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A Selection of Artworks for Houston Fine Art Fair 2012

Houston Fine Art Fair
Reliant Center, Houston, Texas

Please join us in BOOTH 502

Show Information:
Thursday, September 13 | 6 – 9pm |
VIP Opening Preview Party (for VIP pass holders)

Regular Fair Hours:
Friday, September 14 | 11am – 7pm
Saturday, September 15 | 11am – 7pm
Sunday, September 16 | 11am – 6pm

Ramón Vázquez
The Ship of Dreams and the Flower, 2012,
oil on canvas, 32 3/4 x 39 1/2 inches

Special Moments Photos

Wifredo Lam <br> Mujer Sentada</br> (<i>Seated Woman </i>), 1944<br> oil on paper laid down on board</br>
42 x 33 ¼ inches
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This artwork is illustrated in Important Cuban Artworks, Volume Six, Page 116
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Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Word, Volume I, 1923-1960, Acatos, 1996, page 344, no. 44.17.
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This artwork is illustrated on the cover of Guillermina Ramos Cruz, Lam y Mendive: Arte Afrocubano, 2009, Linkgua
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This painting is accompanied by a photo-certificate of authenticity signed by Lou Laurin Lam.

Wifredo Lam
Mujer Sentada
(Seated Woman ), 1944
oil on paper laid down on board
42 x 33 ¼ inches

This artwork is illustrated in Important Cuban Artworks, Volume Six, Page 116

Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Word, Volume I, 1923-1960, Acatos, 1996, page 344, no. 44.17.

This artwork is illustrated on the cover of Guillermina Ramos Cruz, Lam y Mendive: Arte Afrocubano, 2009, Linkgua

This painting is accompanied by a photo-certificate of authenticity signed by Lou Laurin Lam.

Roberto Matta <br> El Interruptor </br> (<i>The Interruptor</i>), 1961 <br> oil on canvas </br>
32 x 39 ½ inches

Roberto Matta
El Interruptor
(The Interruptor), 1961
oil on canvas
32 x 39 ½ inches

Ramón Vázquez <br>El Bote de los Sueños y la Flor </br> (<i>The Ship of Dreams and the Flower</i>), 2012 <br> oil on canvas </br> 32 ¾ x 39 ½ inches

Ramón Vázquez
El Bote de los Sueños y la Flor
(The Ship of Dreams and the Flower), 2012
oil on canvas
32 ¾ x 39 ½ inches

Giosvany Echevarría <br> Mientras la Tarde se Aleja</br> (<i>As the Afternoon Fades Away</i>), 2012<br> oil on canvas</br> 40 ¼ x 78 ½ inches

Giosvany Echevarría
Mientras la Tarde se Aleja
(As the Afternoon Fades Away), 2012
oil on canvas
40 ¼ x 78 ½ inches

René Portocarrero
Muchacha de Perfil
(Young Lady in Profile), 1964
oil on canvas
33 x 22 ¾ inches

This painting was exhibited in the show René Portocarrero, Museo de Arte Moderno, May 1965, Bosque de Chapultepec, Mexico, and illustrated in the corresponding exhibition catalog, no. 6.

This painting was exhibited and sold at Christie’s New York, November 1994, Lot #160

Carlos Enríquez<br> Mulata a la Luz de la Luna</br> (<i>Mulatto Woman Under the Moonlight</i>), 1952 <br> oil on canvas </br> 29 ¼ x 24 inches
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This painting was exhibited at Christie’s Latin American Art auction, November 21, 1995, and illustrated in the corresponding catalog, No. 208.
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Illustrated in the book by Juan Martínez, Carlos Enríquez: The Painter of Cuban Ballads, 2010, page 222.

Carlos Enríquez
Mulata a la Luz de la Luna
(Mulatto Woman Under the Moonlight), 1952
oil on canvas
29 ¼ x 24 inches

This painting was exhibited at Christie’s Latin American Art auction, November 21, 1995, and illustrated in the corresponding catalog, No. 208.

Illustrated in the book by Juan Martínez, Carlos Enríquez: The Painter of Cuban Ballads, 2010, page 222.

Claudio Bravo<br> Naturaleza Muerta en el Estudio del Artista </br> (<i>Still Life in the Artist's Studio</i>), 1979<br> oil on canvas</br>
78 ¾ x 59 ¼ inches
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This painting was exhibited in <i>Latin American Still Life</i>, Boca Raton Museum of Art, Boca Raton, Florida, September 7 - November 27, 2005, and illustrated in the corresponding catalog, page 34.

Claudio Bravo
Naturaleza Muerta en el Estudio del Artista
(Still Life in the Artist's Studio), 1979
oil on canvas
78 ¾ x 59 ¼ inches

This painting was exhibited in Latin American Still Life, Boca Raton Museum of Art, Boca Raton, Florida, September 7 - November 27, 2005, and illustrated in the corresponding catalog, page 34.

Wifredo Lam <br> Diálogo Secreto </br> (<i>Secret Dialogue</i>), 1960 <br> pastel on paper laid down on board</br>27 ¼ x 39 ½ inches
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<i>Provenance</i>: <br>
Private Collection, Milan, Italy </br><br>

This artwork is accompanied by a photo certificate of authenticity signed by the artist, number 11B262. </br><br>

This artwork is illustrated in Michelle Leiris, Wifredo Lam, 1970, Harry N. Abrams, Inc. Publishers.</br>

Wifredo Lam
Diálogo Secreto
(Secret Dialogue), 1960
pastel on paper laid down on board
27 ¼ x 39 ½ inches

Provenance:
Private Collection, Milan, Italy

This artwork is accompanied by a photo certificate of authenticity signed by the artist, number 11B262.

This artwork is illustrated in Michelle Leiris, Wifredo Lam, 1970, Harry N. Abrams, Inc. Publishers.

Miguel Florido<br> Viviré en tu Recuerdo</br> (<i>I Will Live in Your Memory</i>), 2006-2012<br> oil on canvas</br> 78 x 39 ¼ inches

Miguel Florido
Viviré en tu Recuerdo
(I Will Live in Your Memory), 2006-2012
oil on canvas
78 x 39 ¼ inches

Flora Fong<br> Zona Costera</br> (<i>Coastal Zone</i>), 1998 <br> oil on canvas </br> 31 ⅞ x 39 ⅜ inches

Flora Fong
Zona Costera
(Coastal Zone), 1998
oil on canvas
31 ⅞ x 39 ⅜ inches

Dayron González<br> Contra la Corriente</br> (<i>Countercurrent</i>), 2012<br> mixed media on canvas</br> 60 ⅝ x 60 ⅝ inches

Dayron González
Contra la Corriente
(Countercurrent), 2012
mixed media on canvas
60 ⅝ x 60 ⅝ inches

Irina Elén González<br> Balanceando la Vida</br> (<i>Balancing Life</i>), 2012<br> acrylic on canvas</br>
39 ¼ x 31 ½ inches

Irina Elén González
Balanceando la Vida
(Balancing Life), 2012
acrylic on canvas
39 ¼ x 31 ½ inches

Vicente Hernández<br> La Máquina del Tiempo</br> (<i>The Time Machine</i>), 2011<br> mixed media on canvas</br> 62 ¾ x 39 inches

Vicente Hernández
La Máquina del Tiempo
(The Time Machine), 2011
mixed media on canvas
62 ¾ x 39 inches

Gina Pellón<br> Rito Mágico</br> (<i>Magic Rite</i>), 2008<br> mixed media on canvas</br> 45 ¼ x 34 ¾ inches

Gina Pellón
Rito Mágico
(Magic Rite), 2008
mixed media on canvas
45 ¼ x 34 ¾ inches

Reynier Ferrer<br> Ambigüedad</br> (<i>Ambiguity</i>), 2012 <br> mixed media on canvas</br>
71 x 39 ½ inches

Reynier Ferrer
Ambigüedad
(Ambiguity), 2012
mixed media on canvas
71 x 39 ½ inches

Joel Besmar<br> Ven y Mira </br> (<i>Come and See</i>), 2011<br> oil on canvas</br> 78 ¾ x 59 inches
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This painting is illustrated in Important Cuban Artworks, Volume Ten, Page 121
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The towering cross composed of books in this rendition is inspired by the fifth chapter of the Book of Revelation, also known as the Apocalypse of St. John. This final book of the New Testament of the Bible delivers a divine message, using codes, images and numbers. It is a symbolic and allegorical representation of a sealed book with seven wax signets that hold hidden meanings and predictions of historical future events.
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The four books in the upper center of the composition – with their pages facing the viewer – allude to transcendental attributes of God, such as, faith, unity, beauty and goodness. The other seven blocks of books, with their book spines all in Latin, symbolize all mankind, with its virtues and sins –and moreover – it is a thought-provoking compendium of the struggle between the righteous and the immoral.
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As in the Book of Revelation, the title of the painting, Come and See, invites the viewer to take a closer look, engage, and try (or dare!) to unravel this mystical experience, supposedly beyond all human understanding.

Joel Besmar
Ven y Mira
(Come and See), 2011
oil on canvas
78 ¾ x 59 inches

This painting is illustrated in Important Cuban Artworks, Volume Ten, Page 121

The towering cross composed of books in this rendition is inspired by the fifth chapter of the Book of Revelation, also known as the Apocalypse of St. John. This final book of the New Testament of the Bible delivers a divine message, using codes, images and numbers. It is a symbolic and allegorical representation of a sealed book with seven wax signets that hold hidden meanings and predictions of historical future events.

The four books in the upper center of the composition – with their pages facing the viewer – allude to transcendental attributes of God, such as, faith, unity, beauty and goodness. The other seven blocks of books, with their book spines all in Latin, symbolize all mankind, with its virtues and sins –and moreover – it is a thought-provoking compendium of the struggle between the righteous and the immoral.

As in the Book of Revelation, the title of the painting, Come and See, invites the viewer to take a closer look, engage, and try (or dare!) to unravel this mystical experience, supposedly beyond all human understanding.