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MODERN ART: The Vanguardia artists,
A Historical Exhibition, 1st Floor, 3155 Building.

Exhibition Photos

A view of eight historic painted works from the 1940's and 1950's
by three of the 20th Century's most distinguished modernists,
Mario Carreño, Amelia Peláez, and Wifredo Lam,
as well as a rare large Wifredo Lam sculpture from the 1970's.

Mario Carreño (1913 - 1999)
Fire in the Farm
(Fuego en el Batey), 1943
Duco and oil on wood panel
48 x 65 inches

Private Collection, Coral Gables, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Fourteen,
front cover, page 41.

Provenance:
The Collection of Milton and Nona Ward,
Baldwin, New York;
Private Collection, Santo Domingo,
Dominican Republic.

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

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

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

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

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

Illustrated in “Mario Carreño,” Grafos Havanity,
no. 117, Guy Pérez Cisneros, Year X, Havana,
Cuba, Nov. – Dec. 1943, p. 17-19.

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

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

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

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

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

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

Illustrated in, Mario Carreño, Cronología
del recuerdo, Editorial Antártica,
Santiago de Chile, 1991.

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

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

Illustrated in the book Modern Art in 1940s
Cuba: Havana's Artists, Critics, and
Exhibitions, by Professor Alejandro Anreus,
Ph.D., University of Florida Press, 2025,
page 153.

In 1943, Carreño created nine iconic duco paintings,
eight of which were shown at the Lyceum in Havana.
Two of the most monumental, Fire in the Farm
and Afro-Cuban Dance, are exhibited together
at Cernuda Arte for the first time
since Vero Beach Museum in 2017.

These duco works are a cornerstone
of 20th-century Latin American art.
Fire in the Farm was thought lost for decades
until its acquisition by Cernuda Arte in 2006.
It is now belongs to a major private collection in Coral Gables.
Afro-Cuban Dance has been shown at major institutions
including MoMA (1944) and the National Gallery (1945).
Both works are featured in Modern Art in 1940s Cuba:
Havana's Artists, Critics, and Exhibitions
by Dr. Alejandro Anreus (UF Press, 2025).

Mario Carreño (1913 - 1999)
Afro-Cuban Dance
(Danza Afrocubana), 1943
Duco with cloth and rope collage on wood panel
64 7/8 x 47 7/8 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Twenty-One,
front cover, page 58 and 59.

Provenance:
Perls Galleries, New York (1944);
Acquired from the above,
thence by descent from the above;
Private Collection, Coral Gables, FL;
Private Collection, Aventura, FL.

Exhibited in Carreño, Lyceum, Havana,
Cuba, Nov. 9-16, 1943, no. 8.

Exhibited in Mario Carreño, Perls Galleries,
New York, New York, Mar. – Apr. 1944, and
listed in the exhibition brochure, no. 14.

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

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

Exhibited in Afro-Cuban Dance - A Re-Discovered
Masterwork by Mario Carreño, Cernuda Arte,
Coral Gables, FL, July 2007, and illustrated
on the cover of the invitation.

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

Also Exhibited at the Following Museums:
Munson Williams Proctor Art Institute, Utica, New York,
Oct. 1 – Oct. 30, 1944.
Art Club of Chicago, Chicago, Illinois, Dec. 1 – Dec.29, 1944.
National Gallery of Art, Washington, D.C., Feb. 1 – Mar. 1, 1945.
St. Paul Gallery & School of Art, St. Paul, Minnesota,
Mar. 15 – Apr. 1, 1945.
University Gallery, University of Minnesota, Minneapolis,
Minnesota, May 27 – Jun. 24, 1945.
Portland Art Museum, Portland, Oregon, Jul. 19 – Aug.16, 1945.
Seattle Art Museum, Seattle, Washington, Aug. 30 – Sep. 27, 1945.
San Francisco Museum of Art, San Francisco, California,
Oct. 11 – Nov. 8, 1945.
J.B. Speed Art Museum, Louisville, Kentucky,
Nov. 22 – Dec. 20, 1945.
Alexandria Art League, Alexandria, Louisiana, Jan.3 – Jan. 24, 1946.
Person Hall Art Gallery, University of North Carolina, Chapel Hill,
North Carolina, Feb.7 – Mar. 7, 1946.
Rollins College, Winter Park, Florida, Mar. 21 – Apr. 19, 1946.

Literature:
José Gómez Sicre, Cuadernos de Plástica Cubana I, Carreño,
Ediciones Galería del Prado, Havana, 1943, illustrated in color.
José Gómez Sicre, Cuban Painting of Today, María Luisa Gómez
Mena, Havana, 1944, p. 9.
Edward Alden Jewell, “Cuba’s Pacemakers,” New York Times,
March 26, 1944, discussed.
“Cuban Rhythm,” Dayton, Ohio News Week, April 3, 1944, discussed.
“El Arte Cubano,” Carteles, April 30, 1944, installation view.
Alfred Hamilton Barr, “Pintura Cubana en Nueva York,” Norte,
Vol. 4, No. 9, July 1944, discussed.
José Gómez Sicre, “Pintores Cubanos Modernos,” La Revista Belga,
July, 1944, illustrated.
Harry Salpeter, “Carreño the Cubanist,” Esquire, September 1944,
discussed.
José Gómez Sicre, Art of Cuba in Exile, Editora Munder, Miami,
1987, p. 53, installation view.
Lowery S. Sims, et al, Wifredo Lam and his Contemporaries
1938-1952 (exhibition catalog), The Studio Museum in Harlem,
New York, Harry N. Abrams, 1992, p. 64, illustrated.
Maria Lluïsa & Antonio Zaya, Cuba Siglo XX: modernidad y
sincretismo (exhibition catalog), Las Palmas de Gran Canaria,
Centro Atlántico de Arte Moderno; Palma, Fundación “La Caixa;”
Barcelona, Centre d’Art Santa Mònica, April-December 1996,
p. 38, illustrated.
Jacqueline Barnitz, Twentieth-Century Art of Latin America,
University of Texas Press, Austin, 2001, p. 124, no. 4.8,
illustrated in color.
Professor Alejandro Anreus, Ph.D., Modern Art in 1940s
Cuba: Havana's Artists, Critics, and Exhibitions, University
of Florida Press, 2025, page 151.

Mario Carreño (1913 - 1999)
Young Lady with Guitar
(Muchacha con Guitarra), 1944
mixed media on cardboard
9 x 6 3/4 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Six,
page 35.

Exhibited in Three Centuries of Cuban
Art, Cernuda Arte, Coral Gables, FL,
June – October, 2017, and illustrated
digitally on cernudaarte.com,
exhibitions.

Exhibited in Amelia’s Friends
and Colleagues: 14 Master Painters
of the Vanguardia Movement,
Cernuda Arte, Coral Gables, FL,
July – Nov. 2022, and illustrated
digitally on cernudaarte.com,
exhibitions.

Wifredo Lam (1902 - 1982)
Osun
(Osun), 1977
bronze sculpture, number 2 of 8
39 1/4 x 19 x 9 inches

Provenance:
Public auction, Saint-Germain-en-Laye,
June 23, 1992.

Illustrated LAM, retrospective at the
Musée d'Art Moderne de la ville de Paris,
1983, identical model reproduced
under n°151.

Illustrated [different number] in
Wifredo Lam: Catalogue Raisonné of
the Painted Work, Volume II, 1961-1982,
Project Director: Eskil Lam,
Acatos 2002, page 225, no. 125.

We thank Mr. Eskil LAM for kindly
confirming the authenticity of this
work and the above information.

Left:
The masterful, sensuous expressionism of Carlos Enríquez'
painted nude figures is exemplified by a 1949 ink on heavy paper, Nude;

Center to Right:
An iconic Wifredo Lam composition from the early 1940s, Person with Hat ,
beside the 1955 geometric masterpiece, Lam's Untitled [Arcane Dreams];
and an exquisite late career mixed media work by Wifredo Lam,
Untitled [Femme Cheval with Flowers], 1978.

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

Private Collection, Coral Gables, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Fourteen,
page 35.

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

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

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

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

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

This painting is accompanied by a
Photo-Certificate of Authenticity
signed by Monsieur Eskil Lam, dated
Paris, August 31, 2015, no. 15.09.

Wifredo Lam (1902 - 1982)
Person with Hat
(Persona con Sombrero), ca 1942
mixed media on heavy paper laid down on board
37 x 28 3/4 inches

Private Collection, Fisher Island, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Twenty,
front cover, and also on page 23.

Provenance:
Marta Gutiérrez Fine Arts, Miami, FL;
The Brillembourg Capriles Collection;
Cernuda Arte, Coral Gables, FL.

Exhibited in Wifredo Lam in North America,
Haggerty Museum of Art, Marquette University,
Milwaukee, Wisconsin, Oct. 11, 2007 – Jan. 21, 2008.

Exhibited in Wifredo Lam in North America,
Miami Museum of Art, Miami, Florida,
February 8 - May 18, 2008.

Exhibited in Wifredo Lam in North America,
Museum of Latin American Art, Long Beach, CA,
June 12 - August 31, 2008.

Exhibited in Wifredo Lam in North America,
Salvador Dalí Museum, St. Petersburg, Florida,
October 2, 2008 - January 10, 2009.

Illustrated in the corresponding catalog of
all four previous exhibitions, Wifredo Lam in
North America, with essays by Curtis L. Carter,
Lowery Stokes Sims, Dawn Ades, Valerie J. Fletcher,
Edward Lucie-Smith and Madame Lou Laurin-Lam,
published by the Haggerty Museum of Art,
Marquette University, Milwaukee,
Wisconsin, 2007, Listed as no. 18
and illustrated in color on page 91.

Exhibited in North Looks South: Building
the Latin American Art Collection,
Museum of Fine Arts, Houston, Texas,
June 6 – September 26, 2009.

Exhibited in Intersecting Modernities,
Latin American Art from the Brillembourg
Capriles Collection, at The Museum of Fine Arts,
Houston, Texas, June 19 – Sep. 1, 2013,
and illustrated in the accompanying catalog,
pl. 42, page 122.

Illustrated in Wifredo Lam:
Catalogue Raisonné of the Painted Work,
Volume I, 1923-1960, Acatos, Project
Director: Eskil Lam, page 293, no. 42.05.

Wifredo Lam (1902 - 1982)
Untitled [Femme Cheval with Flowers]
(Sin Título [Mujer Caballo con Flores]), 1978
mixed media on heavy paper laid down on board
16 1/2 x 11 3/4 inches

To be illustrated in the upcoming
catalog IMPORTANT CUBAN ARTWORKS,
Volume Twenty-Two, Cernuda Arte,
Coral Gables, Florida, December 2026.

Provenance:
Private Collection, Switzerland.

Exhibited at Palm Beach Modern and
Contemporary Art Fair, Palm Beach, FL,
March, 2025.

Wifredo Lam (1902 - 1982)
Untitled [Encounter at Dawn]
(Sin Título [Encuentro al Amanecer]), 1978
mixed media and pastel laid down on board
11 3/4 x 16 1/2 inches

To be illustrated in the upcoming
catalog IMPORTANT CUBAN
ARTWORKS, Volume Twenty-Two,
Cernuda Arte, Coral Gables, FL,
December 2026.

Provenance:
Erker Galerie, St. Gallen, Switzerland.

This painting is accompanied by a
Photo-Certificate of Authenticity
signed by Eskil Lam, numbered 24-32.

Wifredo Lam (1902 - 1982)
The Two Brothers
(Los Dos Hermanos), 1972
oil on canvas
19 1/2 x 15 3/4 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Twenty-One,
page 28.

Provenance:
Private Collection Europe.

Exhibited in Sotheby’s, Hong Kong, Oct. 1st,
2018, and illustrated in the corresponding
auction catalog, lot number 773.

This painting is accompanied by a
Photo Certificate of Authenticity,
signed by Eskil Lam, son of the artist,
dated Mar. 10, 2016.

Five museum exhibited artworks by Amelia Peláez,
20th Century Cuba's most influential female painters
and a major contributor to the Modernist canon of the Americas.

Amelia Peláez (1896 - 1968)
Woman with Fish
(Mujer con Pez), 1948
oil on canvas
52 x 40 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Nineteen,
front cover, and also on page 26.

Provenance:
Collection of Dulce María Loynaz del Castillo, poet;
Private Collection, Dominican Republic.

Exhibited in Miami Currents: Linking Collection
and Community, Miami Art Museum of Dade County (MAM),
Miami, Florida, October 30, 2002 – March 2, 2003.

Exhibited in Amelia Peláez: The Craft of Modernity,
Pérez Art Museum Miami, Miami, Florida,
December 4, 2013 – February 23, 2014.

Exhibited in Lydia Cabrera and Édouard Glissant:
Trembling Thinking, Americas Society, New York, NY,
October 9, 2018 - January 12, 2019.

Exhibited in Where the Oceans Meet,
Museum of Art and Design, Miami Dade College’s
Freedom Tower, May 26, 2019 – January 12, 2020.

Exhibited in 100 Years of Creation by
Twenty Women Artists (1922 – 2022), Cernuda Arte,
Coral Gables, Florida, July – December, 2022,
and illustrated digitally on cernudaarte.com,
exhibitions.

Exhibited in Art Miami, Florida,
November 29 – December 4, 2022.

Exhibited in The Lost Generation:
Women Ceramicists and the Cuban Avant-Garde,
McMullen Museum of Art, Boston College,
Boston, MA, Jan. to Jun., 2024, curated
by Dr. Elizabeth Thompson Goizueta.

Second venue, at Frost Art Museum,
Florida International University, Miami, FL,
Jun. 29 to Sep. 29, 2024, and illustrated
in the corresponding exhibition catalog,
page 140 and back cover.

Illustrated in Cuban Art & Identity: 1900-1950,
Dr. Juan A. Martínez, Vero Beach Museum of Art,
Vero Beach, Florida, 2013, page 39.

Illustrated in the book Amelia Peláez:
The Craft of Modernity, René Morales and
Ingrid S. Elliott, Pérez Art Museum Miami,
Miami, FL, 2013, pages 92 and 93.

Illustrated in the scholarly publication
ARAS Connections, Amelia: Images of Mystery,
the Transformation of Shadow in Women,
Joan Golden-Alexis, Archive for Research
in Archetypal Symbolism, Issue 3,
New York, NY, 2018, pages 18 and 24,
with critical text on page 24 and 25.

Illustrated in “Lydia Cabrera and
Édouard Glissant: Trembling Thinking,”
Elvis Fuentes, ArtNexus Magazine, no. 111,
Bogota, Colombia, Dec. – Feb. 2019.

Amelia Peláez (1896 - 1968)
Tray with Fruits
(Bandeja con Frutas), 1941
oil on canvas
28 X 35 Inches

Private Collection, Coral Gables, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Four,
front cover.

Provenance:
Cernuda Arte Gallery, Coral Gables, FL;
Private Collection, Coconut Grove, FL.

Exhibited at Christie’s Latin American Art
Auction, New York, U.S.A., Nov. 22, 1999,
lot no. 31 and illustrated in the catalog.

Exhibited, Latin American Still Life, Boca
Raton Museum of Art, Boca Raton, Florida,
U.S.A., Sep. – Nov. 2005, and illustrated
in the catalog, page 20.

Exhibited in Amelia Peláez: The Craft
of Modernity, Pérez Art Museum Miami,
Miami, FL, Dec. 4, 2013 – Feb. 23, 2014.

Illustrated in the book Amelia Peláez:
The Craft of Modernity, Pérez Art Museum
Miami, Miami, FL, 2013, pages 62 and 63.

Amelia Peláez (1896 - 1968)
Fish
(Peces), 1955
oil on canvas
34 1/8 x 43 1/8 inches

Private Collection, Fisher Island, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Sixteen,
front cover.

Provenance:
Ramón Osuna, Sr., Washington, D.C.;
Dr. Silvio Hernández, Connecticut.

Exhibited at Sotheby's New York, Latin
American Art, November 25 and 26, 1997
and illustrated in the accompanying
catalog, pages 36-37, lot number 56.

Exhibited in The Lost Generation: Women
Ceramicists and the Cuban Avant-Garde,
McMullen Museum of Art, Boston College,
Boston, MA, Jan. to Jun., 2024, curated
by Dr. Elizabeth Thompson Goizueta.

Second venue, at Frost Art Museum, Florida
International University, Miami, FL,
Jun. 29 to Sep. 29, 2024, and illustrated
in the corresponding exhibition catalog,
page 213.

Exhibited in EXPO Chicago Art Fair,
Festival Hall, Navy Pier, Chicago,
Illinois, September, 2018.

Illustrated in Amelia Peláez, Cerámica,
María Elena Jubrías, Ediciones Vaguardia
Cubana, Havana, 2008, back cover.

Amelia Peláez (1896 - 1968)
Two Sisters
(Dos Hermanas), 1946
oil on canvas
40 1/4 x 31 3/4 inches

Private Collection, Water Mill, New York.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Seven,
page 33.

Provenance:
Private Collection, San Juan, Puerto Rico.

An earlier work, Las Dos Hermanas, 1944,
is included in the permanent collection
of Museo Nacional de La Habana, Cuba.

This artwork was exhibited at Christie’s
New York, Latin American Sale, May 28,
2008, and illustrated in the corresponding
auction catalog.

Exhibited in Víctor Manuel's
Contemporaries, Cernuda Arte,
Coral Gables, FL, Oct. – Dec. 2009,
and illustrated digitally on
cernudaarte.com, exhibitions.

Wifredo Lam's elegant masterpiece, Seated Woman, 1944
on the center partition wall, flanked by historic
small format works by Amelia Peláez (left)
and Carlos Enríquez, (right).

Wifredo Lam (1902 - 1982)
Seated Woman
(Mujer Sentada), 1944
oil on paper laid down on board
42 x 33 inches

Private Collection, Aventura, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Eleven,
page 31.

Exhibited in Wifredo Lam: Imagining
New Worlds, McMullen Museum of Art,
Boston College, Boston, Massachusetts,
Aug. 30 – Dec. 14, 2014, curated by
Dr. Elizabeth Thompson Goizueta.

Second Venue, exhibited, same exhibition,
at the High Museum of Art, Atlanta,
Georgia, February 14 – May 24, 2015,
and illustrated in the corresponding
exhibition catalog, page 122.

Illustrated in Wifredo Lam: Catalogue
Raisonné of the Painted Work, Volume I,
1923-1960, Acatos, Project Director:
Eskil Lam, page 344, no. 44.17.

Illustrated in Collezione D’Arte
Contemporanea, Galleria Ferrari
Treviglio, Italy, 2000, pg. 4.

Illustrated on the cover book
Lam y Mendive: Arte Afrocubano,
by Guillermina Ramos Cruz, 2009,
Linkgua.

This painting is accompanied by
a Photo-Certificate of Authenticity
signed by Madame Lou Laurin Lam,
dated November 12, 2007, no. 07-41.

Amelia Peláez (1896 - 1968)
Fishermen
(Pescadores), 1945
mixed media on heavy paper
laid down on board
15 3/4 x 19 5/8 inches

Private Collection, Delray Beach, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Fourteen,
page 24.

Provenance:
Private Collection, Buenos Aires, Argentina.

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

Carlos Enríquez (1900 - 1957)
Calibán
[Carlos Enríquez's Dog] ca 1953
oil on canvas laid down on board
7 1/2 x 5 3/4 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Sixteen,
page 20.

Provenance:
Claudio Ferioli, Reggio Emilia, Italy.

Exhibited in Carlos Enríquez:
The Painter of Cuban Ballads,
Cernuda Arte, Coral Gables, FL,
April – May 2010, digitally on
cernudaarte.com, exhibitions.

Exhibited in Amelia’s Friends
and Colleagues: 14 Master Painters
of the Vanguardia Movement,
Cernuda Arte, Coral Gables, FL,
July – Nov. 2022, and illustrated
digitally on cernudaarte.com,
exhibitions.

Illustrated in the newspaper Alerta,
May 16, 1957, as part of an article
titled Adiós a Carlos Enríquez.

Illustrated in the book Carlos Enríquez:
The Painter of Cuban Ballads, Professor
Juan A. Martínez, Ph.D., Cernuda Arte,
Coral Gables, FL, 2010, page 227.

Center, four compositions by Antonio Gattorno,
including Peasants and Bananas, 1927, illustrated
in Ernest Hemingway's 1935 book on the artist, Gattorno
and the large-scale oil on canvas Waiting for the Coffee,
a work commissioned in 1938 for the Bacardí office
at the Empire State Building.

Left and right, seminal midcentury artworks by Wifredo Lam.

Antonio Gattorno (1904 - 1980)
Peasants and Bananas
(Guajiros y Platanos), 1927
oil on canvas
41 X 32 inches

Private Collection, Miami, FL.

Provenance:
Catalina Art Gallery, Coral Gables, FL;
Lorenzo Mesa Gattorno, nephew of the artist.

Exhibited in Gattorno, Passedoit Gallery,
New York, January 6 to 28, 1944, and
illustrated in the corresponding
exhibition catalog, front cover.

Exhibited in Cuban Art & Identity:
1900-1950, Vero Beach Museum of Art,
Vero Beach, FL, curated by Professor
Juan A. Martínez, PhD, Oct.19, 2013 –
Feb. 2, 2014, illustrated in the museum
catalog, page 31.

Illustrated in the book Gattorno,
by Ernest Hemingway, Havana, Cuba,
1935, pages not numbered.

Illustrated in “El Retorno de Antonio
Gattorno,” A. A. Bravo, El Nuevo Herald,
Miami, FL, Sunday, January 24, 1999, 2E.

This work is accompanied by a Certificate
of Authenticity signed by Lorenzo Mesa
Gattorno, nephew of the artist.

Antonio Gattorno (1904 - 1980)
The Tower
(La Torre), 1945
oil on canvas
21 x 13 inches

Private Collection, Coral Gables, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Eighteen,
page 14.

Provenance:
Frank and Rita Gallant, Massachusetts.

Exhibited in Antonio Gattorno (1904 - 1980)
Romantic Surrealism: Six works from
the 1940's and 1950's, Cernuda Arte,
Coral Gables, FL, Jun. 2021 – Oct. 2021,
and illustrated digitally on cernudaarte.com,
exhibitions.

Antonio Gattorno (1904 - 1980)
María with Red Necklace
(María con Collar Rojo), 1937
oil on masonite
12 x 9 inches

Private Collection, Coral Gables, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Eighteen,
page 14.

Illustrated in the book Gattorno, A Cuban
Painter for the World, Sean M. Poole,
Arte al Día Internacional, 2004, p. 103.

Exhibited at Southeastern Massachusetts
University, October 1978.

Exhibited in Cuban Nostalgia at the
Lowe Art Museum, University of Miami,
March 3rd, 2005 and illustrated in the
corresponding exhibition catalog, p. 22,
and in the exhibition postcard.

Antonio Gattorno (1904 - 1980)
Waiting for the Coffee
(Esperando el Café), 1938
oil on canvas
108 x 72 inches

Private Collection, Coral Gables, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Sixteen,
page 33.

Exhibited in Building Bacardi: Architecture,
Art and Identity, Coral Gables Museum,
Coral Gables, FL, Nov. 2012 – Feb. 2013.

Exhibited in Cuban Art & Identity: 1900-1950,
Vero Beach Museum of Art, Vero Beach, FL,
curated by Professor Juan A. Martínez, PhD,
Oct.19, 2013 – Feb. 2, 2014, illustrated
in the museum catalog, page 32.

Three oil on canvas works by Wifredo Lam from the 1950s and 1960's
featuring the artist's trademark surreal hybrid figures.
To the right, an early illustration by Wifredo Lam,
Peasant Woman, (1927), demonstrates the artist's virtuosity
and incredible artistic trajectory.

Wifredo Lam (1902 - 1982)
Femme Cheval
(Woman Horse), 1959
oil on canvas
31 3/4 x 23 1/2 inches

Private Collection, Water Mill, New York.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Nineteen,
back cover.

Illustrated in Wifredo Lam: Catalogue
Raisonné of the Painted Work, Volume I,
1923-1960, Acatos, Project Director:
Eskil Lam, page 476, no. 59.17.

This painting was reproduced
in The New York Times, Friday,
Nov. 14, 2008, page C24.

This artwork is accompanied by a
Photo-Certificate of Authenticity signed
by Lou-Laurin Lam, dated October 7, 2008,
no. 08-21.

Wifredo Lam (1902 - 1982)
Portrait
(Retrato), 1969
oil on canvas
25 3/4 x 21 1/4 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Twenty-One,
page 25.

Provenance:
Private Collection, Paris, France;
Galeria Fabien Boulakia, Paris, France;
Private Collection, Switzerland.

This painting was exhibited in
Wifredo Lam, L'Oiseau Du Possible
(1930-1975), Galerie Boulakia, Paris, France,
2004, and illustrated in the exhibition
catalog, pages 98-99.

Exhibited in Baroque de la Superposition,
Musée des Beaux-Arts André Malraux,
Le Havre, France, 1977, and illustrated
in the exhibition catalog on page 24,
and listed on page 35, no. 76.

Illustrated in Lam, M. Leiris, Fratelle
Fabbri, Milan, Italy & Harry N. Abrams Inc.
Publisher, New York, 1970,
no. 170 and no. 174.

Illustrated in Wifredo Lam,
Max-Pol Fouchet, First Edition, 1976,
page 241, no. 523, and in Wifredo Lam,
Max-Pol Fouchet, Second Edition, 1989,
page 261, no. 555.

Illustrated in Wifredo Lam,
Lucien Curzi, Edizioni Bora,
Bologna, Italy, 1978, page 40, no. 47.

Illustrated twice in Wifredo Lam:
Catalogue Raisonné of the Painted Work,
Volume II, 1961-1982, Project Director:
Eskil Lam, Acatos 2002, on page 82, no. 3
and again on page 319, no. 69.46.

This painting is accompanied
by a Certificate of Authenticity
signed and dated by Madame
Lou Laurin-Lam, Paris, Feb. 21,
2011, no. 11-05.

Wifredo Lam (1902 - 1982)
Totem
(Totem), 1951
oil on canvas
35 3/8 x 23 3/8 inches

Private Collection, Fisher Island, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Ten,
page 28.

This painting was exhibited in Wifredo Lam
in North America at the Haggerty Museum
of Art, Marquette University, Milwaukee,
Wisconsin, October 11, 2007 to January 21, 2008;
was then exhibited at Miami Art Museum, Miami,
Florida, February 8, 2008 to May 18, 2008;
exhibited at Museum of Latin American Art, Long
Beach, California, June 12 to August 31, 2008,
and exhibited at Salvador Dalí Museum, St.
Petersburg, Florida, October 2, 2008
to January 10, 2009.

Exhibited in El Pasado Mío / My Own Past:
Afrodescendant Contributions to Cuban Art,
Ethelbert Cooper Gallery of African &
African American Art at Harvard University,
Cambridge, MA, Sep. – Dec. 2022.

Illustrated in Wifredo Lam in North America,
with essays by Curtis L. Carter, Lowery Stokes
Sims, Dawn Ades, Valerie J. Fletcher,
Edward Lucie-Smith and Lou Laurin Lam,
published by the Haggerty Museum of Art,
Marquette University, Milwaukee, Wisconsin,
page 126, no. 52.

This painting is illustrated in Wifredo Lam:
Catalogue Raisonné of the Painted Work,
Volume I, 1923-1960, Acatos, Project
Director: Eskil Lam, page 441, no. 51.15.

An assortment of paintings and works on paper by Wifredo Lam
from the 1920's, 1950's, 1960's, and 1970's
with twelve museum exhibitions between the seven artworks.

Wifredo Lam (1902 - 1982)
Peasant Woman
(Campesina), 1927
graphite on heavy paper laid
down on board
24 x 18 3/4 inches

Private Collection, Delray Beach, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Seventeen,
page 23.

Exhibited in Wifredo Lam, Obra Sobre Paper,
Centre Cultural de la Fundación “La Caixa”,
Barcelona, Spain, Jan. 21 –Mar. 21, 1993
and illustrated in the accompanying exhibition
catalog, pages 54 and 81.

Exhibited in Exposición Antológica,
“Homenaje a Wifredo Lam” 1902-1982,
Museo Nacional de Arte Contemporáneo,
Madrid, Spain, which then traveled to Musee
D'Art Moderne de la Ville de Paris and Musee
D'Ixelles, Brussels, 1982 and illustrated in
the accompanying exhibition catalog, page 20.

Exhibited in Wifredo Lam at the Centre
Pompidou, Musée National d’art Modern, Paris,
France, Sep. 30, 2015 – Feb. 15, 2016 and
illustrated in the corresponding catalog,
page 51.

Exhibited in Wifredo Lam at the Museo Nacional
Centro de Arte Reina Sofía, Madrid, Spain,
April 12, 2016 – August 15, 2016, and
illustrated in the corresponding catalog,
page 49.

Exhibited in Wifredo Lam at the Tate Modern,
London, UK, Sep. 14, 2016 – Jan. 8, 2017,
and illustrated in the corresponding catalog,
page 51.

Wifredo Lam (1902 - 1982)
Untitled [Lady with Hat]
(Sin Título [Dama con Sombrero]), 1978
mixed media and pastel laid down on board
11 3/4 x 16 1/2 inches
signed, inscribed and dated lower left
W. Lam, St. Gallen 20.10.78.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Twenty-One,
page 31.

Provenance:
Erker Galerie, St. Gallen, Switzerland.

This painting is accompanied by a
Photo-Certificate of Authenticity
signed by Eskil Lam, numbered 24-29.

Wifredo Lam (1902 - 1982)
Untitled [Lady with Eleguas]
(Sin Título [Dama y Eleguas]), 1978
mixed media and pastel laid down on board
11 3/4 x 16 1/2 inches

Provenance:
Erker Galerie, St. Gallen, Switzerland.

This painting is accompanied by a
Photo-Certificate of Authenticity
signed by Eskil Lam, numbered 24-28.

Five exceptional compositions from the 1940's, 50's, and 60's
by Wifredo Lam, showing the evolution of his color palette
and the increasing surrealism of his subject matter over time.

Wifredo Lam (1902 - 1982)
Untitled [A Portrait of Helena]
(Sin Título [Un Retrato de Helena]), 1943
oil on heavy paper, laid down on board
42 x 33 inches

Private Collection, Coral Gables, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Eighteen,
pages 32 and 33.

Provenance:
Dr. G. Barbieri Collection, Como, Italy;
Marcelo Ferrari Collection, Treviglio, Italy.

This painting was exhibited in Wifredo
Lam, au l'Eloge du Metissage (A Praise to
the Mixed Race), Villa Medici, Rome, Italy.

Exhibited at Palazzo della Permanente,
Milano, Italy and illustrated in the
corresponding exhibition catalog, page 83.

Exhibited at Galleria Bruno Tartaglia,
Rome, Italy, exhibition label attached
to reverse of frame.

The work is illustrated in Wifredo Lam:
Catalogue Raisonné of the Painted Work,
Volume I, 1923-1960, Acatos, Project
Director Eskil Lam, page 337, no. 43.34.

This painting is accompanied by a
Certificate of Authenticity, issued and
signed by Lou-Laurin Lam, widow of the
artist, no. 90-109, issued in Paris, France,
December 12, 1990.

Wifredo Lam (1902 - 1982)
Femme Cheval
(Woman Horse), 1943
oil on canvas
41 x 31 1/2 inches

Private Collection, Water Mill, New York.

This artwork was exhibited in Wifredo Lam
in North America at the Haggerty Museum
of Art, Marquette University, Milwaukee,
Wisconsin, Oct. 11, 2007 to Jan. 21, 2008.

Exhibited at Miami Art Museum, Miami, FL,
February 8 to May 18, 2008.

Exhibited at Museum of Latin American Art,
Long Beach, CA, June 12 to August 31, 2008.

Exhibited at Salvador Dalí Museum,
St. Petersburg, FL, Oct. 2, 2008– Jan.10,
2009.

Exhibited in El Pasado Mío / My Own Past:
Afrodescendant Contributions to Cuban Art,
Ethelbert Cooper Gallery of African &
African American Art at Harvard University,
Cambridge, MA, September 2022.

Illustrated in Wifredo Lam in North
America, with essays by Curtis L. Carter,
Lowery Stokes Sims, Dawn Ades, Valerie J.
Fletcher, Edward Lucie-Smith and Madame
Lou Laurin-Lam, published by the Haggerty
Museum of Art, Marquette University,
Milwaukee, Wisconsin, 2007, page 102, no. 28.

Illustrated in Wifredo Lam: Catalogue
Raisonné of the Painted Work, Volume I,
1923-1960, Project Director: Eskil Lam,
Acatos 1996, page 339, no. 43.44.

Wifredo Lam (1902 - 1982)
Woman with Bird
(Mujer con Pájaro), 1950
mixed media on heavy paper
laid down on canvas
38 1/2 x 28 1/2 inches

Private Collection, Fisher Island, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Nineteen,
page 29.

Signed Wifredo Lam, dated 1950, and
dedicated a mi amigo J.M. Aerin buen
de su mal amigo (lower center).

Provenance:
Galerie Nathalie Seroussi, Paris, France;
Private Collection, Paris, France;
Marta Gutiérrez Fine Arts, Miami, Florida;
Brillembourg Capriles Collection, Miami, Florida.

Exhibited in Wifredo Lam: A Retrospective
of Works on Paper, Americas Society Art
Gallery, New York, Sep. - Dec. 20, 1992,
and illustrated in the corresponding
catalog, page 33, no. 59.

Exhibited in Wifredo Lam: Obra Sobre
Paper, Centre Cultural, Fundació La Caixa,
Barcelona, Spain, Jan. 21 – Mar. 28, 1993,
and illustrated in the corresponding
catalog, page 155, no. 84.

Exhibited in Intersecting Modernities: Latin
American Art from the Brillembourg Capriles
Collection, Museum of Fine Arts, Houston,
Texas, 2013, and illustrated in the
corresponding catalog, page 111.

Illustrated in Wifredo Lam: Catalogue
Raisonné of the Painted Work, Volume I,
1923-1960, Acatos, Paris, 1996, Project
Director: Eskil Lam, page 457, no. 50.24.

Wifredo Lam (1902 - 1982)
Exhibition
(Exhibición), ca 1945
oil on paper laid down on board
24 x 31 1/2 inches

Private Collection, Fisher Island, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Eleven,
page 34.

Exhibited in Wifredo Lam: Early Works,
1942 to 1951, Paintings, Gouaches,
Watercolors & Drawings, Pierre Matisse
Gallery, New York, June 1 – 26, 1982,
and illustrated in the corresponding
exhibition catalog, front cover.

Exhibited in Wifredo Lam: Imagining
New Worlds, McMullen Museum of Art,
Boston College, Boston, Massachusetts,
Aug. 30 - Dec. 14, 2014, curated by
Dr. Elizabeth Thompson Goizueta.

Also exhibited, same exhibition,
at the High Museum of Art, Atlanta,
Georgia, February 14 - May 24, 2015,
and illustrated in the corresponding
exhibition catalog, page 130.

Illustrated in Wifredo Lam: Catalogue
Raisonné of the Painted Work, Volume II,
1961-1982, Acatos, Project Director:
Eskil Lam, page 233.

This painting is accompanied by a
Photo-Certificate of Authenticity
signed by Madame Lou Laurin Lam,
dated June 28, 2008, no. 08-10.

Wifredo Lam (1902 - 1982)
The Well Dressed
(El Bien Vestido), 1968
oil on canvas
36 x 28 inches

Private Collection, Coral Gables, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Twelve,
front cover.

Provenance:
Collection, Turin, Italy;
Private Collection, Paris, France.

This painting was exhibited in Wifredo Lam:
Works from 1962 to 1968, Galerie Villand et
Galanis, Paris, France, 1968, and illustrated
in the exhibition catalog, no. 14.

Exhibited in Wifredo Lam, Galleria Bergamini,
1969, Milan, Italy, 1969, and illustrated in
the exhibition catalog.

Exhibited in Cuban Art in the 20th Century:
Cultural Identity and the International
Avant Garde, at the Florida State University
Museum of Fine Arts Tallahassee, FL,
Feb. 12 – Mar. 27, 2016; and illustrated
in the exhibition catalog page 80.

Illustrated in Wifredo Lam, Max-Pol Fouchet,
First Edition, 1976, page 241, no. 522, and
in Wifredo Lam, Max-Pol Fouchet, Second
Edition, 1989, page 261, no. 544.

Illustrated twice in Wifredo Lam: Catalogue
Raisonné of the Painted Work, Volume II,
1961-1982, Project Director: Eskil Lam,
Acatos 2002; on page 71 (full page and in
color), and on page 306, no. 68.21
(in black and white).

This painting is accompanied by two
certificates of authenticity: one signed
by the artist, Wifredo Lam and the other
by his widow, Madame Lou Laurin Lam,
dated April 9, 2002, no. 02-21.

Wifredo Lam (1902 - 1982)
Untitled [Femme Cheval]
(Sin Título [Mujer Caballo]), 1950
ink on paper
6 x 4 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Seventeen,
page 25.

Exhibited in Wifredo Lam and The Cuban
Avant-Garde: Fifty Years of Art,
Cernuda Arte, Coral Gables, Florida,
April - August 2013.

Exhibited in BLACK ART MATTERS:
13 Modern and Contemporary
Afro-Cuban Masters, Cernuda Arte,
Coral Gables, Florida, June – Dec. 2020,
and illustrated digitally on
cernudaarte.com, exhibitions.

Exhibited in Art Miami Fair,
Miami, Florida, December, 2023.

This painting is accompanied by a
Certificate of Authenticity issued by
Galerie Lelong, Paris, France, dated
Sep. 2012 and signed by Daniel Lelong,
principal.

Six works of expressionistic surrealism by Carlos Enríquez
from the 1940's and 1950's, focus on the artist's preferred subjects:
Wild horses, female figures, and the Cuban landscape.

Carlos Enríquez (1900 - 1957)
Red Horse
(Caballo Rojo), 1954
oil on canvas
29 1/2 x 23 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Twenty,
page 19.

Provenance:
Private Collection, Pinecrest, FL.

Exhibited in Warming Up Engines,
inaugural exhibition, Cernuda Arte,
Coral Gables, FL, August, 2000.

Exhibited in Carlos Enríquez:
The Painter of Cuban Ballads,
Cernuda Arte, Coral Gables,
April – May 2010, digitally on
cernudaarte.com, exhibitions.

Exhibited at Palm Beach Modern and
Contemporary Art Fair, Palm Beach,
Florida, March, 2023.

Illustrated in the book Cuban Art:
Remembering Cuba Through its Art,
Private Collections in Exile, Volume 1,
Arte al Día Internacional, 2004, page 132.

Illustrated in the book Carlos Enríquez:
The Painter of Cuban Ballads, Professor
Juan A. Martínez, Ph.D., Cernuda Arte,
Coral Gables, FL, 2010, page 235.

Carlos Enríquez (1900 - 1957)
Germaine
(Germaine), 1945
oil on canvas board
20 x 16 inches

Private Collection, of
Dr. Luis De La Vega De Cárdenas.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Nine,
page 33.

Provenance:
Isabel Enríquez de Martull
(sister of the artist);
Isabetta Enríquez de Lancella
(daughter of the artist); Cristina Lancella
Enríquez (granddaughter of the artist);
Cernuda Arte, Coral Gables, Florida.

Exhibited in Carlos Enríquez, Sociedad
Universitaria de Bellas Artes, University
of Havana, June 1947, listed as no.1 in
the exhibition brochure.

Exhibited in Carlos Enríquez, Lyceum,
Havana, Cuba, July 20 to July 30, 1957,
listed on page 8, no. 33 of the exhibition
catalog.

Exhibited in Carlos Enríquez, Cuban
Museum of Arts and Culture, Miami, FL,
March 1986, listed on page 48 of the
exhibition catalog.

Illustrated in Enríquez: Revolutionary Art,
Rafael Casalins, The Miami Herald,
April 11, 1986, page 2D.

Illustrated in the book Carlos Enríquez:
The Painter of Cuban Ballads, Professor
Juan A. Martínez, Ph.D., Cernuda Arte,
Coral Gables, FL, 2010, page 189.

Carlos Enríquez (1900 - 1957)
Women on the Balcony
(Mujeres en el Balcón), 1944
oil on canvas
27 x 23 inches

Private Collection, Coral Gables, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Eighteen,
cover, and page 42.

Provenance:
Private Collection, Atlanta, Georgia;
Collection of Dolores Smithies,
key biscayne, Florida;
Private Collection, Miami Beach, FL.

Exhibited in Sotheby’s Latin American Art
New York, May 20-21, 1986, illustrated in
the corresponding catalog, page 103, no. 118.

Exhibited in Carlos Enríquez:
The Painter of Cuban Ballads,
Cernuda Arte, Coral Gables,
April – May 2010, digitally
on cernudaarte.com, exhibitions.

Illustrated in the book Carlos Enríquez:
The Painter of Cuban Ballads, Professor
Juan A. Martínez, Ph.D., Cernuda Arte,
Coral Gables, FL, 2010, page 183.

Carlos Enríquez (1900 - 1957)
Landscape with Horses
(Paisaje con Caballos), 1956
oil on canvas
26 3/4 x 22 1/2 inches

Private Collection, Miami, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Nine,
page 45.

Exhibited in Art Basel Miami Beach,
Miami Beach, FL, December 1 to 5, 2010.

Exhibited in Carlos Enríquez: The Painter
of Cuban Ballads, Cernuda Arte, Coral
Gables, FL, curated by Professor Juan A.
Martínez, Ph.D, Apr. – May 2010, and
illustrated digitally on cernudaarte.com,
exhibitions.

Illustrated in the book Cuban Art:
Remembering Cuba Through its Art,
Private Collections in Exile, Volume One,
Felipe Del Valle, Diego Costapeuser
and others, Arte al Día, Miami, FL,
2004, page. 130.

Illustrated in the book Carlos Enríquez:
The Painter of Cuban Ballads, Professor
Juan A. Martínez, Ph.D., Cernuda Arte,
Coral Gables, FL, 2010, page 273.

Carlos Enríquez (1900 - 1957)
Portrait of Young Lady
(Retrato de Joven)
ca 1948 crayon on paper
16 1/2 x 10 3/4 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Eight,
page 25.

Exhibited in Amelia’s Friends
and Colleagues: 14 Master Painters
of the Vanguardia Movement,
Cernuda Arte, Coral Gables, FL,
July – Nov. 2022, and illustrated
digitally on cernudaarte.com,
exhibitions.

Illustrated in the book Carlos Enríquez:
The Painter of Cuban Ballads,
by Professor Juan A. Martínez, Ph.D.,
Cernuda Arte, Coral Gables, FL, 2010,
page 204.

Carlos Enríquez (1900 - 1957)
Nude
(Desnuda), 1949
ink on heavy paper laid down on board
20 7/8 x 16 1/2 inches

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Twenty,
page 18.

Provenance:
Collection of Madame Odette Lavergne,
Cannes, France;
Collection of Howard Farber, New York, NY.

Exhibited in Art Moderne and Contemporain,
Besch Commissaire, Hotel Martinez,
Cannes, France, Nov. 2009, and illustrated
in the auction catalog, page 63.

Exhibited in The Sensual and the Erotic
in Cuban Art (1900 to 2020), Cernuda Arte,
Coral Gables, Florida, November 2021,
and illustrated digitally on cernudaarte.com,
exhibitions.

Illustrated in the book Carlos Enríquez:
The Painter of Cuban Ballads, by Professor
Juan A. Martínez, Ph.D., Cernuda Arte,
Coral Gables, FL, 2010, page 211.

The sitter for this painting was
Germaine Lahens, third wife of
Carlos Enríquez.

Carlos Enríquez (1900 - 1957)
Nude Woman
(Desnudo de Mujer), 1942
oil on wood
24 x 18 inches

Private Collection, Fisher Island, FL.

Illustrated in IMPORTANT CUBAN
ARTWORKS, Volume Seventeen,
page 17.

Exhibited in Carlos Enríquez: The Painter of
Cuban Ballads, Cernuda Arte, Coral Gables, FL,
curated by Professor Juan A. Martínez, Ph.D,
Apr. – May 2010, and illustrated digitally on
cernudaarte.com, exhibitions.

Illustrated in the book Carlos Enríquez:
The Painter of Cuban Ballads, Professor
Juan A. Martínez, Ph.D., Cernuda Arte,
Coral Gables, FL, 2010, page 167.