µ˙The Museum of Fine Arts, Houston

LATIN AMERICAN EXPERIENCE20

17 AUCTION CATALOGUE

2017

Front: José Mijares, Cuban, 1921-2004,Untitled (detail), 1966, oil on canvas.

Benefiting the Latin American Art Department

and the International Center for the Arts of the Americas

at the Museum of Fine Arts, Houston

March 4, 2017, 8:30 p.m.

The live and silent auctions can also be viewed online at paddle8.com after February 10, 2017.

Live Auction Lots 1–23

AUCTION CATALOGUE

A M E R I C A N E X P E R I E N C EL A T I NL AT I Nµ˙The Museum of Fine Arts, Houston

Auctioneer—August Uribe, Deputy Chairman, Americas, PHILLIPS

FOREWORD

I am delighted to present the seventh biennial Latin American Experience auction catalogue.Every two years, collectors, patrons, gallerists, and artists gather at the Museum of Fine Arts,Houston, to participate in the Latin American Experience Weekend. These enthusiasts come from around the world to celebrate and support our Latin American Art Department and itsInternational Center for the Arts of the Americas (ICAA). This catalogue features objects available for this year’s live auction on March 4, 2017. Within these pages you will find an impressive selection of works from modern and contemporary artists who illustrate the diversity and vitality of Latin America.

This year we celebrate the culture and visual arts of Cuba, and Latin America as a whole.Concurrent with the Gala, we will open Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950. This momentous exhibition marks the first comprehensive display of contemporaryCuban art ever seen in the United States. It sheds light on the intricate relationship between artistic production and the utopian spirit that defined Cuba’s revolutionary period, exposing the diverse and complex processes whereby art charted, commented on, and/or confronted the country’s social utopia and its contradictions. After the success of last year’s artists’ symposium, we are excited to present Art and the Cuban Revolution: A Critical Dialogue, an exclusive series of dialogues that will enable participants to interact and engage with many of the Cuban artistswhose works are exhibited in Adiós Utopia.

These outstanding initiatives depend, in part, on the generosity of those who participate in theGala and Auction. I would like to thank Chairman Mary Lile, and Auction Advisers Brad Bucher,George Kelly, and María Inés Sicardi for their dedication in making the weekend a success. Weare also extremely grateful to all the artists, dealers, and artists’ estates who generously con-tributed important works to the live and silent auctions. Additionally, the Museum of Fine Arts,Houston, has received tremendous support for the auction from PHILLIPS Auction House. Not only have they provided the weekend with extraordinary monetary support, they also have beeninvaluable in the organization of this spectacular auction.

The 2017 Latin American Experience Auctions provide the perfect opportunity to begin or expandyour collection of Latin American artworks. Thank you, again, for your generosity toward theMuseum and our Latin American Art Department.

Gary TinterowDirectorThe Museum of Fine Arts, Houston

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Florencia KaplanSean Kelly, New YorkLatin Art Core, MiamiGlenda LeónHugo De MarzianiMagnan Metz Gallery, New YorkGary Nader Fine Art, MiamiErnesto NetoEdgar OrlainetaPan American Art Projects, MiamiAndrés ParedesKarina PeisajovichMartin PelenurEduardo PonjuanProyectos Monclova, Mexico CityJorge RiverosGaleria Nara Roesler, São PauloJosé RosabalSammer Gallery, MiamiMira Schendel EstateStéphane SchraenenJack Shainman Gallery, New YorkSicardi Gallery, HoustonAldo de Sousa, Buenos AiresAna TiscorniaCecila de Torres, Ltd., New YorkLeon Tovar Gallery, New YorkTRESART, MiamiUngallery, Buenos AiresMariana ValdésAlejandra von Hartz Gallery, Miami

Alexander and Bonin, New YorkFrancisco ArevaloCarla ArochaMagdalena AtriaAmadeo AzarAbel BarrosoTony BecharaJosé BediaAna BidartJosée Bienvenu Gallery, New YorkTanya Bonakdar Gallery, New YorkFernando BryceChus BurésYoan CapoteLos CarpinterosCouturier Gallery, Los AngelesRoberto DiagoMarcolina DipierroDurban Segnini Gallery, MiamiLeandro ErlichMariano FerranteRené FranciscoDebbie FrydmanCarlos GaraicoaFundación GegoJamie GiliAlfredo GisholtGaleria Enrique Guerrero, Ciudad de MéxicoHauser & WirthPablo HelgueraCarmen HerreraKaBe Contemporary Gallery, Miami

We would like to express our deep appreciation to everyone who contributedto make the live and silent auctions possible for the 2017 Latin AmericanExperience Weekend:

Special Thanks to We Ship Art for their support of the Live and Silent Auctions.

We Ship Art provides clients with economic and competitive rates to ship artwork worldwide, while providing exceptional and personalized customer service.

Presenting Auction House and Corporate UnderwriterPHILLIPS

Cecilia and Tomás GunzCelina HellmundCecily E. HortonJoanne M. Houck

and Tim SingletaryOlive M. JenneyLinda and George KellyNancy and Rich KinderKarol Kreymer and Robert Card, M.D.Adolpho LeirnerCornelia and Meredith LongLawrence LuhringStephanie and Paul MadanRebecca and Morgan de MarignyCynthia and Robert McClainKathrine G. McGovernKaren Benbow McRaeGary MercerSara and Bill MorganCarol and David NeubergerNicholas PardonCecilia and Ernesto PomaFrancisco RiveroMartin RozenblumCesar and Sulai SegniniMariana ServitjeElizabeth ShamasMaría Inés SicardiReid Sutton and Brad NagarJudy and Charles TateIsabel and Ignacio TorrásJoanna and Rusty WorthamLan Phuong Vu-Yu and Tse-Kuan Yu

CHAIRMAN Mary Lile

HONOREEElla Fontanals-Cisneros

AUCTION ADVISERSBrad BucherGeorge KellyMaría Inés Sicardi

HOST COMMITTEESofia Adrogué

and Sten GustafsonRoland AugustineAllison and David AyersPatricia and José Luis BarragánFrances and Don BaxterWilliam Bickford

and Oscar CuellarRobert BorlenghiLeslie and Brad BucherCecilia and Luis T. CamposMartín CerrutiJereann ChaneyCarolyn CovaultMary CullenHilda and Greg CurranJohanna and Steve DonsonSusan and Mac DunwoodyAlfred C. Glassell, IIISam Gorman

µ˙The Museum of Fine Arts, Houston

2017 LATIN AMERICAN EXPERIENCE

7

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International Center for the Arts of the Americas at the Museum of Fine Arts, Houston

The International Center for the Arts of the Americas is theresearch arm of the MFAH’s Latin American Art Department.As such it supports the department in its mission to collect,exhibit, research, and educate audiences about the diverseartistic production of Latin American and U.S. Latino artists.Since its inception in 2001, the ICAA has organized research-based exhibitions, pursued a dynamic publications program,and developed research and education projects that comple-ment the MFAH’s renowned collection of Latin American art.

The cornerstone project of the ICAA is the Documents of 20th-century Latin American and Latino Art, a digital archive and publications initiative dedicated to the recovery of primary-source materials on Latin American and Latino art. Since its public launch in 2012, the Documents Project’s online platformprovides free access to an expansive corpus of documents serv-ing as the intellectual foundation for the exhibition, collection,and interpretation of this art. Cutting across national and cultural boundaries, this key resource also connects geographi-cally dispersed scholars and other producers of knowledge.

For more information, contact icaa@mfah.org or visit icaadocs.mfah.org.

µ˙

A M E R I C A N E X P E R I E N C E

L I V E A U C T I O N

L A T I N2 017

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The Antwerp-based artistic duo Carla Arocha and StéphaneSchraenen began collaborating in 2005. Their body of work consists of sculpture, photography, installation, works on paper, and performance, which they often blend into unexpected genres-within-genres. Their work combines abstracted geometries and patterns with a narrative content inspired by the nature of imagesand the relationships between the visible/invisible, the tangible/imperceptible, and clarity/complexity. The resulting tensions playwith the viewer’s sensory perception. In Gold, the grid of mirrorsleads the viewer from one side to the other while complicatingaccess, creating an optic game, forcing one to look closely at thework and creating the illusion of movement in this static object. Gold has been exhibited and featured in Ljubljana, Slovenia(Ganes Pratt / Mala Galerija, 2012), and in Chicago (MoniqueMeloche Gallery, 2010). Arocha and Schraenen have major public art pieces in Chicago (Chicago Transit Authority, Howard Station), as well as have been featured in solo exhibitions at the FRACAuvergne, Clermont-Ferrand, France; the Kunsthalle Bern,Switzerland; and the MUHKA in Antwerp, Belgium.

LOT 2

Carla ArochaVenezuelan (born 1961)

Stéphane SchraenenBelgian (born 1971)

Gold, 2010Mirrored acrylic and enameled MDF68 7⁄8 x 19 11⁄16 x 11 13⁄16 inches(175 x 50 x 30 cm)Courtesy of the artists and KaBe Contemporary Gallery, Miami

Estimate: $20,000–$25,000 100% Donation

Detail

One of the most recognized artists to emerge in Argentina during the 1930s, the Uruguayan Carmelo Arden Quin made incomparablecontributions to Latin American art. In 1946 he helped to establish the Madí movement and served, along with Gyula Kosice, as one of its principal theoreticians. Among his many artistic proposals, ArdenQuin advocated that each work be conceived in its physical and pureform. By divesting painting from its traditional support—in favor ofthe non-orthogonal frame—, the nucleus of the work could in fact be inscribed into the background. In 1948 Arden Quin settled in Paris, where he spent most of his life. He participated in a number of well-known series of exhibitions organized by the Salon desRéalités Nouvelles; these enabled him and numerous Concreteartists from around the world to broaden the audiences for theirwork. Throughout the 1950s, Arden Quin explored another significantdimension of his work through a series of plastique blanche (whiteplastic), which are highly polished enameled wood pieces. Aftermeeting the Belgian sculptor Georges Vantongerloo—founder of the De Stijl movement—Arden Quin began to break away from thecontrasting colors of his previous works and use increasingly whitertones. Losange Bleu is a prime example of this transition, one thatalso reflects his enduring interest in the cutout frame.

LOT 1

Carmelo Arden Quin Uruguayan(1913-2010)

Losange Bleu[Blue Diamond], 1952Lacquered wood17 5⁄16 x 16 inches (44 x 41 cm)Courtesy of Durban Segnini Gallery,Miami

Estimate: $80,000–$100,000

12 13

Painter, muralist, and printmaker Cundo Bermúdez is among the foremost artists of the Cuban avant-garde. He is best known for his vividly colored paintings celebrating the landscapes, still lifes,portraits, and interiors of his native island. Bermúdez joined theEscuela Nacional de Bellas Artes San Alejandro in Havana and latertraveled to Mexico City to study at the San Carlos Academy of Fine Art under the renowned artist Manuel Rodríguez Lozano (1894–1971).While working in Mexico, Bermúdez enjoyed recognition among otherartists, as David Alfaro Siqueiros once declared: “Bermúdez representsboldness in the arts. He knows how to build in a synchronized manner.With both distant and close-up images located in pictorial depth, in contrast, his work builds and organizes, sometimes almost miraculously.” In 1944 Bermúdez participated in an exhibition at the Museum of Modern Art, New York, that featured Cuban art.Following this show, his work acquired an international reputation,and in 1956 he was the recipient of the International CaribbeanExhibition Award given by the Museum of Fine Arts, Houston. During the early 1970s, Bermúdez became increasingly interested in the intersection of figuration and abstraction. In Untitled, the stylization of the female figure is achieved through vibrant colors and geometric patterning.

LOT 4

Cundo Bermúdez Cuban(1914-2008)

Untitled, 1974Wash on paper mounted on canvas 41 x 28 inches (104 x 71 cm)Courtesy of Gary Nader Fine Art,Miami

Estimate: $40,000–$50,000

Tony Bechara is well known for his large and significant body of abstract work based on principles of color, organization, and randomness. In his own words, “my paintings tackle phenome-nological questions that explore historical problems associated with representation, the visual, and ultimately visibility itself.”Bechara’s work, often departing from a solid single color, is based on Geometric Abstraction with a twist: the textures of his paintings are rough and uneven, almost organic, creating the illusion of depth,movement, and brightness. 38 Reds belongs to the Random series, a group of works he started in the early 2000s. In this series,Bechara makes use of puntillismo abstracto (abstract Pointillism), a process by which the surfaces of the paintings resemble a pixelated screen. During his multifaceted career, he has been a printmaker and a lecturer at Rutgers University, New Jersey, and has served on several important nonprofit boards in the NewYork City area. Bechara’s work is represented in numerous privateand public collections, including the Albright Museum (Reading,Pennsylvania), the Aldrich Museum of Contemporary Art (Ridgefield,Connecticut), The Brodsky Organization (New York), El Museo delBarrio, the Harlem Art Collection, the Massachusetts Institute ofTechnology, and the Museo de Arte de Puerto Rico.

LOT 3

Tony BecharaPuerto Rican(born 1942)

38 Reds, 2015Acrylic on canvas60 x 60 inches (152.4 x 152.4 cm)Courtesy of the artist

Estimate: $20,000–$25,000100% Donation

Detail

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Born in Pinar del Río, Yoan Capote studied drawing, painting, and printmaking as a child. His interest in becoming an artist developedwhen he enrolled at the Instituto Superior de Arte, Havana, wherehe graduated in 2001. Capote utilizes quotidian materials to build his works, entwining political, ludic, and psychological themes.According to Capote, “this personalization of everyday objects highlights the extent to which we are the silent victims of our socialbackgrounds and habits of thought.” The work Deep Cuts I (Visceral)is one of the best examples of the artist’s keen ability to reconsiderhistory through poignantly charged symbols. Capote shapes the typical incisions found on a cutting board into the horizon line of the ocean, an icon within the Cuban landscape. He then fills theseincisions with blood, which aesthetically highlights the image andrefers to the painful history of isolation and emigration from theisland. Indeed, during the so-called Special Period in the 1990s, a time of extreme poverty in Cuba, many fled on handmade rafts,only to be tragically engulfed by the sea. Since the early 2000s,Capote has enjoyed increased international recognition and hasreceived prestigious awards, including the UNESCO prize at the 7th Havana Biennial and the John Simon Guggenheim MemorialFoundation Fellowship in 2006.

LOT 6

Yoan Capote Cuban (born 1977)

Deep Cuts I (Visceral), 20153 plastic laminate cutting boards, animal blood17 3⁄4 x 34 1⁄8 inches (45.1 x 86.7 cm)Courtesy of the artist and Jack Shainman Gallery, New York

Estimate: $18,000–$22,000 100% Donation

Considered to be among the foremost contemporary Latin Americanartists today, Fernando Bryce is well known for his challengingworks dealing with years of postcolonial history in the Americas and Europe. Since 2000, Bryce has developed a curiosity for the archives of print publications, advertisements, newspapers,pamphlets, and ephemera that he began reproducing in ink drawings. He coined the process “mimetic analysis”: selectedportions of these print materials are photographed and then carefully traced onto paper. This system allows Bryce to appropriatemass-media representations of historical moments and to producehis own episodic “reconstructions,” creating a different, personalvisual memory of events. In ARTnews 1948 I, twelve framedblack-and-white ink drawings reproduce fractions of advertise-ments for exhibitions by renowned artists taking place in NewYork City in 1948. The clippings stand not only for momentousevents in the individual careers of artists and prominent galleriesbut also as a kind of “screenshot” of the art scene in postwarNew York City. Notably, the Haitian artists advertised byCarlebach Gallery (specialized in Primitive art) are not distin-guished by name. In the layout of Bryce’s sets of drawings, theviewer perceives a balance among the aesthetic, political, andethnographic information presented. This systematic approach to twentieth-century historical investigation into print media has earned Bryce increased recognition.

LOT 5

Fernando BrycePeruvian(born 1965)

ARTnews 1948 I, 2016Ink on paper in 12 partsOverall: 46 x 87 7⁄8 inches, framed(116.8 x 223.2 cm)Courtesy of the artitst and Alexander and Bonin, New York

Estimate: $40,000–$50,000

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Part of the group Diez Pintores Concretos of Cuba, Romanian-bornartist Sandú Darié played a key role in consolidating the Universalistideals of Concrete art in Cuba during the 1950s. Long before otherartists espoused these tendencies, his work from the late 1940s andearly 1950s demonstrated a strong commitment to non-objective art.The artist also established a close connection with Argentineanartist Gyula Kosice and others from the Grupo Madí with whom heexchanged correspondence and joined in several international exhibi-tions. A prime example of this early period, Darié’s collage Sin título[Untitled] was created as an aesthetic meditation on abstractionapplied to form and three-dimensional space. This series of collageswas first shown in the exhibition Estructuras Pictóricas 1950 at theLyceum de La Habana on October 9, 1950. In the introduction to theexhibition catalogue, Darié explains that he sought to evoke a newpictorial structure with which, in the spirit of Concrete art, he wasable to eradicate the visual “confusion” of figurative compositions infavor of a new geometric sensibility. Darié’s works have been showninternationally and form part of important collections, such as theMuseum of Modern Art, New York; Museo Nacional de Bellas Artes,Havana; and the Cisneros Fontanals Collection (CIFO), Miami.

LOT 8

Sandú Darié Cuban, born in Romania(1908-1991)

Sin título [Untitled], c. 1950Collage, pencil, and ink on paper31 x 10 5⁄8 inches (78.7 x 27 cm)Courtesy of TRESART, Miami

Estimate: $30,000–$40,000

The collective Los Carpinteros has established itself among the mostimportant artists to emerge from Latin America in recent years, as wellas the most innovative from Cuba. The group, formed in 1991 duringtheir tenure at the Instituto Superior de Arte, creates meticulously crafted works that navigate the space between functional and futile by merging architecture, landscape, design, and sculpture in unexpectedand often humorous ways. This outstanding watercolor depicts recedingmountains building planks, as one would find in a lumberyard. The titleCalle de Madera, however, refers to Calle Tacón, the only remainingstreet in Havana with the original wood installed by the GeneralCaptain of the Island in the 1830s. Los Carpinteros at once suggestsCuba’s illustrious architecture, and refers to the island’s current inabilityto create new structures, as resources of this nature only exist in animagined future. Their works are part of the permanent collections ofthe Museum of Contemporary Art, Los Angeles; the Los Angeles CountyMuseum of Art; the Museum of Modern Art, New York; the Solomon R.Guggenheim Museum, New York; the Tate Modern, London; and manyothers. Los Carpinteros live and work between Madrid and Havana.

LOT 7

Los CarpinterosMarco Antonio Castillo ValdésCuban (born 1971)

Dagoberto Rodríguez SánchezCuban (born 1969)

Calle de Madera[Wooden Street], 2013Watercolor on paper31 1⁄2 x 44 11⁄16 inches (80 x 113.5 cm)Courtesy of the artists and Sean Kelly, New York© Los Carpinteros

Estimate: $20,000–$25,000100% Donation

1918

One of the most prolific artists working in Cuba during the 1980s,René Francisco was among the first to enroll and graduate from theInstituto Superior de Arte in 1982. His work is grounded in a critiqueof modes of artistic representation, Cuban society, and art itself, as he constantly references Pop Art, kitsch, and the Cuban Revolution.René Francisco significantly influenced younger generations ofartists through the creation of Galería DUPP (Desde una PedagógiaPráctica [Through a Pedagogic Practice]) in 1989, a group that pro-moted community engagement in their art. A paradigmatic work from his recent production, Give Me a Hand employs a number ofanthropomorphized, headless tubes of toothpaste. These figureswork together to draw a mural in five stages. As each phase pro-gresses, additional figures join. Their drawing becomes increasinglycomplex and appropriates a schematic language typically used forindustrial and architectural development. These depersonalized,robotic figures humorously criticize the de-individualization of societywithin both the Cuban ideology of collectivization and the capitalisticdrive toward mechanic efficiency.

LOT 10

René Francisco Cuban(born 1960)

Give Me a Hand, 2012Pencil, toothpaste tubes, wood, graph paper, and objects5 parts, each 15 3⁄4 x 47 1⁄4 inches (40 x 120 cm)Courtesy of the artist and Galeria Nara Roesler, São PauloPhotos: Everton Ballardin © Galeria Nara Roesler

Estimate: $55,000–$65,000

Detail Detail

Buenos Aires–based artist Leandro Erlich is well known for creating monumental outdoor installations that create uncanny and unstable situations. His Cloud series represents a prime example of these seemingly fluid situations. In Large Cloud Vitrine,a work from this series, Erlich creates the surreal impression of capturing a cloud formation and freezing it in a glass at a particularmoment in time, playing with the spectator’s visual senses. The“encapsulated cloud” is the illusionistic result of layering panels of glass that are individually embellished with acrylic, lending theimpression of three-dimensionality. Calling himself an “architect of the uncertain,” Erlich commonly gives these delicate clouds anirregular silhouette. Large Cloud Vitrine adopts the appearance ofthe territory of the continental United States. As such, the artisttransforms the wealthy and large region into something ephemeral.

LOT 9

Leandro Erlich Argentinean(born 1973)

Large Cloud Vitrine, 2016Edition: USAExtra clear glass, ceramic ink digital printing, wooden vitrine, and LED lights78 1⁄2 x 80 11⁄16 x 31 7⁄8 inches (199.5 x 205 x 81 cm)Courtesy of the artist and Sean Kelly, New York© Leandro Erlich

Estimate: $150,000–$175,000

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Contemporary Cuban artist Carlos Garaicoa is well known for his investigations of Havana’s urban landscapes. Since the 1990s, he has used them as tropes to comment on thepopular disillusionment with the Cuban Revolution (or on what he identifies as the ruinous utopia of his country). Since 2015, Garaicoa has produced a series of works titledTestigos [Witnesses], mixing abstract geometric line drawings,frottage (texture captured with graphite on paper), and smallarchitectural models made of balsa wood that he attaches to the external frame of each work. The three-dimensionalityof these pieces highlights the compositional precision of thethree central components, allowing the artist to recreate the architectural sensibility embraced by avant-garde artists of the early twentieth century.

LOT 12

Carlos Garaicoa Cuban(born 1967)

Testigos: Paisaje IX [Witnesses: Landscape IX], 2015Frottage and graphite on Bioprima paper(100 gr.), balsa wood maquette31 1⁄2 x 23 5⁄8 inches (80 x 60 cm)Courtesy of the artist

Estimate: $18,000–$22,000100% Donation

Constructivist painter and sculptor María Freire was a leading proponent of Concrete and non-figurative art in her native Uruguay. Graduating from the Universidad del Trabajo in Montevideo in 1943, Freire was among the founders of the Grupo de Arte No Figurativo in 1952. Her explorations of abstract art led her to collaborate with Rhod Rothfuss, among other artists, from the Argentinean abstract art Grupo Madí. Beginning in the late 1950s, Freire’s works deviated from her previous hard-edged rigidity to feature vigorous repetitions of curvilinear forms andvibrant colors. An exceptional example of this transformation, the painting Black and Blue Capricorn XXXV is part of a sequence of series, including Sudamérica (1958–60), Córdoba (1965–75),Capricórnio (1965–75), and Variantes y Vibrantes (1975–85), in which the artist alludes to the aesthetics of Pre-Columbian and other indigenous cultures with varying degrees of abstraction. In this work, lines and concentric semicircles rupture a black layer to reveal various bands of colors behind it. Freire herself related the sensuality of the curved line with the Maori culture.

LOT 11

María FreireUruguayan(1917-2015)

Black and Blue Capricorn XXXV,1965Acrylic on canvas35 1⁄2 x 26 3⁄4 inches (90.2 x 67.9 cm)Courtesy of Cecilia de Torres, Ltd., New York

Estimate: $50,000–$60,000

23

Born in Havana, Carmen Herrera enrolled at the Universidad de laHabana in 1938 to study architecture while she was in her earlytwenties. In 1939 she met and married a visiting American teacher,Jesse Loewenthal. She then abandoned her studies and moved with him to New York City. There, Herrera attended the Art StudentsLeague from 1943 to 1947; during this time, Abstract Expressionismwas at its apogee. The following year, Herrera moved to Paris totake advantage of the rebuilding environment of postwar Europe.While in Paris, Herrera participated in the historical group exhibi-tions of the Salon des Réalités Nouvelles, from 1949 to 1953. Shereturned in 1954 to New York City, where her work was consideredpart of the development of hard-edge abstraction (or GeometricMinimalism). By the late 1960s, Herrera had been awarded two fellowships from the Cintas Foundation, and by the end of the 1970s, she was given a grant by the Creative Artists Public Service.Remarkably, in 2004 and at eighty-nine years old, Herrera experi-enced a transformative breakthrough in the art market, when herworks began commanding record prices at auction. Untitled (Blackand White) showcases Herrera’s enduring ability to achieve visualharmony through chromatic planes, symmetry, and pure abstraction.

LOT 14

Carmen Herrera Cuban(born 1915)

Untitled (Black and White), 2012Acrylic black gesso on paper25 x 36 3⁄4 inches (63.5 x 93.3 cm)Courtesy of the artist and Lisson Gallery, New York

Estimate: $35,000–$45,000100% Donation

22

Originally from Venezuela, London-based Jaime Gili is greatly influenced by Op Art, Kinetic art, and midcentury modern art, inflected with a distinctive South American perspective. Inspired by Carlos Cruz-Diez, Jesús Rafael Soto, and Alejandro Otero, Gili combines Geometric Abstraction with dynamic forms and vibrant colors. Gili’s large canvases captivate viewers with their visual power. His works are frequently displayed in groups that are not hung on but rather leaned against the wall, creating architectural environments that resemble the development of urban spaces. About A284 Barricade Scarpa Socle, Gili wrote:“After a series of paintings related to an investigation around Max Bill…and another around the work of Carlo Scarpa …, this painting appears like a classic rarity that should stay in theartist’s studio for a while. A284 leaves both series behind but simultaneously contains them.” In fact, other works emerged from this transitional piece. Gili’s works are displayed in numerous public art collections around the world, including the Patricia Phelps de Cisneros Collection, New York; Banco Mercantil, Caracas; and Saatchi Collection, London.

LOT 13

Jaime Gili Venezuelan(born 1972)

A284 Barricade Scarpa Socle,2015Acrylic on canvas49 x 118 inches (125 x 300 cm)Courtesy of the artist and Alejandra von Hartz Gallery, Miami

Estimate: $30,000-$40,000

Luis Martínez Pedro was part of Diez Pintores Concretos, Cuba’s foremost group of artists working in the language of GeometricAbstraction. Active between 1958 and 1961, the group also consisted of Loló Soldevilla, Sandú Darié, Pedro Álvarez, Salvador Corratgé, José Mijares, Rafael Soriano, and Wifredo Arcay. Prior to this period,during his formative years, Martínez Pedro left Cuba because of the dictatorship of Gerardo Machado and moved to the United States,where he studied at the New Orleans School of Art and Craft. Uponreturning to Cuba in 1933, the artist began working in advertising—an experience that deeply informed his vibrant, graphic compositions.His now iconic Aguas territoriales series, first exhibited in 1963 atGaleria La Habana, abstracts swirls of water into concentric circles ofvarying shades of blue. In this extraordinary early work from the series,the churning water, which draws the eye to the central core, floats atopa dark, monochromatic background. These paintings, exhibited in AdiósUtopia: Dreams and Deceptions in Cuban Art Since 1950, are immer-sive, entrancing, and meditative, combining the formal elements of the Concrete art movement with powerful political commentary on the divisive power of the ocean as a border. Indeed, the sea proved to be a dialectical entity in the years following the Cuban Revolution.Although the sea provided an escape to the outside world, it createdbarriers that divided a vast number of Cuban families.

LOT 15

Luis Martínez Pedro Cuban(1910-1990)

Sin título, de la serie Aguas territoriales[Untitled, from the series Territorial Waters], c. 1962Mixed media on board27 3⁄4 x 34 inches (70.5 x 86.4 cm) Courtesy of Sammer Gallery, Miami

Estimate: $40,000–$50,000

24

José Mijares began his artistic studies in 1936 at the prestigiousEscuela Nacional de Bellas Artes San Alejandro in Havana, studying with such prominent professors as Fidelio Ponce de León(1895–1949), whom he later recognized as the most influential in his career. In 1943 one of Mijares’s works was included in the First Anti-Fascist Salon, along with Wifredo Lam’s works. While Mijaresbegan to paint in the figurative tradition, he embraced Concrete art in the early 1950s and then became an integral member of the groupDiez Pintores Concretos when it formed in 1959. As eloquently demonstrated by Untitled (1966), the artist fused concrete forms with organic elements, evocative of Caribbean colonial architecturalpatterns, to produce interlaced, rhythmic, chromatic shapes. Despite the challenging art scene in Havana during the 1950s, Mijaresachieved international recognition for his explorations of GeometricAbstraction. He was appointed to the position of professor at thesame school he attended, but he resigned after Fidel Castro came to power and moved to Miami in 1968. The new environment influ-enced Mijares’s style, as he returned to figurative painting and to frequently employing the color blue.

LOT 16

José Mijares Cuban(1921-2004)

Untitled, 1966Oil on canvas 36 x 24 inches (91.4 x 61 cm)Courtesy of Francisco Arevalo

Estimate: $30,000–$40,000

25

Born in Rio de Janeiro, Ernesto Neto works somewhere betweensculpture and architecture. From 1994 to 1997, he studied at thecity’s Escola de Artes Visuais do Parque Lage. There, he was influ-enced by the Neo-Concrete movement, which gained momentum in Brazil in the 1960s and 1970s and sought to create artworks that became active upon the viewer’s participation. Influenced bythis movement, Neto’s work is often described as sensuous andorganic, inspired by Minimalist and Conceptual Brazilian work aswell as by the multitude of cultures, people, scents, and sounds he encounters every day. Neto’s monumental architectural sculptures are often made of delicate nylon or string, combined with sacks of herbs and spices that activate every sense and envelop the viewer. This work, featured in Neto’s most recent exhibition at the Tanya Bonakdar Gallery in New York, showcases the artist’srenowned crochet technique and his collaboration with the HuniKuin, an indigenous culture in the Brazilian Amazon. Through theintertwining lines of vibrant, woven color, Neto explores the inter-connectivity of the natural world.

LOT 17

Ernesto Neto Brazilian(born 1964)

Untitled (Provisory), 2016Cotton voile crochet and wooden knobs32 x 96 x 1 3⁄8 inches (81.3 x 243.8 x 3.5 cm)Courtesy of the artist and TanyaBonakdar Gallery, New York

Estimate: $30,000–$40,000 100% Donation

Detail

Mexican artist Edgar Orlaineta is a rising star in the contemporary artworld. He studied art at the Escuela Nacional in Mexico City and at thePratt Institute in New York, where he developed a signature style char-acterized by incorporating memorabilia and design objects into hissculptures. Orlaineta’s meaningful and precisely crafted sculptures andinstallations are the result of a thorough study of design and architec-ture, informed by a deep understanding of cultural symbolism. His workhas been described as a testament to the transformative power of theeveryday and its relentless aspiration toward a utopian way of life.Anachronic Dance (after Isamu Noguchi) stems from his most recentproject, a series inspired by Isamu Noguchi’s (1904–1988) InterlockingSculptures of the 1940s. Here, the “Measured Time” clock and thekitchen timer designed by Noguchi are used to show the contradictoryhistorical/cultural ideologies that are forced upon artworks over time. In a nod to the Japanese-American artist, Orlaineta selected walnut as the primary material of this sculpture; in doing so, he also empha-sized the artisanal over the industrial. Orlaineta has been grantednumerous awards and residencies by institutions, including the Pollock-Krasner Foundation, the Banff Center (Canada), FONCA (Mexico),ArtOmi (New York), and Braziers (London).

LOT 18

Edgar Orlaineta Mexican(born 1972)

Anachronic Dance (after Isamu Noguchi), 2015-16Walnut, brass, wax, magazine (Theatre Arts, January 1945), Measured Time clock and kitchen timer(designed by Isamu Noguchi, USA, c. 1932)74 13⁄16 x 30 1⁄2 x 27 9⁄16 inches (190 x 77.5 x 70 cm)Courtesy of the artist and Proyectos Monclova, Mexico City

Estimate: $30,000–$40,000

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Mercedes Pardo was an important proponent of the Venezuelanabstract art movement of the 1950s and 1960s. After attending the Academia de Bellas Artes in Caracas, she moved in 1949 to Paris to study art at the École du Louvre. While in Europe she met a number of Venezuelan artists, such as Alejandro Otero (who later became her husband), Jesús Rafael Soto, MateoManaure, and Luis Guevara Moreno, whom she joined to form the group Los Disidentes. In 1951 Pardo returned to Caracas and for nearly two decades remained actively involved in key abstract art exhibitions that helped to consolidate the new aesthetic trend. By the end of the 1960s, Pardo started focusing on the role colorplayed in her work. Her chromatic investigations thus became thesignature element of her long career. Created when the artist was seventy-five years old, Morada de luz demonstrates Pardo’s skillfulmanipulation of various planes of color to produce the illusion of Modernist buildings on the horizon. Pardo’s works are part of several important collections, including the Art Institute of Chicago;Biblioteca Luis Ángel Arango, Bogotá; and Galería Nacional de Caracas.

LOT 19

Mercedes Pardo Venezuelan(1921-2005)

Morada de luz [House of Light], 1996Acrylic on canvas33 7⁄8 x 50 inches (86.1 x 127 cm)Courtesy of Durban Segnini Gallery,Miami

Estimate: $35,000–$45,000

Jorge Riveros graduated in 1956 from the Escuela Nacional de Bellas Artes in Bogotá, where he began a dual career as a paintinginstructor and an artist. He was vastly influenced by Joaquín Torres-García’s book El Universalismo constructivo [ConstructiveUniversalism] (1944), from which he assimilated complex conceptualarguments about abstract art. In 1960 Riveros had his first solo exhibition of figurative-impressionist works, only to abandon thisstyle to embrace avant-garde Constructive geometry. In 1964 hemoved to Europe, where he spent nearly a decade studying muralistpainting in Spain and exhibiting his works in Germany (where hejoined the German artist group Semikolon and the InternationalOrganization of Constructive Painters). Riveros returned to Bogotá toteach at the Universidad Nacional de Colombia in 1975. During thistime, his works evolved to include paintings, sculpture, and large-format murals. As seen in Cósmico II, his geometry reveals an artistwho masterfully reduces shapes to lines, circles, rectangles, and triangles, alongside imaginative combinations of these figures. Colorplanes also play an important role in compositions such as Cósmico II,introducing sober blues, purples, greys, and greens that vibrate next to each other. As Riveros explains, these shapes seem to have brokenthe mold, “but from the smallest to the greatest, what I do alwayshas the golden rule (ratio of measures),” revealing the influence of his German training.

LOT 20

Jorge Riveros Colombian(born 1934)

Cósmico II [Cosmic II], 1976Oil on canvas39 3⁄8 x 35 7⁄16 inches (100 x 90 cm)Courtesy of the artist and Leon Tovar Gallery, New York

Estimate: $20,000–$25,000100% Donation

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Horacio Torres was born in Livorino, Italy, after his father, JoaquínTorres-García, moved the family there so that he could operate histoy factory. Torres grew up in a very intense artistic environment,moving later to Paris, and then to Madrid before settling in Uruguay,where he studied painting with his father. Torres participated in several of the Asociación de Arte Consructivo exhibitions and won the portrait award at the Salón Nacional de Bellas Artes deMontevideo in 1941. He traveled the next year to Peru and Boliviawith the Taller Torres-García artists to learn about Pre-Columbian art; he also traveled and exhibited in Europe. This exceptional painted wood construction comes from Torres’s engagement withConstructive Universalism, a philosophy toward art developed by the artist’s father and promoted by the Taller Torres-García. Within this artistic language, artists strove to unite abstraction with its original sources from ancient civilizations, particularly Pre-Columbiancultures. Torres moved in 1969 to New York, where he was intro-duced to the contemporary art world by art critic Clement Greenberg.Torres dedicated himself to figuration as a way to experiment withclassical art within a contemporary context.

LOT 22

Horacio Torres Uruguayan, born Italy(1924-1976)

Construcción [Construction], c. 1956Painted wood25 x 12 inches (63.5 x 30.5 cm) Courtesy of Cecilia de Torres, Ltd.,New York

Estimate: $18,000–$22,000

Mira Schendel is considered to be one of the most significant LatinAmerican artists of the twentieth century. Through her prolific workas a painter, poet, and sculptor, Schendel inspired a new sui generisartistic language in Brazil. Born in Switzerland, Schendel studied philosophy in Milan, where she was stripped of her citizenship by the fascist government because she was Jewish. Schendel fled Italy in 1939 and migrated to several countries until she arrived in Brazil, where she settled in 1949. Because she was poor duringthese years, Schendel crafted her works using simple materials, but always in a delicate and pensive way. About 1960, the artistreceived a gift of rice paper from the physicist and art critic MárioSchemberg. Fragile and nearly transparent, rice paper becameSchendel’s preferred medium as a way of expressing some of her phenomenological ideas of being and nothingness. The work Untitled (from the Lines-Pre-architectures series), which is part of the Monotypes series, is emblematic of this paradigmatic moment in the artist’s career. In this work, Schendel creates a miniature archi-tectural structure through rhythmically alternating, delicate lines.

LOT 21

Mira Schendel Brazilian, born in Switzerland(1919-1988)

Untitled (from the Lines-Pre-architectures series), 1965Oil on rice paper18 1⁄2 x 9 inches (47.2 x 22.8 cm)Courtesy of the Mira Schendel Estate and Hauser & Wirth© Mira Schendel Estate

Estimate: $20,000–$25,000100% Donation

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In 1943, Virgilio Villalba found himself at the center of a heateddebate. While studying at the Escuela de Bellas Artes PrilidianoPuyerredón in Buenos Aires, his classmates Alfredo Hlito, ClaudioGirola, Tomás Moldonado, and Jorge Britos wrote and distributed their “Manifiesto de cuatro jóvenes.” In this declaration, Villalba’s peers described the antagonism between figurative and non-figura-tive artists and the university’s role in prioritizing traditional, pictorialarts over avant-garde movements. These aesthetic and theoreticaldiscussions, as well as those generated by the turmoil unleashed by World War II, solidified several emerging art trends in Argentina,giving birth to a number of abstract art associations that includedArte Concreto-Invención, of which Villalba became a key member.This group subscribed to Concretism and non-objectivity as a meansfor eliminating the subjective presence of the “artist’s hand.” Villalba’s1954 work titled Pintura concreta [Concrete Painting] embodies suchnotions of Objective Universalism. Here, Villalba, working in mono-chromatic hues of blue, paints a curved line stretching from the top tothe bottom of the canvas, broken and displaced by a horizontal blackstreak. Just below the line sits a small lone black square in the sea of blue. Villalba worked exclusively in this vein throughout the 1940sand 1950s until his departure for Paris, where his work became figurative and remained as such until his death in 2009.

LOT 23

Virgilio Villalba Argentinean(1925-2009)

Pintura concreta[Concrete Painting], 1954Oil on canvas26 x 22 7⁄16 inches (66 x 57 cm)Courtesy of Aldo de Sousa, Buenos Aires

Estimate: $55,000–$65,000

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TO VIEW WORKS IN ADVANCE,PLEASE CONTACT DEVELOPMENT SPECIAL EVENTS AT 713-639-7572, OR LATINGALA@MFAH.ORG

CONDITIONS OF SALEThe following Conditions ofSale and Terms of Guaranteeare based on those conditionsand terms of the Museum ofFine Arts, Houston (MFAH).

The Conditions of Sale, Termsof Guarantee, the glossary,if any, and all other contentsof this catalogue are subjectto amendment by the MFAHby the posting of notices or by oral announcements madeduring the sale. The propertywill be offered by the MFAHas agent for the Consignor,unless the catalogueindicates otherwise.

By participating in any sale,you acknowledge that youare bound by these termsand conditions.

AS IS

1. Goods auctioned are often ofsome age. The authenticity of the Authorship of propertylisted in the catalogue is guar-anteed as stated in the Termsof Guarantee and except forthe Limited Warranty con-tained therein, all property issold “AS IS” without any repre-sentations or warranties by theMFAH or the Consignor as tomerchantability, fitness for aparticular purpose, the correct-ness of the catalogue or otherdescription of the physical condition, size, quality, rarity,importance, medium, prove-nance, exhibitions, literature or historical relevance of anyproperty and no statementanywhere, whether made in

the catalogue, an advertise-ment, a bill of sale, a salesroomposting or announcement, orelsewhere, shall be deemedsuch a warranty, representationor assumption of liability. TheMFAH and the Consignormake no representations andwarranties, expressed orimplied, as to whether thepurchaser acquires any copy-rights, including but not limit-ed to, any reproduction rights in any property. Purchaseragrees that the MFAH and theConsignor are not responsiblefor errors and omissions in thecatalogue, glossary, or any supplemental material.

INSPECTION

2. Prospective bidders shouldinspect the property before bid-ding to determine its condition,size, and whether or not it hasbeen repaired or restored.

WITHDRAWAL

3. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal.

PER LOT

4. Unless otherwise announcedby the auctioneer, all bids are per lot as numbered in the catalogue.

BIDDING

5. We reserve the right to rejectany bid. The highest bidderacknowledged by the auc-tioneer will be the purchaser.In the event of any disputebetween bidders, or in theevent of doubt on our part asto the validity of any bid, theauctioneer will have the finaldiscretion to determine thesuccessful bidder, cancel thesale, or to reoffer and resell

the article in dispute. If anydispute arises after the sale, our sale record is conclusive.Although in our discretion wewill execute order or absenteebids or accept telephone bidsas a convenience to clients who are not present at auc-tions, we are not responsiblefor any errors or omissions inconnection therewith.

BIDS BELOW RESERVE

6. If the auctioneer decides thatany opening bid is below thereserve of the article offered, he may reject the same andwithdraw the article from sale,and if, having acknowledgedan opening bid, he decides that any advance thereafter is insufficient, he may rejectthe advance.

PURCHASER’S RESPONSIBILITY

7. Subject to fulfillment of all ofthe conditions set forth herein,on the fall of the auctioneer’shammer, title to the offered lot will pass to the highest bidder acknowledged by theauctioneer, and such bidderthereupon (a) assumes full riskand responsibility therefore (including, without limitation,liability for or damage toframes or glass covering prints,paintings or other works), and(b) will immediately pay thefull purchase price or such partas we may require. All propertymust be removed from ourpremises by the purchaser at hisexpense not later than 10 busi-ness days following its sale and,if it is not so removed we maysend the purchased property to a public warehouse for the account, at the risk andexpense of the purchaser.

If any applicable conditionsherein are not complied with

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LIMITATION OF LIABILITY

12. In no event will our liabilityto a purchaser exceed the purchase price actually paid.

TERMS OF GUARANTEEThe MFAH warrants theauthenticity of Authorship of each lot contained in thiscatalogue on the terms andconditions set forth below.

DEFINITION OF AUTHORSHIP

1. “Authorship” is defined as thecreator, period, culture, sourceof origin, as the case may be,as set forth in the BOLDHEADING of a lot in this catalogue, as amended by any oral or written salesroomnotices or announcements. Ifthere is a “Glossary” of termsin this catalogue, please notethat any such heading repre-sents a qualified statement oropinion and is not subject tothese Terms of Guarantee. TheMFAH makes no warrantieswhatsoever, whether express or implied, with respect to any material in the catalogue,other than that appearing in BOLD HEADING and subject to the exclusions in 5 and 6 below.

GUARANTEE COVERAGE

2. Subject to the exclusions in 5 and 6 below, the MFAH warrants the Authorship (asdefined above) of a lot for aperiod of five years from thedate of sale of such lot and only to the original purchaserof record at the auction. If it is determined to the MFAH’ssatisfaction that the BOLDHEADING is incorrect, thesale will be rescinded as set forth in 3 and 4 below, provided the lot is returned to the MFAH at the originalselling location in the same

condition in which it was asthe time of sale. It is theMFAH’s general policy, andthe MFAH shall have the rightto have the purchaser obtain, at the purchaser’s expense, the opinion of two recognizedexperts in the field, mutuallyacceptable to the MFAH andthe purchaser, before theMFAH determines whether torescind a sale under the abovewarranty. If the purchaserrequests, the MFAH will providethe purchaser with the names of experts acceptable to it.

NON-ASSIGNABILITY

3. The benefits of this warrantyare not assignable and shall be applicable only to the original purchaser of recordand not to any subsequentowners (including, withoutlimitation, heirs, successors,beneficiaries or assigns) whohave, or may acquire, an inter-est in any purchased property.

SOLE REMEDY

4. It is specifically understoodand agreed that the rescissionof a sale and the refund of theoriginal purchase price paid(the successful bid price, plusthe buyer’s premium) is exclu-sive and in lieu of any otherremedy which might otherwisebe available as a matter of law,or in equity. Phillips, theMFAH and the Consignorshall not be liable for any incidental or consequentialdamages incurred or claimed.

EXCLUSIONS

5. This warranty does not applyto: (i) Authorship of any paint-ings, drawings or sculpture created prior to 1870, unlessthe lot is determined to be acounterfeit (a modern forgery

intended to deceive) which has a value at the date of theclaim for rescission which ismaterially less than the pur-chase price paid for the lot; or(ii) any catalogue descriptionwhere it was specifically men-tioned that there is a conflict of specialist opinion on theAuthorship of a lot; or (iii)Authorship which on the date of sale was in accordancewith the then generally acceptedopinion of scholars and special-ists; or (iv) the identification of periods or dates of executionwhich may be proven inaccu-rate by means of scientificprocesses not generally acceptedfor use until after publicationof the catalogue, or which wereunreasonably expensive orimpractical to use.

LIMITED WARANTY

6. As stated in paragraph 1 of the Conditions of Sale, neitherthe MFAH nor the Consignormakes any express or impliedrepresentations or warrantieswhatsoever concerning anyproperty in the catalogue,including without limitation,any warranty of merchantabilityor fitness for a particularpurp0se, except as specificallyprovided herein.

BUYING AT AUCTION

The following will help inunderstanding the auctionbuying process. All biddersshould read the Conditions of Sale and Terms ofGuarantee in this catalogue,as well as the Glossary or anyother notices. By bidding atauction, bidders are bound by the Conditions of Sale and Terms of Guarantee, as amended by any oralannouncement or postednotices, which together form

by the purchaser, the pur-chaser will be in default and in addition to any and all otherremedies available to us and to the Consignor by law,including, without limitation,the right to hold the purchaserliable for the total purchaseprice, including all fees,charges and expenses morefully set forth herein, we, atour option, may (x) cancel thesale of that, or any other lot orlots sold to the defaulting pur-chaser at the same or any otherauction, retaining as liquidateddamages all payments made bythe purchaser, or (y) resell thepurchased property, whether atpublic auction or by privatesale, or (z) effect any combina-tion thereof, in any case, thepurchaser will be liable for anydeficiency, any and all costs,handling expenses of bothsales, our commissions on bothsales at our regular rates, legalfees and expenses, collectionfees and incidental damages.We may, in our sole discretion,apply any proceeds of sale thendue or thereafter becoming due to the purchaser from us or any affiliated company,whether or not intended toreduce the purchaser’s obliga-tions with respect to theunpaid lot or lots, to the defi-ciency and any other amountsdue to us or any affiliated companies. In addition, adefaulting purchaser will bedeemed to have granted andassigned to us and our affi-liated companies, a continuingsecurity interest of first priorityin any property or money of orowing to such purchaser in ourpossession or in the possessionof any of our affiliated compa-nies, and we may retain andapply such property or moneyas collateral security for theobligations due to us or to any

affiliated company of ours.Payment will not be deemed to have been made in full untilwe have collected good funds.In the event the purchaser failsto pay any or all of the totalpurchase price for any lot andthe MFAH nonetheless electsto pay the Consignor any por-tion of the sale proceeds, thepurchaser acknowledges thatthe MFAH shall have all of the rights of the Consignor topursue the purchaser for anyamounts paid to the Consignor,whether at law, in equity, orunder these Conditions of Sale.

RESERVE

8. All lots in this catalogue areoffered subject to a reserve,which is the confidential mini-mum price acceptable to theConsignor. No reserve willexceed the low presale estimatestated in the catalogue, or asamended by oral or postednotices. We may implementsuch reserve by opening thebidding on behalf of theConsignor and may bid up tothe amount of the reserve, byplacing successive or consecu-tive bids for a lot, or bids inresponse to other bidders. Ininstances where we have aninterest in the lot other thanour commission, we may bidup to the reserve to protectsuch interest. In certaininstances, the Consignor maypay us less than the standardcommission rate where a lot is “bought-in” to protect its reserve.

TAX

9. The purchaser may be requiredto pay Texas State tax, anyapplicable compensating usetax of another state, and ifapplicable, any federal luxuryor other tax, on the total value.The tax rate is 8.25% in Texas.

GOVERNING LAW AND JURISDICTION

10. These Conditions of Sale andTerms of Guarantee, as well as the purchaser’s and ourrespective rights and obliga-tions hereunder, shall be gov-erned by and construed andenforced in accordance withthe laws of the State of Texas.By bidding at an auction,whether present in person orby agent, order bid, telephoneor other means, the purchasershall be deemed to have con-sented to the jurisdiction ofthe state courts of, and thefederal courts sitting in, theState of Texas.

PACKING AND SHIPPING

11. We are not responsible for theacts or omissions in our pack-ing or shipping of purchasedlots or of other carriers or packers of purchased lots,whether or not recommendedby us. The MFAH will shipitems to the buyer when necessary; however, the buyer is responsible for all shipping and packing fees. Packing andhandling of purchased lots is atthe entire risk of the purchaser.The purchaser is responsible for obtaining an export licensefor an item containing anendangered species.

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AFTER THE AUCTION

PAYMENT

If your bid is successful, you canproceed to the cashier table at thefront of the Caroline Wiess LawBuilding, 30 minutes after theconclusion of the auction to makepayment arrangements. Otherwise,your invoice will be mailed to you.Sales tax, where applicable, will becharged on the entire amount.Payment is due in full immediate-ly after the sale. However, undercertain circumstances and general-ly with the seller’s agreement, theMFAH may offer buyers it deemscredit-worthy the option of anextended payment plan up to oneyear. Absolutely no payment plansmay extend beyond one year fromdate of sale. Credit terms shouldbe arranged prior to the sale.

PAYMENT BY CASH or CREDIT CARD

The MFAH accepts paymentby cash or credit card.

PAYMENT BY CHECK

Checks should be madepayable to the MFAH. Certified checks, banker’sdrafts, and cashier’s checks are accepted at the MFAH’sdiscretion and provided theyare issued by a reputable finan-cial institution governed byanti-money laundering laws.

SALES AND USE TAX

Texas sales tax is charged on the hammer price and is theresponsibility of the buyer.

PICKUP AND DELIVERY

Once your payment has beencleared, property may bereleased. Unless otherwiseagreed by the MFAH, all pur-chases should be removed bythe 10th day following a sale.After 20 days, property is trans-ferred to 360 Art Services at thepurchaser’s risk and subject tostorage charges at the purchas-er’s expense. As transferredproperty will no longer be in the MFAH’s custody or care,the MFAH Art TransportDepartment will not be able to assist you with pickup orshipping arrangements, andarrangements must be madedirectly with 360 Art Services.To avoid storage charges, pleasearrange for the removal of yourpurchases as soon as possible.

CLIENT PICKUP OF PROPERTY

As a courtesy to purchasers whocome to the MFAH to pick upproperty, the MFAH will assistin the packing of lots, althoughthe MFAH may, in the case offragile articles, choose not topack or otherwise handle a pur-chase. The MFAH will not beresponsible or liable for damageto glass covering paintings, draw-ings, or other works, or damageto frames, regardless of the cause.

the sale contract between thesuccessful bidder (purchaser),the MFAH and the seller (consignor) of the lot.

BEFORE THE AUCTION

THE CATALOGUE/paddle8.com

A catalogue prepared by theMFAH is available prior to the sale date. The catalogue will helpfamiliarize you with property beingoffered at the designated auction.Additionally, a preview of the prop-erty can also be viewed online atpaddle8.com after February 10, 2017.

ESTIMATES

Each lot in the catalogue is givena low and high estimate, indicat-ing to a prospective buyer a rangein which the lot might sell atauction. When possible, the estimate is based on previousauction records of comparablepieces. The estimates are deter-mined several months before asale and are therefore subject tochange upon further research ofthe property, or to reflect marketconditions or currency fluctua-tions. Estimates should not berelied upon as a representation orprediction of actual selling prices.

PROVENANCE

In certain circumstances, theMFAH may print in the cata-logue the history of ownership of a work of art if such informa-tion contributes to scholarship or is otherwise well known andassists in distinguishing the workof art. However, the identity ofthe seller or previous owners may not be disclosed for a variety of reasons. For example, suchinformation may be excluded to accommodate a seller’s requestfor confidentiality or because

the identity of prior owners isunknown given the age of thework of art.

SPECIALIST ADVICE

Prospective bidders may be interested in specific informationnot included in the cataloguedescription of a lot. For additionalinformation, please contactDevelopment Special Events at713-639-7572.

DURING THE AUCTION

BIDDING IN PERSON

If you would like to bid, you mustregister for a paddle upon enteringthe Museum of Fine Arts, Houston,on March 4, 2017. The paddle isnumbered so as to identify you tothe auctioneer. To register, you willneed a form of identification suchas a driver’s license or credit card.All bidders will be asked for anaddress, phone number, and signature in order to create an account. If you are bidding forsomeone else, you will need to provide a letter from that personauthorizing you to bid on that person’s behalf. Issuance of a bidpaddle is at the MFAH’s sole discretion.

Once the first bid has beenplaced, the auctioneer asks forhigher bids, in increments deter-mined by the auctioneer. To placeyour bid, simply raise your pad-dle until the auctioneer acknowl-edges you. You will know whenyour bid has been acknowledged:the auctioneer will not mistake arandom gesture for a bid.

ABSENTEE BIDDING

If it is not possible for you toattend the auction in person, you may place your bid ahead of time. Please contact MFAHDevelopment Special Events at713-639-7572 to place a proxybid. When the lot that you areinterested in comes up for sale,an MFAH representative will exe-cute the bid on your behalf, mak-ing every effort to purchase theitem for as little as possible andnever exceeding your limit. Thisservice is free and confidential.

TELEPHONE BIDDING

In some circumstances, we offer theability to place bids by telephonelive to an MFAH representative on the auction floor. Please contactMFAH Development SpecialEvents at 713-639-7572 prior to the sale to make arrangements or to seek answers to any questionsyou may have.

Telephone bids are accepted onlyat the MFAH’s discretion and at the caller’s risk. Calls may also be recorded at the MFAH’s discretion. By bidding on thetelephone, prospective buyersconsent thereto.

EMPLOYEE BIDDING

MFAH employees may bid in an MFAH auction only if theemployee does not know thereserve and if the employee fully complies with the MFAH’s internal rules governing employee bidding.

HAMMER PRICE

For lots which are sold, the last price for a lot asannounced by the auctioneer is the hammer price.

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