CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER 28 SEPTEMBER 2022
CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER SALE 1123 28 September 2022 6pm CT | Chicago Lots 1–21 We are grateful for the research conducted by Susan Weininger, Professor Emerita, Roosevelt University, on all lots included in this sale. PREVIEW BY APPOINTMENT PROPERTY PICK UP HOURS Monday - Friday | 9:00am – 4pm By All312.280.1212appointmentpropertymust be paid for within seven days and picked up within thirty days per our Conditions of Sale. CONTENTS Casting Spells | Lots 1-21 11 Hindman Team 70 Inquiries 71 Upcoming Auction Schedule 72 Conditions of Sale 74 FRONT COVER Lot 14 BACK COVER Lot 8 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
Miscellaneous photographs collection, circa 1845-1980: Gertrude Abercrombie with her painting Slaughterhouse
Acknowledgements
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The preparation for an auction always involves an incredible team effort and Casting Spells: The Gertrude Abercrombie Collection of Laura and Gary Maurer is certainly no exception to this rule. We are truly grateful to all of our colleagues at Hindman who made this sale possible by assisting in researching the collection, marketing the sale, taking hundreds of photographs and coordinating the logistics of shipping the entire collection across the country so it could be viewed by Abercrombie enthusiasts in multiple locations outside of Chicago. Auctions always take a village and we are very proud of the sale that the Hindman team has organized in honor of one of our most beloved Chicago artists. We also have many people to thank outside of Hindman Auctions and would like to extend our most sincere appreciation to Laura and Gary Maurer for giving us the opportunity to handle the amazing collection that they carefully assembled over the course of 30 years. This sale was a dream come true to be involved with and we are forever grateful. We would also like to thank Dr. Susan Weininger for her unwavering dedication and support of Gertrude Abercrombie and the scholarship she deserves. Dr. Weininger is the preeminent expert on Gertrude’s work and this sale would not have been possible without her. The auction also benefits greatly from the superb scholarship of Dr. Robert Cozzolino who is another true champion of Gertrude Abercrombie and her fellow artist friends who all warrant well over due attention and consideration. We also owe a huge debt of gratitude to Gertrude’s friends and family, fellow auction specialists, museum curators and dealers who have mounted major exhibitions on her work, private collectors who have supported Gertrude since she first started painting in the 1930’s and anyone who attended one of her famous house parties on Dorchester with Gertrude at the piano, rode in her Rolls Royce or shared a cocktail with her while soaking in some jazz. This sale is possible due to the love and enthusiasm that her supporters have shown her work for close to 100 years.
Planning for this auction began in February of 2022 but in many ways we have been planning for this sale our entire careers. This auction is the culmination of many of the dreams we have had both professionally and personally and it is with great honor that we bring these paintings by our surrealist muse to the world. Joe Stanfield, Vice President, Senior Specialist Fine Art Zack Wirsum Director, Senior Specialist Post War & Contemporary Art
Carl Van Vechten MarquettephotographUniversity©VanVechtenTrust.
5FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER LOTS 1-21
I fell in love at first sight. With an Gertrudeartist.Abercrombie.
It took some research and legwork until I found that Chicago’s Robert Henry Adams gallery had an Abercrombie. Robert took me to the back area where he stored the paining. I had the same reaction when I saw it as I had at the Illinois Art Gallery. I bought it. That painting is Solitude.
My husband, Gary, fell under Gertrude’s spell as soon as we hung Solitude in our home. The type of adoration we shared led us to galleries, art fairs, auctions, even private collections. We could not get enough to satiate our passion. Over time we realized that we did not own these works. Gertrude alone possessed them. The only way that we can continue her legacy and truly represent our dedication to her is to make Abercrombie’s paintings available to other individuals, families, organizations, and Garyinstitutions.andIwant everyone to have the chance to fall in love with an artist, Gertrude Abercrombie. Laura Maurer
Iwas at the State of Illinois Building for the annual allocation of State funds to the nonprofit organization for which I worked.
Usually, the process involved a lot of waiting. This time we received a generous allocation in no time at all. My boss gave me the rest of the day off. I headed for the Illinois Art Gallery on the mezzanine. It housed a solo exhibition of the works of Gertrude Abercrombie. As soon as I entered the gallery, I lost any sense of time and place and self. The color, tone, eccentric execution, brush strokes, realistic fantasy and fantastic reality of Abercrombie’s paintings entwined themselves into my soul.
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Gertrude Abercrombie papers, circa 1880-1986, bulk 1935-1977: Gertrude Abercrombie
Maurer Collection of Abercrombie Paintings
The artist once said, “It‘s always myself that I paint, but not actually, because I don’t look that good or cute,” and her appearance in many of her paintings attests to that. It is fitting that the earliest work in this group is a Self Portrait (1937), done at a time when she executed numerous portraits of friends and family, as well as herself, taking advantage of the free models to hone her skills. This simple, straightforward likeness has a youthful sweetness, even an effort toward prettiness augmented by a rare streak of red lipstick. In addition, she wears a beret, a nod to the bohemian lifestyle she had adopted several years earlier after moving from her parents’ home to her own Hyde Park apartment in the Weinstein Building.
It encompasses her major themes and the development of her style and allows us to understand the way in which her work interacted with both the internal and external rhythms of her life.
The building was occupied by many artists and writers who became her friends. Along with the move, a steady paycheck from her appointment to the Public Works of Art Project (PWAP) in 1934 and then to the Illinois Art Project (IAP), permitted her to smoke, drink and party to her heart’s content, something that was impossible when living with her Christian Science parents. It is significant, also, that the first owner of this painting was Kathleen Blackshear, an artist and influential teacher at the Art Institute (now the School of the Art Institute of Chicago), which indicated that Abercrombie was already attracting the interest of local art world Abercrombie’sluminaries. landscapes
from the 1930s, such as Landscape with Church (c. 1939), reflect the popularity of painting the American Scene at this time. In this instance, she depicts a brilliantly colored, lush, and fertile rural landscape, a hopeful fantasy of a post-Depression future. The scene was inspired by her experiences in the small western Illinois town of Aledo, where her father’s extended family lived. While her parents traveled as itinerant opera singers, young Gertrude spent time with her grandparents, aunts, and uncles, and most important for this only child, cousins with whom she was close to all of her life. It represents acceptance in contrast to her persistent feelings of being an outsider, a misfit, or an “ugly duckling” in comparison to her beautiful mother. The aura of mystery so characteristic of her work is apparent even in this seemingly conventional landscape. A tiny figure, Abercrombie herself, appears on a long road leading to a simple white church, a structure that appears in numerous of the artist’s paintings. This artwork, too, has a distinguished provenance, purchased by Peter Pollock, a photographer, curator, and gallerist who was responsible for establishing the South Side Community Art Center and other art centers as part of the Federal Art Project.
his important collection was assembled with love and passion by Laura and Gary Maurer, longtime residents of Chicago. As the leading scholar on Gertrude Abercrombie, I am grateful to them for offering Hindman Auctions the opportunity to showcase the wit, talent, and skills of this artist, whose work captivates and fascinates, resonating even at its bleakest. The present group of paintings trace the arc of her career, from an early Self Portrait (1937) to one of her last paintings, The Door and the Rock (1971).
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By the late 1930s and early 1940s, Abercrombie established a repertoire of objects that served as personal emblems: cats, owls, Victorian furniture, stoneware vases and compotes, gloves, shells, bunches of grapes, shells, carnations, and the moon in all its phases. Some of these objects appear in the tiny Compote and Grapes (1941), which also includes a “picture in a picture,” often used by the artist to extend or complicate the meaning of an image. The tiny landscape shows a peaceful moonlit landscape, a living counterpart to the still life in the foreground. Although she claimed to be untutored, the art classes she took at the University of Illinois provided her with the skills that are reflected in the beautiful rendering of inanimate object on a tiny scale in this work.
However, in contrast to that earlier work, these images are gloomy and somber, dominated by heavy dark clouds painted in shades of grey, black, brown, and dark green. In each, a woman (Abercrombie) with a basket, a source of sustenance, moves down a road in an uninhabited environment without a clear destination. Only in Solitude do we find any other living creatures, a cat and a blue bird, similar to the one in Seated Man. At a moment when the circumstances of her life appeared stable and comfortable, with a new marriage and her career in ascendance, she depicts herself alone, moving as if in search of something that can’t be defined. Enigmatic and forlorn, these artworks are in seeming conflict with her external life. They also illustrate another aspect of Abercrombie’s virtuosity, apparent in whatever theme she attempted. Like a jazz musician riffing on a theme, she used a limited number of elements in a seemingly infinite number of ways to create evocative and beautifully composed compositions without repeating herself.
Through her friendship with Karl Priebe, a Wisconsin artist she met during his studies in the 1930s at the Art Institute, Abercrombie made lifelong connections with Black jazz musicians, including Pearl Bailey, Dizzy Gillespie, Max Roach, and Sarah Vaughan. They eventually became central figures in the parties and jam sessions she hosted in the Victorian rowhouse at 5728 S. Dorchester that she and her first husband, Bob Livingston, moved to in 1944. Bob is pictured in Seated Man (1942-44), along with a Victorian chair, a pedestal topped by a white stoneware compote, a mysterious letter on the floor, and the moon, all personal emblems that make frequent appearances in her work. He, however, is one of the rare male figures she painted, as she much preferred her own image. In this work, Bob sits on a terrace and is viewed from an interior space, with the door ajar on the right. It is significant that he is not confined, as the artist often shows herself in her work, within a closed room and no route to escape. Blue Screen (1945) is one of these austere rooms, a metaphor for the artist’s insecurity, her inability to escape the prison of her own sense of inadequacy and feeling like an outsider.
While this painting has elements of these sentiments, it is also a reflection of her wit. The head of a black cat, a frequent stand in for the artist, emerges from the blue screen in the painting, while only its backside is visible in the picture on the wall above. This kind of visual trick is a hallmark of Abercrombie’s sharp humor. Even though by the time Blue Screen was painted, and her the center of attention as she presided over wild house parties attended by artists, writers, and musicians, the artist often felt lacking, empty, and trapped. This seeming contradiction fueled her work. A sense of isolation and desolation is apparent in a series of three landscapes from the early part of the 1940s: Moonlight Path (Visit at Midnight), 1941; Solitude, 1942; and Untitled (Figure on Moonlit Path), n.d. Like the Landscape with Church, these are all moonlit scenes.
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In 1948, Abercrombie’s marriage to Livingston ended and she married Frank Sandiford in a ceremony where her friend Dizzy Gillespie provided some of the entertainment. She completed a number of paintings that alluded to this transition, which was not sudden. She did not divorce Livingston until she had picked out a new wife for him; Sandiford was already waiting in the wings. Self-Imprisonment (1949), a theme she painted several times in the late 1940s, is a powerful statement about how one’s internal deficiencies can limit external actions. Her back to the viewer, the figure faces the barred door of the single intact wall of a ruined structure, a prison of her own making. The artist depicts herself as trapped by her own inability to act. Self-Imprisonment beautifully expresses the dichotomy of Abercrombie, who was at once charismatic, witty, and popular, yet deeply insecure, self-doubting, and unable to feel a real connection to others. By the early 1950s, Abercrombie began to do tiny images which, when mounted in frames, could be worn as brooches. These miniscule paintings often depict a variety of shells painted in exquisite detail and display her technical skills. Likely these were done to generate income and were often sold at her art fair appearances. The artist’s interest in still life painting in general also increased, as in the five outstanding examples in the Maurer Collection. From the small, simple image of a Shell (1957) to the very large (for Abercrombie) Shell and Drapery (1952) and Eggs and Carnations (1955), these artworks are brilliantly colored, fastidious in execution, and flawlessly composed. In the late 1940s, Abercrombie’s good friend and Wisconsin artist John Wilde encouraged her to paint more carefully. Although it seems to have been quite an effort for her, she worked at it, even when turning out paintings at a prodigious rate. She was encouraged a decade earlier to do the same by Gertrude Stein, who she met when Stein was an invited to teach a class at the University of Chicago. Wilde’s Shells (1950) (now in the Madison Museum of Contemporary Art) was in Abercrombie’s possession at the time of her death and may have been an inspiration to her. Like Abercrombie, Wilde was a consummate technician who infused his work with a Surreal approach.
12 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER A related painting, Dinah Enters the Landscape (1943), refers to the birth of her only child in 1942, and may explain a bit of the ambiguity in these paintings. A bit brighter in color but similar in emotional tone to the other landscapes from this time, Abercrombie walks across a bridge that connects her previous life to her new maternal role. Instead of a basket carried effortlessly on one arm, she clutches a tightly swaddled Dinah whose stiff, wooden appearance conveys Abercrombie’s discomfort with her new responsibility. Although the artist’s human figures are often awkward and simplified, this depiction of her daughter’s entrance into the world also expresses the discomfort of someone who said she could imagine giving birth to a cat but not a human.
Much like her other work, the still life paintings are always personal, filled with meaningful objects from her personal shells to the eggs. These two forms in particular are both types of homes or enclosures and connect with the many rooms she painted. Together they function as psychic self-portraits, ranging from the white stoneware compote and balls of yarn in Compote and Purple Yarn (1952), which calls to mind a favorite cat’s plaything, or the single jack in Leaf, Shell and Jack (1957), a reminder of Abercrombie’s love of games.
The self-portraits that Abercrombie did throughout her career are all recognizable yet participate in the stylistic development that defines her career. A large and ambitious painting, Self and Cat (Possims) (1957) contains the worlds of Abercrombie. Done in the precise manner she worked so hard to attain, it is dominated by the vivid turquoise that characterizes her more upbeat work, and she is also accompanied by her moon and her cat. The portrait is reminiscent of 16th century Northern Renaissance artists such as Hans Holbein, Lucas Cranach, or Quentin Metsys, with her figure set behind a ledge on which the cat’s ball rests and mirrors the moon in the opposite corner. The shape of Possims’ eyes echoes the shape of Abercrombie’s eyes, but with the color reversed. The black cat, embedded within the artist’s black clothing, seems to be almost part of her. This is quintessential Abercrombie, deceptively simple but perfectly composed, mysterious, yet resonant with meaning.
The owl and the cat also make frequent appearances in Abercrombie’s work, as familiars of the witch, a persona she adopted both in her art and in her life. This persona offered the artist a kind of authority she often felt she lacked, as it as one of the few powerful roles for a woman in this period, and one that offered the possibility of mystery and magic as well. She often wore a peaked hat, prompting the neighborhood children to call her a witch and embarrassing her daughter. Her love of cats inspired numerous depictions in her work and in the 1950s they become the focus of many compositions, such as Siamese Cat (1956). The owl, too, makes many appearances in her landscape and interior paintings, associated with wisdom, mystery, and power, and became the central image in works such as Night Owl (1947) and Owl and Tornado (1956). Doors had always been an important part of Abercrombie’s work, with their connotations of enclosure, imprisonment, and confinement. In the 1950s, the artist was inspired by the “fences” made of discarded doors from destroyed building that surrounded demolition sites in Hyde Park, part of the urban renewal that overtook the area at that time. As a result, the artist began to make images of doors, such as Untitled (Four Doors, Cat) (1957), her only urban subject matter. Her use of the door as a symbol of isolation continued until the end, with one of her last works, The Door and the Rock (1971).
An artist who felt unloved and unlovely despite her popularity and a circle of close, loving friends, was able to transform these feelings into an art of power, beauty, and psychological truth that continues to speak to those who have the privilege to see it. -Susan Weininger, Professor Emerita, Roosevelt University
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his is the place in which an expert or supposed voice of authority (yipes – they think that’s me!) tells curious readers and potential bidders why the artwork about to go on sale is important. This is often done through acrobatic hyperbole, including but not limited to: lavish praise about the artist, gratuitous connections to art history, elaborate descriptions of the artwork, passionate admiration for the collectors’ taste, among other strategies deployed to prove that the auction contains very fine things. There is more than one way to skin a cat. Gertrude Abercrombie would know – she had a lot of cats and listed them by name in her papers. Many appear in this catalogue. But I’m not going to do any of that, and I’ll tell you why. Abercrombie’s work and the life she lived has always been a critical source of inspiration and change in American culture. Period. We Chicagoans (even those who have left) have never been in doubt about this. The paintings -- their curious imagery, their uncanny sense of mystery, and role in her identity – are enough. Her relationships to the literary, jazz, opera, and theater worlds build out from them. Abercrombie’s embrace of and participation in Black, queer, socially progressive, and paranormal communities stood out in her time. To those of us who have spent years looking at Abercrombie’s work and writing about her life, she was already a leading light, immeasurably consequential to her time and beyond. Everything that made Abercrombie a pivotal personality and talent in our culture has been too tethered to Chicago in her narrative. While that was important as her center and home base, her relationships and impact were always wider. This part is finally being amplified. She is moving into a wider landscape. It is hard to overstate how unusual this sale is. Excellent Abercrombie paintings are scarce; most already have good permanent homes. She herself made sure of that by buying back and gathering meaningful works so that they could be distributed to museums after her death. Some of the paintings in the sale are seen in pictures of her Hyde Park home. She loved them, lived with them. That this single sale includes such a broad range and high quality – and authentic – group of paintings, gathered by collectors who cared about her, is nothing short of extraordinary. All her personal motifs are present, including some of the most confident paintings she made by genre. We can marvel here at tiny, wearable paintings; narrative or allegorical self-portraits contrasted with a more direct (for her) ambitious self-image (complete with moon, cat, and rubber ball); trompe l’oeil paintings of personal talismans; and interiors charged with Abercrombie’s consciousness or lingering spirits. It is a mini retrospective with no false notes. Much lies below the surface in Gertrude Abercrombie’s work. What seems to be a straightforward depiction of places or things is a view into her mind’s imaginative and aspirational terrain. Understanding the connections between her lived experience and its creative transformation into material signs helps illuminate these layers. While she is often the only figure haunting these painted spaces, her imagery echoes with connections to
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Gertrude Enters the Landscape
T
Gertrude Abercrombie papers, circa 1880-1986, bulk 1935-1977: Gertrude Abercrombie at work on a painting
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friends. For example, Eggs and Carnation (1955) is likely a loving memorial to Frank Roy Harriott (1921-1955) and an homage to her life-long friend, artist Karl Priebe (1914-1976). Harriott and Priebe were in a committed same-sex interracial relationship and Priebe cared for Harriott as he battled a degenerative disease. Made the year of Harriott’s death, which Priebe announced to Abercrombie via a postcard decorated with a grieving self-portrait, the pink carnation is a traditional image for mourning, and the eggs connect directly to Priebe’s love of birding and the couple’s relationship of mutual care and protection. Notes like this make the Mauer collection special. The assembled paintings connect with critical moments in her life, speak to Abercrombie’s close friendships, and relate how they affected her. Shell and Drapery (1952) is a big, bold study of carefully observed objects painted with fidelity to their reality within Abercrombie’s grasp. Abercrombie’s contemporary letters to and from her artist friend John Wilde (1919-2006) reveal that they frequently exchanged ideas for subject matter and tips for technique. She loved appearing nude in one of his large proliferate figure paintings honoring influential women in his life. Abercrombie connected the shells to Wilde, and she made them in a concerted effort to match his precise and magical intensity, about which she remarked (April 8th, 1952): “Holy cow I got such a stiff neck from doing that careful realism. May have to change back.” In the same letter she mentioned giving a cat to the Wilde family, and it is likely that it appears in Wilde’s painting, Downstairs, the Red Cat (1955) What is gathered here is not just a group of paintings by an uncommon artist who turned her internal and external life into mesmerizing imagery; it reveals moments that radiate out beyond that single life. Although some have described Abercrombie’s work as self-contained and hermetic, she was anything but that in practice, and the paintings accordingly share their deeper secrets if approached in a respectful way. They open into a galaxy of dazzling constellations, all of which revolved around Gertrude. For those of us who have spent years telling the world to pay attention to her work and that of her broader circle, it is about time. I think she would have both felt that and might acknowledge its strangeness.
Robert Cozzolino Patrick and Aimee Butler Curator of Paintings Minneapolis Institute of Art
The recognition Abercrombie is gaining at this moment is at once exciting and decentering. We want it to happen for the right reasons – for someone as special as Queen Gertrude to be loved and her work integrated in new ways with increasing depth of context. She deserves that. You may hear her compared to Surrealists or other innovative women. But there really was no one like Gertrude, something that is evident in the way she painted, what she painted, and how these images connect with people. She demands to be considered in all of her complexity and overlapping community connections. Hindman has called this collection, “Casting Spells,” and it is apt for her ongoing effect on us.
Gertrude Abercrombie papers, circa 1880-1986, bulk 1935-1977: James Purdy, Gertrude Abercrombie, and an unidentified man
20 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
1 Gertrude Abercrombie (American, 1909-1977) Compote and Grapes, 1941 oil on initialedmasoniteA(lower right); inscribed by another hand G. Abercrombie and Gertrude Abercrombie (verso) 1 1/2 x 1 1/2 inches.
RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 189; 482, illus. $10,000 - 15,000
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Mrs.TheProvenance:ArtistFrankEdwards, Chicago Jan (John) Fabion (inscribed frame verso) Richard Norton Gallery, Chicago Acquired from the above by the present owners, July 6, 2016 Elmhurst,Exhibited: Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018
22 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER 2 Gertrude Abercrombie (American, 1909-1977) Landscape with Church (Church with Small Figure), c. 1939-40 oil on signedcanvasAbercrombie (lower right) 19 1/4 x 26 1/4 inches.
RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 152; 481, illus. $50,000 - 70,000
(Possibly)TheProvenance:ArtistPeter Pollack, acquired from the artist, 1941 Richard Norton Gallery, Chicago Acquired from the above by the present owners, September 21, 2012
Chicago,Exhibited:Hyde Park Art Center, 1941 Elmhurst, Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018
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3 Gertrude Abercrombie (American, 1909-1977) Visit at Midnight (Road Leading Home), 1941 oil on signedcanvasAbercrombie and dated (lower left) 16 x 20
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Richmond,Exhibited: Virginia Museum of Fine Arts, The Third Biennial of Contemporary American Paintings, March 4 - April 14, 1942 (as Visit at Midnight), p. 9, no. 1 Chicago, Lenabel Pokrass Gallery (as Road Leading Home) Kalamazoo, Michigan, Kalamazoo Institute of Arts, 1943 (as Road Leading Home) Chicago, Art Institute of Chicago, Gertrude Abercrombie and Harold Noecker, May 11June 18, 1944 (as Visit at Midnight) Milwaukee, Wisconsin, Milwaukee Art Institute, Thirty-First Annual Exhibition of Wisconsin Art, 1944 (as Road Leading Home) Chicago, Marshall Field Gallery, 1944 (as Road Leading Home) New York, Associated American Artists Galleries, First Exhibition––Paintings, Gertrude Abercrombie, January 24 - February 6, 1946, no. 7 (as Visit at Midnight) Athens, Ohio University, 1947 (as Road Leading Home) Elmhurst, Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) (as Visit at Midnite) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 (as Moonlight Path (Visit at Midnite)) “PeytonLiterature:Boswell
Comments: The Editor’s “‘Ten,’” The Art Digest 16, 2 (1942) 3 (as Visit at Midnight) Robert Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 181; 482, illus. $60,000 - 80,000
Mr.TheProvenance:inches.ArtistandMrs.Paul Crawford, San Francisco, California, Acquired from the Artist, 1949 Sold: Leslie Hindman Auctioneers, Chicago, December 12, 2010, Lot 55 (as Moonlight Path Acquired) at the above sale by the present owners
Gertrude Abercrombie papers, circa 1880-1986, bulk 1935-1977: Gertrude Abercrombie in her Chicago home Photographer, Arnold Newman
27FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM “I am not interested in complicated things nor in the commonplace, I like to paint simple things that are a little strange.” - Gertrude Abercrombie -
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RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 200-201; 482, illus. $120,000 - 180,000
29FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
EmmaTheProvenance:ArtistorDolph Loeb, gift from the Artist Tom and Virginia Cresswell, Michigan City, Indiana, by 1983 Robert Henry Adams Fine Art, Chicago Acquired from the above by the present owners, September 16, 1999 Chicago,Exhibited:Art Institute of Chicago, 46th Annual Artists of Chicago and Vicinity, April 12May 26, 1942, no. 1 Kalamazoo, Michigan, Kalamazoo Art Institute, 1943 Milwaukee, Wisconsin, Milwaukee Art Institute, 1944 New York, Associated American Artists Galleries, First Exhibition–Paintings, Gertrude Abercrombie, January 24 - February 6, 1946, no. 10 Minneapolis, University of Minnesota Elmhurst, Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018
4 Gertrude Abercrombie (American, 1909-1977) Solitude, 1942 oil on signedmasoniteAbercrombie and dated (lower left) 20 1/2 x 40 1/4 inches.
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31FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 36; 82; 210-211; 482, illus.
$120,000 - 180,000
TheProvenance:Artist,until 1977 (Possibly) Dinah Livingston, the Artist’s daughter Estate of James Lichon, Chicago Sold: Treadway Toomey Auctions, Oak Park, Illinois, June 4, 2016, Lot 443 Acquired at the above sale by the present owners Kalamazoo,Exhibited: Michigan, Kalamazoo Art Institute, 1943 Milwaukee, Wisconsin, Milwaukee Art Institute, 1944 (Possibly) Chicago, Devorah Sherman Gallery, October 4 - 31, 1960 Chicago, Hyde Park Art Center, Gertrude Abercrombie, A Retrospective Exhibition, January 28 - March 5, 1977, no. 32 Chicago, State of Illinois Art Gallery, Gertrude Abercrombie, March 18 - May 17, 1991 (also traveled to Springfield, Illinois State Museum, July 28 - October 15, 1991), pp. 23; 90, Elmhurst,illus. Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018
5 Gertrude Abercrombie (American, 1909-1977) Dinah Enters the Landscape, 1943 oil on signedmasoniteAbercrombie and dated (lower left) 12 x 33 3/4 inches.
33FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM “I paint the way I do because I’m just plain scared. I mean, I think it’s a scream that we’re alive at all, don’t you?” - Gertrude Abercrombie -
34 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
35FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
(Possibly)TheProvenance:ArtistDinah Livingston, the Artist’s daughter Estate of James Lichon, Chicago Thence by descent through the family Sold: Treadway Toomey Auctions, Oak Park, Illinois, September 10, 2016, Lot 399 (as Woman on a Path) Acquired at the above sale by the present owners Chicago,Exhibited:Stevens-Gross Galleries, Gertrude Abercrombie: Paintings, March 7 - April 4, Minneapolis,1952 Minnesota, University of Minnesota Chicago, Irv Benjamin’s Restaurant, 1954, no. 18 Elmhurst, Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) (as Untitled (Figure on Moonlit Path)) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 (as Untitled (Figure on Moonlit Path))
RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, p. 183, illus. (as Untitled (Figure on Moonlit Path)) $30,000 - 50,000
6 Gertrude Abercrombie (American, 1909-1977) Alone (The Stroll), 1946 oil on signedmasoniteAbercrombie (lower right) 16 3/4 x 13 1/2 inches.
36 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
37FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 7 Gertrude Abercrombie (American, 1909-1977) Seated Man, c. 1942-44 oil on signedmasoniteAbercrombie (lower right) 16 x 20 J.TheProvenance:inches.ArtistAllysonStern, Wilmette, Illinois, acquired from the Artist Robert Henry Adams Fine Art, Chicago Acquired from the above by the present owners, July 30, 2005 Chicago,Exhibited:Hyde Park Art Center, Gertrude Abercrombie, A Retrospective Exhibition, January 28 - March 5, 1977, no. 28 (with incorrect media and Elmhurst,measurements)Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 169; 481, illus. $30,000 - 50,000
38 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
39FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
8 Gertrude Abercrombie (American, 1909-1977) Blue Screen, 1945 oil on signedmasoniteAbercrombie and dated (lower left) 8 x 10 Mrs.TheProvenance:inches.ArtistJohnP.Marquand, New York and Newburyport, Massachusetts, acquired from the Artist, May 10, 1946 Thence by descent Henry Adams Fine Art, Chicago Acquired from the above by the present owners, April 15, 2006
NewExhibited:York, Associated American Galleries, First Exhibition––Paintings, Gertrude Abercrombie, January 24 - February 6, 1946, no. 31 Elmhurst, Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) (as Untitled (Blue Screen, Black Cat, Print of Same)) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 (as Untitled (Blue Screen, Black Cat, Print of Same))
RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 241; 483, illus. (as Untitled (Blue Screen, Black Cat, Print of Same)) $50,000 - 70,000
Gertrude Abercrombie papers, circa 1880-1986, bulk 1935-1977: Gertrude Abercrombie in her Chicago home
42 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
43FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 9 Gertrude Abercrombie (American, 1909-1977) Night Owl, 1947 oil on signedmasoniteAbercrombie and dated (lower left) 4 1/2 x 6 1/4 inches. MargotTheProvenance:ArtistAndreas, Chicago, gift of the Artist Thence by descent Sold: Leslie Hindman Auctioneers, Chicago, May 13, 2013, Lot 1068 Private Collection Sold: Wright Auction, Chicago, February 25, 2016, Lot 269 Acquired at the above sale by the present owners NewExhibited:York, Associated American Artists Galleries (partial label verso) California, Associated American Artists Galleries Chicago, Stevens-Gross Galleries, Gertrude Abercrombie: Paintings, March 7 - April 4, Elmhurst,1952 Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 261; 483, illus. $15,000 - 25,000
44 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
45FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 10 Gertrude Abercrombie (American, 1909-1977) Self-Imprisonment, 1949 oil on signedmasoniteAbercrombie and dated (lower right) 11 1/2 x 13 1/2 inches. (Possibly)TheProvenance:ArtistMrs. Wolfsohn, Highland Park, Illinois, acquired from the Artist, 1949 Thence by descent Sold: Heritage Auctions, Dallas, Texas, September 22 - 25, 2017, Lot 65905 Acquired at the above sale by the present owners RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, p. 303, illus. $60,000 - 80,000
46 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
11 Gertrude Abercrombie (American, 1909-1977) Shell and Drapery, 1952 oil on signedcanvasAbercrombie and dated (lower right) 24 x 36 GertrudeTheProvenance:inches.ArtistAbercrombie
Trust, Chicago Museum of Contemporary Art, Chicago, donated by the above, 1978 Sold: Sotheby’s, New York, March 1, 2006, Lot 146 Ted Varndell, Chicago Michael Rosenfeld Gallery, New York Acquired from the above by the present owners, October 7, 2008 Chicago,Exhibited:Devorah Sherman Gallery, October 4 - 31, 1960, no. 16 Chicago, Hyde Park Art Center, Gertrude Abercrombie, A Retrospective Exhibition, January 28 - March 5, 1977, no. 65 Chicago, State of Illinois Art Gallery, Gertrude Abercrombie, March 18 - May 17, 1991 (also traveled to Springfield, Illinois State Museum, July 28 - October 15, 1991), pp. 64; 93, Elmhurst,illus. Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 (as Shell and Drape RobertLiterature:)Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 344-345; 484, illus. $70,000 - 90,000
47FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
Gertrude Abercrombie papers, circa 1880-1986, bulk 1935-1977: Gertrude Abercrombie, Dizzy Gillespie and Frank Sandiford at an outdoor art exhibition
49FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM “Surrealism is meant for me because I am a pretty realistic person but don’t like all I see.” - Gertrude Abercrombie -
50 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 343; 484, illus. $30,000 - 50,000
12 Gertrude Abercrombie (American, 1909-1977) Compote and Purple Yarn, 1952 oil on signedmasoniteAbercrombie and dated (lower left) 8 x 10 Dr.TheProvenance:inches.ArtistJamesAlexander, acquired from the Artist, February 1953 Robert Henry Adams Fine Art, Chicago (as Balls of Yarn) Acquired from the above by the present owners, January 4, 2003 Elmhurst,Exhibited: Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018
51FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
52 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 389; 485, illus. Hilton Als, Helen Molesworth, David Rimanelli, (Nothing but) Flowers, New York, 2022, p. 43, $80,000illus.-120,000
13 Gertrude Abercrombie (American, 1909-1977) Eggs and Carnation, 1955 oil on signedcanvasAbercrombie and dated (lower right) 20 x 28
53FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
JamesTheProvenance:inches.ArtistLichon,Chicago, acquired from the Artist Thence by descent through the family Sold: Treadway Toomey Auctions, Oak Park, Illinois, September 10, 2016, Lot 398 Acquired at the above sale by the present owners Chicago,Exhibited:Devorah Sherman Gallery, Chicago, October 4 - 31, 1960, no. 5 Chicago, Hyde Park Art Center, Gertrude Abercrombie, A Retrospective Exhibition, January 28 - March 5, 1977, cat. no. 71 (with transposed dimensions 28 x 20 inches.) Elmhurst, Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also traveled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018
54 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
Chicago,Exhibited:Newman Brown Gallery, Gertrude Abercrombie, September 1953 Chicago, Art Institute of Chicago, Artists of Chicago and Vicinity, Fifty-seventh Annual Exhibition, November 12 - December 13, 1953 (label verso, omitted from exhibition Chicago,catalogue)Irv Benjamin’s Restaurant, 1954, no. 4 Chicago, State of Illinois Art Gallery, Gertrude Abercrombie, March 18 - May 17, 1991 (also traveled to Springfield, Illinois State Museum, July 28 - October 15, 1991), pp. 76; 93, Elmhurst,illus. Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018)
55FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
14 Gertrude Abercrombie (American, 1909-1977) Self and Cat (Possims), 1953 oil on signedcanvasAbercrombie and dated (lower left) 34 x 24 CollectionProvenance:inches.ofDouglas
RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 351; 485, illus. $300,000 - 500,000
Elliot Sold: Leslie Hindman Auctioneers, Chicago, December 15, 2003, Lot 1 Acquired at the above sale by the present owners
56 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER 15 Gertrude Abercrombie (American, 1909-1977) Self Portrait, 1937 oil on signedmasoniteAbercrombie (lower right) 10 x 8 KathleenTheProvenance:inches.ArtistBlackshear, acquired from the Artist Barton Faist, c. 1986-87 Acquired from the above by the present owners, September 27, 2021 $30,000 - 50,000
58 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
59FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 16 Gertrude Abercrombie (American, 1909-1977) Owl and Tornado, 1956 oil on signedmasoniteAbercrombie and dated (lower right); titled (verso) 8 x 10 RobertProvenance:inches.HenryAdams Fine Art, Chicago Acquired from the above by the present owners, July 30, 2005 Elmhurst,Exhibited: Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 (as Owl and a Tornado RobertLiterature:)Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 399; 485, illus. (as Owl and a Tornado $30,000) - 50,000
60 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER 17 Gertrude Abercrombie (American, 1909-1977) Siamese Cat, 1956 oil on signedmasoniteAbercrombie and dated (lower left); inscribed by another hand Sherri and Dingle 4(verso)1/4x 5 1/4 inches. Sold:Provenance:Leslie Hindman Auctioneers, Chicago, September 24, 2015, Lot 77 Acquired at the above sale by the present owners Elmhurst,Exhibited: Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) (as Untitled (Cat and Ball)) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 (as Untitled (Cat and Ball))
RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 401; 485, illus. (as Untitled (Cat and Ball)) $15,000 - 25,000
61FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 18 Gertrude Abercrombie (American, 1909-1977) Leaf, Shell and Jack, 1957 oil on signedmasoniteAbercrombie and dated (lower left) 5 x 4 SullivanProvenance:inches.Goss, Santa Barbara, California Acquired from the above by the present owners, October 8, 2012 Chicago,Exhibited:Hyde Park Art Fair, June 1957 Elmhurst, Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, RobertLiterature:2018Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 409; 486, $20,000illus.- 30,000
64 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
65FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 19 Gertrude Abercrombie (American, 1909-1977) Untitled (Shell), 1957 oil on signedmasoniteAbercrombie and dated (lower left) 4 x 5 (Possibly)Provenance:inches.Old Town Art Gallery, Chicago, 1957 (as Shell or Shell on Beach) Sold: Treadway/Toomey Auctions, Oak Park, Illinois, March 2, 2003, Lot 767 Acquired at the above sale by the present owners Elmhurst,Exhibited: Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 407; 485, illus. $20,000 - 30,000
66 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
67FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 20 Gertrude Abercrombie (American, 1909-1977) Untitled (Four Doors, Cat), 1957 oil on signedmasoniteAbercrombie and dated (lower right) 6 x 8 Sold:Provenance:inches.Treadway/Toomey Auctions, Oak Park, Illinois, March 2, 2003, Lot 768 (as Demolition Doors) Acquired at the above sale by the present owners Elmhurst,Exhibited: Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 417; 486, illus. $50,000 - 70,000
68 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
69FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 21 Gertrude Abercrombie (American, 1909-1977) The Door and the Rock, 1971 oil on signedmasoniteAbercrombie and dated (lower right) 8 x 10 TheProvenance:inches.Artist,until 1977 Orlando Murden Richard Norton Gallery, Chicago Acquired from the above by the present owners, June 22, 2016 Chicago,Exhibited:Hyde Park Art Center, Gertrude Abercrombie, A Retrospective Exhibition, January 28 - March 5, 1977, no. 94 Elmhurst, Illinois, Elmhurst Art Museum, Gertrude Abercrombie: Portrait of the Artist as a Landscape, January 20 - March 4, 2018 (also travelled to Springfield, Illinois State Museum, March 23 - June 15, 2018) New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 RobertLiterature:Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, pp. 479; 487, illus. $40,000 - 60,000
70 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER 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 Fine Art Estates, Appraisals & Business Development THEA @HINDMANAUCTIONS.COMTHEAANDRUS312.280.1212FINECATALOGUERANDRUSART Offices
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DIRECTOR, SENIOR SPECIALIST KATIE@HINDMANAUCTIONS.COMSALLYKLARRHAMMONDGUILBAULT, G.G. 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 COUTURE & LUXURY ACCESSORIES TIMOTHY DIRECTOR,LONGSENIOR SPECIALIST DEPARTMENTMARIELLECATALOGUERTANNER@HINDMANAUCTIONS.COMTIMOTHYLONGBRANSONEPSTEINCOORDINATOR SPORTS MEMORABILIA JAMES DIRECTOR,SMITHSENIOR SPECIALIST DEPARTMENTJOSHUA@HINDMANAUCTIONS.COMJAMESSMITHMCCRACKENCOORDINATOR MARKETING ASHLEY GALLOWAY VICE PRESIDENT PHOTOGRAPHY ZOË DIRECTORBARE*OF PHOTOGRAPHY DAVID 8/8/22*HARLEYCORYDALLASRACHELBILLMIKELIBBYAMELIADEOGRACIASLIMCHADCARMENAVERYGABBYPHOTOGRAPHYJACKSONSUPERVISORBOSHARACAMPBELLCOLOME*FEIERSTONEHWOANGLERMAMOOREMOOREREINDERSROSSSMITHTOLENTINOTOWEWINCELEADPHOTOGRAPHYTEAMFORSALE1075 Inquiries
72 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER Upcoming Auction Schedule 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 ARTS 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 POSTWAR1058& 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 WATCHES1085 OCTOBER 12 | CHICAGO | LIVE + ONLINE SALE IMPORTANT1108 JEWELRY DECEMBER 13 | CHICAGO | LIVE + ONLINE Nathaniel Mary Quinn (American, b. 1977) Untitled (Portrait of the Artist’s Mother), 2000 To be offered in the September 28, Post-War & Contemporary Art sale $60,000 - 80,000
Bidding Increments Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The standard bidding increments are: $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
GUIDE FOR PROSPECTIVE SELLERS
Updated 4/8/22
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 definitive. All pre-sale estimates are subject to revision.
In-House Bidding
GUIDE FOR PROSPECTIVE BUYERS
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.
Evaluation of Property
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.
Condition Reports
Bidding at Auction
Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.
Telephone Bidding
Conditions of Sale
Shipping Arrangements 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.
Absentee Bidding
All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.
The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.
If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.
Guide for Prospective Sellers and Buyers
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.
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.
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-five 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 five percent (5%) of the reserve price.
Standard Commission Rates
73FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $300 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.
Viewing Auction Items
B. REGISTERING TO BID 1. GENERAL We reserve the right to reject any bid. By participating in the sale, you represent and warrant that: (a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and (c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation.
New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity.
1. LOT DESCRIPTIONS AND WARRANTIES
3. RETURNING BIDDERS If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction.
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.
5. BIDDING IN THE SALEROOM If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction.
7. CREDIT CARD AUTHORIZATION HOLD
(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 find a Written Bid Form at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.
6. OUR BIDDING SERVICES We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services.
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.
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.
Conditions of Sale
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.
(a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.
C. DURING THE AUCTION 1. BIDDING IN THE AUCTION (a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (b) Online Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.
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.
These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction.
A. BEFORE THE AUCTION
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.
2. NEW BIDDERS
4. ESTIMATES
74 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
3. VIEWING LOTS
We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping purposes.
(c) Timed Auctions. Bids may only be submitted on our website between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.
4. BIDDING FOR ANOTHER PERSON
2. CONDITION
5. WITHDRAWAL
(a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot. (b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be
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.
2. AUCTIONEER’S DISCRETION
75FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
(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.
(e) We can reveal your identity and contact details to the seller. (f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids. (g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us.
(d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).
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-five 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.
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.
5. TRANSFERRING RISK TO YOU
Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse.
4. SUCCESSFUL BIDS AND INVOICES Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges. Please note that Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Hindman prior to the sale.
The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).
6. YOUR FAILURE TO PAY If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion: (a) We can charge interest from the due date at a rate of up to one and one-half percent (1.5%) per month on the unpaid amount due.
3. BIDDING ON BEHALF OF THE SELLER
(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.
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.
(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.
3. MAKING PAYMENT
(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.
(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. (ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed.
7. SHIPPING, COLLECTION, AND STORAGE
(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.
4. TRANSFERRING OWNERSHIP 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) 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 specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot.
8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES
2. TAXES
(iv) Credit card: Credit card payments may not exceed $10,000 and a convenience fee of 3% will be added to each credit card payment. (v) ACH Bank Transfer (d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department.
(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type.
Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows:
(a) 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.
(c) It does not apply to any Heading or part of a Heading that is qualified. “Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty.
3. ADDITIONAL WARRANTY FOR BOOKS If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following (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 identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale.
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.
(c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use. (d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap.
(d) It applies to the Heading as amended by any saleroom notice.
(g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else.
6. YOUR WARRANTIES
(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.
E. WARRANTIES 1. SELLER’S WARRANTIES
(f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot.
(b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report. (c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent.
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
(e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion.
(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.
(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.
For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.
76 CASTING SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER
(a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty.
responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.
The gemological laboratories only report on the improvements or treatments known to them at the date they make the report.
(h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.
5. WATCHES AND CLOCKS
(b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue.
(i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses.
2. OUR LIMITED AUTHENTICITY WARRANTY
(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.
warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct. Update 1/1/22
(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.
(f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.
(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.
4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected.
We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.
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 figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot. Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law.
(b) “Attributed to” means, in our opinion, a work probably by the artist.
1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.
G. OTHER TERMS
(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.
(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.
6. PERSONAL INFORMATION We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.
7. WAIVER No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.
laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.
8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.
3. COPYRIGHT
5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.
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.
77FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM
(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.
2. RECORDINGS
(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.
F. OUR LIABILITY TO YOU
reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned.
UPPERCASE type: type having all capital letters.
Upcoming Auction | Sale 1058 PostWar & Contemporary Art September 28 | Chicago | 10am CT John Wilde (American, 1919 - 2006) Shirley Measuring the Herbs (Shirley in the Kitchen Series #4), 1974 To be offered in the PostWar & Contemporary Art Sale September 28, 2022 Estimate: $8,000 - 12,000 INQUIRIES Joseph Stanfield Vice President, Senior Specialist, Fine Art josephstanfield@hindmanauctions.com312.600.6063 HINDMANAUCTIONS.COM
2022SEPTEMBER28|MAURERGARYANDLAURAOFCOLLECTIONABERCROMBIEGERTRUDETHESPELLS:CASTINGNO.1123
