IMPORTANT CUBAN ARTWORKS, Volume Sixteen

IMPORTANT CUBAN ARTWORKS VOLUME SIXTEEN

Cernuda Arte

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Víctor Manuel García (1897–1969), Portrait of a Young Lady, (Retrato de Joven), 1963, mixed media on heavy paper laid down on board, 15 1/2 x 12 3/8 inches Provenance: Private Collection, Sao Paulo, Brazil.

Amelia Peláez (1896 - 1968), Fish, (Peces), 1955, oil on canvas, 34 1/8 x 43 1/8 inches (illustrated on the cover) Provenance: Ramón Osuna, Sr., Washington, D.C. Dr. Silvio Hernández, Connecticut.

Exhibited at Sotheby's New York, Latin American Art, November 25 and 26, 1997 and illustrated in the accompanying catalog, pages 36-37, lot number 56.

Illustrated in Amelia Peláez, Cerámica, María Elena Jubrías, Ediciones Vaguardia Cubana, Havana, 2008, back cover.

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IMPORTANT CUBAN ARTWORKS VOLUME SIXTEEN

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elcome to Important Cuban Artworks, Volume Sixteen. We launch this edition of our signature yearly publication just in time for the December 2018 to 2019 art season.

Our current catalog displays the illustrations of over two hundred and seventy five artworks, encompassing various periods, from an early nineteenth century (1828) colonial, classic and solemn military portrait by pioneer Cuban painter, Vicente Escobar; to a very recent (2018) surreal-critical depiction of everyday life in the Island, rendered by a young contemporary artist, Vicente Hernández. These works executed by two very different Vicentes – Escobar and Hernández – two hundred years apart, bookend the trove of gems from virtually distinct moments and movements that have had a significant presence in the art scene of Cuba.

This encyclopedic intention on our part, aspires to provide a panoramic view that facilitates knowledge and assists in the determination of preferences and choices. Works from our selection for this yearly cycle, will be featured in various exhibitions at the gallery (commencing with the current one) and at various art fairs where we will be participating.

With this new publication, we hope to continue sharing our dedication and passion for Cuban art.

Ramón Cernuda

Cernuda Arte’s Staff (from left to right): Daniel Ferrer, Jorge Palomino, Nercys Cernuda, Ramón Cernuda, Eric González and Mauricio Allende 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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Augusto Chartrand (1828-1899), Sailboats at Sea, (Veleros en el Mar), 1888, oil on canvas, 9 x 12 inches This painting was part of the collection of the Shelburne Museum, Shelburne, Vermont, and was deaccessioned by the museum.

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Henry Cleenewerck (1825-1901), Cuban Jungle, (Jungla Cubana), ca. 1860, oil on canvas, 25 1/2 x 21 1/4 inches

Henry Cleenewerck (1825-1901) was born in Watou, Belgium, in 1825. In 1854 he visited the United States and by the year 1863, he settled in Havana and painted an oil on canvas commissioned by the Counts of Fernandina.

During his stay in Cuba, estimated to have lasted about five years, he was recognized as an outstanding landscape painter. His works were acquired by distinguished families of colonial high society. José María Ximeno, in 1865, held several scenes of Matanzas created by Cleenewerck in his private art collection. Among these, there were two canvases depicting the Yumurí Valley, a nocturnal landscape of the Canímar River, and the painting, Una Ceiba en San Antonio de los Baños, (A Ceiba Tree in San Antonio de los Baños).

Cuban-themed paintings by Cleenewerck were presented at the Exhibit of Matanzas in 1881 and at the exhibition, Trescientos Años de Arte en Cuba (Three Hundred Years of Art in Cuba) presented by the University of Havana in 1940. His works were also exhibited in La Pintura Colonial en Cuba (Colonial Painting in Cuba) at the Capitolio Nacional in Havana (1950), in Pintura Española y Cubana (Spanish and Cuban Painting) at the Prado Museum in Madrid, Spain, in 1983, and in the permanent collection of the National Museum of Fine Arts in Cuba. They were also presented in the show, Pintura y Litografía Cubanas (Cuban Painting and Lithography) at Bacardí Gallery in Miami, Florida, 1988.

It is likely that in 1868, Cleenewerck moved to Paris, where he remained until 1873. During his stay in Paris, he rendered other landscape paintings based on his memories of Cuba. By the end of his life, the artist had settled in Brussels, Belgium, where he passed away in 1901.

Ramón Cernuda ONE HUNDRED YEARS OF CUBAN LANDSCAPE, 1850-1950 5

Vicente Escobar Of Vicente Escobar, the renowned art critic, José Gómez Sicre wrote in his book, Cuban Painting Today, published in 1944, “The second artist [to be recorded in Cuba] Vicente Escobar (1757-1834) was born in Havana. He painted a fine series of family portraits of the aristocracy of that period and his canvases are noteworthy for their luminosity and delicate charm reminiscent in some respects of Goya. He used a very rich palette although his plastic interpretation was sometimes quite naive.

His enthusiasm for his profession is reflected in the loving care with which he painted all the minute details of drapery in his compositions. Among the several pupils and assistants who worked in Escobar’s studio, Juan del Río was his closest.”

The Enciclopedia del Arte en América, published in 1968 by Bernardo Lerner, Bibliográfica Omeba, 1968, states of Escobar, “Cuban painter born in Havana in 1757, and died in the same city in 1834.

This artist of color distinguished himself as a portraitist, leaving a gallery of portraits that illustrated the era’s aristocratic personalities. The sincerity and ingenuity in his works give his extensive portraits a freshness and vitality rarely reproduced during the colonial period in Cuba. The Cuban historian Francisco Calcaño observes, ‘Without a teacher or a model to imitate, without a school to follow, guided only by his genius and his perseverance, he became the first portraitist artist of this genre in Cuba. An honor student from the Real Academia de Bellas Artes de San Fernando in Madrid, Escobar was designated painter of the Royal House by Queen María Cristina of Spain on May 15, 1827. He received these awards after undertaking an extensive trip throughout Italy, France, and Spain.”

It is known that in 1828, the then Captain General of Cuba in Havana, Francisco Dionisio Vives, requested from painter Vicente Escobar a series of portraits of prior island Governors.

It is documented that this series of portraits by the artist included paintings of the Marquee de la Torre, Espelita and others that had occupied the highest rank in the Island’s administration. Art historians assume that this portrait of Captain General Nicolás de Mahy y Romo was part of the aforementioned series. Nicolás de Mahy had a distinguished military and administrative career at the service of the Spanish Crown.

Vicente Escobar (1757-1834), illustrated on page 7, Portrait of Nicolás de Mahy y Romo, Governor and Captain General of Cuba, (Retrato de Nicolás de Mahy y Romo, Gobernador y Capitán General de Cuba), 1828, oil on canvas, 38 x 29 inches Front of canvas signed and dated "D. Vicente Escobar fecit Habana 1828" and inscribed "Exmo Sor D. N. Mi".

Inscribed "P358" on the back of the canvas.

Provenance: Collection Madrid, Spain.

This painting is accompanied by the Photo Certificate-Authorization of Export #2018/02943, issued by the government of Spain, signed by Román Fernández-Baca Casares, Director General of Bellas Artes, and dated July 27, 2018, for the above described painting.

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Eduardo Laplante, engraver (1818–1860), and Leonardo Barañano, draftsman (19th Century) Santiago de Cuba, ca. 1856, hand-illuminated lithograph on paper, 24 x 33 1/2 inches

Eduardo Laplante, engraver (1818–1860), and Leonardo Barañano, draftsman (19th Century) Matanzas, ca. 1856, hand-illuminated lithograph on paper, 24 x 33 1/2 inches 8

Esteban Chartrand (1840–1883), Peasants Playing, (Campesinos Jugando), ca. 1872, graphite on heavy paper laid down on board, 3 1/4 x 5 1/2 inches

Esteban Chartrand (1840–1883), Landscape with Royal Palms, (Paisaje con Palmas Reales), ca. 1870, graphite on heavy paper laid down on board, 3 3/8 x 5 5/8 inches

Esteban Chartrand (1840–1883), Trees and Palm, (Árboles y Palma), ca. 1870, graphite on heavy paper laid down on board, 3 3/8 x 5 5/8 inches

Esteban Chartrand (1840–1883), Landscape with Palm Tree, (Paisaje con Palma), ca. 1870, graphite on paper, 2 3/4 x 4 1/2 inches

Esteban Chartrand (1840–1883), Landscape with River, (Paisaje con Río), ca. 1867-1870, graphite on heavy paper laid down on board, 5 5/8 x 8 5/8 inches 9

Víctor Patricio Landaluze (1828–1889), Cutting Sugar Cane, (Cortando la Caña de Azúcar), ca. 1880, ink & watercolor on heavy paper laid down on board, 3 3/4 x 5 5/8 inches

Víctor Patricio Landaluze (1828–1889), The Declaration of Love, (La Declaración de Amor), ca. 1880, ink & watercolor on heavy paper laid down on board, 4 x 5 1/2 inches 10

Víctor Patricio Landaluze (1828–1889), In Front of the Mirror, (Frente al Espejo), ca. 1880, ink & watercolor on heavy paper laid down on board, 5 3/4 x 4 inches

Víctor Patricio Landaluze (1828–1889), The Elegantly Dressed Sweeps, (La Bienvestida Barre), ca. 1880, ink & watercolor on heavy paper laid down on board, 5 5/8 x 3 3/4 inches

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Leopoldo Romañach (1862–1951), Landscape with Clouds, (Paisaje con Nubes), ca. 1930, oil on board, 18 x 10 1/2 inches

Leopoldo Romañach (1862–1951), Study for a Face, (Estudio de un Rostro), ca. 1918, oil on canvas, 17 x 21 inches 12

Enrique Crucet (1895-1979) was born in Havana on July 12, 1895. The artist depicted landscapes, cityscapes and marine paintings. He commenced his studies in basic and ornamental painting at the Galician Center of Havana where Baldomero Moreira, the Spanish painter and graduate of the San Fernando School of Fine Arts in Madrid, was his professor. As a young man he departed to Barcelona, where he studied at the studio of Catalan painter Luis Granier. From there he turned to Paris, and later to Rome. He returned to Cuba in 1918 and exhibited his paintings at the Fine Arts Salon in Havana. This capital’s municipality rewarded his artistic resolve, granting him a scholarship to study abroad.

Crucet was a graduate of the National Academy of Fine Arts at San Alejandro. In 1919 he returned to Spain, and in Madrid he completed advanced studies at the celebrated Academy of Fine Arts at San Fernando, obtaining its credentials.

Julio Blanco Coris, Antonio Muñoz de Graim, and Joaquín Sorolla were the mentors who markedly influenced Crucet’s artistic personality. On October 19, 1920 he celebrated the first exhibition of his paintings at the Circle of Fine Arts in Madrid.

The artist’s most salient awards encompassed a Third Prize recognition at the International Exhibition in Paris; a Medal of Honor and Honorable Mention at the Iberoamerican Exposition in Seville; the Landscape Award at the Second International Biennial Exposition, and Gold Medal in Santiago, Chile. The artist died in 1979.

Enrique Crucet (1895–1979), Roses, (Rosas), ca. 1945, oil on wood, 15 1/2 x 11 inches

Ramón Cernuda

Enrique Crucet (1895–1979), Valley of Viñales, (Valle de Viñales), ca. 1940, oil on canvas, 16 3/4 x 29 3/4 inches 13

Manuel Mesa Hermida (1895–1971), Houses in Casablanca, (Casas de Casa Blanca), ca. 1930's, oil on wood, 11 x 14 inches

Manuel Mesa Hermida (1895–1971), Slum Dwelling, (Caserío), 1960, oil on wood, 11 1/2 x 15 inches 14

Tiburcio Lorenzo (1912-1995), Hut, (BohĂ­o), 1983, oil on canvas, 16 x 20 inches

Tiburcio Lorenzo (1912-1995), House in the Country, (Casa de Campo), 1984, oil on canvas, 22 1/2 x 31 inches 15

Oscar García Rivera (1914–1971), Quarrel in the Market, (Riña en el Mercado), ca. 1950's, oil on canvas, 10 1/4 x 15 3/4 inches

Oscar García Rivera (1914–1971), School in the Countryside, (Escuela de Campo), ca. 1960, oil on canvas, 14 1/2 x 23 inches 16

Oscar García Rivera (1914–1971), Havana's Chinatown, (Barrio Chino en La Habana), 1952, oil on canvas, 17 1/2 x 22 1/2 inches

Oscar García Rivera (1914 – 1971) was born in Pinar del Río, Cuba 1914. He studied art at the San Alejandro Academy in Havana and graduated from this institution in 1939. In the 1940s, he exhibited at the annual Salons of Beaux Arts in Havana. In 1941 at the XXIII Salon and in 1943 at the XXV Salon where he was awarded an Honorary Mention.

In 1946, he presented a one person exhibition of his works at the Lyceum in Havana. The United States National Museum, Smithsonian, in Washington D.C. organized a major show of his works in October of 1947, part of which traveled to the Washington Arts Gallery, Miami Beach, 1948.

García Rivera chose a pictorial idiom related to the French and Spanish Impressionists, where light, color and loose brushstrokes are utilized to capture the fleeting moment of autochthonous Cuban subject matters. In this thematic choice – genre art – the artist clearly preferred renditions which illustrated everyday life and manners following the path chosen by his predecessor, Víctor Patricio Landaluze in the 19th century, and continued afterwards by Uver Solís in the 1940s to 70s and later by the Cuban American Scull sisters in Miami in the 1980s and 90s.

García Rivera was well aware of the 20th century American School of genre art and the works of such masters as Edward Hopper, Grant Wood, Thomas Hart Benton and Norman Rockwell. His desire to capture reality gravitated to popular urban scenes – jovial gatherings, street parties, religious ceremonies and other social events where he depicted people of different races participating harmoniously in various raditional settings.

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Domingo Ravenet (1905-1969), Landscape, (Paisaje), ca. 1930/32, oil on canvas, 25 1/2 x 19 1/2 inches This painting is accompanied by a Certificate of Authenticity signed by a Mariana Ravenet Ramírez, daughter of the artist, dated November 26, 2016, number OPF45.

“To paint would absorb me all day…Sometimes towards still lifes; other times Paris vistas from my window: Roofs and chimneys… I was always attracted most to form and color than draftsmanship.”

Domingo Ravenet.(1) (1) Ravenet Revela a Ravenet, book by Mariana Ravenet, Editorial Letras Cubanas, Havana, 2005, page 77.

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Domingo Ravenet (1905-1969), Spring, (Primavera), 1943, oil on canvas, 40 x 24 inches Exhibited in Fifth Exposition, Patronato de las Artes Plรกsticas, Municipal Palace, Havana, Cuba, May 1944 and listed in the catalog, no. 69.

Also exhibited in Ravenet: Exposition of Oils and Watercolors, Lyceum, Havana, Cuba, June 1944.

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Carlos Enríquez (1900–1957), Calibán [Carlos Enríquez's Dog], (Calibán), ca. 1953, oil on canvas laid down on board, 7 1/2 x 5 3/4 inches Provenance: Claudio Ferioli, Reggio Emilia, Italy.

Exhibited in Carlos Enríquez: The Painter of Cuban Ballads, Cernuda Arte, Coral Gables, April-May 2010.

Illustrated in the newspaper Alerta, May 16, 1957, as part of an article titled Adiós a Carlos Enríquez.

Illustrated in Important Cuban Artworks Volume Eight, Cernuda Arte, Coral Gables, Florida, 2010, page 28.

Also illustrated in the book Carlos Enríquez: The Painter of Cuban Ballads, by Professor Juan Martínez, 2010, page 227.

Carlos Enríquez (1900–1957), Horse, (Caballo), 1954, mixed media on heavy paper laid down on canvas, 8 1/4 x 11 inches Provenance: Collection of Professor Juan Martínez, Miami, Florida This painting was exhibited in the Art Chicago fair, Chicago, Illinois, May 2003.

Illustrated in the book Carlos Enríquez: The Painter of Cuban Ballads, by Professor Juan Martínez, 2010, page 246.

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Carlos Enríquez (1900-1957), Nude, (Desnuda), 1947, ink on heavy paper laid down on board, 20 7/8 x 16 1/2 inches Provenance: Collection of Madame Odette Lavergne, Cannes, France Collection of Howard Farber, New York, New York Exhibited in Art Moderne and Contemporain, Besch Commissaire, Hotel Martinez, Cannes, France, November 2009, and illustrated in the auction catalog, page 63.

This painting is illustrated in the book Carlos Enríquez: The Painter of Cuban Ballads, by Professor Juan Martínez, 2010, page 211.

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Marcelo Pogolotti (1902–1988), Heaven and Earth, (El Cielo y la Tierra), ca. 1934, charcoal on heavy paper laid down on board, 18 3/4 x 25 inches This work is accompanied by a certificate of authenticity issued by Fundación de Arte Cubano, October 12, 2015, Madrid, Spain, signed by José Veigas Zamora and Ramón Vázquez Díaz.

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Víctor Manuel García (1897–1969), Portrait of an Artist, (Retrato de un Artista), 1919, oil on canvas laid down on wood, 13 3/4 x 11 inches Exhibited in the Salón Nacíonal de Bellas Artes, in Havana, in 1919, and listed in the corresponding exhibition brochure, number 183.

This painting is illustrated in the book Cuban Art, Past and Present, Vol. 1, Frank Padrón, 2016, page 38.

This work is accompanied by a cetificate of authenticity signed by Ramón Vázquez Díaz, dated January 25, 2016.

The artist Víctor Manuel García would sign his paintings, “Manuel García” or “M García” during the first ten years of his career, from 1916 to 1925. It was shortly after arriving in Paris in 1925, that his new Latin American friends residing in that city convinced him that it was imperative for him to change his artistic name.

According to Armando Maribona, another Cuban artist studying in Paris at that time, initially it was the Cuban journalist Juan Lainez who insisted that Manuel García change his name. In a few days, a group of friends, among them, Miguel Angel Asturias, Max Jiménez, Antonio Gattorno, Eduardo Avilés Ramírez, Maribona and others, secretly organized an assembly in Gattorno's studio. The plan was to re-baptize the artist, presenting him with a few options. After some deliberation, it was agreed that Víctor Manuel would be the artist’s nom de plume. (1) Shortly afterwards, Víctor Manuel sent his dear friend Domingo Ravenet a postcard to Havana from the Louvre Museum that read, “Ahora, firmo siempre Víctor Manuel.” (Now I always sign Víctor Manuel ) (2) (1) See “El Arte y el Amor in Montparnasse, Paris 1923 – 1930", Armando Maribona, Ediciones Botas, 1950, pages 242 and 243.

(2) Víctor Manuel, Ramón Vázquez Díaz, Ediciones Vangardia Cubana, 2010, page 48.

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Víctor Manuel García (1897–1969), Couple by the River, (Pareja a Orillas del Río), 1947, oil on canvas, 30 x 24 inches Provenance: Manuel Abelén, Vice-Consul of Brazil in Cuba, and his wife, Elena Rodríguez de Abelén who acquired it from the artist in the 1940's. Thence by descent to their nephew and niece, Mr. René Rodríguez and Helen Lily Harbour.

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Víctor Manuel García (1897–1969), Two Sisters, (Dos Hermanas), ca. 1950, oil on canvas, 23 3/8 x 19 inches Provenance: Private Collection, Miami, Florida.

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Víctor Manuel García (1897–1969), Young Women with Umbrella and Cat, (Jóvenes con Sombrilla y Gato), ca. 1940, oil on canvas, 26 x 20 inches Provenance: Manuel Abelén, Vice-Consul of Brazil in Cuba, and his wife, Elena Rodríguez de Abelén who acquired it from the artist in the 1940's. Thence by descent to their nephew and niece, Mr. René Rodríguez and Helen Lily Harbour.

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Víctor Manuel García (1897–1969), The Lovers and the Chaperone, (Los Novios y la Chaperona), ca. 1948, oil on canvas, 30 1/4 x 23 1/2 inches Provenance: Private Collection, Pinecrest, Florida.

Exhibited in Important Cuban Artworks, Volume Three, Cernuda Arte, December 2004 to March 2005, and illustrated in the corresponding exhibition catalog, cover page.

Illustrated in the book Remembering Cuba Through its Art, Arte al Día, 2004, page 97.

Sold prior to the publication of this catalog.

In The Couple and the Chaperone, Víctor Manuel García (1897 – 1969) returns to his Gauginesque romantic compositions where his figures, in this instance guajiros (peasants), surrender themselves to the appropriate courtship dictated by the norms of the period. The artist evokes obsolete traditions by incorporating in the background the chaperone, who observes and takes care that the young man not take undue liberties and that the young woman not yield to his advances. Firm and precise outlines define the volumes revealed by the unmistakable mustard-tinged flesh tone, applied by the painter to represent the racial mix of the criollo, the ethnic Cuban commoner.

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Víctor Manuel García (1897–1969), Bathers, (Bañistas), ca. 1950, oil on canvas, 31 1/2 x 24 1/4 inches Provenance: Estate of Mr. and Mrs. Jesús de Navascués, Madrid, Spain.

Private Collection, Santo Domingo, Dominican Republic.

Exhibited in Exposición de Cuadros de Víctor Manuel, Galería de Arte de Editorial LEX, Havana, Cuba, February 1957, and listed in the exhibition brochure, number 14.

Exhibited in Sotheby’s, New York, May 29 and 30, 1997, and illustrated in the corresponding auction catalog, lot no. 178.

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Víctor Manuel García (1897–1969), Landscape with Couples, (Paisaje con Parejas), ca. 1943, oil on canvas, 25 3/4 x 21 1/2 inches Provenance: Private Collection, Santo Domingo, Dominican Republic.

The painting was exhibited in Víctor Manuel, Exposición Retrospectiva, Museo Nacional de Bellas Artes, Havana, Cuba, October, 1969, and it is listed as number 47 in the corresponding exhibition catalog.

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Eduardo Abela (1889-1965), Once Upon a Time, (Había una Vez), ca. 1955, oil on masonite, 11 1/2 x 15 inches Provenance: Hosanna Abela, (daughter of the artist), La Coruña, Spain.

Private Collection, Santo Domingo, Dominican Republic.

Illustrated in the book Abela, de lo Real a lo Imaginario, Obras Escogidas, Yolanda Wood Pujols and Roberto Cobas Amate, Ediciones Vanguardia Cubana, Madrid, Spain, 2010 pages 128 and 129.

Eduardo Abela (1889-1965), The Afternoon, (La Tarde), 1954, oil on wood, 13 1/2 x 17 inches Provenance: Alberto Bolet Collection, Havana, Cuba.

Private Collection, Santo Domingo, Dominican Republic.

Exhibited in Catorce Óleos de Abela, Galería Cubana, Havana, Cuba, Florencio García Cisneros, November 1954, and illustrated in the corresponding exhibition catalog.

Illustrated in Abela, Instituto Nacional de Cultura, Ministerio de Educación, Havana, 1956, Loló de la Torriente.

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Eduardo Abela (1889-1965), The Bride, (La Novia), ca. 1949, oil on wood, 14 x 9 3/4 inches Provenance: Collection Maritza Alonso, sister-in-law of the artist, Havana, Cuba.

Collection Hosanna Abela, daughter of the artist.

Private Collection, Santo Domingo, Dominican Republic.

This painting is illustrated in the book Eduardo Abela - Cerca del Cerco, JosĂŠ Seoane Gallo, Editorial Letras Cubanas, Havana, 1986, page 539.

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Left Panel of “Waiting for the Coffee” mural for Bacardí International/New York Headquarters, 1938 Antonio Gattorno was among the earliest pioneers of modern painting in Cuba, a maverick who did not allow his work to be boxed in within a particular type of figurative of the 1920s and 1930s. The willful ignorance or benign neglect surrounding his life and work can only be explained as the result of resentment on the part of some of his contemporaries, ignorance on the part of critics and curators, and the shifting tides of stylistic fashion. In 1927 Gattorno began painting in the modernismo criollo idiom depicting the guajiros and mestizos of the island of Cuba. While in Europe during the years 1920-26,I he had absorbed the lessons of Puvis de Chavannes, Cézanne and Gauguin into a highly personal vocabulary where rigorous drawing and intense color were synthesized into strong compositions that avoided sentimentality. In March 1927 Gattorno exhibited his artistic production at the Asociación de Pintores y Escultores in Havana. Second only to Víctor Manuel’s earlier exhibition in February of the same year, there can be no doubt as to Gattorno’s pioneering role in the modern art of Cuba. Gattorno actively participated in the various avant-garde activities that the modern artists in Cuba were engaged in the decade of the 1920s; in 1927 thirteen of his line drawings appeared as illustrations in the pages of Revista de Avance (the most of any artist); his first exhibition was favorably reviewed by the writer Ramón Guirao also in the pages of Revista de Avance. In the May 7, 1927 issue of the magazine Social, Gattorno was one of only five visual artists who signed the Declaración del grupo Minorista (the others were Juan J. Sicre, Conrado Massaguer, Eduardo Abela and Armando Maribona), this document remains one of the keystones of modernity in Cuban culture.

In 1932 Gattorno met Ernest Hemingway and became fast friends. They sailed, fished and drank together.

Four years later Hemingway published the first monograph on the artist, and in May 1936, together with fellow novelist John Dos Passos, authored a major article on Gattorno which appeared in the pages of Esquire magazine.II Gattorno was an established name when in 1938 he received the commission for the mural for Bacardí international headquarters at the Empire State building in New York City. Entitled Waiting for the Coffee, the mural was executed in oils on canvas while mounted on the wall of the reception area of the Bacardí offices on the 35th floor. In a self-portrait of the same year, Gattorno depicted himself alert and intense, and in the background, seen as if through a window, he included the left section of the mural. This panel depicts a woman seen from behind and walking up a path. She holds a nude child in one arm and three cut sugar cane stalks in the other. To her sides are sugar cane stalks, tropical foliage, modest houses with red tile roofs, part of a hill and the trunks of palm trees. Further up the path and moving towards her, is a man on a horse carrying a substantial pile of cane stalks with their foliage. In one of two 1938 surviving photographs of the mural, Gattorno is in the process of painting the work on site. On the lower left corner of this photo, a study of the full mural is visible, leaning against the canvas; what is clearly seen is the entire design, including the section on the left with the woman carrying a child, the long path, etc. A thin tree has been placed to separate the horse with riders on the right and the woman on the path on the left; its thin branches are evident in both the left side, and the rest of the mural (currently in Miami). In both the left panel and the rest of the work, Gattorno transitions from the necessary details of an easel painting to a more open, bolder visual language required by a mural. The forms are larger yet simpler in their monumentality, while the colors contain a chromatic brightness and unity essential in covering large surfaces. The landscape is lush and productive, with palm and plantain trees, sugarcane stalks and rolling hills. Significantly, the melancholic, social commentary quality of Gattorno’ s earlier easel pictures is missing. This is a public work of art, done on commissionIII – its message is a life-affirming one exuding the image of a productive countryside filled with a community of hard working people.

The patron, Bacardí, was at that time the most progressive and democratic of Cuban companies in the island.IV Both this left panel and the rest of the mural remain extraordinary examples, not just of Gattorno’s only muralist practice, but also, of the final evolution of his modernismo criollo.

In July 1960, Bacardí CEO Pepín Bosch and his wife Enriqueta arrived in Miami as exiles. By early 1963, he moved the headquarters of Bacardí Imports, the U.S. company, from the Empire State Building in New York City to a brand new eight-story tower in Miami.V The Gattorno mural was dismantled and reinstalled in its new residence in 1963 and the artist was brought to Miami do some restoration of the painting. This public space for the mural was narrower than its original location at the Empire State building. It is believed that with the painter’s approval, the left side of the large canvas was cut by Alberto Fernández-Pla, then the Art Director of the Bacardí Collection.VI Alejandro Anreus, PhD 32

Antonio Gattorno (1904–1980), Waiting for the Coffee, (Esperando el Café ), 1938, oil on canvas, 108 x 72 inches Exhibited in Building Bacardi: Architecture, Art and Identity, Coral Gables Museum, Coral Gables, Florida, November 2012 to February 2013.

Exhibited in Cuban Art and Identity, 1900-1950, Vero Beach, Florida, curated by Professor Juan Martínez, October 2013- February 2014, and illustrated in the corresponding museum catalog, page 32.

(continued from page 32) Gattorno first visited Italy and Spain (studying briefly at the San Fernando Academy where Dalí was a classmate), and did not arrive in Paris until 1924.

In the City of Light he shared a studio with the sculptor Juan José Sicre, and became a leading figure of el grupo Montparnasse. He also saw his pictures up to then as conventional and academic, and decided to destroy them. See Armando Maribona Pujol’s El Arte y el Amor en Montparnasse (México: 194 ) II Dos Passos, John, “The Poor Whites of Cuba” (New York: Esquire, May 1936 and Hemingway, Ernest, “Gattorno,” New York: Esquire, May 1936).

III In an undated memo to file from 1938, Franklin Hughes, the architect/designer for the Bacardí Room, complained that he had no say in the selection of Gattorno as the painter of the mural; the artist was selected by the Bacardí family in Cuba. Year 1938 file, Empire State Building Archives 1930-1969, Avery Library, Columbia University.

IV Gjelten, Tom, Bacardí and The Long Fight for Cuba (New York: Penguin Books, 2008), See chapters 7 and 13 of this extraordinary book to read about the progressive social/political agenda and actions of the Bacardí company.

V Ibid, pp. 259-261.

VI Poole, Sean, Gattorno A Cuban Painter for the World (Miami, Fl: Arte al Día International American Art Corporation, 2004), pp. 38-40, 110. Gattorno stopped painting from 1961 to 1973, during this period and until his death, his work had little if any monetary value. Therefore, reducing the size of the mural to fit a new space in 1963 was a common practice in the U.S. at the time, particularly with works executed in the 1930s, when murals, due to the influence of Mexican art, were very popular. The fact that Bacardí hired the artist in 1963 – then living in obscurity – speaks highly of the patron.

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Antonio Gattorno (1904–1980), Classicism versus Buffoonery, (Clasicismo versus Bufonería ), 1943, oil on canvas, 41 x 32 1/8 inches 34

Classicism versus Buffoonery, 1943 In 1939 Antonio Gattorno moved permanently to New York City from his native Havana; he had divorced his first wife and listened to his friend Ernest Hemingway’s advice regarding his need for an expansive environment for his art.

Gattorno wanted to continue developing as an artist, and he wanted to make a living with his painting. Already that year, he began to experiment with what the artist defined as his “Surrealistic Romanticism of Classical discipline”I in the painting The Bridegroom Flees, 1939. In 1940, Gattorno would complete his last major work in his modernismo criollo style: La siesta. By 1941 he had unequivocally achieved his Neo-Romantic or Fantastic Classicist style.

Classicism versus Buffoonery is without a doubt a major work from this phase. The model for the partially nude female figure is the artist’s wife, Isabel Cabral. Gattorno had met Isabel on a date at the Venezuelan pavilion during the 1939 World’s Fair; they married in September 1940 with Mario Carreño as the best man.II Isabel would quickly become a favorite model of the artist posing for portraits in 1941 (Isabel and Isabel with Mantilla), as well as the allegorical works Classicism versus Buffoonery and Profile and Butterfly, 1978.

The composition is filled with a number of elements charged with symbolic meaning – proof of Gattorno’s rich pictorial culture. In the distant background there is a serene blue sky, hills and a body of water; since the Italian Renaissance these landscape elements represent the entirety of the world. The background on the left contains a hill with cypress trees (symbols of mourning) as well as the ruins of a portal from a Greek temple (symbol of a great past culture), while on the right on a barren, pale brown plain sits a saltimbanque painting on an easel. The saltimbanque has its origin in the 17th century Italian Commedia Dell'Arte; a treacherous and clownish figure, not to be trusted. Gattorno depicted this figure with his fellow painter Salvador Dalí in mind – to the Cuban, the Catalonian was a clown who corrupted his talent and skill just to please an audience.III In the picture’s middle ground, a winged bull accompanies the Three Graces, which lean or sit on a pedestal. These three nudes represent the classical tradition regarding proportion and beauty of the female form. The winged bull, whose origin is the Sumerian Lamassu (winged bulls or lions that are protective deities), was Christianized by both St. Augustine and St. Jerome as the icon of St. Luke's gospel, and a symbol of both wisdom and strength. Lastly, right next to the kneeling, partially nude figure of Isabel, is a sparrow drinking water from a blue and white bowl (the colors of the Virgin Mary in Catholicism), and next to it a piece of bread. In European painting in general and the Italian paintings of the quattrocento (which Gattorno greatly admired), the sparrow is a symbol of joy and protection; simplicity and community. The water and bread have the obvious religious connotations.

In the foreground, the figure of Isabel appears seminude, kneeling with her lower body covered with red and white fabric (colors of passion and purity). With one hand she touches her breast/heart, while with the other, she holds a knitting needle. By her foot lies a ball of yarn. The demeanor of her body and gesture speaks of sincerity (pointing to the heart) and modest labor (the knitting needle). Her body is sensual, yet tempered with serenity.IV Every element in this painting expresses Gattorno’s belief in the order and tradition of classicism as the antidote to the buffoonery of modern art. It is an extraordinary rendition that aspires to achieve a state of physical and emotional equilibrium, The work was included in Gattorno’s New York exhibition of 1944 at the Passedoit Gallery, as well as his 1978 survey show at Southeastern Massachusetts University, where it is reproduced and listed in the brochure as number 21.

Alejandro Anreus, Ph.D. Gattorno, Antonio, Artist’s statement (New York City: Passedoit Gallery, October 2-14, 1944), unpaginated.

Poole, Sean M., Gattorno. A Cuban Painter for the World (Miami, Fla: Arte al Día International/American Art Corporation, 2004), p. 40.

Their marriage would last for forty years until Antonio’s death in 1980. When he was not able to make a living with his painting, it was Isabel who supported them both.

III Throughout his life Gattorno made clear in conversations his disdain for Dalí’s work and person. They had both studied together – briefly – at the San Fernando Academy in Madrid. The specific meaning of this image was confirmed in conversation by the sculptor Roberto Estopiñán (1921-2015), who was the studio assistant of Gattorno’s good friend, Juan J. Sicre.

IV In other nudes such as La siesta, 1940, and Suntanned Venus, 1946, we see Gattorno representing sensuality with a turbulent expression of desire.

I

II

35

Antonio Gattorno (1904–1980), The Tarantella, (La Tarantella), 1951, oil on canvas, 36 x 48 inches This painting was exhibited in Gattorno, Lyceum, Havana Cuba February 1952.

Also exhibited in Gattorno, Exposición de Pintura y Dibujos, Colegio Nacional de Arquitectos, Havana, Cuba April 1952.

Illustrated in the book Cuban Art: Remembering Cuba Through its Art, Arte al Día International, 2004, page 109.

Also illustrated in the book Gattorno, A Cuban Painter for the World, Sean M. Poole, 2004, page 59 and 164.

36

Wifredo Lam (1902–1982), Portrait of a Woman [Mantonica], (Retrato de Mujer [Mantonica] ), 1937, mixed media on heavy paper laid down on board, 15 x 12 1/2 inches Signed, dated and dedicated.

Provenance: Collection S. Mugrabi, New York, New York.

Private Collection, Paris, France.

Exhibited in Wifredo Lam: A Retrospective of Works on Paper, Americas Society, New York, September 1992, and illustrated in the corresponding exhibition catalog, page 58.

This exhibition traveled to Barcelona, Spain and was presented in Fundación La Caixa, in January of 1993. This work was illustrated in the corresponding exhibition catalog, page 91.

This artwork is illustrated in Wifredo Lam, Catalogue Raisonné of the Painted Work, 1921-1960, Lausanne, Acatos, 1996 page 328, No. 37.01.

Sold prior to the publication of this catalog.

This painting is arguably the earliest manifestation of Afro-Cuban human figuration in the entire body of work of Wifredo Lam. The artist is beginning his most distinguished artistic production when he rediscovers his African roots while residing in Madrid and Barcelona in 1937.

Up until late 1936, Lam’s early period works, cityscapes, portraits and interiors were clearly influenced by previous art masters, and painted in traditional Western motifs. This work executed at the beginning of the year 1937 (1937.01 in the Catalogue Raisonné) initiated the lifelong series of Afro-Cuban representations in Wifredo Lam’s creation. The rendition appears to have been inspired by the artist’s recollection of his godmother, Mantonica Wilson (see Wifredo Lam, Catalogue Raisoneé of the Painted Work, Volume I, 1923 – 1960, page 174, for a picture of Mantonica). The portrayed figure is that of a corpulent black woman with a round face and white hair, wearing a long dress that fully covers her footwear. She is seated in a traditional high back chair, with her arms and large hands crossed as if in a protective or meditative pose, that resembles the artist’s godmother.

Mantonica Wilson was a priestess in the African Lucumí religion and she instructed young Wifredo in the beliefs and rituals of Santería (as the syncretism of the Lucumí and Catholic religions is known). Wilson was also a healer of widespread reputation whose help people would seek and travel for miles to consult with her and ask for a cure, which she would provide after calling upon Shango, her tutelary orisha or ancestral guardian spirit. Wifredo Lam stated to poet Aimé Césaire, “Mantonica Wilson, my godmother, had the power to conjure the elements… I visited her house filled with African idols. She gifted me the protection of all these gods: of Yemaya, goddess of the sea, of Shango, god of war and companion of Ogun-Ferraille, god of metal…”

Babalao Mantonica wanted Lam to follow in her footsteps and become a “Santero”, but Lam refused.

“I am fifty-percent Cartesian and fifty-percent savage,” he told Max-Pol Fouchet in 1976.

Ramón Cernuda 37

Wifredo Lam (1902–1982), Untitled [Rendevous at Twilight], (Sin Título [Encuentro Crepuscular] ), 1962, oil on canvas, 25 3/4 x 19 3/4 inches Provenance: Private Collection, Milan, Italy.

Exhibited in Sotheby's, Paris, Art Impressionniste and Moderne, December 8, 2011, and illustrated in the corresponding auction catalog, number 29.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Project Director: Eskil Lam, Acatos, 2002, page 258, no. 62.13.

38

Wifredo Lam (1902–1982), Woman Horse, (Mujer Caballo), ca. 1960's, mixed media on heavy paper laid down on board, 28 3/8 x 20 5/8 inches This painting is accompanied by a Photo-Certificate of Authenticity signed by the artist, Wifredo Lam, in “Albisola Mare, 2/9/1979.”

Eskil Lam, son of the artist has confirmed the authenticity of the artwork.

39

The Vertical View (Le Regard Vertical), a series of six color lithographs, was created by Wifredo Lam and completed on the 21st of June, 1973 at the French Atelier Guillard, Gourdon à Cachan.

This edition consists of a total of 20 sets numbered in Roman numerals I to XX, on Japanese Nacre Torinoko paper.

The set currently being offered is in excellent condition and numbered Roman numeral XX (20) of XX (20), one of the first sets of the series to be produced. The imagery of The Vertical View inspired a group of poems by French writer Dominique Agostini, who was part of the European Surrealist movement at the time.

The Vertical View is one of Wifredo Lam's most museum exhibited sets of his voluminous lithographic production in Albissola Mare, Italy in 1975, and later in Mexico City, Mexico in 1978; in Copenhagen, Denmark in 1978; in Saint – Étienne – du – Rouvray, France in 1992 and in Stockholm, Sweden in 1993. The Museo Nacional de Bellas Artes in Havana, Cuba, and the Musée du Dessin de Gravelines, France also have this series in their collections.

As Lowery Stokes Sims, Ph.D. formerly curator of Twentieth Century Art at the Metropolitan Museum of Art, has stated, “The close relationship between Lam’s lithographs and his drawings and pastels is evident in such series Le Regard Vertical (1973) [The Vertical View], Le Feu Vert and Pleni Luna (1974… Lam could be very demanding about his print making, often refusing to make impressions of compositions he did not feel were successful in their design. Since drawing was an essential part of the graphic process for Lam, a way had to be found to allow him to achieve the fluid lyrical quality that gives his graphic work its special quality.”

Wifredo Lam and the International Avant – Garde, 1923 – 1982, Lowery Stokes Sims, University of Texas Press, 2002, pages 198 and 199.

Wifredo Lam, They Have the Neck of Wading Birds, from The Vertical View series, (Tienen el Cuello de Pájaros Zancudos, de la serie La Mirada Vertical ), 1973, lithograph on heavy paper #20/20, 25 1/2 x 19 1/2 inches Illustrated in Wifredo Lam: Oeuvre Gravé et Lithographié, Catalogue Raisonné, #7301 40

Wifredo Lam, Leave Me Alone with My Attitude, from The Vertical View series, (Déjame Tranquilo con Mi Actitud, de la serie La Mirada Vertical ), 1973, lithograph on heavy paper #20/20, 25 1/2 x 19 1/2 inches Illustrated in Wifredo Lam: Oeuvre Gravé et Lithographié, Catalogue Raisonné, #7302

Wifredo Lam, The Three-Seeded Taurus was Allowed to Bite, from The Vertical View series, (Al Tauro de Tres Semillas se le Permitió Morder, de la serie La Mirada Vertical ), 1973, lithograph on heavy paper #20/20, 25 1/2 x 19 1/2 inches Illustrated in Wifredo Lam: Oeuvre Gravé et Lithographié, Catalogue Raisonné, #7303

Wifredo Lam, The Cows Are Thin in Haiti, from The Vertical View series, (Las Vacas Son Flacas en Haití, de la serie La Mirada Vertical ), 1973, lithograph on heavy paper #20/20, 25 1/2 x 19 1/2 inches Illustrated in Wifredo Lam: Oeuvre Gravé et Lithographié, Catalogue Raisonné, #7304

Wifredo Lam, The New Life Spirits Give Birth In Dance, from The Vertical View series, (Los Espíritus de Nueva Vida Dan a Luz, de la serie La Mirada Vertical ), 1973, lithograph on heavy paper #20/20, 25 1/2 x 19 1/2 inches Illustrated in Wifredo Lam: Oeuvre Gravé et Lithographié, Catalogue Raisonné, #7305

Wifredo Lam, Multiple Beings of the Spirits, from The Vertical View series, (Múltiples Seres de Los Espíritus, de la serie La Mirada Vertical ), 1973, lithograph on heavy paper #20/20, 25 1/2 x 19 1/2 inches Illustrated in Wifredo Lam: Oeuvre Gravé et Lithographié, Catalogue Raisonné, #7306 41

Wifredo Lam (1902–1982), Totem, (Tótem), 1959, one-of-a-kind terracotta, hand painted by the artist, 14 1/4 inches in diameter

“In exploring new mediums and painterly methods, Lam uses a tachist technique and begins working with ceramics, which he will take up again in a few years.”

Wifredo Lam, Catalogue Raisonné of the Painted Work, Volume 1, page 211

Wifredo Lam (1902-1982), Untitled [The Flight], (Sin Título [El Vuelo] ), 1964, oil on heavy paper laid down on canvas, 16 ½ x 25 ½ inches This work is illustrated in Important Cuban Artworks, Volume Eleven, Cernuda Arte, Coral Gables, Florida, 2013, page 58.

It is accompanied by a Photo-Certificate of Authenticity signed by Eskil Lam, son of the artist, dated December 13, 2013. Number 13-31.

42

Wifredo Lam (1902-1982), Birds of Fire, (Påjaros de Fuego), 1970, set of two, polished brass and chrome - metal plated sculptures, 345/500, 10 1/2 x 6 x 4 inches Exhibited in Sotheby’s New York Auction, November 17, 2005 and illustrated in the corresponding catalog, lot number 122 (different number).

Illustrated in Wifredo Lam, The Messenger, Tresart, Miami, Florida, March 2006, pages 28 and 29 (different number).

43

Wifredo Lam (1902-1982), Reality of The Birds, (Realidad de Los Pájaros), 1970, oil on canvas, 29 3/4 x 36 1/2 inches Provenance: Galerie Jan Krugier, Geneva, Switzerland; Cernuda Arte, Coral Gables, Florida; Private Collection, Key Biscayne, Florida.

Exhibited in Wifredo Lam, Galerie Jan Krugier, Geneva, Switzerland, 1970.

Listed as no. 28 and illustrated on page 39 of the corresponding catalog.

Exhibited in Wifredo Lam, Galleria Arte Borgogna, Milan, Italy, 1970.

Exhibited in Wifredo Lam, Gimpel Fils Gallery, London, England, 1970-1971.

Also in New York, in Gimpel Gallery and in Zurich, in Gimpel and Hanover Gallery.

Exhibited in Der Geist des Surrealismus, Albin Brunovski, Gemälde, Druckgraphik, Wifredo Lam, Oelbilder, Baukunst Galerie, Germany, 1971-1972.

Illustrated in Lam, A. Jouffroy, Paris, France, Éditions Georges Fall, Bibli-Opus, 1972, page 56.

Illustrated in Wifredo Lam, Max-Pol Fouchet, First Edition, 1976, page 134, no. 162, and in Wifredo Lam, Max-Pol Fouchet, Second Edition, 1989, page 138, no. 162.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Project Director: Eskil Lam, Acatos 2002, page 340, no. 70.77.

This artwork is accompanied by a Photo-certificate of authenticity signed by Madame Lou Laurin Lam, dated September 24, 2009, no. 09.16.

44

Cundo Bermúdez (1914–2008), Portrait of a Lady [Mrs. Lidia Plá de Osuna], (Retrato de una Dama [Lidia Pla de Osuna] ), 1944, oil on canvas, 30 ½ x 26 inches Provenance: Dr. Ramón Osuna acquired it from the artist.

Private Collection, Coconut Grove, Florida.

This painting was exhibited in Cundo Bermúdez: An Homage, Cuban Museum of Arts and Culture, Miami, Florida, April 1987.

Illustrated in Siempre Fiel a la Forma Humana, Luisa Esquiroz, El Nuevo Herald newspaper, front page of Galería section, May 3rd, 1987.

Also illustrated in the book Cundo Bermúdez, Leslie Judd Ahlander, Edward J. Sullivan, Ana María Bannatyne-Alvarez, Carol Damian and others, Cuban American Endowment for the Arts., 2000, page 54, No. 44.1.

45

Cundo Bermúdez (1914–2008), Mercedes and the Sea, (Mercedes y el Mar), 1986, mixed media on paper laid down on board, 30 x 22 inches Exhibited in Christie's Latin American Art, New York, May 28 and 29, 2008, and it is illustrated in the corresponding auction catalog, lot 99.

This painting is accompanied by a Certificate of Authenticity signed by Cundo Bermúdez, dated July 12, 1986.

Cundo Bermúdez (1914–2008), The Juggler, (El Juglar), ca. 1943, watercolor on paper laid down on board, 14 1/2 x 11 inches, Provenance: Orlando L. by inheritance.

Exhibited in Important Cuban Artworks, Volume Seven, Cernuda Arte, Coral Gables, Florida, December 2008 to March 2009 and illustrated in the accompanying exhibition catalog, page 54.

This painting is accompanied by a Certificate of Authenticity signed by Cundo Bermúdez, dated March 8, 2008.

46

Cundo Bermúdez (1914–2008), Interior Scene with Ocean View [from the "Gusanita" series], (Interior con Vista al Mar [de la serie "Gusanitas"] ), 1969, oil on canvas, 31 3/4 x 22 inches Provenance: Francisco Sánchez collection, Miami, Florida, who acquired it directly from the artist.

Exhibited in Cundo Bermúdez, Under A Brilliant Sun, The Freedom Tower at Miami Dade College, September – November 2007, and it is illustrated in the first edition of the exhibition catalog, page 26.

This painting is accompanied by a Photo-Certificate of Authenticity signed by Cundo Bermúdez, dated June 28, 2007.

47

Uver Solís (1923–1974), Family in the Park, (Familia en el Parque), 1945, oil on canvas, 24 x 30 1/8 inches Sold prior to the publication of this catalog.

Uver Solís (1923–1974) was born in Matanzas, Cuba, in 1923. She was a protégé and student of artist Domingo Ravenet who taught her drawing, coloring, composition and other painting techniques. Essentially, a self-taught naïve artist who successfully connected and was fully accepted as an equal by the Vanguardia masters of Cuban 20th century modernist movement, Uver developed a unique body of work that often referred to everyday life scenes of workers, farmers and families of color. Her creations highlighted the integrity and joy of life of her characters who, in spite of poverty and hard toil, exuded a happiness, composure and sense of assuredness that affirmed full confidence in their humanity and worth.

In 1945 the Lyceum in Havana elevated her to national recognition by presenting a one person exhibition of her works. In 1946 she was included in two major international shows; the Exposition of Cuban Artists in the Soviet Union and the Exposition of Cuban Modern Painting in Mexico City. Afterwards, her artistic career continued to ascend and her works were often present in various group and personal exhibitions at galleries and museums in Cuba and also in the United States. She passed away in Havana in 1974.

Ramón Cernuda 48

RenÊ Portocarrero (1912–1985), Cathedral in Blue Background, (Catedral en Fondo Azul), 1971, mixed media on heavy paper laid down on canvas, 28 3/4 x 19 7/8 inches Provenance: Ambassador Antonio Abel Martins Pereira, acquired directly from the artist during his formal representation of the government of Portugal in Havana, Cuba, from 1970 to 1972.

49

Luis Martínez Pedro (1910 - 1989) Giadrunama and the Bird (Giadrunama y el Pájaro), 1945 ink on heavy paper laid down on board 17 1/2 x 11 7/8 inches Provenance: Giulio V. Blanc Collection, Coral Gables, Florida.

This work was exhibited in Martínez Pedro, Perls Galleries, New York, January 27, 1947.

Exhibited in Wifredo Lam and His Contemporaries, 1938-1952, Studio Museum in Harlem, New York, 1992 and, illustrated in the accompanying exhibition catalog, page 168.

Illustrated in the book Luis Martínez Pedro, Revelaciones, Beatriz Gago, Editor, Fundación Arte Cubano, 2017 page 141.

Sold prior to the publication of this catalog.

Luis Martínez Pedro (1910 - 1989) The Firefly and the Marvelous, Cuban Legend (El Cocuyo y la Maravilla, Leyenda, Cubana), 1944 ink and tempera on brown paper laid down on board, 16 1/4 x 21 1/4 inches Provenance: Maurice De Young Collection, Port-Au-Prince, Haiti.

This work was exhibited in Les Peintres Modernes Cubains, Centre d’Art, Port-Au-Prince, Haiti, January 1945, and it is listed as number 30 in the corresponding exhibition catalog.

Exhibited in Martínez Pedro, Perls Galleries, New York, April 30 to May 26, 1945, and listed in the accompanying brochure.

Illusrated in the book Luis Martínez Pedro, Revelaciones, Beatriz Gago, Editor, Fundación Arte Cubano, 2017, page 138.

50

Luis Martínez Pedro (1910 - 1989), Woman in Interior with Bird and Flower Vase, (Mujer en Interior con Pájaro y Florero), 1949, mixed media on heavy paper laid down on canvas, 29 1/2 x 41 1/4 inches This work is illustrated in the book Luis Martínez Pedro, Revelaciones, Beatriz Gago, Editor, Fundación Arte Cubano, 2017, pages 186 and 187.

“By the mid nineteen-forties [Martínez Pedro] began the series of Personages of the Cuarto Famba1.

Just a few of these works have survived, yet those who have, validate their beauty and formal density, the masterly use of color and the mystic halo that crowns them. With these works Martínez Pedro advanced the farthest in his experimentation with Cubist de-structuration [of the forms]. The initial representations of this series were marked by a sobriety of color that facilitated a senstion of spiritual ascendency, while later works became more dramatic…”

(1) Odalis Borges Arana, Luis Martínez Pedro, Revelaciones, Beatriz Gago, Editor, Fundación Arte Cubano, 2017, page 71.

51

Mario Carreño (1913-1999), The Forgotten, (Los Olvidados), 1976, oil on canvas, 33 x 47 inches Provenance: Galería 9, Lima, Perú.

Private Collection, Connecticut.

Private Collection, Santo Domingo, Dominican Republic.

Exhibited in Mario Carreño, Galería Imagen, Santiago de Chile, October 1976, and illustrated in the corresponding exhibition catalog, page 42.

Exhibited in New Insights into Contemporary Latin American Art, September – October 1985, Wistariahurst Museum, Holyoke, Massachusetts, and illustrated in the corresponding museum catalog.

52

Mario Carreño (1913-1999), Feminine Power, (Poder Femenino), 1976 oil on canvas, 36 5/8 x 27 1/2 inches This painting was exhibited in Mario Carreño, Galería de Arte Contacto, Caracas, Venezuela, 1976 and illustrated in the accompanying exhibition catalog, no. 15.

Also exhibited in Sotheby’s Latin American Paintings, New York, May 7, 8, & 9, 1981 and illustrated in the corresponding auction catalog, lot no. 74.

Also exhibited in Sotheby’s Latin American Paintings, New York, May 19 & 20, 1992 and illustrated in the corresponding auction catalog, lot no. 193.

Illustrated in Important Cuban Artworks, Volume Thirteen, Cernuda Arte, Coral Gables, Florida, 2016, page 44.

53

Mario Carreño (1913-1999), Fruit Bowl, (Frutero), 1974, bronze sculpture, number I of IV, 13 1/2 x 11 3/4 x 11 inches This sculpture is accompanied by a Photo-certificate of authenticity signed by Ramón Vázquez Díaz, dated 21 August, 2003.

The mold for this sculpture was created by the artist in 1974. The casting was finalized in 2002, and production of Fruit Bowl was initiated then at Fundación R. Buchhass, Buenos Aires, Argentina (inscribed with foundry mark).

Exhibited (different number) in Mario Carreño, Exposición Retrospectiva, 1939 –1993, Museo de Artes Visuales, Santiago de Chile, March – May 2004. Illustrated on page 54 of the exhibition catalog.

This artwork is accompanied by a Photo-Certificate of Authenticity signed by Juan Campos.

“Mario Carreño was a happy and generous man who knew how to cultivate great friendships. Those who were close remember his subtle and educated style of humor with joy… His body of work reflects a profound concern for all things human. It is a testimony of humankind’s hopes and dreams. He did convey in his paintings his philosophy of life, while dwelling in various styles and artistic tendencies that prevailed in the twentieth century. His creations were impregnated with the elements and the spirit of his native land [Cuba] and later with the values of the country that he chose to make his place of residence [Chile]. Mario Carreño left an indelible mark due to his extraordinary and talented cultural promotions and artistic production. Highly regarded in the field of Latin American art, Carreño is recognized as one of its most distinguished creators.”

Beatriz Huidobro Hart, Mario Carreño, Exposición Retrospectiva, 1939-1993, Museo de Artes Visuales, Santiago de Chile, 2004 54

Mario Carreño (1913-1999) Chess, (Ajedrez), 1974 bronze sculpture, number II of VI 25 x 5 3/4 x 5 3/4 inches Provenance: Galería Habana, Arte y Cinema, La Rampa, Havana, Cuba, exhibited in November 1958.

Collection, Maurice Roth, Atlanta, Georgia.

The mold for this sculpture was created by the artist in 1974. The casting was finalized in 2002, and production was initiated then at Fundación R. Buchhass, Buenos Aires, Argentina (inscribed with foundry mark).

Exhibited (different number) in Mario Carreño, Exposición Retrospectiva, 1939 – 1993, Museo de Arte Visuales, Santiago de Chile, March – May 2004.

Illustrated on page 54 of the exhibition catalog.

Exhibited (different number) in Christie's, New York, May 26, 2016, lot number 228, and illustrated in the accompanying auction catalog.

Illustrated (different number) in Important Cuban Artworks, Volume Nine, Cernuda Arte, Coral Gables, Florida, page 70.

This artwork is accompanied by a Photo certificate authenticity signed by Juan Campos.

55

Mariano Rodríguez (1912–1990), Portrait of Aníbal, (Retrato de Aníbal ), ca. 1939, oil on canvas, 23 x 18 inches This painting was exhibited in Exposición de Pintura y Dibujo, Lyceum, Havana 1941.

Illustrated in Mariano, Sexo, Símbolo y Paisaje, Guy Pérez Cisneros, El Nuevo Mundo, Havana, July 6, 1941.

Illustrated in Mariano, Catálogo Razonado, Pintura y Dibujo, 1936 - 1949, Volumen 1, Ediciones Vanguardia Cubana, 2007, page 49.

Also illustrated in Mariano, Catálogo Razonado, Pintura y Dibujo, 1935-1949, Anexo al Volumen 1, 2017.

Sold prior to the publication of this catalog.

56

Mariano Rodríguez (1912–1990), The Farm, (La Finca), 1944, oil on wood, 21 3/4 x 25 ¾ inches This painting was exhibited in Mariano, Pinturas, Lyceum, Havana, 1944.

Exhibited in Christie's, New York, Latin American Sale, June 2, 2000, and illustrated in the corresponding auction catalog, lot 193.

The painting is also illustrated in Mariano, Catálogo Razonado, Pintura y Dibujo, 1936-1949, Volume 1, Segunda Edición, page 178, number 44.88.

Mariano Rodríguez (1912–1990), Cupid, (Amorcillo), 1965, oil on canvas, 29 1/4 x 39 3/4 inches This painting was exhibited in Mariano, Óleos y Dibujos, Galería La Habana, Havana, Cuba, 1965.

Exhibited in The Exhibition of the Cuban Painter Mariano, Atelier Gallery, Cairo, Egypt, 1966.

Exhibited in Mariano, Una Energía Voluptuosa, Casa Las Américas, Havana, 1998.

Exhibited in Mariano Rodríguez: An Homage, Cernuda Arte, Coral Gables, Florida, April - June 2004.

Illustrated in Mariano, Bohemia magazine, Havana, no.5, 1966.

Illustrated in the book Mariano, Tema, Discurso y Humanidad, Dannys Montes de Oca, Sevilla, Spain, page 50.

Illustrated in Todos los Colores de Mariano, Museo Nacional de Bellas Artes, Havana, 2000, (multimedia).

57

Mariano Rodríguez (1912–1990), Woman with Red Bird, (Mujer con Pájaro Rojo), 1943, mixed media on heavy paper laid down on board, 13 1/2 x 11 inches Provenance: Private Collection, Santo Domingo, Dominican Republic.

This painting is accompanied by a Photo-Certificate of Authenticity, No. 119/18, signed by Alejandro Rodríguez, son of the artist, dated August 15, 2018.

This work will be illustrated in the forthcoming Mariano Rodríguez, Catálogo Razonado, Volume 3.

Mariano Rodríguez (1912–1990), Woman with Pineapple, (Mujer con Piña), 1943, mixed media on heavy paper laid down on board, 13 1/2 x 11 inches Provenance: Private Collection, Santo Domingo, Dominican Republic.

This painting is accompanied by a Photo-Certificate of Authenticity, No. 118/18, signed by Alejandro Rodríguez, son of the artist, dated August 15, 2018.

This work will be illustrated in the forthcoming Mariano Rodríguez, Catálogo Razonado, Volume 3.

58

Mariano Rodríguez (1912–1990), Varadero Beach, (Playa Varadero), 1977, acrylic on canvas, 39 3/4 x 55 inches Provenance: Dr. Dolores Rodríguez, daughter of the artist.

Exhibited in Mariano, Una Energía Voluptuosa, Casa de las Américas, Havana, Cuba, and listed in the corresponding exhibition catalog, page 84, number 182.

Illustrated in the book Mariano, Tema, Discurso y Realidad, Dannys Montes de Oca, Escandón Impresores, Sevilla, Spain, 2004, pages 120-121.

59

RenÊ Portocarrero (1912–1985), Woman with Veil and Flowers, (Mujer con Velo y Frutas), 1945, oil on board laid down on canvas, 20 x 18 1/2 inches Provenance: Private Collection, Santo Domingo, Dominican Republic.

Sold prior to the publication of this catalog.

60

René Portocarrero (1912–1985), The Three Ladies, (Las Tres Damas), 1949, mixed media on board, 29 ½ x 39 ½ inches This painting is illustrated in the book, Remembering Cuba Through its Art, Arte al Día, 2004, page 150.

Also illustrated in the book Cuban Art, Past and Present, Vol. 1, Frank Padrón, 2016, page 4.

Sold prior to the publication of this catalog.

61

René Portocarrero (1912–1985), Figure in Red, (Figura en Rojo), 1960, mixed media on board, 23 1/8 x 14 1/2 inches

“With her eyes wide open and the immovability of a Byzantine mosaic, these women, who come from El Cerro, have left behind their references to an immediate reality and have placed themselves outside time, petrified as witnesses of an instant.”

Graziella Pogolotti Portocarrero, La Mujer Transformada en Emblema, Islas, no. 22, 1966 62

René Portocarrero (1912–1985), Interior Scene, (Interior del Cerro), 1960, oil on canvas, 42 x 25 1/8 inches Provenance: Cisneros Gallery, New York.

Exhibited in Sotheby’s New York, Latin American Paintings, Drawings, and Sculptures, May 17, 1994 and illustrated in the corresponding auction catalog, lot number 60.

Sold prior to the publication of this catalog.

63

René Portocarrero (1912–1985), View of the City of Havana, (Vista de la Ciudad de La Habana), 1954, mixed media on board, 15 x 25 1/4 inches

René Portocarrero (1912–1985), Carnival Scene, (Escena de Carnaval ), 1963, mixed media on heavy paper, 25 x 39 1/2 inches This painting was exhibited at Christie’s, New York, November 22, 2006, and is illustrated in the corresponding auction catalog, lot 129.

Also illustrated in Important Cuban Artworks, Volume Six, Cernuda Arte, Coral Gables, Florida, December 2007, page 50.

Illustrated in the book Portocarrero, Color de Cuba, Alejo Carpentier, Ediciones Vanguardia Cubana, 2012, page 9.

64

René Portocarrero (1912–1985), At the Carnival, (En el Carnaval ), 1970, mixed media on heavy paper laid down on board, 19 ¾ x 25 ¾ inches

René Portocarrero (1912–1985), Dancers [from the Carnival series], (Bailarines [de la serie Carnavales] ), 1971, mixed media on heavy paper laid down on board, 19 ¾ x 25 ¾ inches 65

JosÊ Mijares (1921–2004), Young Lady in Interior, ( Joven en Interior), ca. 1946, mixed media on heavy paper laid down on board, 23 5/8 x 17 1/2 inches Provenance: Private Collection, Key Biscayne, Florida, acquired directly from the artist.

66

José Mijares (1921–2004), Half Moon, (Media Luna), ca. 1976, oil on canvas, 24 x 30 inches

José Mijares (1921–2004), Four Figures, (Cuatro Figuras), ca. 1955, oil on board laid down on canvas, 19 5/8 x 25 5/8 inches 67

José Mijares (1921–2004), Havana Lady on the Balcony, (Habanera en el Balcón), 1988, oil on canvas, 30 x 24 inches Provenance: Manuel Crespo, who acquired it directly from the artist.

68

José Mijares (1921–2004), Lunar Forms, (Formas Lunares), 1991, oil on canvas, 49 x 69 inches Provenance: Manuel López, photographer of the book José Mijares, Paintings, Palette Publications, Miami, Florida, who received it from the artist in lieu of payment for photographic services.

Exhibited in José Mijares: A Master of the School of Havana, Cernuda Arte, Coral Gables, Florida, November 2017.

Illustrated in the book José Mijares, Paintings, Palette Publications, 1997, page 74.

69

Carmelo González (1920–1990), The Beacon, (El Vigía), 1949, mixed media on paper laid down on canvas, 13 ¾ x 16 1/4 inches

Carmelo González (1920–1990), Interior with Balcony, (Interior con Balcón), 1958, oil on canvas, 20 x 26 1/4 inches 70

Carmelo González (1920–1990), Sugar Cane Field, (Cañaveral ), 1957, oil on canvas, 30 1/4 x 24 1/4 inches

71

Raúl Milián (1914–1984), Musicians, (Músicos), ca. 1955, mixed media on heavy paper laid down on board, 15 x 10 ¾ inches

Raúl Milián (1914–1984), Revelations, (Revelaciones), 1955, mixed media on heavy paper laid down on board, 15 x 11 inches

72

Raúl Milián (1914–1984), Fervor, (Pathos), 1960, mixed media on heavy paper laid down on board, 15 x 11 inches

Raúl Milián (1914–1984), Adrift, (A la Deriva), 1960, mixed media on heavy paper laid down on board, 15 x 11 inches

73

Angel Acosta León (1930–1964), Untitled [Fish], (Sin Título [Pescado]), 1964, mixed media on cardboard, 12 3/4 x 19 1/2 inches This work is illustrated in the book Cuban Art, Past and Present, Volume 1, Frank Padrón, 2016, page 118.

It is accompanied by a Certificate Authenticity signed by José Veigas and Ramon Vázquez Díaz, dated March 28, 2015.

Angel Acosta León (1930–1964), Eccentric Clock, (Reloj Excéntrico), ca. 1960, ink on paper laid down on board, 10 1/2 x 8 inches This work is illustrated in the book Angel Acosta León, by Rosa Chediak, Ph. D, 2013, page 145.

It is accompanied by a copy of the publication and a Certificate of Authenticity signed by Eugenia Acosta León, sister of the artist.

Angel Acosta León (1930–1964), Tree, (Árbol), ca. 1963, mixed media on heavy paper laid down on board, 10 ¼ x 8 inches This work is illustrated in the book Angel Acosta León, by Rosa Chediak Ph.D, 2013, page 141.

It is accompanied by a copy of the publication and a Certificate of Authenticity signed by Eugenia Acosta León, sister of the artist.

74

Angel Acosta León (1930–1964), Self Portrait, (Autorretrato), 1959, oil on masonite, 30 x 19 7/8 inches This painting is dated on the front and signed on the back with a dedication, “To my friend Fermín, so that we always be children…. Acosta León, Cuba."

Exhibited in Acosta León/Sosabravo, Galería/Habana, Arte y Cinema, Vedado, Cuba, November 1959.

Illustrated in Vida Cultural y Artística, Dos en Una, Rafael Marquina, Información, Havana, December 12, 1959.

“In 1959, Angel Acosta León presented in the gallery Arte y Cinema a collection of self-portraits that was the best to see in the capital city (Havana), as the artist displayed masterly ability in craftsmanship, composition and application of dramatic coloration, achieving in each piece on an anemic state of innermost intimacy.

Tenderness, helplessness, cruelty and a scent of longing for death transpire." 1 (1) Loló de la Torriente , Imagen de Dos Tiempos, Editorial Letras Cubana, Havana, 1982, pages 187 and 188.

75

Angel Acosta León (1930–1964), Dream, (Sueño), ca. 1962, mixed media on heavy paper laid down on board, 7 3/8 x 5 3/4 inches This work is illustrated in the book Angel Acosta León, by Rosa Chediak Ph.D, 2013, page 183.

It is accompanied by a copy of the publication and a Certificate of Authenticity signed by Eugenia Acosta León, sister of the artist.

Angel Acosta León (1930–1964), Journey, (Viaje), ca. 1960, mixed media on paper laid down on board, 4 1/8 x 5 1/2 inches This work is illustrated in the book Angel Acosta León,

by Rosa Chediak Ph.D, 2013, page 59.

It is accompanied by a copy of the publication and a Certificate of Authenticity signed by Eugenia Acosta León, sister of the artist.

76

Sandú Darié (1908–1991), Untitled, (Sin Título), ca. 1950's, mixed media collage on paper, laid down on board in four parts, 22 1/2 x 27 3/4 inches This painting is accompanied by a Condition Report signed by conservator, Jorge Carballé, which states that the materials used to paint the artwork as well as the support material date from the 1950’s.

Loló Soldevilla (1901-1971), Whirlwind, (Remolino), ca. 1969, mixed media on board laid down on canvas, 25 1/2 x 39 1/4 inches Exhibited in the Art New York fair, New York, May 2018.

Illustrated in the book Cuban Art, Past and Present, Volume 1, Frank Padrón, 2016, page 99.

This painting is accompanied by a Photo-Certificate of Authenticity signed by Martha Flora Carranza, granddaughter of the artist.

77

Agustín Cárdenas (1927–2001), Female Nude, (Desnudo de Mujer), ca. 1943-1949, graphite on paper, 10 1/2 x 8 inches

Agustín Cárdenas (1927–2001), Female Nude, (Desnudo de Mujer), ca. 1943-1949, graphite on paper, 10 3/4 x 8 1/4 inches

Agustín Cárdenas (1927–2001), The Three Graces, (Las Tres Gracias), ca. 1943-1949, graphite on paper, 7 3/4 x 10 1/4 inches

78

Agustín Cárdenas (1927–2001), Floral Column II, (Columna de Flor II), 1974, mahogany and ebony one-of-a-kind sculpture, 78 x 15 1/2 x 19 1/2 inches Provenance: Galerie Le Point Cardinal, Paris, France.

Galerie Thessa Herold, Paris, France.

Private collection, Caracas, Venezuela.

This sculpture was exhibited in Cárdenas Sculpteur, Fondation Nationale des Arts Graphiques et Plastiques, Paris, France, June 1981 and it is illustrated in the accompanying catalog, number 18.

Also illustrated in Cárdenas-Bois (wood), JGM Galerie, January – February 1990, Paris, France and illustrated in the accompanying exhibition catalog, page 17.

This sculpture is accompanied by a Photo-certificate of authenticity stamped Le Point Cardinal, Cárdenas, 1974.

79

Rafael Soriano (1920–2015), Fantastic Vision, (Visión Fantástica), 1983, oil on canvas, 30 x 24 inches This painting is accompanied by a Photo-Certificate of Authenticity signed by Hortensia Soriano, daughter of the artist.

80

Roberto Estopiñán (1921-2015), Double Standing Torsos, (Doble Torsos de Pie), Feb. 1981, bronze sculpture, one-of-a-kind, 21 x 9 x 5 1/2 inches This sculpture was exhibited in Estopiñán, Sculpture and Related Drawings, Schweyer-Galdo Galleries, Birmingham, Michigan, 1983, and it appears illustrated in the corresponding exhibition catalog, page 72, with texts by Olga Nodarse Chao, José Gómez Sicre, Judith Weiner and Carlos Franqui.

81

Roberto Estopiñán (1921-2015), Erotic Bone, (Hueso Erótico), 1991, bronze sculpture, one-of-a-kind, 20 x 4 1/2 x 5 inches

Roberto Estopiñán (1921-2015), Key of the World, (Clave del Mundo), 1981, bronze sculpture, one-of-a-kind, 21 x 4 1/4 x 5 1/4 inches

82

Roberto Estopiùån (1921-2015), Wounded, (Herido), 1988, bronze sculpture, one-of-a-kind, 22 1/2 x 6 x 5 inches 83

Guido Llinás (1923–2005), Black Painting, (Pintura Negra), 1965, mixed media on canvas, 36 x 28 1/2 inches Exhibited in Piasa, Paris, France, Collection of Robert Altmann, November 26, 2013, and illustrated in the corresponding catalog, number 72.

This painting is illustrated in the book Cuban Art, Past and Present, Volume 1, Frank Padrón, 2016, page 131.

84

Antonia Eiriz (1929–1995), Untitled [The Voters], (Sin Título [Los Votantes] ), ca. 1963, ink and mixed media on heavy paper laid down on canvas, 28 3/4 x 24 3/4 inches Illustrated in the book Cuban Art, Past and Present, Vol. 1, Frank Padrón, 2016, page 140.

This painting is accompanied by a Certificate of Authenticity signed by Manuel Gómez, widower of the artist.

85

Antonia Eiriz (1929–1995), Untitled [Faces], (Sin Título [Rostros] ), ca. 1963, mixed media on heavy paper laid down on board, 29 x 20 inches This work is illustrated in Antonia Eiriz (1929 – 1995) Entre Líneas, Estudio Veigas, Havana, Cuba, 2017.

86

Antonia Eiriz (1929–1995), Figures, (Figuras), ca. 1960, mixed media on heavy paper laid down on board, 35 x 31 1/4 inches

87

Agustín Cárdenas (1927-2001), from left to right: side, front and back view, Column of Memory, (Columna de la Memoria), 1974, bronze sculpture, signed and numbered 1/3, stamped with foundry mark and seal of Le Point Cardinal, 86 1/2 x 16 1/4 x 17 1/4 inches Provenance: Le Point Cardinal, Paris, France; Galerie Albert Loeb, Paris, France.

Exhibitions and Literature: Exhibition catalogue, Cárdenas, Sculptures Récentes 1973-1975, Le Point Cardinal, Paris, listed as no. 29 and illustrated.

Exhibition catalogue, Cárdenas Sculpteur, 1981, Fondation Nationale des Arts Graphiques et Plastiques, Paris.

A version in wood of this sculpture is illustrated and listed as no. 17 in this catalogue.

88

Guido Llinรกs (1923-2005), White, Blue and Red, (Blanco, Azul y Rojo), 1962, oil on canvas, 22 3/4 x 31 1/2 inches This painting is illustrated in the book Cuban Art, Past and Present, Vol. 1, Frank Padrรณn, 2016, page 130.

Guido Llinรกs (1923-2005), Black Painting, (Pintura Negra), 1972, mixed media on canvas, 28 3/4 x 36 inches This painting is illustrated in La Enciclopedia de Cuba, Enciclopedia y Clรกsicos Cubanos, Volume 7, San Juan, Puerto Rico, June 1974, page 234.

Exhibited in Piasa, Paris, France, Collection of Robert Altmann, November 26, 2013, and illustrated in the corresponding catalog, number 75.

89

Raúl Martínez (1927-1995), Untitled [The Storm], (Sin Título [La Tormenta] ), 1959, mixed media on canvas, 34 3/4 x 46 1/2 inches This painting is accompanied by a Certificate of Authenticity signed by Corina Matamoros, Archives of Raúl Martínez, dated October 28, 2017.

Raúl Martínez (1927-1995), Untitled [LA], (Sin Título [LA] ), 1964, oil on masonite, 31 3/4 x 47 3/4 inches This painting is illustrated in the book Cuban Art, Past and Present, Vol. 1, Frank Padrón, 2016, page 158.

90

Servando Cabrera Moreno (1923–1981), Maria's Bath, (El Baño de María), 1976, oil on canvas, 58 1/4 x 47 inches Provenance: Tania María del Cossio Collection, Miami, Florida.

91

Servando Cabrera Moreno (1923–1981), Kiss #8, (Beso #8), 1966, oil on canvas, 27 x 40 1/4 inches Provenance: Robert Altmann Collection, Paris, France.

Exhibited in The Robert Altmann Collection of Post-War Cuban Art, November 26, 2013, PIASA, Paris, France, and illustrated in the corresponding catalog, page 9.

"Violence reaches its maximum expression in [the series] Kisses, lascivious, biting, 'tearing kisses, intense, boding farewell, even death', as the artist has said... In these works there is a primordial, expressionistic instinct, a convulsion to communicate the most luxurious sexual passion. This endeavour takes the artist to a place where the figuration of the kissing mouths seem ambiguous and the final composition can be interpreted as almost an abstract painting. This is a line of work that the artist will continue until 1968, in large format oils with a preponderance of reds and blacks."

Gerardo Mosquera, Exploraciones en la PlĂĄstica Cubana, Editorial Letras Cubanas, 1983, page 135

92

Servando Cabrera Moreno (1923–1981), Eva, (Eva), 1973, oil on canvas, 23 3/4 x 31 1/2 inches

93

Hermanas Scull, Memories of My Old Havana, (Memorias de Mi Habana Vieja), June 1995, three dimensional mixed media collage on canvas board, 15 3/4 x 20 inches

Hermanas Scull, The Love of My Hut, (El Amor de Mi BohĂ­o), 1995, three dimensional mixed media collage on canvas board, 15 7/8 x 20 inches 94

Hermanas Scull, Nice Memories of Old Havana, (Lindas Memorias de La Habana Vieja), 2006, mixed media, three dimensional collage on canvas, 20 x 30 inches

"Together with her sister [Sahara] and later her son Michael, HaydĂŠe Scull [unknown-2007] achieved a considerable amount of success... Despite having studied art formally, she was a folk artist, in the best sense of the term. For most of her career, the work was centered on a Cuba that was rapidly receding into memory. Many of her recurring motifs are featured in her work: the Caballero de ParĂ­s [a popular street character in 1950's Havana], the Street Lottery Ticket Vendor, the Capitol Building, as an icon, the well-endowed young lady in a red polka dot dress... each depicting a tableaux of Havana life. Yet, these works were as humorous as they were nostalgic. They were - and are - quintessentially, Cuban".

RSNLK, Babalu, November 21, 2007

95

Gina Pellón (1926–2014), Nostalgic Dove, (La Paloma Nostálgica), 1974, mixed media on canvas, 51 ¼ x 38 1/4 inches 96

Gina Pellón (1926–2014), The Ecclesiastic Bird, (El Pájaro Eclesiástico), 1975, oil on canvas, 45 x 35 inches Provenance: Arturo Munder Collection, Miami, Florida, who acquired it directly from the artist.

This painting was exhibited in the Second Annual Benefit Art Auction at the Cuban Museum of Arts and Culture, Miami, Florida, April 1988.

97

Gina Pellón (1926–2014), Silence, (Silencio), 1996, mixed media on canvas, 31 3/4 x 5 1/2 inches

Gina Pellón (1926–2014), Mantilla for Silence, (Mantilla para el Silencio), 2008, mixed media on canvas, 35 x 45 inches This painting was exhibited in Gina Pellón, Still Going Strong, Cernuda Arte, Coral Gables, Florida, November 2010, and it is illustrated in the accompanying exhibition catalog, page 29.

98

Gina Pellón (1926–2014), Psalm 51, (Salmo 51), 1978, mixed media on canvas, 51 x 38 inches

Gina Pellón (1926–2014), Hallelujah, (Aleluya), 1978, mixed media on canvas, 51 x 38 1/2 inches Sold prior to the publication of this catalog.

99

Gina Pellón (1926–2014), Lolita of the Opera Carmen by Bizet, (La Lolita de la Opera Carmen de Bizet), 2010, mixed media on canvas, 24 x 19 1/2 inches This painting was exhibited in Gina Pellón, Still Going Strong, Cernuda Arte, Coral Gables, Florida, November 2010, and it is illustrated in the accompanying exhibition catalog, page 30.

Gina Pellón (1926–2014), Kachina Doll in Gold, (Muñeca Kachina en Dorado), 2011, mixed media on heavy paper laid down on wood, 17 x 14 5/8 inches 100

Gina Pellón (1926–2014), Kachina Doll in Rose, (Muñeca Kachina en Rosa), 2011, mixed media on heavy paper laid down on wood, 17 1/4 x 14 5/8 inches

Roberto Fabelo (b. 1950), Angel, (Ă ngel ), 2004, oil on canvas, 59 x 43 1/2 inches Provenance: Private Collection, Coral Gables, Florida.

This painting is accompanied by a Certificate of Authenticity signed by the artist, dated November 15, 2007.

101

Roberto Fabelo (b.1950), Animalia V, (Animalia V), 2005, mixed media on heavy paper, 27 1/2 x 39 3/8 inches

Roberto Fabelo (b.1950), Red Mermaid, (Sirena Roja), 2005, mixed media on heavy paper, 44 5/8 x 60 1/8 inches Sold prior to the publication of this catalog.

102

Roberto Fabelo (b.1950), Gothic Habanero, (Gรณtico Habanero), 2017, oil on canvas, 92 1/2 x 79 1/2 inches

103

Roberto Fabelo (b.1950), A Bit About Us, (Un Poco de Nosotros), 2008, oil on canvas, 62 1/2 x 46 1/2 inches (also known as "Bath of the Nymphs" ) Provenance: Private Collection, Coral Gables, Florida.

Illustrated in Important Cuban Artworks, Volume Nine, Cernuda Arte, December 2010, page 98.

This painting is accompanied by a Certificate of Authenticity signed by the artist, dated July 2, 2013.

104

Roberto Fabelo (b. 1950), A Bit of Us, (Un Poco de Nosotros), 2012, bronze sculpture, 6 of 7, 44 x 30 x 21 inches 105

Manuel Mendive (b. 1944), Oya, (Oyรก), ca. 1974, mixed media on heavy paper laid down on board, 11 x 16 inches Provenance: Private Collection, Madrid, Spain.

Sold prior to the publication of this catalog.

Manuel Mendive (b. 1944), Eleggua, (Eleguรก), 1975, mixed media on wood, 9 x 18 inches Sold prior to the publication of this catalog.

106

Manuel Mendive (b. 1944), The Goddess OchĂşn, (La Deidad OchĂşn), ca. 1976, mixed media on heavy paper laid down on board, 11 x 14 inches Sold prior to the publication of this catalog.

Manuel Mendive (b. 1944), Bright Waters, (Aguas Luminosas), 1991, mixed media collage on heavy paper laid down on board, 22 1/2 x 29 3/4 inches Provenance: Private Collection, Vicenza, Italy.

This painting was exhibited in Manuel Mendive and Three Centuries of AfroCuban Artists, Cernuda Arte, Coral Gables, Florida, November 2013 to February 2014.

107

Manuel Mendive (b. 1944), The Chair of the Queen, (La Silla), 1995, one-of-a-kind polychromed wood sculpture, oil and cowrie shells, 76 x 20 x 24 inches Sold prior to the publication of this catalog.

Manuel Mendive (b. 1944), The Chair of the King, (La Silla), 1995, one-of-a-kind polychromed wood sculpture, oil and cowrie shells, 75 1/4 x 20 x 24 inches Sold prior to the publication of this catalog.

Provenance: Joan Guaita, Palma de Mallorca, Spain.

Both wood sculptures have been exhibited in Shangó y la Vida, Centro de Cultura, “Sa Nostra”, Palma de Mallorca, Spain, Fall, 2001.

This exhibition also traveled to Sala de Exposiciones La Recova, Spain, Spring, 2002 and the Centro de Arte, Juan Ismael, Canary Islands, Spain, Fall of 2002.

The exhibition tour concluded at the Museo Nacional de Bellas Artes, Havana, Cuba, Spring of 2003.

These two sculptures are illustrated in the corresponding exhibition catalog on pages 53 and 54 and on page 65.

108

Manuel Mendive (b. 1944), Ake FunfĂşn, (Ake FunfĂşn), 2002, acrylic and cowrie shells on canvas, sculptured iron stretcher frame, 80 x 60 inches Exhibited in The Waters, The Quotidian and The Thoughts, National Museum, Havana, Cuba, December, 2002, and illustrated in the corresponding exhibition catalog, page 37.

This painting is illustrated in the book Mendive, Collage Ediciones, La Habana, 2015, page 159.

109

Manuel Mendive (b. 1944), Man with Bird, (Hombre con Pájaro), 1997, bronze sculpture, 6/7, 21 x 13 x 5 1/2 inches Exhibited in Escultures al Castell, Joan Guaita Ediciones, June – September, 1998, and illustrated in the corresponding exhibition catalog [different number].

Exhibited [different number]in Shangó y la Vida, Centro de Cultura, “Sa Nostra”, Palma de Mallorca, Spain, Fall, 2001.

This exhibition also traveled to Sala de Exposiciones La Recova, Spain, Spring, 2002, and the Centro de Arte, Juan Ismael, Canary Islands, Spain, Fall of 2002.

The exhibition tour concluded at the Museo Nacional de Bellas Artes, Havana, Cuba, Spring of 2003.

This sculpture is illustrated [different number] in the corresponding exhibition catalog on page 84.

Exhibited [different number] in El Color Blanco, Azul, Verde y el Color de mi Piel, (The Color White, Blue, Green and The Color of My Skin), Regional Museum of Anthropology at Yucatán, Mexico. January – March, 2008, and illustrated in the corresponding exhibition catalog, page 33.

Exhibited in Manuel Mendive, Things that Cannot Be Seen Any Other Way, California African American Museum, Los Angeles, California, April – October, 2013, and at the Frost Art Museum, November 2013 – January 2014, and listed in the corresponding exhibition catalog, page 54.

110

Manuel Mendive (b. 1944), Maternity, (Maternidad), 2001, bronze sculpture, 7/7, 26 x 11 x 6 inches Provenance: Acquired directly from the artist's representative at that time, Joan Guaita.

Exhibited [different number]in Shangó y la Vida, Centro de Cultura, “Sa Nostra”, Palma de Mallorca, Spain, Fall, 2001.

This exhibition also traveled to Sala de Exposiciones La Recova, Spain, Spring, 2002, and the Centro de Arte, Juan Ismael, Canary Islands, Spain, Fall of 2002.

The exhibition tour concluded at the Museo Nacional de Bellas Artes, Havana, Cuba, Spring of 2003.

This sculpture is illustrated in the corresponding exhibition catalog on page 85.

Exhibited in Manuel Mendive, Los Ancestros, Orisha, La Naturaleza y el Pensamiento, Museo de Las Américas, San Juan, Puerto Rico, November 2003, and illustrated in the corresponding museum catalog, page 24.

111

Manuel Mendive (b. 1944), Shango, (Shangรณ), ca. 1975, mixed media on wood, 13 3/4 x 16 3/4 inches Sold prior to the publication of this catalog.

Manuel Mendive (b. 1944), Yemaya, (Yemayรก), 1986, mixed media and gouache on masonite, 11 1/2 x 15 inches Provenance: Private Collection, Miami, Florida Sold prior to the publication of this catalog.

112

Tomás Sánchez (b. 1948), Untitled, (Sin Título), 1975, lithograph, three of seven, 11 x 17 1/4 inches

Tomás Sánchez (b. 1948), Walkers, (Paseantes), 1971 (dated May 25, 1971), lithograph, three of six, 16 x 24 inches 113

Tomás Sánchez (b. 1948), The Joy of Sunday, (La Alegría del Domingo), 1973, lithograph, six of ten, 12 1/2 x 20 3/4 inches

Tomás Sánchez (b. 1948), Consumer Society, (Sociedad de Consumo), 1973, lithograph, artist proof, 12 3/4 x 19 3/4 inches This artwork appears illustrated (different number) in the book Tomás Sánchez, Gabriel García Márquez and Edward Sullivan, Skira Editore, Milano, Italy, 2013, page 52.

114

Tomás Sánchez (b. 1948), The Return of the Carriage, (El Retorno del Quitrín), 1972, lithograph, four of five, 12 1/2 x 21 1/4 inches

Tomás Sánchez (b. 1948), The Christ of the Henhouse, (El Cristo del Gallinero), 1973, lithograph, five of ten, 18 x 11 1/4 inches This artwork was exhibited (different number) in La Conciencia del Testigo: Antonia Eiriz, Tomás Sánchez, Servando Cabrera Moreno, March – June 2009, Museo Servando Cabrera Moreno, Havana, Cuba, and it appears illustrated (different number) in the accompanying exhibition catalog.

Tomás Sánchez (b. 1948), Characters in my Neighborhood, (Personajes de Mi Barrio), 1971, lithograph, three of four, 17 x 24 1/4 inches

115

Tomรกs Sรกnchez (b. 1948), Seashore [Mirror of the Clouds], (Orilla [Espejo de las Nubes] ), 1988, acrylic on canvas, 58 x 78 inches Provenance: Bernheim Gallery, Panama City, Panama.

Private Collection, Miami Beach, Florida.

This painting was exhibited in Christie's, New York, May 29, 1997, and it appears illustrated in the corresponding auction catalog, lot no. 147.

116

Alfredo Sosabravo (b. 1930), Summer Stroll, (Paseo de Verano), 2018, acrylic and collage on canvas, 63 x 38 1/2 inches Sold prior to the publication of this catalog.

117

Alfredo Sosabravo (b. 1930), Young Girl, (Muchacha), 2011, bronze sculpture, one of eight, 33 1/2 x 12 x 11 1/2 inches This sculpture (different number) was exhibited in Sosabravo, A Latin American from Tradition to Contemporary, Museo d’Arte Contemporanea, Rome, Italy, April 2012, and illustrated in the corresponding exhibition catalog, page 67.

Also, exhibited in Museo Arsenale di Amalfi, (different number), Amalfi, Italy, June 2013, and illustrated in the corresponding exhibition catalog, page 77.

Alfredo Sosabravo (b. 1930), The Wife of the Fisherman, (La Mujer del Pescador), 2005, Murano glass sculpture, 7 of 9, 27 x 17 x 14 inches Illustrated (different number) in the book Sosabravo - The Three Dimensions, Alejandro G. Alonso, Madrid, Spain, page 166.

118

Alfredo Sosabravo (b. 1930), Fishwife, (Pescadera), 1999, Murano glass sculpture, five of nine, 21 1/4 x 19 x 8 1/2 inches Exhibited [different number] in Sosabravo - Premio Nacional de Artes Plásticas, Galería La Acacia, Havana, Cuba, October 2000, and illustrated in the corresponding exhibition catalog, unnumbered pages.

Also illustrated (different number) in the book, Sosabravo - The Three Dimensions, Alejandro G. Alonso, Madrid, Spain, page 158.

Alfredo Sosabravo (b. 1930), Tangled Dominos, (Dominó Revuelto), 2015, oil and collage on canvas, 39 1/4 x 55 inches Sold prior to the publication of this catalog.

119

Alfredo Sosabravo (b. 1930), Little Devils, (Diablitos), 2002, oil and collage on canvas, 38 x 28 inches Provenance: Acquired directly from the artist.

This painting was exhibited in Sosabravo, And Life is a Game, Cernuda Arte, March-April 2002.

Alfredo Sosabravo (b. 1930), Lady of the Lizards, (Dama de los Lagartos), 2002, oil on canvas board, 20 x 16 inches Provenance: Acquired directly from the artist.

This painting was exhibited in Sosabravo, And Life is a Game, Cernuda Arte, March-April 2002.

120

Alfredo Sosabravo (b. 1930), Dancers, (Bailadores), 2016, mixed media and collage on canvas, 55 x 37 1/4 inches

Alfredo Sosabravo (b. 1930), Personage with Bird, (Personaje con Pรกjaro), 2006, oil and collage on canvas, 31 1/4 x 23 3/4 inches

121

Miguel Florido (b. 1980), Come to Me, Love, (Ven a MĂ­, Amor), 2018, mixed media on canvas, 70 3/4 x 50 3/4 inches Sold prior to the publication of this catalog.

122

Miguel Florido (b. 1980), Forever and Always, (Para Siempre y Por Siempre), 2018, oil on canvas, 13 1/2 x 9 ½ inches

Miguel Florido (b. 1980), Transformation, (TransformaciĂłn), 2017-18, oil on canvas, 51 3/4 x 71 inches 123

Miguel Florido (b. 1980), Yearning for Love, (Ansia de Amor), 2017-18, oil on canvas, 78 ž x 39 inches 124

Miguel Florido (b. 1980), Lighthouse of Hope, (Faro de Esperanza), 2018, mixed media on canvas, 9 1/2 x 13 1/2 inches

Miguel Florido (b. 1980), If I'm Not Next to You, (Si No Estoy Junto a Ti), 2018, oil on canvas, 13 3/4 x 9 3/4 inches

125

Miguel Florido (1980), Unspoken Love, (Amor Inefable), 2017, oil on canvas, 9 3/4 x 13 3/4 inches

Miguel Florido (1980), Memories of You, (Tus Recuerdos), 2016, oil on canvas, 9 3/4 x 13 3/4 inches 126

Miguel Florido (b. 1980), The Infinite Grandeur of Your Love, (La Grandeza Infinita de Tu Amor), 2017-18, oil on canvas, 56 1/4 x 55 inches

Miguel Florido (1980), Our Bond, (Nuestro VĂ­nculo), 2017-18, oil on canvas, 51 x 70 1/2 inches 127

Miguel Florido (1980), How Can I Escape from Time?, (ÂżCĂłmo Hago para Escapar del Tiempo?), 2006, oil on canvas, 23 1/2 x 31 1/4 inches

Miguel Florido (1980), Gladiola on Blue Door, (Gladiolo en Puerta Azul), 2010, oil on canvas, 31 1/2 x 39 1/4 inches 128

Irina ElĂŠn GonzĂĄlez (b. 1978), Disturbed Nature II, (Naturaleza Perturbada II), 2018, acrylic on canvas, 39 x 31 1/2 inches 129

Irina Elén González (b. 1978), Bursting Amusement, (Divertimento Explosivo), 2018, acrylic on canvas, 31 1/2 x 23 5/8 inches

Irina Elén González (b. 1978), A Day of Joy [from the series: "Happiness"], (Un Día Alegre [de la serie: "Felicidad"]), 2018, acrylic on canvas, 20 5/8 x 16 3/8 inches

130

Irina Elén González (b. 1978), I Know You Love Me [from the series: "Nostalgia"], (Sé Que Me Quieres [de la serie: "Nostalgia"]), 2018, acrylic on canvas, 15 1/2 x 11 3/4 inches

Irina Elén González (b. 1978), Eve's Victory, (El Triunfo de Eva), 2018, acrylic on canvas, 29 1/2 x 23 1/2 inches

131

Juan Roberto Diago (b. 1971), The Chosen One, (El Elegido), 2018, mixed media on canvas, 78 x 59 inches 132

Juan Roberto Diago (b. 1971), You, Me and Havana, (Tú, Yo y La Habana ), 2001, mixed media on canvas, 78 x 59 inches Exhibited in Juan Roberto Diago, Obras Recientes, Galería Arteconsult, Yaco García Arte Latinoamericano, Panamá, República de Panamá, March 2002, and illustrated in the corresponding exhibition catalog, unnumbered.

133

Juan Roberto Diago (b. 1971), My Silence Speaks Volumes, (Mi Silencio Habla por SĂ­ Mismo), 2018, mixed media on canvas, 58 3/4 x 47 1/4 inches 134

Juan Roberto Diago (b. 1971), Red Dawn, (Amanecer Rojo), 2018, mixed media on canvas, 49 ¼ x 35 ¼ inches

Juan Roberto Diago (b. 1971), Untitled [Us], (Sín Titulo [Nosotros] ), 2018, mixed media on heavy paper, 27 1/2 x 19 1/2 inches

135

Juan Roberto Diago (b. 1971), Time Warrior, (Guerrero del Tiempo), 2018, mixed media on canvas, 59 x 47 inches

136

Juan Roberto Diago (b. 1971), Come Dance My Guaguancรณ, (Ven a Bailar Mi Guanguancรณ), 2001, mixed media on canvas, 51 1/2 x 41 1/2 inches Exhibited in Juan Roberto Diago, Mi Historia es tu Historia, June - July 2001, Cernuda Arte, Coral Gables, Florida.

137

Joel Besmar (b. 1968), Masquerade, (Mascarada), 2010, oil on canvas, 23 ½ x 29 1/2 inches Sold prior to the publication of this catalog.

Joel Besmar (b. 1968), Everlasting, (Siempreviva), 2018, oil on canvas, 43 3/8 x 55 inches 138

Joel Besmar (b. 1968), Child's Play, ( Juego de Niños), 2018, oil on canvas, 23 ½ x 29 3/8 inches

Joel Besmar (b. 1968), Before Night Falls, (Antes que Anochezca), 2018, oil on canvas, 55 ¼ x 51 ¼ inches This painting is an homage to the writer, Reinaldo Arenas.

139

Ismael Gómez Peralta (b. 1967), San Nicolás Street and Malecón (San Nicolás y Malecón), 2002, mixed media on canvas, 60 x 36 inches

Ismael Gómez Peralta (b. 1967), Nocturnal Resonance (Resonancia Nocturna), 2006, mixed media on canvas, 54 1/4 x 46 1/2 inches

140

Sandro De La Rosa (b. 1972), Fragile, (Frรกgil ), 2018, oil on canvas, 60 x 48 inches

141

Sandro De La Rosa (b. 1972), Way to Nowhere, (Camino a Ningún Lugar), 2018, oil on canvas, 48 x 60 inches

Sandro De La Rosa (b. 1972), Huntress of Dreams, (Cazadora de Sueños), 2018, oil on canvas, 48 x 60 inches 142

Sandro De La Rosa (b. 1972), Tuning Pegs, (Clavicordio), 2007, oil on canvas, 47 x 55 inches

Sandro De La Rosa (b. 1972), Volition, (Voliciรณn), 2018, oil on canvas, 48 x 60 inches 143

Giosvany Echevarría (b. 1971), A Sunlit Day, (Un Día Soleado), 2016, oil on canvas, 13 3/4 x 9 ¾ inches

Giosvany Echevarría (b. 1971), Majestic Vista, (Majestuosa Vista), 2018, oil on canvas, 40 x 79 inches 144

Giosvany Echevarría (b. 1971), A Radiant Day, (Un Día Radiante), 2017, oil on canvas, 78 1/2 x 55 inches 145

Giosvany Echevarría (b. 1971), Guardian of the Morning, (Guardián de la Mañana), 2018, oil on canvas, 47 x 35 3/8 inches 146

Giosvany EchevarrĂ­a (b. 1971), My Landscape, (Mi Paisaje), 2018, oil on canvas, 47 x 35 1/2 inches 147

Vicente Hernรกndez (b. 1971), For My Town's Photo Album, (Para el ร lbum de Mi Pueblo), 2008, oil on canvas, 30 1/2 x 41 1/2 inches

Vicente Hernรกndez (b. 1971), A New Stadium Emerges, (Un Nuevo Estadio Nace), 2009, mixed media on canvas, 59 x 78 3/4 inches 148

Vicente Hernรกndez (b. 1971), A Nest in the Hat, (Un Nido en el Sombrero), 2006, oil on canvas, 31 1/2 x 23 1/2 inches

Vicente Hernรกndez (b. 1971), Massive Flight Searching for a Voice, (Fuga Masiva en Busca de Voz y Voto), 2010, oil on canvas, 59 x 79 inches

149

Vicente Hernández (b. 1971), From Defiance to Utopia, (Del Desafío a la Utopía), 2014, oil on canvas, 59 x 77 ¼ inches Sold prior to the publication of this catalog.

Vicente Hernández (b. 1971), The Dream Turned into Nightmare, (El Sueño Hecho Pesadilla), 2018, oil on canvas, 31 ¼ x 58 3/4 inches

150

Vicente Hernández (b. 1971), And the Circus Arrived, (Y Llegó el Circo), 2010, oil on canvas, 59 x 79 inches

Vicente Hernández (b. 1971), The Rumba of the Deaf, (La Rumba de los Sordos), 2018, oil on canvas, 39 ¼ x 51 inches 151

Clara Morera (b. 1944), Adam and Eve in Paradise, (Adán y Eva en el Paraíso), 2017, mixed media on canvas and wood, triptych, 35 ½ x 36 inches

Clara Morera (b. 1944), Oshún Kolé, (Oshún Kolé), 2009, mixed media assemblage on wood, 48 x 28 x 6 inches

152

Clara Morera (b. 1944), The Chinese Charade III, (El Chino de la Charada III), 2016, mixed media on wood, 63 1/2 x 20 inches

Clara Morera (b. 1944), The Canonization of the Bird Saint, (La Canonizaciรณn del Santo Pรกjaro), 2005, mixed media on wood, 48 1/2 x 18 1/2 inches

153

Clara Morera (b. 1944), Bird, (Pรกjaro), 2005, mixed media on canvas, 61 1/4 x 34 1/2 inches Sold prior to the publication of this catalog.

Clara Morera (b. 1944), Protection from Evil, (Resguardo), 2008, mixed media assemblage on woven mat, 36 x 26 1/2 inches Sold prior to the publication of this catalog.

154

Clara Morera (b. 1944), The Magus, (La Maga), 2005, oil on canvas, 57 3/4 x 32 1/2 inches Sold prior to the publication of this catalog.

155

Arturo Rodríguez (b. 1956), The Count After Velázquez (El Conde Después de Velázquez), 2018 oil on paper, 29 1/2 x 22 inches

Arturo Rodríguez (b. 1956), Survivors, (Sobrevivientes), 1983 watercolor on paper, 17 7/8 x 12 inches

156

Arturo Rodríguez (b. 1956), The Fall, (La Caída), 1983, oil on canvas, 59 x 47 inches 157

Arturo Rodríguez (b. 1956), The Eye of the Hurricane, (El Ojo del Huracán), 1987, oil on canvas, 48 x 54 inches

158

Arturo Rodríguez (b. 1956), Standing Man, (Hombre Parado), 1985 oil on canvas, 50 x 38 inches

Arturo Rodríguez (b. 1956), Dreamer in Red, (Soñador en Rojo), 1986 oil on canvas, 38 x 20 inches

159

Demi (b. 1955), Child with Doves, (NiĂąo con Palomas), 2000, acrylic on canvas, 22 x 28 inches

Demi (b. 1955), Red Carousel, (Carrusel Rojo), 1999, acrylic on canvas, 28 x 52 inches 160

Demi (b. 1955), Imaginary Flight, (Vuelo Imaginario), 1992, oil on canvas, 18 x 20 inches

Demi (b. 1955), Boy in Blue Chair, (Niño en Silla Azul), 1996, oil on canvas, 14 x 10 inches

Demi (b. 1955), Liquid Life #3, (Vida Líquida #3), ca. 1987, oil and collage on canvas, 16 x 12 inches 161

Flora Fong (b. 1949), Caribbean Sea, (Mar Caribe), 2014, mixed media on canvas, 59 x 78 1/4 inches

Flora Fong (b. 1949), Habitat, (Hรกbitat), 2014, mixed media on canvas, 57 x 74 3/4 inches 162

Flora Fong (b. 1949), Rural Life, (La Vida en el Campo), 2015, mixed media on canvas, 67 1/2 x 84 3/4 inches

Flora Fong (b. 1949), Mariel Seaside, (Mares del Mariel ), 2013, oil on canvas, 67 1/2 x 84 1/2 inches 163

Gabriel Sánchez (b. 1979), Sunset for Piano in G, (Crepúsculo para Piano en Sol ), 2007, acrylic on canvas, 57 1/2 x 45 inches This painting was exhibited in Gabriel Sánchez- Landscapes of Poetry and Enchantment, Cernuda Arte, Coral Gables, May, 2007, and it appears illustrated in the corresponding exhibition catalog, unnumbered pages.

Gabriel Sánchez (b. 1979), Premonition, (Presagio), 2006, oil on canvas, 42 1/4 x 35 inches This painting was exhibited in Gabriel Sánchez- Landscapes of Poetry and Enchantment, Cernuda Arte, Coral Gables, May, 2007, and it appears illustrated in the corresponding exhibition catalog, unnumbered pages.

164

Dayron Gonzรกlez (b. 1982), The Kiss, (El Beso), 2017, oil on canvas, 87 x 67 1/2 inches Provenance: Acquired directly from the artist.

This painting is accompanied by a Photo-Certificate of Authenticity signed by the artist.

165

Dayron Gonzรกlez (b. 1982), Group, (Grupo), 2015, oil on canvas, 9 1/2 x 35 inches Provenance: Acquired directly from the artist.

This painting is accompanied by a Photo-Certificate of Authenticity signed by the artist.

Dayron Gonzรกlez (b. 1982), Camouflage, (Camuflaje), 2016, oil on canvas, 78 x 84 inches Provenance: Acquired directly from the artist.

This painting is accompanied by a Photo-Certificate of Authenticity signed by the artist.

166

Dayron Gonzรกlez (b. 1982), Offering, (Ofrenda), 2016, oil on canvas, 72 x 66 inches Provenance: Acquired directly from the artist.

Exhibited in Dayron Gonzรกlez: From Green to Red, October-November 2016, Cernuda Arte, Coral Gables, Florida, and illustrated in the accompanying exhibition catalog, with an essay by Alejandro Anreus, Ph.D., page 24.

This painting is accompanied by a Photo-Certificate of Authenticity signed by the artist.

167

Jorge Luis Santos (b. 1973), Untraceable Footprint (from the series "A–Z"), (Huella Sin Rastro, de la serie "A–Z " ), 2017, mixed media on canvas, 72 x 72 inches

168

Jorge Luis Santos (b. 1973), Data Cleansing (from the series "A-Z"), (Depuraciรณn de Datos, de la serie "A-Z " ), 2016, mixed media on canvas and wood, 28 1/2 x 28 1/2 inches

Jorge Luis Santos (b. 1973), Open Source (from the series "A-Z"), (Cรณdigo Abierto, de la serie "A-Z" ), 2016, mixed media on canvas and wood, 30 1/4 x 28 1/2 inches

169

Jorge Luis Santos (b. 1973), Streaming Thoughts (from the series "A–Z"), (Ideas en Flujo, de la serie "A–Z " ), 2017, mixed media on canvas, 72 x 72 inches

170

Jorge Luis Santos (b. 1973), Blue Dot (from the series "Two Worlds"), (Punto Azul, de la serie "Dos Mundos") , 2017, mixed media on canvas, 77 x 70 inches

171

Jorge Luis Santos (b. 1973), Multi-Layered Sequences (from the series "Two Worlds"), (Secuencias de MĂşltiples, de la serie "Dos Mundos"), 2017, mixed media on canvas, 81 x 74 1/2 inches

Jorge Luis Santos (b. 1973), Online Dawning (from the series "Two Worlds"), (Amanecer en LĂ­nea, de la serie "Dos Mundos"), 2018, mixed media on canvas, 73 1/2 x 71 3/4 inches

172

Jorge Luis Santos (b. 1973), Bridge (from the series "Two Worlds"), (Puente, de la serie "Dos Mundos"), 2017, mixed media on canvas, 75 1/2 x 74 1/2 inches

Jorge Luis Santos (b. 1973), Flower Connection (from the series "Two Worlds"), (Conexiรณn de una Flor, de la serie "Dos Mundos"), 2017, mixed media on canvas, 72 x 72 inches

173

Danuel Méndez (b. 1989), Melancholy (from the series "Obsessions"), (Melancolía, de la serie "Obsesiones" ), 2017, oil on canvas, 16 x 20 inches

Danuel Méndez (b. 1989), Apathy (from the series "Obsessions"), (Apatía, de la serie "Obsesiones" ), 2017, oil on canvas, 16 x 20 inches

Danuel Méndez (b. 1989), Passion (from the series "Obsessions"), (Pasión, de la serie "Obsesiones" ), 2017, oil on canvas, 16 x 20 inches

Danuel Méndez (b. 1989), Infatuation (from the series "Obsessions"), (Infatuación, de la serie "Obsesiones" ), 2017, oil on canvas, 16 x 20 inches 174

Manuel Mendive (b. 1944), Fluid Forms, (Formas Fluidas), 1992, mixed media on heavy paper laid down on board, 22 1/2 x 30 1/4 inches

A Comment on Mendive’s Abstract Fluid Forms Manuel Mendive, an artist with a natural sense for the spiritual and the biological, entered his own dark sensory deprivation chamber at the advent of the special period in Cuba in the early years of the 1990s.

In his attempt to surpass the effects of this event, the artist seems to have plotted a survival course by journeying into the deepest caverns of his own mind, passing through unlit cold and damp paths, through tight social strictures and confusing directional forks. In the end, alone, he arrived at the dark surfaces of art, freeing himself in the abstract fluid forms he painted from late 1991 to early 1993.

The Mendive renditions from his ‘special dark period’ allow a certain insight into the primitive origins of Man, where creative imagination of the “mind’s eye” sparked. Using similar images of expression, the viewer of these works may see and feel the complex microcosm of the DNA world and Darwin’s ever evolving life on earth.

Dr. Julio Ortiz

175

Cundo Bermúdez (1914–2008), Three Musicians, (Tres Músicos), ca. 1954, oil and gouache on cardboard laid down on canvas, 21 x 29 inches This painting is illustrated in the book, Cuban Art, Remembering Cuba Through its Art, Arte al Día International, 2004, page 179.

Also illustrated in the book Cuban Art, Past and Present, Volume 1, Frank Padrón, 2016, page 10.

Sold prior to the publication of this catalog.

176

Humberto Calzada (b. 1944), Breeze of the Palms, (Como Arrullo de Palmas), 2006, oil on canvas, 17 3/4 x 13 3/4 inches

Carlos Sobrino (1909-1980), Farmers, (Campesinos), 1965, oil on canvas, 13 1/4 x 12 1/2 inches

177

Víctor Manuel García (1897–1969), Landscape with Farmers and Huts, (Paisaje con Campesinos y Bohíos), ca. 1935, oil on canvas, 16 1/2 x 11 3/4 inches Provenance: Manuel Abelén, Vice-Consul of Brazil in Cuba, and his wife, Elena Rodríguez de Abelén who acquired it from the artist in the 1940's. Thence by descent to their nephew and niece, Mr. René Rodríguez and Helen Lily Harbour.

Back Cover: Víctor Manuel García (1897–1969), Landscape, (Paisaje), 1945, oil on canvas, 31 x 25 inches

Provenance: Private Collection, Santo Domingo, Dominican Republic.

Exhibited at Sotheby’s, New York, May 28, 1998, and illustrated in the corresponding exhibition catalog, lot 242.

Illustrated in the book Pintores Cubanos, Oscar Hurtado, Edmundo Desnoes, Ediciones R, La Habana, Cuba, 1962, page 57.

178

INDEX Abela, Eduardo (1889-1965) 30 (2), 31

Lam, Wifredo (1902-1982) 37, 38, 39, 40 (2), 41 (4),

Acosta León, Angel (1930-1964) 74 (3), 75, 76 (2)

42 (2), 43, 44

Bermúdez, Cundo (1914-2008) 45, 46 (2), 47, 176

Landaluze, Víctor Patricio (1828-1889) 10 (2), 11 (2)

Besmar, Joel (b. 1968) 138 (2), 139 (2)

Laplante, Eduardo (1818-1860) 8 (2)

Cabrera Moreno, Servando (1923-1981) 91, 92, 93

Llinás, Guido (1923-2005) 84, 89 (2)

Calzada, Humberto (b. 1944) 177

Lorenzo, Tiburcio (1912-1995) 15 (2)

Cárdenas, Agustín (1927-2001) 78 (3), 79, 88

Martínez, Raúl (1927-1995) 90 (2)

Carreño, Mario (1913-1999) 52, 53, 54, 55

Martínez Pedro, Luis (1910-1990) 50 (2), 51

Chartrand, Esteban (1830-1883) 9 (5)

Méndez, Danuel (b. 1989) 174 (4)

Chartrand, Augusto (1828-1899) 4

Mendive, Manuel (b. 1944) 106 (2), 107 (2), 108 (2), 109,

Cleenewerck, Henry (1825-1901) 5

110, 111, 112 (2), 175

Crucet, Enrique (1895-1979) 13 (2)

Mesa Hermida, Manuel (1895-1971) 14 (2)

Darié, Sandú (1908-1991) 77

Mijares, José (1921-2004) 66, 67 (2), 68, 69

De La Rosa, Sandro (b. 1972) 141, 142 (2), 143

Milián, Raúl (1914-1984) 72 (2), 73 (2)

Demi (b. 1955) 160 (2), 161 (3)

Morera, Clara (b. 1944) 152 (2), 153 (2), 154 (2), 155

Diago, Juan Roberto (b. 1971) 132, 133, 134, 135 (2),

Peláez, Amelia (1896-1968) Cover

136, 137

Pellón, Gina (1926-2014) 96, 97, 98 (2), 99 (2), 100 (3)

Echevarría, Giosvany (b. 1971) 144 (2), 145, 146, 147

Pogolotti, Marcelo (1902-1988) 22

Eiriz, Antonia (1929-1995) 85, 86, 87

Portocarrero, René (1912-1985) 49, 60, 61, 62, 63,

Enríquez, Carlos (1900-1957) 20 (2), 21

64 (2), 65 (2)

Escobar, Vicente (1757-1834) 7

Ravenet, Domingo (1905-1969) 18, 19

Estopiñán, Roberto (1921-2015) 81, 82 (2), 83

Rodríguez, Arturo (b. 1956) 156 (2), 157, 158, 159 (2)

Fabelo, Roberto (b. 1950) 101, 102 (2), 103, 104, 105

Rodríguez, Mariano (1912-1990) 56, 57 (2), 58 (2), 59

Florido, Miguel (b. 1980) 122, 123 (2), 124, 125 (2),

Romañach, Leopoldo (1862-1951) 12 (2)

126 (2), 127 (2), 128 (2)

Sánchez, Gabriel (b. 1979) 164 (2)

Fong, Flora (b. 1949) 162 (2), 163 (2)

Sánchez, Tomás (b. 1948) 113 (2), 114 (2), 115 (3), 116

García, Víctor Manuel (1897-1969) 2, 23, 24, 25, 26, 27,

Santos, Jorge Luis (b. 1973) 168, 169 (2), 170, 171,

28, 29, 178, Back Cover

172 (2), 173 (2)

García Rivera, Oscar (1914-1971) 16 (2), 17

Scull, Hermanas 94 (2), 95

Gattorno, Antonio (1904-1980) 33, 34, 36

Sobrino, Carlos (1909-1980) 177

Gómez Peralta, Ismael (b. 1967) 140 (2)

Soldevilla, Loló (1901-1971) 77

González, Carmelo (1920-1990) 70 (2), 71

Solís, Uver (1923-1974) 48

González, Dayron (b. 1982) 165, 166 (2), 167

Soriano, Rafael (1920-2015) 80

González, Irina Elén (b. 1978) 129, 130 (2), 131 (2)

Sosabravo, Alfredo (b. 1930) 117, 118 (2), 119 (2),

Hernández, Vicente (b. 1971) 148 (2), 149 (2),

120 (2), 121 (2)

150 (2), 151 (2)

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

Víctor Manuel García (1897–1969), Landscape, (Paisaje), 1945, oil on canvas, 31 x 25 inches Please reference page 178 of this catalog for additional information on this artwork.

Cernuda Arte 180

3155 Ponce de León Boulevard, Coral Gables, Fl 33134-6825 TEL: (305) 461 1050 FAX: (305) 461 1063 E-MAIL: CERNUDAARTE@MSN.COM WWW.CERNUDAARTE.COM