IMPORTANT CUBAN ARTWORKS, Volume Fourteen

IMPORTANT CUBAN ARTWORKS VOLUME FOURTEEN

Cernuda Arte 1

Angel Acosta León (1930-1964), Crucifixion, (Crucifixión), 1957, oil on wood, 15 1/4 x 13 1/4 inches Provenance: Private Collection, Managua, Nicaragua.

Exhibited in Angel Acosta León, Dirección General de Cultura, Palacio de Bellas Artes, Havana, Cuba, June-July 1960, and listed in the corresponding exhibition brochure, no. 21.

Mario Carreño, Fire in the Farm, 1943, (illustrated on the cover) Mario Carreño (1913-1999), Fire in the Farm, (Fuego en el Batey), 1943, duco and oil on wood panel, 48 x 65 inches Please reference page 41 of this catalog for additional information on this piece.

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IMPORTANT CUBAN ARTWORKS VOLUME FOURTEEN

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very institution that relates to the public is expected to embrace a clear mission statement and should also - equally important - display thru its behavior and policies a collective company culture. In the current contemporary climate where just about everything around us mutates and commingles it is no small feat to let your neighbor know where you stand and how you move. Consistency and integrity, due to rarity, are decisively appreciated. For us the divulging and promotion of Cuban art is our passion and our mission. But what about “our culture”?

We believe that the gold standard of an art gallery in the global community is for the entity to be a center of culture, a beacon where the necessary commerce of art is part of the daily toil, but certainly not the allabsorbing practice. A true gallery must advance much more than the purveyance of artworks; it must be much more than another store with an occupational license, a box of nails and a hammer. Galleries should be socially required to develop an expertise, a connoisseurship, a prestige, a credibility, that becomes the best part of their contribution to the enhancement of the people’s intellectual understanding of art, to the aesthetic enjoyment of art and to the spiritual experience of living with art.

We assume this character role in all seriousness and we strive to achieve the highest standards in our endeavor.

As part of this vision Cernuda Arte has a vigorous museum support program that essentially provides availability of artworks of past and present Cuban artists and also financial contributions to related events at museums in the United States and Europe. We have coordinated projects with museums since our beginnings, thereby enhancing the validation and prestige of the art we preach. (continues on next page)

Cernuda Arte’s Staff (from left to right): Nercys Cernuda, Ramón Cernuda, Sergio Cernuda and Luisa Lignarolo 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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Again, we have been substantially active in this regard throughout the year, collaborating with the following eight museum exhibitions during this cycle: Wifredo Lam, Museo Reina Sofía, Madrid, Spain, April 2016 Wifredo Lam, Tate Modern Museum, London, United Kingdom, September 2016 Agustín Cárdenas, Lowe Art Museum, Coral Gables, Florida, August 2016 Promising Paradise: Cuban Allure, Wolfsonian Museum, Miami Beach, Florida, May 2016 ¡Cuba!, American Museum of Natural History, New York City, New York, November 2016 Cuban Art of the Twentieth Century, Coral Gables Museum, Coral Gables, Florida, January 2017 Diago: The Pasts of this Afro-Cuban Present, Harvard University, Ethelbert Cooper Gallery, Cambridge, Massachusetts, January 2017 • Radical Women: Latin American Art, 1960-1985, Hammer Museum, Los Angeles, California, September 2017 • • • • • • •

We reaffirm our commitment to cooperate with museums and other cultural institutions in the presentation of Cuban art to greater audiences and we are currently coordinating other major events in this regard.

This past year has been fruitful in other gallery achievements. As we look back at 2016, we take pride in our participation in the internationally recognized Fine Art Dealers Association, an exclusive organization of forty distinguished art galleries with the highest ethical and curatorial traits. We are especially honored by the recent election of our Vice Director, Sergio Cernuda, to the Board of Directors of the Fine Art Dealers Association (FADA).

Cernuda Arte has continued its growth at a steady and constant pace. The company’s acquisition of the second gallery exhibition building at 3143 Ponce de León Boulevard, Coral Gables, now allows us to display various concomitant shows presented in a total of 6,500 square feet of showrooms.

We are now ready to initiate the new season, and as is customary we launch our yearly catalog, Important Cuban Artworks, this time in its fourteenth edition. Canonical names in Cuban art appear along their illustrated creations. The publication is a feast. Take a seat and enjoy the banquet.

Ramón C ernuda

Esteban Chartrand (1840-1883), Peasants Working on the Farm, (Campesinos Trabajando en la Finca), ca. 1872, graphite on heavy paper laid down on board, 3 1/4 x 5 1/2 inches 4

Marqués de Almendares (Cuba) Canton Famille Rose Porcelain Oval Platter, from the Armorial Service, ca. 1843, made for the Marqués de Almendares Ignacio Herrera, hand-painted, 13 x 10 x 1 ½ inches

Don Miguel Antonio Herrera y O’Farrill (1799-1844) was granted the nobility title of Marqués de Almendares by the Spanish Crown on December 4, 1842. Don Miguel was a member of an aristocratic family who had developed substantial business interests in the sugar industry, the Cuban railroad and other ventures in colonial Cuba. He served as Lieutenant Colonel in the Third Rural Squadron of Spanish King Ferdinand VII. The Herrera and O’Farrill family commissioned a Famille Rose Armorial porcelain service from Canton, China, shortly after being ennobled. The hand painted service is decorated with Mandarin motifs and each plate carries the inscription “Exmo Sor Marqués de Almendares”.

Collectible pieces of this armorial service can be found at the Peabody Museum of Salem, Massachusetts; the Museum of Decorative Arts, Havana, Cuba; and the Winterthur Museum, New Castle County, Delaware.

Further information about this dinner service can be found in China for America, Export Porcelain of the 18 th and 19 th Centuries, Herbert, Peter and Nancy Schiffer, 1980.

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Philippe Chartrand (1825-1889), Landscape with Deer, (Paisaje con Venados), ca. 1875, oil on wood, 9 x 14 5/8 inches This painting is mounted in its original 19th century stretcher and frame.

Philippe Chartrand (1825-1889), Landscape with River, (Paisaje con Río), ca. 1875, oil on wood, 9 x 14 5/8 inches This painting is mounted in its original 19th century stretcher and frame.

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José Carol (Nineteenth Century), Our Lady of Charity, (Virgen de la Caridad del Cobre), 1871, oil on canvas, 63 ¾ x 39 inches

A radiant and overpowering version of Our Lady of Charity (the Patroness Saint of Cuba) was rendered in 1871

by Spanish artist residing in Cuba, José Carol when he was at the height of his talents. The image depicted recreates the story of the Virgin Mary who appeared over the stormy waters off Cuba around 1608, to save three fishermen (traditionally called the “three Juans”) when they found themselves adrift at sea. The Virgin and Child irradiate calmness. They are set in a central position on the canvas, floating on a cloud accompanied by angels, creating an ascendant and mystical experience. In the lower part of the composition, we see the fishermen in a rowboat imploring for help. The manner in which the painter executes the delicate folds of the Virgin’s white dress and her blue cloak, both adorned with gold threads, is somewhat reminiscent of Zurbarán’s mastery skills.

The scene suggests the painter came into contact with images of devotion and religious iconography in Cuba when he traveled to the island in the second half of the 19th century. At that time, Carol served as a sergeant under the command of Leopoldo O’Donnell, a general and statesman then stationed on the island who played a key role in the successful Spanish military insurrections of 1843 and 1854.

As published in an article in the Fine Arts section of the newspaper La Nación, Madrid (November 12, 1854), we learn that the painter’s talent for portraiture was much admired, at first by King Ferdinand VII, and later by Queen Isabella II of Spain.

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Esteban Chartrand (1840-1883), Guava Tree, (Arbol de Guayaba), ca. 1870, graphite on heavy paper laid down on board, 5 3/4 x 3 1/4 inches

Esteban Chartrand (1840-1883), Hamlet by the Countryside, (Aldea por el Campo), ca. 1870, graphite on heavy paper laid down on board, 3 1/4 x 5 1/2 inches 8

Esteban Chartrand (1840-1883), Landscape, (Paisaje), ca. 1870, graphite on heavy paper laid down on board, 3 1/4 x 5 1/2 inches

Esteban Chartrand (1840-1883), Cuban Landscape, (Paisaje Cubano), ca. 1870, graphite on heavy paper laid down on board, 3 1/4 x 5 1/2 inches 9

Víctor Patricio Landaluze (1825-1889), Lady Riding a Horse, (Dama a Caballo), ca. 1870, oil on canvas, 14 1/8 x 10 5/8 inches

Víctor Patricio Landaluze is “The most truly Cuban painter of the nineteenth century: the precursor of a national art that comes from its people.”1 This is how art historian Dr. Loló de la Torriente describes, in 1950, this genre painter who arrived in Havana from Bilbao, Spain, in the mid nineteenth century and introduced scenes from everyday colonial life, in a realistic manner that for the first time in the island’s art scene depicted simple people. Runaway slaves, freed blacks, white menial workers, public servants, and other typical characters from society. “What Landaluze achieves with his emotional and sorrowful art is to secure a distinguished place for the meek in his paintings. Black men and women, marvelous and full of grace, flaunting the cinnamon of their color and the charm of their attire parade in his art.”2 “Even though born in Spain [Landaluze] should be considered, because of his art, a Cuban painter, full of humor, one who captures the ways, habits and popular characters of his time, many of which he defined, such as Liborio [the quintessential colonial criollo], current symbol of the Cuban people... His oils, watercolors and drawings constitute the best work available to consult and remember the way of life and typical prototypes of Colonial Cuba in the second half of the nineteenth century.”3 RC Dr. Loló de la Torriente, Estudio de las Artes Plásticas en Cuba, Havana, Cuba, 1954, page 72. This book was awarded the National Prize of the Ministry of Education of Cuba, in 1950.

2 Ibidem, page 71.

3 Segunda Exposición de Arte Cubano Retrospectivo, Víctor Patricio Landaluze, Lyceum, Havana, Cuba, May 20, 1941, introductory text to exhibition catalog, Mrs. Leonor Barraqué.

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Víctor Patricio Landaluze (1825-1889), Farmer and Slave, (Campesino y Esclava), ca. 1870, oil on canvas, 14 1/8 x 10 5/8 inches 11

Miguel Arias (1841-1915), Landscape with Railway Line, (Paisaje con Línea de Tren), ca. 1892, oil on canvas, 6 1/8 x 10 1/8 inches

Emilio Rivero Merlín (1890-1977), View of the City of Havana and of the ‘Los Molinos’ Building from Regla, (Vista de la Ciudad de La Habana y del Edificio Los Molinos de Regla), ca. 1930, oil on canvas, 27 1/2 x 45 1/2 inches

Emilio Rivero Merlín (1890-1977) Notable painter who initiated his professional studies at the National Academy of San Alejandro in Havana, and later continued his development in the Academy of San Fernando in Madrid. In 1916 he received a Municipal scholarship to study in Europe that allowed him to visit Italy, North Africa and various regions of Spain, before settling in Madrid for the continuation of his education.

Since 1934 and for a period of more than 20 years Rivero Merlín was a professor at the San Alejandro Academy.

Throughout his long-lived career the artist frequented landscape scenes, patriotic subjects and portraits in a polished impressionist style, where the vibrant colors of the tropics prevailed. He presented more than seventeen personal exhibitions and showcased his art in Baltimore, San Francisco, New York, Philadelphia, Mexico, Buenos Aires, Seville, Madrid, Barcelona and Cuba. He won various important awards throughout his lifetime.

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Oscar García Rivera (1914-1971), High Society Carnival Party, (Fiesta de Carnaval de Alta Sociedad ), ca. 1944, oil on canvas, 24 x 48 inches

Oscar García Rivera (1914-1971) was born in Pinar del Río, Cuba in 1914. He studied art at the San Alejandro Academy in Havana, and graduated in 1939.

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. He preferred everyday motifs of popular urban scenes - jovial gatherings of musicians and dancers, multitudes in feverish conga contortions, carnival parades, ballroom and street parties, as well as, religious ceremonies, both of the Afro-Cuban Santería and the Catholicism of the white population. Oftentimes, his canvases would bring people of different races participating harmoniously in various folkloric settings.

This artist of everyday common and ordinary scenes was the first Cuban painter ever to present a one artist show at the United States National Museum, Smithsonian, Washington, D.C., in October of 1947.

Ramón Cernuda

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VÍCTOR MANUEL GARCÍA (1897-1969) “His two main inspirations were: portrait and landscape.

In each portrait he rendered a landscape and in each landscape he depicted a portrait.

One would complement the other.

The expression of his canvases lies in the serene manner he combined his values and crafted his art with a sense of fulfillment which was not exempt of poetic lyricism.”

Loló de la Torriente

Recognized as the father or founder of Modernism in Cuba, Víctor Manuel was one of the great masters of 20th century art in Cuba. A true innovator and prolific painter who depicted the arresting beauty and particular flavors of Havana, he defended eagerly freedom of artistic creation and expressed a profound preference to portray serenity and beauty.

NOT AVAILABLE Víctor Manuel García (1897-1969), Two Women, (Dos Mujeres), ca. 1960, oil on canvas, 16 x 13 inches Sold prior to the publication of this catalog.

He began his art studies in 1913, at the prestigious San Alejandro Academy in Havana. Very early on, he revealed a great talent for drawing and painting and soon became a distinguished student of a revered art professor of the Academy, Leopoldo Romañach. He held his first one-person exhibition in 1924 at Galería San Rafael, Havana. (continues on next page)

Víctor Manuel García (1897-1969), Young Peasant Girl, ( Joven Campesina), ca. 1950, mixed media on heavy paper laid down on board, 15 1/4 x 15 1/4 inches Provenance: Private Collection, Zaragoza, Spain.

This painting is also accompanied by a certificate of authenticity signed by José Veigas Zamora and Ramón Vázquez Díaz.

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Víctor Manuel García (1897-1969), Sweethearts, (Novios), ca. 1948, mixed media on paper laid down on canvas, 30 x 22 inches Exhibited in Víctor Manuel, Transcendencia de la Libertad, Alfredo Martínez Gallery, Coral Gables, Florida, undated, ca. 1997, and illustrated in the corresponding exhibition catalog.

Exhibited in Latin American Art Auction, Miami, Florida, January 12, 1997, number 7 in the catalog.

Illustrated in Important Cuban Artworks, Volume Eight, Cernuda Arte, Coral Gables, Florida, December 2009, page 26.

In 1925, he traveled to Europe and was greatly influenced by the European Vanguard movement. During his stay in Paris, he saw culture everywhere and was wide-eyed when he visited the Louvre and other museums for the first time. He developed an enduring attachment to the work of Leonardo da Vinci, Ingres, Raphael, and admired the 19th century masters. In time, this educational experience allowed him to absorb much of what was being offered in this rich cultural milieu and would later inform much of the content and motifs in Víctor Manuel’s oeuvre. It was precisely in the City of Light where the painter began to sign his works with his artistic name, Víctor Manuel.

In February 1927, Víctor Manuel returned to Cuba and his new work was featured in an important solo exhibition at the Association of Painters and Sculptors, a group founded essentially in 1915 to showcase local talent in the nation’s capital. His presentation of 70 artworks - oils, watercolors and drawings - clearly expressed his distinctive poetics in a modernist language. (continues on next page) 15

Víctor Manuel García (1897-1969), Couple by the River, (Pareja a Orillas del Río), ca. 1950, mixed media on heavy paper laid down on board, 22 x 14 3/4 inches This painting is also accompanied by a certificate of authenticity signed by José Veigas Zamora and Ramón Vázquez Díaz.

This exhibition was highly well-received by critics and the public. He was welcomed into the larger cultural life of Havana and was lauded by many literary figures and intellectuals of the time.

One could say that this one person exhibition

by Víctor Manuel also signaled the beginning of artistic renewal in the island when younger artists like him began to reject the rigidity of academic education and were mainly drawn to the aesthetic advancements that emanated from Europe.

Regarding this important solo exhibition, writer and art critic Armando Maribona commented: “Víctor Manuel is a new artist. When we seem to find a certain affinity with Gauguin, a detailed analysis of his evolution makes us feel certain that a rebel temperament such as his, would not allow the practice of manners sanctioned by other painters.

Thus, we evidence in his work a fever of honesty and renovation, a legitimate and laudable yearning of finding his true self, of expressing his own emotions and feelings, guided by an aesthetic of simplicity, of tonal and linear harmony and disdain for the anecdote and the literary theme.”

Víctor Manuel García (1897-1969), Vase with Callas and Chrysanthemums, (Florero con Calas y Crisantemos), ca. 1950, mixed media on heavy paper laid down on board, 19 3/8 x 14 1/2 inches This painting is also accompanied by a certificate of authenticity signed by José Veigas Zamora and Ramón Vázquez Díaz.

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In May 1927, the artist was invited to participate in a major group exhibition in the Primera Exposición de Arte Nuevo (First Exposition of New Art) at the Association of Painters and Sculptors in Havana, organized by Revista de Avance, which at the time was the seminal literary voice to promote “new art”. (continues on next page)

NOT AVAILABLE Víctor Manuel García (1897-1969), Woman by the Window, (Mujer en la Ventana), ca. 1940s, oil on canvas, 22 5/8 x 14 1/2 inches Provenance: Collection, Belgium.

From that moment on, Víctor Manuel became a major artistic figure of the island’s budding Modern Movement.

He quickly gained repute as one of the most talented young painters of his generation and kept a prominent presence in the Havana art scene.

In 1929, the artist traveled again abroad to Europe, went to Paris and rented a small studio where he worked for a year. When Víctor Manuel returned to Cuba in 1930, he already had an unmistakable signature style evidenced in the imagery of his poetic, figurative renditions. (continues on next page) 17

NOT AVAILABLE Víctor Manuel García (1897-1969), Night Scene of Old Havana, (Paisaje Nocturno de Ciudad de La Habana), 1940, oil on canvas, 25 x 21 inches Provenance: Private Collection, Coral Gables, Florida.

The exceptional achievements of Víctor Manuel during this prolific period can be measured in an exquisite array of canvases and works on paper. One of his favorite topics was Gauguinesque portraits of guajiras or gitanas tropicales (female portraits of tropical peasants). In many of these renditions, there is a clear indication that, oftentimes, the artist wanted to exalt the dignity and natural beauty of the mixed-race women, as seen in his signature painting, Gitana Tropical (Tropical Gypsy) - an oil on canvas that is part of the permanent collection of the National Museum of Fine Arts in Havana, and ultimately became the symbol of vanguard art in Cuba. (continues on next page) 18

Víctor Manuel García (1897-1969), Peasants Returning from Work, (Campesinos Regresando del Trabajo), 1935, oil on canvas, 31 x 23 inches Provenance: Private Collection, Coral Gables, Florida.

The repertoire of his main subjects included: full-face and bust portraits of women, still lifes, everyday life, urban scenes, and countryside landscapes where rural labor and leisure appear simultaneously intertwined in a world of classic serenity. The artist preferred the use of layered and loose brush strokes and a palette that in his first period was one of sober tones of blue, green, grey and sienna, and in later periods became more vibrant and luminous.

Víctor Manuel’s legacy reveals an artistic style that is his own and a unique amalgam of prevailing classic and modern art disciplines. He is also an example of a modern artist who mastered various techniques including painting in oil, gouache, watercolor, pastel, and drawing in pencil, ink, charcoal and sanguine. His pioneering work set a vital link between traditional and modern art. (continues on next page) 19

NOT AVAILABLE Víctor Manuel García (1897-1969), Gypsy with Yellow Cloth, (Gitana con Paño Amarillo), ca. 1955, mixed media on heavy paper laid down on board, 23 3/4 x 16 3/4 inches Provenance: Private Collection, Zaragoza, Spain.

This painting is also accompanied by a certificate of authenticity signed by José Veigas Zamora and Ramón Vázquez Díaz.

Important examples of Víctor Manuel’s work can be found in major private and public collections, including the National Museum of Fine Arts in Havana and the Museum of Arts and Sciences, Daytona Beach, Florida, among others.

Throughout his life, Víctor Manuel participated in important art shows and was featured in numerous solo exhibitions, as well as in group shows around the world in Europe, Latin America, Canada, United States and Cuba.

As the renowned Cuban essayist and art critic, Graziella Pogolotti once said of the artist’s work, “[…] the magic of Víctor Manuel comes, precisely, from the mundane scene that surpasses all custom and manners, and that turns out to be in its silence, in its containment, inexplicably unreal.”

The artist passed away at age 72 in Havana, Cuba.

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NOT AVAILABLE Antonio Gattorno (1904-1980), The Artist and His Models, (El Artista y Sus Modelos), 1946, oil on canvas, 48 x 33 3/4 inches Illustrated in the book Gattorno, A Cuban Painter for the World, Sean M. Poole, 2005, page 150.

Exhibited in Gattorno, A Cuban Painter for the World, Lowe Art Museum, University of Miami, Coral Gables, Florida, February-April 2005, and illustrated in the exhibition catalog, page 40.

Sold prior to the publication of this catalog.

NOT AVAILABLE Antonio Gattorno (1904-1980), Landscape with Woman in Red, (Paisaje con Mujer en Rojo), 1944, mixed media on heavy paper, 19 x 23 inches Provenance: Frank and Rita Gallant, Massachusetts.

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Amelia Peláez (1896-1968), Grey Fish, (Pescados Grises), 1931, oil on canvas, 38 x 51 inches Provenance: Luis Amado Blanco Collection, Havana, Cuba; Private Collection, Los Angeles, California.

Exhibited in Amelia Peláez del Casal, January-February 1935, Lyceum, Vedado, Havana, Cuba, and listed no. 19 (Pescado Gris) in the exhibition brochure.

Exhibited in Exposición de Pintura, Víctor M. García, Amelia Peláez, Domingo Ravenet and Carlos Enríquez, August 8, 1936, Lyceum, Vedado, Havana, Cuba, and listed no. XII (Pescados Grises) in the exhibition brochure.

Exhibited in Amelia Peláez, Exposición Retrospectiva, November 14, 1968, Museo Nacional de Bellas Artes, Havana, Cuba, and listed in the corresponding exhibition catalog, no. 58.

Illustrated in Diálogos Constructivistas en la Vanguardia Cubana: Amelia Peláez, Loló Soldevilla and Zilia Sánchez, Galerie Lelong, New York, April-June 2016, page 6.

[Amelia] “Peláez studied with [Alexandra] Exter in Paris from May 1931 to January 1934, shortly before her return to Havana. During this time they worked in collage, studied book illustration, created set designs, and explored still life. Peláez reported that she owed Exter ‘her greatest advancement and technical understanding.’

Indeed Exter’s experimental interpretation of Cubism and Futurism, animated by the dynamic potential of color, appears to have inspired Peláez’s approach to a lifetime of painting, even after her return to Cuba [1934]…

Exter’s strategy of centering the composition on a weighty object around which swirled ‘whirlwinds of geometric forms,’ often spinning off planes, influenced Tatlin’s Monument to the Third International (1919-1920), a work foundational to Russian Constructivism.

Peláez also adopts Exter’s interest in movement around a central pivot point in her circa 1931-35 Pescados Grises (Grey Fish). In their case a stylized, flattened fish and still life object become the focal point for the curved body of another, nearly-living black fish that wraps around them. This subtle movement may be the beginning of the black arabesque that would become the hallmark of Peláez’s mature style…”

Ingrid W. Elliot, Ph.D., excerpt from the catalog essay Between the Real and the Invisible,

Diálogos Constructivistas en la Vanguardia Cubana: Amelia Peláez, Loló Soldevilla and Zilia Sánchez, Galerie Lelong, New York, April-June 2016, pages 5 and 6.

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NOT AVAILABLE

Amelia Peláez (1896-1968), Ferns, (Helechos), ca. 1935, oil on canvas, 40 1/2 x 29 5/8 inches Provenance: Private Collection, Pembroke Pines, Florida.

This painting is also accompanied by a photo-certificate of authenticity signed by José Veigas Zamora and Ramón Vázquez Díaz, dated January 5, 2015.

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NOT AVAILABLE Amelia Peláez (1896-1968), Fishermen, (Pescadores), 1945, mixed media on heavy paper laid down on board, 15 3/4 x 19 5/8 inches Provenance: Private Collection, Buenos Aires, Argentina.

Exhibited in 11 Pintores Cubanos, Museo de Bellas Artes, La Plata, Argentina, June 1946, and listed in the museum catalog, no. 47.

NOT AVAILABLE

Amelia Peláez (1896-1968), Untitled, (Sin Título), 1955, mixed media on cardboard, 28 x 39 inches This painting was exhibited in Sotheby’s, New York, Latin American Art, June 1, 2000, and it appears illustrated in the corresponding exhibition catalog, lot no. 128.

Sold prior to the publication of this catalog.

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Amelia Peláez (1896-1968), Composition, (Composición), 1955, mixed media on heavy paper laid down on board, 30 x 22 inches Provenance: Dr. Henrique da Silva Martins.

Dr. Henrique da Silva Martins was First Secretary at the Portuguese Embassy in Havana in 1958.

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NOT AVAILABLE Amelia Peláez (1896-1968), Composition with Fish, (Composición con Pez), 1955, mixed media on heavy paper laid down on board, 14 1/8 x 19 1/4 inches Provenance: Private Collection, Zaragoza, Spain.

This painting is also accompanied by a certificate of authenticity signed by Ramón Vázquez Díaz and José Veigas Zamora.

Amelia Peláez (1896-1968), Fish, (Peces), 1955, mixed media on heavy paper laid down on board, 19 3/4 x 23 inches Provenance: Private Collection, Zaragoza, Spain.

This painting is also accompanied by a certificate of authenticity signed by Ramón Vázquez Díaz and José Veigas Zamora.

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NOT AVAILABLE Amelia Peláez (1896-1968), Composition, (Composición), 1966, mixed media on heavy paper laid down on board, 27 x 21 3/8 inches Provenance: José Gómez Sicre Collection, Washington, D.C. We are grateful to Dr. Alejandro Anreus for having confirmed the provenance and authenticity of this artwork.

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Fidelio Ponce de León (1895-1949), Fish, (Peces), 1940, oil on wood, 17 3/8 x 14 1/8 inches Provenance: Private Collection, Zaragoza, Spain.

This painting is also accompanied by a certificate of authenticity signed by Ramón Vázquez Díaz and José Veigas Zamora.

This painting will be included and illustrated in the forthcoming book, Fidelio Ponce de León, A Cuban Original, by Professor Juan Martínez.

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Arístides Fernández (1904-1934), Study for the Burial of Christ, (Estudio para el Entierro de Cristo), ca. 1933, mixed media on heavy paper laid down on board, 11 x 14 inches

Arístides Fernández Vázquez (1904-1934) was one of the young Cuban painters who initiated the modern artistic movement on the island in the 1930s, along with Víctor Manuel, Carlos Enríquez, Ravenet, Gattorno and others. He had briefly studied drawing at San Alejandro where he surely met his coetaneous friends, and with them developed a concern and preference for social themes, very much in the spirit of the new artistic movement supported then by writers and intellectuals at Revista de Avance and the Grupo Minorista. Arístides Fernández Vázquez focused on the harsh aspects of rural life and the island’s peasants and workers. His subjects toil in barren land with sparse vegetation, under dramatic conditions, manifesting vague, cloudy or pained facial expressions. Their meager clothing reflects the misery of their existence.

Few paintings are known by this mysterious and elusive artist who died at age thirty, and had his first one person exhibition one year after his passing. His scarce artistic production signaled his importance in the nascent Latin American avant-garde. The distinguished writer José Lezama Lima was his most enthusiastic defender and he assisted in the discovery and recognition of Arístides Fernández with his prolific writings and eloquent praise.

A second exhibition of the artist’s oeuvre took place in 1950 at the National Capitol in Havana. For this presentation the Ministry of Education published a scholarly catalog, adorned by a definitive essay signed by José Lezama Lima.

A third major retrospective of Arístides Fernández Vázquez’s paintings at the National Museum, in 2004, managed to bring together twenty works.

Considering the rarity of his production, it was a significant feat to reach this figure. In this exhibition, as in the prior two, one of the main works was the Burial of Christ, the artist’s largest and most elaborate canvas, ever. In Burial of Christ (Entierro de Cristo), as in the Study for this painting that we now present (only the fourth work by Arístides Fernández handled by the gallery), the climate “is grave, sculptural, solemn… Its ambiance is that of the Renaissance murals [the artist] has learned from The Death of Saint Francis by Giotto, and by Carpaccio. From the Mexican muralists [he] has borrowed the movement of the masses: we are facing the burial of a hero, a civic occasion.” 1 Entierro de Cristo, the painting, was gifted to Monsignor Angel Gaztelu by Arístides’ sister. It was kept by the priest at the Espíritu Santo (Holy Spirit) Church in Havana for over fifty years. Now it is part of the Archbishop’s collection. The painting has been illustrated in various publications and is recognized as an icon of Cuban modern art.

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Dr. Roberto Méndez, Palabra Nueva, September 2009, no. 188.

Ramón Cernuda 29

NOT AVAILABLE Wifredo Lam (1902-1982), Untitled [Figure on the Balcony], (Sin Título [Figura en el Balcón] ), ca. 1942, mixed media on heavy paper laid down on board, 38 3/4 x 31 1/2 inches Provenance: Private Collection, Havana, Cuba; Galleria Ferrari Collection, Treviglio, Italy.

Exhibited in Wifredo Lam ou l'Éloge du Métissage, Villa Medicis, Rome, Italy, 1992, and at the Palazzo della Permanente, Milan, Italy, 1993.

Exhibited in Wifredo Lam, l'Oiseau du Possible, Oeuvres de 1930 à 1978, Galerie Boulakia, Paris, France, May-July 2004, and illustrated in the exhibition catalog, pages 40-41.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume I, 1923-1960, Project Director: Eskil Lam, Acatos 1996, page 308, no. 42.66.

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NOT AVAILABLE Wifredo Lam (1902-1982), Untitled [Presences], (Sin Título [Presencias] ), 1944, oil on canvas, 42 1/8 x 33 1/2 inches Provenance: Galerie Boulakia, Paris, France; Galerie 3+2, Paris, France; Private Collection, Paris, France; Private Collection, Coral Gables, Florida; Private Collection, Lucerne, Switzerland.

Exhibited in Christie’s New York, Latin American Sale, November 20-21, 2012, lot no. 17 and illustrated in the accompanying exhibition catalog, pages 34 and 35.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume I, 1923-1960, Project Director: Eskil Lam, Acatos 1996, page 358, no. 44.63.

Illustrated in the book Wifredo Lam, by Max-Pol Fouchet, Ediciones Polígrafa, S.A., Barcelona, Spain, First Edition 1976, page 234, no. 402.

Illustrated in Wifredo Lam, by Max-Pol Fouchet, Ediciones Polígrafa, S.A. Barcelona, Spain, Second Edition 1989, page 254, no. 434.

Illustrated in Important Cuban Artworks, Volume Eleven, Cernuda Arte, Coral Gables, Florida, December 2014, page 33.

This painting is accompanied by a photo-certificate of authenticity signed by the artist, Wifredo Lam, dated Paris, April 20, 1971.

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NOT AVAILABLE Wifredo Lam (1902-1982), Untitled [Woman and Bird], (Sin Título [Mujer y Pájaro] ), 1963, oil on canvas, 23 5/8 x 19 5/8 inches Provenance: Private Collection, Milan, Italy.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Project Director: Eskil Lam, Acatos 2002, page 271, no. 63.18.

Sold prior to the publication of this catalog.

NOT AVAILABLE Wifredo Lam (1902-1982), At the End of the Question, (Al Final de la Pregunta), ca. 1971, oil on canvas, 19 3/4 x 27 1/2 inches Provenance: Private Collection, Milan, Italy.

Exhibited in Wifredo Lam, Galleria Gissi, Turin, Italy, April 1978.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Project Director: Eskil Lam, Acatos 2002, page 348, no. 71.04.

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NOT AVAILABLE Wifredo Lam (1902-1982), Birds, (Pájaros), ca. 1950, oil on canvas, 39 x 40 inches Provenance: CDS Gallery, New York, New York; Private Collection, Caracas, Venezuela.

Exhibited in Museo Nacional de Bellas Artes, Caracas, Venezuela, 1955.

Exhibited in Wifredo Lam, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain, September 29-December 14, 1992.

Also traveled to the Fundación Joan Miró, Barcelona, Spain, January 21-March 28, 1993.

Exhibited in Wifredo Lam in North America, Haggerty Museum of Art, Marquette University, Milwaukee, Wisconsin, October 2007-January 2008; was then exhibited at the Miami Art Museum, Florida, February-May 2008; exhibited at Museum of Latin American Art, Long Beach, California, June-August 2008, and exhibited at Salvador Dalí Museum, St. Petersburg, Florida, October 2008-January 2009.

Illustrated in Oeuvres Récentes de Wifredo Lam, Cahiers d’Art, No. XXVI, Paris, France, 1951, page 186.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume I, 1923-1960, Project Director: Eskil Lam, Acatos 1996, page 432, no. 50.45.

Illustrated in Wifredo Lam in North America, with essays by Curtis L. Carter, Lowery Stokes Sims, Dawn Ades, Valerie J. Fletcher, Edward Lucie-Smith and Lou Laurin Lam, published by the Haggerty Museum of Art on page 121, ill. 47.

Illustrated in Wifredo Lam, published by Museo Nacional Centro de Arte Reina Sofía, 1992, page 122.

33

NOT AVAILABLE Wifredo Lam (1902-1982), Composition, (Composición), 1973, oil on canvas, 21 5/8 x 18 1/8 inches Signed and dated lower right, also signed and dated on the reverse.

Provenance: Private Collection, Italy.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Acatos 2002, Project Director: Eskil Lam, page 431, no. 73.220.

Illustrated in the book Wifredo Lam, by Max-Pol Fouchet, Ediciones Polígrafa, S.A., Barcelona, First Edition 1976, page 247, no. 623.

Illustrated in Wifredo Lam, by Max-Pol Fouchet, Ediciones Polígrafa, S.A., Barcelona, Second Edition 1989, page 267, no. 655.

This painting is accompanied by a photo-certificate of authenticity signed by Madame Lou Laurin Lam, dated April 22, 2002, no. 2-22.

34

Photograph of the painting, Untitled [Arcane Dreams], ca. 1955, during the exhibition Wifredo Lam at the University of Havana, Pabellón de Ciencias Sociales, Havana, Cuba, March 22 - April 22, 1955.

Photograph of Wifredo Lam (in the center) and friends with the painting, Untitled [Arcane Dreams], ca. 1955, during the exhibition Wifredo Lam, University of Havana, Pabellón de Ciencias Sociales, Havana, Cuba, March 22 - April 22, 1955.

We are grateful to Monsieur Eskil Lam for having provided us with this photograph.

Untitled [Arcane Dreams] by Wifredo Lam, illustrated on page 35: Wifredo Lam (1902-1982), Untitled [Arcane Dreams], (Sin Título [Sueños Arcanos] ), ca. 1955, oil on canvas, 58 7/8 x 94 1/4 inches Signed and dated on the mid left.

Provenance: Dr. René Díaz de Villegas y D’Estrampes and Lydia Casas de Díaz de Villegas, Havana, Cuba, who acquired it from the artist; Private Collection, Zaragoza, Spain; By descent to the present owner.

Exhibited in Wifredo Lam, University of Havana, Pabellón de Ciencias Sociales, Havana, Cuba, March 22 - April 22, 1955.

Illustrated in the magazine, Espacio, Año IV - No. 17, January-April 1955, University of Havana, n.n.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume I, 1923-1960, Project Director: Eskil Lam, Acatos 1996, page 462, no. 55.36.

Illustrated in Wifredo Lam, Éditions Centre Pompidou, Paris, France, 2015, page 213, no. 40.

This painting is accompanied by a photo-certificate of authenticity signed by Monsieur Eskil Lam, dated Paris, August 31, 2015, no. 15.09.

35

NOT AVAILABLE 35

WiFredo laM (1902-1982), Untitled [Bird], (Sin Título [Pájaro] ), 1964, pastel on heavy paper laid down on canvas, 19 x 25 inches This artwork is accompanied by a photo-certificate of authenticity signed by Madame Lou Laurin Lam, dated September 22, 2011.

NOT AVAILABLE Wifredo Lam (1902-1982), Untitled [Bird and Elegua], (Sin Título [Pájaro y Eleguá] ), 1973, oil on canvas, 13 3/4 x 17 3/4 inches This painting is signed lower right and signed again on the reverse.

Provenance: Galerie Lelong, Paris, France; Yaco García Arte Latinoamericano, Panama.

Illustrated in Wifredo Lam, L. Curzi, Edizioni Bora, Bologna, Italy, 1978, page 34, no. 39.

Illustrated twice in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Project Director: Eskil Lam, Acatos 2002, page 107, no. 36 and page 392, no. 73.02.

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NOT AVAILABLE Wifredo Lam (1902-1982), Head, (Cabeza), ca. 1972, oil on canvas, 13 3/4 x 17 5/8 inches Provenance: Galerie Lelong, Paris; Yaco García Arte Latinoamericano, Panama.

Exhibited in Wifredo Lam in North America, Haggerty Museum of Art, Marquette University, Milwaukee, Wisconsin, October 2007-January 2008. An exhibition that also traveled to the Miami Art Museum, Florida, February-May 2008, exhibited at Museum of Latin American Art, Long Beach, California, June-August 2008, and exhibited at Salvador Dalí Museum, St. Petersburg, Florida, October 2008-January 2009.

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Project Director: Eskil Lam, Acatos 2002, page 377, no. 72.105.

Illustrated in the book Wifredo Lam, by Max-Pol Fouchet, Ediciones Polígrafa, S.A., Barcelona, Spain, First Edition 1976, page 182, no. 232.

Illustrated in Wifredo Lam, by Max-Pol Fouchet, Ediciones Polígrafa, S.A. Barcelona, Spain, Second Edition 1989, page 186, no. 232.

Illustrated in Wifredo Lam in North America, with essays by Curtis L. Carter, Lowery Stokes Sims, Dawn Ades, Valerie J. Fletcher, Edward Lucie-Smith and Lou Laurin Lam, published by the Haggerty Museum of Art on page 135, ill. 61.

37

Wifredo Lam (1902-1982), Untitled [Shower of Color], (Sin Título [Lluvia de Color] ), 1977, one-of-a-kind terracotta plate, hand painted by the artist, 16 1/4 inches in diameter Provenance: Ceramiche San Giorgio, Albisola, Italy; Collection, Milan, Italy.

This artwork is accompanied by a photo-certificate of authenticity signed by Monsieur Eskil Lam, dated November 19, 2015, no. 15.22.

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Wifredo Lam (1902-1982), Osun, (Osun), 1979, bronze sculpture, number 19 of 50, 16 1/4 x 7 3/4 x 3 3/4 inches Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Project Director: Eskil Lam, Acatos 2002, page 225, no. 125.

Illustrated in Wifredo Lam and the International Avant-Garde, 1923-1982, Lowery Stokes Sims, University of Texas Press, Austin, Texas, 2002, page 207, no. 9.14.

Illustrated in Important Cuban Artworks, Volume Thirteen, Cernuda Arte, Coral Gables, Florida, November 2015, page 26 (same image, different number).

Wifredo Lam (1902-1982), Firebirds, (Pájaros de Fuego), 1970, set of two polished brass and chrome plated brass sculptures, both inscribed with signature and numbered 385 out of 500, in near perfect condition, 10 1/2 x 6 x 4 inches 39

NOT AVAILABLE

Mario Carreño (1913-1999), Afro-Cuban Dance, (Danza Afrocubana), 1943, duco with cloth and rope collage on wood panel, 64 7/8 x 47 7/8 inches signed and dated 43 lower right Provenance: Perls Galleries, New York (1944); Acquired from the above, thence by descent from the above; Private Collection, Coral Gables, Florida.

Exhibited in Carreño, Lyceum, Havana, Cuba, November 9-16, 1943, no. 8. Exhibited in Mario Carreño, Perls Galleries, New York, New York, March - April 1944, and listed in the exhibition brochure, no. 14.

Exhibited in Modern Cuban Painters at the Museum of Modern Art (MoMA), New York, April 1944, curated by Alfred Barr, and listed in “Modern Cuban Painters”, Museum of Modern Art Bulletin, Vol. XI, No. 5, p. 8, April 1944.

Exhibited in Sotheby’s, Latin American Art, May 30-31, 2007, New York, New York, lot no. 8.

Exhibited in Afro-Cuban Dance - A Re-Discovered Masterwork

by Mario Carreño, Cernuda Arte, Coral Gables, Florida, July 2007, and illustrated on the cover of the invitation.

Exhibited in Cuban Art & Identity: 1900-1950, Vero Beach Museum of Art, Vero Beach, Florida, curated by Juan A. Martínez, PhD, October 19, 2013 February 2, 2014, illustrated in the museum catalog, page 23, and listed on page 54, no. 9.

Also Exhibited at the Following Museums: Munson Williams Proctor Art Institute, Utica, New York, October 1 - October 30, 1944.

Art Club of Chicago, Chicago, Illinois, December 1 - December 29, 1944.

National Gallery of Art, Washington, D.C., February 1 - March 1, 1945.

St. Paul Gallery & School of Art, St. Paul, Minnesota, March 15 - April 1, 1945.

University Gallery, University of Minnesota, Minneapolis, Minnesota, May 27 - June 24, 1945.

Portland Art Museum, Portland, Oregon, July 19 - August 16, 1945.

Seattle Art Museum, Seattle, Washington, August 30 - September 27, 1945.

San Francisco Museum of Art, San Francisco, California, October 11 - November 8, 1945.

J.B. Speed Art Museum, Louisville, Kentucky, November 22 - December 20, 1945.

Alexandria Art League, Alexandria, Louisiana, January 3 - January 24, 1946.

Person Hall Art Gallery, University of North Carolina, Chapel Hill, North Carolina, February 7 - March 7, 1946.

Rollins College, Winter Park, Florida, March 21 - April 19, 1946.

Literature: José Gómez Sicre, Cuadernos de Plástica Cubana I, Carreño, Ediciones Galería del Prado, Havana, 1943, illustrated in color.

José Gómez Sicre, Cuban Painting of Today, María Luisa Gómez Mena, Havana, 1944, p. 9.

Edward Alden Jewell, “Cuba’s Pacemakers,” New York Times, March 26, 1944, discussed.

“Cuban Rhythm,” Dayton, Ohio News Week, April 3, 1944, discussed.

“El Arte Cubano,” Carteles, April 30, 1944, installation view.

Alfred Hamilton Barr, “Pintura Cubana en Nueva York,” Norte, Vol. 4, No. 9, July 1944, discussed.

José Gómez Sicre, “Pintores Cubanos Modernos,” La Revista Belga, July, 1944, illustrated.

Harry Salpeter, “Carreño the Cubanist,” Esquire, September 1944, discussed.

José Gómez Sicre, Art of Cuba in Exile, Editora Munder, Miami, 1987, p. 53, installation view.

Lowery S. Sims, et al, Wifredo Lam and his Contemporaries 1938-1952 (exhibition catalog), The Studio Museum in Harlem, New York, Harry N. Abrams, 1992, p. 64, illustrated.

Maria Lluïsa & Antonio Zaya, Cuba Siglo XX: modernidad y sincretismo (exhibition catalog), Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno; Palma, Fundación “La Caixa;” Barcelona, Centre d’Art Santa Mònica, April-December 1996, p. 38, illustrated.

Jacqueline Barnitz, Twentieth-Century Art of Latin America, University of Texas Press, Austin, 2001, p. 124, no. 4.8, illustrated in color.

Sold prior to the publication of this catalog.

40

Mario Carreño (1913-1999), Fire in the Farm, (Fuego en el Batey), 1943, duco and oil on wood panel, 48 x 65 inches Provenance: The Collection of Milton and Nona Ward, Baldwin, New York; Private Collection, Santo Domingo, Dominican Republic.

Exhibited in Galería del Prado, Havana, Cuba, 1943.

Exhibited in Carreño: óleos-ducos, gouaches, acuarelas, Galería Lyceum, Havana, Cuba, November 9-16, 1943, and listed as number 9 in the exhibition brochure.

Exhibited in Christie’s Latin American Sale, New York, May 28-29, 2009, lot no. 10.

Exhibited in Fuego en el Batey, Cernuda Arte, Coral Gables, Florida, July 3, 2009, and illustrated on the cover of the invitation.

Exhibited in Cuban Art & Identity: 1900-1950, Vero Beach Museum of Art, Vero Beach, Florida, curated by Juan A. Martínez, PhD, October 19, 2013 - February 2, 2014, and illustrated in the museum catalog, page 24.

Literature: Guy Pérez Cisneros, “Mario Carreño,” Grafos Havanity, no. 117, Year X, Havana, November-December 1943, p. 17-19.

José Gómez Sicre, Cuadernos de Plástica Cubana I, Carreño, Ediciones Galería del Prado, Havana, 1943, illustrated.

José Gómez Sicre, Cuban Painting of Today, María Luisa Gómez Mena, Havana, 1944, p. 100, illustrated.

L. Gómez Wangüemert, “La exposición de Carreño en el Lyceum,” Carteles, Havana, November 1944, illustrated.

José Gómez Sicre, Carreño, Pan American Union, Washington, D.C., 1947.

Loló de la Torriente, Estudio de las artes plásticas en Cuba, Havana, 1954, p. 174-175.

José Gómez Sicre, Art of Cuba in Exile, Editora Munder, Miami, 1987, p. 53, illustrated.

Mario Carreño, Cronología del recuerdo, Editorial Antártica, Santiago, 1991.

Guy Pérez Cisneros, Antología de la crítica de arte, Editorial Letras Cubanas, 2000, p. 173.

J. R. Alonso, Los Ducos de Carreño, Ediciones Vanguardia Cubana, Madrid, (forthcoming publication date to be announced).

41

Three Major Works by Mario Carreño Mario Carreño (1913-1999) is considered one of the four leading members of the second Vanguardia generation in Cuban art. Unlike his peers René Portocarrero, Mariano Rodríguez and Cundo Bermúdez, Carreño was thoroughly trained in academic art practices. Born in the city of Havana, Carreño studied art first at the San Alejandro Academy of Fine Arts in the city (1925-30); later at the San Fernando Academy of Fine Arts in Madrid (1932-35), and in Mexico with the Dominican painter Jaime Colson (1936). Carreño’s pictorial production, which is vast, consists of easel paintings, murals and works on paper. The work can be classified into five stylistic phases: neo-classical (1937 to early 1943); Mexican muralist influence (mid 1943 to early 1944); organic-geometric (1944-1952); hard edge geometric (1952-1962); and “a petrified and silent world” surrealism in his last three decades (1963-1999).1 While living and working in New York City in 1940, Carreño painted Madre e hijo, which has also been reproduced with the title Maternidad.2 This painting belongs to the first phase within his neoclassical period, together with works such as La muchacha del caballo, Dos bañistas and the large allegorical composition Nacimiento de las Naciones Americanas, all from the same year. As the critic José Gómez Sicre wrote in the first monograph on the artist, “He follows his ideas of shapes but is not governed by any minute, exacting sense. His work in New York bears little evidence of any influence of the Italian School; his paintings demonstrate a disdain for unnecessary detail. His backgrounds are handled delicately and without emphasis, the main design being painted vigorously and with great freedom.

His figures have a particularly robust style more akin to the Pompeiian Picassos than the Raphaeline designs he painted during his early days in Paris.” 3 Madre e hijo depicts a mother and male child sitting on a low, concrete wall, with a background of mountains and a sky filled with serene horizontal clouds. Around the head and shoulders of both mother and child, there is an aura-like area of a white-gray color. This functions as a formal device that pushes the figures away from the blue sky and towards the viewer, it also adds a saintly-like illumination, which evokes the Virgin Mary and the Christ child. Like practically all of the New York paintings from this time, the work manifests a sparing use of color, with an emphasis on terrarosa flesh tones, which contrast against a blue-gray background. The face of the mother reflects the multiracial identity of the Caribbean, yet the overall composition bears no specific reference to time and space. (continues on page 44)

NOT AVAILABLE Mario Carreño (1913-1999), The Lovers, (Los Amantes), 1942, mixed media on heavy paper laid down on board, 13 3/4 x 18 1/8 inches Provenance: Dr. Albert Miller, Washington, D.C.; By descent from the above.

Dr. Albert Miller was the photographer of President Harry Truman. The collection of Dr. Miller was grouped under the guidance of Dr. Ramón Osuna, Sr. and Dr. José Gómez Sicre in the 1940s.

Sold prior to the publication of this catalog.

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NOT AVAILABLE Mario Carreño (1913-1999), Mother and Son, (Madre e Hijo), 1940, oil on canvas, 41 x 31 inches Exhibited in Mario Carreño, Perls Galleries, New York, New York, March 3-April 5, 1941, and illustrated on the cover of the corresponding exhibition catalog, listed as no. 2.

Exhibited in Mario Carreño, Perls Galleries, New York, New York, March 13-April 15, 1944, and listed in the catalog as no. 4. This exhibit also traveled to the San Francisco Museum of Art, San Francisco, California.

Exhibited in Mario Carreño - Retrospective Exhibition, New School for Social Research, New York, New York, January 18 to February 8, 1950, and listed in the catalog as no. 4.

Illustrated in “Carreño”, Florencia Estol, Norte, New York, U.S.A., April 1941, page 25.

Cover of Mario Carreño, exhibition catalog at Perls Galleries, New York, March-April 1941.

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While the figure of the boy is volumetric and solidly defined, the mother’s body is depicted with sensual delight, allowing for the softness of her legs, hips and breasts to be noticeable under the sheer, transparent fabric of her dress. The picture clearly reflects the influence of Picasso’s neoclassical work of the 1920s, as well as of the Mexican easel painters Jesús Guerrero Galván and Julio Castellanos; yet Carreño absorbs and transforms these into his own visual vocabulary, one charged with his own sensuality, and without the Mexican’s melancholy.

Together with 13 other oil paintings and 8 gouaches and drawings, Carreño exhibited Madre e hijo in his first solo exhibition at Perls Galleries, which took place in New York City in the Spring of 1941.4 The work was also included in the artist’s 1944 one-person show at Perls, which coincided with The Museum of Modern Art exhibition Modern Cuban Painters.5 Madre e hijo was sold at auction by Christie’s in their June 2 and 3, 1999 sales. By then Carreño had previously added three seashells, and rope with fishing line and hook to the composition; these elements were recently removed through conservation as they were not part of the original painting. After Carreño returned to Cuba,6 he synthesized his neoclassical forms with the vibrant light and colors of the island, creating major paintings such as Interior, La costurera and Patio colonial.

In 1943 Carreño painted ten easel pictures using the medium of Duco.7 Carreño had worked with Duco as early as 1937, when he painted a very neoclassical Cabeza in oils and Duco, after completing his tutelage under Jaime Colson.8 In 1943 when the Mexican muralist David Alfaro Siqueiros visited Havana, Carreño would work with him and explore the Duco medium in depth. In 1941 Siqueiros left Mexico at the behest of the government due to his suspect involvement in Leon Trotsky’s assassination on August 20 of the previous year. With the help of poet Pablo Neruda, then the Chilean consul in Mexico, Siqueiros with his wife and daughter fled to Chile, where he lived and worked until 1942. In 1943 Siqueiros traveled and lectured in Peru, Ecuador, Colombia, Panama, ending in Cuba in early April. The Siqueiros family settled in the Sevilla-Biltmore Hotel in Havana. In order to cover the expenses of their stay, the artist painted a panel for the ceiling of the hotel’s restaurant. Still in debt, however, Siqueiros secured the help of Carreño, who was married to the Cuban heiress María Luisa Gómez Mena. Carreño paid Siqueiros’ hotel bill and brought the family to live with him and his wife at their modern home in the Vedado neighborhood of Havana. While there Siqueiros painted the mural Alegoría de la igualdad de las razas (destroyed) in the home’s foyer, where he was assisted by Carreño. It was then that he re-introduced the Cuban artist to the uses of Duco.9 In May 1943 Carreño ordered cans of Duco paint from the United States. He prepared wooden panels and began to work with great intensity; by the early autumn he had completed a number of paintings.10 Art critic José Gómez Sicre would write: “Duco enables him to work at great speed; he now executed a large picture in one sitting. With Duco he cannot obtain subtle color variations; he uses it in a superimposition of successive layers.

He makes full use of the “accidents” that result from the fast drying nature of this medium; he succeeds in producing spectacular effects by his skillful handling of its irregular, crusty surface. He introduces a new variety of collage, affixing to the wet surface such objects as pieces of cloth, shells or rope and then covering the area with paint, thus intensifying the tri-dimensional effect.” 11 Among these works in Duco, three stand out as masterpieces within Carreño’s overall artistic production: Danza Afrocubana, Fuego en el batey and Corte de caña.

A pen and ink study for Danza Afrocubana from 1943 depicts in bold, swift lines the figure of a hooded diablito dancing with a nude mulatto female. The diablito holds a sheet around the body of the woman, as if he is cleansing her.12 The painting, which incorporates both cloth and rope as collage elements in the diablito’s costume, places the figures against a nighttime landscape with trees and sugarcane stalks. The darkness adds to the secrecy of what is depicted; clearly a Santería dance or ritual. In this work Carreño contrasts the dressed Afro-Cuban initiate (we can see his dark hands and feet) with the mestizo mulatto woman’s nude body. (continues on next page) Cover of Pintura Cubana de Hoy, book by José Gómez Sicre, in coordination with María Luisa Gómez Mena, as part of the Museum of Modern Art, Cuban art exhibition in 1943.

44

His is a hard and defined sculptural form engaged in movement with her sensual and equally defined shape.

Although Siqueiros’ monumentality is clearly an influence, the Cuban painter brings his own sensual sensibility, and although movement is evoked, it is not harsh or violent like the Mexican. The painting celebrates the cultural hybridity and multi-racial elements of Cuban identity. Carreño exhibited this work in his November 1943 Lyceum exhibition under the title Danza. The work was exhibited the following year at The Museum of Modern Art’s exhibition Modern Cuban Painters with the title Afro-Cuban Dance.

Fuego en el batey depicts three human figures and an animal; a woman hands a nude male child to a male peasant on a horse. They are fleeing the burning building (el batey) behind them. The batey is the area consisting of homes and stables in a rustic farm in Cuba. An earlier work in oils, Fuera del batey, with a slightly different subject, had been painted earlier that year. Once again, Carreño absorbed Siqueiros’ lessons and transformed them into his own; technically he used pouring and a re-worked and textured surface, applying the paint with both brushes and a palette knife. Unlike the Mexican, Carreño did not use air brush or stencils, and he added a few touches of oil in areas of the composition. Siqueiros’ monumentality is austere and anchored in dramatic Pre-Columbian forms, while Carreño in Fuego en el batey (as well as the other two Duco pictures from this period) achieves a fleshy sensuality that is uniquely Caribbean or even Cuban. The woman’s buttocks, hips and legs are swooning; the skin of the child’s body is tender. Even the horse’s body possesses a certain sensuousness. The overall meatiness of the figures may recall Picasso’s neoclassic phase, but the evocation of movement through the visual echo of the arms, legs and skirt bring to mind the Italian Futurists, yet the end product is pure Carreño, a skilled and powerful picture with elements that are both classical and baroque in its pictorial language. The harmoniously orchestrated colors in the painting are bright and intense, consisting of complements between bubble gum pink and lime green, light blue with red earth, yellow and orange with soft purple.

For Carreño and his contemporaries in Cuba, the pictorial definition of national identity was multi-faceted, never monolithic or parochial, many times social but rarely political. Fuego en el batey and Danza Afrocubana reflect the artist’s commitment to a Cuban national ethos through the depiction of both peasants and Afro Cuban elements in the countryside.

We can look at Danza Afrocubana, Fuego en el batey and Corte de caña as an informal triptych by Carreño, with each picture manifesting an essential aspect of the national reality, be this African heritage and ritual in the island or peasant life. (continues on next page)

NOT AVAILABLE Mario Carreño (1913-1999), The Lover, (La Amante), 1943, watercolor on heavy paper laid down on board, 22 1/4 x 30 1/2 inches Provenance: Private Collection, Coral Gables, Florida.

Sold prior to the publication of this catalog.

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Mario Carreño (1913-1999), Lady Bathers, (Bañistas), 1947, oil on canvas, 19 1/2 x 15 1/2 inches Provenance: Perls Galleries, New York; Private Collection, Georgia.

A photo-certificate of authenticity signed by the artist accompanies this work.

Exhibited in Carreño: Recent Paintings, Perls Galleries, New York, 1947, and listed as no.17 in the corresponding exhibition catalog.

Exhibited in Carreño: Retrospective Exhibition, The New York School for Social Research, New York, 1950, and listed as no.12 in the corresponding exhibition catalog.

Exhibited in Sotheby’s Latin American Art Auction, New York, May 20-21, 1986, lot no.

120 and illustrated in the exhibition catalog.

Illustrated in Revistas Cubanas: Three Decades of Cuba’s Cultural Life, Cuban Museum of Arts and Culture, Miami, Florida, 1984.

José Gómez Sicre, an art critic and curator, who was particularly close to Carreño in the 1940s and 1950s, would recall in an interview shortly before his death: “In the 1940s Mario painted some of the most iconic works among all the painters in that period, several of them masterpieces, in my view. Five stand out: El ciclón, Patio colonial Cubano and the three magnificent ones in Duco: El corte de caña, Fuego en el batey and Danza Afrocubana.” 13

NOT AVAILABLE

Alejandro Anreus, PhD

The artist himself defined this last period with these words.

The painting is reproduced with the title Maternidad in a 1941 article on the artist written by Florencia Estol and published in the New York based Spanish language magazine Norte.

3 José Gómez Sicre, Carreño, (Havana: Ediciones Galería del Prado, 1943), p. 10.

4 The exhibition was held from March 3 through April 5 at the gallery’s 32 East 58th Street address.

5 The Carreño exhibition was from March 13 to April 15, and MoMA’s was March 17 through May 7.

6 Sources vary as to when the artist returned to the island from New York, some state late 1941, others early 1942.

7 Eight of these Duco paintings were exhibited in his solo exhibition at the gallery of the Lyceum, November 9 through 16, 1943. According to the printed checklist these works were: Danza Afrocubana, Fuego en el batey, Corte de caña, Flores, Caballo marino, Retrato, Circo, Retrato. One of the two portraits exhibited was his portrait of his then wife, María Luisa Gómez Mena. Two other Duco works that were not included in the Lyceum exhibition were the landscapes Alegoría del paisaje cubano and Las antillas. In an informal conversation with the artist in 1987, he assured me that he had only painted “unas diez obras en Duco” - some ten works in Duco. Duco is a fast drying lacquer paint developed by the automobile industry in the early 1930s.

8 Cabeza is reproduced in black and white in the 1943 Gómez Sicre monograph on page 5. I recently saw this work when it was offered for auction at Phillips in New York City; the work is clearly oil with touches of Duco.

9 José Gómez Sicre, interviewed by the author, 17 March 1989.

10 Ibid. Gómez Sicre erroneously recalled that Carreño had painted between a dozen and fifteen paintings in Duco. Carreño’s figure of ten paintings in Duco is correct.

11 Gómez Sicre, Carreño, p. 13.

12 The diablito is a figure that wears a colorful, hooded costume, as an initiate in the Abakuá dance of the Ireme. He is usually depicted with a broom for cleansing and a staff for punishing.

13 Gómez Sicre, interviewed by the author, 15 November 1990.

1 2

46

NOT AVAILABLE Mario Carreño (1913-1999), Landscape with Palms, (Paisaje con Palmas), 1944, mixed media on heavy paper, 21 x 17 inches

Cover of Mario Carreño, exhibition catalog at Perls Galleries, New York, March-April 1944.

47

Mario Carreño (1913-1999), Woman in the Garden, (Mujer en el Jardín), 1946, mixed media on heavy paper laid down on board, 11 1/2 x 9 inches Provenance: The Anselmo and Meredith Rae Reyes Collection, Virginia.

Mario Carreño (1913-1999), Sugar Cane Cutter in the Field, (Cortador de Caña en el Campo), 1948, mixed media on heavy paper laid down on board, 13 1/4 x 10 inches Provenance: The Anselmo and Meredith Rae Reyes Collection, Virginia.

48

NOT AVAILABLE

Mario Carreño (1913-1999), Two Women, (Dos Mujeres), 1946, mixed media on heavy paper laid down on board, 18 1/8 x 13 3/4 inches Provenance: Dr. Albert R. Miller Collection, Washington, D.C.; By descent from the above.

Dr. Miller was the photographer for President Harry Truman.

The Miller Collection was grouped under the guidance of Dr. Ramón Osuna, Senior and Dr. José Gómez Sicre.

NOT AVAILABLE

Mario Carreño (1913-1999), Couple and Horse, (Pareja y Caballo), 1947, mixed media on heavy paper laid down on board, 23 7/8 x 19 1/4 inches Provenance: The Anselmo and Meredith Rae Reyes Collection, Virginia.

Sold prior to the publication of this catalog.

NOT AVAILABLE 49

NOT AVAILABLE Mario Carreño (1913-1999), Couple in the Tropics, (Pareja en el Trópico), 1948, mixed media on heavy paper laid down on board, 11 x 15 3/4 inches Provenance: Private Collection, Buenos Aires, Argentina.

Sold prior to the publication of this catalog.

NOT AVAILABLE Mario Carreño (1913-1999), Siesta in the Bush, (Siesta en la Manigua), 1985, oil on canvas, 47 x 59 inches Provenance: Private Collection, Coral Gables, Florida.

Sold prior to the publication of this catalog.

50

Mario Carreño (1913-1999), Tropical Tree, (Arbol Tropical ), 1984, oil on canvas, 58 1/2 x 47 inches Exhibited in Carreño, Acanthus Gallery, Coral Gables, Florida, April-May 1986.

Exhibited in Latin American Art Auction, Miami, Florida, January 7, 1994, and illustrated in the corresponding exhibition catalog, lot 80.

Illustrated in the book, Mario Carreño, Cronología del Recuerdo, Editorial Antártica, 1991, page 71.

Exhibited in Christie's Latin American Art, New York, May 31-June 1, 2007, and illustrated in the corresponding auction catalog, lot 2.

51

NOT AVAILABLE Mariano Rodríguez (1912-1990), Woman with Fruits, (Mujer con Frutas), 1943, oil on canvas, 24 1/2 x 20 1/8 inches Provenance: Sonia Báez Collection, Havana, Cuba; Private Collection, Santo Domingo, Dominican Republic.

Exhibited in Mariano, Una Energía Voluptuosa, Casa de las Américas, Havana, Cuba, and listed in the corresponding catalog, no. 34.

Exhibited in Subasta Habana, Havana, Cuba, 2005, and illustrated in the corresponding auction catalog, pages 51 & 52.

Illustrated in the book, Mariano, Tema, Discurso y Humanidad, Dannys Montes de Oca, Escandón Impresores, Seville, Spain, 2004, page 129.

Illustrated in Mariano, Catálogo Razonado, Pintura y Dibujo 1936-1949, Volumen I, Segunda Edición, Seville, Spain, 2008, page 130, no. 43.13.

Inventoried in the Musuem of Modern Art (MoMA), New York, under code 44.505, loan no. 6.

52

NOT AVAILABLE Mariano Rodríguez (1912-1990), Man, Umbrella and Child, (Hombre, Paraguas y Niño), 1960, oil on canvas, 37 5/8 x 48 1/2 inches Provenance: Private Collection, Miami, Florida.

Exhibited in Mariano, Galería Habana, Havana, Cuba, 1962. Exhibited in Galería Roberto García, Cienfuegos, Cuba, 1962.

Exhibited in Mariano Rodríguez, Exposición Retrospectiva, Museo Nacional de Bellas Artes, Havana, Cuba, 1975, catalog no. 265.

Exhibited in Mariano, Una Energía Voluptuosa, Casa de las Américas, Havana, Cuba, listed as no. 107 and illustrated in color on page 66 in the corresponding exhibition catalog.

53

NOT AVAILABLE José M. Mijares (1921-2004), Cuban Port, (Puerto Cubano), 1969, oil on canvas, 32 x 40 inches This painting was exhibited in Celebrando a Mijares, 50 Años de Creación, Cuban Museum of Arts and Culture, Miami, Florida, 1994, and is illustrated in the corresponding exhibition catalog, forty-first page (unnumbered pages).

José M. Mijares (1921-2004), Cuban Port, (Puerto Cubano), 1950, oil on canvas, 32 5/8 x 40 1/2 inches Provenance: Odette Lavergne Collection, Cannes, France; Private Collection, Miami, Florida.

This painting was exhibited in Celebrando a Mijares, 50 Años de Creación, Cuban Museum of Arts and Culture, Miami, Florida, 1994, and is illustrated in the corresponding exhibition catalog, forty-ninth page (unnumbered pages).

54

José M. Mijares (1921-2004), Midday, (Mediodía), 1989, oil on canvas, 48 x 38 inches Provenance: Alejandro López Collection, Miami, Florida; Private Collection, New York, New York.

Illustrated in The World of José Mijares, Marpad Art Gallery, 1992, unnumbered pages.

Illustrated in the book, José Mijares, Paintings, Palette Publications, 1997, page 64.

Illustrated in Important Cuban Artworks, Volume Six, Cernuda Arte, Coral Gables, Florida, January 2008, page 71.

NOT AVAILABLE

José M. Mijares (1921-2004), Clown, (Payaso), 1962, oil on board, 35 1/4 x 25 inches Sold prior to the publication of this catalog.

55

NOT AVAILABLE René Portocarrero (1912-1985), Landscape and Hut, (Paisaje y Bohío), 1944, oil on wood, 20 x 24 inches Provenance: Private Collection, Santo Domingo, Dominican Republic.

“Rarely do we encounter rural landscape in the work of this artist. But for Portocarrero, the year 1944 is almost totally defined by a series of oils of rural landscapes… It was an amazing eruption that became a milestone in his art; works that join an abundant group of island landscapes, a genre that has been growing in Cuba from the nineteenth century to modernity. ‘…The beauty of nature in Pinar del Río impressed me immensely’ the artist comments on his two week stay in the San Vicente Ranch in Viñales. ‘I did a series of landscapes, but not realistic, more so from the perspective of my own subjectivity, from the imprint that such experiences leave in you. They were exhibited in New York and the critics highlighted the peculiarity of an exhibit of landscapes and mythological figures (some dated 1944 and others dated 1945), all produced by the same artist.’

Portocarrero converses of a country painting titled The Road, remembering that he initiated the work with a strong primitive, naïve style; later his creation derived towards a post-impressionist type. ‘I seized the images of small towns. It was a trip full of love – I visited valleys… This motivation resulting in my contact with nature has not lost validity in me.’ ” Text from the book PORTOCARRERO

by Ramón Vázquez Díaz, Fundación Arte Cubano, Madrid, Spain, 2015, pages 124 and 125.

Artist’s quotes from Alejandro G. Alonso, Juventud Rebelde, Havana, Cuba, August 2, 1982.

56

NOT AVAILABLE René Portocarrero (1912-1985), Cerro Interior with Dancing Figure, (Interior del Cerro con Figura Danzante), 1944, oil on wood, 18 x 15 5/8 inches Illustrated in Todo Sobre Portocarrero, Ramón Vázquez Díaz, Axel Li, José Veigas, Ediciones Vanguardia Cubana, 2014, page 148.

Illustrated in Portocarrero, Ramón Vázquez Díaz, Fundación Arte Cubano, 2015, page 88.

“Portocarrero’s childhood in the Havana neighborhood of El Cerro… has been often signaled as an important and decisive factor in the configuration of his painting. In the prime of his first years as an adult, memories emerge ‘… many years after, when I visited those colonial mansions in El Cerro, where I lived during my childhood, I was able to realize that many of the figures such as fountains, arches, statues that appear in my works were part of those surroundings where I was raised.’ This is how the Cerro interiors originate, which are considered some of his most important works… The importance of the Cerro interiors was not sufficiently appreciated not even by the few critics that had already viewed Portocarrero as a sure asset among the youngemerging Cuban artists…Yet, in these interior scenes, some of Portocarrero’s essential characteristics were established in a definitive manner which… would later appear as recurrent features in his work. His palette has become personal, and his free and steady brushstrokes are, at the same time, nervous and tight, with the expressiveness of a precise intention and a hand already confident of its execution.”

Graziella Pogolotti and Ramón Vázquez,

René Portocarrero, El Mundo del Arte, Chapter 6, Interior del Cerro, Editorial Letras Cubanas, 1987.

57

René Portocarrero (1912-1985), Cathedral in Blue, (Catedral en Azul ), 1975, mixed media on heavy paper laid down on canvas, 30 x 21 inches Provenance: Private Collection, Pembroke Pines, Florida; Private Collection, Le Vaud, Switzerland.

Illustrated in Important Cuban Artworks, Volume Nine, Cernuda Arte, Coral Gables, Florida, December 2010, page 62.

Illustrated in the book, Todo Sobre Portocarrero, Ramón Vázquez Díaz, Axel Li and José Veigas, Ediciones Vanguardia Cubana, 2014, page 246.

58

René Portocarrero (1912-1985), Havana Landscape, (Paisaje de La Habana), 1961, oil on canvas, 25 1/8 x 26 1/8 inches Provenance: Private Collection, New York, New York.

Documented in Espacio magazine, Number 1, October 1961, page 49.

Havana was René Portocarrero’s natural habitat. If once - during his childhood years - El Cerro neighborhood defined his universe, the painter’s coming of age marked his unfolding towards the confines of the capital city.

We can say that if any Cuban seized Havana and, at the same time, the city claimed the painter its own, that was René Portocarrero. “Here are the hundred and more cities - let us be wary of the figures in the catalog - seized and captured by the Prodigious Magician, Don René Portocarrero. Are all of these perhaps just one? ”, would note Eliseo Diego, friend of the painter and Originista as well, in comments written precisely for the exposition, Landscapes of Havana by René Portocarrero, University of Havana, October 1978, L Gallery.

Roberto Fernández Retamar, earlier, in his words for the exhibition, Portocarrero: The Color of Cuba, May 1963, Havana Gallery, had observed, “One city is not made with a compass upon paper: it is made by combining necessity with contingency, caprice with duty: the balcony from where you can view the sea, with the plaza of kisses; the contorted street with four hundred years of rain over a number of stones. This is how Havana has been crafted. And Portocarrero has painted it, bringing along with him its interiors, its stained glass windows, its gates, its cupolas, its skies. Havana has been sung by a poet with the certainty only a poet can express.”

Ramón Cernuda

59

René Portocarrero (1912-1985), Praying Figure, (Figura Orante), ca. 1937, mixed media on heavy paper laid down on board, 14 x 11 inches Provenance: Private Collection, Managua, Nicaragua.

René Portocarrero (1912-1985), Angel, (Angel ), 1942, graphite on heavy paper laid down on board, 9 3/4 x 7 inches Provenance: This painting was part of the Betty Jane “Lindy” Bergman Collection (1918-2014).

Ms. Bergman was an important collector of 20th century Modern art who donated major works to the Chicago Art Institute, including paintings by Picasso, Miró, Dalí, Magritte, Lam and others.

60

NOT AVAILABLE

René Portocarrero (1912-1985), Shooting Range, (Tiro al Blanco), 1952, mixed media on heavy paper laid down on board, 9 3/8 x 12 5/8 inches Provenance: The Anselmo and Meredith Rae Reyes Collection, Virginia.

This work is the preparatory study for Shooting Range, La Concha, 1952, oil on canvas, 100 cm. x 134.5 cm., at the National Museum of Fine Arts in Havana, Cuba.

Shooting Ranges and Other Themes: Oils, 1951-1952 Gradually the artist introduces exalted colors and a proliferation of forms to the initial sobriety [of the series].

His restlessness has various manifestations, one of these, most interesting, leads him to produce a few oils (1951 and 1952) that Portocarrero titles Shooting Ranges. This group of paintings, half way from the interplay of pure geometric forms apparently placed in a screen with movable horizontal and vertical planes, at the same time convey the remembrance and visual excitement of the shooting ranges of the popular town fairs that the artist would frequently visit. With these elements he creates a pattern that gives order to the complexity of the composition. The squares have been filled at will with bull’s-eyes, circles, others squares, triangles, animal forms and other imaginary figures that in real town fairs appear, disappear and constantly change the composition.

Ramón Vázquez Díaz, PORTOCARRERO, Fundación Arte Cubano, Madrid, Spain, 2015, page 256.

61

NOT AVAILABLE

René Portocarrero (1912-1985), Ornamented Figure, (Figura Ornamentada), 1963, mixed media on heavy paper, 30 x 22 inches Provenance: Private Collection, Paris, France.

Illustrated in Islas, Revista de la Universidad de Las Villas, Santa Clara, Cuba, Samuel Feijóo, September-October 1966, page 173.

62

NOT AVAILABLE René Portocarrero (1912-1985), Second Portrait of Flora, (Segundo Retrato de Flora), 1965, oil on canvas, 33 x 26 inches Provenance: Private Collection, Mexico City, Mexico.

Exhibited in René Portocarrero, Museo de Arte Moderno, Bosque de Chapultepec, México, May 1965, and listed in the exhibition catalog, no. 15.

63

René Portocarrero (1912-1985), Ornamented Woman, (Mujer Ornamentada), 1968, mixed media on heavy paper laid down on board, 28 1/2 x 22 inches This painting is also accompanied by a certificate of authenticity signed by Ramón Vázquez Díaz.

64

René Portocarrero (1912-1985), Flowers, (Flores), 1969, oil on canvas, 16 3/4 x 12 7/8 inches This painting is also accompanied by a photo-certificate of authenticity signed by José Veigas Zamora and Ramón Vázquez Díaz, dated March 8, 2011.

65

NOT AVAILABLE René Portocarrero (1912-1985), Woman with Hat, (Mujer con Sombrero), 1957, oil on canvas, 39 x 23 1/2 inches Provenance: Private Collection, Santiago de Chile.

Exhibited in Sotheby's Latin American Art, New York, June 1, 2000, and illustrated in the corresponding exhibition catalog, lot no. 194.

66

René Portocarrero (1912-1985), Flora, (Flora), 1983, mixed media on paper laid down on board, 18 3/4 x 14 inches

NOT AVAILABLE

René Portocarrero (1912-1985), Woman and Dove, (Mujer y Paloma), 1981, mixed media on heavy paper laid down on board, 15 1/2 x 12 1/4 inches

67

Raúl Milián (1914-1984), Meditation, (Meditación), 1977, mixed media on heavy paper laid down on board, 14 7/8 x 10 7/8 inches Provenance: Collection, Berlin, Germany.

Raúl Milián (1914-1984), Impressions, (Impresiones), 1954, mixed media on heavy paper laid down on board, 15 x 11 inches Provenance: Collection, Montevideo, Uruguay.

68

NOT AVAILABLE

Raúl Milián (1914-1984), Vestige, (Vestigio), 1960, mixed media on heavy paper laid down on board, 21 3/8 x 14 5/8 inches Provenance: Collection, Berlin, Germany.

69

NOT AVAILABLE Cundo Bermúdez (1914-2008), Man Seated at the Table, (Hombre Sentado en la Mesa), 1945, mixed media on heavy paper laid down on board, 20 x 16 inches Provenance: Dr. Albert R. Miller Collection, Washington, D.C.; By descent from the above.

Dr. Albert Miller was the photographer of President Harry Truman. The collection of Dr. Miller was grouped under the guidance of Dr. Ramón Osuna, Senior, and Dr. José Gómez Sicre in the 1940s.

The great master Cundo Bermúdez was known to be a person of acute social conscience. Having studied diplomatic law at the University of Havana his sense of responsibility and concern for the problems and social injustices that afflicted the poor and marginalized, such as people of color, simple laborers, nude prostitutes, seedy pimps, circus clowns, town barbers, street musicians and others (then defined as the city’s lumpen), is manifested throughout his abundant body of artwork. These allegedly undesirables inhabit Cundo’s paintings displaying in all simplicity their dignity and worth, and thru art commingle with those of privilege and status.

What a mischievous trickery the artist played on the upper classes!

Cundo in his youth was a “man of the left”, a frequent exhibitor at the procommunist Sociedad Nuestro Tiempo; an enthusiastic participant in the Anti-Biennial Exhibition (1954); one whose militant opposition to the Franco and Batista governments was recognized in the cultural circles of the country.

In the 1940s we often observe in Cundo’s oeuvre portraits of simple people such as Man Seated at the Table. In this representative composition the strong mulatto worker, with enlarged peasant hands and rustic clothing is captured while eating a meager piece of bread with rudimentary utensils. The cutlery is rough and basic, almost improvised for the occasion. This scene contrasts with the dignified and proud look of the sitter who is positioned by the artist in a regal chair, while three noble majestic arcs décor the background. The royal blue color of the tablecloth adds to the contradictions of this painting, and by inference of society. The message was there, to be deciphered.

Ramón Cernuda 70

Cundo Bermúdez (1914-2008), Flora the Harvester of Dreams, (Flora la Recogedora de Sueños), 2008, bronze sculpture, eight of nine 51 x 14 1/2 x 11 inches Provenance: Inheritance gift from the artist to Heriberto Leret Armand.

Offered for sale by the Estate of Heriberto Leret Armand.

This artwork is accompanied by a photo-certificate of authenticity signed by the artist Cundo Bermúdez.

We are grateful to the Estate of Cundo Bermúdez for having provided the signature and the confirmation of authenticity of this artwork.

NOT AVAILABLE Cundo Bermúdez with Juan Campos in the artist’s studio, ca. 2006, while giving the final touches to the mold of Flora the Harvester of Dreams.

71

NOT AVAILABLE Servando Cabrera Moreno (1923-1981), I Love and I Want, (Amo y Quiero), 1981, oil on canvas, 42 1/2 x 30 1/2 inches Provenance: Private Collection, Havana, Cuba.

This artwork is accompanied by a certificate of authenticity issued by Museo Biblioteca Servando Cabrera Moreno.

Sold prior to the publication of this catalog.

72

Servando Cabrera Moreno (1923-1981), Rebel with a Cause, (El Rebelde con Causa), 1973, oil on canvas, 40 7/8 x 18 inches Provenance: Private Collection, Havana, Cuba.

This artwork is accompanied by a certificate of authenticity issued by Museo Biblioteca Servando Cabrera Moreno.

73

[Agustín] Fernández also shares with the Surrealists a fascination with Eros. Eros is the name of the ancient Greek god who has come to symbolize sensuous desire in human experience. Eros, as the Greek poetess Sappho and other classical and modern writers have pointed out, carries an experience of pleasure and of pain… viewed in this context, eros is a pleasure that also bears the risk of bitter enmity.

It can even be an enemy as when it looms out of control… Both aspects of eros are suggested in Fernández’ paintings, as well as in the drawings, where erotica images featuring buttocks, breasts, penises and other bodily orifices [appear].

Dr. Curtis L. Carter,

Agustín Fernández; Artist in Exile, 2011, page 18, unpublished essay.

NOT AVAILABLE Agustín Fernández (1928-2006), Seams, (Costuras), 1962, oil on canvas, 38 1/2 x 30 3/4 inches

Agustín Fernández (1928-2006), Obsessions, (Obsesiones), 1961, oil on canvas, 28 3/4 x 28 3/4 inches

74

Hugo Consuegra (1929-2003), Montagues and Capulets, (Montescos y Capuletos), 1956, oil on canvas, 49 3/4 x 39 3/4 inches Exhibited in Hugo Consuegra of Cuba, Pan American Union, Washington, D.C., May 21 to June 19, 1956, and listed in the exhibition brochure.

“The paintings by Hugo Consuegra are abstract, with an arrestingly fluid, dreamlike substance.”

Ms. Carlyle Burrows, New York Herald Tribune, 1955.

75

Roberto Estopiñán (1921-2016), Nude Woman, (Mujer Desnuda), ca. 1951, mahogany wood sculpture, 18 x 7 1/2 x 7 1/4 inches Provenance: José Gómez Sicre Collection, Washington, D.C.; Private Collection, Caracas, Venezuela.

Exhibited at the 2nd Biennial São Paolo, Brazil, 1952.

Illustrated in Noticias de Arte, October-November 1953.

Roberto Estopiñán in his studio, ca. 1951, with the sculpture Nude Woman photographed by José Gómez Sicre.

76

NOT AVAILABLE

Roberto Estopiñán (1921-2016), Prisoners, (Prisioneros), ca. 1964, mahogany wood sculpture, 35 x 19 1/2 x 25 inches Provenance: José Gómez Sicre Collection, Washington, D.C. Exhibited in Bonino Gallery, New York City, 1968.

We are grateful to Dr. Alejandro Anreus for having confirmed the provenance, authenticity and exhibition history of this artwork.

Interview of Roberto Estopiñán by Alejandro Anreus, June 7, 2005 “At the end of the 1950s, my work was exploring welding and forms that tended towards abstraction. Julio González was a constant influence at this time. I was exploring line as form. In exile, everything changed. I felt a great void. What I had fought for my whole life - a democratic Cuba - had been betrayed. Then Romanesque art and the sculptures of Ernst Barlach became my sources. I started welding crucifixions and calvaries. I returned to carving on wood and already by 1963, the work became more expressionistic. I left behind formal concerns. If I did not execute these works - the prisoners; the fallen warriors - I was going to explode. I can say that under the influence of Henry Moore and Zadkine in the 1950s, I identified with a formalist humanism. After the trauma of exile, that formalism seemed hollow. I had to return to the figure, due to an existential need, a spiritual and political need, due to my exile condition. Marino Marini’s work was helpful here, as was Barlach and the carvings in Romanesque art. Later on in the United States, I found the work of Leonard Baskin, whom I thought of as a kindred spirit to mine.”

77

Agustín Cárdenas (1927-2001), Enlightened Silence, (Silencio Iluminado), 1971, white Carrara marble with black granite, 18 1/4 x 8 x 8 inches Provenance: Collection, Avon, Connecticut.

78

NOT AVAILABLE Agustín Cárdenas (1927-2001), Composition with Three Figures, (Composición con Tres Figuras), 1956, bronze sculpture, Artist’s Proof, one of four, 59 x 26 3/4 x 20 1/8 inches Exhibited in Galerie Patrice Trigano, Paris, France, March 10, 1999, and illustrated in the exhibition catalog (different cast).

Foundry stamp “Christian Maas Founder,” imprinted on this sculpture.

79

NOT AVAILABLE Haydee Scull (?-2007), Vendors at the Cathedral Square (Old Havana), (Vendedores en la Plaza de la Catedral (La Habana Vieja) ), ca. 1985, three-dimensional mixed media and collage on canvas, 24 3/4 x 31 inches Provenance: Ms. Keehna Sture Collection, Sarasota, Florida.

Haydee Scull (? - 2007), an Afro-Chinese Cuban artist who along with her sister Sahara developed a body of artistic creations inspired by folkloric scenes of Havana and later in her career, by the city views of Miami and Miami Beach.

Her three-dimensional artistic dioramas, much like theater settings, were mostly formed with papier-mâché, wire, wood, cloth and acrylic paints. They often conveyed a climate of collective happiness and healthy social congeniality.

Her montages were nostalgic and sentimental - almost kitsch - depictions of the lost Cuba of yesterday, an oneiric recollection of a long gone era where everyone and everything belonged and had its place.

RC

80

Raúl Martínez (1927-1995), Four Portraits of Martí, (Cuatro Retratos de Martí ), 1967, mixed media on heavy paper laid down on board, 31 5/8 x 25 3/8 inches Provenance: Collection, Belgium.

81

The Tanyu-Levent Collection Istanbul, Turkey

We are grateful to the Levent family for having entrusted their Cuban art collection to Cernuda Arte.

NOT AVAILABLE Mariano Rodríguez (1912-1990), The White Rooster, (El Gallo Blanco), 1961, oil on canvas, 35 x 30 inches Exhibited in VII Latin American Art Auction, Miami, Florida, January 23, 2000, and illustrated in the auction catalog, lot no. 39.

This painting will be included in the forthcoming Mariano, Catálogo Razonado, Volumen II, under the direction of Alejandro Rodríguez.

Sold prior to the publication of this catalog.

82

The Tanyu-Levent Collection

NOT AVAILABLE Víctor Manuel García (1897-1969), Young Lady with Sunhat, ( Joven con Pamela), 1960, oil on wood, 18 1/4 x 15 inches

83

The Tanyu-Levent Collection

René Portocarrero (1912-1985), Flower Vase in Blue Background, (Florero en Fondo Azul ), 1959, mixed media on heavy paper laid down on board, 19 1/2 x 12 inches 84

The Tanyu-Levent Collection

José M. Mijares (1921-2004), Woman with Fan, (Mujer con Abanico), ca. 1952, mixed media on wood, 30 x 24 inches 85

The Tanyu-Levent Collection

Pedro Pablo Oliva (b. 1949), The Seamstress, (La Costurera), 1971, mixed media on heavy paper laid down on board, 34 x 28 1/4 inches This painting is accompanied by a photo-certificate of authenticity signed by the artist, number EO 00223-R1, dated May 7, 2016.

NOT AVAILABLE

Roberto Fabelo (b. 1950), Our Africa, (Africa Nuestra), 1995, oil on canvas, 16 x 35 1/2 inches Sold prior to the publication of this catalog.

86

The Tanyu-Levent Collection

NOT AVAILABLE

Manuel Mendive (b. 1944), The River of Life, (El Río de la Vida), 1997, oil on canvas laid down on board, 12 5/8 x 19 1/2 inches Sold prior to the publication of this catalog.

NOT AVAILABLE

Manuel Mendive (b. 1944), Yemaya, Goddess of the Sea, (Yemayá, Diosa del Mar), ca. 1975, oil on wood, 15 3/4 x 16 inches

NOT AVAILABLE

Manuel Mendive (b. 1944), Mother and Sons, (Madre e Hijos), 1997, oil on canvas laid down on board, 9 7/8 x 12 7/8 inches

NOT AVAILABLE

Manuel Mendive (b. 1944), Couple with Fish, (Pareja con Pez), 1998, oil on canvas, 20 x 20 inches

87

The Tanyu-Levent Collection NOT AVAILABLE

Manuel Mendive (b. 1944), Figures, (Figuras), 1998, mixed media on canvas, 15 1/4 x 20 inches

NOT AVAILABLE

Manuel Mendive (b. 1944), Dreams, (Sueños), 1996, mixed media on heavy paper laid down on board, 22 1/2 x 29 7/8 inches

NOT AVAILABLE

Manuel Mendive (b. 1944), The Dream, (El Sueño), 1984, mixed media on heavy board, 19 5/8 x 25 1/4 inches 88

Antonia Eiriz (1929-1995), Scream, (Grito), ca. 1965, mixed media on heavy paper laid down on board, 28 7/8 x 23 1/8 inches Provenance: Gift of the artist to her dear friend Gina Pellón.

89

The Bustamante Collection Palm Beach, Florida We are grateful to Architect Juan M. Bustamante and his son Dr. Jorge Bustamante for having entrusted the sale of the Bustamante Collection of fourteen Cuban artworks to our gallery.

This selection of paintings focuses on creations by artists of the group of The Eleven, many of whom were friends of the retired architect Juan M. Bustamante.

NOT AVAILABLE Antonia Eiriz (1929-1995), Witnesses, (Testigos), ca. 1967, mixed media on heavy paper, 28 3/4 x 23 inches This artwork has been requested on loan for the upcoming exhibition Radical Women: Latin American Art, 1960-1985, at the Hammer Museum, Los Angeles, California, September 15-December 31, 2017.

Sold prior to the publication of this catalog.

90

The Bustamante Collection

NOT AVAILABLE Antonia Eiriz (1929-1995), Scream, (Grito), 1967, mixed media on heavy paper laid down on board, 37 3/4 x 25 inches

Antonia Eiriz and Juan Tapia Ruano in Havana, 1960s.

91

The Bustamante Collection

NOT AVAILABLE Antonia Eiriz (1929-1995), Heads, (Cabezas), ca. 1963, mixed media on heavy paper laid down on board, 17 3/4 x 14 3/8 inches

Guido Llinás (1923-2005), Black Painting, (Pintura Negra), 1973, oil on heavy paper laid down on wood, 30 x 13 3/4 inches

92

The Bustamante Collection NOT AVAILABLE Guido Llinás (1923-2005), Black Painting, (Pintura Negra), 1977, oil on heavy paper laid down on canvas, 19 1/2 x 13 inches

Guido Llinás (1923-2005), Black Painting, (Pintura Negra), 1982, oil on heavy paper laid down on canvas, 20 x 14 inches

NOT AVAILABLE 93

The Bustamante Collection Guido Llinás (1923-2005), Composition, (Composición), 1977, mixed media on heavy paper laid down on board, 30 x 22 inches

Guido Llinás (1923-2005), Painting, (Pintura), 1991, mixed media on heavy paper laid down on board, 12 1/2 x 5 1/4 inches Guido Llinás (1923-2005), Black Painting, (Pintura Negra), 1974, mixed media on heavy paper laid down on board, 11 3/4 x 8 7/8 inches 94

NOT AVAILABLE

The Bustamante Collection NOT AVAILABLE

Guido Llinás (1923-2005), Black Painting, (Pintura Negra), 1993, oil on canvas, 40 x 30 inches 95

The Bustamante Collection

Juan Tapia Ruano (1914-1980), Remains of a Dream, (Remanente de un Sueño), 1975, mixed media on heavy paper laid down on canvas, 34 1/4 x 35 inches

Juan Tapia Ruano was born in Havana in 1914, and died in exile in Madrid in 1980. He was a member of the group of The Eleven, a loose association of abstract artists that exhibited together during the 1950s and 1960s in Havana.

Tapia Ruano had one person exhibitions at the Lyceum, Havana in 1953, 1956, 1958, 1960 and 1962. His works were included in the art exhibition of The Eleven, titled Expresionismo Abstracto, at Galería Habana, Havana, Cuba, January 1963. He also had individual shows at the Colegio Nacional de Arquitectos, 1953, and at the Cuban Museum of Arts and Culture, Miami, Florida, 1984.

His career is documented in publications such as Pintores Cubanos, Edmundo Desnoes, Ediciones R, Havana, Cuba, 1962, pages 206-209. La Enciclopedia de Cuba, 1st edition, 1974, Vicente Baez, Volume 5, pages 237239, and Memoria: Cuban Art of the 20th Century, José Veigas and others, 2001, page 346.

96

The Bustamante Collection

Juan Tapia Ruano (1914-1980), Sequence, (Secuencia), 1969, mixed media on heavy paper laid down on wood, 21 1/4 x 11 inches

Juan Tapia Ruano (1914-1980), Impression, (Impresión), 1975, mixed media on heavy paper laid down on wood, 34 3/4 x 17 1/4 inches

Hugo Consuegra (1929-2003), Some Other Day, Perhaps, (Quizás Otro Día), 1975, oil on canvas, 35 x 35 inches 97

NOT AVAILABLE Gina Pellón (1926-2014), Forger of the Moon, (El Falsificador de la Luna), 1968, mixed media on canvas, 51 x 51 inches Exhibited in Paysages en Corps, Musée de Laval, Laval, France, 1973-1974, illustrated in the corresponding exhibition catalog, page 8.

98

NOT AVAILABLE

Gina Pellón (1926-2014), The Gardeners of the Moon, (Los Jardineros de la Luna), ca. 1967, mixed media on canvas, 51 1/4 x 38 1/4 inches 99

NOT AVAILABLE

Gina Pellón (1926-2014), Dancing in the World Dance, (Bailando en el Baile del Mundo), 1984, mixed media on canvas, 63 7/8 x 51 1/4 inches Sold prior to the publication of this catalog.

100

NOT AVAILABLE

Gina Pellón (1926-2014), The Writing, (El Escrito), 2008, mixed media on canvas, 39 1/2 x 31 3/4 inches

101

NOT AVAILABLE Gina Pellón (1926-2014), Clarity, (Claridad ), 2007, mixed media on canvas, 39 3/8 x 32 inches

102

Gina Pellón (1926-2014), Golden Fleece, (Lana de Oro), 2013, mixed media on canvas, 45 1/2 x 34 1/2 inches

NOT AVAILABLE Gina Pellón (1926-2014), A Moment of Joy, (Un Momento de Alegría), 2013, mixed media on canvas, 38 1/4 x 51 1/2 inches 103

Gina Pellón (1926-2014), Going to the Carnival, (Al Carnaval Me Voy), 2014, painted collage on heavy paper laid down on wood, 17 3/4 x 19 inches

Gina Pellón (1926-2014), Come and Celebrate the Joy, (Ven a Celebrar la Alegría), 2013, painted collage on heavy paper laid down on wood, 23 5/8 x 15 3/4 inches

104

NOT AVAILABLE Rafael Soriano (1920-2015), Bottomless Face, (Rostro Sin Fondo), 1980, oil on canvas, 40 x 30 inches Provenance: Private Collection, Caracas, Venezuela.

105

Roberto Fabelo (b. 1950) A Divine Image Cruelty has a human heart, And Jealousy a human face; Terror the human form divine, And Secrecy the human dress.

The human dress is forged iron, The human form a fiery forge, The human face a furnace sealed, The human heart its hungry gorge.

Poem from “Songs of Experience”,

by William Blake Revered as a prolific painter, draftsman, sculptor and engraver, Roberto Fabelo is internationally recognized as one of Cuba’s most renowned contemporary artists.

The main source of Fabelo’s influence is rooted in European masters such as, Hieronymus Bosch, Diego Velázquez, Francisco Goya, Honoré Daumier and Albrecht Dürer - influences that have been imbibed and restructured into his own subjectivity.

Underneath the ingeniousness of the artist’s depictions, there is a distinct existential framework of mind where the force of the imagery is transformed into surreal phenomena. (continues on next page)

Roberto Fabelo (b. 1950), Suyu and the Romantic Rhinoceros, (Suyu y los Rinocerontes Románticos), 2016, oil on silk, 47 3/4 x 94 inches 106

Roberto Fabelo (b. 1950), Suyu and the Beans, (Suyu y los Frijoles), 2016, oil on canvas, 93 x 79 inches

Over the course of his long career, Fabelo’s trajectory has embraced most manifestations of the visual arts. His body of work encompasses a variety of mediums and surfaces, including: watercolor, ink, oil, acrylic, mixed media, bronze, ceramic and installations. As a great master of his craft, the artist conjures his own world via the rendition of powerful artworks, with elements of expressionism and surrealism.

His repertoire of images include, among others, bizarre faces, humans with animalistic traits, Rubenesque nudes, winged and helmeted women, deities, mermaids, fauna, flora, bird headdresses, shelled heads, and denatured mythic creatures whose visual presences often appear unsettling or menacing.

Fabelo’s ebullient creativity not only reveals a fine line between reality and fantasy, but also appears to have some kind of allegorical significance beyond itself. Ambiguous renditions of desire - brimming with ominous Kafkaesque visions and fascinating bestiaries - unfold abundantly in his compositions. (continues on page 109) 107

NOT AVAILABLE

Roberto Fabelo (b.1950), Sky, Land and Sea III, (Cielo, Tierra y Mar III ), 2015, crayon on heavy paper laid down on board, 43 1/8 x 29 1/2 inches Sold prior to the publication of this catalog.

NOT AVAILABLE

Roberto Fabelo (b.1950), Five at Night, (Cinco en la Noche), 2016, crayon on heavy paper laid down on board, 43 1/8 x 29 1/2 inches Sold prior to the publication of this catalog.

NOT AVAILABLE

Roberto Fabelo (b.1950), Erotica Nostra, (Erótica Nostra), 2016, mixed media on heavy paper laid down on board, 39 1/4 x 27 1/2 inches 108

Roberto Fabelo (b.1950), Daydreaming, (Ensoñación), 2016, mixed media on heavy paper laid down on board, 39 3/8 x 27 1/2 inches

NOT AVAILABLE

Roberto Fabelo (b. 1950), “Ovo 2016”, (“Ovo 2016” ), 2016, acrylic on canvas, 63 1/2 x 48 inches

Rich with figuration, Fabelo’s strong aesthetic vision dissolves the physical, mental and temporal boundaries.

The exceptional quality of his execution imbues his renditions with dreamlike scenarios and dramatic domains.

This chimerical act, although grounded in the natural world, is more than anything a manifestation of the artist’s inner universe through his own pictorial language.

The artist has oftentimes stated that he uses realism as a tool to blend it with imaginative elements - in his own words, he has said, “I create by looking around attentively at people on a daily basis… it is then that I begin to be aware, to notice… it is when the real becomes the marvelous through a passage within me.”

Roberto Fabelo’s artwork has been featured in more than 40 solo exhibitions and more than 400 group shows worldwide.

The artist has exhibited in numerous museums, institutions, and international art fairs including, the Uffizi Gallery; the Perez Art Museum Miami; Museum of Latin American Art, Long Beach, CA; Contemporary Art Museum, Panama City; Close Up Cuba, Kunsthalle HGN, Duderstadt, Germany; Xin Dong Cheng Space for Contemporary Art, Beijing; Shanghai International Art Fair, China; Le Manoir Cutural Center, Geneva; ARCO Art Fair, Madrid; National Museum of Fine Arts, Havana; Modern Art Museum of New Delhi, India; Museum of Modern Art, Mexico City and KUNSTEN Museum of Modern Art, Aalborg, Denmark. (continues on next page) 109

NOT AVAILABLE

Fabelo has been the recipient of several awards - both national and international - for his artistic achievement, among them: The National Plastic Arts Award, Havana, 2004; Self-portrait for the permanent collection of the Uffizi Gallery Museum, Florence, 2002; First Prize at the First Ibero-American Biennial of Watercolor, Viña del Mar, Chile; UNESCO Award for the promotion of the arts, Paris, 1996; First Prize at the XI International Drawing Biennial of Cleveland, Great Britain, 1993; Armando Reverón International Drawing Prize; First Biennial of Havana; the Ninth Prize Drawing Exhibition, Rijeka, Yugoslavia; Intergraphik Drawing Award, Berlin, 1984 and the Acquisition Prize III Triennial of Contemporary Art, New Delhi, India, 1978.

The artist currently lives and works in Havana, Cuba.

Nercys Cernuda

Roberto Fabelo (b.1950), Amaranta, (Amaranta), 2016, acrylic on silk, 57 1/4 x 41 inches

Roberto Fabelo (b.1950), Fantastic Voyage, (Viaje Fantástico), 2009, oil on canvas, 49 x 41 inches Sold prior to the publication of this catalog.

110

NOT AVAILABLE

NOT AVAILABLE

Roberto Fabelo (b. 1950), Conversation with Suyu, (Conversación con Suyu), 2006, oil on canvas, 70 3/4 x 39 inches 111

Roberto Fabelo (b.1950), Mermaid Reposing, (Sirena en Reposo), 2012, bronze sculpture, 6 of 7, 36 x 19 x 17 inches

NOT AVAILABLE

Roberto Fabelo (b.1950), From the series “Animalia”, (De la serie “Animalia” ), 2012, bronze sculpture, 7 of 7, 30 1/4 x 21 5/8 x 21 5/8 inches

112

NOT AVAILABLE

NOT AVAILABLE

Roberto Fabelo (b. 1950), side and front view: Brothy VI, (Caldosa VI ), 2015, painting on metal cauldron, 17 x 25 1/2 x 20 1/4 inches

Roberto Fabelo (b. 1950), Cricket, (Grillo), 2016, bronze sculpture, 4 of 7, 26 1/4 x 38 x 30 3/4 inches

113

NOT AVAILABLE

Roberto Fabelo (b. 1950), Persistence, (Persistencia), 2015, oil on canvas, 90 1/2 x 78 3/4 inches

114

NOT AVAILABLE

Roberto Fabelo (b. 1950), Little Theatre, (Pequeño Teatro), 2015, painting on metal cauldron, 32 3/4 x 27 3/4 x 9 3/4 inches

115

Roberto Fabelo (b. 1950), Crazy for Suyu, (Locos por Suyu), 2010, oil on canvas, 62 x 46 1/2 inches

NOT AVAILABLE

Roberto Fabelo (b. 1950), The Heart of Illusions, (El Corazón de las Ilusiones), 1994, mixed media on heavy paper laid down on board, 38 1/2 x 26 1/2 inches

116

NOT AVAILABLE

Roberto Fabelo (b. 1950), Overflow, (Desbordamiento), 2015, oil on canvas, 87 x 75 inches

117

NOT AVAILABLE Alfredo Sosabravo (b. 1930), Conversing by the Window, (Conversando en la Ventana), 2016, acrylic and collage on canvas, 43 x 32 1/4 inches

Alfredo Sosabravo (b. 1930), Circus People, (Gente de Circo), 2016, oil and collage on canvas, 47 1/8 x 35 3/8 inches

NOT AVAILABLE 118

Alfredo Sosabravo (b. 1930), Entering the Carnival, (Entrando al Carnaval ), 2012, oil and collage on canvas, 63 x 38 3/8 inches 119

Alfredo Sosabravo (b. 1930), The Ship of Memories, (La Nave de los Recuerdos), 2014, oil and collage on canvas, 39 1/2 x 31 1/2 inches

Alfredo Sosabravo (b. 1930), Frenzy, (Frenesí ), 2012, acrylic and collage on canvas, 46 3/4 x 46 3/4 inches 120

Alfredo Sosabravo (b. 1930), Greeting the Morning, (Saludando la Mañana), 2016, acrylic and collage on canvas, 43 1/4 x 32 1/4 inches

Alfredo Sosabravo (b. 1930), Watermelon Eater, (Comedor de Melón), 2016, acrylic and collage on canvas, 39 x 28 inches

121

NOT AVAILABLE Alfredo Sosabravo (b. 1930), Grand Game of Poker, (Gran Juego de Póker), 2016, oil, acrylic and collage on canvas, 64 3/4 x 64 3/4 inches Sold prior to the publication of this catalog.

NOT AVAILABLE Alfredo Sosabravo (b. 1930), Dynamic Circus, (Circo Dinámico), 2016, acrylic and collage on canvas, 31 1/4 x 46 inches 122

Alfredo Sosabravo (b. 1930), Dressed for a Party, (Vestida de Fiesta), 2016, acrylic and collage on canvas, 47 1/8 x 47 1/4 inches

123

NOT AVAILABLE

Manuel Mendive (b. 1944), The Pumpkin in the River of Honey, (La Calabaza en el Río de Miel ), 2007, oil on canvas, 51 3/4 x 95 3/4 inches Illustrated in the book, Mendive, 2015, Collage Ediciones, Havana, Cuba, page 174.

Sold prior to the publication of this catalog.

Maestro Manuel Mendive arriving at Cernuda Arte, being greeted by Gallery Director Ramón Cernuda.

124

The Sainz García Collection Bilbao, Spain

NOT AVAILABLE Manuel Mendive (b. 1944), The Market, (El Mercado), 2005, acrylic on canvas, 54 3/4 x 68 5/8 inches

125

The Sainz García Collection NOT AVAILABLE

Manuel Mendive (b. 1944), The Birds, (Los Pájaros), 2006, mixed media on canvas, 33 7/8 x 39 1/8 inches Sold prior to the publication of this catalog.

NOT AVAILABLE Manuel Mendive (b. 1944), Energy, (Energía), 2003, mixed media on canvas and cloth, one-of-a-kind soft sculpture, 33 x 23 1/2 x 9 3/8 inches Exhibited in, Social, Intelectuar y Chic, La Cita, Biarritz, France, September 2003, and illustrated in the corresponding exhibition catalog, page 72.

Manuel Mendive (b. 1944), Harmony in Blue, (Armonía en Azul ), 2005, oil on canvas, 33 3/8 x 39 3/8 inches 126

The Sainz García Collection

Manuel Mendive (b. 1944), The Palm, (La Palma), 2006, mixed media on canvas, 66 1/2 x 70 1/8 inches Sold prior to the publication of this catalog.

127

The Sainz García Collection NOT AVAILABLE

Manuel Mendive (b. 1944), Divine Energy, (Energía Divina), 2005, mixed media on canvas, 23 1/4 x 28 1/4 inches

NOT AVAILABLE

Manuel Mendive (b. 1944), Ile Nigbe, (Ile Nigbe), 2006, acrylic on canvas, 42 1/2 x 62 inches 128

The Sainz García Collection

NOT AVAILABLE Manuel Mendive (b. 1944), Figures, (Personajes), 2006, oil on canvas, 48 1/4 x 59 inches

NOT AVAILABLE

Manuel Mendive (b. 1944), Fish, (Pez), 2002, acrylic on wood, 20 3/8 x 55 1/8 x 2 inches 129

Manuel Mendive (b. 1944), My Energy and I, (Mi Energía y Yo), 2015, bronze sculpture, 7 of 7, 30 x 13 1/2 x 9 1/4 inches Provenance: Acquired directly from the artist.

Illustrated in the book, Mendive, 2015, Collage Ediciones, Havana, Cuba, page 221.

Manuel Mendive (b. 1944), Face, (Rostro), 2015, bronze sculpture, 7 of 7, 25 3/4 x 12 x 5 3/4 inches Provenance: Acquired directly from the artist.

130

NOT AVAILABLE

Manuel Mendive (b. 1944), Being Hunted, (Lo Persiguen), 2012, mixed media on canvas in artist-made iron frame, 48 1/2 x 72 1/2 inches Provenance: Acquired directly from the artist.

Illustrated in the book, Mendive, 2015, Collage Ediciones, Havana, Cuba, page 204.

131

NOT AVAILABLE

Carlos Alfonzo (1950-1991), In the Night, (Durante la Noche), 1988, mixed media on heavy paper laid down on board, 22 x 30 inches This painting is accompanied by a certificate of authenticity signed by César Trasobares, dated February 6, 2016.

NOT AVAILABLE

Carlos Alfonzo (1950-1991), Pacific Sunset, (Atardecer en el Pacífico), 1988, oil on canvas, 60 x 60 inches This painting is accompanied by a certificate of authenticity signed by César Trasobares, dated February 6, 2016.

Sold prior to the publication of this catalog.

132

NOT AVAILABLE

Carlos Alfonzo (1950-1991), Nothing but Grief, (Nada Más Que Dolor), ca. 1988, oil on canvas, 51 x 51 inches Provenance: Dr. & Mrs. Richard & Susan Helfman, who acquired it directly from the artist.

We are grateful to Mr. César Trasobares for having confirmed the autheticity of this artwork.

Sold prior to the publication of this catalog.

133

NOT AVAILABLE Tomás Sánchez (b. 1948), Hidden Waters in the Jungle, (Aguas Ocultas en la Selva), 1990, oil on canvas, 78 3/4 x 94 1/2 inches

134

NOT AVAILABLE Tomás Sánchez (b. 1948), Meditation and Clouds, (Meditación y Nubes), 1995, acrylic on canvas, 13 3/4 x 19 1/2 inches This painting is also accompanied by a photo-certificate of authenticity signed by the artist, dated December 5, 2015.

135

José Bedia (b. 1959), Old Secrets, (Viejos Secretos), 1994, acrylic on canvas, 20 inches in diameter Provenance: Private Collection, Switzerland.

José Bedia (b. 1959), Invention in Blue, (Invención en Azul ), 1994, acrylic on canvas, 24 x 48 inches Provenance: Private Collection, Switzerland.

136

Flora Fong (b. 1949), Chinese in the Caribbean, (Chino en el Caribe), 2009, mixed media on canvas, 44 1/4 x 35 inches

Flora Fong (b. 1949), Glamour Night, (Glamour de una Noche), 2014, mixed media on canvas, 51 1/4 x 43 1/4 inches

NOT AVAILABLE 137

Pedro Pablo Oliva (b. 1949), Goodbye Mama Ines, (Adiós Mamá Inés), 1990, oil on canvas, 83 1/2 x 56 inches Provenance: Bernheim Gallery, Panamá City, Panama.

138

Pedro Pablo Oliva (b. 1949), Study for Spiritual Seafarers, (Estudio para Navegantes Espirituales), 1993, oil on canvas, 47 1/2 x 43 1/4 inches Provenance: Private Collection, Caracas, Venezuela.

139

NOT AVAILABLE Miguel Florido (b. 1980), You in My Garden, (Tú en Mi Jardín), 2016, oil on canvas, 56 1/4 x 55 inches

140

NOT AVAILABLE Miguel Florido (b. 1980), I Am All Yours, (Sólo Soy de Ti ), 2016, oil on canvas, 49 x 10 1/4 inches

Miguel Florido (b. 1980), Love Me Free, (Quiéreme Libre), 2016, mixed media on canvas, 49 1/4 x 10 1/4 inches

NOT AVAILABLE Miguel Florido (b. 1980), Joy in the Meadow, (Alegría en la Pradera), 2016, oil on canvas, 51 x 70 5/8 inches 141

NOT AVAILABLE Miguel Florido (b. 1980), My Song... You, (Mi Canción... Tú), 2016, oil on canvas, 70 1/2 x 50 3/4 inches 142

NOT AVAILABLE Miguel Florido (b. 1980), When Love Knocks at Your Door, (Cuando el Amor Toca a Tu Puerta), 2016, mixed media on canvas, 78 1/2 x 39 3/8 inches 143

Miguel Florido (b. 1980), Love Signals, (Señales de Amor), 2016, acrylic on canvas, 70 1/2 x 50 3/4 inches 144

NOT AVAILABLE Miguel Florido (b. 1980), Eternal Love, (Amor Eterno), 2015, acrylic on canvas, 56 x 55 inches

145

Juan Roberto Diago (b. 1971), Always at Your Side, (Siempre a Tu Lado), 2009, mixed media on canvas, 78 3/4 x 59 inches 146

NOT AVAILABLE

Juan Roberto Diago (b. 1971), The Blue Man, (El Hombre Azul ), 2009, mixed media on canvas, 78 3/4 x 59 inches 147

Juan Roberto Diago (b. 1971), From the Series: ‘The Skin that Speaks’, No. I, (De la Serie: ‘La Piel que Habla’, No. I ), 2014, mixed media on canvas, 31 1/2 x 23 5/8 inches

NOT AVAILABLE NOT AVAILABLE

Juan Roberto Diago (b. 1971), From the Series: ‘The Skin that Speaks’, No. II, (De la Serie: ‘La Piel que Habla’, No. II ), 2014, mixed media on canvas, 31 1/2 x 23 5/8 inches

148

NOT AVAILABLE Juan Roberto Diago (b. 1971), Pain (from the Keloids series), (Dolor, de la serie Queloides), 2016, mixed media on canvas, 39 1/2 x 25 3/4 inches

Juan Roberto Diago (b. 1971), Scream, (Grito), 1997, oil and collage on canvas, 78 3/8 x 117 1/2 inches 149

Juan Roberto Diago (b. 1971), Untitled (from the Inner Space series), (Sin Título, de la serie Espacio Interior), 2016, mixed media on canvas, 67 x 59 inches

150

NOT AVAILABLE Juan Roberto Diago (b. 1971), Keloid, (Queloide), 2016, mixed media on canvas, 78 3/4 x 59 1/4 inches 151

NOT AVAILABLE Vicente Hernández (b. 1971), The Last Conception of the World, (La Última Concepción del Mundo), 2006, oil on canvas, 58 3/4 x 78 inches

NOT AVAILABLE Vicente Hernández (b. 1971), The Carnival, (El Carnaval ), 2016, oil on canvas, 51 1/4 x 86 1/4 inches 152

NOT AVAILABLE Vicente Hernández (b. 1971), The New Church, (La Nueva Iglesia), 2016, mixed media on canvas, 59 x 79 3/4 inches

Vicente Hernández (b. 1971), The Day and The Night, (El Día y La Noche), 2011, mixed media on canvas, 59 x 78 3/4 inches This painting was exhibited in Three from Cuba, From the Fantastic to the Sublime, Appleton Museum of Art, Ocala, Florida, February 2012, and is illustrated in the exhibition catalog, page 11.

153

NOT AVAILABLE

Joel Besmar (b. 1968), The Trials of Sisyphus, (Los Trabajos de Sísifo), 2013, charcoal on canvas, 58 3/4 x 39 inches 154

NOT AVAILABLE

Joel Besmar (b. 1968), The Guardian, (El Guardián), 2016, oil on canvas, 78 1/2 x 57 3/4 inches 155

NOT AVAILABLE

Joel Besmar (b. 1968), The Prison of Clay, (La Prisión de Arcilla), 2016, oil on canvas, 78 5/8 x 57 5/8 inches 156

NOT AVAILABLE

Joel Besmar (b. 1968), The Marvelous Hunt, (La Caza Maravillosa), 2016, oil on canvas, 58 1/2 x 39 1/4 inches 157

NOT AVAILABLE

Giosvany Echevarría (b. 1971), A Luminous Peace, (Paz Luminosa), 2015, oil on canvas, 78 5/8 x 55 inches

Giosvany Echevarría (b. 1971), Morning Reflections, (Reflejos de la Mañana), 2016, oil on canvas, 35 5/8 x 47 1/8 inches 158

NOT AVAILABLE

Giosvany Echevarría (b. 1971), Murmur of the River, (El Arrullo del Río), 2016, oil on canvas, 78 3/4 x 55 1/8 inches 159

NOT AVAILABLE Lilian García-Roig (b. 1966), Stained Glass Woods, (Bosques de Vitral ), 2007, oil on canvas, 48 x 60 inches Exhibited in Encounters: Lilian García-Roig, October-November 2008, Huntsville Museum of Art, Huntsville, Alabama, and illustrated in the corresponding exhibition catalog, front cover.

Lilian García-Roig (b. 1966), Palmage, (Palmar), 2014, oil on canvas, diptych, 30 x 54 inches Exhibited in Into the Wild, Miami Dade College Museum and Galleries, Kendall Campus Gallery, September-November 2015.

160

Lilian García-Roig (b. 1966), Fan Palm, (Palma Abanico), 2005, oil on canvas, 48 x 36 inches Exhibited in Encounters: Lilian García-Roig, October-November 2008, Huntsville Museum of Art, Huntsville, Alabama, and illustrated in the corresponding exhibition catalog, sixth page (unnumbered).

Lilian García-Roig (b. 1966), Palm and Tree Tango, (Tango de Palma y Arbol ), 2007, oil on canvas, 48 x 36 inches Exhibited in the Florida Visual Arts Fellowship Exhibition, various venues in Florida throughout 2010.

Exhibited in En Plein Sight, Polk Museum of Art, Lakeland, Florida, 2011.

NOT AVAILABLE 161

NOT AVAILABLE Lilian García-Roig (b. 1966), Hemlock Cove, (Bosque Frondoso), 2008, oil on canvas, 48 x 36 inches

NOT AVAILABLE Lilian García-Roig (b. 1966), Hambidge Diptych, (Díptico de Hambidge), 2011, oil on canvas, diptych, 48 x 72 inches Exhibited in Fall Festival Artist Open Studio Exhibition, Hambidge Center, Rabun Gap, Georgia, 2011.

Exhibited in By All Means, Florida State University Museum of Art, Tallahassee, Florida, 2012.

Exhibited in Natural Exuberance, Historic City Hall Arts Center, Lake Charles, Louisiana, 2013.

Exhibited in Time Sensitive, Martin Museum of Art, Baylor University, Waco, Texas, 2014.

Exhibited in 30 for 30, City Hall Gallery, Tallahassee, Florida, 2015.

162

Ania Toledo (b. 1957), Celestial Colloquium, (Coloquio Celestial ), 2003, oil on canvas, 57 1/2 x 44 3/4 inches

NOT AVAILABLE

Humberto Calzada (b. 1944), Thirteen and Fourteen, (Trece y Catorce), 1992, acrylic on canvas, 45 1/4 x 60 inches 163

NOT AVAILABLE

Dayron González (b. 1982), During the Trial, (Durante el Juicio), 2016, oil on canvas, 50 x 70 inches

NOT AVAILABLE Dayron González (b. 1982), Malecón (Havana Sea Wall), (Malecón), 2016, oil on canvas, 80 x 90 inches 164

Dayron González (b. 1982), Freedom is An Idea, (La Libertad es Una Idea), 2015, oil on canvas, 80 1/2 x 71 3/4 inches

165

Dayron González (b. 1982), Tropical Makeup, (Maquillaje del Trópico), 2016, oil on canvas, 67 x 58 1/4 inches

Dayron González (b. 1982), I Had Coffee with Him in Madrid, (Yo Tomé Café con Él en Madrid ), 2016, oil on canvas, 66 x 100 inches 166

NOT AVAILABLE Dayron González (b. 1982), Pope in Blue Background, (Papa en Fondo Azul ), 2016, oil on canvas, 20 x 16 inches

NOT AVAILABLE Dayron González (b. 1982), Portrait with Blue Jacket, (Retrato con Abrigo Azul ), 2016, oil on canvas, 20 x 16 inches

NOT AVAILABLE Dayron González (b. 1982), Man of A Thousand Stories, (El Hombre de los Mil Cuentos), 2016, oil on canvas, 31 3/4 x 23 1/2 inches 167

NOT AVAILABLE Dayron González (b. 1982), Dressed Up for History, (Trajeado para la Historia), 2016, oil on canvas, 80 x 60 inches 168

NOT AVAILABLE Dayron González (b. 1982), The Lady Behind the Scenes, (La Señora Detrás de Escena), 2016, oil on canvas, 70 x 50 inches 169

Irina Elén González (b. 1978), Equilibriums, (Equilibrios), 2016, acrylic on canvas, 20 1/2 x 16 1/8 inches

NOT AVAILABLE

NOT AVAILABLE

Irina Elén González (b. 1978), Tropical Maternity, (Maternidad Tropical ), 2016, acrylic on canvas, 39 3/8 x 31 3/8 inches

170

NOT AVAILABLE Irina Elén González (b. 1978), Plagued by Love, (Plagada de Amor), 2016, acrylic on canvas, 59 x 43 1/4 inches 171

Tomás Esson (b. 1963), Blue, (Azul ), 1994, oil on canvas, 72 x 67 3/4 inches

Tomás Esson (b. 1963), Rapunzel, (Rapunzel ), 1994, oil on canvas, 68 x 54 inches

172

Clara Morera (b. 1944), Malevolent Eyes Don't Look at Me, (Malos Ojos No Me Miran), 2005, mixed media on canvas, 52 x 26 inches

Clara Morera (b. 1944), Santa Bárbara’s Fire, (La Candela de Santa Bárbara), 2005, mixed media on wood, 29 3/4 x 14 3/4 inches

NOT AVAILABLE 173

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

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

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

174

NOT AVAILABLE Mario Carreño (1913-1999), Dawn of the Volcanoes, (Amanecer de los Volcanes), 1974, oil on canvas, 33 1/2 x 47 inches Exhibited in Mario Carreño, Galería Imagen, Santiago de Chile, June 1976, and illustrated on page 25 of the corresponding catalog.

Exhibited in Mario Carreño, Acanthus Gallery, Coconut Grove, Florida, March 1979, and illustrated in the corresponding exhibition catalog.

Exhibited in Museo Nacional de Artes, Montevideo, Uruguay, Mario Carreño, Retrospectiva 1945-1988, December 1988, and listed in the corresponding exhibition catalog.

Exhibited in Sotheby’s New York, Latin American Art, May 2-3, 1990, lot no. 196, and illustrated in the corresponding exhibition catalog.

175

NOT AVAILABLE

Carlos Enríquez (1900-1957), Musicians and Rumba Dancers, (Músicos y Pareja de Rumberos), ca. 1929, ink on heavy paper, 9 3/4 x 7 1/2 inches Provenance: Sara Bertha de Casoy Collection, Buffalo, New York.

We are grateful to Dr. Juan Martínez for having confirmed the authenticity of this artwork.

Sold prior to the publication of this catalog.

176

NOT AVAILABLE

Angel Acosta León (1930-1964), Toy Truck, (Camión de Juguete), ca. 1960, mixed media on heavy paper laid down on masonite, 8 1/2 x 13 inches

Felipe Orlando (1911-2001), String Trio, (Trío de Cuerdas), 1963, oil on canvas, 25 3/4 x 57 inches

177

NOT AVAILABLE

Carlos Enríquez (1900-1957), Self-Portrait at Fisherman’s Bay at Santander, Spain, (Autorretrato en Rada Pesquera de Santander, España), 1930, ink on paper, 12 x 9 1/4 inches This artwork is illustrated in the book, Carlos Enríquez, The Painter of Cuban Ballads, Juan A. Martínez, 2010, page 121.

178

NOT AVAILABLE

Luis Martínez Pedro (1910-1989), Musicians, (Músicos), 1947, ink on paper laid down on board, 25 1/2 x 19 1/2 inches Provenance: Mario Uvence Rojas, Mexico City, Mexico, who acquired it from the descendants of the artist.

Illustrated in Important Cuban Artworks, Volume Eight, Cernuda Arte, Coral Gables, Florida, December 2009, page 23.

179

Amelia Peláez (1896-1968), Bellied Bottle in Blues and Greys, (Botella Panzuda en Azules y Grises), 1952, one-of-a-kind ceramic sculpture, 9 x 5 inches in diameter Stamped “Santiago de las Vegas, Cuba”

NOT AVAILABLE

Amelia Peláez (1896-1968), Multicolor Bellied Bottle, (Botella Panzuda Multicolor), 1952, one-of-a-kind ceramic sculpture, 9 x 5 inches in diameter

NOT AVAILABLE

Amelia Peláez (1896-1968), Bellied Bottle in Sienna, (Botella Panzuda en Siena), 1952, one-of-a-kind ceramic sculpture, 9 x 5 inches in diameter Stamped “Santiago de las Vegas, Cuba”

NOT AVAILABLE 180

NOT AVAILABLE Víctor Manuel García (1897-1969), Landscape with Figures by the River, (Paisaje con Figuras a la Orilla del Río), ca. 1950, oil on canvas, 20 x 16 inches Back Cover: Amelia Peláez (1896-1968), Daisies in a Vase, (Margaritas en un Jarrón), 1966, oil on canvas, 38 x 32 inches Exhibited in Latin American Art, Christie’s, New York, November 22, 1999, and illustrated in the corresponding exhibition catalog, lot no. 51.

Catalog Coordinator: Luisa Lignarolo • Photography: Jorge Palomino & Eric González Proofreading: Nercys Cernuda • Printing: Bellak Color 181

NOT AVAILABLE Amelia Peláez (1896-1968), Daisies in a Vase, (Margaritas en un Jarrón), 1966, oil on canvas, 38 x 32 inches Please reference page 181 of this catalog for additional information on this piece.

Cernuda Arte 182

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