Box 3

267 slides in paper and plastic mounts. Condition is poor: slides are dirty, images are faded, and some film is loose and unmounted. There are indications that Queneditt reused slide mounts, since labels do not necessarily correspond to the contents. On paper mounts, orientation is indicated with a small notch along the edge of the slide.

267 slides in paper and plastic mounts. Condition is poor: slides are dirty, images are faded, and some film is loose and unmounted. There are indications that Queneditt reused slide mounts, since labels do not necessarily correspond to the contents. On paper mounts, orientation is indicated with a small notch along the edge of the slide.

267 slides in paper and plastic mounts. Condition is poor: slides are dirty, images are faded, and some film is loose and unmounted. There are indications that Queneditt reused slide mounts, since labels do not necessarily correspond to the contents. On paper mounts, orientation is indicated with a small notch along the edge of the slide.

267 slides in paper and plastic mounts. Condition is poor: slides are dirty, images are faded, and some film is loose and unmounted. There are indications that Queneditt reused slide mounts, since labels do not necessarily correspond to the contents. On paper mounts, orientation is indicated with a small notch along the edge of the slide.

267 slides in paper and plastic mounts. Condition is poor: slides are dirty, images are faded, and some film is loose and unmounted. There are indications that Queneditt reused slide mounts, since labels do not necessarily correspond to the contents. On paper mounts, orientation is indicated with a small notch along the edge of the slide.

267 slides in paper and plastic mounts. Condition is poor: slides are dirty, images are faded, and some film is loose and unmounted. There are indications that Queneditt reused slide mounts, since labels do not necessarily correspond to the contents. On paper mounts, orientation is indicated with a small notch along the edge of the slide.

267 slides in paper and plastic mounts. Condition is poor: slides are dirty, images are faded, and some film is loose and unmounted. There are indications that Queneditt reused slide mounts, since labels do not necessarily correspond to the contents. On paper mounts, orientation is indicated with a small notch along the edge of the slide.

From a series entitled “Los Pintores Contemporaneos de Cuba," parts I and II, by Diafilm (?). Text in Russian and English.

From a series entitled “Australie – Australia / UNESCO / Diapositives d’oeuvres d’art – Art Slides – Diapositivas de obras de arte.” On versos: “© UNESCO 1959 / Réaliseé pour l’UNESCO par Publications Filmées d’Art et d’Histoire / 11, Rue Carvès, Montrouge – France.”

Stamped “ENOSA,” depicting works by Goya, El Greco, Velasquez, etc.

Stamped: “ME / Los Peces / Semejanzas y differencias con otros animales acuáticos.” However, subjects include photographs of the artist and other people.

Unstamped, unlabeled. Subjects include photographs of the artist and other people.

Unstamped, unlabeled. Subjects include famous works of art, architecture, and travel photography.

Unstamped, unlabeled. Photographs of works by the artist.

Unlabeled. Photographs of works by the artist.

Unlabeled. Photographs of works by the artist.

Photographs of works by the artist.

On verso: “28.” Artist is very young, possibly taken while in school.

On verso: “246.” Object mounted in wooden frame and photographed against the back of a wooden chair with rattan seat.

On versos: “Relac[iones] Exteriores.” Most dated 1974. Individual objects are photographed propped up against the back of a wicker chair.

On versos: “Relaciones Exteriores - India.” Most dated “Nov/1974.” Individual objects are photographed propped up against the back of a wire mesh chair.

On verso: “Casa de la Cultura de Plaza 1976”

Three photographs attached together with scotch tape, numbered “4,” “5,” and “6” on the versos. Three photos are missing. Mural was located in the Teatro Nacional de Cuba, but is no longer extant.

Documents relating to Queneditt’s travel to Spain in 1980 from the Consulado de Cuba in Madrid and to France in 1984 from the Consulado de Cuba in Paris. Both include color passport photos.

On verso: “El arte en proceso / [signature] / 29-5-2005.” Artist pictured with hammer and chisel, working on a piece of wood in a metal vise. Finished carvings shown in the foreground.