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PROPERTY FROM THE COLLECTION OF JOHN AND TONI LEIGHTON

Mario Carreño
(1913-1999)
CUARTO FAMBÁ
Schätzung
80.000100.000
Los Verkauft 86,500 USD (Hammerpreis mit Käuferprovision)
ZU LOS SPRINGEN
1

PROPERTY FROM THE COLLECTION OF JOHN AND TONI LEIGHTON

Mario Carreño
(1913-1999)
CUARTO FAMBÁ
Schätzung
80.000100.000
Los Verkauft 86,500 USD (Hammerpreis mit Käuferprovision)
ZU LOS SPRINGEN

Latin American Art

|
New York

Mario Carreño
(1913-1999)
CUARTO FAMBÁ
signed and dated 43 upper right
gouache on heavy paper
30 7/8 by 22 5/8 in.
78.3 by 57.5 cm
Zustandsbericht lesen Zustandsbericht lesen

Provenienz

Perls Galleries, New York

Ausgestellt

New York, Perls Galleries, Mario Carreño, March 13-April 15, 1944, no. 13

Literatur

José Gómez Sicre, Carreño, Havana, 1943, illustrated

Katalognotizen

During World War II my father was an Army Air Corps lawyer. He negotiated supply contracts for the military. One of his specialties was commodities. After the war, he and my mother visited Cuba a number of times for business and pleasure. It was then that they became friendly with the artist community living there.

Most notably they were very friendly with the Sicres who introduced them to all of the artists, many of whom became good friends. Mario Carreño in particular became very close to my parents. The result of all this was their purchase of works directly from Mario, Amelia Peláez, and Cundo Bermúdez among others. They continued to purchase works from these artists though the 1950s during which my father worked as counsel to Julio Lobo in the sugar business and was also involved with the opening several resort hotels in Havana.

I was fortunate as a little boy to accompany my parents on a trip to Cuba where I met Mario in his studio. When Mario moved to New York City he was not prepared for his first winter there and lacked a good overcoat. My father gave him a spare coat he had and Mario gave my mother a sketch as a thank you.

It was also during these early years that my mother, whose name is Martha, was renamed Tonita by the Cuban artist community with whom they partied nightly. She continued to use the name Toni for the next 50 plus years.

C. Leighton

Latin American Art

|
New York