DALLAS, TX.- A mysterious figure emerges where two golden lines intersect in Leonora Carrington’s Fil d’Or, a newly rediscovered 1953 painting coming to Heritage’s Nov. 10 Modern & Contemporary Art Signature� Auction. Authenticated by Heritage, the work was acquired from Mexico City’s Galeria de Arte Mexicano the year it was painted and has remained in the same family ever since.

Carrington created the intimate canvas using grattage, scraping through layers of paint to reveal underlying patterns. From that textured surface emerges an enigmatic, long-tailed personage confronting the viewer. Its title, French for “gold thread,” offers an entry into Carrington’s private language of transformation and hidden meanings. Few examples of her work employing this Surrealist technique have appeared at auction.

“Discoveries like this allow us to encounter a familiar artist from a fresh perspective,” says Frank Hettig, Heritage’s Vice President of Contemporary Art. “The Carrington has spent more than seven decades in one family, and its small scale holds an extraordinary imaginative world. Together with the rediscovered Whanki paintings, it gives this auction a particularly compelling sense of discovery.”

Those two untitled Whanki canvases, both dating to the 1960s, illuminate a little-known chapter in the Korean modernist’s New York years. Each measures 20 by 16 inches and bears the unusual signature “Kim” rather than the artist’s customary “Whanki.” Their blocks, geometric lines and vertical forms evoke the streets and buildings of his adopted city.

The paintings’ histories trace back to Arts International in Philadelphia, where a Gladwyne couple acquired them circa 1966–67. Heritage’s research uncovered a contemporary newspaper account of a group exhibition featuring Whanki at the gallery, establishing a connection absent from his standard exhibition histories. The Whanki Foundation and Whanki Museum also confirmed that one painting was already recorded in their archive. Together, the works offer a revealing view of the artist’s evolving abstraction before his celebrated later dot paintings.

A very different transformation anchors Manolo Vald�s’s La Infanta Margarita (1992). Standing more than 7 feet tall, the Canarywood sculpture reimagines the young princess at the center of Vel�zquez’s Las Meninas. The court interior and attendants disappear, leaving the broad dress, arranged hair and commanding silhouette through which the figure remains instantly recognizable. Visible joins, fissures and emphatic grain replace the painted finery with the physical force of wood. With provenance from Marlborough Gallery, New York, the sculpture turns a familiar image from Spanish art into an imposing contemporary presence.

Banksy’s Rat & Heart (2015) brings another distinctive artistic vocabulary to the selection. The work features a rat and a heart, two of the artist’s most recognizable recurring motifs. Executed in spray paint and emulsion on cut-out canvas and presented in the artist’s frame, the work is signed and bears the Campaign for Nuclear Disarmament peace symbol on its backing board, a mark Banksy has used on personal gifts like this one.

Latin American highlights encompass expressive figuration, optical experimentation and bronze sculpture. In Oswaldo Guayasam�n’s Mother and Child (Madre y Ni�o), elongated arms and powerful hands encircle the child in a protective embrace. The 63-inch-high canvas concentrates its emotional force in that gesture, making the hands so central to Guayasam�n’s art instruments of tenderness. Acquired directly from the artist in 1963 by an early owner, the painting later entered Rafael Tudela’s collection following its sale at Sotheby’s in 1981.

Also acquired by Tudela at that auction, Carlos Cruz-Diez’s Physichromie 1065 (1976) makes color an experience that changes with the viewer’s position and surrounding light. Screenprinted aluminum and stainless-steel inserts create shifting visual relationships across its surface. Francisco Z��iga’s black-patinated bronze Evelia con bat�n (1976) adds another dimension to the section’s exploration of the human figure.

Sculpture is a particular strength throughout the auction. Joan Mir�’s Maquette de l’Arc de la Fondation Maeght (1962) carries the idea for a monumental environment within a tabletop bronze. The model for the arch created for his celebrated Labyrinthe at the Fondation Maeght transforms architecture into an organic, creature-like form.

George Rickey’s unique Column of Eight Open Triangles (1982) introduces actual movement. Its stainless-steel forms shift independently, activated by a built-in oscillating fan — a feature the George Rickey Foundation considers exceptionally rare and believes may be the only known example.

“The sculpture selection offers an unusually rich conversation about material and space,” Hettig says. “Collectors can move between very different artistic approaches within this tightly curated auction.”

Henry Moore’s compact Reclining Figure: Right Angles (1981) balances bodily curves with angular forms and openings, while Lynn Chadwick’s Sitting Couple in Robes (1980) gives two seated figures a commanding shared silhouette. Lynda Benglis’s Racer Series #28 Eagle (1989), constructed with stainless-steel wire mesh, sprayed zinc, bronze and silver plating, extends the selection’s range of materials.

European highlights also include Pablo Picasso’s Femme nue assise et enfant musicien (1966), a drawing in black crayon and graphite that brings together two enduring subjects through the freedom and economy of his late line. Marc Chagall’s Adam et Eve explores the first couple through pen, India ink and wash on paper, joining his lifelong interests in love and biblical imagery. Victor Vasarely’s nearly 6-foot-square Grand-Z�r (1976) adds a substantial canvas by a central figure in Op art.