAILABLE Mariano Rodríguez (1912–1990), Rooster, (Gallo), 1978, acrylic on canvas, 35 x 45 1/4 inches Illustrated in the book Cuban Art: Remembering Cuba Through its Art, Private Collections in Exile, Volume One, Felipe Del Valle, Diego Costapeuser and others, Arte al Día, 2004, p. 165.

Illustrated in the book Mariano (1912-1990), Tema, discurso y humanidad, Escandón Impresores, Sevilla, Spain, 2004, page 221.

This artwork is accompanied by a photo-certificate of authenticity issued by Alejandro Rodríguez, the son of the artist, dated February 17th, 2016.

75

Mariano Rodriguez (1912-1990), Rooster, (Gallo), 1987, bronze, 6 of 6, 15 1/4 x 11 x 5 3/4 inches Exhibited in Mariano, La Fiesta del Amor, Fondo Cubano de Bienes Culturales, Havana, Cuba, May 1987.

Illustrated (the terracotta model for this sculpture) in the corresponding exhibition catalog, number 50.

Exhibited in Mariano, Arco, 2005, Arco Art Fair, Madrid, Spain, February 2005, and illustrated (different number) and listed in the corresponding exhibition brochure, number 10.

76

Agustín Fernández (1928–2006), Shield, (Escudo), 1986, oil on canvas, 28 x 24 inches Provenance: José Gómez Sicre Collection, Washington D.C..

Private Collection, Caracas, Venezuela.

Jorge Camacho (1934-2011), Spirit, (Espíritu), 1958, oil on canvas, 46 x 70 1/4 inches Provenance: José Gómez Sicre Collection,Washington, D.C. Private Collection, Caracas, Venezuela.

Exhibited in Jorge Camacho, Unión Panamericana, Washington D.C., May 15 to June 16, 1958.

This exhibition was the artist's first museum show in the United States.

Exhibited in the Fifth Biennial of the Museum of Modern Art of São Paulo, São Paulo, Brazil, September - December, 1959.

77

José Mijares (1921–2004), Woman with Flower Vase, (Mujer con Jarrón de Flores), 1950, oil on cardboard laid down on canvas, 23 ¾ x 16 ¾ inches

Painter, draughtsman and printmaker, José Mijares occupies a distinguished place among Cuban and Latin American first-rate painters of the 20th century. In 1968 he left Cuba and came into exile in Miami where he lived and worked until the end of his prolific life.

As with many other Cuban artists, Mijares attended the prestigious San Alejandro Academy of Fine Arts in Havana, where he was taught and mentored by eminent professors in this school, such as Leopoldo Romañach.

Mijares himself referenced other major influences in his career. He once remarked: “I have to mention my idol. Fidelio Ponce, and also Carlos Enríquez and René Portocarrero from the generation the preceded me. They valiantly expressed their new ideas. They were part of what became known as The School of Havana… These painters were my guiding lights…”

A master of color and line and a multi-faceted artist, Mijares steadily followed in the footsteps of the island’s ground-breaking modernists.

Following a period of development and maturation, he became a distinguished second generation key figure of the Latin American modern movement in the 1940s.

NOT AVAILABLE

The colorful palette and figurative mode in which the artist and his contemporaries were working at the time, established common characteristics that not only defined this artistic group but also encompassed elements that helped create a presence in the ebullient New York art scene of this period.

José Mijares’ first major exhibition was in 1944 at a national exhibition in The Capitol Building in Havana. From this moment on, the artist garnered many awards and distinctions, among them, the National Painting Award in 1950. In this same year, he traveled to New York and was particularly captivated by the work of Willem de Kooning, whose style deeply influenced him.

In the 1950s, the artist began experimenting with unornamented abstract compositions that were created with solid colors and a geometric vocabulary. He became part of a concrete art group that championed in Cuba the abstract trends of the dynamic international art scene at the time. The group named themselves Los Diez Pintores Concretos, 1959–1961 (The Ten Concrete Painters). These artists were essentially inspired by the 1950s New York School and also by the geometric and abstract imagery featured in the works of European vanguardists such as Piet Mondrian, Wassily Kandinsky, and Victor Vasarely. (continues on next page) 78

Mijares later returned to a signature style of figurative painting—with compositions that embody biomorphic surrealism, baroque elements, brilliant tonalities, and a love for jewel-like surfaces that the artist himself called vitrales (colonial stained-glass windows). The painter’s favorite subject matters included: women, marinas, and harlequins that oftentimes emerge in placid environments that hark back to a bygone era of elegance and romance.

SELECTED EXHIBITIONS In 1951, José Mijares was part of the group show, Art Cubain Contemporain, Musée National d’Art Moderne, Paris, France. In 1953, the artist was selected to participate in the São Paulo Biennial. The following year, he was invited to present his work at the prestigious international event of contemporary art, Carnegie International in Pittsburgh.

In 1956 his artwork was shown in the Cuban Pavillion at the Venice Biennial; and in this same year he participated in the show, Recent Paintings from Cuba, Roland de Aenlle Gallery, New York.

In 1968, the artist was featured in the group exhibition, 10 Cuban Artists at the Bacardí Gallery in Miami. In 1978 his works were exhibited at the Museum of Latin American Art of the OAS Headquarters in Washington D.C. In 1978, Mijares’ works was featured in the show, Contemporary Latin American Art: The Esso Collection of the Lowe Art Museum and Latin American Artists of the Southeastern U.S., Lowe Art Museum, University of Miami, Coral Gables, Florida. During this same year, his work was exhibited in Hispanic-American Artists of the United States: Argentina, Bolivia, Chile, Cuba, Uruguay, Museum of Modern Art of Latin America, Washington, D.C. In 1981, the artist was part of the show The Figure in Latin American Art, Miami Beach, Florida. In 1990, he was part of the group show, Leading Hispanic Artists of South Florida, Northwood Institute, West Palm Beach, Florida.

In 1995, Mijares had his only one-person retrospective exhibition in Miami at the Cuban Museum of Arts and Culture, Celebrando a Mijares, 50 Años de Creación (Celebrating Mijares, 50 Years of Creation), a show that was curated by Ramón Cernuda and accompanied by a catalog with a critical essay by Professor Juan A. Martínez, Ph.D. In January 2006, Mijares’ work was showcased in Concrete Cuba (the dynamic Cuban group of ten abstract painters “Los Diez Pintores Concretos” which was in force from 1959 to 1961), at David Zwirner Gallery, New York.

Nercys Cernuda

NOT AVAILABLE José Mijares (1921–2004) Ladies in the Park, (Jóvenes en el Parque), ca. 1964, oil on canvas, 14 3/4 x 25 inches 79

José Mijares (1921-2004), The Magic of Dreams, (La Magia del Sueño), 1964, oil on canvas, 24 ¼ x 20 inches Provenance: Private Collection, Caracas, Venezuela.

Illustrated in the book José Mijares, Palette Publications, Coral Gables, Florida, 1997, page 41.

NOT AVAILABLE NOT AVAILABLE

José Mijares (1921-2004), Imaginary Landscape, (Paisaje Imaginario), 1995, oil on canvas, 35 3/4 x 48 inches Provenance: Private Collection, Caracas, Venezuela.

80

NOT AVAILABLE José Mijares (1921-2004), Woman Looking in the Mirror, (Mujer Mirando al Espejo), ca. 1960 (possibly later, 1970), oil on canvas, 30 x 25 inches Provenance: Private Collection, Caracas, Venezuela.

Illustrated in the book José Mijares, Palette Publications, Coral Gables, Florida, 1997, page 45.

81

NOT AVAILABLE José Mijares (1921–2004), The Wife of the Fisherman, (La Mujer del Pescador), ca 1950, oil on canvas, 40 ¼ x 30 ¼ inches Provenance: Guido Adrianssens Collection, Atlanta, Georgia Private Collection, Miami Florida.

Exhibited in Celebrando A Mijares, 50 Años de Creación, Cuban Museum of Arts and Culture, Miami, Florida, 1995, and listed in the corresponding exhibition catalog.

Illustrated in the book José Mijares, Paintings, Palette Publications, Coral Gables, 1997, page 37.

This painting is accompanied by a photo-certificate of authenticity signed by the artist in 1993.

82

NOT AVAILABLE José Mijares (1921–2004), Head and Bird, (Cabeza y Pájaro), 1979, oil on canvas, 36 x 28 3/4 inches Provenance: Private Collection, Coral Gables, Florida 83

Raúl Milián (1914–1984), Light and Shadow, (Luz y Sombra), 1955, mixed media on heavy paper laid down on board, 14 ¾ x 10 ¾ inches

Raúl Milián (1914–1984), Phases, (Fases), 1964, mixed media on heavy paper laid down on board, 14 x 10 ¾ inches

84

Raúl Milián (1914–1984), Ideas, (Ideas), 1974, mixed media on heavy paper laid down on board, 14 ⅞ x 11 1/8 inches

Raúl Milián (1914–1984), Impressions, (Impresiones), 1962, mixed media on heavy paper laid down on board, 11 x 14 ¾ inches 85

Raúl Milián (1914–1984), Traces, (Indicios), 1977, mixed media on heavy paper laid down on board, 15 ¾ x 11 ½ inches

Raúl Milián (1914–1984), Rhythms, (Ritmos), 1976, mixed media on heavy paper laid down on board, 14 ¾ x 10 ¾ inches

86

Antonia Eiriz (1929–1995), Woman and Mandolin (Mujer y Mandolina), 1951, oil on canvas 36 x 15 inches This painting is accompanied by a photo-certificate of authenticity issued by Manuel Carvajal, brother in law of Antonia Eiriz, dated November 27, 2005.

NOT AVAILABLE 87

Raúl Martínez (1927–1995), Painting (Pintura), 1957, mixed media on canvas, 70 x 50 inches Provenance: Iván Cañas Collection, Havana, Cuba.

Private Collection, Key Biscayne, Florida Illustrated in the book Pintores Cubanos, Ediciones R., Havana, Cuba, Edmundo Desnoes, 1962, page 191.

Also illustrated in the book, Raúl Martínez, La Gran Familia, Corina Matamoros, 2015, page 34, Fig. 18 88

Agustín Fernández (1928–2006), Fruits, (Frutas), ca. 1956, oil on wood, 17 x 30 inches This painting is accompanied by a photo-certificate of authenticity signed by María Elena Molinet de la Peña, first wife of the artist, dated May 16, 1990.

Also accompanied by a photo-certificate of authenticity signed by the artist, undated.

NOT AVAILABLE

Agustín Fernández (1928–2006), Composition/Breasts, (Composición / Senos), 1968, oil on canvas, 51 x 51 ½ inches Illustrated in the book Agustín Fernández, The Metamorphosis of Experience, The Agustín Fernández Foundation, 5 Continents, Milan, July 2012, page 99.

Illustrated in Important Cuban Artworks, Volume Nine, Cernuda Arte, November, 2010, page 71.

89

Antonia Eiriz (1929–1995), In Agony, (En Agonía), ca. 1965, oil on metal laid down on wood, 18 ¼ x 13 ¾ inches This painting is accompanied by a photo-certificate of authenticity signed by Pablo Vidal Eiriz, son of the artist.

NOT AVAILABLE

Antonia Eiriz (1929–1995), Turbulent Impulses, (Impulsos Turbulentos), ca. 1965, oil on metal laid down on wood, 18 x 13 ¾ inches This painting is accompanied by a photo-certificate of authenticity signed by Pablo Vidal Eiriz son of the artist.

90

Antonia Eiriz (1929–1995), My Rebellion, (Mi Rebelión), ca. 1965, oil on metal laid down on wood, 18 ¼ x 14 inches This painting is accompanied by a photo-certificate of authenticity signed by Pablo Vidal Eiriz, son of the artist.

Sold prior to the publication of this catalog.

NOT AVAILABLE

Antonia Eiriz (1929–1995), Internal Struggle, (Lucha Interior), ca. 1965, oil on metal laid down on wood, 18 ¼ x 14 inches This painting is accompanied by a photo-certificate of authenticity signed by Pablo Vidal Eiriz, son of the artist.

Sold prior to the publication of this catalog.

NOT AVAILABLE 91

These works on paper by Agustín Cárdenas are part of a larger collection of drawings that were executed during the artist's formative years at the Escuela Nacional de Bellas Artes, San Alejandro, from 1943 to 1949.

This cache of works was kept for decades by the artist's brother, Luis Cárdenas Alfonso, and later by his mother-in-law, Hilda Peñalver Sánchez. In many of these drawings, Agustín Cárdenas depicts scenes of everyday life. Common folk of the working class, beggars, farmhands and people of color.

This subject matter of social commentary in the body of work of Cárdenas has not been fully researched, and deserves to be recognized.

Ramón C ernuda

NOT AVAILABLE Agustín Cárdenas (1927–2001), On the Way to the Beach, (Camino a la Playa), ca. 1943–1949, graphite on paper, 8 x 11 inches Provenance: Hilda Peñalver Sánchez, sister-in-law of the artist.

92

Agustín Cárdenas (1927–2001), Street Gathering, (Tertulia Callejera), ca. 1943-1949, ink and graphite on paper laid down on board, 10 x 9 ¼ inches

Agustín Cárdenas (1927–2001), Street Scene, (Escena Callejera) ca. 1943-1949, graphite on paper, 10 ¾ x 9 ½ inches

93

Agustín Cárdenas (1927–2001), front and back view: Maternity, (Maternidad ), 1957, bronze sculpture, numbered 3 of 3, 26 ¾ x 4 x 4 inches Provenance: Galerie Boulakia, Paris, France.

Illustrated in the book Sculpture de Cárdenas, José Pierre, La Connaissance, 1971, Brussels, Belgium, listed as no. 24.

94

Agustín Cárdenas (1927–2001), front and back view: Untitled [Warm Presence], (Sin Titulo [Tibia Presencia]), 1959, bronze sculpture, 4 of 6, 20 3/4 x5 x 5 inches Exhibited in Christie's, New York, November 15, 2011, and illustrated in the corresponding auction catalog, lot 117.

Foundry stamp "Fonderia Tesconi, Pietrasanta" imprinted on the sculpture.

95

Angel Acosta León (1930–1964), Bottles, (Botellas), 1958, oil on wood, 22 x 9 ½ inches Provenance: Galería Habana, Arte y Cinema, La Rampa, Havana, Cuba, exhibited in November 1958.

Collection, Maurice Roth, Atlanta, Georgia.

NOT AVAILABLE 96

NOT AVAILABLE

Angel Acosta León (1930–1964), Underwater Bird, (Pájaro Submarino), ca. 1963, ink and oil on paper, 20 ½ x 25 ½ inches Provenance: Joaquín Ferrer Collection, Paris, France.

Exhibited in Galerie d’Eendt, Amsterdam, Holland, 1964.

The six works on paper by Angel Acosta León documented here, and on pages 98 and 99, were inherited by Eugenia Antonia Acosta León, the sister of the artist, upon her brother’s untimely death in 1964. All six works are accompanied by a photo-certificate of authenticity signed by Acosta León’s sister and all works are documented in the 200-page book Ángel Acosta León and His Magic,

by Dr. Rosa A. Chediak.

Angel Acosta León (1930–1964), Sugar Cane Juicer, (Guarapera), ca. 1963, mixed media on paper laid down on board, 4 1/16 x 3 ½ inches

97

Angel Acosta León (1930–1964), A Remembrance Awakens, (Despierta un Recuerdo), ca. 1963, ink on paper laid down on board, 3 ⅜ x 2 ¾ inches

Angel Acosta León (1930–1964), Coffee Maker, (Cafetera), ca. 1962, ink on paper laid down on board, 3 ¼ x 2 ¾ inches

Angel Acosta León (1930–1964), Flower, (Flor), ca. 1960, ink on heavy paper laid down on board, 5 ¼ x 4 ⅛ inches

98

Angel Acosta León (1930–1964), Coffee Maker of a Friend, (Cafetera de un Amigo), 1960, ink on paper laid down on board, 6 x 4 ¾ inches

Angel Acosta León (1930–1964), Wire Cot, (Camastro), ca. 1962, unsigned, mixed media on paper laid down on board, 4 x 5 ¼ inches 99

Gina Pellón (1926–2014), The Gardeners of the Moon, (Los Jardineros de la Luna), ca. 1967, mixed media on canvas, 51 ¼ x 38 ¼ inches Illustrated in Important Cuban Artworks, Volume Fourteen, page 99.

Sold prior to the publication of this catalog.

NOT AVAILABLE NOT AVAILABLE

Gina Pellón (1926–2014), The Witness, (El Testigo), ca. 1965, mixed media on canvas, 49 ¼ x 37 ¼ inches Sold prior to the publication of this catalog.

100

NOT AVAILABLE

Gina Pellón (1926–2014), Counter-Signal, (Contraseña), 1972, mixed media on canvas, 36 ¼ x 28 ¾ inches Provenance: Collection, Denmark.

101

Gina Pellón (1926–2014), Dream Window on Pedals, (Ventana de Sueños a Pedal ), 1975, mixed media on canvas, 48 x 36 inches 102

NOT AVAILABLE

Gina Pellón (1926–2014), Birds Without Words, (Pájaros sin Palabras), 1975, mixed media on canvas, 45 1/2 x 35 inches Sold prior to the publication of this catalog.

103

NOT AVAILABLE

Gina Pellón (1926–2014), Cinderella at the Malecón Seawall, (La Cenicienta del Malecón), ca. 1998, mixed media on canvas, 45 x 34 ½ inches Sold prior to the publication of this catalog.

104

NOT AVAILABLE

Gina Pellón (1926–2014), Indigo, (Indigo), 1996, mixed media on canvas, 45 ½ x 34 ¾ inches Provenance: Collection Bredgade, Denmark Written by the artist on the reverse: “Paris, 1996 ” 105

NOT AVAILABLE

Gina Pellón (1926–2014), Because I Love You, (Porque Te Quiero), 1973, mixed media on canvas, 45 1/2 x 32 inches 106

NOT AVAILABLE Gina Pellón (1926–2014), Astral Blue, (Azul Astral ), 2011, mixed media on canvas, 24 x 18 ¼ inches Provenance: The Estate of Gina Pellón.

Gina Pellón (1926–2014), The Fair of Sparrows, (La Feria de Gorriones), 2011, mixed media on canvas, 94 ½ x 27 inches Provenance: The Estate of Gina Pellón.

NOT AVAILABLE 107

NOT AVAILABLE Hermanas Scull, Bembé for the Virgin of Charity, (Bembé para la Caridad del Cobre), 2001, three dimensional mixed media artwork, 19 x 25 inches Provenance: Private Collection, Miami, Florida.

This artwork is signed by the three members of the Hermanas Scull Collective, Haydée Scull, Sahara Scull, and Michael Scull.

Sold prior to the publication of the catalog.

Hermanas Scull, Calle Ocho Festival, (Festival de la Calle Ocho), ca. 1985, three dimensional mixed media artwork, 36 x 60 inches This artwork is signed by the three members of the Hermanas Scull Collective, Haydée Scull, Sahara Scull, and Michael Scull.

108

Servando Cabrera Moreno (1923–1981), The Pendulum, (El Péndulo), 1979, ink on paper, 19 ¼ x 25 inches Provenance: Guido Adriaenssens, Belgian diplomat stationed in Havana in 1980.

Servando Cabrera Moreno (1923–1981), Low Relief, (Bajo Relieve), 1979, ink on paper, 19 ¼ x 25 inches Provenance: Guido Adriaenssens, Belgian diplomat stationed in Havana in 1980.

109

Rafael Soriano (1920-2015), Evening Encounter, (Encuentro en la Noche), 1994, oil on canvas 30 x 36 inches Provenance: Private Collection, Caracas, Venezuela.

We are grateful to Hortensia Soriano, daughter of the artist, for having confirmed the authenticity of this artwork.

NOT AVAILABLE NOT AVAILABLE

Rafael Soriano (1920-2015), Threshold of the Cave (Umbral de la Gruta), 1987 oil on canvas 30 x 24 inches Provenance: Private Collection, Caracas, Venezuela.

We are grateful to Hortensia Soriano, daughter of the artist, for having confirmed the authenticity of this artwork.

110

NOT AVAILABLE Hugo Consuegra (1929-2003), Never a Madam, (Madame de Jamais), 1975, oil on canvas, 66 x 48 inches Provenance: Private Collection, Caracas, Venezuela.

Exhibited in Contemporary Latin American Art: The Esso Collection of the Lowe Art Museum and Latin American Artists of the Southeastern U.S., Lowe Art Museum, University of Miami, Coral Gables, Florida, September 1978 and illustrated in the corresponding exhibition catalog.

111

NOT AVAILABLE Alfredo Sosabravo (b. 1930), Caribbean Jazz Band, (Jazz Band Caribeño), 2016, acrylic and collage on canvas, 64 x 64 ¾ inches Provenance: Acquired directly from the artist.

Sold prior to the publication of this catalog.

112

Alfredo Sosabravo (b. 1930), The Singer, (La Cantante), 2017, acrylic and collage on canvas, 63 x 38 ½ inches Provenance: Acquired directly from the artist.

113

Roberto Fabelo (b. 1950), Reunion of Friends, (Reunión de Amigos), 1990, oil on canvas, 38 ½ x 54 ½ inches Provenance: Private Collection, Caracas, Venezuela.

NOT AVAILABLE

Roberto Fabelo (b. 1950), Essays, (Ensayos), 1991, oil on canvas, 21 ½ x 25 ⅛ inches Provenance: Private Collection, Lugano, Switzerland.

Christie’s, New York, November 22, 2006, lot 136.

114

Roberto Fabelo (b. 1950), Woman and Rhinoceros, (Mujer y Rinoceronte), 2005, watercolor on paper laid down on board, 44 ⅜ x 60 inches

115

Roberto Fabelo (b. 1950), Monica, (Mónica), 2004, mixed media on heavy paper, 39 x 27 ½ inches

NOT AVAILABLE

Roberto Fabelo (b. 1950), Little Theater, (Pequeño Teatro), 1994, oil on canvas, 23 1/2 x 28 3/4 inches

116

NOT AVAILABLE

NOT AVAILABLE Roberto Fabelo (b. 1950), Meditation, (Meditación), 2016, acrylic on embroidered silk, 65 ¾ x 48 inches Illustrated in the book Fabelo, Persistencia, Roma, Palazzo della Cancilleria, May, 2017, page 71.

117

Roberto Fabelo (b. 1950), Romantic Rhinoceros, (Rinocerontes Románticos) 2017, acrylic on embroidered silk, 55 ¾ x 47 ¾ inches

118

Roberto Fabelo (b. 1950), The Struggle Goes On, (La Lucha Continúa), 2015, drawing on metal cauldron, 29 ½ x 27 ½ x 10 inches Illustrated in the book Fabelo, Persistencia, Roma, Palazzo della Cancilleria, May, 2017, page 108.

119

Roberto Fabelo (b. 1950), The Narcissist, (Ensimismado), 2015, oil on canvas, 84 ½ x 78 inches Provenance: Acquired directly from the artist.

120

Roberto Fabelo (b. 1950), Johannes Uyttenbogaaert and the Beans (Johannes Uyttenbogaaert y los Frijoles), 2016, oil on canvas, 93 x 79 ¾ inches Provenance: Acquired directly from the artist.

Illustrated in the book Fabelo, Persistencia, Roma, Palazzo della Cancilleria, May, 2017, pages 28, 29, and 45.

121

Tomás Sánchez (b. 1948), Vulture Meat, (Carne de Auras), 1975, oil on canvas, 31 x 39 inches This painting is signed, dated, and titled on the back.

It is accompanied by a photo-certificate of authenticity signed by the artist, dated August 9, 2001.

Exhibited in Ajiaco: Stirrings of the Cuban Soul, Lyman Allyn Art Museum, New London, Connecticut, September, 2009 to February, 2010, and illustrated in the corresponding museum catalog, page 3.

The exhibition was also presented at the Paul and Lulu Hilliard Art Museum, University of Louisiana in Lafayette, July–November, 2010.

Exhibited in Tomás Sánchez in Focus, Cernuda Arte, Coral Gables, Florida, May, 2010–July 2010.

Illustrated in Important Cuban Artworks, Volume Four, Cernuda Arte, December, 2005, page 4.

122

NOT AVAILABLE Tomás Sánchez (b. 1948), Lagoon, Clouds, and Meditator, (Laguna, Nubes y Contemplador), ca. 1995, acrylic on canvas, 18 x 24 inches This work is accompanied by a photo-certificate of authenticity signed by the artist.

Sold prior to the publication of this catalog.

123

NOT AVAILABLE Carlos Alfonzo (1950–1991), The Chair, (La Silla), 1989, painted steel sculpture, 43 ⅝ x 40 x 20 ½ inches Exhibited in Carlos Alfonzo: Sculptures, Paintings, and Works on Paper (solo show), Greene Gallery, Coral Gables, Florida, March–April, 1990.

This artwork is accompanied by a copy of the original sales receipt from Greene Gallery, dated April 3, 1990.

Illustrated in Important Cuban Artworks, Volume Twelve, Cernuda Arte, Coral Gables, Florida, page 138.

124

NOT AVAILABLE Carlos Alfonzo (1950–1991), Murano Waters, (Aguas de Murano), 1987, oil on canvas, 60 ¼ x 43 ¼ inches Illustrated in Important Cuban Artworks, Volume Four, Cernuda Arte, Coral Gables, Florida, page 47.

Signed, dated and dedicated by the artist to his dear friend, Jesse Ríos.

Exhibited at Sotheby’s, New York, December 19, 2003, and illustrated in the corresponding auction catalog, lot no. 1181.

125

José Bedia (b. 1959), Oya Ta Vení, (Oya Ta Vení ), 2001, oil on canvas, 23 x 35 inches Provenance: Ramis Barquet Gallery, New York, New York.

José Bedia (b. 1959), We’re Going to Have to Move the Table, (Vamos a Tener que Mudar la Mesa), 2004, oil on canvas, 81 x 120 inches Provenance: Ramis Barquet Gallery, New York, New York.

Collection Madrid, Spain.

126

José Bedia (b. 1959), Oh Tata, Protect Us, (Ay Tata Ampáranos), 1997, oil on canvas, 70 ½ x 43 ¼ inches Provenance: Collection Helena Benítez, Saarbrüken, Germany.

Helena Benítez, scientist and intellectual, was the second wife of Wifredo Lam, and the author of Wifredo and Helena, My Life with Wifredo Lam, 1939–1950.

127

NOT AVAILABLE

Manuel Mendive (b. 1944), Self-Portrait with White Horse, (Autorretrato con Caballo Blanco), 2000, oil on canvas, 40 x 39 1/2 inches Provenance: Private Collection, San Juan, Puerto Rico Sold prior to the publication of this catalog.

128

NOT AVAILABLE

Manuel Mendive (b. 1944), Offerings, (Exvotos), 2000, mixed media and collage on canvas, 55 ⅛ x 78 ⅝ inches Exhibited in Shangó y la Vida, Centre de Cultura “Sa Nostra”, Palma de Mallorca, Balearic Islands, Fall 2001.

This exhibition was also presented at the Sala de Exposiciones “La Recova,” Spring 2002, and Centro de Arte “Juan Ismael,” Fall 2002, in the Canary Islands, before concluding in the Museo Nacional de Bellas Artes, Havana, Cuba, Spring 2003.

The work is illustrated in the accompanying catalog, page 25.

Sold prior to the publication of this catalog.

129

Manuel Mendive (b. 1944), Mask, from the series, “For the Eye that Looks”, (Máscara, de la serie, "Para el Ojo que Mira"), 1987, acrylic on paper maché, 11 x 6 ½ inches signed and dated on the reverse

NOT AVAILABLE

NOT AVAILABLE 130

Manuel mendive (b. 1944), Boundless Offerings, (Ofrendas Sin Límites), 1991, mixed media on canvas in artist-made steel frame, 31 x 50 inches Provenance: Pierre Restany Collection, Paris, France.

Pierre Restany was an internationally known French art critic and cultural philosopher. In 1990, Restany wrote the essay Mendive and Cuba, a Reserve of Civilization for the Country.

He was the co-author of the book Mendive, Carin Arte, May, 1990, Thiene, Italy.

Sold prior to the publication of this catalog.

NOT AVAILABLE Manuel Mendive (b. 1944), Dinner at Sunset (Comemos al Atardecer), 2007, acrylic on canvas, 67 x 96 inches Provenance: Acquired directly from the artist.

131

NOT AVAILABLE Manuel Mendive (b. 1944), Peace in Ghana, (Paz en Ghana), 1982, mixed media on heavy paper laid down on board, 14 ¼ x 18 ¾ inches Sold prior to the publication of this catalog.

NOT AVAILABLE

Manuel Mendive (b. 1944), Red, (Rosso), 1991, oil on canvas, 30 ¾ x 40 ⅝ inches Provenance: Private Collection, Italy.

132

Manuel Mendive (b. 1944), three views of a semi-circular wood sculpture: Eggun and Eleguá, (Eggun y Eleguá ), 2004, acrylic on Royal Palm trunk, 32 x 13 3/4 x 6 3/4 inches Sold prior to the publication of this catalog.

Manuel Mendive (b. 1944), three views of a semi-circular wood sculpture: We Are the Same, (Somos los Mismos), 2004, acrylic on Royal Palm trunk, 35 x 15 x 6 ½ inches 133

Manuel Mendive (b. 1944), River Waters, (Aguas de Río), 2014, bronze, 77 x 37 x 22 inches, 3/7, inscribed "Mendive" and numbered.

Exhibited in Things that Cannot Be Seen Any Other Way: The Art of Manuel Mendive, Frost Art Museum, Miami, Florida, November, 2013.

This sculpture (different number) currently exhibited in the open air sculpture garden of the Frost Art Museum, Miami, Florida.

Also currently exhibited (different number) open air in the Seawall of Old Havana, Avenue of the Port, near the Alameda de Paula, Havana, Cuba.

Illustrated (different number) in the book Mendive, Collage Ediciones, Havana, 2015, page 220.

134

Manuel Mendive (b. 1944), Axe, (Hacha), 2010, mixed media canvas in artist-made iron frame, 76 ¾ x 67 ¾ inches

135

Manuel Mendive (b. 1944), Natural Refuge, (from the series, Vital Energies), (Refugio Natural, de la serie, Energías Vitales), 2010, mixed media sculpture, 88 x 22 x 44 inches Exhibited in Mendive, la Luz y las Tinieblas, José Luis Cuevas Museum, Mexico City, Mexico, 2011.

Exhibited in Sotheby’s, New York, November 20, 2015, and illustrated in the corresponding auction catalog, lot no. 180.

Illustrated in the book Mendive, Collage Ediciones, Havana, 2015, page 214.

136

Juan Roberto Diago (b. 1971), Something is Growing, (Algo Está Creciendo), 2004, mixed media on canvas, 79 x 59 ¼ inches Exhibited in Nine Contemporary Cuban Painters, 2005, Monte Carlo, Monaco, and illustrated in the corresponding exhibition catalog, page 55.

137

Juan Roberto Diago (b. 1971), I Am Not a Number, (No Soy un Número), 2007, mixed media on paper, 25 ½ x 19 ¾ inches Illustrated in the book Diago: The Pasts of This Afro-Cuban Present, Dr. Alejandro de la Fuente, Harvard University Press, Cambridge, Massachusetts, pages 104 and 105.

Sold prior to the publication of this catalog.

NOT AVAILABLE NOT AVAILABLE

Juan Roberto Diago (b. 1971), Don’t Step on Me, (No Me Pises), 2007, mixed media on paper, 25 ½ x 19 ¾ inches Illustrated in the book Diago: The Pasts of This Afro-Cuban Present, Dr. Alejandro de la Fuente, Harvard University Press, Cambridge, Massachusetts, pages 104 and 105.

Sold prior to the publication of this catalog.

138

NOT AVAILABLE Juan Roberto Diago (b. 1971), Untitled [Quiet Power], (Sin Título [Poder Pasivo]), 2016, mixed media and collage on canvas, 49 x 35 ¼ inches

NOT AVAILABLE

Juan Roberto Diago (b. 1971), Looking, (Mirando), 2017, mixed media and collage on canvas, 51 x 39 1/4 inches Sold prior to the publication of this catalog.

139

Juan Roberto Diago (b. 1971), Untitled [Feel My Pain], (Sin Título [Siente Mi Dolor]), 2016, mixed media and collage on canvas, 23 ¾ x 31 ½ inches

Juan Roberto Diago (b. 1971), Untitled [It Hurts], (Sin Título [Duele]), 2016, mixed media and collage on canvas, 23 ¾ x 31 ½ inches 140

Juan Roberto Diago (b. 1971), I Live within You, (Yo Vivo en Ti ), 2016, mixed media and collage on canvas, 78 ¾ x 59 inches 141

Flora Fong (b. 1949), Your Force is With Me, (Tu Fuerza Me Acompaña), 2009, acrylic on canvas, 40 x 32 inches Exhibited in Flora Fong & Li Domínguez Fong, The Mother, The Son: Two Artists, One Passion, Cernuda Arte, Coral Gables, Florida, Fall 2010, and illustrated in the accompanying catalog, page 18.

142

Flora Fong (b. 1949), Crossing the Large Waters is Essential, (Es Preciso Cruzar las Grandes Aguas), 2009, mixed media on canvas, 59 x 78 3/4 inches Exhibited in Flora Fong & Li Domínguez Fong, The Mother, The Son: Two Artists, One Passion, Cernuda Arte, Coral Gables, Florida, Fall 2010, and illustrated on the cover of the corresponding exhibition catalog.

143

NOT AVAILABLE

Miguel Florido (b. 1980), Resilience, (Resiliencia), 2017, oil on canvas, 48 3/4 x 91 1/2 inches

144

Miguel Florido (b. 1980), Paradise Found, (Un Paraíso Encontrado), 2017, oil on canvas, 31 ¼ x 23 ½ inches

NOT AVAILABLE

NOT AVAILABLE Miguel Florido (b. 1980), Our Closeness, (Nuestra Cercanía), 2017, oil on canvas, 39 x 78 ½ inches 145

Miguel Florido (b. 1980), Elegy, (Elegía), 2017, mixed media on canvas, 91 ¾ x 48 inches 146

NOT AVAILABLE Miguel florido (b. 1980), A Declaration of Love, (Una Declaración de Amor), 2017, oil on canvas, 13 ¾ x 9 ¾ inches

NOT AVAILABLE Miguel Florido (b. 1980), Your Smile Refreshes My Life, (Tu Sonrisa Me Refresca la Vida), 2016–17, oil on canvas, 13 ¾ x 9 ¾ inches

NOT AVAILABLE Miguel Florido (b. 1980), Loving You So Much, (De Quererte Tanto), 2015, oil on canvas, 9 ¾ x 13 ¾ inches 147

NOT AVAILABLE Miguel Florido (b. 1980), You Are My Refuge, My Everything, (Eres Mi Refugio, Mi Todo), 2016, oil on canvas, 9 ¾ x 13 ¾ inches

NOT AVAILABLE Miguel Florido (b. 1980), The Shelter of Your Wings, (El Amparo de tus Alas), 2017, oil on canvas, 48 ½ x 91 ½ inches 148

NOT AVAILABLE Miguel Florido (b. 1980), Love Sings, (El Amor Canta), 2017, acrylic on canvas, 71 x 51 inches 149

NOT AVAILABLE Miguel Florido (b. 1980), Sublime Love, (Amor Sublime), 2016, oil on canvas, 9 ¾ x 13 ¾ inches

NOT AVAILABLE Miguel Florido (b. 1980), The Day We Met, (El Día Que Nos Conocimos), 2017, oil on canvas, 9 ¾ x 13 ¾ inches 150

Miguel Florido (b. 1980), A Glorious Emblem, (Un Emblema Glorioso), 2017, acrylic on canvas, 13 ¾ x 9 ¾ inches

Miguel Florido (b. 1980), In Distress, (Angustiada), 2017, acrylic on canvas, 13 ¾ x 9 ¾ inches

151

Miguel Florido (b. 1980), Loving You Is My Destiny, (Amarte Es Mi Destino), 2017, oil on canvas, 9 ¾ x 13 ¾ inches

NOT AVAILABLE Miguel Florido (b. 1980), Back Together Again, (De Nuevo Juntos), 2017, oil on canvas, 21 ¼ x 23 ½ inches

Miguel Florido (b. 1980), The Light of Your Peace, (La Luz de Tu Paz), 2016–17, mixed media on canvas, 49 x 10 inches 152

NOT AVAILABLE

Dayron González (b. 1982), Meditation, (Meditación), 2017, oil on canvas, 42 x 28 inches

Dayron González (b. 1982), Caravan, (Caravana), 2017, oil on canvas, 80 x 90 inches

NOT AVAILABLE

153

NOT AVAILABLE

Irina Elén González (b. 1978), Evening Breeze, (Brisa Nocturna), 2017, acrylic on canvas, 39 ¼ x 31 ¼ inches

Irina Elén González (b. 1978), Delicious Love , (Delicioso Amor), 2015-2016, mixed media on canvas, 58 3/4 x 78 1/2 inches

154

NOT AVAILABLE Irina Elén González (b. 1978), This Is Not the End…, (No es el Fin…), 2017, acrylic on canvas, 59 x 43 inches 155

NOT AVAILABLE Irina Elén González (b. 1978), The Fruit of Victory (El Fruto de la Victoria), 2017, acrylic on canvas, 47 ¼ x 35 ¼ inches 156

Julio Larraz (b. 1944), The Blind Storyteller, (La Cuentista Ciega), 2000, oil on canvas, 28 x 36 inches Provenance: Private Collection, Miami, Florida.

NOT AVAILABLE Julio Larraz (b. 1944), Conversation, (Conversación), ca. 1995, oil on canvas, 25 ½ x 44 inches Provenance: Private Collection, Santo Domingo, Dominican Republic.

Illustrated in Important Cuban Artworks, Volume Nine, Cernuda Arte, Coral Gables, Florida, page 90.

157

NOT AVAILABLE Joel Besmar (b. 1968), Flight Lessons, (Lecciones de Vuelo), 2017, oil on canvas, 78 ½ x 57 ½ inches 158

Joel Besmar (b. 1968), Free On Your Own Recognizance, (Libertad Bajo Palabra), 2017, oil on canvas, 78 ½ x 57 ½ inches 159

Joel Besmar (b. 1968), The Philosopher’s Light, (La Luz del Filósofo), 2010, subtractive drawing on heavy paper laid down on board, 27 ½ x 39 ¼ inches

NOT AVAILABLE Joel Besmar (b. 1968), The Birth of Knowledge, (Cantos Rodados), 2017, oil on canvas, 41 ¼ x 59 inches 160

Joel Besmar (b. 1968), The Soul of the Universe, (Anima Mundi ), 2017, oil on canvas, 78 1/2 x 57 1/2 inches 161

The Hecho en Cuba series (“Made in Cuba”), executed in Pinar del Río, Cuba by Lilian García-Roig during February and March of 2017, was the artist's first creative experience on the island after having left the country forty-nine years earlier. Lilian had long desired to connect with forefathers of the Cuban Landscape genre by painting the amazing geography of the Viñales Valley, and in this way express her admiration for Domingo Ramos and other artists that have also been inspired by the beauty of this region.

Lilian García-Roig (b. 1966), Ascension, (Ascensión), 2017, oil on heavy paper laid down on wood, 30 x 22 ¼ inches

162

Lilian García-Roig (b. 1966), Grand Mogote View #3, (Gran Vista de Mogotes #3 ), 2017, oil on heavy paper laid down on wood, 22 x 30 inches

Lilian García-Roig (b. 1966), Cueva de la Vaca Hills with Palms, (Cueva de la Vaca Mogotes con Palmas), 2017, oil on heavy paper laid down on wood, 22 x 30 inches

NOT AVAILABLE Lilian García-Roig (b. 1966), "The Million" Mogote Hill, (Mogote “El Millón” ), 2017, oil on heavy paper laid down on wood, 22 x 30 inches 163

NOT AVAILABLE Vicente Hernández (b. 1971), The Trip of Dreams and Nightmares, (El Viaje de los Sueños y las Pesadillas), 2016, mixed media on canvas, 51 x 86 ¼ inches

NOT AVAILABLE Vicente Hernández (b. 1971), Our New Reality, (Nuestra Nueva Realidad ), 2017, oil on canvas, 59 ¼ x 78 ¼ inches 164

Vicente Hernández (b. 1971), Voting for More of the Same (Votando por Más de lo Mismo), 2017 oil on canvas 14 3/4 x 11 1/2 inches

NOT AVAILABLE

Vicente Hernández (b. 1971), Electoral Folklore, (Folclore Electoral ), 2017, oil on canvas, 16 x 9 3/4 inches

Vicente Hernández (b. 1971), Another Unanimous Vote (Otro Voto Unánime), 2017, oil on canvas, 15 x 14 1/4

NOT AVAILABLE 165

Giosvany Echevarría (b. 1971), Interlude, (Interludio), 2016, oil on canvas, 9 3/4 x 13 ¾ inches

NOT AVAILABLE Giosvany Echevarría (b. 1971), A New Dawn, (Un Nuevo Amanecer), 2017, oil on canvas, 40 x 78 ¾ inches 166

Giosvany Echevarría (b. 1971), Afternoon Interlude, (Interludio en la Tarde), 2016, oil on canvas, 40 ¼ x 78 ¾ inches

Giosvany Echevarría (b. 1971), Inner Peace, (Paz Interior), 2017, oil on canvas, 47 x 67 inches 167

NOT AVAILABLE

Reynier Ferrer (b. 1979), Under Pretext, from the series, "The Whole Island", (Bajo Pretexto, de la serie, La Isla Entera), 2016 mixed media on canvas, 55 x 85 inches

NOT AVAILABLE Reynier Ferrer (b. 1979), Between Shadow and Light, from the series, "The Whole Island", (Entre La Sombra y La Luz, de la serie, La Isla Entera), 2016, mixed media on canvas, 55 x 85 inches 168

NOT AVAILABLE Reynier Ferrer (b. 1979), Struggles, from the series, "The Whole Island", (Enfrentamientos, de la serie, La Isla Entera), 2016, mixed media on canvas, 85 x 55 inches 169

Jorge Luis Santos (b. 1973), Number 5, (Número 5 ), 2015, mixed media on canvas, 70 ½ x 70 ½ inches

Jorge Luis Santos (b. 1973), Network Connection (from the series "A–Z"), (Conexión de la Red, de la serie "A–Z" ), 2017, mixed media on canvas, 72 x 72 inches

170

NOT AVAILABLE Jorge Luis Santos (b. 1973), Hidden Links (from the series "A-Z") (Enlaces Ocultos, de la serie "A-Z "), 2017 mixed media on canvas 72 x 72 inches

Jorge Luis Santos (b. 1973), Unconquered Terrain (from the series "A-Z"), (Terreno No Conquistado, de la serie "A-Z "), 2016, mixed media on canvas, 75 3/4 x 72 3/4 inches

171

Jorge Luis Santos (b. 1973), White with Yellow (from the series "A–Z"), (Blanco con Amarillo, de la serie "A–Z "), 2016, mixed media on canvas, 76 x 73 inches

172

Ever Fonseca (b. 1938), Untitled, (Sin Título), 1990, oil on canvas, 39 1/2 x 31 inches

NOT AVAILABLE

Nicolás Guillén (1938-2003), The Better to See You With, (Para Verte Mejor), 1988, gouache on paper, 39 x 39 inches Exhibited at the Cuban Museum of Arts and Culture, Miami, Florida, 1989.

NOT AVAILABLE 173

Vicente Hernández (b. 1971), Of Routes, Destinies and New Dreams, (De Rutas, Destinos y Nuevos Sueños), 2010, oil on canvas, 59 x 78 3/4 inches

NOT AVAILABLE Vicente Hernández (b. 1971), Unanimousness at the Circus, (Unanimidad en El Circo), 2014, oil on canvas, 58 3/4 x 78 1/2 inches 174

Tomás Esson (b. 1963), Portrait No. 4, (Retrato No. 4), 1994, oil on linen, 68 x 68 inches Provenance: Ramis Barquet Gallery, New York, New York.

175

Víctor Manuel García (1897–1969), Portrait of a Young Lady, (Retrato de Joven), 1968, mixed media on heavy paper laid down on board, 14 1/2 x 11 1/2 inches Provenance: Private Collection, Switzerland.

René Portocarrero (1912–1985), Two Sisters, (Dos Hermanas), 1955, mixed media on board, 15 x 11 inches Provenance: Private Collection, San Juan, Puerto Rico.

Sold prior to the publication of this catalog.

NOT AVAILABLE 176

NOT AVAILABLE René Portocarrero (1912–1985), Women with Doves, (Mujeres con Palomas), 1974, mixed media on heavy paper laid down on board, 23 x 29 inches This painting was exhibited at Christie’s East, New York, November 23, 1999, lot 77, and it is illustrated in the corresponding auction catalog.

Provenance: Private Collection, Miami, Florida.

177

INDEX

Abela, Eduardo (1889-1965) 33, 34 (2), 35, 36, 37 Alfonzo, Carlos (1950-1991) 124, 125 Acosta León, Angel (1930-1964) 96, 97 (2), 98 (3), 99 (2) Bedia, José (b.1959) 126 (2), 127 Bermúdez, Cundo (1914-2008) 2, 42, 43, 44, 45 Besmar, Joel (b. 1968) 158, 159, 160 (2), 161 Cabrera Moreno, Servando (1923-1981) 109 (2) Camacho, Jorge (1934-2011) 77 Cárdenas, Agustín (1927-2001) 92, 93 (2), 94, 95 Carreño, Mario (1913-1999) 48 (2), 49, 50 Chartrand, Esteban (1830-1883) 4, 8, 9 Chartrand, Philippe (1825-1889) 14, 15 Consuegra, Hugo (1929-2003) 111 De Almendares, Marqués 5 (2) De la Escalera, José Nicolás (1734-1804) 7 Diago, Juan Roberto (b. 1971) 137, 138 (2), 139 (2), 140 (2), 141 Diago, Roberto (1920-1955) 46 Echevarría, Giosvany (b. 1971) 166 (2), 167 (2) Eiriz, Antonia (1929-1995) 87, 90 (2), 91 (2) Enríquez, Carlos (1900-1957) 40 (2) Esson, Tomás (b. 1963) 175 Fabelo, Roberto (b. 1950) 114 (2), 115, 116 (2), 117, 118, 119, 120, 121 Fernández, Agustín (1928-2006) 77, 89 (2) Ferrer, Reynier (b. 1979) 168 (2), 169 Florido, Miguel (b. 1980) 144, 145 (2), 146, 147 (3), 148 (2), 149, 150 (2), 151 (2), 152 (3) Fonseca, Ever (b. 1938) 173 Fong, Flora (b. 1949) 142, 143 García, Víctor Manuel (1897-1969) 22, 23, 24, 25, 26, 27 (2), 41, 176 García Rivera, Oscar (1914-1971) 19 García Roig, Lilian (b. 1966) 162 (2), 163 (2)

178

González, Carmelo (1920-1990) 51 González, Dayron (b. 1982) 153 (2) González, Irina Elén (b. 1978) 154 (2), 155, 156 Guillén, Nicolás (1938-2003) 173 Hernández, Vicente (b. 1971)164 (2), 165 (3), 174 (2) Hoeffler, Adolf (1825-1898) 10, 11 Lam, Wifredo (1902-1982) 28, 29, 30, 31 Landaluze, Víctor Patricio (1828-1889) 12 (2), 13 (2) Larraz, Julio (b. 1944) 157 (2) Llinás, Guido (1923-2005) 179 Martínez, Raúl (1927-1995) 88 Martínez Pedro, Luis (1910-1990) 47 Menocal, Armando (1863-1942) 18 Mendive, Manuel (b. 1944) 128, 129, 130 (2), 131, 132 (2), 133 (2), 134, 135, 136 Mijares, José (1921-2004) 78, 79, 80 (2), 81, 82, 83 Milián, Raúl (1914-1984) 84 (2), 85 (2), 86 (2) Morales, Eduardo (1862-1938) 16 (2) Peláez, Amelia (1896-1968) 38, 39 Pellón, Gina (1926-2014) 100 (2), 101, 102, 103, 104, 105, 106, 107 (2), 180 Ponce de León, Fidelio (1895-1949) 20, 21 Portocarrero, René (1912-1985) 52, 53, 54, 55 (2), 56, 57, 58, 59, 60, 61, 62, 63, 176, 177 Ravenet, Domingo (1905-1969) 32 Ríos, Teodoro (1917-1992) 17 Rodríguez, Mariano (1912-1990) 64, 65, 66, 67 (2), 68 (2), 69 (2), 70, 71 (3), 72 (2), 73 (2), 74, 75, 76 Romañach, Leopoldo (1862-1951) 19 Sánchez, Tomás (b. 1948) 122, 123 Santos, Jorge Luis (b. 1973) 170 (2), 171 (2), 172 Scull, Hermanas 108 (2) Soldevilla, Loló (1901-1971) 51 Soriano, Rafael (1920-2015) 110 (2) Sosabravo, Alfredo (b. 1930) 112, 113

Guido Llinás (1923 - 2005), Trinidad V, (Trinidad V ), 1963, oil on canvas, 32 x 39 1/4 inches Provenance: Private Collection, Madrid, Spain.

Also signed, titled and dated on the back of the work.

Back Cover: Gina Pellón (1926–2014), Obedience is a Commodity, (La Obediencia es una Comodidad ), 1993, mixed media on canvas, 64 x 51 inches Provenance: Private Collection, San Juan, Puerto Rico Exhibited in Gina Pellón, Elite Fine Art, Coral Gables, Florida, April, 1994, and illustrated in the corresponding exhibition catalog, a copy of which accompanies the painting.

Catalog Coordinator: Eric González • Photography: Jorge Palomino & Eric González Proofreading: Nercys Cernuda • Printing: Bellak Color 179

NOT AVAILABLE Gina Pellón (1926–2014), Obedience is a Commodity, (La Obediencia es una Comodidad), 1993, mixed media on canvas, 64 x 51 inches Please reference page 179 of this catalog for additional information on this artwork.

Cernuda Arte 180

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