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20th Century & Contemporary Art Evening & Day Sales, Highlights from Latin America New York / 2 July 2020


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Auction Schedule 2020 Spring New York 2 July

| postponed from 14 & 15 May, New York and 24 June, London

20th Century & Contemporary Art

13 July

Photographs

23 July

Editions

22–28 July

Jewels Online

29 July

Design

28 Aug–8 Sept

Phillips x Artsy: Summer School

| postponed from 2 April

| postponed from 21 April | postponed from 10 June

| postponed from 2 June | postponed from 25 June–8 July

London 15 July

New Now

22–30 July

Heatwave Online

10 Sept

Editions

25 Sept

Photographs

| postponed from 8 April | postponed from 15–24 July

| postponed from 10 June | postponed from 15 May

Geneva 27 & 28 June

The Geneva Watch Auction: ELEVEN

| postponed from 9–10 May

Hong Kong 8 & 9 July

20th Century & Contemporary Art

8 July

Jewels & Jadeite

10 July

The Hong Kong Watch Auction X

For additional information and updates, please visit us at phillips.com.

| postponed from 31 May & 1 June

| postponed from 1 June | postponed from 2 June


20th Century & Contemporary Art Department Evening Sale

Day Sales

Head of Sale

Head of Sale, Morning Session

Amanda Lo Iacono +1 212 940 1278 aloiacono@phillips.com

John McCord +1 212 940 1261 jmccord@phillips.com

Cataloguer Carolyn Mayer +1 212 940 1206 cmayer@phillips.com Researcher/Writer Brittany Jones +1 212 940 1255 bjones@phillips.com

Head of Sale, Afternoon Session Rebekah Bowling +1 212 940 1250 rbowling@phillips.com Associate Head of Day Sales

Administrator

Annie Dolan +1 212 940 1288 adolan@phillips.com

Brooke Reese +1 212 940 1312 breese@phillips.com

Associate Specialist, Morning Session

Copyright Administrator Chanah Haddad +1 212 940 1319 chaddad@phillips.com

Patrizia Koenig +1 212 940 1279 pkoenig@phillips.com Cataloguer, Afternoon Session Avery Semjen +1 212 940 1207 asemjen@phillips.com Administrator Julia Hirschberg +1 212 940 1264 jhirschberg@phillips.com


20th Century & Contemporary Art Evening & Day Sales New York / 2 July 2020

Auction & Viewing Location

Sale Designation

450 Park Avenue New York 10022

Day Sale, Morning Session Thursday, 2 July, 11am (lots 101–157)

When sending in written bids or making enquiries please refer to these sales as NY010320 or 20th Century & Contemporary Art Evening Sale, NY010420 or 20th Century & Contemporary Art Day Sale, Morning Session, and NY010520 or 20th Century & Contemporary Art Day Sale, Afternoon Session.

Day Sale, Afternoon Session Thursday, 2 July, 2pm (lots 201–311)

Absentee and Telephone Bids

Auctions Evening Sale Thursday, 2 July, 5pm (lots 1–25)

Viewing by appointment 23 June–1 July Contact ClientServicesNewYork@phillips.com or +1 212 940 1200 to arrange your visit

tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com


Highlights from Latin America Evening Sale Lots 3 & 23

Day Sale, Morning Session Lots 117 & 137–142

Day Sale, Afternoon Session Lots 205, 250, 273, 298, 300 & 302


3. Lucas Arruda b. 1983 Untitled signed and dated “Lucas Arruda 2014” on the overlap. oil on canvas. 9 5/8 x 12 in. (24.4 x 30.5 cm). Painted in 2014. Estimate $80,000-120,000

Exhibited Berlin, VeneKlasen/Werner Galerie, Lucas Arruda—Deserto-Modelo, November 15, 2014 – January 10, 2015

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Literature Henri Neuendorf, “artnet Asks: Lucas Arruda”, artnet News, December 1, 2014, online (illustrated)

Provenance VeneKlasen/Werner Galerie, Berlin Acquired from the above by the present owner

“These paintings are perhaps greater forays into silence, and the temperament of light.” Lucas Arruda

Landscapes of the Mind Bridging abstraction and figuration, the landscapes and seascapes of Lucas Arruda’s paintings recall the Romantic sublime, as epitomized by 19th century landscapes, through a contemporary lens. In Untitled, Arruda presents us with what appears to be a blue sea cloaked by a stormy grey foreboding sky. Intended to more closely represent the landscape of the artist’s imagination than real environments, Untitled and Arruda’s other meditations comprise the Deserto-Modelo series that the artist has been working on for the last decade. This long-term investigation of painting’s nature is on one hand

influenced by the writings of Brazilian poet João Cabral de Melo Neto and Dino Buzzati’s 1940 book O Deserto dos Tártaros, but Arruda was also inspired by a wide range of artists such as Alfredo Volpi and Agnes Martin. Evocative of so many pictures—an ocean by J. M. W. Turner; a misty beach scene by Armando Reverón; James Abbott McNeill Whistler’s Nocturne: Blue and Silver – Chelsea, 1871 at Tate, London—Untitled encourages the viewer to examine nature through the astute and diverse eyes of the artists we so admire.


Property from a Private Collection, Beverly Hills

23. Fernando Botero b. 1932 Woman incised with the artist’s signature, number and foundry mark “Botero EA 2/2 FONDERIA MARIANI” on the base. bronze. 118 x 48 x 48 in. (299.7 x 121.9 x 121.9 cm). Executed in 1989, this work is artist’s proof 2 from an edition of 3 plus 2 artist’s proofs. Other examples from the edition are housed in the permanent collections of the Antioquia Museum, Medellín; Ravinia Park, Chicago; and the Denver Performing Arts Complex. Estimate $800,000-1,200,000

Exhibited Monte Carlo, Marisa del Re Gallery, Fernando Botero, March 20 – September 30, 1992 (another example exhibited and illustrated) Paris, Aux Champs-Elysées, Botero: Sculptures Monumentales, October 22, 1992 – January 30, 1993 (another example exhibited and illustrated) New York, Park Avenue Public Art Fund, Fernando Botero: Botero in New York, September 7 – November 14, 1993, no. 25 (another example exhibited and illustrated)

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Literature Carol Vogel, “Inside Art”, The New York Times, July 30, 1993 (another example illustrated)

Provenance Cohen Gallery, Los Angeles Acquired from the above by the present owner in 1999

“In art, as long as you have ideas and think, you are bound to deform nature. Art is deformation.” Fernando Botero

Exemplifying Fernando Botero’s trademark approach to form, Woman transmutes his career-long investigation of volume into actual three-dimensional space on a colossal scale. Drawing from myriad influences—from Ancient Greek and Renaissance sculptures to Mexican muralism—Botero developed a singular style, known as “Boterismo,” which is characterized by his treatment of large, voluptuous figures depicted in scenes of leisure. His works’ exaggerated proportions are not meant to be understood as reflections of his subject’s actual body shapes; instead, they are a means of pictorial deformation—in the same sense that Pablo Picasso deformed his figures in his Cubist pictures.

Botero left Europe and moved back to South America, settling in Mexico in 1956. After being introduced to Mexican art, he began to enlarge the faces and other key features of his subjects, which became a signature component of his style. That same year, he painted Still Life with Mandolin, in which he unlocked an idiosyncratic aesthetic characterized by exaggerated proportions and voluminous motifs.

In 1953, Botero relocated to Florence to study at the Accademia San Marco, where he first encountered 15th and 16th Italian art, such as the frescoes of Piero della Francesca. The period he spent in Italy was immensely formative, and Renaissance models of perspective and representation are palpable throughout his entire oeuvre.

In 1983, Botero settled in Pietra Santa in Tuscany, where he began dedicating himself to sculpture for at least several months each year. He began working with the Fonderia Artistica Mariani, which developed an innovative method of bronze casting that enabled the artist to produce monumental sculptures with a relative reduction in weight.

Though Botero began experimenting with sculpture as early as 1963, due to financial constraints, he was unable to begin exploring the potentiality of sculpture in earnest until settling in Paris in 1973.


117. Carlos Cruz-Diez 1923-2019

Chromointerférence Mécanique signed with the artist’s initials, titled, inscribed and dated “C.D. ‘CHROMOINTERFERENCE’ CRUZ-DIEZ PARIS 1970” on the reverse. silkscreen on paper and plastic, motor and wood. 23 5/8 x 23 5/8 in. (60 x 60 cm). Executed in 1970. This work will be included in the forthcoming catalogue raisonné being prepared by the Cruz-Diez Art Foundation. Estimate $80,000-100,000 Provenance Rudy and Jane Ayoroa, Washington, D.C. (acquired directly from the artist) Ira D. Glick and Juannie G. Eng, San Francisco (acquired from the above in 1992) Phillips, New York, May 15, 2019, lot 165 Acquired at the above sale by the present owner

Exhibited Venice, Venezuelan Pavilion, XXXV Biennale Internazionale D’arte di Venezia, June 24 - October 25, 1970 Sarasota, John and Mable Ringling Museum of Art; Miami Metropolitan Museum and Art Center; Pensacola Art Center, Latin American Horizons, April 8 November 30, 1976 London, Phillips, Carlos Cruz-Diez: Luminous Reality, July 16 - September 6, 2018

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Literature Simón Marchán Fiz, “La 35 Bienal Internacional De Arte De Venecia”, Goya Revista de Arte, 1970, no. 98, p. 112 (illustrated) Mari Carmen Ramírez and Héctor Olea, eds., Color in Space and Time, Cruz-Diez, Houston, 2011, pp. 218, 219 (illustrated)

Produced at the height of Cruz-Diez’s career, Chromointerférence Mécanique, 1970 displays all the elements of the artist’s pictorial discourse on the autonomy of color. The term Chromointerferance expresses his understanding of color as an ephemeral phenomenon produced by light and movement, independent of representation or even form. Mécanique reinforces the scientific aspect of his research and at the same time refers to the kinetic component of the work, as a circular center piece covered in intersecting lines of different colors rotates over a similarly composed background. A seemingly clear third layer which, upon closer observation, is covered in thin black stripes, adds to the complexity of the composition and challenges the viewer’s perception. The results of the observer’s movement in his acclaimed Physiochromies, is here established objectively by automated movement, producing what Cruz-Diez calls “chromatic event modules,” whereby the total is greater than the sum of its parts. New colors emerge from the apparent blending of the existing ones, alongside illusions of volume and waves in a straight-line composition over a flat support.

Inserted in the forefront of conceptualism as he lived and worked in Paris, Cruz-Diez strived to create a participatory art that gave rise to events instead of pictures, and to engaged participants instead of passive viewers. He understood art as communication and sought to express the changing nature of the world around him. Cruz-Diez’s groundbreaking body of work from the late 1950s and 1960s set him at the centerstage of post-war art and culminated in his participation at the 1970s Venice Biennale. At that exhibition, the present work was displayed alongside his immersive environments where color was made to radiate from the walls through light and space, enveloping the participants in a tinged atmosphere. Cruz-Diez’s oeuvre changed the perception of color in art, which for centuries had remained tied to mimetism and, even in abstraction, understood as an accessory of form. In Chromointerférence Mécanique the process of combining colors in the human eye, a tenuous part of impressionist painting, is itself the substance of the artwork, brought to the forefront and capturing the fleeting nature of light in a fluid and ephemeral composition.


Property from an Important Private Collection, California

137. Fernando Botero b. 1932 Woman with Serpent incised with the artist’s signature and number “Botero 8/9” and stamped with the Fonderia M Italy foundry mark on the figure’s proper right upper arm. bronze. 7 1/ 2 x 11 x 18 1/4 in. (19.1 x 27.9 x 46.4 cm). Executed in 1983, this work is number 8 from an edition of 9 plus 2 artist’s proofs.

Provenance Quintana’s Fine Art, New York Galería de Arte Nader, Santo Domingo Acquired from the above by the present owner

Estimate $200,000-250,000

“Sculptures permit me to create real volume... One can touch the forms, one can give them smoothness, the sensuality that one wants.” Fernando Botero

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138. Fernando Botero b. 1932 Danseuse équilibriste à cheval signed and dated “Botero 06” lower left. red chalk on paper. 15 7/8 x 11 7/8 in. (40.4 x 30.3 cm). Executed in 2006. Estimate $35,000-50,000

Provenance Private Collection Opera Gallery, Hong Kong Acquired from the above by the present owner in 2011 Exhibited Hong Kong, Opera Gallery, Fernando Botero, September 16 - October 10, 2011


Property from an Important Private Collection, California

139. Wifredo Lam 1902-1982 Untitled signed “Wifredo Lam” lower left; further signed “Wifredo Lam” on the reverse. oil on canvas. 27 1/ 2 x 19 1/ 2 in. (70 x 49.5 cm). Painted circa 1964. Estimate $120,000-180,000

Provenance Private Collection, Paris Alexander Gray Associates, New York Acquired from the above by the present owner

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Literature Max Pol Fouchet, Wifredo Lam, Barcelona/Paris, 1976, no. 426, p. 236 (illustrated) Max Pol Fouchet, Wifredo Lam, Barcelona/Paris, 1989, no. 458, p. 256 (illustrated) Lou Laurin-Lam and Eskil Lam, Wifredo Lam, Catalogue Raisonné of the Painted Work, Volume II 1961-1982, Lausanne, 2002, no. 64.22, p. 280 (illustrated)

Painted in 1964, the same year Wifredo Lam won the Guggenheim International Award, Untitled is a quintessential example of the acclaimed artist’s late work. A mysterious figure emerges from a cosmic orange background, equally reminiscent of a two-winged horse and Lam’s iconic motif of the femme-cheval or “horse-headed woman”. Evocative of Zambezia, Zambezia, 1950, Solomon R. Guggenheim Museum, the work perfectly captures the unique visual lexicon that Lam developed by furthering his interest in Surrealism vis-avis his own Afro-Cuban origins, specifically in relation to his fascination with Haitian Santería deities. Painting a post-colonial world Born in Cuba in 1902 and witness to some of the key political upheavals in the 20th century, Wifredo Lam truly pioneered a new and unique way of painting in a post-colonial world. Lam initially studied painting in Havana, but soon radically developed his artistic practice in Europe through study of the work of Old Masters such as Diego Velázquez and Francisco de Goya, as well as exposure to modern artists such as Pablo Picasso and Joan Miró. While Lam was a part of the vibrant scene in Madrid throughout the 1920s and 1930s, the devastation of the Spanish Civil War led him to move to Paris in 1938 where Picasso, an admirer of Lam’s work, introduced him to the avant-garde circle. His encounter of the surrealist circle and their espousal of the unconscious, dreams and sexuality wholly transformed his practice and set the foundation for the unique hybrid style that he would develop following his return to Cuba in 1941 at the outbreak of World War II.

Untitled, 1964 Untitled demonstrates an important evolution in Lam’s practice, one that saw him revisit his beginnings as an artist in Europe through the lens of his own multi-cultural upbringing. It was Lam’s return to Cuba that ushered in the unique and radical idiom he is so widely celebrated for. The present work clearly demonstrates how Lam further developed Surrealism within the multi-cultural context of his upbringing. Through his godmother, a Santería priestess, Lam immersed himself into Santería, a religion often characterized as a blend of myths and beliefs from West Africa with aspects of Spanish Catholicism. Half-human, half-animal, the figure in Untitled perfectly encapsulates the fantastical, hybrid figures that Lam developed. Exemplifying Lam’s remarkable graphic sensibility, the present work shows a figure in a state of transmogrification — one that is equally reminiscent of the femme cheval (horseheaded woman) motif of Santería and a two-winged horse. This work is notably from a series of paintings which, with their graphic clarity and cubist forms, evoke the disfigured horse in Picasso’s Guernica — a motif Lam returned to throughout this late career to explore the cycle of birth and death. Set against a radiating orange background, the apparition here is akin to a healing cosmic force captured in a state of magical metamorphosis.


Property from The Ella Fontanals-Cisneros Collection, Miami for the benefit of The Cisneros Fontanals Foundation for the Arts and El Museo del Barrio, NY

140. Loló Soldevilla 1901-1971 Sin Título signed and dated “LOLÓ-56” on the reverse. oil on jute, in artist’s frame. 25 x 26 1/4 in. (63.5 x 66.7 cm). Painted in 1956. Estimate $30,000-40,000

Provenance Alina Ramona Pérez Menéndez Eliseo Valdés Erustes, Havana Acquired from the above by the present owner

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141. José Gurvich 1927-1974 Untitled signed and dated “1973. J. Gurvich” lower right. oil on canvas. 24 x 30 in. (61 x 76.2 cm). Painted in 1973. Estimate $25,000-35,000

Provenance Private Collection Shelter Rock Jewish Center Benefit Auction, Roslyn, circa 1975 Acquired at the above sale by the present owner


142. Tomás Sánchez b. 1948 Meditador signed and dated “Tomás Sánchez 95” lower right; further signed, titled and dated “Tomás Sánchez “MEDITADOR” 95” on the reverse. acrylic on canvas. 39 1/4 x 48 in. (99.7 x 121.9 cm). Painted in 1995, this work is accompanied by a photo certificate signed by the artist.

Provenance Private Collection, New York (acquired directly from the artist) Christie’s, New York, November 15, 2005, lot 39 Acquired at the above sale by the present owner

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Estimate $250,000-350,000

Tomás Sánchez’s meticulously painted Meditador draws us into a lush tropical landscape that is suffused with a sense of the sublime. As is typical for Sánchez’s landscapes, a lone figure, dwarfed by nature, is shown in a state of meditation— here perfectly framed within a clearing in the tall forest and mirrored in the tranquil body of water. Painted in 1995, Meditador perfectly encapsulates the conceptual approach to landscape painting that garnered Sánchez early international attention upon winning the Joan Miró Prize in 1980. Channelling diverse art historical precedents such as Casper David Friedrich and the Hudson River School, Sánchez crucially presents us with a landscape of the mind – one that transcends geographical specificity in favor for a more spiritual, imaginary place in which man and nature are one. Widely celebrated as one the most acclaimed contemporary Cuban artists working today, Sánchez emerged as an artist in Havana in the 1960s. While Sánchez was part of the of vanguard contemporary artists seeking to break away from staid conventions dominating Cuban art, he radically embraced the century-old tradition of landscape painting in the late 1970s — an anomaly within an art context both locally and beyond that was defined by experimental and abstract approaches to art making. Though Sánchez embraced a hyper-realistic painting style, he did not strive for geographical exactitude, nor did he seek to idealize stereotypically “Cuban” scenes. Rather, he sought to visualize the higher states of consciousness he achieved through meditation and yoga, which that at the time were notably considered dissident activity by officials. States of Meditation “When I enter a state of meditation it’s as if I’m in a jungle or a forest; the mind enters into a great-exhilarated state, like an exuberant jungle where you can experience fear, desire, anguish – all types of emotions and feelings. When I begin to feel that there’s a point of inner consciousness everything goes toward that place of quiet, that inner river. Everything goes toward that place of quiet, that realm of tranquility within the forest where there is a lake.” –Tomás Sánchez

Meditador perfectly encapsulates Sánchez’s distinct symbolic language to convey this interrelationship. Painting from memory, Sánchez presents us with a fantastical landscape that emerges from the rich intersection of inner reality and the concrete specificity of Cuba. As he explains, “The interior spaces that I experience in meditation are converted into the landscapes of my paintings…When I paint, I experience meditative states; through meditation I achieve a union with nature, and nature, in turn, leads me to meditation.” (Tomás Sánchez, quoted in Tomás Sánchez Artist Statement, 2016, online). While Sánchez’s frequent depictions of bodies of water recall the surge of new reservoirs and artificial lakes that were built during the initial phase of the Cuban Revolution, he above all infuses them with spiritual meaning. Water in his paintings represent certain states of awareness that can be achieved through meditation — with rivers, for example, symbolizing the power of spiritual regeneration and shores standing in as the state all individuals strive for. Hommage to Casper David Friedrich Sánchez powerfully re-interprets the compositional motif of the Rueckenfigur (figure seen from behind) within the context of his time and place; commonly employed by German Romantic painters such as Casper David Friedrich, the compositional device of portraying a person with theirback to the viewer offers us a means to vicariously experience the depicted scene. As Edward J. Sullivan has observed of Sánchez’s paintings, “in a number of them a small male figure stands or sits with his back to the viewer, serving as a witness to the scene and evidencing the power of nature which, at any moment, could overtake the fragile human existence to exert its inherent majesty” (Edward J. Sullivan, Tomás Sánchez: Traversing Multiple Paths, online). Just like the lone meditating figure, the viewer in Meditator is drawn into a state of contemplation and introspection.


205. Lucas Arruda b. 1983 Untitled from the series Deserto-Modelo signed and dated “Lucas Arruda 2012� on the reverse. oil on canvas. 19 5/8 x 19 3/4 in. (49.8 x 50.2 cm). Painted in 2012. Estimate $60,000-80,000

Provenance Mendes Wood DM, Sao Paulo Acquired from the above by the present owner

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250. Ana Mendieta 1948-1985 El laberinto de la vida (The Labyrinth of Life) from the series Labyrinth of Venus stamped with the artist’s signature and by the estate “Ana Mendieta Raquel Mendieta Harrington Administratix of The Estate” on the reverse. black and white photograph. 39 1/ 2 x 60 in. (100.3 x 152.4 cm). Photographed in 1982 and printed in 1991, this work is number 2 from an edition of 6 plus 3 artist’s proofs. Estimate $50,000-70,000

Provenance Galerie Lelong, New York Kanransha, Tokyo Acquired from the above by the present owner Exhibited New York, The New Museum of Contemporary Art, Ana Mendieta - A Retrospective, November 20, 1987 - January 24, 1988, no. 60, p. 65 (another example exhibited and illustrated, p. 43) New York, Galerie Lelong, Ana Mendieta - Late Works: 1981-1985, May 10 - June 22, 2013 (another example exhibited)


273. Oscar Murillo b. 1986 Untitled . acrylic, graphite and paper collage on inkjet print. 33 1/4 x 46 3/4 in. (84.5 x 118.7 cm). Executed in 2012, this work is accompanied by a certificate of authenticity signed by the artist. Estimate $12,000-15,000

Provenance Isabella Bortolozzi Galerie, Berlin Private Collection, Berlin artnet Auctions, Tuesday May 21, 2019, lot 128095 Acquired at the above sale by the present owner

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298. Angel Otero b. 1981 Untitled (SK-GQ) signed, titled and dated “”Untitled” (SKGQ) Angel Otero 2012” on the reverse. oil and oil paint skins on canvas. 48 x 60 in. (121.9 x 152.4 cm). Executed in 2012. Estimate $18,000-25,000

Provenance Lehmann Maupin, New York Acquired from the above by the present owner Exhibited Contemporary Arts Museum Houston, Angel Otero: Everything and Nothing, December 9, 2016 - March 19, 2017, no. 11, p. 119 (illustrated, pp. 70-71)


300. Bosco Sodi b. 1970 Untitled signed, inscribed and dated “Bosco NY 2010� on the reverse. acrylic and mixed media on canvas. diameter 73 in. (185.4 cm). Executed in 2010. Estimate $30,000-40,000

Provenance Acquired directly from the artist by the present owner

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302. Ernesto Neto b. 1964 Anatomia Do Aconchego - Casa Nave . polyamide fabric, sand and Styrofoam pellets. installation dimensions variable approximate width 303 1/ 2 in. (770.9 cm) approximate depth 259 1/ 2 in. (659.1 cm). Executed in 1998. This work is accompanied by an installation diagram from the artist. Estimate $30,000-40,000

Provenance Galeria Camargo Vilaรงa, Sao Paulo Acquired from the above by the present owner


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O Guaranteed Property Lots designated with the symbol [O] are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party.

In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated. Disclosure of financial interest by third parties Phillips requires third party guarantors to disclose their financial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confirm whether or not they have a financial interest in the lot. ∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. •No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate. Σ Regulated Species Items made of or incorporating certain designated plant or animal material, including but not limited to coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, (irrespective of age, percentage, or value), may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We recommend that prospective bidders check with their own local restrictions regarding such requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.


Privacy Our Privacy Policy is available at www.phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third party websites and applications. Your communications with Phillips, including by phone and online (e.g. phone and on-line bidding) may be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy.


Sale Information Auction & Viewing Location

Auction License

450 Park Avenue New York 10022

2013224

20th Century & Contemporary Art Department

Auctions

Auctioneers

Evening Sale

Day Sales

Head of Sale

Head of Sale, Morning Session

Amanda Lo Iacono +1 212 940 1278 aloiacono@phillips.com

John McCord +1 212 940 1261 jmccord@phillips.com

Cataloguer

Head of Sale, Afternoon Session

Carolyn Mayer +1 212 940 1206 cmayer@phillips.com

Rebekah Bowling +1 212 940 1250 rbowling@phillips.com

Researcher/Writer

Associate Head of Day Sales

Brittany Jones +1 212 940 1255 bjones@phillips.com

Annie Dolan +1 212 940 1288 adolan@phillips.com

Administrator

Associate Specialist, Morning Session

Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Day Sale, Morning Session Adam Clay - 2039323 Thursday, 2 July, 11am (lots 101–157) Jonathan Crockett - 2056239 Day Sale, Afternoon Session Samuel Mansour - 2059023 Thursday, 2 July, 2pm (lots 201–311) Rebecca Tooby-Desmond - 2058901 Susan Abeles - 2074459 Viewing by appointment Aurel Bacs – 2047217 Blake Koh – 2066237 23 June–1 July Contact ClientServicesNewYork@phillips.com Susanna Brockman – 2058779 Rebekah Bowling - 2078967 or +1 212 940 1200 to arrange your visit Evening Sale Thursday, 2 July, 5pm (lots 1–25)

Sale Designation When sending in written bids or making enquiries please refer to these sales as NY010320 or 20th Century & Contemporary Art Evening Sale, NY010420 or 20th Century & Contemporary Art Day Sale, Morning Session, and NY010520 or 20th Century & Contemporary Art Day Sale, Afternoon Session. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Catalogues catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery

Brooke Reese +1 212 940 1312 breese@phillips.com

Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Steve Orridge +1 212 940 1370 Anaar Desai +1 212 940 1320 Photography Jean Bourbon Kent Pell Mark Babushkin

Copyright Administrator Chanah Haddad +1 212 940 1319 chaddad@phillips.com Property Manager Ryan Falkowitz +1 212 940 1284 rfalkowitz@phillips.com

Patrizia Koenig +1 212 940 1279 pkoenig@phillips.com Cataloguer, Afternoon Session Avery Semjen +1 212 940 1207 asemjen@phillips.com Administrator Julia Hirschberg +1 212 940 1264 jhirschberg@phillips.com Property Manager Graham Wilson +1 212 940 1321 gwilson@phillips.com


450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com Please return this form by email to bidsnewyork@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one): Paddle Number

In-person Absentee Bidding Telephone Bidding

As a private individual On behalf of a company

• If you cannot attend the sale, we can execute bids confidentially on your behalf.

Sale Title

Sale Number

Title

Surname

First Name

Company (if applicable)

Sale Date

Account Number

Address

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% of the portion of the hammer price above $4,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

City

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable sales or use tax. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.

State/Country

Zip Code Phone

Mobile

Email

Fax

• Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Phone (for Phone Bidding only)

• If we receive identical bids, the first bid received will take precedence.

Phone number to call at the time of sale (for Phone Bidding only) 1.

2.

Please complete the following section for telephone and absentee bids only Lot Number

• Company purchases: If you are buying under a business entity, we require a copy of government-issued identification (such as the certificate of incorporation) as well as proof of owners and directors to verify the status of the company. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale published online at www.phillips.com. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 in the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

• Private purchases: Proof of identity in the form of governmentissued identification and proof of address will be required.

Brief Description

In Consecutive Order

US $ Limit* Absentee Bids Only

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of willful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • Please submit your bids to the Bid Department by email to bidsnewyork@phillips.com or by fax at +1 212 924 1749 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +1 212 940 1228. • Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $2,000, per calendar year), credit card (up to $30,000), money order, wire transfer, bank check or personal check with identification, drawn on US banks. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com.

* Excluding Buyer’s Premium and sales or use taxes

Signature

Date

By checking this box, you confirm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated on our website.

• Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy. Please check this box to receive emails about upcoming sales, exhibitions, and special events offered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.


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20TH CENTURY AND CONTEMPORARY ART Latin America [catalogue]  

Phillips presents our 20th Century and Contemporary Art sale on 2 July 2020.

20TH CENTURY AND CONTEMPORARY ART Latin America [catalogue]  

Phillips presents our 20th Century and Contemporary Art sale on 2 July 2020.

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