Sale 1260 | Modern & Contemporary Art by Hindman Auctions

MODERN & CONTEMPORARY ART 14 DECEMBER 2023

MODERN & CONTEMPORARY ART SALE 1260 14 December 2023 2:00pm CT | Chicago | Live + Online Lots 1–153 HIGHLIGHTS PREVIEW Auction Room and Galleries 1550 West Carroll, Suite 106, Chicago, IL fineart@hindmanauctions.com BY APPOINTMENT Monday December 11 Tuesday December 12 Wednesday December 13

10:00am–5:00pm 10:00am–5:00pm 10:00am–5:00pm

PROPERTY PICK UP HOURS Monday–Friday | 9:00am–3:00pm By appointment 312.280.1212 All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale. CONTENTS Lots 1–153 Artist Index Upcoming Auction Schedule Hindman Team Inquiries Buyers Guide Conditions of Sale

2 150 151 152 154 155 156

All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database.

To view the complete catalogue, sign up to bid, and read our Conditions of Sale, visit hindmanauctions.com or the Hindman App. All bidders must agree to Hindman’s Conditions of Sale prior to registering to bid. For bid support contact: 312.280.1212 or bid@hindmanauctions.com. Download the Hindman App for iOS and Android © Hindman LLC 2023

FRONT COVER Lot 99

DEN 0001957 FL AB3688 GA AU-C003121 IL 444.000521 OH 2019000131 MO STL 110363

MODERN & CONTEMPORARY ART

MODERN & CONTEMPORARY ART LOTS 1–153

PROPERTY FROM THE TRUSTS AND ESTATES OF Property from the Estate of Catherine Dollive Epstein Property from the Estate of Elinor Gibson Graham Property from the Phyllis Seltzer Trust, Cleveland, Ohio The Estate of Betty & Bernard Steinweg PROPERTY FROM THE COLLECTIONS OF Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois Deaccessioned from the Boca Raton Museum of Art to benefit the Acquisitions Fund The Collection of Ms. Clayburgh, Cranston, Rhode Island Property from the Collection of James T. Conrad Property from the Collection of Glen de Vries Property from the Collection of Evelyn Aimis Fine Art, Miami, Florida Property from the Collection of Allison B. Falkey, Oak Creek, Wisconsin Property from the Collection of J. Higgins, Madison, Wisconsin Property from the Collection of George C. Kaiser, Milwaukee, Wisconsin Property from the Private Collection of Rick Lewkoski, Chicago Property from Linden House, Indianapolis, Indiana Property from a Private Art Collection Property from a Private Collection Property from a Private Collection, Chicago, Illinois Property from a Private Collection, Nashville, Tennessee Property from the Collection of Speakeasy Computing Corporation, Chicago, Illinois

O P P O S I TE Lot 122

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Giorgio Cavallon

(American, 1904-1989) Untitled, 1984 oil on canvas signed Giorgio Cavallon and dated (lower right); signed and dated (verso) 30 x 28 inches. The Estate of Betty & Bernard Steinweg Provenance: Gruenebaum Gallery, New York Acquired from the above by the present owner in 1984 Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $10,000 - 15,000

MODERN & CONTEMPORARY ART

Paul Jenkins

(American, 1923-2012) Phenomena Over Hold, 1964 watercolor on paper mounted to board signed Paul Jenkins (lower right); signed, titled and dated (verso) 10 x 14 1/4 inches. $4,000 - 6,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Paul Jenkins

(American, 1923-2012) Phenomena Steep Incline, 1967 acrylic on canvas signed Paul Jenkins (lower right); signed, titled and dated (verso) 64 x 38 inches. Property from the Private Collection of Rick Lewkoski, Chicago Provenance: Martha Jackson Gallery, New York, 1968 Sold: Wright Auctions, November 9, 2003, Lot 448 $30,000 - 50,000 6

MODERN & CONTEMPORARY ART

Paul Jenkins

(American, 1923-2012) Phenomenon Phoenix Plume, 1975 watercolor on paper signed Paul Jenkins (lower center); signed, titled and dated (verso) 30 x 22 1/2 inches. Provenance: Samuel Stein Fine Arts, Ltd., Chicago Acquired from the above by the present owner in 1989 $4,000 - 6,000

Paul Jenkins

(American, 1923-2012) Phenomena Crossing the Wheel, 1980 watercolor on paper signed Paul Jenkins (lower right); signed, titled and dated (verso) 43 x 30 inches. Provenance: Samuel Stein Fine Arts, Ltd., Chicago Acquired from the above by the present owner in 1981 $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Paul Jenkins

(American, 1923-2012) Phenomenon Distant Blink, 1987 watercolor on paper signed Paul Jenkins (lower left); signed, titled and dated (verso) 22 1/2 x 14 1/2 inches. Provenance: Samuel Stein Fine Arts, Ltd., Chicago Acquired from the above by the present owner in 1989 $2,000 - 4,000

Paul Jenkins

(American, 1923-2012) Phenomenon Yellow Roof Prism, 1987 watercolor on paper signed Paul Jenkins (lower left); signed, titled and dated (verso) 14 1/2 x 22 1/2 inches. Provenance: Samuel Stein Fine Arts, Ltd., Chicago Acquired from the above by the present owner in 1989 $2,000 - 4,000

MODERN & CONTEMPORARY ART

Paul Jenkins

(American, 1923-2012) Phenomenon Astral Blue, 1987 watercolor on paper signed Paul Jenkins (lower left); signed, titled, and dated (verso) 14 1/2 x 22 1/2 inches. Provenance: Samuel Stein Fine Arts, Ltd., Chicago Acquired from the above by the present owner in 1989 $2,000 - 4,000

Paul Jenkins

(American, 1923-2012) Phenomena Temperature Gauge, 1988 watercolor on paper signed Paul Jenkins (lower right); signed, titled and dated (verso) 31 x 43 inches. Provenance: Samuel Stein Fine Arts, Ltd., Chicago Acquired from the above by the present owner in 1980 $4,000 - 6,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

John Little

(American, 1907-1984) Tycho (Crater), 1969 oil on canvas signed John Little (lower right); signed, titled and dated (verso) 76 x 108 inches. Provenance: The Estate of the Artist Exhibited: East Hampton, New York, The Arts Center at Duck Creek Farm, organized by McCormick Gallery, Chicago, and Vallarino Fine Arts, New York, John Little: Home Again, June 12 - July 18, 2021, pp. 32-33 $8,000 - 12,000

MODERN & CONTEMPORARY ART

John Wehmer

(American, 1927-2019) Sudden Storm at McGaheysville (Triptych), 1962 oil on canvas signed John H. Wehmer, titled and dated (verso) 72 x 96 inches. Provenance: Melissa Williams Fine Art and the Estate of the Artist Exhibited: Chicago, Illinois, McCormick Gallery, John Wehmer - Unseen Forces: Paintings from the 1950s and 60s, April 6, 2013 - May 18, 2013 Columbia, Missouri, Sager Reeves Gallery, 2019 Masters Exhibit, December 6 December 28, 2019 $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Sam Gilliam

(American, 1933-2022) “Brite” I, 1971 acrylic on fiberglass paper signed Sam Gilliam and dated (lower right); titled (lower center) 14 x 18 inches. Provenance: Fendrick Gallery, Washington D.C. Rental Gallery, Baltimore Museum of Art, Baltimore $30,000 - 50,000

MODERN & CONTEMPORARY ART

Sam Gilliam Sam Gilliam (American, 1933-2022) is an artist particularly appreciated for his use of experimentation in richly hued paintings emphasizing color and reimaging physical space. Featured here is a work with acrylic on fiberglass paper, “Brite” I (1971) that fascinatingly capitalizes on these themes central to Gilliam’s mature career, while also displaying the development of Gilliam’s reputation to international heights. Born in Tupelo, Mississippi in 1933, Gilliam moved to Kentucky at the age of 9, growing up in Louisville and later pursuing his artistic studies at the University of Louisville. He and his family moved to Washington D.C. in 1962 for his first wife’s job, where he began to mix with the local artistic scene. In D.C., he was ranked among the Washington Color School, a movement in part a response to New York Abstract Expressionism in which artists focused on strongly prioritizing color over other formal qualities. Among this movement, Gilliam was particularly noted for his approach to lyrical abstractionism, which can be easily seen in “Brite” I. In this work, weightless yellows, pinks, and blues blossom from a primordial black and blue background, shot through with milky, ethereal strands of white. As described by Ann Mbuti, “It is often said that Gilliam’s painting style is inspired by jazz, since this musical genre is determined equally by clearly defined structures and by improvised variations and deviations. Structure and virtuosity merge, and experimentation is an essential part of further development.”1 This element of randomness in Gilliam’s compositions allows for the examination of interesting effects of color, with the balancing of different pigments, all heavily saturated, as they seep into each other. Rather than an explosion, the effect in Brite I is unfrenzied—a calming, absorbing unfurling of color undefined by spatial limitations. In the late-1960s, Gilliam would begin to produce what would become some of his most recognizable work, what he referred to as “sculptural paintings” or “suspended paintings,” but would more commonly be called “drape paintings,” in which unstretched canvases were suspended or draped over walls or from ceilings, rejecting previously understood ideas of the ways in which paintings exist in space and also in which the support of the painting becomes a part of the painting itself. In 1971, the year of “Brite” I, these drape paintings would be the subject of an exhibition at the Museum of Modern Art in New York: Projects: Sam Gilliam. Though smaller in scale and on paper, “Brite” I reflects a similar occupation with support. Though with a mostly defined, clean edge, some elements at the upper and lower edges escape the perfect crop, breaking through this neat divide as organic forms. In this, Gilliam questions the implied divide between the work’s beginning and end, allowing the painting to escape the artificially established bounds of the page and bleed into space. Meanwhile, the choice of fiberglass paper adds a certain opaque luminescence which lends to the shimmering suspension of the color fields therein. During this period of Gilliam’s oeuvre, he was making strides in both his local and international reputation (he would represent the United States at the Venice Biennale the next year in 1972), and Gilliam and his dealers would continue to find avenues to further his career development. One way to promote Gilliam’s work to more private collectors was the inclusion of works at the nearby Baltimore Museum of Art’s Rental Gallery, as consigned by Barbara Fendrick of the Fendrick Gallery in Washington D.C., one of Gilliam’s dealers and main advocates in his career in D.C. The Baltimore Museum of Art Rental Gallery allowed for works to be rented by patrons in one- to two- month stints, with an option to purchase. As noted on the label on “Brite” I, this work, as consigned by Fendrick, was available for purchase in May of 1975 at the now-astonishing price of only $580. This work thus not only illustrates the absorbing principles of Gilliam’s experimentation with color and space, but also offers an interesting record of Gilliam’s establishment into the local art consciousness.

¹ Ann Mbuti, “Inventing Your Own Game. Sam Gilliam: Between Structure and Improvisation,” Contemporary And, June 24, 2021, https:// contemporaryand.com/magazines/sam-gilliam-between-structure-and-improvisation/.

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Sam Gilliam

(American, 1933-2022) Phelps, 2016 monotype with hand coloring and collage on handmade paper on canvas 30 x 48 inches. $20,000 - 40,000

MODERN & CONTEMPORARY ART

Sam Gilliam

(American, 1933-2022) Phelps, 2016 monotype with hand coloring and collage on handmade paper on canvas 40 x 40 inches. $20,000 - 40,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

John Little

(American, 1907-1984) Red, 1948 oil on canvas titled (verso) 42 x 52 inches. Provenance: Estate of the Artist $6,000 - 8,000

MODERN & CONTEMPORARY ART

Esteban Vicente

(American/Spanish, 1903-2001) Extension, 1994 oil on canvas signed Esteban Vicente, titled and dated (verso) 42 x 50 inches. Provenance: Riva Yares Gallery, Santa Fe, New Mexico $40,000 - 60,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Esteban Vicente

(American/Spanish, 1903-2001) Riva Series III, 1980 mixed media on paper signed Esteban Vicente (lower right) 30 x 22 inches. Provenance: Riva Yares Gallery, Santa Fe, New Mexico $6,000 - 8,000

MODERN & CONTEMPORARY ART

Joseph Stabilito

(American, b. 1955) Hydro Foil (Diptych), 1987 acrylic on canvas signed Stabilito (lower right); each signed, titled and dated (verso) 52 x 104 inches. Provenance: Samuel Stein Fine Arts, Ltd., Chicago Acquired from the above by the present owner in 1989 $1,000 - 2,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Jack Roth

(American, 1927-2004) Untitled, 1976 acrylic on canvas signed Roth and dated (verso) 60 x 70 inches. Provenance: Estate of the Artist $5,000 - 7,000

MODERN & CONTEMPORARY ART

Cora Kelley Ward

(American, 1920-1989) Untitled, 1961 oil on canvas signed Cora Ward and dated (lower right) 24 x 19 inches. Provenance: Private Collection Sold: Clark’s Fine Art & Auctioneers Inc., July 23, 2016, Lot 199 Antal Fine Art, Los Angeles Private Collection $1,000 - 2,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Robert Goodnough

(American, 1917-2010) L-R-N Discovery, 1996 oil on canvas signed Goodnough and dated (lower right); signed, titled and dated (verso) 60 x 120 inches. The Estate of Betty & Bernard Steinweg Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $3,000 - 5,000

MODERN & CONTEMPORARY ART

Robert Goodnough

(American, 1917-2010) Boat Figures, 1962 oil on canvas signed Goodnough and dated (lower right) 55 1/2 x 67 3/4 inches. Provenance: B.C. Holland Gallery, Chicago Art Enterprises, Ltd. Collection, Chicago McCormick Gallery, Chicago Exhibited: Chicago, Illinois, AEL Space, The New York School and Beyond: Paintings from the Art Enterprises, Limited Collection, January 2001 - February 2003, no. 3 (this exhibition also traveled Naples, Florida, Philharmonic Center for the Arts, January 16 - March 16, 2001; Charleston, West Virginia, Sunrise Museums, April 1 - May 27, 2001; Montgomery, Alabama, Montgomery Museum of Fine Arts, June 24 - August 19, 2001; Syracuse, New York, Everson Museum of Art, September 16 - November 11, 2001; Lubbock, Texas, Museum of Texas Tech University, December 9, 2001 - February 3, 2002; Annapolis, Maryland, Mitchell Art Gallery, St. John’s College, March 3 April 29, 2002; Ottumwa, Iowa, Indian Hills Community College, May 26 - July 21, 2002; Saint Paul, Minnesota, Minnesota Museum of American Art, August 18 - October 13, 2002) $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

James Verbicky

(Polish/Canadian, b. 1973) Citta Samtana Triptych, 2013 acrylic, collage and polyurethane on wood panel each panel signed James Verbicky, titled and dated (verso) 60 x 96 x 3 inches. Property from the Collection of Glen de Vries Provenance: Exhibited: Coral Springs, Florida, Coral Springs Museum of Art, James Verbicky: Iconicity Exhibition, March 5 - May 23, 2015 $1,000 - 2,000

MODERN & CONTEMPORARY ART

Jimmy Ernst

(American, 1920-1984) Untitled, 1960 oil on canvas signed Jimmy Ernst and dated (lower right) 12 x 9 inches. Provenance: Sold: Christie’s East, October 7, 1997, Lot 237 (as Abstract) The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

John Carlton Atherton (American, 1900-1952) Rocky Landscape, c. 1951 gouache on scratchboard signed Atherton (lower right) 19 x 16 1/4 inches.

Provenance: Brooklyn Museum of Art, New York, sold to benefit the acquisitions program Sold: Wright, June 1, 2003, Lot 267 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $5,000 - 7,000

MODERN & CONTEMPORARY ART

William T. Wiley

(American, 1937-2021) The Young Monk, 1970 watercolor on paper, bamboo, cloth and boxes watercolor signed William T. Wiley and dated (lower right) dimensions variable. Provenance: Allan Frumkin Gallery, Chicago/New York Lewis and Susan Manilow, Chicago Sold: Museum of Contemporary Art, 9th Annual Benefit Auction, October 7, 1989, Lot 23 Acquired from the above by the present owner Exhibited: Greensboro, North Carolina, The University of North Carolina, Weatherspoon Art Gallery, Weatherspoon Annual Exhibition: Art on Paper, November 14 - December 17, 1971 (watercolor as Some Notes on Dojun) $10,000 - 15,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Richmond Burton

(American, b. 1960) Lava Painting oil on canvas on wood construction with electric lava lamps 72 x 120 x 6 inches. Deaccessioned from the Boca Raton Museum of Art to benefit the Acquisitions Fund Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $3,000 - 5,000

MODERN & CONTEMPORARY ART

Samuel Buri

(Swiss, b. 1935) Rodopi oil on canvas signed Samuel Buri and titled (verso) 59 x 61 inches. The Estate of Betty & Bernard Steinweg Provenance: Wally Findlay International, Paris Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Vera Berdich

(American, 1915-2003) The Game (Diptych), 1965 oil with collage transfer on canvas signed Vera Berdich and dated (verso) 52 x 76 inches. Provenance: The Estate of Vera Berdich Sold: Leslie Hindman Auctioneers, May 15, 2005, Lot 270 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,500 - 2,500

MODERN & CONTEMPORARY ART

Vera Berdich

(American, 1915-2003) Olympia (A Mechanical Doll), c. 1960-70 oil with collage transfer on canvas signed Vera Berdich and titled (verso) 48 x 36 inches. Provenance: The Estate of Vera Berdich Sold: Leslie Hindman Auctioneers, May 15, 2005, Lot 272 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Vera Berdich

(American, 1915-2003) Brain Box, 1973 oil with collage transfer on canvas 48 x 54 inches. Provenance: The Estate of Vera Berdich Sold: Leslie Hindman Auctioneers, December 10, 2006, Lot 38 $1,000 - 2,000

MODERN & CONTEMPORARY ART

Maryan (Pinchas Burstein)

(American/Polish, 1927-1977) Personnage, 1965 pastel and wash on paper signed Maryan and dated (lower center) 23 1/2 x 18 inches. Provenance: Allan Frumkin Gallery, Chicago/New York Sold: Leslie Hindman Auctioneers, November 16, 2011, Lot 876 $1,500 - 2,500

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Chie Fueki

(Brazilian/Japanese, b. 1973) Blue Skull, 2007 acrylic and mixed media on mulberry paper on wood signed Chie Fueki, titled and dated (verso) 9 x 9 inches. Provenance: Shoshana Wayne Gallery, Los Angeles $2,000 - 4,000

MODERN & CONTEMPORARY ART

Ernest Trova

(American, 1927-2009) Falling Man/Study #65, 1968 enameled bronze labeled with Trova Foundation stamp (base) 8 x 31 x 9 inches. Provenance: The Trova Foundation, St. Louis Philip Samuels Fine Art, St. Louis Sold: Sotheby’s Arcade, October 6, 1987, Lot 290 Sold: Christie’s East, May 7, 1990, Lot 73 $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Irving Harper

(American, 1916-2015) Untitled paper construction 30 1/4 x 38 1/4 x 2 1/4 inches. Provenance: The Artist Sold: Wright, January 21, 2016, Lot 400 Private Collection Exhibited: New Rochelle, New York, New Rochelle Public Library, Lumen Winter Garden, Irving Harper, 17 July - 14 August, 1992 $3,000 - 5,000

MODERN & CONTEMPORARY ART

35A

Roy Lichtenstein

(American, 1923-1997) Untitled (Landscape), 1965 Rowlux collage on board signed Roy Lichtenstein and dated (verso) 22 1/4 x 22 7/8 inches. Provenance: Galleria Marin, Turin Private Collection, acquired from the above circa 1972 Sold: Sotheby’s, New York, March 2, 2018, Lot 10 Acquired at the above sale by the present owner $30,000 - 50,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Nanette Carter

(American, b. 1954) Aqueous #41, 2006 oil on Mylar with collage 36 1/2 x 27 1/2 inches. Provenance: G. R. N’Namdi Gallery, New York/Chicago/Detroit $5,000 - 7,000

MODERN & CONTEMPORARY ART

Hiroyuki Hamada

(Japanese, b. 1968) #73, c. 2011-2013 painted resin 46 x 70 x 25 inches. Property from the Collection of Glen de Vries Provenance: Lori Brookstein Fine Art, New York Exhibited: New York, New York, Lori Brookstein Fine Art, Hiroyuki Hamada, October 10 - November 9, 2013 Literature: Karen Vanegas, Gallery Hopping on Thursdays, artnet, New York, New York, October 9, 2013, illus. Esperanza Leon, In The Studio: A Haven With Hiroyuki Hamada, Hamptons Art Hub, Sag Harbor, New York, October 10, 2013, illus. Peter Plagens, Lyrical Forms, Social Commentary and Handiwork, The Wall Street Journal, New York, New York, October 12, 2013, pp. A20, illus. Janet Goleas, Terra Firma: Hiroyuki Hamada, Blinnk, New York, New York, November 3, 2013, illus. Robert C. Morgan, Hiroyuki Hamada at Lori Bookstein Fine Art, Asian Art News, January/February 2014, pp. 81, illus. Coco Myers, HIROYUKI HAMADA, Folioeast, East Hampton, New York, February, 2019, illus. $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Sorel Etrog

(Romanian/Canadian, 1933-2014) Episode, 1965-67 bronze incised ETROG; number 2 from the edition of 7 18 x 21 x 8 inches. Property from a Private Collection, Chicago, Illinois Provenance: Dominion Gallery, West Montreal, Canada $15,000 - 25,000

MODERN & CONTEMPORARY ART

Sorel Etrog

(Romanian/Canadian, 1933-2014) Nippy Bird, 1965-67 bronze incised ETROG; from an edition of 7 22 x 31 x 10 inches. Property from a Private Collection, Chicago, Illinois $15,000 - 25,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

John Henry

(American, b. 1943) Red Plume, 1992 painted machined aluminum signed John Henry and dated 54 x 52 x 18 1/2 inches. Provenance: Stein Bartlow Gallery, Ltd., Chicago Private Collection, acquired from the above in 1992 $3,000 - 5,000

MODERN & CONTEMPORARY ART

Duilio (Dubè) Barnabè (Italian, 1914-1961) Sill Life in Blue, c. 1958 oil on canvas signed Barnabè (lower right) 24 x 18 inches. Provenance: Niveau Gallery, New York $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Jack Roth

(American, 1927-2004) Untitled, 1965-66 oil on canvas signed Roth and dated (verso) 71 x 47 1/2 inches. Provenance: Estate of the Artist $6,000 - 8,000 44

MODERN & CONTEMPORARY ART

Ernest Trova

(American, 1927-2009) Abstract Variation, c. 1970’s Cor-ten steel 73 x 46 x 29 inches. Property from a Private Collection Provenance: Sold: Ivey-Selkirk, May 17, 2008, Lot 940 $10,000 - 15,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Pedro Chorão

(Portuguese, b. 1945) Untitled, 1974 acrylic on canvas signed Chorão and dated (lower right); signed and dated (verso) 39 1/4 x 31 3/4 inches. Provenance: Sold: Westport Auction, Aug 28, 2016, Lot 85 $1,000 - 2,000

MODERN & CONTEMPORARY ART

Seymour Lipton

(American, 1903-1986) Maquette for Loom, 1965 nickel silver on Monel metal Height: 9 1/2 inches. The Estate of Betty & Bernard Steinweg Provenance: Weintraub Gallery, New York Acquired from the above by the present owner in 1981 Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $5,000 - 7,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

45A

Vik Muniz

(Brazilian, b. 1961) Trajetória Adultera, 1996 gelatin silver print and foam cords each signed Vik Muniz, titled, numbered sequentially and dated (verso) overall dimensions variable. Provenance: Wooster Gardens, New York Private Collection, acquired from the above in 1998 Sold: Christie’s, November 16, 2017, Lot 986 Acquired at the above sale by the present owner $10,000 - 15,000

MODERN & CONTEMPORARY ART

Robert Rauschenberg

(American, 1925-2008) Untitled, 1973 gouache, solvent transfer, graphite and printed paper collage on paper signed Rauschenberg and dated (lower right) 30 x 22 1/2 inches. Provenance: The Mayor Gallery, London Locksley Shea Gallery, Minneapolis, Minnesota Sold: Sotheby’s, London, May 25, 1989, Lot 389 Private Collection James Kelly Contemporary, Santa Fe, New Mexico Vivan Horan Fine Art, New York Sold: Christie’s, New York, March 1, 2018, Lot 144 Private Collection Exhibited: New York, New York, Mitchell-Innes & Nash, Works on Paper, May - June, 2008 $30,000 - 50,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

46A

Max Ernst

(German, 1891-1976) Portrait d’un Ami, 1968 mixed media collage on card signed Max Ernst and inscribed (lower center) 12 1/4 x 8 3/4 inches. Provenance: Gifted from the Artist to Claire and Césare Peverelli, Paris Galerie Boulakia, Paris Private Collection, acquired from the above in 2008 Sold: Christie’s, November 6, 2014, Lot 186 Private collection, Japan Private collection, Japan, acquired from the above Sold: Sotheby’s, November 15, 2017, Lot 346 Acquired at the above sale by the present owner

MODERN & CONTEMPORARY ART

Exhibited: Berlin, Germany, Galerie Brusberg, Zeitsprung - das große Finale, January 31 - March 29, 2008 Cologne, Germany, Galerie Boisserée, Max Ernst, Skupturen, Arbeiten auf Papier, Radierungen und Lithographien, September - November 2013, no. 14, illus. Literature: W. Spies, S. & G. Metken & J. Pech, Max Ernst OeuvreKatalog, Vol. VII, Werke 1964-1969, Cologne, Germany, 2007, no. 4391, illus. pp. 275 $10,000 - 15,000

Evelyn Statsinger

(American, 1927-2016) Static Flight, 1977 oil on linen signed Evelyn Statsinger, titled and dated (verso) 48 x 38 inches. Speakeasy Computing Corporation Provenance: Valerie Carberry Gallery, Chicago GRAY, Chicago Exhibited: Chicago, Illinois, Valerie Carberry Gallery, Evelyn Statsinger: Paintings of the 1970s, May 2 - June 21, 2008 Chicago, Illinois, Sullivan Galleries of the School of the Art Institute of Chicago, Touch and Go: Ray Yoshida and his Spheres of Influence, February 12 - November 13, 2011 Paris, France, High Art, BORDERLINKING, February 29 - November 4, 2020 $20,000 - 30,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Bonnie L. Shrubar

(American, b. 1932) Untitled oil on canvas signed Shrubar (lower left) 24 x 30 inches. $2,000 - 4,000

MODERN & CONTEMPORARY ART

Margaret Tomkins

(American, 1916-2002) Prophecy, 1957 egg tempera on panel signed Tomkins and dated (lower center) 16 1/8 x 9 1/2 inches. Provenance: Sold: Skinner Inc., May 16, 2008, Lot 461 $1,000 - 2,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Julia Thecla

Gwyther Irwin

(American, 1896-1973) Untitled, 1965 graphite and mixed media on masonite signed Thecla and dated (lower left) 14 1/4 x 8 3/4 inches. $1,500 - 2,500

(British, 1931-2008) Summertime, 1959 collage on masonite signed Irwin (lower right) 71 3/4 x 47 1/2 inches. Property from a Private Collection, Chicago, Illinois Provenance: The Artist Gimpel Fils Gallery, London Swetzoff Gallery, Boston, Massachusetts, purchased from the above in 1959 The Collection of Lester H. Dana, Boston, Massachusetts Exhibited: London, England, Gimpel Fils Gallery, Gwyther Irwin, September - October, 1959 Boston, Massachusetts, Swetzoff Gallery, Collage and Sculptures by Giò Pomodoro and Gwyther Irwin, January - February, 1960 Boston, Massachusetts, Institute of Contemporary Art, Selections from the Dana Collection: A Memorial Exhibition for Lester H. Dana 1901-1962, October 17 - November 11, 1962, no. 24 $6,000 - 8,000

MODERN & CONTEMPORARY ART

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Jamali

(Pakistani/American, b. 1944) Untitled #5813 ink and pigment on paper 56 x 94 inches. Property from the Collection of Glen de Vries Provenance: Jamali Art & Peace, Inc., Winter Park, Florida $2,000 - 4,000

Nieves Marshalek Billmyer

(American, 1909-1999) Calligraphy, 1979 oil on canvas initialed NMB (lower right); signed, titled and dated (verso) 45 x 40 inches. Provenance: The Bass Museum of Art, Miami Beach, Florida Sold: Hill Auction Gallery, October 18, 2017, Lot 461 $1,000 - 2,000 56

MODERN & CONTEMPORARY ART

Jan Davidoff

(German, b. 1976) Die Versammelten (The Gathered), 2009 acrylic on canvas signed Davidoff (lower right); signed, titled, and dated (verso) 110 x 79 inches. Property from the Collection of Evelyn Aimis Fine Art, Miami, Florida. Provenance: Galerie Terminus, Munich, Germany Exhibited: Miami, Florida, Evelyn Aimis Fine Art, Art In-Transit - Part II, October 6 - November 7, 2022 Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $3,000 - 5,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Scott Reeder

(American, b. 1970) Untitled (Pasta Painting), 2013 oil on canvas signed Scott Reeder, titled and dated (verso) 82 x 64 inches. Provenance: Lisa Cooley, New York Exhibited: New York, New York, Lisa Cooley Gallery, People Call Me Scott, October 27 - December 22, 2013 Literature: Howard Hurst, Painting as Punchline, Hyperallergic, New York, New York, November 19, 2013, illus. $6,000 - 8,000 58

MODERN & CONTEMPORARY ART

Michael Goldberg

(American, 1924-2007) Untitled, 1985 oil on canvas 72 x 80 inches. Provenance: Manny Silverman Gallery, Beverly Hills David Klein Gallery, Chicago $20,000 - 30,000

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Jim Lutes

(American, b. 1955) Home Before, 1992 acrylic on linen labeled with Lutes Studio stamp (verso) 48 x 36 inches. Provenance: McCormick Gallery, Chicago $5,000 - 7,000

MODERN & CONTEMPORARY ART

Antonio Segui

(Argentine, 1934-2022) Corbata Naranja, 1987 mixed media signed Segui (lower center) 26 1/2 x 20 inches. Property from a Private Collection $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Sandro Chia

(Italian, b. 1946) The Three Graces oil on paper laid to panel signed Chia (lower right) 41 x 41 inches. The Estate of Betty & Bernard Steinweg Provenance: Dillon Gallery, New York Acquired from the above by the present owner in 1999 Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $6,000 - 8,000

Emilio Cruz

(American, 1938-2004) Untitled, 1965 pastel on paper signed E. Cruz and dated (lower center) 10 x 13 3/4 inches. $3,000 - 5,000

MODERN & CONTEMPORARY ART

Emilio Cruz

(American, 1938-2004) Untitled, 1965 pastel on paper signed Emilio Cruz and dated (lower right) 11 3/4 x 15 inches. $3,000 - 5,000

Frederick D. Jones

(American, 1913-1996) Nude on Horse, c. 1950’s oil on canvas signed Ed Jones (lower left) 10 x 8 inches. Provenance: Sold: Wright, November 9, 2003, Lot 321 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Fernando Botero

(Colombian, 1932-2023) Horse, 1995 bronze incised Botero and numbered 6/6 20 x 15 x 10 1/2 inches. Provenance: James Goodman Gallery, New York Acquired from the above by the present owner in 2007 $200,000 - 300,000

MODERN & CONTEMPORARY ART

Fernando Botero Fernando Botero’s (Colombian, 1932-2023) distinctive style is characterized by volumetric, over-sized shapes with unexpected shifts in scale. Drawing from art historical themes that range from the Middle Ages to modern trends, his large cast of characters forms one of the most unique bodies of work in 20th and 21st century-art. Botero’s interest in art began in Colombia, where he was exposed to pre-Columbian and Spanish colonial art. He later traveled to Europe, where he encountered the work of the Old Masters and the avant-garde art of Picasso and Braque, influencing his signature style of monumental, smoothly rounded figures and inflated shapes. Botero’s dedication to the expression of volume and mass led to the translation of his oversized images on canvas into sculpture, producing enormous bronze figures and animals. His sculptures, like his paintings, possess a simplicity and dimension that can be linked to pre-Columbian works. Botero has modernized his sculpture in its subject matter, representing tangible volume in monumental form. He distills the essence of shape and volume, celebrating strength and vigor. “I like to create something that is more than just a representation, something that is alive, something that has a presence,” Botero said. “I want my sculptures to be a presence in the space, to have a life of their own.”

Nicola Hicks

(British, b. 1960) Emperor’s Daughter bronze incised N.H. and numbered 1/6 53 x 26 x 60 inches. Property from the Phyllis Seltzer Trust, Cleveland, Ohio $8,000 - 12,000

MODERN & CONTEMPORARY ART

Nan Lurie

(American, 1910-1985) Memories of the Circus oil on board signed Nan Lurie (upper right); signed (verso) 17 1/2 x 23 1/2 inches. Provenance: Feigl Gallery, New York Sold: Swann Auction Galleries, June 7, 2007, Lot 147 $1,000 - 2,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

LeRoy Neiman

(American, 1921-2012) Stag Hunt, 1964 oil on board signed LeRoy Neiman (lower left) 21 3/4 x 7 3/4 inches. Property from the Collection of J. Higgins, Madison, Wisconsin Provenance: Richelle Gallery, St. Louis Acquired from the above by the present owner in 1967 $8,000 - 12,000

Tadashi Asoma

(American/Japanese, 1923-2017) A Fine Autumn Morning, 2009 oil on canvas signed Asoma (lower left); signed, titled and dated (verso) 28 7/8 x 35 7/8 inches. Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $3,000 - 5,000

MODERN & CONTEMPORARY ART

Tadashi Asoma

(American/Japanese, 1923-2017) Blossom of Peach Trees, 2009 oil on canvas signed Asoma (lower right); signed, titled, dated and inscribed in Japanese (verso) 28 5/8 x 35 7/8 inches. Provenance: Wally Findlay Galleries, Palm Beach, Florida Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $3,000 - 5,000

Lemuel Newton

(American, 1950-2014) Landscape oil on board signed L. Newton (lower right) 24 x 36 1/4 inches. Property from the Collection of Allison B. Falkey, Oak Creek, Wisconsin $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Orville Bulman

(American, 1904-1978) Le Cadeau, 1971 oil on canvas signed Bulman (lower left); signed, dated, and titled (verso) 18 x 16 inches. Provenance: Hammer Galleries, New York $15,000 - 25,000

MODERN & CONTEMPORARY ART

Orville Bulman

(American, 1904-1978) La Trek, 1971 oil on canvas signed Bulman and dated (lower right); signed and titled (verso) 30 x 36 inches. $30,000 - 50,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Orville Bulman

(American, 1904-1978) Échappé, 1959 oil on canvas signed Bulman (lower left); signed, titled and dated (verso) 20 x 18 inches. Property from a Private Collection, Nashville, Tennessee Provenance: Private Collection, Hendersonville, Tennessee Purchased from the above by the present owner in 2001 $10,000 - 15,000

MODERN & CONTEMPORARY ART

Gregorio Prestopino

(American, 1907-1984) Summer, 1952 oil on canvas signed Prestopino (lower left) 24 x 30 inches. Provenance: The Collection of Joseph Hirschhorn Nordness Gallery, New York Sold: Sotheby’s Arcade, April 5, 1995, Lot 277 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Henry Gasser

(American, 1909-1981) Parkwood Tracks & Telephone Poles, c. 1930’s watercolor on paper signed H. Gasser (lower right) 19 1/2 x 24 inches. Provenance: The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

MODERN & CONTEMPORARY ART

Mitchell Siporin

(American, 1910-1976) Displaced Family, 1939 oil on canvas signed Mitchell Siporin and dated (lower right) 12 x 16 inches. Provenance: F. B. Horowitz Fine Art, Ltd., Hopkins, Minnesota The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,500 - 2,500

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Walter Stuempfig

(American, 1914-1970) Outside the Manor Walls, 1944 oil on canvas signed Stuempfig and dated (lower center) 30 1/2 x 36 inches. Provenance: Michael Rosenfeld Gallery, New York Sold: Sotheby’s Arcade, March 20, 1996, Lot 308 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $2,000 - 4,000

MODERN & CONTEMPORARY ART

Harold Sterner

(American, 1895-1976) Minotaur #1, c. 1945-50 oil on panel initialed H.S. (lower right) 13 x 26 inches. Provenance: Randolph Carter, New York Paula Sterner, New York Beth Urdang Gallery, Boston, Massachusetts The Collection of Penny and Elton Yasuna Sold: Christie’s, June 13, 2001, Lot 258 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois Literature: M. Sawin and W. Jeffett, Surrealism in America During the 1930s and 1940s: Selections from the Penny and Elton Yasuna Collection, St. Petersburg, Florida, 1998, pp. 97, 163-164, fig. 69., illus. Exhibited: New York, New York, Kennedy Galleries, Harold Sterner, September, 1970, illus. St. Petersburg, Florida, Salvador Dalí Museum, Surrealism in America During the 1930s and 1940s: Selections from the Penny and Elton Yasuna Collection, November 1998 - February 1999 (this exhibition also traveled to Chicago, Illinois, The University of Chicago, The David and Alfred Smart Museum of Art, November 1999 - January 2000; Dennis, Massachusetts, Cape Museum of Fine Arts, July - September 2000) $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

John Morris

(American, 1920-1991) A Surrealist Scene oil on canvasboard signed John Morris (lower right) 24 x 30 inches. Provenance: Sold: Christie’s, November 30, 1994, Lot 245 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

MODERN & CONTEMPORARY ART

Fred Stonehouse

(American, b. 1960) Crece en La Noche: it grows big in the night, 1988 acrylic on canvas signed Fred Stonehouse and titled (verso) 14 x 11 inches. Property from the Collection of George C. Kaiser, Milwaukee, Wisconsin Provenance: Dean Jensen Gallery, Milwaukee (as Untitled) $1,000 - 2,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Leonid Berman

(Russian, 1896-1976) Taranto, 1954 oil on canvas initialed L. and dated (lower left); signed, titled and dated (verso) 50 x 32 inches. Provenance: The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

Julian E. Levi

(American, 1900-1982) Wharf, 1940 oil on canvas signed Julian E. Levi (lower left) 18 1/8 x 15 inches. Provenance: Sold: Bonhams Skinner, March 12, 1999, Lot 438 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $2,000 - 4,000 80

MODERN & CONTEMPORARY ART

Charles Henry Alston (American, 1907-1977) Gnarled Tree, c. 1930’s charcoal on paper signed Alston (lower right) 14 1/2 x 11 3/4 inches.

Provenance: The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

William Samuel Schwartz

(American, 1896-1977) An Old Boathouse in Ellison Bay watercolor on paper signed William S. Schwartz (upper left) 14 x 21 inches. Provenance: The Galleries of Associated American Artists, New York $1,000 - 2,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Gluck

(British, 1895-1976) The Old Stable, Bolton House, Hampstead, 1930 oil on canvas in Artist’s frame signed Gluck and dated (lower right) 10 x 8 inches. Provenance: The Fine Art Society, London Exhibited: London, England, The Fine Art Society, Diverse Paintings, November 1932, no. 23 (as The Old Studio) London, England, The Fine Art Society, Gluck, April 30 - May 18, 1973, no. 21 Literature: Diana Souhami, Gluck, 1895-1978: Her Biography, New York University Press, New York, 1989, pp. 78, illus. Amy De La Haye and Martin Pel, Gluck: Art and Identity, Yale University Press, New Haven, 2017, pp. 119, 130 $5,000 - 7,000

MODERN & CONTEMPORARY ART

Gluck No prefix, suffix, or quotes. – Gluck Gluck (British, 1895-1978), born Hannah Gluckstein to an aristocratic family, shed their name down to a single syllable as they crafted their identity as a pioneering figure in British modern art. Known for their strikingly androgenous appearance and subversive fashion, they used their work to explore themes of crucial importance to their identity—famously through reflections of gender and sexuality through vibrant biomorphic and geometric forms—but also, here, a space held particularly dear to them. Though disapproving of both their personal and professional endeavors, Gluck’s father bought them a home with its own studio in 1926, a three-story red brick Georgian building called Bolton House in Hampstead Village, of which The Old Stable, Bolton House, Hampstead, was painted. This painting represents a unique bookend to Gluck’s storied exhibition history. Retained by the artist throughout their career, it was exhibited in two major solo exhibitions with The Fine Art Society, first in 1932 and then in 1973. For the first show, Gluck—a trailblazer in all aspects—was able to patent their “Gluck Frame” for the exhibition. Designed in three tiers and specially produced by the artist’s approved frame-maker, Louis Koch, the frames gave the illusion that they were an extension of a room’s architecture, becoming an integral part of Modernist and Art Deco interiors. 1932 also marked the beginning of Gluck’s romantic and collaborative relationship with society florist and designer Constance Spry, after the pair was introduced by a mutual friend. Spry decorated the Fine Art Society galleries for Gluck’s exhibition, the paneled walls of each room featuring Spry’s arrangements. Their relationship ended in 1936; Gluck tossed letters, diaries, and paintings into a bonfire at Bolton House. Gluck rejected forenames and honorifics, once resigning from an art society who referred to them as “Miss Gluck” on their letterhead. Homosexuality was illegal for men and unclassified for women at this time. Gluck’s work featured bouquets and flora, spellbinding landscapes, and portraits —frequently of their lovers—and these emotional, intimate depictions challenged a society that scorned the very idea, becoming a distinctive voice in early modern British art. Affiliating themselves with no artistic school or movement, Gluck showed only in solo exhibitions, before abruptly stopping their practice at the height of their fame to wage a “paint war” to improve the quality of available materials. After a long and all-consuming campaign lobbying for the use of cold-pressed oil and hand-ground pigments, Gluck succeeded in persuading the British Standards Institution to create a new standard for oil paints. They returned to painting in their seventies, mounting a well-received solo show in 1973 of fifty-two paintings spanning their entire oeuvre, their first since 1944 and also their last, in which The Old Stable, Bolton House, Hampstead was included. Even with a relatively small body of work throughout their life, Gluck’s enduring influence on the art historical cannon through their unapologetic embrace of queer identity, particularly through the championing of their own identity, cannot be overstated. In this example, a small-scale landscape, invitingly cropped and telescopically focused with the help of the Gluck Frame, offers a brief glimpse of the personal life and identity of this fascinating artist at home.

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

John Francis Stenvall

(American, 1907-1998) March Day, 1937 watercolor on paper signed J. Stenvall (lower left) 12 1/4 x 10 1/4 inches. Provenance: The Downtown Gallery, New York Sold: Treadway-Toomey, December 5, 2010, Lot 607 $1,000 - 2,000

MODERN & CONTEMPORARY ART

Kerry James Marshall

(American, b. 1955) Curtained Window, 2005 mixed media and glitter on paper signed K. J. Marshall and dated (lower right) 7 x 6 1/2 inches. Property from a Private Collection, Chicago, Illinois Provenance: The Artist Acquired directly from the above by the present owner $50,000 - 70,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Lynne Drexler

(American, 1928-1999) Ensconced, 1987 oil on canvas signed Lynne Drexler, titled and dated (verso) 36 x 30 inches. Provenance: The Artist The Collection of Jerry Vis, Monhegan Island Private Collection Exhibited: New York, New York, Meredith Ward Fine Art, Lynne Drexler: The Monhegan Island Years, Works from the Jerry Vis Collection, May 12 - July 28, 2023, illus. $40,000 - 60,000

MODERN & CONTEMPORARY ART

Lynne Drexler

(American, 1928-1999) Raked Off, 1989 oil on canvas signed Lynne Drexler, titled and dated (verso) 36 x 31 inches. Provenance: The Artist The Collection of Jerry Vis, Monhegan Island Private Collection Exhibited: New York, New York, Meredith Ward Fine Art, Lynne Drexler: The Monhegan Island Years, Works from the Jerry Vis Collection, May 12 - July 28, 2023, illus. (cover) $40,000 - 60,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Lynne Drexler

(American, 1928-1999) Trunk Grass, 1980 oil on canvas signed Lynne Drexler, titled and dated (verso) 30 x 36 inches. Provenance: Elizabeth Moss Galleries, Portland/Falmouth, Maine Private Collection Exhibited: New York, New York, Meredith Ward Fine Art, Lynne Drexler: The Monhegan Island Years, Works from the Jerry Vis Collection, May 12 - July 28, 2023, illus. $40,000 - 60,000

MODERN & CONTEMPORARY ART

Lodewijk Bruckman

(Dutch, 1903-1995) A Jack of Hearts, 1954 oil on canvas signed Lodewijk Bruckman and dated (lower left); signed, inscribed and dated (verso) 15 x 20 inches. Provenance: Sold: Bonhams Skinner, May 31, 1996, Lot 170 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Gertrude Abercrombie

(American, 1909-1977) Bluebird and Spy Glasses (Binoculars), 1957 oil on masonite signed Abercrombie and dated (lower left) 4 1/2 x 5 1/4 inches. We are grateful for the research conducted by Susan Weininger, Professor Emerita, Roosevelt University. Provenance: The Artist Rhoda Rosenthal, acquired from the Artist, 1957 Acquired from the above, c. 2015 - 2016 Exhibited: Chicago, Oak Street Art Fair, 1957 $30,000 - 50,000

MODERN & CONTEMPORARY ART

Gertrude Abercrombie Gertrude Abercrombie made use of a repertoire of objects that were personal to her throughout her career, but this painting stands out as unique. While the austere landscape with a grey sky and single cloud is typical, the blue bird looking into the lens of the binoculars is distinctive. The square of paper on the ground with the initials KP on it, however, gives a clue to the painting’s significance. The initials KP undoubtedly refers to Abercrombie’s dear friend Karl Priebe, an artist whom she met in Chicago in the early 1930s when he was attending the School of the Art Institute. He introduced her to jazz and the jazz musicians who became an enormous part of her life. After art and jazz, Priebe’s great love was nature, particularly birds. When he moved to Milwaukee in 1938, he and Abercrombie corresponded on an almost daily basis, and his postcards to her were often adorned with pictures of the birds he cherished. Priebe also did many portraits of friends with birds accompanying them, including one of Abercrombie, a bird perched on top of her head. Priebe was a source of support and strength for Abercrombie when she was feeling low, as she was wont to do. While there is no evidence of a specific reason for her to honor Karl at this moment, she expressed her gratitude for his friendship regularly in the letters she sent to him, and this painting seems to be a reference to his interest in and affection for birds, almost a visual thank you note. In June 1957, the same year Blue Bird and Spy Glasses (Binoculars) was painted, she wrote to Priebe saying, “Still think of the marvelous weekend with you. It really helped. It may have saved.” This is one of numerous expressions of appreciation for Karl’s friendship and support over the years. Priebe painted many identifiable birds in a variety of media, including watercolor, casein, and gouache. In 1946, his painting The Ornithologist (Private Collection), points to this important aspect of his personality. While Abercrombie worked primarily in oil, her blue bird is just that—a blue bird without subtle distinctions of color that might distinguish it as a certain species. Her bird has the same kind of sweet awkwardness that characterizes her owls and even her beloved cats. The composition is characteristic of the artist, limited to a few simple elements arranged to construct a balance in both space and on the surface: the bird and binoculars form a diagonal that is offset by the diagonal placement of the white paper in the right foreground and the small white cloud in the upper left. The seeming simplicity is belied by the careful grouping of the objects to create a dynamism within a securely stable structure. Blue Bird and Spy Glasses (Binoculars) also has Abercrombie’s characteristic surreal whimsy and eccentricity that yield an endless fascination to bring the viewer back again and again, to see more each time.

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Karl Priebe

(American, 1914-1976) Fallen Feather, 1952 watercolor and gouache on paper board signed Karl Priebe and dated (lower left) 8 x 10 inches. Provenance: Sold: Wright, May 14, 2002, Lot 191 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

Edgar Levy

(American, 1907-1975) Tabletop Still Life with Skull, Pitcher, and Sheet oil on canvas initialed E. L. (lower right) 14 x 21 1/8 inches Provenance: Sold: Freeman’s, May 20, 2007, Lot 124 $1,000 - 2,000

MODERN & CONTEMPORARY ART

Duilio (Dubè) Barnabè

(Italian, 1914-1961) Still Life (with Lid, Pitcher, and Vase), c. 1953 oil on canvas signed Barnabè (lower right) 28 x 36 inches. $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

William H. Bailey

(American, 1930-2020) Tuoro Still Life, 1981 casein on paper initialed B. and dated (lower right) 16 x 20 inches. Provenance: Robert Schoelkopf Gallery, New York Exhibited: Santa Barbara, California, University Art Museum, A Heritage Renewed: Representational Drawing Today, March 1 - April 17, 1983, no. 7 (this exhibition also traveled to Oklahoma City, Oklahoma Art Center, June 26 - August 7, 1983) $6,000 - 8,000

MODERN & CONTEMPORARY ART

Ben Kamahira

(American, 1925-2004) Still Life oil on canvas signed Kamahira (lower right) 30 x 38 inches. Provenance: The Artist Private Collection, New York Sold: Freeman’s, May 4, 2014, Lot 165 $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Robert Kulicke

(American, 1924-2007) Fruit with Black Background and Green Pear and Red Apple (Two Works), 1961 watercolor on paper each signed Kulicke and dated 7 x 9 inches and 4 x 5 3/8 inches. Provenance: Sold: Doyle, March 31, 2021, Lot 35 Acquired from the above sale by the present owner $1,000 - 2,000

MODERN & CONTEMPORARY ART

Do Min

(Korean, b. 1976) Enjoy The Moment, 2013 oil on canvas with resin signed Do Min (lower right edge) 39 1/4 x 89 inches Property from the Collection of Glen de Vries Provenance: Acquired directly from the Artist by the present owner $4,000 - 6,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Stephen Johnson

(American, b. 1979) Happy, Happy, 2011 mirror polished aluminum inscribed, titled, dated and numbered 33/100 27 1/2 x 27 1/2 x 12 1/2 inches. $2,000 - 3,000

MODERN & CONTEMPORARY ART

100

Liao Yibai

(Chinese, b. 1971) Fake Ring, Pink Iceberg, 2010 stainless steel and synthetic quartz incised Liao Yibai, dated and numbered 1/3 38 1/2 x 28 x 15 inches. Provenance: Mark Weiss Gallery, New York $3,000 - 5,000

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101

Heiner Meyer

(German, b. 1953) Girls Best Friend bronze incised Heiner Meyer, titled and numbered E.A. 10 1/2 x 9 x 3 3/4 inches. $2,000 - 4,000

102

Heiner Meyer

(German, b. 1953) Most Wanted, 2008 bronze incised Heiner Meyer, titled and numbered 3/8 16 3/4 x 16 1/2 x 6 1/2 inches. $2,000 - 4,000

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103

Zarina Hashmi

(Indian/American, 1937-2020) Equal, 1990 mixed media collage on craft paper signed Zarina and dated (lower right); signed (verso) 27 x 21 inches. Provenance: The Artist Wendy Graham, Boca Raton, Florida, purchased directly from the above Sold: Hammer and Block Auctioneers, February 19. 2011, Lot 122 ArtDealerMiami Gallery, Miami Note to the buyer: This work is currently being stored at the Hindman West Palm Beach office. The shipment of the work from West Palm Beach will be at the buyer’s expense. $6,000 - 8,000

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104

Alexander Calder

(American, 1898-1976) Fastener, c. 1934 brass wire 1 1/2 x 4 1/2 inches. Property from the Estate of Elinor Gibson Graham Provenance: Gifted by the Artist to Elinor Bryant Gibson Graham Thence by descent to Richard Bryant Boucher, Jr. in 1983 Thence by descent to a Private Collection, Dallas, Texas, c. 1983 This work is registered in the archives of the Calder Foundation, New York, under application number A29842. $20,000 - 30,000

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A Gift from Calder Though perhaps best known for his monumental sculpture and eccentric mobiles, Alexander Calder’s (American, 1898-1976) unmistakable eye for detail and total mastery of his materials also extended to his wearable art jewelry. During his lifetime, Calder crafted around 1,800 unique handmade brooches, bracelets, and earrings that reflected his signature style of abstract forms and kinetic energy. Infused with a sense of playfulness and whimsy, these works reflected the artist’s warm relationships with his friends; often presented as gifts to his friends and patrons, each piece was a personal expression of the artist’s affection and appreciation. We are pleased to present to you a Fastener, c. 1934 from the Estate of Elinor Gibson Graham, a gift to her directly from Calder, and a true treasure. Gibson Graham was a mainstay of the New York art scene and studied at the Art Students League along with her future husband, the artist John Graham. Their fellow students included Dorothy Dehner, Adolph Gottlieb, and Alexander Calder. Their friendship blossomed as early as their careers, with this bronze gift a token of the impact of their time together. In the thin bronze spirals and sloping curves of this Fastener, Calder’s intense preoccupation with movement and geometry can be seen as he blurs the lines of functionality and decoration. His use of industrial brass and refined, intricate design presents the contrast between the primitive and the avant-garde for which he became known. Calder first began to make jewelry as a child, crafting miniature pieces for his sister’s dolls. He would go on to carry wire and pliers in his pocket for the rest of his life, working out ideas for larger-scale projects and eventually adorning his high-society collectors in coveted surreal jewelry. Calder would even craft an engagement ring for his wife, Louisa, going on to gift her a new piece each year to celebrate a birthday or anniversary. Extensively sought-after, his collectors included the likes of Peggy Gugenheim and Mary Rockefeller. Calder’s small-scale, fantastical metal pieces provide a look at a more intimate side of his work. Though his jewelry was sometimes exhibited alongside the rest of his impressive oeuvre, he would never permit its commercial reproduction and maintained full control over his designs in every sense.

Elinor Gibson Graham, image provided by her Estate

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105

Harry Bertoia

(American, 1915-1978) Untitled, c. 1970 Beryllium copper on bronze plate 27 1/2 x 7 x 7 inches. This work is recorded in the Harry Bertoia catalogue raisonné under entry no. SO.TO.380. We are grateful to the Harry Bertoia Foundation for their assistance in cataloguing this work. $20,000 - 30,000

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106

Markus Linnenbrink

(German, b. 1961) TOOCOOLTODANCEAGAIN, 2003-07 acrylic on wood signed Markus Linnenbrink, titled and dated (verso) 67 x 86 inches. $15,000 - 25,000

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107

Julio Le Parc

(Argentine, b. 1928) Ejemplar No 1, 1970 screenprint and aluminum on wood in Perspex box signed, dated and numbered 85/175 8 x 13 3/4 inches. Published by Wobron, S.A.I.C., Buenos Aires, Argentina Provenance: Galerie Denise Rene, Paris Literature: Osvaldo Fustinoni, El cerebro y el arte moderno, Editorial El Ateneo, Buenos Aires, Argentina, September 6, 2021, Section 7 $3,000 - 5,000

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108

Irene Rice Pereira

(American, 1902-1971) Movement, c. 1960 watercolor and gouache on laid paper mounted to cardstock signed Irene Pereira (lower right) 12 x 8 inches. Provenance: Sold: Swann Galleries, June 5, 2003, Lot 198 (as Abstract Movement) The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

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109

Melville Price

(American, 1920-1970) Untitled, 1967 mixed media and collage on canvas signed Melville Price, dated and estate stamped (verso) 66 1/2 x 74 inches. Provenance: Estate of the Artist Art Enterprises, Ltd. Collection, Chicago Exhibited: Chicago, Illinois, AEL Space, The New York School and Beyond: Paintings from the Art Enterprises, Limited Collection, January 2001 - February 2003, no. 16 (this exhibition also traveled Naples, Florida, Philharmonic Center for the Arts, January 16 March 16, 2001; Charleston, West Virginia, Sunrise Museums, April 1 - May 27, 2001; Montgomery, Alabama, Montgomery Museum of Fine Arts, June 24 - August 19, 2001; Syracuse, New York, Everson Museum of Art, September 16 - November 11, 2001; Lubbock, Texas, Museum of Texas Tech University, December 9, 2001 - February 3, 2002; Annapolis, Maryland, Mitchell Art Gallery, St. John’s College, March 3 - April 29, 2002; Ottumwa, Iowa, Indian Hills Community College, May 26 July 21, 2002; Saint Paul, Minnesota, Minnesota Museum of American Art, August 18 - October 13, 2002) Chicago, Illinois, McCormick Gallery, Melville Price: In Search of the Black Warrior, June 22, - August 3, 2019 Literature: Chris Miller, Unstoppable Energy: A Review of Melville Price at McCormick Gallery, NewCity Art, Chicago, July 29, 2019, illus. $5,000 - 7,000 108 M O D E R N & C O N T E M P O R A R Y A R T

110

Eduard Buk Ulreich

(American, 1889-1966) MIND MADE MANIFEST / In HIM We Live and Move and Have Our Being oil on board (painted both recto and verso) initialed BUK (lower right) and titled (lower left); initialed and titled (verso) 16 1/2 x 37 inches. $1,000 - 2,000

111

Eduard Buk Ulreich

(American, 1889-1966) Woman in Abstract Forms, c. 1960’s oil on board initialed BUK (lower right) 24 x 30 inches. $1,000 - 2,000

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112

Mitchell Siporin

(American, 1910-1976) Display, 1951 oil on masonite signed Mitchell Siporin and dated (lower right) 8 1/2 x 12 1/2 inches. Provenance: The Collection of Mr. and Mrs. Stephen A. Stone, purchased in February, 1954 Gifted to The Brockton Art Center Fuller Memorial, Brockton, Massachusetts Sold: Skinner Inc., May 19, 2006, Lot 436 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois Exhibited: Brockton, Massachusetts, Brockton Art Museum-Fuller Memorial, Forty Years with Art: Selections from the Stone Collection, Fall 1982 Waltham, Massachusetts, Rose Art Museum at Brandeis University, Mitchell Siporin: A Retrospective, May 11 - June 30, 1976, no. 53 $1,000 - 2,000

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113

Wosene Kosrof

(Ethiopian, b. 1950) House of Love, 2002 acrylic on canvas signed Wosene and dated (upper right); signed, titled, inscribed and dated (verso) 22 x 21 1/4 inches. $4,000 - 6,000

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114

Abraham Rattner

(American, 1895-1978) Figure with Wings and Mask, 1950 oil on canvas signed Rattner (lower right); signed and titled (verso) 50 1/2 x 37 1/2 inches. Provenance: The Downtown Gallery, New York Mr. and Mrs. Arthur Coltman, Pennsylvania Michael Rosenfeld Gallery, New York (as Gargoyle in Flames) Sold: Sotheby’s, March 14, 1996, Lot 191 (as Gargoyle in Flames) The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois

Exhibited: New York, New York, Whitney Museum of American Art, Four American Expressionists, January - March, 1959, no. 118 (this exhibition also traveled to Manchester, New Hampshire, Currier Gallery of Art, April 8 - May 10, 1959; Colorado Springs, Colorado, Colorado Springs Fine Arts Center, May 24 - June 30, 1959; Columbus, Ohio, Columbus Gallery of Art, July 15 - August 30, 1959; Dallas, Texas, Dallas Museum of Fine Arts, November 22 - January 3, 1960) White Plains, New York, Westchester Art Society Gallery, Third Annual Invited Artists’ Show, January 24 - February 7, 1965 Philadelphia, Pennsylvania, Peale House Galleries, Pennsylvania Academy of the Fine Arts, Abraham Rattner, September 22, 1966 - October 30, 1966 Literature: Noel S. Frackman, Outposts of Art: Of Painters and Sculptors, Patent Trader, Mt. Kisco, New York, Sunday, January 31, 1965, pp. 11 $3,000 - 5,000

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115

David Fredenthal

(American, 1914-1958) Child Is the Father, 1947 watercolor on paper mounted on board signed David Fredenthal (lower right) 59 1/2 x 39 1/2 inches. Provenance: The Downtown Gallery, New York Michael Rosenfeld Gallery, New York The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois Exhibited: New York, New York, Whitney Museum of American Art, 1948 Annual Exhibition of Contemporary American Sculpture, Watercolors, and Drawings, January 31 - March 21, 1948, no. 101 $1,000 - 2,000 F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 113

116

Edward Laning

(American, 1906-1981) Formerly A. T. Stewart and Co. oil on canvas signed Laning (lower right) 71 1/2 x 47 1/2 inches. Provenance: The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000 114 M O D E R N & C O N T E M P O R A R Y A R T

117

Lawrence Kupferman

(American, 1909-1982) Tomorrow? (Yellow Street Scene), 1946 watercolor and ink on paper signed Kupferman (lower right) 24 1/4 x 18 inches. Provenance: Sold: Swann Galleries, March 2, 2004, Lot 328 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

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118

Seymour Rosofsky (American, 1924-1981) The Old Baseball Player oil on linen signed Rosofsky (verso) 48 x 36 inches.

Provenance: Sold: Hindman, April 29, 2007, Lot 47 $2,000 - 4,000

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119

Stefan Hirsch

(American, 1899-1964) Bumped Off, 1934 oil on board signed Stefan Hirsch, inscribed and dated (lower right) 28 x 22 inches. Provenance: Gifted from the artist to Edward and Leata Rowan, Cedar Rapids, Iowa The Downtown Gallery, New York Arlene Berman Fine Arts, New York The Philip and Suzanne Schiller Collection of American Social Commentary Art, Highland Park, Illinois Exhibited: Washington, D.C., Corcoran Gallery of Art, 14th Annual Biennial of Contemporary American Oil Painting, March 23 - May 5, 1935 $6,000 - 8,000

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120

Eugene Francis Savage

(American, 1883-1978) The Fisherman (Woman in Net), 1948 oil on canvas signed E. Savage and dated (lower left) 25 1/2 x 30 inches. Provenance: The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois Exhibited: Chicago, Illinois, Terra Museum of American Art, In the Eye of the Storm: An Art of Conscience, 1930 - 1970 - Selections from the Collection of Philip J. and Suzanne Schiller, October 27, 1995 - January 7, 1996, no. 40 (this exhibition also traveled to Greenville, South Carolina, Greenville County Museum of Art, January 24 March 31, 1996; Lincoln, Nebraska, Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, April 12 - June 23, 1996; Knoxville, Tennessee, Knoxville Museum of Art, July 19 - September 29, 1996; Southampton, New York, The Parrish Art Museum, October 26, 1996 - January 5, 1997; West Palm Beach, Florida, Norton Museum of Art, March 8 - April 20, 1997; Minneapolis, Minnesota, Frederick R. Weisman Art Museum, January 23 - March 22, 1998) Rosalyn Harbor, New York, Nassau County Museum of Art, The WPA Decade: Social Realism of 1933 - 1943, August 15 - October 31, 2004 Literature: Frances K. Pohl, In the Eye of the Storm: An Art of Conscience, 1930 - 1970 - Selections from the Collection of Philip J. and Suzanne Schiller, Chameleon Books/ Pomegranate Artbooks, San Francisco, California, 1995, pp. 80-81, illus. $3,000 - 5,000

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121

Mervin Jules

(American, 1912-1994) Modern Medicine Men, c. 1938 oil on masonite signed Jules (lower right) 16 1/2 x 23 1/2 inches. Provenance: The ACA Galleries, New York The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois Exhibited: Chicago, Illinois, Terra Museum of American Art, In the Eye of the Storm: An Art of Conscience, 1930 - 1970 - Selections from the Collection of Philip J. and Suzanne Schiller, October 27, 1995 - January 7, 1996, no. 59 (this exhibition also traveled to Greenville, South Carolina, Greenville County Museum of Art, January 24 March 31, 1996; Lincoln, Nebraska, Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, April 12 - June 23, 1996; Knoxville, Tennessee, Knoxville Museum of Art, July 19 - September 29, 1996; Southampton, New York, The Parrish Art Museum, October 26, 1996 - January 5, 1997; West Palm Beach, Florida, Norton Museum of Art, March 8 - April 20, 1997; Minneapolis, Minnesota, Frederick R. Weisman Art Museum, January 23 - March 22, 1998) Rosalyn Harbor, New York, Nassau County Museum of Art, The WPA Decade: Social Realism of 1933 - 1943, August 15 - October 31, 2004 Literature: Frances K. Pohl, In the Eye of the Storm: An Art of Conscience, 1930 - 1970 - Selections from the Collection of Philip J. and Suzanne Schiller, Chameleon Books/ Pomegranate Artbooks, San Francisco, California, 1995, pp. 59-60, illus. $3,000 - 5,000

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122

John Alexander

(American, b. 1945) Le Casa De Los Locos, 1991 oil on canvas signed John Alexander (lower right); signed, titled and dated (verso) 77 x 83 inches. Provenance: Marlborough Gallery, New York The Collection of Mr. and Mrs. Robert C. Larson Exhibited: Washington, D.C, Smithsonian American Art Museum, John Alexander: A Retrospective, December 21, 2007 - March 15, 2008, no. 11, illus. (this exhibition also traveled to Houston, Texas, Museum of Fine Arts, April 18 May 31, 2008) Literature: Elizabeth Fasolino, John Alexander: A Partisan Reaction, The East Hampton Star, East Hampton, New York, February 7, 2008, pp. 23, 25, illus. Julia Reed, Southern Masters: John Alexander’s True Nature, Garden & Gun, Charlestown, South Carolina, September - October, 2008 $15,000 - 25,000

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123

Salman Toor

(Pakistani, b. 1983) Three Men with Trays, 2018 oil on panel 23 7/8 x 19 7/8 inches. Provenance: Private Collection, Pakistan, acquired directly from the Artist Private collection, acquired from the above Sold: Phillip’s London, June 30, 2022, Lot 30 Private Collection Exhibited: Lahore, Hazoori Bagh, First Lahore Biennale (LB01), March 18 - March 31, 2018 Literature: Liz Catalano, 5 LGBTQ+ Artists to Know This Pride Month, Auction Daily, Edgewater, New Jersey, June 21, 2022 Simon Fisher, Artwork Selections at Phillips’ 20th Century & Contemporary Sales, Ocula Advisory, London, England, June 29, 2002 $250,000 - 350,000

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124

Lucien Alton Pickens (American, 1917-1991) Picnic, c. 1980 oil on canvas signed Pickens (lower left) 51 1/2 x 68 inches.

Provenance: Lawrence A. Arine, Rochester, New York Sold: Sotheby’s Arcade, April 5, 1995, Lot 404 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois Exhibited: Utica, New York, Museum of Art, Munson-Williams-Proctor Institute, February 1986 $5,000 - 7,000

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125

Martha Mayer Erlebacher

(American, 1937-2013) Woman with Chaos, Death and Time, c. 1981-82 oil on canvas initialed M.M.E. and dated (lower left) 64 x 80 inches. Provenance: Robert Schoelkopf Gallery, New York Sold: Bonhams, November 18, 2005, Lot 565 $1,000 - 2,000

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126

Michael Ayrton

(British, 1921-1975) Journey Through Head, 1970 mixed media collage on paper board signed Michael Ayrton and dated (lower right) 29 1/2 x 20 1/4 inches. $1,000 - 2,000

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127

Federico Castellón

(American/Spanish, 1914-1971) Vision, 1938 ink on paper signed Federico Castellón and dated (lower left) 10 1/2 x 8 1/2 inches. Provenance: Sold: Doyle New York, November 8, 2006, Lot 129 $1,000 - 2,000

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128

Jack Coughlin

(American, b. 1932) Allegorical (Surrealist Scene), 1967 ink on paper signed John Coughlin and dated (lower right) 11 3/4 x 15 1/2 inches. Provenance: Sold: Bonhams Skinner, May 19, 2006, Lot 434 The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $1,000 - 2,000

129

Leon Kelly

(American, 1901-1982) Bird of Wisdom, 1945 india ink and pen on paper signed Leon Kelly and dated (lower left) 12 x 8 1/4 inches. Provenance: Sold: Sotheby’s, May 15, 1991, Lot 228 $1,000 - 2,000

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130

John Wilde

(American, 1919-2006) Design for The Isle #2, 1976 silverpoint initialed J and dated (lower center) 9 x 12 inches. Property from the Collection of George C. Kaiser, Milwaukee, Wisconsin Provenance: Exhibited: Chicago, Illinois, Oehlschlaeger Galleries, Chicago, 1977 Madison, Wisconsin, Fanny Garver Gallery, John Wilde: One-Man One Show, March 31 - April 27, 1979 Literature: Carlton Overland, fwd. and James Watrous, apprec. John Wilde: Drawings, 1940-1984, 1985. Published following the exhibition of the same title at the Elvehjem Museum of Art, University of WisconsinMadison, Madison, Wisconsin, no. 390 $1,000 - 2,000

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131

Philip Pearlstein

(American, 1924-2022) Models with Folk Art Horses, 1992 oil on linen signed Pearlstein and dated (lower left) 60 x 74 inches. Provenance: Hirschl & Adler Modern, New York Robert Miller Gallery, New York The Collection of Ethel R. Kaplan, Chicago Literature: Robert Storr, Philip Pearlstein: Since 1983, Harry N. Abrams, Inc., in association with Robert Miller Gallery, New York, New York, 2002, pp. 74, illus. $50,000 - 70,000

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132

Philip Pearlstein

(American, 1924-2022) Nude on Striped Drape, 1967 oil on canvas signed Pealstein and dated (lower left) 60 x 72 inches. Provenance: The Collection of Ruth and Douglass G. Boshkoff, Bloomington, Indiana Sold: Sotheby’s New York, November 2, 1994, Lot 189 Acquired from the above sale by the present owner Literature: Russell Bowman, Philip Pearlstein: The Complete Paintings, Alpine Fine Art Collection, New York, New York 1983, pp. 108-109, 326, no. 294, illus. Exhibited: Athens, Georgia, University of Georgia, Georgia Museum of Art, Philip Pearlstein, September 20 - November 8, 1970, no. 51, illus. (this exhibition also traveled to Wichita, Kansas, Wichita Art Museum, January 2 - February 10, 1971; Poughkeepsie, New York, Vassar College Art Gallery, February 24 - April 18, 1971) Milwaukee, Wisconsin, Milwaukee Art Museum, Philip Pearlstein: A Retrospective, April 15 - June, 19, 1983, no. 43, illus. (also traveled to Brooklyn, New York, The Brooklyn Museum, July 14 - September 15, 1983; Philadelphia, Pennsylvania, Pennsylvania Academy of Fine Arts, December 15, 1983 - February 26, 1984; Toledo, Ohio, Toledo Museum, March 18 - April 29, 1984) $60,000 - 80,000

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133

Heriberto Cogollo

(Colombian, b. 1945) Etude de Nu, 1993 sanguine on paper signed Cogollo and dated (lower right) 18 1/2 x 12 1/2 inches. Provenance: Luis Perez Galeria, Bogota, Colombia Galerie Thomas R. Moran, Chicago $2,000 - 3,000

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134

Heriberto Cogollo

(Colombian, b. 1945) Mujer Peinandose, 1993 crayon and pigment on paper signed Cogollo and dated (lower right) 14 1/2 x 11 inches. Provenance: Galerie Thomas R. Monahan, Chicago Exhibited: Miami, Florida, Miami Beach Convention Center, Art Miami International Art Exposition, January 5 - 9, 1994 $2,000 - 3,000

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135

Jorge Marín

(Mexican, b. 1963) Equilibrista en split (Group of Four Works), 2000 bronze each incised Jorge Marín MEX Each: 27 x 37 1/2 x 16 inches. $8,000 - 12,000

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136

Michael Ayrton

(British, 1921-1975) Stylite bronze numbered 4/9 44 1/2 x 4 3/4 x 5 1/4 inches. $3,000 - 5,000

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137

Robert Lostutter

(American, b. 1939) To All The Beauty That Is Left, That The World Seems So Blind To, 1972 watercolor on paper signed Lostutter, titled and dated (lower center) 6 1/2 x 5 inches. Provenance: Deson-Zaks Gallery, Chicago Sold: Hindman, May 15, 2005, Lot 176 The Philip and Suzanne Schiller Collection of American Social Commentary Art, Highland Park, Illinois $1,500 - 2,500

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138

Tomoo Gokita

(Japanese, b. 1969) N’danka N’danka, 2005 ink on paper signed Tomoo Gokita, titled and dated (verso) 11 3/4 x 11 3/4 inches. Property from the collection of James T. Conrad Provenance: Bill Brady Gallery, Miami Private Collection Sold: Phillips, February 11 - 20, 2020, Lot 1 Acquired from the above sale by the present owner $7,000 - 9,000

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139

Ed Flood

(American, 1944-1985) Sketch for Enemy Gunners (Sloe-Eyed Blonde), c. 1969 graphite and collage on vellum titled 16 1/2 x 13 3/4 inches. $2,000 - 4,000

This emblematic sketch by Chicago Imagist artist Ed Flood (1944-1985) of his typical motifs of palm trees and flatly rendered imagery drawn from advertisements and popular media offers insight on his art-making process, as it would have likely been used as a template for one of his signature reverse paintings on Plexiglas. Flood championed the use of Plexiglas for the smooth, machine-like quality that it bestowed in the finished work. It also allowed for the effect of three-dimensionality without sacrificing a flat plane. To create this three-dimensionality, Flood was able to utilize his skills in woodworking and other traditional crafts—then undervalued in the art scene—to build these boxes. To use this sort of template for such a box, Flood would have traced the graphite on vellum construction on the back of the Plexiglas sheet and then filled in the colors related to the painting—corresponding in part to the different collaged layers in the sketch—in reverse order so that, when viewed from the front, an entirely flat picture emerges in its proper orientation. The reverse painting technique was appropriated by Flood and other Imagists from sign painters who painted logos and advertisements on store windows, emphasizing techniques and subject matter that had likewise been overlooked or else viewed as too common for use in “high art.” This unpretentious adoption of popular culture in Sketch for Enemy Gunners (Sloe-Eyed Blonde) in both technique and subject matter—of snappy comic strip speech and masked heroines—results in a work that is both an interesting insight on Flood’s working method as well as an electric composition in its own right.

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140

Andy Warhol

(American, 1928-1987) Joseph Beuys, c. 1980 screenprint on laundry bag from a small unnumbered edition 53 3/4 x 41 7/8 inches. Provenance: The Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts Inc., New York Tom Cugliani, New York Private Collection Sold: Christie’s, New York, March 1, 2018, Lot 424 Private Collection Literature: F. Feldman and J. Schellmann, eds., Andy Warhol Prints: A Catalogue Raisonné 1962 - 1987, New York, 2003, p. 304, no. IIIC.49 (another example illus.) $30,000 - 50,000 F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 137

141

Duilio (Dubè) Barnabè

(Italian, 1914-1961) Figura Seduta (Seated figure), c. 1951 oil on canvas signed Barnabè (upper right) 39 1/4 x 21 5/8 inches. Provenance: R.S. Johnson Fine Art, Chicago $5,000 - 7,000

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142

Hananiah Harari

(American, 1912-2000) Untitled ink wash on paper signed Harari (lower left) 9 3/4 x 5 3/4 inches. $1,000 - 2,000

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 139

143

Pablo Picasso

(Spanish, 1881-1973) Peter Pan, c. 1955-60 watercolor and colored pencil on cardboard 8 1/2 x 2 inches. Provenance: Ines and Gerard Sassier, Paris Morateur/Docantic Inc., Los Angeles $8,000 - 12,000

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144

Georges Mazilu

(Romanian/French, b. 1951) Le Chasseur oil on canvas signed Mazilu (lower left); signed and titled (verso) 18 x 13 inches. Provenance: Thomas Masters Gallery, Chicago Acquired from the above by the present owner in 2005 $3,000 - 5,000

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 141

145

Lee Godie

(American, 1908-1994) Untitled ink, watercolor and collage on stuffed pillowcase, double-sided signed Lee (verso) 19 1/2 x 18 x 5 1/2 inches. Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois Provenance: The Artist Estate of Lee Godie Thence by descent to the present owner, the Artist’s daughter $2,000 - 4,000

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146

Lee Godie

(American, 1908-1994) Untitled (Woman with Grapes) watercolor, crayon and ink on poster board, double-sided signed Lee Godie (lower center) 28 x 22 inches. Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois Provenance: The Artist Estate of Lee Godie Thence by descent to the present owner, the Artist’s daughter $1,000 - 2,000

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 143

147

Lee Godie

(American, 1908-1994) Prince of Chicago ink on poster board, double-sided signed Lee Godie (lower right); signed and titled (verso) 28 x 22 inches. Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois Provenance: The Artist Estate of Lee Godie Thence by descent to the present owner, the Artist’s daughter $1,000 - 2,000

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148

Lee Godie

(American, 1908-1994) Chicago, City of Plenty ink and marker on canvas titled (lower center) 33 1/4 x 21 inches. Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois Provenance: The Artist Estate of Lee Godie Thence by descent to the present owner, the Artist’s daughter $1,500 - 2,500

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 145

149

Lee Godie

(American, 1908-1994) Untitled (Pink Birds) ink and crayon on poster board, double-sided signed Lee Godie (upper and lower left); signed (verso) 28 x 22 inches. Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois Provenance: The Artist Estate of Lee Godie Thence by descent to the present owner, the Artist’s daughter $1,000 - 2,000

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150

Lee Godie

(American, 1908-1994) Untitled (Four Birds) ink on canvas, double-sided signed Lee Godie (lower and upper center); signed (verso) 24 1/2 x 20 inches. Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois Provenance: The Artist Estate of Lee Godie Thence by descent to the present owner, the Artist’s daughter $1,000 - 2,000

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 147

151

Grisha (Grigory Davidovich) Bruskin

(Russian, b. 1945) Study 27, 1990 ink and gouache on paper signed in Cyrillic (lower right) 11 1/2 x 8 1/4 inches. Property from the Collection of George C. Kaiser, Milwaukee, Wisconsin Provenance: Marlborough Gallery, New York $2,000 - 4,000

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152

Walter Sanford

(American, 1912-1987) The Zodiac, 1972 colored pencil on paperboard signed Sanford and dated (lower center) 30 x 30 inches. Provenance: The Philip and Suzanne Schiller Collection of American Social Commentary Art, 1930 - 1970, Highland Park, Illinois $3,000 - 5,000

153

Adam Pendleton

(American, b. 1984) Searching, 2004 acrylic and silkscreen on canvas signed Adam Pendleton and dated (verso) 47 1/2 x 48 1/2 inches. This work is number two from an edition of three. Provenance: Nicole Klagsbrun, New York Acquired from the above by the present owner in 1995 Sold: Christie’s, September 30, 2015, Lot 250 $3,000 - 5,000

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 149

Artist Index ARTIST NAME

LOT

Abercrombie, Gertrude . . . . . . . . . . . . . . 91 Alexander, John . . . . . . . . . . . . . . . . . . 122 Alston, Charles Henry . . . . . . . . . . . . . . 82 Asoma, Tadashi . . . . . . . . . . . . . . . . 67, 68 Atherton, John Carlton . . . . . . . . . . . . . . 25 Ayrton, Michael . . . . . . . . . . . . . . 126, 136 Bailey, William H. . . . . . . . . . . . . . . . . . . 95 Barnabè, Duilio (Dubè) . . . . . . . 41, 94, 141 Berdich, Vera . . . . . . . . . . . . . . . . . 29-31 Berman, Leonid . . . . . . . . . . . . . . . . . . . 80 Bertoia, Harry . . . . . . . . . . . . . . . . . . . 105 Billmyer, Nieves Marshalek . . . . . . . . . . . 53 Botero, Fernando . . . . . . . . . . . . . . . . . . 63 Bruckman, Lodewijk . . . . . . . . . . . . . . . . 90 Bruskin, Grisha (Grigory Davidovich). . . . 151 Bulman, Orville . . . . . . . . . . . . . . . . 70-72 Buri, Samuel . . . . . . . . . . . . . . . . . . . . . 28 Burton, Richmond . . . . . . . . . . . . . . . . . 27 Calder, Alexander. . . . . . . . . . . . . . . . . 104 Carter, Nanette . . . . . . . . . . . . . . . . . . . 36 Castellón, Federico . . . . . . . . . . . . . . . 127 Cavallon, Giorgio . . . . . . . . . . . . . . . . . . . 1 Chia, Sandro . . . . . . . . . . . . . . . . . . . . . 59 Chorão, Pedro . . . . . . . . . . . . . . . . . . . . 44 Cogollo, Heriberto . . . . . . . . . . . . 133, 134 Coughlin, Jack . . . . . . . . . . . . . . . . . . . 128 Cruz, Emilio . . . . . . . . . . . . . . . . . . 60, 61 Davidoff, Jan . . . . . . . . . . . . . . . . . . . . . 54 Drexler, Lynne . . . . . . . . . . . . . . . . . 87-89 Erlebacher, Martha Mayer . . . . . . . . . . 125 Ernst, Jimmy . . . . . . . . . . . . . . . . . . . . . 24 Ernst, Max . . . . . . . . . . . . . . . . . . . . . 46A Etrog, Sorel . . . . . . . . . . . . . . . . . . . 38, 39 Flood, Ed . . . . . . . . . . . . . . . . . . . . . . 139 Fredenthal, David . . . . . . . . . . . . . . . . 115 Fueki, Chie . . . . . . . . . . . . . . . . . . . . . . 33 Gasser, Henry . . . . . . . . . . . . . . . . . . . . 74 Gilliam, Sam . . . . . . . . . . . . . . . . . . 12-14 Gluck . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Godie, Lee . . . . . . . . . . . . . . . . . 145-150 Gokita, Tomoo . . . . . . . . . . . . . . . . . . . 138 Goldberg, Michael . . . . . . . . . . . . . . . . . 56 Goodnough, Robert . . . . . . . . . . . . . 21, 22 Hamada, Hiroyuki . . . . . . . . . . . . . . . . . 37 Harari, Hananiah . . . . . . . . . . . . . . . . . 142 Harper, Irving . . . . . . . . . . . . . . . . . . . . 35 Hashmi, Zarina . . . . . . . . . . . . . . . . . . 103 Henry, John . . . . . . . . . . . . . . . . . . . . . . 40 Hicks, Nicola . . . . . . . . . . . . . . . . . . . . . 64 Hirsch, Stefan . . . . . . . . . . . . . . . . . . . 119 Irwin, Gwyther . . . . . . . . . . . . . . . . . . . . 51 Jamali. . . . . . . . . . . . . . . . . . . . . . . . . . 52 Jenkins, Paul . . . . . . . . . . . . . . . . . . . . 3-9

Johnson, Stephen . . . . . . . . . . . . . . . . . 99 Jones, Frederick D. . . . . . . . . . . . . . . . . 62 Jules, Mervin . . . . . . . . . . . . . . . . . . . 121 Kamahira, Ben . . . . . . . . . . . . . . . . . . . 96 Kelly, Leon . . . . . . . . . . . . . . . . . . . . . 129 Kosrof, Wosene . . . . . . . . . . . . . . . . . . 113 Kulicke, Robert . . . . . . . . . . . . . . . . . . . 97 Kupferman, Lawrence . . . . . . . . . . . . . 117 Laning, Edward . . . . . . . . . . . . . . . . . . 116 Le Parc, Julio . . . . . . . . . . . . . . . . . . . 107 Levi, Julian E. . . . . . . . . . . . . . . . . . . . . 81 Levy, Edgar . . . . . . . . . . . . . . . . . . . . . . 93 Lichtenstein, Roy . . . . . . . . . . . . . . . . . 35A Linnenbrink, Markus . . . . . . . . . . . . . . 106 Lipton, Seymour . . . . . . . . . . . . . . . . . . 45 Little, John . . . . . . . . . . . . . . . . . . . 10, 15 Lostutter, Robert . . . . . . . . . . . . . . . . . 137 Lurie, Nan . . . . . . . . . . . . . . . . . . . . . . . 65 Lutes, Jim . . . . . . . . . . . . . . . . . . . . . . . 57 Marín, Jorge . . . . . . . . . . . . . . . . . . . . 135 Marshall, Kerry James . . . . . . . . . . . . . . 86 Maryan (Pinchas Burstein) . . . . . . . . . . . 32 Mazilu, Georges . . . . . . . . . . . . . . . . . 144 Meyer, Heiner . . . . . . . . . . . . . . . 101, 102 Min, Do . . . . . . . . . . . . . . . . . . . . . . . . 98 Morris, John . . . . . . . . . . . . . . . . . . . . . 78 Muniz, Vik . . . . . . . . . . . . . . . . . . . . . . 45A Neiman, LeRoy . . . . . . . . . . . . . . . . . . . 66 Newton, Lemuel . . . . . . . . . . . . . . . . . . 69 Pearlstein, Philip . . . . . . . . . . . . . 131, 132 Pendleton, Adam . . . . . . . . . . . . . . . . . 153 Pereira, Irene Rice . . . . . . . . . . . . . . . . 108 Picasso, Pablo . . . . . . . . . . . . . . . . . . 143 Pickens, Lucien Alton. . . . . . . . . . . . . . 124 Prestopino, Gregorio . . . . . . . . . . . . . . . 73 Price, Melville . . . . . . . . . . . . . . . . . . . 109 Priebe, Karl . . . . . . . . . . . . . . . . . . . . . . 92 Rattner, Abraham. . . . . . . . . . . . . . . . . 114 Rauschenberg, Robert . . . . . . . . . . . . . . 46 Reeder, Scott . . . . . . . . . . . . . . . . . . . . 55 Rosofsky, Seymour . . . . . . . . . . . . . . . 118 Roth, Jack . . . . . . . . . . . . . . . . . . . . 19, 42 Sanford, Walter . . . . . . . . . . . . . . . . . . 152 Savage, Eugene Francis . . . . . . . . . . . . 120 Schwartz, William Samuel . . . . . . . . . . . 83 Segui, Antonio . . . . . . . . . . . . . . . . . . . . 58 Shrubar, Bonnie L. . . . . . . . . . . . . . . . . . 48 Siporin, Mitchell . . . . . . . . . . . . . . 75, 112 Stabilito, Joseph . . . . . . . . . . . . . . . . . . 18 Statsinger, Evelyn . . . . . . . . . . . . . . . . . 47 Stenvall, John Francis . . . . . . . . . . . . . . 85 Sterner, Harold . . . . . . . . . . . . . . . . . . . 77 Stonehouse, Fred . . . . . . . . . . . . . . . . . 79

Stuempfig, Walter . . . . . . . . . . . . . . . . . 76 Thecla, Julia . . . . . . . . . . . . . . . . . . . . . 50 Tomkins, Margaret . . . . . . . . . . . . . . . . . 49 Toor, Salman . . . . . . . . . . . . . . . . . . . . 123 Trova, Ernest . . . . . . . . . . . . . . . . . . 34, 43 Ulreich, Eduard Buk . . . . . . . . . . . 110, 111 Verbicky, James . . . . . . . . . . . . . . . . . . . 23 Vicente, Esteban . . . . . . . . . . . . . . . 16, 17 Ward, Cora Kelley . . . . . . . . . . . . . . . . . 20 Warhol, Andy . . . . . . . . . . . . . . . . . . . . 140 Wehmer, John . . . . . . . . . . . . . . . . . . . . 11 Wilde, John . . . . . . . . . . . . . . . . . . . . . 130 Wiley, William T. . . . . . . . . . . . . . . . . . . . 26 Yibai, Liao . . . . . . . . . . . . . . . . . . . . . . 100

CIRCLE OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work by an unknown but distinctive hand linked or associated with the artist but not definitively his pupil.

AFTER ADRIAEN JANSZ VAN OSTADE To our best judgment, a copy of a known work of the artist.

Glossary of Terms ADRIAEN JANSZ VAN OSTADE This work, in our best opinion, is by the named artist. ATTRIBUTED TO ADRIAEN JANSZ VAN OSTADE To our best judgment, this work is likely to be by the artist, but with less certainty as in the aforementioned category. STUDIO OF ADRIAEN JANSZ VAN OSTADE To our best judgment, this unsigned work may or may not have been created under the direction of the artist.

STYLE OF . . . FOLLOWER OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work by a painter emulating the artist’s style, contemporary or nearly contemporary to the named artist. MANNER OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work in the style of the artistand of a later period.

The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist. The term bears a signature and/or a date and/or an inscription means that, in our opinion, a signature and/or date and/or inscription have been added by another hand. Dimensions are given height before width.

150 M O D E R N & C O N T E M P O R A R Y A R T

Miriam Schapiro (Canadian, 1923-2015) A Garden In Paradise, 1982 SOLD FOR $56,700 SOLD PRICES ARE INCLUSIVE OF BUYER’S PREMIUM

SALE 1258 NATIVE AMERICAN ART ONLINE DECEMBER 4 | CINCINNATI | TIMED ONLINE

SALE 1253 SPORTS MEMORABILIA DECEMBER 12 | CHICAGO | TIMED ONLINE

SALE 1273 ANTIQUITIES & ANCIENT ART, INCLUDING PROPERTY FROM THE BRUMMER COLLECTION DECEMBER 5 | CHICAGO | LIVE + ONLINE

SALE 1173 THE COLLECTED HOME DECEMBER 13 | CHICAGO | TIMED ONLINE

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 151

Fine Art

MONICA BROWN VICE PRESIDENT, DIRECTOR PRINTS & MULTIPLES

ZACK WIRSUM VICE PRESIDENT, DIRECTOR POST WAR & CONTEMPORARY ART

MADALINA LAZEN DIRECTOR, SENIOR SPECIALIST EUROPEAN ART

LAURA PATERSON DIRECTOR, SENIOR SPECIALIST PHOTOGRAPHS

303.825.1855 MONICABROWN @HINDMANAUCTIONS.COM

312.600.6069 ZACHARYWIRSUM @HINDMANAUCTIONS.COM

561.833.8053 MADALINELAZEN @HINDMANAUCTIONS.COM

312.280.1212 LAURAPATERSON @HINDMANAUCTIONS.COM

AARON CATOR SENIOR SPECIALIST POST WAR & CONTEMPORARY ART

PAULINE ARCHAMBAULT SPECIALIST AMERICAN ART

ALEXANDRIA DREAS SPECIALIST, HEAD OF SALE WESTERN & WILDLIFE ART

ANGELA WHITAKER SENIOR APPRAISER, FINE ART

646.864.1746 AARONCATOR @HINDMANAUCTIONS.COM

513.871.1670 PAULINEARCHAMBAULT @HINDMANAUCTIONS.COM

303.825.1855 ALEXANDRIADREAS @HINDMANAUCTIONS.COM

JULIANNA TANCREDI SENIOR RESEARCHER

KATHERINE HLAVIN CONSULTANT FINE ART

THEA ANDRUS CATALOGUER

CHRISTINA KIRIAKOS CATALOGUER

872.270.3120 THEAANDRUS @HINDMANAUCTIONS.COM

312.334.4216 CHRISTINAKIRIAKOS @HINDMANAUCTIONS.COM

312.334.4228 JULIANNATANCREDI @HINDMANAUCTIONS.COM

303.825.1855 KATHERINEHLAVIN @HINDMANAUCTIONS.COM

JOHN MARTINEZ DEPARTMENT COORDINATOR

SARAH GRAY DEPARTMENT COORDINATOR

312.600.6064 JOHNMARTINEZ @HINDMANAUCTIONS.COM

312.334.4234 SARAHGRAY @HINDMANAUCTIONS.COM

872.270.3105 ANGELAWHITAKER @HINDMANAUCTIONS.COM

Updated 8.1.23

152 M O D E R N & C O N T E M P O R A R Y A R T

Leadership

Offices ATLANTA KRISTIN VAUGHN VICE PRESIDENT 404.800.0192 KRISTINVAUGHN @HINDMANAUCTIONS.COM

ALYSSA D. QUINLAN CHIEF EXECUTIVE OFFICER

JAY FREDERICK KREHBIEL EXECUTIVE CHAIRMAN

312.447.3272 ALYSSAQUINLAN @HINDMANAUCTIONS.COM

JAYKREHBIEL @HINDMANAUCTIONS.COM

CHICAGO MIRANDA MAXFIELD 312.334.4208 MIRANDAMAXFIELD @HINDMANAUCTIONS.COM

CINCINNATI VAUGHN H. SMITH 513.666.4987 VAUGHNSMITH @HINDMANAUCTIONS.COM

ANDREW SELTZER INTERIM CHIEF OPERATING OFFICER 312.280.1212 ANDREWSELTZER @HINDMANAUCTIONS.COM

Trusts, Estates & Private Clients

MOLLY E. GRON, J.D. MANAGING DIRECTOR 312.334.4235 MOLLYGRON @HINDMANAUCTIONS.COM

MOLLY MORSE LIMMER EXECUTIVE VICE PRESIDENT, DEPUTY CHAIRMAN 312.447.3275 MOLLYLIMMER @HINDMANAUCTIONS.COM

Appraisals

NAPLES ALLISON DURIAN 239.643.4448 ALLISONDURIAN @HINDMANAUCTIONS.COM NEW YORK CAROLINE BAKER SMITH 212.243.3000 CAROLINEBAKERSMITH @HINDMANAUCTIONS.COM

PALM BEACH ELIZABETH MARSHMAN 561.621.8461 ELIZABETHMARSHMAN @HINDMANAUCTIONS.COM

CLEVELAND CARRIE PINNEY 216.292.8300 CARRIEPINNEY @HINDMANAUCTIONS.COM

SAN DIEGO KATIE GUILBAULT, G.G. VICE PRESIDENT 858.442.6104 KATIEGUILBAULT @HINDMANAUCTIONS.COM

DENVER MARON HINDMAN 303.825.1855 MARONHINDMAN @HINDMANAUCTIONS.COM

SCOTTSDALE LOGAN BROWNING 480.546.5150 LOGANBROWNING @HINDMANAUCTIONS.COM

DETROIT PAM IACOBELLI 313.774.0900 PAMELAIACOBELLI @HINDMANAUCTIONS.COM

ST. LOUIS ANNA SHAVER 314.833.0833 ANNASHAVER @HINDMANAUCTIONS.COM

MIAMI ELIZABETH RADER, PHD 239.643.4448 ELIZABETHRADER @HINDMANAUCTIONS.COM

WASHINGTON, D.C. MAURA ROSS VICE PRESIDENT 202.853.1638 MAURAROSS @HINDMANAUCTIONS.COM

MILWAUKEE SARA MULLOY 414.220.9200 SARAMULLOY @HINDMANAUCTIONS.COM

TIM LUKE, CAI, BAS, MPPA, ISA-AM MANAGING DIRECTOR 561.833.8053 TIMLUKE @HINDMANAPPRAISALS.COM

Updated 8.1.23

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 153

Inquiries LEADERSHIP Alyssa D. Quinlan Chief Executive Officer alyssaquinlan @hindmanauctions.com Jay Frederick Krehbiel Executive Chairman Leslie Hindman Founder & Chairman Emeritus Wes Cowan Vice-Chair Maron Hindman Vice-Chair Andrew Seltzer Interim Chief Operating Officer andrewseltzer @hindmanauctions.com Molly Morse Limmer Executive Vice President, Deputy Chairman mollylimmer @hindmanauctions.com AUCTION OPERATIONS, CLIENT SERVICES Rita Swanberg Manager, Client Experience ritaswanberg @hindmanauctions.com Dawnie Komotios Operations Director Cincinnati dawniekomotios @hindmanauctions.com Nicole Joy Regional Manager Auction Operations nicolejoy @hindmanauctions.com FINANCE Marco Gusella Vice President, Finance marcogusella @hindmanauctions.com TRUSTS, ESTATES & PRIVATE CLIENTS Molly E. Gron, J.D. Managing Director mollygron @hindmanauctions.com Miranda Maxfield Senior Manager mirandamaxfield @hindmanauctions.com Hannah Unger Manager hannahunger @hindmanauctions.com Kathryn Hodge Senior Associate, West kathrynhodge @hindmanacutions.com Erin Madarieta Associate, East erinmadarieta @hindmanauctions.com

APPRAISALS Tim Luke, CAI, BAS, MPPA, ISA-AM Managing Director timluke @hindmanappraisals.com LaGina Austin Senior Director, Appraisals & Valuations laginaaustin @hindmanappraisals.com Margaret Cece Appraisals Supervisor margaretcece @hindmanappraisals.com MUSEUM SERVICES Timothy Long Director, Museum Business Development & Corporate Client Services timothylong@ hindmanauctions.com Briar Koehl Oleferchik Senior Manager, Museum Services briarkoehl@ hindmanauctions.com FINE ART Monica Brown Vice President, Director Prints & Multiples monicabrown @hindmanauctions.com Zack Wirsum Vice President, Director Post War & Contemporary Art zacharywirsum @hindmanauctions.com Madalina Lazen Director, Senior Specialist European Art madalinalazen @hindmanauctions.com Laura Paterson Director, Senior Specialist Photographs laurapaterson @hindmanauctions.com Aaron Cator Senior Specialist Post War & Contemporary Art aaroncator @hindmanauctions.com

EUROPEAN FURNITURE & DECORATIVE ARTS Corbin Horn Vice President, Senior Specialist corbinhorn @hindmanauctions.com Nick Coombs Senior Specialist nickcoombs @hindmanauctions.com Donna Tribby Senior Specialist Sam Cowan National Head of Sale, The Collected Home Nicholas Gordon Associate Specialist Alison Lynch Associate Cataloguer Tyler Wilson Department Coordinator AMERICAN FURNITURE, FOLK & DECORATIVE ARTS Ben Fisher Vice President, Senior Specialist benfisher @hindmanauctions.com Leah Vogelpohl Specialist Katie Benedict Associate Specialist ANTIQUITIES & ANCIENT ART Jacob Coley Director, Senior Specialist jacobcoley @hindmanauctions.com Sean Galvin Associate Cataloguer DESIGN John Martinez Department Coordinator BOOKS & MANUSCRIPTS Gretchen Hause Vice President, Senior Specialist gretchenhause @hindmanauctions.com

JEWELRY & WATCHES Reginald Brack Senior Vice President, Director, Jewelry & Watches reginaldbrack @hindmanauctions.com April Matteini, G.G. Senior Specialist, Associate Director, Jewelry aprilmatteni @hindmanauctions.com Karina Hammer, G.G. Senior Specialist karinahammer @hindmanauctions.com Katie Hammond Guilbault, G.G. Senior Specialist San Diego katieguilbault @hindmanauctions.com Sean Johnson Senior Specialist, Watches seanjohnson @hindmanauctions.com Leslie Roskind, G.G. Senior Specialist, New York leslieroskind @hindmanauctions.com Ruth Thuston, G.G. Senior Specialist ruththuston @hindmanauctions.com

Leslie Winter Associate Specialist

Erin Rust Specialist

154 M O D E R N & C O N T E M P O R A R Y A R T

Zoë Bare Director, Photography David Jackson Supervisor, Photography

*Lead Photography and Design for Sale 1260

Brett Heeley Department Coordinator brettheeley@ hindmanauctions.com

Kaylan Gunn Specialist

Sarah Gray Department Coordinator

MARKETING & DESIGN Ashley Galloway Vice President, Marketing

Jennifer Castle* Graphic Designer

Alexandria Dreas Specialist, Head of Sale Western & Wildlife Art

John Martinez Department Coordinator

Joshua McCracken Department Coordinator

LUXURY HANDBAGS & COUTURE Tanner Branson Specialist, Head of Sale tannerbranson@ hindmanauctions.com

Emily Payne Specialist

Christina Kiriakos Cataloguer

SPORTS MEMORABILIA James Smith Director, Senior Specialist jamessmith @hindmanauctions.com

Brian Maslouski Senior Designer

Pauline Archambault Specialist, American Art

Thea Andrus Cataloguer

Tucker Etnoyer Cataloguer

Camille Michelotti Department Coordinator

Madeline Schroeder, G.G. Associate Specialist

NATIVE AMERICAN, PREHISTORIC & TRIBAL ART Danica Farnand Vice President, Senior Specialist danicafarnand @hindmanauctions.com

Joshua McCracken Department Coordinator

Barrett Sharpnack Cataloguer

Gina O’Connor Cataloguer

Marisa Palmer, G.G. Senior Appraiser marisapalmer @hindmanauctions.com

Katie Horstman Senior Specialist katiehorstman @hindmanauctions.com

Julianna Tancredi Senior Researcher

Emma Fulmer ATF Manager and Senior Coordinator

Photographers: Tyler Chumney* Carmen Colome Marisa Fabiilli Chad Feierstone* Jared Hefel Kristen Hudson* Deogracias Lerma Roberto Martinez Libby Moore Mike Reinders* Maddie Scarpone Rachel Smith Dallas Tolentino*

Katherine Hlavin Consultant Fine Art

Angela Whitaker Senior Appraiser, Fine Art

ARMS, ARMOR & MILITARIA Tim Carey Director, Senior Specialist timcarey @hindmanauctions.com

William Norwood Department Coordinator

ASIAN ART Annie Wu Vice President, Senior Specialist anniewu @hindmanauctions.com Flora Zhang Specialist Megan Sadler Associate Specialist

Updated 10.25.23

Guide for Prospective Sellers and Buyers GUIDE FOR PROSPECTIVE SELLERS

GUIDE FOR PROSPECTIVE BUYERS

Evaluation of Property Hindman is pleased to provide complimentary auction estimates for items you’re considering consigning. You are welcome to submit items electronically (consign@hindmanauctions.com) or to contact any of our offices directly.

Conditions of Sale All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.

Our specialists are eager to help you learn more about your collection and current auction sale estimates.

Viewing Auction Items It is highly recommended that all prospective bidders either view the sale via our online catalogue or contact Hindman LLC for further images or to schedule an appointment to view objects in person.

To begin an estimate, our specialists will need: • At least 3 photos • Detailed description • Details on signatures or marks

Estimates Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision.

Shipping Arrangements Buyers assume full responsibility for the packing and shipping of lots won at auction. Our Recommended Shippers offer a wide variety of local, domestic, and international shipping options.

Condition Reports We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

In the interest of our clients, Hindman requires a written authorization from the buyer in order to release property to anyone other than the purchaser of record (including but not limited to our recommended shippers). You may submit the Shipping Release Form via fax to 312.280.1211 or email to shipping@hindmanauctions.com

Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

Appraisals Our exceptional team of specialists regularly appraises property by analyzing market trends and conducting comprehensive research. Specialists evaluate thousands of objects each year for auction, allowing them to closely monitor the nuances of the current market.

Bidding Increments Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The standard bidding increments are:

Professional appraisals are prepared for estate tax, gift tax, charitable contribution, insurance and for equitable distribution purposes. • Estate Tax • Gift Tax • Charitable Contribution • Insurance • Appraisals for Corporate Valuation Needs Our trust and estates department recognizes that each client and appraisal situation is unique and often involves multiple asset categories and residences. Fees for appraisals are determined by the number of specialists, hours involved and the necessary travel and expenses. Our competitive fees are negotiated based upon the express needs of each client and are competitive within the marketplace.

$0 – 500 $500 – 1000 $1000 – 2,000 $2,000 – 5,000 $5,000 – 10,000 $10,000 – 20,000 $20,000 – 50,000 $50,000 – 100,000 $100,000 – 200,000 $200,000 +

Please contact our Appraisals Department (appraisals@ hindmanauctions.com) for more information.

Estate Services Estate settlement is a meticulous and multi-faceted process. Hindman provides executors, fiduciaries and beneficiaries throughout the country with confidential and customized appraisals and disposition services. All appraisals are prepared fully in accordance with USPAP guidelines and meet all current requirements set forth by the IRS. We recognize that each client and appraisal situation is unique and often involves multiple asset categories and residences. Our Trusts and Estates department offers services that are tailored to meet our clients’ timelines and specifications. Our specialists offer complimentary walk-through services with the goal of providing an accurate representation of each items’ value based on the current auction market. A detailed proposal outlining the manner in which a sale will be conducted from the initial value assessment to removal of the property and settlement is provided to all parties involved. Please contact our Estate Services (inquiries@hindmanauctions.com) team for more information.

Updated 1.13.23

$25 $50 $100 $250 $500 $1,000 $2,500 $5,000 $10,000 AT AUCTIONEER’S DISCRETION

In-House Bidding Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer. Live Bid Online Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com. Absentee Bidding If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids. Telephone Bidding You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $500 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.

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Conditions of Sale These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction. A. BEFORE THE AUCTION 1. LOT DESCRIPTIONS AND WARRANTIES Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance— are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot. 2. CONDITION The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report. 3. VIEWING LOTS We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping purposes. 4. ESTIMATES Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges. 5. WITHDRAWAL We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw. B. REGISTERING TO BID 1. GENERAL We reserve the right to reject any bid. By participating in the sale, you represent and warrant that: (a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and (c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation. 2. NEW BIDDERS New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity. (a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s 156 M O D E R N & C O N T E M P O R A R Y A R T

name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid. 3. RETURNING BIDDERS If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction. 4. BIDDING FOR ANOTHER PERSON If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal. 5. BIDDING IN THE SALEROOM If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction. 6. OUR BIDDING SERVICES We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services. (a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids. (b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites. (c) Written Bids: You can find a Written Bid Form at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids. 7. CREDIT CARD AUTHORIZATION HOLD When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a temporary authorization hold on the card that will remain until it falls off, usually within 2 to 7 days. C. DURING THE AUCTION 1. BIDDING IN THE AUCTION (a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (b) Online Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (c) Timed Auctions. Bids may only be submitted on our website between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.

2. AUCTIONEER’S DISCRETION The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1). 3. BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at a set increment lower than the lot’s low estimate and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold. 4. SUCCESSFUL BIDS AND INVOICES Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges. Please note that Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Hindman prior to the sale. D. AFTER THE AUCTION 1. THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots except for those in Coins, Medals & Banknotes; Sports Memorabilia; and Arms, Armor & Militaria auctions we charge twenty-six percent (26%) of the hammer price up to and including $1,000,000; twenty percent (20%) of any amount in excess of $1,000,001 up to and including $5,000,000; and fifteen percent (15%) of any amount in excess of $5,000,001. For all lots offered in Coins, Medals & Banknotes we charge a buyer’s premium of twenty-one percent (21%) of the hammer price. Sports Memorabilia; and Arms, Armor & Militaria auctions we charge a buyer’s premium of twenty percent (20%) of the hammer price. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium. 2. TAXES The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required. 3. MAKING PAYMENT (a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date. (b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name. (c) You must pay for lots in US dollars in one of the following ways: (i) Wire transfer. (ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed. (iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us.

(iv) Credit card: Credit card payments may not exceed $10,000 and a convenience fee of 3% will be added to each credit card payment. (v) ACH Bank Transfer (d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1550 West Carroll Avenue, Chicago, IL 60607, ATTN: Client Accounting Department. 4. TRANSFERRING OWNERSHIP TO YOU You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you. 5. TRANSFERRING RISK TO YOU Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse. 6. YOUR FAILURE TO PAY If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion: (a) We can charge interest from the due date at a rate of up to one and one-half percent (1.5%) per month on the unpaid amount due. (b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation. (c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount. (d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law. (e) We can reveal your identity and contact details to the seller. (f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids. (g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us. (h) We can take any other action we deem necessary or appropriate. 7. SHIPPING, COLLECTION, AND STORAGE (a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping. (b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate. (c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot. (d) Nothing in this paragraph is intended to limit our rights under paragraph D(6). 8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES (a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot. (b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be

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responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife. E. WARRANTIES 1. SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void. 2. OUR LIMITED AUTHENTICITY WARRANTY Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows: (a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type. (c) It does not apply to any Heading or part of a Heading that is qualified. “Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty. (d) It applies to the Heading as amended by any saleroom notice. (e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion. (f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot. (g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else. (h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses. (j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

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3. ADDITIONAL WARRANTY FOR BOOKS If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances: (a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms: (i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale. (ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale. (iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void. 4. JEWELRY (a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time. (b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report. (c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report. (d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced. 5. WATCHES AND CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use. (d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap. 6. YOUR WARRANTIES You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money

laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes. F. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties. (b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale. (c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH. (d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services. (e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses. G. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities. 6. PERSONAL INFORMATION We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.

7. WAIVER No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy. 8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958. H. GLOSSARY authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. due date: has the meaning given to it in paragraph D(3)(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot. Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic. other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law. purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms: (a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter. (b) “Attributed to” means, in our opinion, a work probably by the artist. (c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style. (d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist. (e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work. (f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned. UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Updated 10.1.23

F O R A D D I T I O N A L I M A G E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M 159

Prints & Multiples December 14 Chicago | Live + Online

Damien Hirst (British, b. 1965) I’ll Never Stay, Forever. (from The Currency), 2016 Estimate: $8,000 - 12,000

MODERN & CONTEMPORARY ART | 14 DECEMBER 2 02 3

NO. 1260