FAAM | Important Paintings & Sculptures Auction | April 30, 2016

MIAMI

NEW YORK

PARIS

SATURDAY APRIL 30, 2016

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MIAMI

NEW YORK

PARIS

FRÉDÉRIC THUT Auctioneer FL License no. AU4372 Auction License no. AB3131

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INDEX

MANUEL, Victor ANDRADE, César ARDEN-QUIN, Carmelo BARIBEAU, Robert BATHELIER, Ewa BAUER, Rudolf BAY, Juan BEATRIZ, Dulce Hernández BENEDIT, Luis Fernando BLASZKO, Martín BLUE AND JOY BOLIVAR, Elsa BOLIVAR, Gaudin BURLUIK, David Davidovich CARREÑO, Mario COSTIGLIOLO, José Pedro DARIÉ, Sandú DAVID, Jose-Maria DEBOURG, Narciso Erté FERNÁNDEZ, Agustín FERRARI, Léon FILLÌA, (Luigi Colombo) FRACTALS FREIRE, María GALÁN, Julio GARCÍA CORDERO, José GARCÍA ROSSI, Horacio GOTTLIEB, Leopold HERNÁNDEZ, Vicente

53,

55,

36, 39, 40, 11,

1 52 56, 59 78 91 72 18 10 35 17, 34 92 45 37, 51 69,70 4 57, 58 5, 6 79 47, 48 82, 83 8 41 75 89, 90 60, 61 15 14 42, 43 66 12, 13

HYPPOLITE, Hector KOSICE, Gyula LAM, Wilfredo LINENBERG, Abraham LLORENS, Antonio LOZZA, Raúl MANN, David MANNING, Michael MASSON, André MATTA, Roberto MELÉ, Juan MUÑOZ, Juan NIETO, Rodolfo PELÁEZ, Amelia PEREIRA, Jorge PÉREZ, Matilde PICASSO, Pablo PUENTE, Alejandro RASKIN, Saul SANTY, Christian SHAW, Charles G. STAMOS, Theodoros SURO, Darío TORRES-GARCIA, Joaquín VARDANEGA, Gregorio VASARELY, Victor VIDAL, Miguel Ángel VIGAS, Oswaldo WARHOL, Andy WHEIGHORST, Olaf

2, 3 19, 22, 23 63, 64 24 54 21 87 88 73, 74 62 28, 29, 30 84 16 9 38 44, 46 71 25 68 85, 86 76 77 7 50 31, 32 65 26, 27, 33 49 80, 81 67

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Victor MANUEL (Cuban, 1897-1969) Muchacha campesina Watercolor on paper Signed upper right 12.75 x 10 in. - 32.38 x 25.4 cm.

Estimate: $4,000 - $6,000 This work is accompanied by a certificate of authenticity from the Fundación Arte Cubano issued by José Viegas Zamora and Ramón Vázquez Diaz

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Hector HYPPOLITE (Haitian, 1894-1948)

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Woman in cemetery Oil on masonite Signed lower right 23.75 x 18.12 in. - 60 x 46 cm.

Estimate: $5,000 - $7,000 PROVENANCE Private Collection, Miami

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Hector HYPPOLITE (Haitian, 1894-1948)

Portrait of a woman Oil on masonite Signed lower right 24 x 21.5 in. - 61 x 54.6 cm.

Estimate: $3,000 - $4,000 PROVENANCE Private Collection, Miami

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With the foundation of the Centre D’art in 1944 in PortAu-Prince by Dewitt Peters, Haitian art sprang forward.

Finally, those artistically untrained painters were given an environment in which they could develop their skills and express themselves. They were called the first generation of artists and earned the admiration of the western world.

Those talented self-taught artists were Hector Hyppolyte, Wilson Bigaud, Castera Bazile, Philome Obin and Rigaud Benoit.

Hector Hyppolyte (1894-1948) was considered as Haiti’s foremost painter. By 1946, both André Breton and Wilfredo

Lam were purchasing his work and hailing him as a master of naïve art and achieved world recognition.

Born into a family of voodoo priests, Hyppolite did not start to paint until late in his life. Characteristic of Hyppolite’s style is a free and bold handling of both color and form. His palette consists mostly of warm, sensuous tones carrying symbolic meaning. Using chicken feathers and his fingers as well as brushes, Hyppolite produced a body of work of remarkable richness and complexity.

His works are collected and exhibited in major museums throughout the world.

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«A painting is an object created by a man. It has in itself the reality and individuality of all the objects made by men and reflects mankind’s aspiration for serenity and permanent eternity.»

José Gómez SICRE

Born in Havana to a family of means, Mario Carreño entered to the San Alejandro Academy at the age of twelve. After brief studies there, he was apprenticed in the photogravure section of the newspaper Diario de la Marina. In the next few years his art education would continue at the San Fernando Academy in Madrid, as well as private lessons with the Dominican neo-classical painter Jaime Colson. Between 1932 and 1941, Carreño lived the life of an itinerant modernist, studying and painting in Madrid, Mexico, Paris and New York City, where he began to exhibit at the Perls Gallery, he returned to Havana in late 1941.

Together with René Portocarrero, Mariano Rodríguez and Cundo Bermúdez, Carreño forms the most significant quartet of the second generation of Cuban modernist painters. These artists emerged on the scene with their distinct styles in the late 1930s; art critics such as Guy Pérez Cisneros and José Gómez Sicre defined this group as la escuela de La Habana. In April 1944 Carreño and twelve other Cuban painters were highlighted in The Museum of Modern Art’s exhibition Modern Cuban Painters. By the end of that year, Carreño’s marriage to heiress María

Luisa Gómez Mena ended and the artist re-settled in New York City for the second time in his life. Carreño would live in New York City until his return to Cuba in 1952. While in Manhattan he exhibited his work at Perls Gallery and taught painting at The New School for Social Research.

Throughout the late 1940s and 50s, next to Wifredo Lam, Carreño was the best known Cuban painter in the United States.

At the parc, belongs to the artist’s second New York period. It is a work where according to the painter, «my painting began to represent a more personal aspect . . .

It became less voluminous, giving way to certain planes of color where personages from the tropics emerged . . .

Something of the metaphoric quality we find in the poems of Pablo Neruda.» Two years later José Gómez Sicre would discuss this phase of Carreño’s style as «Without reflecting a direct contact with Pre-Columbian art, these recent works posses a rare, ancestral American flavor.»

At the parc depicts a world of quite and whimsy, where two children are enjoying their time and playing with balloons. The entire composition has a hieratic quality, reflective of a synthetic cubist understanding of shape and pattern. Yet Carreño alters the extreme austerity of the French style with a harmonious palette of greens, blues, grays, reds and pink that is indicative of a Latin American sensibility to color. The overall drawing is a synthesis of the organic and the geometric, containing a deliberate awkwardness that emphasizes the child-like charm of the scene.

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Mario CARREÑO (Cuban, 1913-1999)

At the parc, 47 Oil on canvas Signed and dated lower left 28.74 x 23.6 in. - 73 x 60 cm.

Estimate: $30,000 - $40,000 PROVENANCE Private Collection, France

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The development of Cuban geometric abstraction and, specifically, the formation of Los Diez (Ten Painters), coincided with the radical political and cultural shifts that raged throughout the country in the 1950s. Los Diez formalized as a group in 1959 with their inaugural exhibition titled 10 pintores concretos exponen pinturas y dibujos (10 Concrete Painters Exhibit Paintings and Drawings) organized on the occasion of the second anniversary of the Galería de Arte Color-Luz, an artist-run space co-founded by Loló Soldevilla and her partner Pedro de Oraá in 1957 to foster abstract art in Havana. Artists in this group where Pedro Álvarez, Wifredo Arcay, Mario Carreño, Salvador Corratgé, Sandú Darié, Luis Martínez Pedro, Alberto Menocal, José Mijares, Pedro de Oraá, José Ángel Rosabal, Loló Soldevilla, and Rafael Soriano.

Sandú Darié began a fruitful correspondence with Gyula Kosice, the leader of the Argentinian concrete movement Madí.

In an effort to both create a new reality, but also transform the existing world, Sandú Darié (1908–1991) created an experimental and experiential series of kinetic sculptures and the highlights included in the auction are two example of his drawings, wherein he explored notions of the frame and its relation to space and time.

As Darié declared at the time, “This is concrete 1 painting because each painting is a new reality.”

Los Diez moved abstraction from purely visual, formal concerns toward conceptual and phenomenological ends, in line with other contemporaneous international art movements, to engage both the viewer and the broader collective conscience of Cuba.

1 Abigail McEwen, Revolutionary Horizons: Art and Polemics in 1950s Cuba (New Haven: Yale University Press, forthcoming).

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Sandú DARIÉ (Cuban, 1908-1991)

Untitled, 1962 Collage, ink and graphite on heavy paper Signed twice on upper left and twice on lower right 16.5 x 11.4 in. - 42 x 29 cm.

Estimate: $8,000 - $10,000 This work is accompanied by a certificate of authenticity issued by Pedro de Oraa

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Sandú DARIÉ (Cuban, 1908-1991)

Untitled Tempera on board Signed lower right 25.19 x 32 in. - 64 x 81.5 cm.

Estimate: $15,000 - $20,000 PROVENANCE Private Collection, Cuba Sala Retiro, Madrid This work is accompanied by a certificate of authenticity from Roberto Cobas Amate, La Habana, June 2015, registration-number 2462150144

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Darío SURO (Dominican, 1917-1997)

Untitled Watercolor on artists paper Signed lower left 25 x 19.5 in. - 63.5 x 49.53 cm.

Estimate: $2,000 - $2,500

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Agustín FERNÁNDEZ (Cuban, 1928–2006)

Untitled, 1972 Oil on canvas Signed and dated lower right 52.5 x 50 in. - 133.35 x 127 cm.

Estimate: $4,000 - $6,000 14

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Amelia PELﾃ・Z (Cuban, 1896-1968)

Untitled, 1965 Oil on heavy paper Signed and dated lower right 21.5 x 29 in. - 54 x 73.5 cm.

Estimate: $20,000 - $30,000 This work is accompanied by a certificate of authenticity from the Fundaciﾃｳn Arte Cubano issued

by Ramﾃｳn Vﾃ｡zquez Diaz

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Dulce Hernández BEATRIZ (Cuban, born 1931)

(Cuban, born 1971)

Recordando Niagra en Bicicleta, 2005

Still life Oil on canvas Signed lower left 36 x 44 in. - 91.44 x 111.76 cm.

Estimate: $2,000 - $3,000 This work is accompanied by a certificate of authenticity issued by Leonardo Beatriz

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Vicente HERNÁNDEZ

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Oil on Canvas Signed and dated on bottom right 23 3⁄4 x 31 1⁄2 in. - 60 x 79 cm.

Estimate: $4,000 - $6,000 PROVENANCE Cernuda Arte, Miami Private Collection

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Vicente HERNÁNDEZ

Vicente HERNÁNDEZ

(Cuban, born 1971)

(Cuban, born 1971)

Sonada Escapabria de un Violin Navegante, 2005

Azardoso Empinamiento para no volver, 2005

Oil on Canvas Signed and dated on bottom right 23 3⁄4 x 31 1⁄2 in. - 60 x 80 cm.

Oil on Canvas Signed and dated on bottom right 26 x 19 1⁄2 in. - 66 x 50 cm.

Estimate: $4,000 - $6,000

Estimate: $4,000 - $6,000

PROVENANCE Cernuda Arte, Miami Private Collection

PROVENANCE Cernuda Arte, Miami Private Collection

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José GARCÍA CORDERO (Dominican, born 1951)

Untitled, 1998 Charcoal and pencil on Montval artist paper Signed, dated ‘98 and situated ‘Paris’ on lower margin 19.5 x 19.5 in. - 49.53 x 49.53 cm.

Estimate: $1,000 - $1,500

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Julio GALÁN (Mexican, 1958–2006)

El Diamante Azul Pastel on paper 14 x 9 in. - 35.56 x 22.86 cm.

Estimate: $6,000 - $8,000 PROVENANCE Galeria Ramis Barquet, Mexico Private Collection, Ecuador This work is accompanied by a certificate of authenticity from Galeria Ramis Barquet

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Rodolfo NIETO (Mexican, 1936-1988)

Untitled Oil on canvas Signed lower right, countersigned on the reverse 24 x 19.5 in. - 60 x 49.53 cm.

Estimate: $10,000 - $12,000 FAAM

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Fleeing Nazi oppression and the war, Martin Blaszko and his family immigrated to Poland, then France and finally settled in Argentina. In 1945 he met the artist Carmelo Arden Quin and a year later would join the Madi movement alongside Gyula Kosice and Rod Rothfuss. Captivated by the rational language of the Madi, Blaszko developed a style that was pure and balanced, in a playful way. With the use of a compass as a main drawing tool, and the golden ratio to determine relations, Blaszko followed Madi principles creating balanced geometric paintings characterized by irregular frames and strong verticality.

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MartĂ­n BLASZKO (Argentine-German,1920-2011)

Plano Azul-Composicion Madi, 1947 Oil on panel Signed, titled and dated on the reverse 16 x 12 in. - 40.64 x 30.48 cm.

Estimate: $50,000 - $60,000

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Juan BAY (Argentine, 1892-1978)

Composition,1954 Watercolor and collage on paper Signed and dated lower right 11.02 x 9.05 in. - 28 x 23 cm.

Estimate: $2,000 - $3,000

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Gyula KOSICE (Argentine, born 1924)

Untitled Plexiglas sculpture with water Signed on the base 13.38 x 10.23 x 5.9 in. - 34 x 26 x 15 cm.

Estimate: $1,500 - $2,000 LITERATURE Geometry beyond limits: Latin-American contemporary arts, page 77, ill. n째42.

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Antonio ASIS (Argentine, born 1932)

Untitled, 1969 Acrylic on board Signed and dated lower right 5.51 x 5.51 in. - 14 x 14 cm.

Estimate: $1,500 - $2,000

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Raúl LOZZA (Argentine, 1911-2008)

Série ‘’La linea en funcion del plano’’ Etructura obra n°235, 1950 Gouache and graphite on paper Signed, titled and dated lower left 20 x 15 in. - 51 x 38 cm.

Estimate: $2,000 - $3,000 FAAM

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22 Co-founder of the Madi movement, Gyula Kosice is recognized as a leading pioneer of Lumino Kinetic art and a precursor of abstract and non-figurative art in Latin America. He was born, ‘Fernando Fallik’, in Kosice, Slovakia in 1924 and at the age of four immigrated to Argentina.

He developed his revolutionary style in the early 1940’s with the production of unconventional sculptural forms inspired by the raw, nontraditional materials found in his family operated leather shop.

In 1946, along with Carmelo Arden Quin and Rod Rothfuss, Kosice founded Arte Madi, one of the earliest movements in the Americas entirely devoted to the promotion of abstract and concrete art. The Madi objective is to create works that are in permanent state of change, therefore, objecting the idea of sculpture as a static monument and encouraging viewers to touch and interact with the art.

In the present lot, Formas Intercambiables (1945), Kosice uses raw material to create a geometric tridimensional work with no fixed position.

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Gyula KOSICE (Argentine - Slovakian born 1924)

Formas intercambiables,1945 Relief on wood Signed, titled and dated on the reverse 26.3 x 22.44 x 2.75 in. - 75 x 67 x 7cm.

Estimate: $50,000 - $60,000

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Gyula KOSICE (Argentine - Slovakian, born 1924)

Pintura Madi,1945 Oil on panel Signed and dated on the reverse 24 x 18 in. - 61 x 46 cm.

Estimate: $30,000 - $40,000 LITERATURE Geometry beyond limits: Latin-American contemporary arts, page 224, ill. n째 167

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Abraham LINENBERG Planos y color liberados, 1951 Acrylic on panel and metal Signed, titled and dated on the reverse 30.70 x 31.5 in. - 78 x 80 cm.

Estimate: $4,000 - $6,000 PROVENANCE For mer Collection of Gyula Kosice

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Alejandro PUENTE (Argentine, 1933-2013)

Untitled, 1965 Oil on canvas Signed and dated on reverse 36.2 x 36.2 in. - 92 x 92 cm.

Estimate: $5,000 - $7,000 PROVENANCE Galeria Palatina, Argentina Private Collection

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Miguel ﾃ］gel VIDAL (Argentine, 1928-2009)

Untitled, 1959 Oil on canvas Signed and dated on the reverse 28.5 x 28.5 in. - 72 x 72 cm.

Estimate: $6,000 - $8,000

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Miguel ﾃ］gel VIDAL (Argentine, 1928-2009)

Untitled Acrylic on canvas Signed and dated on the reverse 19.68 x 19.68 in. - 50 x 50 cm.

Estimate: $6,000 - $8,000

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Juan MELÉ (Argentine, 1923-2012)

Invention 184, 1985 Acrylic on canvas Signed, titled and dated ‘3/85’ on the reverse 50 x 13.45 in. - 127 x 35 cm.

Estimate: $8,000 - $10,000

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Juan MELÉ (Argentine, 1923-2012)

Untitled, 1988 Oil on panel Signed and dated on the reverse 20.07 x 12.20 in. - 51 x 31 cm.

Estimate: $6,000 - $8,000

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Juan MELÉ (Argentine, 1923-2012)

Invention #100, NY, 1977 Acrylic on canvas Signed, dated, situated lower right Countersigned, titled, dated and situated ‘New York’ on reverse 28 x 36 in. - 71 x 91.5 cm.

Estimate: $5,000 - $7,000

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Gregorio VARDANEGA (Italian, 1923-2007)

Untitled Acrylic on wood Stamped on the bottom 17 x 4.80 x 4.80 in. - 43 x 12.5 x 2.5 cm.

Estimate: $4,000 - $6,000

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Gregorio VARDANEGA (Italian, 1923-2007)

Aurores Chromatiques, Paris, 1997 Oil on canvas Signed and dated lower right Countersigned, titled, dated and situated ‘Paris’ on reverse 35.5 x 45 in. - 90 x 114.5 cm.

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Estimate: $4,000 - $6,000

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Miguel ﾃ］gel VIDAL (Argentine, 1928-2009)

Luz interior,1985 Acrylic on canvas Signed, titled, dedicated ﾂｫA Sandra con afectoﾂｻ and dated on the reverse 39.37 x 39.37 in. - 100 x 100 cm.

Estimate: $8,000 - $10,000 FAAM

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Martín BLASZKO (Argentine, 1920-2011)

Untitled, 1983 Gouache and collage on paper Monogrammed and dated lower right 12.75 x 19.5 in. - 31 x 48.5 cm.

Estimate: $2,000 - $3,000 LITERATURE Geometry Beyond limits : Latin-American contemporary arts, page 62, ill. n° 27

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Luis Fernando BENEDIT (Argentine, 1937-2011)

Untitled, 1985 Oil on canvas Signed and dated on reverse 35.5 x 35.5 in. – 90 x 90 cm.

Estimate: $4,000 - $6,000 Provenance Subastas Roldan, Argentina Private Collection

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Horacio GARCĂ?A ROSSI (Argentine, born 1929)

Couleur Lumiere, Paris 1990 Acrylic on canvas Signed and dated on reverse 39 x 19.5 in. - 99 x 49.5 cm.

Estimate: $9,000 - $11,000 Provenance Galeria Van Eyck, Argentina Private Collection

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Gaudin BOLIVAR (Uruguayan, born 1932)

Blanc sur blanc, 1996 Acrylic on wood Signed, titled, and dated on reverse 16 x 16 in. - 40.5 x 40.5 cm.

Estimate: $2,000 - $3,000

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Jorge PEREIRA (Argentine, born 1936)

Multiespacial, 2005 Acrylic on wood and fabric 51.5 x 21 x 2.5 in. - 130 x 53 x 7 cm.

Estimate: $2,000 - $3,000 38

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Horacio GARCÍA ROSSI (Argentine, born 1929)

Untitled, 1997 Acrylic on paper Signed, situated Paris and dated lower right 12.25 x 12.25 in. - 31 x 31 cm.

Estimate: $3,000 - $5,000

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Horacio GARCÍA ROSSI (Argentine, born 1929)

Untitled, 1991 Acrylic on paper Signed, situated Paris and dated lower right 12.5 x 12.5 in. - 31 x 31 cm.

Estimate: $3,000 - $5,000 FAAM

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Léon FERRARI (Argentine, 1920-2013)

Untitled,2000 Colored crayon on paper Signed and dated lower right 11.41 x 7.87 in. - 29 x 20 cm.

Estimate: $4,000 - $6,000

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Horacio GARCÍA ROSSI (Argentine, born 1929)

Couleur electrique-lumiere-ombre positive d’un cercle, 11-2008 Acrylic on canvas Signed, titled, situated Paris and dated on the reverse 23.5 x 23.5 in. - 60 x 60 cm.

Estimate: $6,000 - $8,000 40

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Horacio GARCĂ?A ROSSI (Argentine, born 1929)

Couleur electrique-lumiere, 2010 Acrylic on canvas Signed, titled, situated Paris and dated on the reverse 23.5 x 23. in. - 59.75 x 59.75 cm.

Estimate: $6,000 - $8,000 FAAM

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Matilde PÉREZ (Chilean, 1920-2014)

Back to NYC Acrylic on canvas Signed and titled on the reverse 45.27 x 31.49 in. - 115 x 80 cm.

Estimate: $20,000 - $30,000

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Elsa BOLIVAR

Matilde PÉREZ

(Chilean, born 1930)

(Chilean, 1920-2014)

Untitled, 1990 Acrylic on wood Signed on the reverse 17.5 x 15 in. - 44 x 38 cm.

Untitled, 1972 Collage on paper Signed, dated, situated Paris lower right Countersigned, dedicated «Regalo para Stuart» and dated on the reverse 16.9 x 24.8 in. - 43 x 63 cm.

Estimate: $2,000 - $3,000

Estimate: $6,000 - $8,000

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Narciso DEBOURG

Narciso DEBOURG

(Venezuelan, born 1925)

(Venezuelan, born 1925)

Untitled,1953 Gouache on paper Signed and dated on the reverse 8.66 x 15.74 in. - 22 x 40 cm.

Untitled,1950 Acrylic on paper Signed and dated lower right 6.5 x 14.86 in. - 16 x 38 cm.

Estimate: $1,500 - $2,000

Estimate: $1,500 - $2,000

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Oswaldo VIGAS (Venezuelan, born 1926)

Untitled, 18-9-1962 Oil on canvas Signed and dated upper right 25 x 19.5 in. - 63 x 49 cm.

Estimate: $20,000 - $25,000 PROVENANCE Acquired directly from the artist Collection of Peran Er miny Private collection, Venezuela This work is accompanied by a certificate of authenticity from the Vigas Foundation

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JoaquĂ­n TORRES-GARCIA (Uruguayan, 1874-1949)

Vins, 1930 Color crayon and ink on paper Signed upper left and dated upper right 5.5 x 7 in. - 13.5 x 17.8 cm.

Estimate: $1,500 - $2,000

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Gaudin BOLIVAR (Uruguayan, born 1932)

Untitled,1990 Acrylic on wood Signed and dated on the reverse 27.55 x 17.75 in. - 70 x 45 cm.

Estimate: $4,000 - $5,000 48

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César ANDRADE (Venezuelan, born 1939)

Puntigrama 300,1990 Acrylic on panel and plastic nails Signed, titled, dated and situated on the reverse 39.75 x 49.5 x 1.9 in - 101 x 126 x 5.5 cm.

Estimate: $8,000 - $10,000 On the reverse: «Atelier: 155 AV. Henri Barbusse, 92700-Colombes-France»

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Carmelo ARDEN-QUIN (Uruguayan, 1913-2010)

Mercuriel,1946 Oil on cardboard Monogrammed and dated lower right Situated and dated on the reverse 16.14 x 11.81 in. - 41 x 30 cm.

Estimate: $40,000 - $60,000 LITERATURE This work is reproduced in the catalogue raisonnĂŠ of the artist written by Alexandre de la Salle page 206 under the reference 98.

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Antonio LLORENS

José Pedro COSTIGLIOLO

(Uruguayan, 1920-1955)

(Uruguayan, 1902-1985)

Planos y color, 1950

Carton-Vitral, 1960

Acrylic on cut wood Signed and dated on the reverse 45 x 41in. (support 23.5 x 23.5 in.) 114.3 x 104.14 cm. (support 59.69 x 59.69 cm.)

Acrylic on paper Signed, titled and dated on the reverse 35.43 x 27.55 in. - 90 x 70 cm.

Estimate: $15,000 - $20,000

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Estimate: $20,000 - $30,000 Note on the back: « Cartón Para Vitral (16) de la autora de José Pedro Costigliolo Certifica Maria Freire» Signed by María Freire ex. 325.906

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Carmelo Arden Quin was a Uruguayan painter and poet, remembered for having played a key role in the development of geometric abstraction. He met the artist Joaquin Torres Garcia in 1935, learning a great deal about abstract art by his side, and was one of the founding members of the Madí art group in 1946 in Buenos Aires. This particular movement focused on invention and motion, creating brightly colored compositions with collages, geometric patterns and irregular planes.

For years to come, Arden Quin would continue to explore different possible ways of renewing these esthetic principles.

The artist moved to Paris in 1948 where he met Herbin, Arp and de Staël to mention a few and he spent the better part of his long career in the French capital. His art is ever- changing, inventive and playful, still completely relevant to artists today.

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Carmelo ARDEN-QUIN (Uruguayan, 1913-2010)

Sans titre, 1948 Oil on cardboard Signed and dated on the reverse 29.13 x 18.7 in. - 74 x 47.5 cm.

Estimate: $50,000 - $70,000 LITERATURE This work is reproduced in the catalogue raisonné of the artist written by Alexandre de la Salle page 217 under the reference 230.

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José Pedro COSTIGLIOLO (Uruguayan, 1902-1985)

Formas Geométricas en Amarillo y Celeste, 1965 Tempera on cardboard Signed dated lower right 23. x 19.5 in. - 58.5 x 49.5 cm.

Estimate: $10,000 - $12,000

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José Pedro COSTIGLIOLO (Uruguayan, 1902-1985)

Rectángulos, 1980 Oil on canvas Signed and dated lower left Countersigned and dated on the reverse 23.5 x 23.5 in. - 60 x 60 cm.

Estimate: $10,000 - $12,000 PROVENANCE Castells y Castells, Uruguay Private Collection, Ecuador

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Carmelo ARDEN-QUIN (Uruguayan, 1913-2010)

Degrés I, 1949 Oil on masonite Monogrammed and dated lower right Signed, titled, dated, situated Paris (Ivry) on the reverse 26.85 x 16.77 in. - 68.2 x 42.6 cm.

Estimate: $50,000 - $70,000 LITERATURE This work is reproduced in the catalogue raisonné of the artist written by Alexandre de la Salle page 219 under the reference 263.

EXHIBITIONS Retrospective Arden-Quin, Musée de Ponchettes, Nice, 1985 - Arden-Quin, Musée de Pontoise, Pontoise, 1989

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María FREIRE

María FREIRE

(Uruguayan, 1917-2015)

(Uruguayan, 1917-2015)

Estructura para Escultura, 1959 Marker on paper Monogrammed, titled and dated lower left 18.7 x 25.39 in. - 47.5 x 64.5 cm.

Córdoba 270, 1970

Estimate: $4,000 - $6,000 PROVENANCE Juan Gomensoro Galeria y Remate, Montevideo

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Oil on canvas Signed and dated lower left Countersigned, titled and dated on the reverse 24.5 x 18.5 in. - 62.23 x 47 cm.

Estimate: $15,000 - $20,000 PROVENANCE Juan Gomensoro Galeria y Remate, Montevideo

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Roberto MATTA (Chilean, 1911-2002)

La placets de paracelse, 1997 Oil on paper laid on canvas Signed lower right 27 x 19 in. - 68.58 x 48.26 cm.

Estimate: $40,000 - $60,000 This work is accompanied by a certificate of authenticity issued by Ger mana Ferrari Matta This work is registered in the Archives de l’Oeuvre de Matta.

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Wifredo LAM (Cuban, 1902-1982)

Composition, 1960 Pastel and ink on paper Signed, situated «Zurich» and dated lower right 13.5 x 19.3 in. - 34.5 x 49 cm.

Estimate: $12,000 - $13,000 PROVENANCE Private Collection, France

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Wifredo LAM (Cuban, 1902-1982)

Composition, 1960 Pastel and ink on paper Signed, situated «Zurich» and dated lower right 13.5 x 19.3 in. - 34.5 x 49 cm.

Estimate: $12,000 - $13,000 PROVENANCE Private Collection, France

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Victor Vasarely was a Hungarian-French artist credited with having created the Op Art movement. He developed his own universal language through his geometric form of abstraction, which he varied to create different optical patterns. His works evoke an optical effect and the illusion of movement, which was a major contribution to the development of kinetics within Op Art. In 1968, Victor Vasarely started the Vega series, in which he uses a grid in which he arranges geometric forms in brilliant colors to create the illusion of a shifting concave and/or convex surface. During this period, we see some of the most advanced applications of Vasarely’s systematic approach to form and color.

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Victor VASARELY (Hungarian, 1906-1997)

Tridim-C, 1968 Acrylic on canvas Signed and dated on reverse 63 x 63 in. - 160 x 160 cm.

Estimate: $80,000 - $100,000 PROVENANCE Sidney Janis Gallery, New York.

Private Collection The authenticity of the present work has been confir med by Pierre Vasarely The work will be included in the forthcoming Catalogue Raisonné de l’Oeuvre Peint de Victor Vasarely, which is currently being compiled by The Fondation Vasarely, Aix-en-Provence.

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Leopold GOTTLIEB (Ukrainian, 1883-1934)

Portrait of a Woman, 1932 Oil on canvas Signed lower left, dated and situated lower right 31.75 x 25.5 in. - 81 x 65 cm.

Estimate: $4,000 - $6,000 PROVENANCE Private Collection, Miami

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Olaf WHEIGHORST (Danish, 1899-1988)

Portrait of actor Pedro González González Oil on board Signed and dedicated to ‘Pedro González’ lower right 11 x 9 in. - 28 x 23 cm.

Estimate: $3,000 - $5,000 70

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David Davidovich BURLIUK 68

(Ukrainian, 1882-1967)

Saul RASKIN

Untitled, 1948 Oil on panel Signed lower left and dated lower right 7.25 x 9.75 in. - 18.41 x 24.76 cm.

(American, 1878-1966)

Jerusalem Market street Oil on paper board Signed in Hebrew lower left 19.5 x 23 in. - 49.53 x 58.42 cm.

Estimate: $3,000 - $4,000

Estimate: $2,000 - $3,000 The Burliuk Committee has confir med the authenticity of this work and will include it in the forthcoming Catalogue RaisonnĂŠ

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David Davidovich BURLIUK (Ukrainian, 1882-1967)

The Bathers Oil on canvas Signed lower right 23 x 35 in. - 58.42 x 88.9 cm.

Estimate: $30,000 - $40,000 This work is accompanied by a certificate of authenticity from the Burliuk Committee, issued by Aaron Brassner

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Pablo PICASSO (Spanish, 1881-1973)

Nu assis, circa 1931 Etching Signed by the hand of the artist lower right Inventory number 337.52 on reverse 17.75 x 13.5 in. - 45 x 34.29 cm.

Estimate: $2,000 - $3,000 Etching numbered 76 from Vollard Edition from 1939

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Rudolf BAUER (German, 1889-1953)

Andante, 1920 Watercolor and tempera on paper Signed lower right Label on reverse from the Guggenheim NYC 13 x 8.25 in. - 33.02 x 20.95 cm.

Estimate: $2,000 - $3,000 74

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AndrĂŠ MASSON

AndrĂŠ MASSON

(French, 1896-1987)

(French, 1896-1987)

Massacres, circa 1930 China Ink on paper Numbered in pencil lower right: 59667 bis and 10761 8 x 11 in. - 20.32 x 28 cm.

Untitled, 1938 China Ink on paper Signed and dated upper right 12.5 x 18.75 in. - 31.8 x 47.6 cm.

Estimate: $2,000 - $3,000

Estimate: $5,000 - $7,000 FAAM

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Luigi Colombo (Revello, 1904 – Torino, 1936), also known with his “Nom de Plume” Fillìa, was an Italian painter, poet, critic and major intellectual figure of the “Turin’s Futurist Movement” which he founded in 1923.

Fillìa was exposed to art and writing from an early age while he was still a classical student in Ancient Greek and Latin at school.

The following year he founded his Manifesto Futurista, celebrating the beauty of urban modernity and technology, the myth of machines, progress and speed, declaring the intention to express such physical sensations of movement on the canvas, he published several poems and writings with other acclaimed artists such as Bracci, Pozzo and other futurists.

This present painting, dated 1931, was painted after his repeated stays in Paris between 1926 – 1930 when he encountered non-figurative painters gathered together around the exhibitions “L’Esprit Nouveau” and “Cercle et Carré” such as Juan Gris, Fernand Leger and Prampolini. Paesaggio (con chiesa e alberi) one can see the ability of Fillìa to convert into its own artistic language new input received in Paris.

The great dynamism of this painting is created by the intersection of round and sharp-cornered lines, while the center of the work is a church with its round arch. The spiritual meaning here is more strong than the mechanical composition of the aeropainting’s Futurist imagery developed in the 1930s. In fact, Fillìa became one of the most prolific sacred painter along with F.T. Marinetti and with him he wrote the Sacred Art Futurist Manifesto in 1931, celebrating the force of holiness into the arts. From 1930 onwards, he created in own sacred language in his paintings and participated to a relevant number of exhibitions and the Venice Biennale in 1932 and 1934.

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FILLÌA (Luigi Colombo) (Italian, 1904-1936)

Paesaggio (con chiesa e alberi) Oil on board, 1931 Signed ‘FILLIA’ lower left Countersigned, labeled and inscribed ‘FILLIA (via Sacchi 54 - Torino) Paesaggio’ on the reverse 27.4 x 20 in. - 69.5 x 50 cm.

Estimate: $25,000 - $30,000 PROVENANCE Confederazione Fascista dei Professionisti e degli Artisti, Campobasso, no. 49.

Private Collection, Rome This work is accompanied by a Certificate of Authenticity from Dr. Elio Pinottini, Director Galleria Narciso, Turin.

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Charles G. SHAW (American, 1892- 1974) Untitled Oil on board Signed on reverse 9 x 12 in. - 22.86 x 30.48 cm.

Estimate: $4,000 - $6,000

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Theodoros STAMOS (Greek, 1922–1997)

Infinity Field, Lefkada Series No. 9, 1978 Acrylic on paper 22 x 30 in. - 55.88 x 76.2 cm.

Estimate: $4,000 - $5,000 PROVENANCE Ericson Gallery, NYC Private Collection, Florida

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Robert BARIBEAU (American, born 1949)

Untitled, 1980 Oil on canvas Signed and dated on reverse 68 x 68 x 2 in. - 173 x 173 x 5 cm.

Estimate: $10,000 - $12,000 PROVENANCE Alan Stone Projects, NYC

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José-Maria David was born in 1944, in Loire Atlantique, France. He spent his childhood in a forest, which was one of the main hunting areas of the Dukes of Brittany during the middle Ages and the Renaissance.

In this environment full of history, he lived in harmony with nature and animals, particularly horses. It is not a surprise that his work focuses primarily on sculpturing animals, and vehicles an absolute perception of mobility. In establishing the unleashing of the animal by hypermobility and speed, José-Maria David produces almost kinetic effects of exceeding the vision and body.

With talent, he gives life to magnificent animals in bronze. He has created 300 sculptures over 20 years, some reached records in international auctions, such as “Cheetah” awarded 250,000 € in August 2010 in Deauville.

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Jose-Maria DAVID (French, born 1944) A pair of french silver plated bronze five light candelabra with panthers Signed on base E.A. 4/4 Height: 22 in. - 56 cm.

Estimate: $20,000 - $30,000

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Andy WARHOL (American, 1928–1987)

Campbell’s Soup Can Shopping Bag, 1966 Screenprint on paper bag released in 1966 by the Institute of Contemporary Art, Boston 19.5 x 17 in. - 49.53 x 43.18 cm.

Estimate: $3,000 - $5,000

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Andy WARHOL (American, 1928–1987)

«Marilyn» Invitation for the Castelli Graphics print retrospective of Andy Warhol, 1963 - 1981 Screen print on card Signed along the right margin 12 x 12 in. - 30.5 x 30.5 cm.

Estimate: $10,000 - $12,000

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Erté (French, 1892–1990)

Untitled Gouache on paper Signed on the right hand side 11.5 x 8.5 in. - 29.21 x 21.59 cm.

Estimate: $600 - $800

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Erté (French, 1892–1990)

Untitled Gouache on cardboard Signed on the right hand side 16 x 11.5 in. - 40.64 x 29.21 cm.

Estimate: $600 - $800 84

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Juan MUÑOZ (Spanish, 1953–2001)

Uff, 1992 Plastic painted Signed and numbered XVII/XX on bottom 9.1 x 3.5 x 5.1 in. - 23 x 9 x 13 cm.

Estimate: $3,000 - $5,000 FAAM

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Christian SANTY (Cuban, born 1973)

Sue fue al voli, 2011 Mixed media on canvas Signed lower right and titled in the center 40 x 30 in. - 101.6 x 76.2 cm.

Estimate: $6,000 - $8,000 This work is accompanied by a certificate of authenticity issued by the artist

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Christian SANTY (Cuban, born 1973)

Encierro, 2016 Mixed media on canvas Signed lower left and titled in the center 40 x 30 in. - 101.6 x 76.2 cm.

Estimate: $6,000 - $8,000 This work is accompanied by a certificate of authenticity issued by the artist

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David MANN

Michael MANNING

(American, born 1940)

(American, born 1985)

Slipstream, 2011 Acrylic and oil on canvas stretched over board Signed, titled, dated on the reverse 78 x 72 in. - 198 x 183 cm.

Unreflected (Sheryl Crown Pandora Painting), 2014 Acrylic, digital print on canvas Signed and dated on the reverse 72 x 48 in. – 182.9 x 122 cm.

Estimate: $3,000 - $5,000

Estimate: $8,000 - $10,000

PROVENANCE McKenzie Fine Art, NYC

PROVENANCE Acquired directly from the artist Private Collection, Los Angeles Private Collection, New York

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FRACTALS Far Away Weight: 1’912 g.

Color: Lilla Material: Vaporized metallic lilla on Sand Rose Dimensions: 6 x 8 x 8 in. - 15 x 20 x 20 cm.

Estimate: $4,000 - $6,000

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FRACTALS Moonlight Weight: 1’912 g.

Color: Silver Material: Electroplated sterling silver on Sand Rose Dimensions: 5 x 9 x 8 in. - 13 x 23 x 20 cm.

Estimate: $4,000 - $6,000

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Ewa BATHELIER (Polish, born 1962)

White Tutu Acrylic on fabric 78 × 86 in . - 200 × 220 cm.

Estimate: $8,000 - $10,000

Ewa Bathelier’s experience as a costume and set designer in the theater is clearly reflected in her signature acrylic paintings.

Having spent her adult life in France, the artist focuses on one of the country’s most famous cultural exports—ballet, specifically ballet attire. Light, free-floating, and symbolic, the primavera dresses, leotards, and tutus she depicts are thrown into relief by their monochrome backgrounds, though the garments conspicuously lack the bodies that are meant to inhabit them.

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Blue and Joy are the main characters of a project created

by Fabio La Fauci (Milan 1977) and Daniele Sigalot (Rome 1976) at the end of 2005.

A unique and rare “media event� in the world of contemporary art that in seven years has imposed their brand (from pages of books to the great wall installations) with its own philosophy expressing the feelings of a generation and of an age. The extraordinary ability of communicating corresponds to a wide linguistic versatility: they use a lot of materials, often innovative; they test multiple and interdisciplinary techniques; their installations always have a great impact.

The shaped and homonymous puppets (Blue and Joy) have opposite expressions and contrasting emotions.

Ironic and conceptual, they have a constant confrontation about communication: verbal, visual, coded, allusive, but always revealing hidden messages combined to real emotions.

Blue and Joy are dreamers of a world where contradictions and questions stimulate adventures and characters, always linked by a thin red line, the one of surprise and alienation.

They live and work in Berlin, in their (already) mythic Pizzeria, a real factory, hothouse of connections and laboratory of dreams.

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BLUE AND JOY (Italians, born 1977 and born 1976)

Planes installation, 2014 100 ct. aluminum planes Dimensions vary according to the composition of airplanes Estimate: $25,000 - $30,000 These images show a previous in situ installation composed by 100 airplanes.

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TERMS AND CONDITIONS OF AUCTION AUCTIONEER AND AUCTION 1. This Auction is presented by Fine Art Auctions Miami, LLC. (FAAM) as identified with the applicable licensing information on the title page of the catalogue. The Auction is conducted under these Terms and Conditions of Auction and applicable state and local law. Announcements and corrections from the podium and those made through the Terms and Conditions of Auctions appearing on the Internet at FAAMiami.com supersede those in the printed catalogue.

BUYER’S PREMIUM 2. On bids placed through Auctioneer, a Buyer’s Premium of 25 percent (25%) will be added to the successful hammer price bid on each lot up to and including $50,000, 20% from %50,001 to $1,000,000 and 15% from $1,000,001 in all Auctions. There is a minimum Buyer’s Premium of $25 per lot.

The following Chart governs current bidding increments.

Current Bid _____ Bid Increment Current Bid __________ Bid Increment $10 $1 $10 - $29 $2 $30 - $49 $3 $50-$99 $5 $100 - $199 $10 $200 - $299 $20 $300 - $499 $25 $500 - $999 $50 $1,000 - $1,999 $100 $2,000 - $2,999 $200 $3,000 - $4,999 $250 $5,000 - $9,999 $500

$10,000 - $19,999 $20,000 - $29,999 $30,000 - $49,999 $50,000 - $99,999 $100,000 - $199,999 $200,000 - $299,999 $300,000 - $499,999 $500,000 - $999,999 $1,000,000 - $1,999,999 $2,000,000 - $2,999,999 $3,000,000 - $4,999,999 $5,000,000 - $9,999,999 > $10,000,000

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Off-increment bids may be accepted by the Auctioneer at Auctions. If the Auctioneer solicits bids other than the expected increment, these bids will not be considered Cut Bids.

BIDDERS

CONDUCTION THE AUCTION

AUCTION VENUES

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BIDDING OPTIONS 8. Bids in Auction may be placed as set forth in the printed catalog section entitled “Choose your Bidding Method.”

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10. Auctioneer’s execution of certain high bids. Auctioneer cannot be responsible for your errors in bidding, so carefully check that every bid is entered correctly. When identical mail or FAX bids are submitted, preference is given to the first received. To ensure the greatest accuracy, your written bids should be entered on the standard printed bid sheet and be received at Auctioneer’s place of business at least two business days before the Auction start. Auctioneer is not responsible for executing mail bids or FAX bids received on or after the day the first lot is sold, nor Internet bids submitted by telephone, mail, FAX, e-mail, Internet, or in person once the Auction begins.

Bids placed electronically via the Internet may not be withdrawn until your written request is received and acknowledged by the Auctioneer (FAX: 305573-4245); such requests must state the reason, and may constitute grounds for withdrawal of bidding privileges. Lots won by mail Bidders will not be delivered at the Auction unless prearranged.

11. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest amount you may bid on a particular lot. Bids greater than one increment over the current bid can be any whole dollar amount. It is possible under several circumstances for winning bids to be between increments, sometimes only $1 above the previous increment. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted.

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13. A “Minimum Bid” is an amount below which the lot will not sell. THE CONSIGNOR OF PROPERTY MAY PLACE WRITTEN “Minimum Bids” ON HIS LOTS IN ADVANCE OF THE AUCTION; ON SUCH LOTS, IF THE HAMMER PRICE DOES NOT MEET THE “Minimum Bid”, THE CONSIGNOR MAY PAY A REDUCED COMMISSION ON THOSE LOTS. “Minimum Bids” are generally posted online several days prior to the Auction closing. For any successful bid placed by a consignor on his Property on the Auction floor, or by any means during the live session, or after the “Minimum Bid” for an Auction have been posted, we will require the consignor to pay full Buyer’s Premium and Seller’s Commissions on such lot.

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16. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids, or very nominal advances. If a lot bearing estimates fails to open for 40-60% of the low estimate, the Auctioneer may pass the item or may place a protective bid on behalf of the consignor.

17. Lots bearing bidding estimates shall open at Auctioneer’s discretion (approximately 50-60% of the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall pass as unsold.

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TERMS AND CONDITIONS OF AUCTION prior to the hammer based on upon data made known to the Auctioneer or its affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors.

22. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.

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Auctioneer reserves the right to determine if a check constitutes “good funds” when drawn on a U.S. bank for ten days, and thirty days when drawn on an international bank. Credit Card (Visa or Master Card only) and PayPal payments may be accepted up to $10,000 from non-dealers at the sole discretion of the Auctioneer, subject to the following limitations: a/ sales are only to the cardholder, b) purchases are shipped to the cardholder’s registered and verified address, c) Auctioneer may pre-approve the cardholder’s credit line, d) a credit card transaction may not be used in conjunction with any other financing or extended terms offered by the Auctioneer, and must transact immediately upon invoice presentation, e) rights of return are governed by these Terns and Conditions, which supersede those conditions promulgated by the card issuer, f ) floor Bidders must present their card.

24. Payment is due upon closing of the Auction session, or upon presentment of an invoice. Auctioneer reserves the right to void an invoice if payment in full is not received within 7 days after the close of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) on the lot and any other damages pertaining to the lot.

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Bidder agrees to pay Auctioneer the actual amount of tax due in the event that sales tax is not properly collected due to: 1) an expired, inaccurate, inappropriate tax certificate or declaration, 2) an incorrect interpretation of the applicable statute, 3) or any other reason. The appropriate form or certificate must be on file at an verified by Auctioneer five days prior to Auction or tax must be paid; only if such form or certificate is received by Auctioneer within 4 days after the Auction can a refund of tax paid e made.

Lots from different Auctions may not be aggregated for sales tax purposes.

26. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck and your financial institution denies this transfer from your bank account, or the payment cannot be completed using the selected funding source, you agree to complete payment using your credit card on file.

27. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance will bear interest at the highest rate permitted by law from the date of invoice until paid. Any invoice not paid when due will bear a three percent (3%) late fee on the invoice amount or three percent (3%) of any installment that is past due. IF the Auctioneer refers any invoice to an attorney for collection, the buyer agrees to pay attorney’s fees, court costs, and other collection costs incurred by Auctioneer. If Auctioneer assigns collection to its in-house legal staff, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.

28. In the event a successful Bidder fails to pay any amount due, Auctioneer reserves the right to sell the lot(s) securing the invoice to any under bidders in the Auction that the lot(s) appeared, or at subsequent private or public sale, or relist the lot(s) in a future auction conducted by Auctioneer. A defaulting Bidder agrees to pay for the reasonable costs of resale (including a 10% seller’s commission, if consigned to an auction conducted by Auctioneer).

The defaulting Bidder is liable to pay any difference between his total original invoice for the lot(s), plus any applicable interest, and the net proceeds for the lot(s) if sold at private sale or the subsequent hammer price of the lot(s) less the 10% seller’s commission, if sold at an Auctioneer’s auction.

29. Auctioneer reserves the right to require payment in full in good funds before delivery of the merchandise.

30. Auctioneer shall have a lien against the merchandise purchased by the buyer to secure payment of the Auction invoice. Auctioneer is further granted a lien and the right to retain possession of any other property of the buyer then held by the Auctioneer or its affiliates to secure payment of any Auction

invoice or any other amounts due the Auctioneer or affiliates from the buyer.

With respect to payment of the Auction invoice(s), the buyer waives any and all rights of offset he might otherwise have against the Auctioneer and the consignor of the merchandise included on the invoice. If a Bidder owes Auctioneer or its affiliates on any account, Auctioneer and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure possession lien any unpaid amount by any of the Bidder’s property in their possession.

31. Title shall not pass to the successful Bidder until all invoices are paid in full.

It is the responsibility of the buyer to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.

DELIVERY, SHIPPING AND HANDLING CHARGES 32. Buyer is liable for shipping and handling. Auctioneer is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs.

33. Successful international Bidders shall provide written shipping instructions, including specified customs declarations, to the Auctioneer for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item(s) hammer price together with its buyer’s premium and Auctioneer shall use the correct harmonized code for the lot. Domestic Buyers on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.

34. All shipping charges will be borne by the successful Bidder. On all domestic shipments, any risk of loss during shipment will be borne by FAAM, LLC until the shipping carrier’s confirmation of delivery to the address of record in Auctioneer’s file (carrier’s information is conclusive to prove delivery to Bidder; if client has a Signature release on file with the carrier, the package is considered delivered without Signature) or delivery by FAAM, LLC to Bidder’s selected third-party shipper. On all foreign shipments, any risk of loss during shipment will be borne by the Bidder following Auctioneer’s delivery to the Bidder’s designated common carrier or third-party shipper.

35. Due to the nature of some items sold, it shall be the responsibility for the successful Bidder to arrange pick-up and shipping through third-parties; as to such items Auctioneer shall have no liability. Failure to pick-up or arrange shipping in a timely fashion (within thirty days) shall subject Lots to storage and moving charges, including $100 administration fee plus $10 daily storage for larger items and $5 daily for smaller items (storage fee per item) after 35 days. In the event the Lot is not removed within ninety days, the Lot may be offered for sale to recover any past due storage or moving fees, including a 10% Seller’s Commission.

36. The laws of various countries regulate the import or export of certain plant and animal properties, including (but not limited to) items made of (or including) ivory, whalebone, turtle shell, coral, crocodile, or other wildlife.

Transport of suck lots may require special licenses for export, import, or both.

Bidder is responsible for: 1) obtaining all information on such restricted items for both export and import; 2) obtaining all such licenses and/or permits.

Delay or failure to obtain any such license or permit does not relieve the buyer of timely compliance with standard payment terms.

37. Any request for shipping verification for undelivered packages must be made within 30 days of shipment by Auctioneer.

CATALOGING, WARRANTIES, AND DISCLAIMERS 38. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of the items or second opine contained in this Auction is for the sole purpose of identifying the items for those Bidders who do not have the opportunity to view the lots prior to bidding, and no description of items has been made part of the basis of the bargain or has created any express warranty that the goods would conform to any description made

by Auctioneer. Color variations can be expected in any electronic or printed images, and are not grounds for the return of any lot. NOTE: Auctioneer, in specified auction venues, for example, Fine Art, may have express written warranties and you are referred to those specific terms and conditions.

39. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have by virtue of consignment agreements on the date of auction and disclaims any warranty of title to the Property. Auctioneer disclaims any warranty of merchantability or fitness for any particular purposes.

All images, descriptions, sales data, and archival records are the exclusive property of Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any other uses deemed appropriate.

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TERMS AND CONDITIONS OF AUCTION 40. Translations of foreign language documents may be provided as a convenience to interested parties. Auctioneer makes no representation as to the accuracy of those translations and will not be held responsible for errors in bidding arising from inaccuracies in translation.

41. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of or in connection with the sale of any Property by Auctioneer to Bidder. No third party may rely on any benefit of these Terms and Conditions and any rights, if any, established hereunder are personal to the Bidder and may not be assigned. Any statement made by the Auctioneer is an opinion and does not constitute a warranty or representation. No employee of Auctioneer may alter these Terms and Conditions, and, unless signed by a principal of Auctioneer, any such alteration is null and void.

42. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); such defects, in any event, shall not be a basic for any claim for return or reduction in purchase price.

RELEASE 43. In consideration of participation in the Auction and the placing of a bid, Bidder expressly released Auctioneer, its officers, directors, and employees, its affiliates, and its outside experts that provide second opines, from any and all claims, cause of action, chose of action, whether at law or equity or any arbitration or mediation rights existing under the rules of any professional society or affiliation based upon the assigned description, or a derivative theory, breach of warranty express or implied, representation or other matter set forth within these Terms and Conditions of Auction or otherwise. In the event of a claim, Bidder agrees that such rights and privileges conferred therein are strictly construed as specifically declared herein; e.g., authenticity, typographical error, etc. and are the exclusive remedy. Bidder, by noncompliance to these express terms of a granted remedy, shall waive any claim against Auctioneer.

44. Notice: Some Property sold by Auctioneer are inherently dangerous e.g. firearms, cannons, and small items that may be swallowed or ingested or may have latent defects all of which may cause harm to a person. Purchaser accepts all risk of loss or damage from its purchase of these items and Auctioneer disclaims any liability whether under contract or tort for damages and losses, direct or inconsequential, and expressly disclaims any warranty as to safety or usage of any lot sold.

DISPUTE RESOLUTION AND ARBITRATION PROVISION 45. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and Conditions of Auction, and specifically agrees to the dispute resolution provided herein. Consumer disputes shall be resolved through court litigation which has an exclusive Miami, Florida venue clause and jury waiver. Non-consumer disputes shall be determined in binding arbitration which arbitration replaces the right to go to court, including the right to a jury trial.

46. Auctioneer in no event shall be responsible for consequential damages, incidental damages, compensatory damages, or any other damages arising or claimed to be arising from the auction of any lot. In the event that Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title, or other transfer of condition issue is claimed, in such cases the sole remedy shall be limited to rescission of sale and refund of the amount paid by Bidder; in no case shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapses, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

47. In the event of an attribution error, Auctioneer may at its sole discretion, correct the error on the Internet, or, if discovered at a later date, to refund the buyer’s purchase price without further obligation.

48. Dispute Resolution for Consumers and Non-Consumers: Any claim, dispute, or controversy in connection with, relating to and/or arising out of the Auction, participation in the Auction, award of lots, damages of claims to lots, descriptions, condition reports, provenance, estimates, return and warranty rights, any interpretation of these Terms and Conditions, any alleged verbal modification of these Terms and Conditions and/or any purported settlement whether asserted in contract, tort, under Federal or State statute or regulation shall or any other matter: a) if presented by a consumer be exclusively heard by, and the parties consent to, exclusive in personam jurisdiction in the State District Courts of Miami-Dade County, Florida. THE PARTIES EXPRESSLY WAIVE ANY RIGHT TO TRIAL BY JURY. Any appeals shall be solely pursued in the appellate courts of the State of Florida or b) for any claimant other than a consumer, the claim shall be presented in confidential binding arbitration before a single arbitrator, that the parties may agree upon, selected from the mediator list of Florida. The case is not to be administrated by mediators; 96

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however, if the parties cannot agree on an arbitrator, then mediators shall appoint the arbitrator and it shall be conducted under mediator’s rules. The locale shall be Miami, Florida. The arbitrator’s award may be enforced in any court of competent jurisdiction. Any claim must be brought within one (1) year of the alleged breach, default or misrepresentation or the claim is waived. This agreement and any claims shall be determined and construed under Florida law. The prevailing party (party that is awarded substantial) and material relief on its claim or defense) may be awarded its reasonable attorneys’ fees and costs.

49. No claims of any kind can be considered after the settlements have been made with the consignors. Any dispute after the settlement date is strictly between the Bidder and consignor without involvement or responsibility of the Auctioneer.

50. In consideration of their participation in or application for the Auction, a person or entity (whether the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) agrees that all disputes in any way relating to, arising under, connected with, or incidental to these Terms and Conditions and purchases, or default in payment hereof, shall be arbitrated pursuant to the arbitration provision. In the event that any matter including actions to compel arbitration, construe the agreement, actions in aid or arbitration or otherwise needs to be litigated, such litigation shall be exclusively in the Courts of the State of Florida, in Miami-Dade County, Florida, and if necessary the corresponding appellate courts. For such actions, the successful Bidder, purchaser, or Auction participant also expressly submits himself to the personal jurisdiction of the State of Florida.

51. These Terms & Conditions provide specific remedies for occurrences in the auction and delivery process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that any claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided in these Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot.

MISCELLANEOUS 52. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize the Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, Auctioneer reserves the right to charge the Bidder the applicable Buyer’s Premium and consignor a Seller’s Commission as determined for each auction venue and by the terms of the Seller’s agreement.

53. Acceptance of these Terms and Conditions qualifies Bidders as a client who has consented to be contacted by FAAM, LLC in the future. In conformity with “do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contact at the phone number shown in his application shall remain in effect until it is revoked in writing. FAAM, LLC may from time to time contact Bidder concerning sale, purchase, and auction opportunities available through FAAM, LLC and its affiliates and subsidiaries.

54. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions of Auction by these additional rules and shall be construed to give force and effect to the rules in their entirety.

Fine and Decorative Arts Term A: Limited Warranty Auctioneer warrants authorship period or culture of each lot sold in this catalog as set out in the BOLD face type heading in the catalog description of the lot, with the following exclusions.

This warranty does not apply to: I. authorship of any paintings, drawings, or sculpture created prior to 1870, unless the lot is determined to be a counterfeit which has a value at the date of the claim for rescission which is materially less than the purchase price paid for the lot; or II. any catalog description where it was specifically mentioned that there is a conflict of specialist opinion on the authorship of a lot; or III. authorship which on the date of sale was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist or craftsman, his students, school, workshop or followers; or IV. the identification of periods or dates of execution which may be proven inaccurate by means of scientific processes not generally accepted for use until after publication of the catalog, or which were unreasonably expensive or impractical to use at the time of publication of the catalog. The term counterfeit is defined as a modern fake or forgery, made less than fifty years

TERMS AND CONDITIONS OF AUCTION ago with the intent to deceive. The authenticity of signatures, monograms, initials or other similar indications of authorship is expressly excluded as a controlling factor in determining whether a work is a counterfeit under the meaning of these Terms and Conditions of Auction.

FINE AND DECORATIVE ARTS TERM: GLOSSARY OF TERMS Terms used in this catalog have the following meanings. Please note that all statements in this catalog, excluding those in BOLD-face type, regarding authorship, attribution, origin, date, age, provenance, and condition are statements of opinion and are not treated as a statement of fact.

1. AUGUSTE RENOIR In our opinion, the work is by the artist.

2. ATTRIBUTED TO AUGUSTE RENOIR In our opinion, the work is of the period of the artist which may be whole or in part the work of the artist.

3. STUDIO, (CIRCLE OR WORKSHOP) OF AUGUSTE RENOIR In our opinion, the work is of the period and closely relates to his style.

4. SCHOOL OF AUGUSTE RENOIR In our opinion, the work is by a pupil or a follower of the artist.

5. MANNER OF AUGUSTE RENOIR In our opinion, the work is in the style of the artist is of a later period.

6. AFTER TO AUGUSTE RENOIR In our opinion, this work is a copy of the artist.

7. ASCRIBED TO AUGUSTE RENOIR In our opinion, this work is not by the artist, however, previous scholarship has noted this to be a work by the artist.

8. SIGNED (OR DATED) The work has a signature (or date) which is in our opinion genuine.

9. BEARS SIGNATURE (OR DATE) The work has a signature (or date) which in our opinion is not authentic.

FINE AND DECORATIVE ARTS TERM C: PRESENTMENT The warranty as to authorship is provided for a period of one (1) year from the date of the auction and is only for the benefit of the original purchaser or record and is not transferable.

FINE AND DECORATIVE ARTS TERM D The Auction is not on approval. Under extremely limited circumstances (e.g. gross cataloging error), not including attributions in BOLD-face type, which are addressed in Term F below, a purchaser who did not bid from the floor may request Auctioneer to evaluate voiding a sale; such request must be made in writing detailing the alleged gross error, and submission of the lot to Auctioneer must be pre-approved by Auctioneer. A bidder must notify the appropriate department head (check the inside front cover of the catalog or our website for a listing of department heads) in writing of the purchaser’s request within three (3) days of the non-floor bidder’s receipt of the lot. Any lot that is to be evaluated for return must be received in our offices within 35 days after Auction. AFTER THAT 35-DAY PERIOD, NO LOT MAY BE RETURNED FOR ANY REASON. Lots returned must be in the same condition as when sold and must include any Certificate of Authenticity. No lots purchased by floor bidders (including those bidders acting as agents for others) may be returned.

Late remittance for purchases may be considered just cause to revoke all return privileges.

Upon receipt of the two opinions, Auctioneer shall determine whether to rescind the sale. The Purchaser’s claim must be presented in accord with the remedies provided herein and is subject to the limitations and restrictions provided (including within the described time limitations). Regardless of Purchaser’s submissions there is no assurance after such presentment that Auctioneer ill validate the claim. Authentication is not an exact science and contrary opinions may not be recognized by Auctioneer. Even if Auctioneer agrees with the contrary opinion of such authentication and provides a remedy within these Terms and Conditions or otherwise, our liability for reimbursement for bidder’s third party opines shall not exceed $500. The right of rescission, return, or any other remedy provided in these Terms and Conditions, or any other applicable law, does not extend to authorship of any lot which at the date of Auction was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist, his students, school, workshop or followers. Purchaser by placing a bid expressly waives any claim or damage based on such subsequent information as described herein. It is specifically understood that any refund agreed to by the Auctioneer would be limited to the purchase price.

FINE AND DECORATIVE ARTS TERM G Provenance and authenticity, excluding attributions in BOLD-face type, are guaranteed by neither the consignor nor Auctioneer. While every effort is made to determined provenance and authenticity, it is the responsibility of the Bidder to arrive at their own conclusion prior to bidding.

FINE AND DECORATIVE ARTS TERM H On the fall of the Auctioneer’s hammer, Buyers of Fine Arts and Decorative Arts lots assume full risk and responsibility for lot, including shipment by common carrier or third-party shipper, and must provide their own insurance coverage for shipments.

FINE AND DECORATIVE ARTS TERM I Auctioneer complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A purchaser is required to provide appropriate documents and the payment of associated fees, if any. Purchaser is responsible for providing a shipping address that is suitable for the receipt of a firearm.

FAAM, LLC strongly encourages in-person inspections of lots by the Bidder.

While FAAM, LLC is not obligated to provide a condition report of each lot, Bidders may feel free to contact the department for a Condition Report and FAAM, LLC will attempt to furnish one, but shall not be liable for failing to do so. Condition is often detailed online, but is not included in our catalogues.

The Bidder should review online descriptions as the descriptions supersede catalog descriptions and those condition reports otherwise provided.

Statements by FAAM, LLC regarding the condition of objects are for guidance only and should not be relied upon as statements of fact, and do not constitute a representation, warranty, or assumption of liability by FAAM LLC. All lots offered regardless of condition report are sold “AS IS”.

FINE AND DECORATIVE ARTS TERM E The catalog descriptions are provided for identification purposes only. Bidders who intend to challenge a BOLD-face provision in the description of a lot must notify Auctioneer in writing within thirty-five (35) days of the Auction’s conclusion. IN the event Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title or the BOLD-face section of description is incorrect, or other transfer or condition issue is claimed, Auctioneer’s liability shall be limited to rescission of sale and refund of purchase price. In no case shall Auctioneer’s maximum liability exceed the successful bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed from the close of the Auction, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

FINE AND DECORATIVE ARTS TERM F Any claim as to authorship, provenance, authenticity, or other matter under the remedies provided in the Fine Arts Terms and Conditions or otherwise must be first transmitted to Auctioneer by credible and definitive evidence within the applicable claim period. Auctioneer, in processing the written claim, may require the Purchaser to obtain the written opinion of two recognized experts in the field who are mutually accepted by the Auctioneer and Purchaser.

THE AUCTIONEER FOR THIS SALE WILL BE: Frédéric Thut AU 4372 National Auctioneers Association FAAM, LLC Auction Business License: AB3131

BANK REFERENCE: Citibank 2001 Biscayne Blvd, Miami, FL 33137 Estrow Account 009119790578, ABA 266086554

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BID FORM FINE ART AUCTIONS MIAMI (FAAM, LLC) Important Paintings & Sculptures, April 30, 2016 at 5pm.

Twery Building, 160 NE 40th Street, Miami FL 33137 T. 1 (305) 573 4228 | F. +1 (305) 573 4245 | www.faamiami.com | info@faamiami.com

LAST NAME (In capital letters): FIRST NAME: ADDRESS: CITY:

STATE:

ZIP / POSTAL CODE:

COUNTRY: TELEPHONE (Required): FAX: EMAIL (Required):

Please provide credit card information. For reference purpose only. Please attach a photocopy of your passport or identity card.

AMEX

DINER’S

VISA

MASTERCARD

Exp. Date:

/

CVV:

Credit Card #: Name on Card:

Buyers premium 25 % of the hammer price on each lot up to and including $ 50,000, 20 % from $ 50,001 to $ 1,000,000 and 15 % of the excess of the hammer price above $ 1,000,000.

PLEASE CHECK ONE :

PRE-REGISTRATION

ABSENTEE (Written) BID

TELEPHONE BID

Please bid on my behalf for the following lot(s) up to the net price(s) (excluding Buyer’s premium, taxes and other costs) mentioned below,purchasing as much below my indicated limit(s) as possible. I hereby agree and acknowledge that Faam,llc is not responsible for failing to execute such bids or for any errors or omissions in connection therewith. I have read, understand and agree to be bound by the Conditions of Sale and Important Notices contained in the catalogue for this sale are incorporated by reference herein. I hereby agree and acknowledge that I am obligated to purchase and shall have no right to revoke acceptance of any and all lots for which I am the highest bidder.

I hereby authorize Faam, llc to charge my credit card for this invoice in the event it remains unpaid for twenty five (25) days following the sale.

Please refer to the “Shipping & Insurance” section at the end of the catalogue for details. Please note Faam,llc is not responsible for shipping. Our shipping department will assist you in choosing a third party crating service.

LOT N°

LOT DESCRIPTION

LOT BID LIMIT IN $

Signature (Required):

Date:

For credit limits above $ 20,000, first time bidders are required to submit the credit reference information in relation with the amount they bid for. While we take care to execute all written bids as submitted by our clients, we regret that we cannot accept responsibility for errors, omissions or late arriving bids.

THIS DOCUMENT CAN BE FAXED to (1)305-573-4245. For online interactive bidding or online absentee bids please register online at www.faamiami.com 98

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