POST WAR ARTCONTEMPORARY& 28 SEPTEMBER 2022
POST WAR ARTCONTEMPORARY&
SALE 1058 28 September 2022 10am CT | Chicago Lots 1–73 PREVIEW September 19-23 | 10:00am - 4:30pm September 24 | 10:00am - 2:00pm September 25 | 12:00pm - 3:00pm September 26 | 10:00am - 4:30pm Or by appointment PROPERTY PICK UP HOURS Monday - Friday | 9:00am – 4:00pm By All312.280.1212appointmentpropertymust be paid for within seven days and picked up within thirty days per our Conditions of Sale. Post War & Contemporary Art | Lots 1-73 6-85 Artist Index 86 Upcoming Auction Schedule 87 Hindman Team 88 Inquiries 89 Conditions of Sale 91 Lot 24 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. DEN 1057930 FL AB3688 GA AU-C003121 IL MOOH444.0005212019000131STL107286 Download the Hindman App for iOS and Android © Hindman LLC 2022
CONTENTS
FRONT COVER
2 POST WAR & CONTEMPORARY ART
Merrill C. Berman Pence Revington, Mount Horeb, Wisconsin
PROPERTY SOLD TO BENEFIT
PROPERTY FROM THE TRUSTS AND ESTATES OF A Prominent St. Louis Estate
PROPERTY FROM THE COLLECTIONS OF A Fashion Designer, New York City Allen Nahman A Private Chicago Collection A Private Collection A Private Collection, Mequon, Wisconsin A Private St. Louis Collection
Caitlin Cavalier Stein James and Edythe Cloonan, Chicago, Illinois
3FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
Sanford Edward Cohen
The Private Collection of Ted and Generosa Ammon, New York, New York
The Carmen S. Holeman Trust, Indianapolis, Indiana
OPPOSITE Lot 50
Lois Ehlert and John Reiss Memorial Scholarship Fund at the Milwaukee Institute of Art and Design
An Estate, Beverly Hills, California John J. Reiss
Leonard and Joan Horvitz, Moreland Hills, OH
5FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM OPPOSITE Lot 70 POST WAR CONTEMPORARY& ART LOTS 1-73
6 POST WAR & CONTEMPORARY ART 1 Gene Davis (American, 1920-1985) Crazy Horse, 1979 acrylic on canvas signed Gene Davis, titled and dated (verso) 67 x 96 5/8 inches. Droll/KobertProvenance: Gallery, New York StevenLiterature:Naifeh and Gregory White Smith, Gene Davis, The Arts Publisher, Inc., NY, 1982, pp. 117-120, illus. $30,000 - 50,000
7FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 2 Reza Derakshani (Iranian, b. 1952) Yellow Hunt Yellow, 2015 oil on signedcanvasRezaDerakshani, titled and dated (verso) 80 x 80 PodgornyProvenance:inches.Robinson Gallery, Saint-Paul-de-Vence, France $40,000 - 60,000
8 POST WAR & CONTEMPORARY ART 3 Joseph Glasco (American, 1925-1996) Untitled, 1980 acrylic and collage on canvas initalled J.G. and dated (verso) 48 x 48 GimpelProvenance:inches.Weitzenhoffer Gallery, New York $3,000 - 5,000
9FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 4 Alan Shields (American, 1944-2005) Traffic Jam, 1987 mixed media on paper signed Alan Shields, titled, and dated (lower left) 16 x 100 inches. $3,000 - 5,000
10 POST WAR & CONTEMPORARY ART 5 Ron Davis (American, b. 1937) Red Top, 1968 molded polyester resin and berglass signed R. Davis, titled and dated (verso) 56 1/2 x 135 1/2 inches. Property from a Private St. Louis Collection LeoProvenance:Castelli Gallery, New York JohnLiterature:Lipman, Provocative parallels: naïve early Americans, international sophisticates, New York: Dutton, 1975, p. 71, no. 86, illus. $20,000 - 40,000
11FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 6 Lucio Muñoz (Spanish, 1929-1998) Untitled, 1969 mixed signedmediaLucio Muñoz and dated (upper left); signed and dated (verso) 28 3/4 x 36 1/4 inches. Property from the Collection of Allen Nahman GaleríaProvenance:Juana Mordó, Madrid $8,000 - 12,000
12 POST WAR & CONTEMPORARY ART 7 Syd Solomon (American, 1917-2004) Trimento, 1968 oil and acrylic on panel signed Syd Solomon (lower right); signed, titled and dated (verso) 20 x 25 3/4 inches. $4,000 - 6,000
13FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 8 Syd Solomon (American, 1917-2004) Windfalls, 1971 acrylic and oil on canvas laid to board signed Syd Solomon (lower right); signed and dated (verso) 32 5/8 x 26 3/8 inches. TrendProvenance:House Gallery, Tampa, Florida Saidenberg Gallery, New York $3,000 - 5,000
14 POST WAR & CONTEMPORARY ART 9 Giorgio Cavallon (French, 1904-1989) Untitled, 1975-1977 oil on signedcanvasGiorgio Cavallon and dated (lower right); signed and dated (verso) 84 x 71 3/4 inches. Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, OH AcquiredProvenance:directly from the Artist Brett Mitchell Collection Inc., Cleveland, Ohio, 1986 $20,000 - 30,000
15FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 10 Milton Resnick (American, 1917-2004) Untitled, 1959 oil on linen laid to board signed Resnick and dated (lower center) 35 x 22 3/4 inches. B.C.Provenance:Holland Gallery, Chicago $7,000 - 9,000
16 POST WAR & CONTEMPORARY ART 11 Scott Covert (American, b. 1954) Untitled (Monument Painting) oil and wax crayons on muslin 56 x 82 inches. Property from the Collection of a Fashion Designer, New York City $2,000 - 4,000
Arthur Osver (American, 1912-2006) Blue Hour, 2005 oil and latex enamels on canvas signed A. Osver (lower left); titled and inscribed (verso) 23 1/2 x 23 1/2 inches. Property from a Prominent St. Louis Estate
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17FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
PhilipProvenance:SleinGallery, St. Louis, Missouri Sold: Ivey-Selkirk Auctioneers, November 10, 2012, Lot 447 Cooper,Published:Ivy, Current Shows - Ernestine Betsberg and Arthur Osver: Selected Work, St. Louis: Riverfront Times, February Note2006to the buyer: This work is currently being stored at the Hindman St. Louis of ce. The shipment of the work from St. Louis will be at the buyer’s expense. $3,000 - 5,000
18 POST WAR & CONTEMPORARY ART 13 Paul Jenkins (American, 1923-2012) Phenomena High Sound Carnac, 1973 signedwatercolorPaul Jenkins (lower right); signed, titled and dated (verso) 41 3/4 x 30 inches. Property from a Prominent St. Louis Estate JoAnnProvenance:Perse Gallery, St. Louis, Missouri, 1990 $5,000 - 7,000
19FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 14 Paul Jenkins (American, 1923-2012) Phenomena Water Chart, 1981 signedwatercolorPaul Jenkins (lower center); signed, titled, dated and inscribed (verso) 31 1/4 x 43 1/2 inches. Property from a Prominent St. Louis Estate $5,000 - 7,000
20 POST WAR & CONTEMPORARY ART 15 Friedel Dzubas (American, 1915-1994) Aglaura, 1978 acrylic on canvas signed Dzubas, dated and titled (verso) 72 x 72 $50,000DartProvenance:inches.Gallery,Chicago-70,000
21FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 16 Paul Jenkins (American, 1923–2012) Phenomena Self Portrait Veil, 1973 acrylic on canvas signed Paul Jenkins (lower left) 47 1/2 x 67 inches. GimpelProvenance:&Weitzenhoffer Ltd., New York Sold: Christie’s, New York, July 12, 2005, Lot $30,00054 - 50,000
22 POST WAR & CONTEMPORARY ART 17 Paul Jenkins (American, 1923-2012) Phenomena Man in a Hoop, 1979 signedwatercolorPaul Jenkins (lower center), signed, titled, dated and inscribed St. Croix (verso) 41 3/4 x 29 7/8 inches. Property from a Prominent St. Louis Estate JoAnnProvenance:Perse Ltd., St. Louis, Missouri, April 1981 $5,000 - 7,000
23FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 18 Norman Bluhm (American, 1921-1999) Purple Light, 1968 oil on signedcanvasBluhm and dated (lower right); signed, titled and dated (verso) 22 x 20 SigridProvenance:inches.Freundorfer Fine Art, New York $10,000 - 15,000
24 POST WAR & CONTEMPORARY ART 19 Paul Jenkins (American, 1923-2012) Phenomena Drawing a Bead, 1975 signedwatercolorPaul Jenkins (lower center); signed, titled, dated (verso) 21 5/8 x 15 5/8 inches. Property from a Prominent St. Louis Estate $3,000 - 5,000
25FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 20 Paul Jenkins (American, 1923-2012) Phenomena Eyes of the Dore, 1964 oil on signedcanvasPaulJenkins (upper right); signed, titled, and dated (verso) 20 x 16 inches. Property from a Prominent St. Louis Estate MarthaProvenance:Jackson Gallery, New York JoAnn Perse Gallery, St. Louis, Missouri, 1991 $5,000 - 7,000
26 POST WAR & CONTEMPORARY ART 21 Kyle Morris (American, 1918-1979) Winter-Spring Series ‘65 No. 4, 1965 oil on signedcanvasanddated Kyle Morris (lower right); signed, titled and inscribed (verso) 48 x 48 KootzProvenance:inches.Gallery,New York $5,000 - 7,000
27FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 22 Thomas Nozkowski (American, 1944-2019) Untitled (6-44), 1988 oil on canvas board signed Thomas Nozkowski, titled, dated and inscribed (verso); signed, titled, dated and inscribed (backboard) 16 x 20 inches. Property from The Private Collection of Ted and Generosa Ammon, New York, New York DianeProvenance:Brown Gallery, New York $5,000 - 7,000
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29FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 23 Alexander Calder (American, 1898-1976) Stars Over Mountains, 1965 gouache and ink on paper signed Calder and dated (lower right) 29 ½ x 42 ½ inches. Property from a Prominent St. Louis Estate AcquiredProvenance:from the Artist, Nicholas Guppy, London Private KnoedlerCollectionGalleries, New York JoAnn Perse Gallery, Kirkwood, Missouri, 1984 Acquired from the Above, October, 1985 This work is registered in the archives of the Calder Foundation, New York, under application number $40,000A05348 - 60,000
POST WAR & CONTEMPORARY ART
The result is a circular sculpture inverted on stands, with the parabola creating a front which is concave and verso convex, made up of different bands of heavily luminous color. In Untitled (parabolic lens), 1976 that Hindman is pleased to offer, the viewer is greeted with a miniature sun: white center, fading to yellow, and then orange, edged in black. So highly buffed that it rejects the idea of human construction, the work emphasizes the sublime. This effect is highlighted by the colors, which are so intense that they are dif cult to view all at once, denying complete entry into the artwork so that the viewer is drawn to dance around the sculpture—to move in closer, to shuf e back to reframe, to circle the sculpture in the round. The concave recto inverts the re ection so that the viewer sees themself re ected back, upside down. This ability to be in communication with its surroundings—catching and rebounding chang ing re ections depending on time of day, the space in which its placed, and the viewer— allows the work to always be in ux. So important to Eversley is this element of personal connection to each work that he rarely provides titles so as not to color viewer’s percep tions.3 This is also why he believes that his sculptures so rarely come to market, as his work needs to be lived with to fully appreciate their ever-shifting intricacies over months and years.4 This offered sculpture showcases a triumph of artistic and scienti c achievement through the shrinking of a solar system—a heliocentric world in miniature that is, in itself, self-contained but nonetheless invites the par ticipation of the world around it in order to be truly com plete. Taking part in progressive movements throughout his life, including the Civil Rights Movement, Eversley is most preoccupied by the energy crisis and society’s relationship with energy, with which he engages directly with his art. Eversley’s understanding of energy as the ultimate underpinning of his work—and the source connecting all humans and systems together—is clear. He states that: “The original and ultimate source of all energy on earth is the sun. The extensive utilization of solar energy seems the most likely long-range solution to the energy crisis. My early sculptures were directly in uenced by the concept of this solar energy source, but were representative of the broader sense of energy as both a physical and metaphysical concept.”5 This pursuit of the concentration of energy would be impossible in Eversley’s oeuvre without the parabola. A metric of scienti c achievement and space exploration in its common use of telescopic re ectors, the parabola is known as the only shape capable of concentrating all energy to a single focal point. As said by Eversley: “it’s because of the concentration of energy. [A parabola] creates a very unique form with very speci c optical properties and acoustical properties and, if there are metaphysical energies, it’s only reasonable to assume that they follow the same laws of optics as all known forms of energy do.”6 This unique application of scienti c principles in pursuit of a particularly humanistic connection sets Eversley’s sculptures apart. Untitled (parabolic lens), 1976 draws in the viewer to its microcosmic exploration of energy: ever changing, endlessly fascinating, and limitless it its potential.
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Situated at the intersection of art and technology, the parabolic sculptures of Fred Eversley (American, b. 1941), particularly the one offered here, act as an otherworldly experience to the viewer, emphasizing emotional connection to the artwork through the con centration of energy and movement. Raised in New York and originally trained as an engi neer, Eversley moved to California to work on a variety of projects, including as a senior project manager in the building of test laboratories for NASA in the 1960s. In the late 60s, Eversley began to dabble in art in con valescence following an accident; after being long-sur rounded by artists in his Venice Beach neighborhood, he then decided to commit himself to art full-time.1 His rise was meteoric: he had several landmark exhibitions in 1970 (including a solo show at the Whitney and subsequent inclusion in the 1973 Whitney Biennial), became the rst artist-in-residence at the National Air and Space Museum in 1977, and has been included in a myriad of exhibitions since, including participation in the 2017-2020 Soul of a Nation: Art in the Age of Black Power and upcoming shows at David Kordansky Gallery and the Benton Museum of Art at Pomona College. Though leaving his of cial engineering career behind, Eversley actively uses this training to make his charac teristic sculptures, and scienti c principles underline his Usingprocess.alathe, Eversley spins heated polyester resin across an axis to create a parabola from the plastic, which is then heavily polished. Each sculpture can take about two weeks to create, assuming all goes well.2
1 “The Object and You: Fred Eversley in Conversation with Jenny Dally,” College Art Association, February 25, 2021, http://artjournal.collegeart.org/?p=15206. 2 Ibid. 3 Ibid. 4 Ibid. 5 Fred Eversley, “Energy,” accessed August 9th, 2022, http://fredeversley.com/about/energy.
6 Ibid. Bibliography Eversley, Fred. “Energy.” Accessed August 9th, 2022. http://fredeversley.com/about/energy. “The Object and You: Fred Eversley in Conversation with Jenny Dally.” College Art Association, February 25, 2021. http://artjournal.collegeart.org/?p=15206
24 Fred Eversley (American, b. 1941) Untitled (parabolic lens), 1976 cast polyester 19 1/2 x 19 1/2 x 2 1/4 inches. DavidProvenance:Kordansky Gallery, Los Angeles $150,000 - 250,000 31FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
“They were always trying to get me to fill the entire page of drawing paper. I only wanted to make very, very small pictures.” Fanny Brennan, describing her time at the Atelier Art et Jeunesse Fanny Brennan (nee Francis Lee Myers) (1921-2001) was a painter best known for her capricious contributions to the surrealist movement. Her small-scale re ections combining the domestic with the magical (mostly done from her bathroom, the place she deemed most ideal for a studio) never measured more than six square inches. Hindman is pleased to offer Pearl on Rock, an excellent example of her unfairly overlooked oeuvre – the quietly domestic turned both graceful and mystifying, distilled from her life-long collection of captivating experiences. Born to American expatriates in France in 1921, Brennan was the daughter of Richard and Alice Lee Myers, socialites at the center of the Parisian art scene. The Myers were close friends with jazz-age patrons Sara and Gerald Murphy, as well as Scott and Zelda Fitzgerald, who was said to have drawn his inspiration for The Great Gatsby and Tender is the Night from their social circle as they raised their children together on the French Riviera at the home they dubbed Villa America Brennan went on to study at the noted Parisian art-training program, Atelier Art et Jeunesse, defying social customs by refusing to wear a hat and aggravating her professors with her hesitance to stray from a miniature scale. A spirited personality, she was asked to leave her all-girl boarding house after calling the concierge a cow and was known for her frequent visits to the Café de Flore. There, she taught Picasso to play Chinese Checkers, befriended Tristan Tzara, and rubbed peanut shells into Giacometti’s hair – an act that wouldn’t deter him from painting her portrait. The “girl painter,” -- as Mondaine and noir novelist Patricia Highsmith would call her -was getting an education like no other, until the war forced her stateside. Back in New York, Brennan found work at Harper’s Bazaar and the Metropolitan Museum of Art, while the up-and-coming gallerist Betty Parsons included her paintings in two Wake eld Bookshop shows. The war continued to take center stage and Brennan was drawn back to Europe to help, taking a job with The Of ce of War Information and eventually marrying its Chief of Graphics and Exhibitions. Then, she did something almost unthinkable – Fanny Brennan stopped painting for almost 20 years. The Brennans bounced between New York and Europe, with Fanny raising two children and caring for their aging parents. When her boys reached adulthood in 1973, she was nally ready to return to the fantastical world she had Withcreated.Brennan back to painting, Betty Parsons – now the owner of the eponymous Betty Parsons Gallery –immediately presented her work in several exhibitions, among them aptly titled Small Paintings and Still Life. Parsons, a dealer, collector, and artist herself, was one of the most important gures in American avantgarde, offering early-career representation to Ellsworth Kelly, Robert Rauschenberg, and Mark Rothko, among others. Each of Brennan’s paintings took one month to complete, and Brennan kept Sundays for rest and entertaining. Among the archived gallery records are notes from clients, urgently wondering if they had missed Brennan’s new pieces and enclosing checks as assurance. Upon the closure of the gallery in 1983, Brennan moved to Cole Kerr Gallery, eventually publishing Skyshades, a retrospective book of sixty paintings that was, appropriately, quite Hersmall.paintings were insular re ections of a combination of the normal (buttons, safety pins, pearls, books) and the magical (a needle piercing the ocean, a landscape in a nutshell, cutting through a cloud with scissors). Pearl on Rock, 1979 is the summation of what critic Calvin Tompkins would call “convincing and unsetting”: a precious gem precariously atop a rock without regard for gravity, harshly and almost ominously contrasted in their realism, nely detailed with great mechanical control at a size suitable for installation above a dollhouse couch. Her subjects were always inanimate and her titles always straightforward, though frequently set in fantasyland. They could be whimsical and jovial, or tongue-incheek re ections on domestic value and escapism, but either way the viewer must look closely. It is in this uneasiness that a comparison can be found between Fanny Brennan and her contemporary surrealist, Gertrude Abercrombie. Both women participated in a largely male-dominated movement, they each crafted meticulous yet disorienting realities in their work, almost inside jokes existing solely in an ethereal otherworld. There are similarities in their subject matter as well: familiar symbols and glowing objects reappearing, like characters setting up for another scene in a fever dream. Parallels also develop in their social in uence: in Chicago, Gertrude entertained jazz legends from her dilapidated Hyde Park mansion; in New York, Brennan (a close friend of Julia Child) hosted what New York Magazine would call “four-star lunches” for her ever-evolving coterie. These associations and devotion to the arts would be tenderly noted in each of their obituaries. With the art world only now breathlessly catching up to the brilliance of Abercrombie’s career, it is hopefully now Brennan’s turn to reclaim her well-deserved spotlight, as the work of both women was quietly overshadowed in the surrealist cannon.
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33FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 25 Fanny Brennan (French/American, 1921-2001) Pearl on Rock, 1979 oil on gesso panel 3 3/4 x 1 3/4 inches. BettyProvenance:Parsons Gallery, New York $2,000 - 4,000
34 POST WAR & CONTEMPORARY ART 26 John Wilde (American, 1919-2006) Shirley Measuring the Herbs (Shirley in the Kitchen Series #4), 1974 oil on wood panel initialed J and dated (upper left); signed, titled and dated (verso) 6 x 7 5/8 inches. Property from the Collection of Pence Revington, Mount Horeb, Wisconsin
$8,000 - 12,000
Chicago,Exhibited:Illinois, Everett Oehlschlaeger Galleries, John Wilde, April 19 - May 11, 1974. CarltonLiterature: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 Wisconsin-Madison, Madison, WI, no. 381 (pencil and wash study for the painting).
EverettTheProvenance:ArtistOehlschlaeger Galleries, Chicago Acquired from the above by Mr. & Mrs. Betty Revington-Burdick, West Lafayette, Indiana in 1974 Gifted to the present owner by the above
27 David Kramer (American, b. 1963) Untitled (I had a wonderful childhood), 2006, Untitled (sometimes I wonder...), 2005, and Untitled (Miller A little higher), 2006 (a group of three works) ink and pencil on paper each signed Kramer 17 7/8 x 24 7/8 inches, 15 3/4 x 19 3/4 inches and 14 3/4 x 9 5/8 inches.
FeignenProvenance:Contemporary, New York $4,000 - 6,000
35FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
36 POST WAR & CONTEMPORARY ART 28 Gladys Nilsson (American, b. 1940) Tate-a-Tete, 2003 watercolor, gouache and collage on paper signed Gladys Nilsson, titled and dated (verso) 12 1/8 x 9 JeanProvenance:inches.AlbanoGallery, Chicago $6,000 - 8,000
37FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 29 Gladys Nilsson (American, b. 1940) Flowered, watercolor2004andgouache on paper signed Gladys Nilsson, titled and dated (verso) 15 1/8 x 24 1/4 inches. JeanProvenance:Albano Gallery, Chicago $8,000 - 12,000
38 POST WAR & CONTEMPORARY ART 30 Bruce Cohen (American, b. 1953) Untitled, 1988 oil on signedcanvasBruce Cohen and dated (verso) 48 x 60 inches. $4,000 - 6,000
39FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 31 Bruce Cohen (American, b. 1953) Untitled, 1992 oil on signedcanvasBruce Cohen and dated (verso) 48 x 60 inches. $4,000 - 6,000
40 POST WAR & CONTEMPORARY ART 32 Carolyn Brady (American, 1937-2005) La Chaise / Le Bosquet, 1995 watercolor on paper signed Carolyn Brady and dated (lower left) 51 1/2 x 34 1/8 inches. NancyProvenance:Hoffman Gallery, New York Canton,Exhibitions:Canton Art Institute, Carolyn Brady - Joseph Raffael: An Experience in Watercolors, November 27, 1998 - February 26, 1999 $2,000 - 4,000
41FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 33 Robert Kushner (American, b. 1949) Spring Screen Scene, 1998 oil and acrylic on canvas signed Robert Kushner and dated (lower center, right canvas); titled (lower center, left canvas) 39 5/8 x 101 1/4 inches. Property from the Carmen S. Holeman Trust, Indianapolis, Indiana DCProvenance:MooreGallery, New York $2,000 - 4,000
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34 Peter Bynum (American, b. 1965) Untitled No. 234, 2009 six acrylic paint on tempered glass panels with LED at light panel in steel bracket signed Peter Bynum, titled and dated (verso) 61 1/8 x 8 x 4 5/8 inches.
AcquiredProvenance:directly from the Artist by the present owner $10,000 - 15,000
35 Harry Bertoia (American, 1915-1978) Untitled (Spray), c. 1967 stainless steel and steel wire Height: 36 1/2 inches. This work is accompanied by a certi cate of authenticity issued by the Harry Bertoia Foundation Knoll,Provenance:Birmingham, Michigan
43FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
Dr. and Mrs. Jack Mandiberg, Detroit, Michigan Thence by decent to a Colorado Collection, Morrison, $6,000Colorado- 8,000
44 POST WAR & CONTEMPORARY ART 36 Kim Chan-il (Korean, b. 1961) Dots, 2004 oil and pigments on canvas signed Kim Chan-il, titled and dated (verso) 39 1/2 x 39 1/2 inches. GalerieProvenance:Bahk, Seoul $5,000 - 7,000
45FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 37 Kim Chan-il (Korean, b. 1961) Dots, 2004 oil and pigments on canvas signed Kim Chan-il, titled and dated (verso) 35 1/2 x 35 1/2 inches. GalerieProvenance:Bahk, Seoul $5,000 - 7,000
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PierlugiLiterature:Serraino, NorCalMod: Icons of Northern California Modernism, Chronicle Books, 2006, p. 11, illus. $5,000 - 7,000
WaddellProvenance:Gallery, Inc., New York, 1967 William and Cecilia Cavalier, San Francisco, California Thence by descent to the present owner
38 Takeshi Kawashima (Japanese, b. 1930) New York 71, 1967 acrylic on canvas signed Kawashima, titled and dated (verso) 67 7/8 x 68 inches. Property from the Collection of Caitlin Cavalier Stein
47FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
48 POST WAR & CONTEMPORARY ART 39 Sol LeWitt (American, 1928-2007) All Double Combinations of Arcs for Corners and Sides, Straight, Not-Straight and Broken Lines. 190 Variations, 1972, 1975 pencil and ink on paper signed Sol LeWitt and dated (lower right); title (upper center) 14 3/4 x 14 7/8 inches.
Carl Solway Gallery, Cincinnati RandallPublished:de Leeuw and Roy Slade, eds. 34th biennial of contemporary American painting, New York: Sterling Roman Press, 1975. Published following the exhibition of the same title at the Corcoran Gallery of Art, Washington, pp. 64-65, illus.
Lot Thisnote:drawing was prepared as a plan for the wall drawing exhibited at the Corcoran Gallery of Art’s 34th biennial of contemporary American painting in 1975 and was reproduced in the catalogue for the exhibition in place of a photograph of the wall drawing. $8,000 - 12,000
JohnProvenance:WeberGallery, New York Max Protetch Gallery, New York and Washington D.C.
49FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 40 Charles Hinman (American, b. 1932) Untitled, c. 1975 acrylic on shaped canvas signed C. Hinman (verso) 38 x 56 inches. Property from a Private Collection HokinTheProvenance:ArtistGallery, Palm Beach, Florida and Chicago Private collection, Illinois Thence by descent to the present owner $6,000 - 8,000
50 POST WAR & CONTEMPORARY ART 41 Clement Meadmore (Australian 1929-2005) Upcast, aluminium1985with matte black nish from the edition of 6 Height: 100 inches. Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, OH BrettProvenance:Mitchell Collection, Cleveland Acquired by the present owner from the above in 1987 Note to the buyer: This work is currently in situ in Cleveland, OH. The shipment of the work from Cleveland will be at the buyer’s expense. $60,000 - 80,000
51FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 42 Suzan Frecon (American, b. 1941) Dark and Light (with homage to Manet) 1985-1986, oil1991on signedcanvasSuzan Frecon, titled and dated (verso) 60 1/2 x 110 inches. Property from The Private Collection of Ted and Generosa Ammon, New York, New York JulianProvenance:Pretto Gallery, New York Acquired directly form the Artist Bern,Exhibited:Switzerland, Kunsthalle Bern, Suzan Frecon, August 4 - September 14, 1986, no. 17, illus. $60,000 - 80,000
52 POST WAR & CONTEMPORARY ART 43 Allan McCollum (American, b. 1944) Untitled (6 Surrogates), 1980 acrylic on wood each signed Allan McCollum, titled and dated Largest:(verso) 11 15/16 x 8 5/8 inches. Property from The Private Collection of Ted and Generosa Ammon, New York, New York $10,000 - 15,000
53FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 44 Jim Dine (American, b. 1935) Heart Painting J, 1970-71 oil and collage on canvas signed Jim Dine and dated (verso) 7 1/8 x 5 5/8 inches. Property from the Estate of John J. Reiss, sold to bene t the Lois Ehlert and John Reiss Memorial Scholarship Fund at the Milwaukee Institute of Art and SonnabendProvenance:DesignGallery, New York $15,000 - 25,000
MaxwellProvenance:Davidson Gallery, New York WildensteinLiterature: Plattner Institute, Tom Wesselmann Digital Catalogue Raisonné, E16. $15,000 - 25,000
54 POST WAR & CONTEMPORARY ART 45 Tom Wesselmann (American, 1931-2004) From Nude Painting Print, 1979-91 alkyd oil on cut-out steel signed Tom Wesselmann and numbered 17/25 (verso) 9 3/8 x 10 3/4 inches.
55FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 46 Alex Katz (American, b. 1927) Study for Woman’s Back, 1987 oil on signedboardAlex Katz and dated (upper left) 12 x 9 RobertProvenance:inches.MillerGallery, New York Yares Gallery, Scottdale, Arizona $30,000 - 50,000
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Frank Stella is part of a series by Andy Warhol titled Portraits of the Artist, all from 1967. The series was created on the occasion of the Tenth Anniversary exhibition, which opened February 4, 1967, at Leo Castelli Gallery in New York. Curated by David Whitney, the show included works by sixteen of the gallery artists. Along with laudatory comments from art world luminaries such as William C. Agee, then Associate Curator at the Whitney Museum of American Art, as well as a poem by John Cage, the printed catalogue chronologically documents the gallery’s history with installation photographs of select exhibitions. The catalogue ends with a checklist of the artworks exhibited in the 1967 show, followed by images of each, arranged alphabetically. Warhol’s Portraits of the Artists series is last, which is an apt ending, as it summarizes Castelli’s history with individual portraits of twelve of the gallery artists, including himself, Lee Bontecou, John Chamberlain, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Larry Poons, Robert Rauschenberg, James Rosenquist, Frank Stella, and Cy Twombly. To commemorate Leo Castellis’ tenth anniversary, in early 1967 Tanglewood Press produced a portfolio, Ten for Leo Castelli, which included a variant of Warhol’s portrait series. The portfolio consisted of 100 interchangeable two-inch polystyrene squares of different colors of which ten of the twelve Castelli portraits including Stella were reproduced ten times each. The photographs Warhol used for his screens to create the portraits were provided by the gallery. The artist cropped the images and had them enlarged to different sizes. In some of the portraits, including the current example of Frank Stella, the heads are intact and framed by backgrounds of varying colors. The reproduced portrait of Stella is tilted slightly, which turns the black background in the original photograph into a diamond and adjusts his inclined head closer to upright. Warhol produced multiple versions of all the portraits and two of the portraits of Stella were installed in the 1967 show. They can be seen in an installation photograph that shows a total of fteen portraits of different sizes hanging in a small entry foyer, although more may have been installed on other walls. The catalogue raisonné on Warhol lists four known examples of Frank Stella, including the present artwork. Portraits of the Artists can be considered a rare example of a group portrait by Warhol. Though portraits themselves are a signi cant part of the artist’s oeuvre, the only other example of a group portrait might be his double portrait of Michael and Roberts Abrams. The af liation of the subjects in the Artist series, including that of Frank Stella, both on the wall at Castelli and as gallery artists, creates an association in the most traditional sense. They are individuals with a shared purpose, members of the same family so to speak: a group of artists who strove to break down boundaries of what art could be in the 20th century.
57FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 47 Andy Warhol (American, 1928-1987) Frank Stella, 1967 acrylic and silkscreen ink on canvas signed Andy Warhol (verso) 8 x 8 CarpenterProvenance:inches.+Hochman, New York Sold: Christie’s, New York, February 14, 1989, Lot Galerie56 1900-2000, Paris Sold: Christie’s, New York, November 19, 1997, Lot Waddington260 Galleries, London Purchased from the above by the present GeorgLiterature:ownersFrei, Neil Printz, and Sally KingNero, eds., The Andy Warhol Catalogue Raisonné Paintings and Sculptures 1964-1969, vol. 2B, New York, 2004, no. 1954 $100,000 - 150,000
48 Jonathan Borofsky (American, b. 1942) Man with a Briefcase, 1982 signedaluminumJonathan Borofsky (lower right); stamped 2783759 (verso); from the edition of 15 89 1/4 x 35 1/2 inches. Property of an Estate, Beverly Hills, California 1025 Artist archive B7 $15,000 - 25,000
58 POST WAR & CONTEMPORARY ART
GeminiProvenance:G.E.L.
59FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 49 Gustavo Montoya (Mexican, 1905-2003) La Jugadora de Tennis, 1973 oil on signedcanvasGustavo Montoya (lower right); signed, titled and dated 24(verso)x18 Galeria,Provenance:inches.Artede Coleccionistas, Mexico City $6,000 - 8,000
50 Ernie Barnes, Jr. (American, 1938-2009) Untitled (The Stare) oil on signedcanvasErnieBarnes (lower right) 48 x 16 inches.
The Ernie Barnes Foundation has con rmed that the present lot will be included in the forthcoming catalogue raisonné on the $80,000artist. - 120,000
60 POST WAR & CONTEMPORARY ART
The presently offered Untitled (The Stare) concisely captures all of the painterly pitches in Barnes arsenal resulting in a powerful moment of beautiful blackness on a sunlit eld. The painting depicts a solitary statuesque baseball pitcher, sentinel between throws, checking the signs from his catcher or icily staring down his next strikeout victim. His lanky yet muscular right arm stretches dra matically downward to a talon like hand purposefully clutching the baseball poised for propulsion. The modeled sinews in his prone forearm a rich chocolate against the punch of his red quarter sleeve also echo the gathered wrinkles in his baggy away gray uniform. His cleats planted rmly below him obscured by the abstract ed suggestion of the mound, above an elongated hat bill extends to the edge of the canvas directing the viewer’s gaze off frame to the target of his narrowed eyes. It is noteworthy that the pitcher is staring as Barnes typically represents his subject with their eyes closed to symbolize a gen eral societal blindness to the humanity of others, in this instance the concentrated squint of hurler re ects a willingness to challenge that blindness by throwing everything in his repertoire at it. He looks determined, there is a quiet anger to him. This could be the re of competition or if the 1940s style of his glove and uniform are an indication it is the frustration of an athlete relegated to an underfunded segregated league or the righteous de ance of a player who has bravely crossed the color barrier into the majors. Although Barnes usually painted anonymous em blematic gures the associative physical similarities of this baseballer to Hall of Famer and the rst African American to pitch in the World Series, Satchel Paige, cannot be escaped, right down to mitt position of the pre windup stance. This painting is perhaps prescient that Barnes would later play slugger Josh Gibson in the biopic Don’t Look Back covering ve decade spanning career in the Negro and Major League. Untitled (The Stare) is importantly housed in a raw wood slat frame, a Barnes hallmark and an homage to the artist’s father who died weeks be fore his rst solo exhibit opened in 1966, referencing to the wooden fence his father built to surround the family home and connecting the elder to each painting the younger produced. From this frame inward, the work is multifaceted, and it is this layered depth of meaning that make it so impressive and unique, like a perfect game tossed by the ace of the rotation, an absolute gem, rarely seen.
Ernie Barnes Jr.
Decades before Nike and Bo Jackson would make the notion of the multitool athlete Renaissance man a commercial catchphrase, artist, athlete, author, televi sion show creator and actor Ernie Barnes Jr. achieved his own pop culture celebrity for his varied areas of expert knowledge and most importantly for knowing paint ing. Barnes Denver Bronco teammates even nicknamed him “Big Rembrandt” for his habit of sketching during team meet ings, frequently drawing nes for focusing on the wrong practice, unaware that he aptly shared a birthday with the Dutch Master. Despite having the talent to play football professionally and earning a living doing so, Barnes’ heart was never fully in that aspect of the game and he would retire from the sport in 1965 after playing ve seasons in the National and Canadian Football Leagues to turning his attention to art making, the skill set that held his true passion. Barnes who is arguably most recognized for his stylized and evoc ative paintings of athletes and credited his time as a player with informing how he uniquely depicted bodies in motion, would later address his con icted emotions about sports in a series of illustrated essays called I Hate the Game I Love These musing also served as the founda tion for his later autobiography From Pads to Pallete that further expounded on his internal struggle during his professional transitioned from athlete to artist. A student of art history since early child hood, Ernie Barnes most direct inspira tion came from the Late Renaissance painters, the in uence of El Grecco can be seen in his interest in elongated limbs, exaggerated movement and high lighted fabric folds, earning him critical classi cation as a Neo-Mannerist for his contemporary approach to this classical mode of representation. In concept and content nostalgic episodic explorations of the African American experience are the common thread throughout Barnes work. Whether set on the ball eld, the court, the dance oor, the pew, the stage or the street corner, these poetic snapshots of the realities of life in his communities re mained a constant in his paintings, dually celebrating black cultural aesthetics while subtly yet effectively expressing the sor row of systemic racial inequality through the lter of Barnes unique and raw brand of Black Romanticism. Barnes mostly directly and poignantly addressed these vital themes in his ambitious seven-year 35 painting traveling exhibition The Beauty of the Ghetto that toured American cities from 1972 to 1977 and introduced his vi sion to thousands of eyes countrywide. As widespread as this attention was it was fractional in comparison to the exposure his paintings would receive as central plot points in the Norman Lear situation com edy Good Times as Barnes painted the majority of the works attributed to ctional artist J.J. “Kid Dynomite” Evans on the show and also played a minor recurring character appearing in several episodes. His masterpiece Sugar Shack, that also appeared on Marvin Gaye’s 1976 Motown Classic I Want You, was also the focal point of the opening and end credits on later seasons of Good Times
“I looked up and the sun was breaking through the clouds, hitting the unmuddied areas on the uniforms, and I said, ‘that’s beautiful!’ I knew then that it was all over being a player. I was more interested in art. So I traded my cleats for canvas, my bruises for brushes, and put all the violence and power I had felt on the field into my paintings.
Ernie Knows Painting
61FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
Quinn was dealt a second blow when, a few months later, upon coming home to Chicago for Thanksgiving, he found his apartment abandoned, with the rest of his family and material possessions gone—he has not seen them since. Finding the strength to continue, Quinn graduated from high school and attended Wabash College in Indiana, legally changing his name to Nathaniel Mary Quinn so that his mother’s name would ap pear on his diplomas, including his MFA from New York University in 2002. Quinn has continued this memorial in his artistic practice, inscribing every work “Nathaniel Mary Quinn. Love. Mom. Jesus,” along with three hearts: “a heart for me, a heart for my mom, and a heart for God.”8 As said by Quinn, “Every painting I make is dedicated to the memory of my mother. And now everybody has to say her name.9 In addition to this inscription on the painting’s verso, Untitled (Portrait of the Artist’s Mother) also includes the date May 14, 2000, the same day Quinn graduated from college, and is the product of Quinn’s confrontation of his personal past—what would be a frequent future theme.10 For his senior studio course, Quinn was tasked with choosing a theme that would inspire “relentless hunger” throughout the project:“Ichose my family, and for the rst time in eight years I nally had the chance to attack the emotional problems I had locked up in side of me—my mother’s death, my family’s departure, and my brother’s drug and alcohol use. I had never stopped to deal with those issues, and through my painting, I’ve been able to get them out in the open.”11 These works were exhibited as part of a Senior Art Exhibition from May 12th to commencement on May 14th, 2000. Similar exploration of loss and memory is clear in Mary’s portrait. The contrapposto of her body—emphasized by her jutting left elbow balancing her left foot shooting out in the opposite direction at the right—suggests a sense of move ment—a woman seeking forward momen tum. A bright blue patch of paint on her left ip op ties the composition back to the blue of the sky, while also underscoring the sky blue’s drabness. But for all the personal dynamism suggested by her body, she has nowhere to go: her legs oat over the black background, the area around her feet barely painted in with black and gray patches. Most arresting are the colorful swatches of Mary’s key features: eyes, nose, mouth, and hand. These features are so evocative of the nature of memories of lost loved ones.
1 “Works in Progress: A Relentless Hunger,” Wabash Magazine (Winter/Spring 2000): 18.
Memories linked to the ve senses—hands touching, eyes seeing, the way they speak— sticking out while over time other details of memory fade to gray. But, for all the loveliness of the recollection, Quinn’s early painting avoids the trap of being saccha rine through the caricatured elements and depressing setting. Mary is not an idealized proportioned woman in Arcadia, but rather stares out trapped in the smoky projects, her features exaggerated, hinting at the physical fragility that would later kill her even while her force of character is monumentalized.
Wabash College. Ac cessed August 15th, 2020.
Gagosian Quarter ly (Fall “Wabashiel-mary-quinn-anderson-cooper/.https://gagosian.com/quarterly/2019/09/04/interview-nathan2019).EventsCalendar:May14th,2000.”
Wabash College, accessed August 15th, 2020, 65day=14&interest_id=0.https://www.wabash.edu/calendar/day.cfm?vMonth=5&vYear=2000&v“WorksinProgress:ARelentlessHunger,”19.“NathanielMaryQuinn.”
“Workscfm?vMonth=5&vYear=2000&vday=14&interest_id=0.https://www.wabash.edu/calendar/day.inProgress:ARelentlessHunger.”
62 POST WAR & CONTEMPORARY ART In Untitled (Portrait of the Artist’s Mother), Mary Quinn addresses the viewer. She takes up almost the entire painting, eyes gazing forward with her whole body presiding over the scene, including her right foot which points directly out. Parts of her body have a caricaturist element that is almost garish—a bright fuchsia dress over exaggeratedly large arms and stomach over stick-like legs and feet in ip ops. Her face and neck are ren dered in shades of gray and white except for the crucial features of eyes, nose, lips, and hair painted in broad swathes of color, along with a carefully articulated hand, resting on her hip in expectation. The background of patchy buildings rising out of the all-black foreground emphasize a bleak and almost dystopian environment, in which Mary’s fuchsia is all the more striking. This formidable work by Nathaniel Mary Quinn (American, b. 1977) is a tting early portrait about memory and loss, featuring nascent characteristics of what would become Quinn’s signature style. Raised in the Robert Taylor Homes housing projects on Chicago’s South Side, Quinn’s desolating upbringing around drugs, poverty, and crime was tempered by the strength exhibited by his mother, Mary. According to Quinn, Mary “was literally around the building, helping people, feeding gangbangers and the drug users when they didn’t have anything to eat, letting guys help her with the groceries and paying them to help out.7” Working hard to pull himself out of his circumstances, he was awarded a scholarship at the presti gious Culver Military Academy in Indiana for high school where, freshman fall, he learned of his mother’s tragic sudden death.
In 2013, the artist made his breakthrough as, rushing to nish a series of paintings for an exhibition, he combined disparate drawn and painted images from his past, memories, and other media to create a collaged portrait of his brother, Charles.12 This painting paved the way to national and international attention. He became famous for these works of heavily collaged elements from various media, revolved around themes close to him, especially his past— rst at an exhibition at the Museum of Contemporary African Diasporan Arts in Brooklyn and then onto future venues such as his 2021 Gago sian exhibition NOT FAR FROM HOME; STILL FAR AWAY. Though an early effort, Untitled (Portrait of the Artist’s Mother) illustrates a beginning engagement with the idea of how collage—here through the dissonance of black-and-white to colored elements in Mary’s face and hand—could be used to show the hazy nature of memories and loss amid terrible circumstance. Furthermore, the painting re ects a story of personal triumph for the artist. The exact day that he and Mary’s name appeared on his college diploma against all odds, Quinn remembers the woman who made it possible for him to get there, willing him on through her gaze.
Gagosian, accessed August 15th, 2022, https://gagosian. com/artists/nathaniel-mary-quinn/. Bibliography: “Nathaniel Mary Quinn.” Gagosian. Accessed August 15th, 2022. “Nathanielhttps://gagosian.com/artists/nathaniel-mary-quinn/MaryQuinn.”InterviewbyAndersonCooper.
Wabash Magazine (Winter/ Spring 2000): 18-19.
2 “Nathaniel Mary Quinn,” interview by Anderson Cooper, Gagosian Quarterly (Fall 43son-cooper/.https://gagosian.com/quarterly/2019/09/04/interview-nathaniel-mary-quinn-ander2019),Ibid.“WabashEventsCalendar:May14th,2000,”
63FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 51 Nathaniel Mary Quinn (American, b. 1977) Untitled (Portrait of the Artist’s Mother), 2000 oil on signedcanvasNathaniel M Quinn, inscribed and dated (verso) 44 x 36 3/4 inches. Property from a Private Chicago Collection Crawfordsville,Exhibited: Indiana, Wabash Fine Arts Center Eric Dean Gallery, Senior Art Exhibition, April - May, 2000 $60,000 - 80,000
July II B, 1982 glazed ceramic 85 x 15 x 17 inches. Property from a Private St. Louis Collection
KansasExhibited:City, Mark Twain Plaza Bank, Viola Frey, October 31 - December 31, 1982
Lot Thisnote:artwork is registered with the Artists’ Legacy Foundation and will be included in a forthcoming catalogue raisonné, no. VF-3172CS $50,000 - 70,000
64 POST WAR & CONTEMPORARY ART 52 Viola Frey (American, 1933-2004)
TheProvenance:artistand Rena Bransten Gallery, San Francisco Myra Morgan Gallery, Kansas City, acquired from the above in 1983, then sold to a private collector Private collection, St. Louis
65FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 53 Viola Frey (American, 1933-2004) Untitled (Orange Hand, Blue Face), 1983 glazed ceramic signed V Frey and dated (center right); signed and dated Diameter:(verso) 25 1/2 inches. TheProvenance:artistand Rena Bransten Gallery, San Francisco Esther Saks Gallery, Chicago, 1984 Lot Thisnote:artwork is registered with the Artists’ Legacy Foundation and will be included in a forthcoming catalogue raisonné, no. VF-3087P $3,000 - 5,000
66 POST WAR & CONTEMPORARY ART 54 Jim Lutes (American, b. 1955) Jane Gets Her Way , 1982 oil on canvas laid to Masonite with integral frame 52 1/2 x 71 1/8 inches. Property from the Collection of James and Edythe Cloonan, Chicago, Illinois AcquiredDartJamieProvenance:GardnerGallery,Chicagofromtheabove by the present owner SpringExhibited:eld, Illlinois, The Illinois State Museum, FOCI (Forms of Contemporary Illinois), September 1, 1989 - January 10, 1990, (also traveled to the State of Illinois Gallery, Chicago; and the University of Missouri, St. Louis, Missouri) $15,000 - 25,000
67FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 55 Rainer Fetting (German, b.1949) Cabs – Uptown Traffic, 1991 oil on canvas, oil on canvas signed Fetting, titled and dated (verso) 64 x 50 1/8 inches. Property from the Collection of a Fashion Designer, New York City BarbaraProvenance:Mathes Gallery, New York Charles Cowles Gallery, New York $15,000 - 25,000
68 POST WAR & CONTEMPORARY ART 56 John Kacere (American, 1920-1999) Untitled, 1971 oil on canvas 47 1/2 x 59 3/4 inches. Property from the Collection of James and Edythe Cloonan, Chicago, LewisProvenance:IllinoisandSusan
Manilow, Chicago Sold: Museum of Contemporary Art, Chicago, 8th Annual Benefit Auction, 1985, cat. L58, donated from the above Acquired from the above sale by the present owner $15,000 - 25,000
69FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 57 Heriberto Cogollo (Columbian, b. 1945) Dessin in pour Mlle Bastet, 1993 color pencil on paper signed Cogollo and dated (lower right) 19 1/2 x 15 inches. GalerieProvenance:Thomas R. Monahan, Chicago $2,000 - 4,000
DonProvenance:Shapiro, Glencoe, Illinois Sold: Museum of Contemporary Art, Chicago, 6th Annual Benefit Auction, 1983, cat. L38, donated from the above Acquired from the above sale by the present owner $3,000 - 5,000
70 POST WAR & CONTEMPORARY ART 58 Leon Golub (American, 1922-2004) Classical Fragment, c. 1943 conte crayon on paper singed Golub (lower right); title (lower left) 44 1/2 x 29 inches. Property from the Collection of James and Edythe Cloonan, Chicago, Illinois
71FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 59 Leon Golub (American, 1922-2004) Head (XXVI), 1958 oil and lacquer on canvas signed Golub (lower right) 22 x 20 AllanProvenance:inches.FrumkinGallery, Chicago $15,000 - 25,000
72 POST WAR & CONTEMPORARY ART 60 Rafael Coronel (Mexican, 1932-2019) El Carrocero II, 1966 oil on signedcanvasRafael Coronel (lower right); dated and titled 20(verso)x24 inches. Property from a Private Collector, Mequon, $4,000Wisconsin-6,000
NewExhibited:York, The Solomon R. Guggenheim Museum, Arnulf Rainer, May 13 - July 9, 1989, (also traveled to Chicago, Museum of Contemporary Art, July 28 - 15 October 15, 1989, cat. 39 Fuchs,Literature:Rudi. Arnulf Rainer. Vienna: ARGE Gabriele Wimmer & John Sailer, for the Trustees of the Solomon R. Guggenheim Foundation, 1989. Published following the exhibition Arnulf Rainer at The Solomon R. Guggenheim Museum, New York. $15,000 - 25,000
73FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 61 Arnulf Rainer (Austrian, b. 1929) The End of the Night (Das Ende der Nacht), 1971 oil crayon on photograph signed and titled (lower right) 19 7/8 x 23 7/8 inches. Property from the Collection of James and Edythe Cloonan, Chicago, Illinois
ArnulfProvenance:Rainer and Galerie Ulysses, Vienna Sold: Museum of Contemporary Art, Chicago, Ninth Benefit Art Auction, October 7, 1989, cat. L51, donated from the above Acquired from the above sale by the present owner
74 POST WAR & CONTEMPORARY ART 62 Mimmo Paladino (Italian, b. 1948) Untitled , 1983 tempera, oil pastel, charcoal and collage on 28cardboard3/4x40 1/2 inches. Property from the Collection of James and Edythe Cloonan, Chicago, Illinois SperoneProvenance:Westwater Gallery, New York, no. SW83220 Sold: Museum of Contemporary Art, Chicago, 8th Benefit Art Auction, 1987, cat. L47, donated from the Acquiredabovefrom the above sale by the present owner $3,000 - 5,000
75FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 63 François Boisrond (French, b. 1959) Untitled, 1988 acrylic on canvas initialed F.B (lower left) and dated (lower right); signed and dated (verso) 21 1/4 x 25 1/2 inches. $3,000 - 5,000
76 POST WAR & CONTEMPORARY ART 64 Rene Portocarrero (Cuban. 1912-1985) Interior con Mujeres (Interior with Women), 1947 pastel on paper laid to board 24 1/4 x 18 1/4 inches. Sold:Provenance:Stockholm Auktionsverk, Modern Art & Design October 21, 2014, lot 772 (as Figurer) Cerunda Arte, Coral Gables, Florida (as Interior con Mujeres KubanskaExhibited:) målare, Liljevalchs Konsthall, Stockholm October 29 - November 27, 1949, no. 72 $8,000 - 12,000
77FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 65 Remy Blanchard (French, 1958-1993) Untitled, 1988 acrylic and oil on canvas signed Blanchard and dated (lower left) 40 x 30 inches. $3,000 - 5,000
78 POST WAR & CONTEMPORARY ART 66 Herve Di Rosa French, (b. 1959) Vous n’avez rien a déclarer?, 1987 acrylic and oil on canvas signed Di Rosa and dated (lower left); titled, dated and signed (verso) 38 7/8 x 38 7/8 inches. $5,000 - 7,000
79FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 67 Barnaby Furnas (American, b. 1973) Mummers Day 5 (Fancy Brigade), 2009 watercolor on paper 15 1/8 x 11 1/8 inches. AnthonyTheProvenance:ArtistMeier Fine Arts, San Francisco Greenberg Van Doren Gallery (Van Doren Waxter), New York The Greenberg Gallery, St. Louis JamesExhibited:Barron Fine Art, Art Basel: Miami Beach, December 2013 $8,000 - 12,000
80 POST WAR & CONTEMPORARY ART 68 Ray Yoshida (American, 1930-2009) Untitled, 1972 felt-tip pen on paper 7 1/8 x 5 1/2 inches. Property from the Collection of Merrill C. Berman VenusProvenace:Over Manhattan, New York $15,000 - 25,000
81FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 69 Ray Yoshida (American, 1930–2009) Untitled, c. 1972 felt tip pen drawing on paper 8 1/2 x 11 AcquiredProvenance:inches.directlyfrom the Artist via trade by Carla Tardi in 1976 Gifted by the above to the present owner $15,000 - 25,000
82 POST WAR & CONTEMPORARY ART 70 Roger Brown (American, 1943-1997) Sportsman’s Trophy, 1973 oil on canvas titled (verso) 30 1/8 x 70 1/2 inches. PhyllisProvenance:KindGallery, Chicago Mr. and Mrs. Earl Durham, Chicago Phyllis Kind Gallery, Chicago Phil Hanson and Christina Ramberg, Chicago Karen Lennox Gallery, Chicago Champaign,Exhibited: Illinois, Krannert Art Museum at the University of Illinois Urbana-Champaign, Contemporary American Painting and Sculpture, March 10 - April 21, 1974, p. 34, no. 10, illus. $150,000 - 250,000
© The School of the Art Institute of Chicago and the Brown. Courtesy of Kavi Gupta and Venus Over Manhattan.
83FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
71 Roger Brown (American, 1943-1997) Blizzard Crucifix, 1975 oil on canvas in tramp art carved wood frame titled (verso) 30 1/4 x 18 inches. Property from the Collection of Merrill C. Berman PhyllisProvenance:Kind, Chicago and New York Rhona Hoffman Gallery, Chicago Venus Over Manhattan, New York London,Exhibited:England, Camden Art Centre, Who Chicago?, December 10, 1980 - January 25, 1981; Sunderland, England, Ceolfrith Arts Center, February 16 - March 14, 1981; Glasgow, Scotland, Third Eye Centre, March 21April 30, 1981; Edinburgh, Scotland, Scottish National Gallery of Modern Art, May - June, 1981; Belfast, Ireland, Ulster Museum, July - August, 1981 Chicago, Illinois, Rhona Hoffman Gallery, Chicago Imagists from the Phyllis Kind Collection, July 16 - August 14,
DennisLiterature:2019Adrian and Russell Bowman, Who Chicago?, Sunderland, no. 61, p. 41, illus. $50,000 - 70,000
84 POST WAR & CONTEMPORARY ART 72 Deborah Butter eld (American, b. 1949) Untitled, 1977 mud and straw on metal armature 24 x 33 1/2 x 7 inches. Property from the Collection of James and Edythe Cloonan, Chicago, Zolla/LiebermanProvenance:Illinois Gallery, Chicago $25,000 - 35,000
85FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 73 John Buck (American, b. 1946) Mountain Home, 1983 acrylic on wood and canvas signed John Buck, dated and titled (verso, red gure); titled (verso, canvas) 83 1/2 x 117 1/2 inches (canvas); 78 1/2 x 23 5/8 x 17 1/2 inches (red gure); 68 1/4 x 14 3/4 x 11 1/2 inches (blue form and base) Property from the Collection of Sanford Edward Cohen HansenProvenance:Fuller Goldeen Gallery, San Fransisco Bank of Hawaii, Honolulu, Hawaii Thurston Twigg-Smith, Honolulu, Hawaii Sold: Butter elds, San Francisco, October 27, 1999, lot 1183 $15,000 - 25,000
JANSZ VAN OSTADE
STYLE OF . . . FOLLOWER OF 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.
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.
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.
To our best judgment, a work by an unknown but distinctive hand linked or associated with the artist but not de nitively his pupil.
AFTER ADRIAEN JANSZ VAN OSTADE
MANNER OF ADRIAEN JANSZ VAN OSTADE
This work, in our best opinion, is by the named ATTRIBUTEDartist.TO
To our best judgment, a work in the style of the artistand of a later period.
86 POST WAR & CONTEMPORARY ART
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.
ARTIST INDEX ARTIST NAME LOT Barnes, Jr., Ernie 50 Bertoia, Harry 35 Blanchard, Remy 65 Bluhm, Norman 18 Boisrond, François 63 Borofsky, Jonathan 48 Brady, Carolyn 32 Brennan, Fanny 25 Brown, Roger 70-71 Buck, John 73 Butter eld, Deborah 72 Bynum, Peter 34 Calder, Alexander 23 Cavallon, Giorgio 9 Chan-il, Kim 36-37 Cogollo, Heriberto 57 Cohen, Bruce 30-31 Coronel, Rafael 60 Covert, Scott 11 Davis, Gene 1 Davis, Ron 5 Derakshani, Reza 2 Di Rosa, Herve 66 Dine, Jim 44 Dzubas, Friedel 15 Eversley, Fred 24 Fetting, Rainer 55 Frecon, Suzan 42 Frey, Viola 52-53 Furnas, Barnaby 67 Glasco, Joseph 3 Golub, Leon 58-59 Hinman, Charles 40 Jenkins, Paul 13-14, 16-17, 19-20 Jenkins, Paul 14 Kacere, John 56 Katz, Alex 46 Kawashima, Takeshi 38 Kramer, David 27 Kushner, Robert 33 LeWitt, Sol 39 Lutes, Jim 54 Mary Quinn, Nathaniel 51 McCollum, Allan 43 Meadmore, Clement 41 Montoya, Gustavo 49 Morris, Kyle 21 Muñoz, Lucio 6 Nilsson, Gladys 28-29 Nozkowski, Thomas 22 Osver, Arthur 12 Paladino, Mimmo 62 Portocarrero, Rene 64 Rainer, Arnulf 61 Resnick, Milton 10 Shields, Alan 4 Solomon, Syd 7-8 Warhol, Andy 47 Wesselmann, Tom 45 Wilde, John 26 Yoshida, Ray 68-69
STUDIO OF ADRIAEN JANSZ VAN OSTADE
To our best judgment, a copy of a known work of the artist.
GLOSSARY OF TERMS ADRIAEN JANSZ VAN OSTADE
To our best judgment, this unsigned work may or may not have been created under the direction of the CIRCLEartist.OFADRIAEN
Dimensions are given height before width.
87FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM ED CLARK CREATION, 2006 SOLD FOR $740,000 SOLD PRICES ARE INCLUSIVE OF BUYER’S PREMIUM SALE 1072 THE LIFETIME COLLECTION OF FORREST FENN, PART II SEPTEMBER 8 | CINCINNATI | LIVE + ONLINE SALE NATIVE1073AMERICAN ART, SESSION I SEPTEMBER 9 | CINCINNATI | LIVE + ONLINE SALE IMPORTANT1075 JEWELRY SEPTEMBER 13 | CHICAGO | LIVE + ONLINE SALE AMERICAN1060 FURNITURE, FOLK & DECORATIVE ART SEPTEMBER 14-15 | CINCINNATI | LIVE + ONLINE SALE JAPANESE1078& KOREAN WORKS OF ART SEPTEMBER 22 | CHICAGO | LIVE + ONLINE SALE CHINESE1077AND HIMALAYAN WORKS OF ART SEPTEMBER 23 | CHICAGO | LIVE + ONLINE SALE AMERICAN1057 & EUROPEAN ART SEPTEMBER 27 | CHICAGO | LIVE + ONLINE SALE AMERICAN1055 & EUROPEAN ART ONLINE SEPTEMBER 27 | CHICAGO | ONLINE SALE 1058 POST WAR & CONTEMPORARY ART SEPTEMBER 28 | CHICAGO | LIVE + ONLINE SALE CASTING1123SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER SEPTEMBER 28 | CHICAGO | LIVE + ONLINE SALE PRINTS1059&MULTIPLES SEPTEMBER 29 | CHICAGO | LIVE + ONLINE SALE ASIAN1079WORKS OF ART ONLINE SEPTEMBER 30 | CHICAGO | TIMED SALE JEWELS1080ONLINE OCTOBER 3 | CHICAGO | ONLINE SALE 1081 THE COLLECTION OF ROBERT AND MARY MONTGOMERY OCTOBER 6 | PALM BEACH | LIVE + ONLINE
88 POST WAR & CONTEMPORARY ART ALYSSA D. @HINDMANAUCTIONS.COMALYSSAQUINLAN3DEVELOPMENTCHIEFEXECUTIVEQUINLANVICEPRESIDENT,BUSINESSOFFICER12.447.3272 MOLLY E. GRON, J.D. SENIOR VICE PRESIDENT DIRECTOR, TRUSTS & ESTATES @HINDMANAUCTIONS.COMMOLLYGRON312.334.4235 TIM LUKE CAI, BAS, MPPA, ISA-AM DIRECTOR, APPRAISALS & VALUATIONS @HINDMANAPPRAISALS.COMTIMLUKE561.833.8053 KRISTINATLANTA VAUGHN VICE BUSINESSPRESIDENTDEVELOPMENT SENIOR DIRECTOR MILWAUKEE@HINDMANAUCTIONS.COM414.220.9200BUSINESSSARAMILWAUKEEDETROIT@HINDMANAUCTIONS.COM313.774.0900BUSINESSPAMDETROITDENVER@HINDMANAUCTIONS.COM303.825.1855BUSINESSCHRISTINEDENVERCLEVELAND@HINDMANAUCTIONS.COM216.292.8300BUSINESSCARRIECLEVELANDCINCINNATI@HINDMANAUCTIONS.COM513.666.4987BUSINESSVAUGHNCINCINNATIATLANTA@HINDMANAUCTIONS.COM404.800.0192SMITHDEVELOPMENTMANAGERPINNEYDEVELOPMENTMANAGERBROSKIDEVELOPMENTMANAGERIACOBELLIDEVELOPMENTDIRECTORMULLOYDEVELOPMENTDIRECTOR ELIZABETHNAPLES RADER, PHD BUSINESS DEVELOPMENT DIRECTOR WASHINGTONDC@HINDMANAUCTIONS.COM202.853.1638BUSINESSVICEMAURAWASHINGTONSTLOUIS@HINDMANAUCTIONS.COM314.833.0833BUSINESSANNAST.SCOTTSDALE@HINDMANAUCTIONS.COM480.546.5150BUSINESSLOGANSCOTTSDALESANDIEGO@HINDMANAUCTIONS.COM858.442.6104BUSINESSVICEKATIESANPALMBEACH@HINDMANAUCTIONS.COM561.833.8053BUSINESSSARAHMIAMI,NAPLES@HINDMANAUCTIONS.COM239.643.4448PALMBEACHROYDEVELOPMENTDIRECTORDIEGOGUILBAULT,G.G.PRESIDENTDEVELOPMENTDIRECTORBROWNINGDEVELOPMENTDIRECTORLOUISSHAVERDEVELOPMENTDIRECTORD.C.ROSSPRESIDENTDEVELOPMENTDIRECTOR JOSEPH STANFIELD VICE @HINDMANAUCTIONS.COMJOSEPHSTANFIELD312.600.6063SENIORPRESIDENT,SPECIALIST JULIANNA TANCREDI SENIOR @HINDMANAUCTIONS.COMZACHARYWIRSUM312.600.6069CONTEMPORARYPOSTDIRECTOR,ZACHARY@HINDMANAUCTIONS.COMJULIANNATANCREDI312.334.4228RESEARCHERWIRSUMSENIORSPECIALISTWAR&ARTABBY @HINDMANAUCTIONS.COMABBYCHAMBERS312.334.4234ASSOCIATECHAMBERSSPECIALIST CHRISTINA @HINDMANAUCTIONS.COMCHRISTINAKIRIAKOS312.334.4216DEPARTMENTKIRIAKOSCOORDINATOR MONICA DIRECTOR,BROWNSENIOR SPECIALIST FINE @HINDMANAUCTIONS.COMJOHNMARTINEZ312.600.6064DEPARTMENTJOHN@HINDMANAUCTIONS.COMMONICABROWN303.825.1855PRINTSMARTINEZCOORDINATORANGELA @HINDMANAUCTIONS.COMANGELAWHITAKER872.270.3105ASSOCIATEWHITAKERSPECIALIST ALEXANDRIA DREAS ASSOCIATE @HINDMANAUCTIONS.COMALEXANDRIADREAS303.825.1855SPECIALIST PAULINE @HINDMANAUCTIONS.COMPAULINEARCHAMBAULT513.871.1670SPECIALISTARCHAMBAULT CAMERON @HINDMANAUCTIONS.COMCAMERON312.280.1212FINECATALOGUERQUADEARTQUADE MADALINA LAZEN DIRECTOR, SENIOR SPECIALIST EUROPEAN @HINDMANAUCTIONS.COMMADALINELAZEN561.833.8053ART KATHERINE HLAVIN DIRECTOR, SENIOR SPECIALIST @HINDMANAUCTIONS.COMKATHERINEHLAVIN303.825.1855 LAURA DIRECTOR,PATERSONSENIOR SPECIALIST @HINDMANAUCTIONS.COMLAURAPATERSON312.280.1212PHOTOGRAPHS THEA @HINDMANAUCTIONS.COMTHEAANDRUS312.280.1212FINECATALOGUERANDRUSART
CATALOGUERTUCKERCATALOGUERBARRETTATFEMMATIMCAREY@HINDMANAUCTIONS.COMSPECIALISTFULMERMANAGERANDSENIORCOORDINATORSHARPNACKETNOYER
ARMS, ARMOR & MILITARIA TIM DIRECTOR,CAREY
APPRAISALS MARGARET @HINDMANAPPRAISALS.COMMARGARETCECEAPPRAISALSCECEASSOCIATE MUSEUM SERVICES CAROLINE MUSEUMSSENIORMICHAEL@HINDMANAUCTIONS.COMCAROLINEMUJICADIRECTOR,MUJICA-PARODIMUSEUMSERVICESSHAPIROADVISOR&PRIVATECOLLECTIONS
VICE BUSINESSPRESIDENT,DEVELOPMENT DIRECTOR, SAN DIEGO, SENIOR SPECIALIST DEPARTMENTGINACATALOGUERMADELINEASSOCIATEHANA@HINDMANAUCTIONS.COMAPRILMATTENISPECIALISTAPRIL@HINDMANAUCTIONS.COMKARINAHAMMERSPECIALISTKARINA@HINDMANAUCTIONS.COMMARISAPALMERSENIORMARISA@HINDMANAUCTIONS.COMRUTHTHUSTONSENIORRUTH@HINDMANAUCTIONS.COMSEANJOHNSONSENIORSEAN@HINDMANAUCTIONS.COMKATIEGUILBAULTJOHNSONSPECIALIST,WATCHESTHUSTON,G.G.SPECIALISTPALMER,G.G.APPRAISERHAMMER,G.G.MATTEINI,G.G.THOMSONG.G.SPECIALISTSCHROEDERO’CONNORCOORDINATOR
FINANCE MARCO @HINDMANAUCTIONS.COMMARCOGUSELLADIRECTORGUSELLA ESTATES & DEVELOPMENTBUSINESS MIRANDA SENIORBUSINESSSAMANTHA@HINDMANAUCTIONS.COMMIRANDAMAXFIELDMANAGERBUSINESSMAXFIELDDEVELOPMENTSCHWARTZDEVELOPMENTASSOCIATE,TRUSTS &
COUTURE & LUXURY ACCESSORIES TIMOTHY DIRECTOR,LONGSENIOR SPECIALIST DEPARTMENTMARIELLECATALOGUERTANNER@HINDMANAUCTIONS.COMTIMOTHYLONGBRANSONEPSTEINCOORDINATOR SPORTS MEMORABILIA JAMES DIRECTOR,SMITHSENIOR SPECIALIST DEPARTMENTJOSHUA@HINDMANAUCTIONS.COMJAMESSMITHMCCRACKENCOORDINATOR
JEWELRY & WATCHES SALLY KLARR, G.G. DIRECTOR, SENIOR SPECIALIST KATIE@HINDMANAUCTIONS.COMSALLYKLARRHAMMONDGUILBAULT, G.G.
OFFICER LESLIE @HINDMANAUCTIONS.COMMOLLYLIMMERDEPUTYEXECUTIVEMOLLY@HINDMANAUCTIONS.COMJIMSHARPCHIEFEXECUTIVEJIM@HINDMANAUCTIONS.COMALYSSAQUINLANDEVELOPMENTCHIEFEXECUTIVEALYSSAVICE-CHAIRMARONVICE-CHAIRWESCO-CHAIRHINDMANCOWANHINDMAND.QUINLANVICEPRESIDENTBUSINESSOFFICERSHARPVICEPRESIDENTOPERATINGOFFICERMORSELIMMERVICEPRESIDENTCHAIRMAN
FINE ART JOSEPH STANFIELD VICE DEPARTMENTJOHNDEPARTMENTCHRISTINACATALOGUERCAMERONCATALOGUERTHEASENIORJULIANNAASSOCIATEALEXANDRIAASSOCIATEABBYASSOCIATEANGELASPECIALISTPAULINE@HINDMANAUCTIONS.COMLAURAPATERSONPHOTOGRAPHSDIRECTOR,LAURA@HINDMANAUCTIONS.COMMADALINALAZENEUROPEANSENIORDIRECTOR,MADALINA@HINDMANAUCTIONS.COMKATHERINHLAVINSENIORDIRECTOR,KATHERINE@HINDMANAUCTIONS.COMMONICABROWNFINESENIORDIRECTOR,MONICA@HINDMANAUCTIONS.COMZACHARYWIRSUM&SENIORDIRECTOR,ZACHARY@HINDMANAUCTIONS.COMJOSEPHSTANFIELDSENIORPRESIDENT,SPECIALISTWIRSUMSPECIALIST,POSTWARCONTEMPORARYARTBROWNSPECIALIST,PRINTS&MULTIPLESHLAVINSPECIALISTLAZENSPECIALISTARTPATERSONSENIORSPECIALISTARCHAMBAULTWHITAKERSPECIALISTCHAMBERSSPECIALISTDREASSPECIALISTTANCREDIRESEARCHERANDRUSQUADEKIRIAKOSCOORDINATORMARTINEZCOORDINATOR
ASIAN ART ANNIE WU VICE PRESIDENT, SENIOR SPECIALIST DEPARTMENTMARIELLEASSOCIATEMEGANSPECIALISTFLORA@HINDMANAUCTIONS.COMANNIEWUZHANGSADLERSPECIALISTEPSTEINCOORDINATOR
89FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
AUCTION OPERATIONS, CLIENT SERVICES MAGGIE PORTER VICE @HINDMANAUCTION.COMNICOLEJOYAUCTIONREGIONALNICOLE@HINDMANAUCTIONS.COMDAWNIEKOMOTIOSCINCINNATIOPERATIONSDAWNIE@HINDMANAUCTIONS.COMRITASWANBERGMANAGER,RITA@HINDMANAUCTIONS.COMMAGGIEPORTERSALESPRESIDENT,STRATEGYSWANBERGCLIENTEXPERIENCEKOMOTIOSDIRECTOR,JOYMANAGER,OPERATIONS
FINE BOOKS & MANUSCRIPTS GRETCHEN HAUSE VICE DEPARTMENTJOSHUAASSOCIATELESLIESENIORFRANCISASSOCIATEKAYLANSPECIALISTEMILYSPECIALISTDANIELLE@HINDMANAUCTIONS.COMKATIEHORSTMANSENIORKATIE@HINDMANAUCTIONS.COMGRETCHENHAUSESENIORPRESIDENT,SPECIALISTHORSTMANSPECIALISTLINNPAYNEGUNNSPECIALISTWAHLGRENCONSULTANTWINTERSPECIALISTMCCRACKENCOORDINATOR
LEADERSHIP JAY FREDERICK KREHBIEL CHIEFCO-CHAIREXECUTIVE
BRIAR KOEHL OLEFERCHIK BUSINESS DEVELOPMENT, SENIOR MUSEUMASSOCIATESERVICES
AMERICAN FURNITURE, FOLK & DECORATIVE ARTS BEN FISHER VICE PRESIDENT, SENIOR SPECIALIST CATALOGUERKATIESPECIALISTLEAH@HINDMANAUCTIONS.COMJENNIFERHOWESENIORJENNIFER@HINDMANAUCTIONS.COMBENJAMINFISHERHOWESPECIALISTVOGELPOHLBENEDICT ANTIQUITIES & ANCIENT ART JACOB DIRECTOR,COLEYSENIOR SPECIALIST CATALOGUERELIZABETH@HINDMANAUCTIONS.COMJACOBCOLEYKEITHLEY DESIGN HUDSON DIRECTOR,BERRYSENIOR SPECIALIST DEPARTMENTJOHNASSOCIATESABRINA@HINDMANAUCTIONS.COMHUDSONBERRYGRANADOSSPECIALISTMARTINEZCOORDINATOR NATIVE PREHISTORICAMERICAN,&TRIBAL ART DANICA FARNAND VICE PRESIDENT, SENIOR SPECIALIST SPECIALISTERIN@HINDMANAUCTIONS.COMDANICAFARNANDRUST
ESTATES @HINDMANAUCTIONS.COMKATHRYNHODGEASSOCIATE,BUSINESSKATHRYN@HINDMANAUCTIONS.COMHANNAHUNGERSENIORBUSINESSHANNAH@HINDMANAUCTIONS.COMSAMANTHASCHWARTZUNGERDEVELOPMENTASSOCIATE,EASTHODGEDEVELOPMENTTRUSTS&ESTATES
MARKETING ASHLEY GALLOWAY VICE PRESIDENT PHOTOGRAPHY ZOË DIRECTORBARE*OF PHOTOGRAPHY DAVID *HARLEYCORYDALLASRACHELBILLMIKELIBBYAMELIADEOGRACIASCAITLINLIMRONCHADCARMENAVERYGABBYPHOTOGRAPHYJACKSONSUPERVISORBOSHARACAMPBELL*COLOMEFEIERSTONE*GURULE*HWOANGKELLYTHOMPSONLERMAMOOREMOORE*REINDERSROSSSMITH*TOLENTINO*TOWEWINCELEADPHOTOGRAPHYTEAM
EUROPEAN FURNITURE & DECORATIVE ARTS CORBIN HORN VICE PRESIDENT, SENIOR SPECIALIST
ASSOCIATEALISONCATALOGUERELIZABETHASSOCIATENICHOLASASSOCIATEGENEVIEVENATIONALSAMSENIORDONNA@HINDMANAUCTIONS.COMNICKCOOMBSSENIORNICK@HINDMANAUCTIONS.COMCORBINHORNCOOMBSSPECIALISTTRIBBYSPECIALISTCOWANHEADOFSALE,COLLECTIONSKINGSPECIALISTGORDONSPECIALISTREEDLYNCHCATALOGUER
In-House Bidding
Bidding at Auction
Evaluation of Property If you have property you wish to sell, please call our Consignment Department at 312.280.1212 to arrange for a consultation. At that time, you may make an appointment to bring your property or photographs, along with any other pertinent information, to Hindman LLC and we will be happy to provide you with complimentary estimates and advice. If you have a large collection, an appointment may be made to evaluate the property on-site. Fees for on-site visits may vary.
Shipping Arrangements
Viewing Auction Items
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.
Bidding Increments
GUIDE FOR PROSPECTIVE BUYERS
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: $0 - $500 $25 $500 - $1,000 $50 $1,000 - $2,000 $100 $2,000 - $5,000 $250 $5,000 - $10,000 $500 $10,000 - $20,000 $1,000 $20,000 - $50,000 $2,500 $50,000 - $100,000 $5,000 $100,000 - $200,000 $10,000 Above > $200,000 At Auctioneer’s Discretion
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.
Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances. Please contact our Estates and Appraisals Department at 312.334.4232 for further information.
Conditions of Sale
Absentee Bidding
Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identi cation, 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.
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 con dential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.
Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; and twenty- ve percent (25%) of the hammer price on each lot sold for less than $5,001, with a minimum commission of $75 per lot sold. If your property fails to reach the reserve price agreed upon between you and Hindman LLC, you may be obligated to pay a reduced commission rate of ve percent (5%) of the reserve price.
Telephone Bidding
All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.
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. 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 de nitive. All pre-sale estimates are subject to revision.
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 ve 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 $300 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.
Hindman LLC can advise you as to how to have your property delivered to our galleries. Packing, shipping and insurance are payable by the seller. In certain instances, packing and shipping costs may be paid by Hindman LLC and deducted from the proceeds of the sale. We may recommend packers and shippers, but we are not responsible for their acts or omissions.
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.
Standard Commission Rates
90 POST WAR & CONTEMPORARY ART GUIDE FOR PROSPECTIVE SELLERS
Condition Reports
(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 speci ed in the lot’s description. Your bid is submitted once you place and con rm your bid amount. You agree that a bid is nal 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.
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.
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 identi cation (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identi cation, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certi cate of Incorporation or its equivalent bearing the company’s name and registered address, together with documentary proof of directors and bene cial 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 satis ed with the information you provide us in our bidder identi cation 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 nancial reference and/or a deposit before we allow them to bid.
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 nancial 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.
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
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
(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 (b)bids.Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites. (c) Written Bids: You can nd 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.
3. RETURNING BIDDERS
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.
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 suf cient, 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.
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 fty percent (50%) of the low estimate or, if lower, the amount of your bid. The rst written bid we receive of those for identical amounts will be given priority over other bids.
5. BIDDING IN THE SALEROOM If you wish to bid in the saleroom, you must rst acquire a bidding paddle at least thirty (30) minutes before the auction.
6. OUR BIDDING SERVICES
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.
2. CONDITION
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.
2. NEW BIDDERS
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.
1. LOT DESCRIPTIONS AND WARRANTIES
91FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
7. CREDIT CARD AUTHORIZATION HOLD
C. DURING THE AUCTION 1. BIDDING IN THE AUCTION
A. BEFORE THE AUCTION
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.
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.
(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.
(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.
6. YOUR FAILURE TO PAY
2. TAXES
(h) We can take any other action we deem necessary or appropriate.
(c) You must pay for lots in US dollars in one of the following ways: (i) Wire transfer.
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.
92 POST WAR & CONTEMPORARY ART 2. AUCTIONEER’S DISCRETION
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, we charge twenty- ve percent (25%) of the hammer price up to and including $400,000; twenty percent (20%) of any amount in excess of $400,001 up to and including $4,000,000; and twelve percent (12%) of any amount in excess of $4,000,001. 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.
(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.
(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, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department.
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:
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.
(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.
3. MAKING PAYMENT
(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 (c)appropriate.Inaccordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time speci ed by the law of the state where the auction takes place, we may charge you state sales tax for the lot.
7. SHIPPING, COLLECTION, AND STORAGE
(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 (d)amount.Wecan 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.
(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.
(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.
5. TRANSFERRING RISK TO YOU
(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) 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.
(d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).
8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES
(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.
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 nal 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 nd 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.
4. TRANSFERRING OWNERSHIP TO YOU
(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.
3. BIDDING ON BEHALF OF THE SELLER
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.
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 nal, 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 nal. 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).
(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 ve (5) business days have passed.
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.
(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
responsible for any scienti c 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.
(f) It does not apply if the lot can only be shown not to be authentic by a scienti c 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 bene t 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 bene t of this limited authenticity warranty may not be transferred by the original buyer to anyone else.
(b) It is given only for information shown in UPPERCASE type in the rst 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.
(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.
(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 con rm 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.
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.
(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.
(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 con ict of opinion.
(b) As collectors’ watches often have very ne 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. Certi cates are not available unless described in the catalogue.
93FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
(a) It will be honored for claims noti ed 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.
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.
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 de ned in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of pro ts 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.
(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.
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.
(c) It does not apply to any Heading or part of a Heading that is quali ed. “Quali ed” means limited by a clari cation in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the de nition of “quali ed” provided in paragraph H, below. Quali ed Headings are not covered at all by this limited authenticity warranty. (d) It applies to the Heading as amended by any saleroom notice.
(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 eld, mutually agreed upon by you and us, con rming 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.
(c) Most wristwatches have been opened to nd 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.
(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.
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 de ned 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 noti cation, 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:
6. YOUR WARRANTIES
(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 pro ts or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses.
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 (a)circumstances:Wewillrefund 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 identi ed 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.
3. ADDITIONAL WARRANTY FOR BOOKS
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
6. PERSONAL INFORMATION
94 POST WAR & CONTEMPORARY ART laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than ve (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.
(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.
4. ENFORCING THIS AGREEMENT
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.
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.
F. OUR LIABILITY TO YOU
2. RECORDINGS
3. COPYRIGHT
(e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot.
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.
(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.
(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.
1. OUR ABILITY TO CANCEL
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 nal 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 con dential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be nal 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. authenticGLOSSARY : 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 gure in the range, and high estimate means the higher gure. 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 (a)terms:“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 (e)artist.“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 con dential 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.
We may videotape and/or audio record proceedings at any auction. We will keep any personal information con dential, 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.
We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.
5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
(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 pro ts or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.
G. OTHER TERMS
If a court nds 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.
SEPTEMBER 28 | 6 P.M. CT CHICAGO | SINGLE OWNER AUCTION INQUIRIES Vice President, Senior312.600.6063Specialist HINDMANAUCTIONS.COM
