Sale 1150 | Figuratively Speaking

FIGURATIVELY SPEAKING

SALE 1150

10 February 2023

10am CT | Chicago

Lots 1–95

HIGHLIGHTS PREVIEW

Auction Room and Galleries 1550 West Carroll, Suite 106, Chicago, IL

February 3–10 10:00–5:00pm Monday–Friday 10:00–3:00pm Saturday

PROPERTY PICK UP HOURS

Monday - Friday | 9:00am–4:00pm By appointment 312.280.1212

All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale.

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

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FIGURATIVELY SPEAKING

LOTS 1–94

PROPERTY FROM THE COLLECTIONS OF

Property from a Private Collection, Chicago, Illinois

Property from the Collection of Dominic Pangborn, Grosse Pointe, Michigan

Property from the Collection of Mary M. Woodward

Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois

Property from the Collection of Raquelle Azran

Property from the Collection of Sanford Edward Cohen

Property from the Collection of the National Council of Jewish Women, St. Louis, Missouri

Property from the Florence Arquin Collection

PROPERTY FROM THE ESTATE OF

Property from the Estate of a Renowned Art Dealer, New York City, New York

PROPERTY SOLD TO BENEFIT

Sold to Benefit the Acquisition Fund of the Indianapolis Museum of Art at Newfields

Property of an Important Midwestern Institution to Benefit the Acquisitions Fund

OPPOSITE

Lot 66

Florence Arquin: With Frida’s Love

Widely known for her expertise in Latin American studies, Florence Arquin (1900-1974) went by additional titles, including that of painter, documentary photographer, educator, writer, and critic. Originally from New York City, she initially studied medicine and around 1918 worked at the labs at University of Chicago. However, Arquin switched career paths after her brother, a doctor, died during the spinal meningitis epidemic of the mid-1920s in Chicago. She eventually graduated with a degree in art education from the School of the Art Institute of Chicago in 1933. Throughout the early 1930s, Arquin served as an arts educator in Chicago area schools, and from 1935-39, worked for the Federal Art Project in Illinois. In 1939, she joined the School of the Art Institute of Chicago to develop education programs for secondary school students. Arquin also participated in many of the local art exhibitions, including the Art Institute’s Chicago and Vicinity shows and the Chicago Society of Artists. Her involvement with the Chicago art scene led to friendships with other artist-educators in the area, including Kathleen Blackshear and Ethel Spears.

In the early 1940s, Arquin traveled to Mexico to pursue postgraduate studies at the National University of Mexico in Mexico City. It was here that she developed friendships with Diego Rivera, Frida Kahlo, Wolfgang Paalen, Alice Rahon, and Carlos Mérida, among others. In 1943, a solo exhibition of Arquin’s work was held at the Benjamin Franklin Library in Mexico City. The exhibition catalog’s introduction included praise by Rivera, who lauded Arquin’s “ardent work and exuberance of style,” stating, “Florence Arquin sees with every pore of her skin. Her nerves absorb the vibration of color, the inflections of the forms, the quality of the earth, of the air, and of the light, for the purpose of synthesizing all of these in her painting.” Arquin would go on to write about the artist’s formative years in Diego Rivera: The Shaping of an Artist, 18891921, published in 1971 by the University of Oklahoma Press.

From 1945 to 1951, Arquin was Director of the Kodachrome Slide Project, part of the Department of State. In this role, she traveled to Brazil, Bolivia, Peru, and Ecuador to photograph the life and culture of these countries. The slides and lectures acted as visual supports for schools and institutions to teach Latin American art and culture and promote the United States policy of Pan-Americanism. Under another State Department grant, duplicates of Arquin’s photographs were made available to purchase. After the State Department deaccessioned the slides, Arquin sold them in 1964 to Florida Atlantic University, along with new slides she had taken in the intervening years of Latin America, Morocco, Spain, Portugal, and other European countries.

Arquin’s vast collection of images include those of Rivera and Kahlo at home, which are now housed in the Smithsonian Museum’s Archive of American Art and the Frida Kahlo Museum in Mexico. Additional slides include documentation of Rivera’s work, including his portrait of Arquin herself. The friendship between Kahlo and Arquin is further demonstrated by Diego y yo, 1949, painted by Kahlo and with an inscription on the verso to Arquin and her husband Samuel Williams: “For Florence and Sam with Frida’s love. Mexico, June 1949.” On November 16, 2021, this self-portrait sold at Sotheby’s for $34.9 million, the highest price achieved at auction by Kahlo and the record price for a Latin American artist. Florence and Samuel married in Chicago in 1922, and he occasionally accompanied her on her travels. After Arquin’s death in 1985, Samuel married Carol Williams, who is pleased to share with the public many of the artworks in Hindman Auction’s sale, Figuratively Speaking.

1 John Buck (AMERICAN, B. 1946)

Mountain Home, 1983

acrylic on wood and canvas

signed John Buck, dated and titled (verso, red figure); titled (verso, canvas)

83 1/2 x 117 1/2 inches (canvas); 78 1/2 x 23 5/8 x 17 1/2 inches (red figure); 68 1/4 x 14 3/4 x 11 1/2 inches (blue form and base)

Property from the Collection of Sanford Edward Cohen

Provenance:

Hansen Fuller Goldeen Gallery, San Fransisco

Bank of Hawaii, Honolulu, Hawaii

Thurston Twigg-Smith, Honolulu, Hawaii

Sold: Butterfields, San Francisco, October 27, 1999, lot 1183

$7,000 - 9,000

2 Kcho (CUBAN, B. 1970)

Al Borde del Abismo, 2004 mixed media

Largest: 7 3/8 x 8 1/2 x 7 1/4 inches.

$2,000 - 3,000

Property of an Important Midwestern Institution to Benefit the Acquisitions Fund

Provenance: Janet Marqusee Fine Arts, New York

$800 - 1,200

3 Albert Puhala (AMERICAN, 1904-1993) The Roundhouse oil on masonite initialled AP (lower right) 12 x 16 inches.

4 Florence Arquin (AMERICAN, 1900-1974)

Untitled (City View with Churches) pastel and gouache on paper signed ARQUIN (lower right) 23 1/4 x 17 3/4 inches.

Property from the Carol Williams Collection

Provenance:

The Artist Samuel A. Williams, husband of the above Thence by descent to the present owner

$500 - 700

5 Georges Hugnet (FRENCH, 1904-1974)

Sur le Chemin du retour, Daisy tombe pour la troisième fois, 1947 collage of halftone prints, mounted to board 8 7/8 x 6 1/2 inches.

Property from a Private Collection

Provenance: Zabriskie Gallery, New York, 1984

Sold: Auction Art Rémy Le Fur & Associés, November 17, 2018, lot 22

Private Collection, Switzerland

Exhibited:

Paris, France, Galerie Zabriskie, Georges Hugnet: Artist, Poet, Critic, March 1 - April 4, 1984 New York, New York, Zabriskie Gallery, Georges Hugnet: Artist, Poet, Critic, April 24 - June 1, 1984

Literature:

Georges Hugnet and Henri Mercher, Huit jours à Trébaumec: journal de vacances orné de 82 photographies prises par láuteur en 1947, Paris: Mercher, 1969, n.p., illus.

Pepe Karmel, George Hugnet: Artist, Poet, Critic, New York & Paris: Zabriskie Gallery, 1984, n.p., illus.

$3,000 - 5,000

6 Mel Ramos (AMERICAN, 1935-2018) Baby Ruth, 1981 lithograph signed and numbered 121/250 in pencil 24 1/2 x 20 inches.

$1,500 - 2,500

Includes:

7 Mel Ramos (AMERICAN, 1935-2018)

Mel Ramos (complete portfolio of four prints with original cloth case), 1974 collotypes signed, dated, and numbered 107/200 in pencil each 14 1/2 x 22 1/2 inches.

Manet’s Olympia Navajo Nudo

Touche Boucher

You Get More Salami with Modigliani $2,000 - 4,000

8 John Pratt (AMERICAN, 1911-1986) Untitled  tempera on board 8 x 10 inches.

$2,000 - 4,000

9 Thelma Confer (AMERICAN, 1924-2013)

The Tube (Portrait of Bezie Droege and Jerome Sikorksi), 1971 oil on canvas signed T Confer (lower right) 42 x 54 inches.

Sold to Benefit the Acquisition Fund of the Indianapolis Museum of Art at Newfields

Provenance: Gifted by the Artist to the present owner  $500 - 700

10

Kathleen Blackshear (AMERICAN, 1897-1988)

Portrait (Florence Arquin) oil on canvas 30 1/4 x 24 inches.

Property from the Carol Williams Collection

Provenance: The Artist

Florence Arquin

Sam A. Williams, husband of the above

Thence by descent to the present owner

Exhibited: Chicago, Illinois, Art Institute of Chicago, ThirtySeventh Annual Exhibition by Artists of Chicago and Vicinity, January 12 - March 5, 1933

$2,000 - 4,000

11

Portrait of Florence Arquin, 1946 oil on board signed JSabogal, dated, and inscribed A Florencia Arquin, su amigo (lower left)

20 1/4 x 16 1/2 inches.

Property from the Carol Williams Collection

Provenance: The Artist Florence Arquin, gift from the Artist Sam A. Williams, husband of the above

Thence by descent to the present owner

$1,000 - 2,000

12

23 1/4 x 29 1/2 inches.

$8,000 - 12,000

Jose Sabojal (PERUVIAN, 1888-1956)

Rafael Coronel (MEXICAN, B. 1932)

Niño, 1980 oil on canvas signed Rafael Coronel (lower left)

Provenance:  Edward Thorp Gallery, New York

Exhibited:  New York, New York, Edward Thorp Gallery, Kunsthaus, September 10 - October 15, 2016

$500 - 700

13 Mary Jo Vath (AMERICAN, B. 1956) Deaf Cat, 1987 oil on masonite 12 x 12 inches.

14

William Wegman (AMERICAN, B. 1943)

Game Board , 2003 archival pigment print on cotton rag paper with luster finish singed and numbered 181/250 in ink 10 x 8 inches.

$1,500 - 2,500

15 Alec Monopoly (AMERICAN, B. 1986) Do Not Enter, 2013 spray paint on street sign signed ALEC with stencil (lower right) 18 x 18 inches.

This lot is accompanied by a certificate of authenticity issued by the Artist. $4,000 - 6,000

16 Peter Saul (AMERICAN, B. 1934) Golden Gate Bridge, 1968

lithograph signed, dated and numbered 13/50 in pencil 22 5/16 × 29 9/16 inches.

$1,000 - 2,000

17 Elijah Burgher (AMERICAN, B. 1978) Chicago Fire, #2, 2016 colored pencil, ink, and gouache on paper signed (verso) 23 3/4 x 19 inches.

Provenance: Zieher Smith and Horton, New York

Exhibited: New York, The Drawing Center, For Opacity: Elijah Burgher, Toyin Ojih Odutola, and Nathaniel Mary Quinn, October 12, 2018 - February 3, 2019, cat. 7

$3,000 - 5,000

18

Property from a Private Collection, Chicago, Illinois

Provenance: Print Works, Chicago

$1,000 - 2,000

William Conger (AMERICAN, B. 1937)

Composition # 103, 2013 mixed media on paper signed W. Conger and dated (lower right) 6 1/4 x 6 1/2 inches.

19

Robert Middaugh (AMERICAN, B. 1935)

Vapor Dream oil on panel signed Middaugh (lower right); signed, titled, and dated (verso) 10 x 10 inches.

Property from a Private Collection, Chicago, Illinois

Provenance:

Gifted by the Artist to the present owner

Exhibited:  Chicago, Illinois, The Union League Club of Chicago, The First Union League Club Chicago Art Invitational, 1993

$500 - 700

20

Kim Fisher (AMERICAN, B. 1973) Straight Hair…, 2016 acrylic and dye on canvas signed Kim Fisher, dated, and inscribed (verso) 38 x 38 inches.

$2,000 - 4,000

21

Étienne Hajdu (FRENCH/HUNGARIAN, 1907-1996)

Untitled, 1956 marble inscribed Hadju and dated 20 1/4 x 13 5/8 x 7 7/8 inches.

$4,000 - 6,000

22 Diego Rivera

(MEXICAN, 1886-1957)

Men at Work, 1956 graphite on paper signed Diego Rivera, dated, and inscribed a Florence Arquin con todo mi amor (lower left) 11 1/2 x 8 1/4 inches.

Property from the Carol Williams Collection

Provenance: The Artist Florence Arquin, gift from the Artist Samuel A. Williams, husband of the above Thence by descent to the present owner

$4,000 - 6,000

Julio de Diego

(AMERICAN/SPANISH, 1900-1979)

Untitled

Property

Provenance:

Florence Arquin

Samuel A. Williams, husband of the above

Thence

$1,000 - 2,000

, 1943 mixed media on paper signed de Diego and dated (lower right) 9 1/2 x 12 inches.

from the Carol Williams Collection

by descent to the present owner

24

Wesley Willis (AMERICAN, 1963-2003)

The Skyline of Chicago, 1986, S. Michigan Av. marker and ink on Crescent board signed Wesley Willis, titled, dated, and inscribed (upper center) 28 x 38 7/8 inches.

Provenance:

Acquired directly from the Artist

Thence by descent to the present owner

$800 - 1,200

25

Wesley Willis (AMERICAN, 1963-2003)

The Dan Ryan Expressway, 51st Street, 1986 marker and ink on Crescent board signed Wesley Willis, titled, and dated (center right) 28x 39 inches.

Provenance:

Acquired directly from the Artist

Thence by descent to the present owner

$800 - 1,200

26

Wesley Willis (AMERICAN, 1963-2003)

The Dan Ryan Expressway, 1985, 51st St. marker and ink on Crescent board signed Wesley Willis, titled, dated, and inscribed (upper left) 27 7/8 x 39 inches.

Provenance:

Acquired directly from the Artist Thence by descent to the present owner

$800 - 1,200

Chart July 23 - July 29, 2006

Danica Phelps (AMERICAN, B. 1971)

pencil and watercolor on paper 29 1/2 x 22 inches.

$1,000 - 2,000

Danica Phelps (AMERICAN, B. 1971)

Chart July 30 - August 5, 2006

pencil and watercolor on paper 29 1/2 x 22 inches.

$1,000 - 2,000

Provenance:

Ethel Spears (AMERICAN, 1903-1974) Department Store watercolor and graphite on paper signed ETHEL SPEARS (lower right) 13 x 10 1/4 inches.

Property from the Carol Williams Collection

Florence Arquin

Samuel A. Williams, husband of the above Thence by descent to the present owner $1,000 - 2,000

30 Florence Arquin (AMERICAN, 1900-1976) Market

mixed media on board signed ARQUIN (upper center) 20 x 24 inches.

Property from the Carol Williams Collection

Provenance: The Artist Samuel A. Williams, husband of the above Thence by descent to the present owner $500 - 700

Structure

$2,000 - 4,000

Property

$10,000 - 15,000

31 Flore (AMERICAN, B. 1983)

Written in Red Ink (Love), 2017 acrylic and oil stick on canvas signed Flore (lower left); signed, dated and titled (verso) 60 x 48 inches.

32 John Matos ‘Crash’ (AMERICAN, B. 1961)

No. 2, 1988 enamel spray paint, mixed media on canvas signed Crash Matos, titled and dated verso 107 1/2 x 28 inches.

from the Estate of a Renowned Art Dealer, New York City, New York

Provenance:

Artist

33 Ahol Sniffs Glue (CUBAN, B. 1980)

Pattern Untitled #12, 2013 ink on paper signed Ahol Sniffs Glue (verso) 24 x 19 inches.

The

Gregg Shienbaum Fine Art, Miami $1,500 - 2,500

34 John Himmelfarb (AMERICAN, B. 1946) UNION, 2007 acrylic on canvas signed John Himmelfarb, titled and dated (verso) 12 x 16 inches.

Property from a Private Collection, Chicago, Illinois $300 - 500

35

Michael Noland (AMERICAN, B. 1958) Desert Hybrid, 2000 oil on canvas signed M. Noland, titled and dated (verso) 13 x 10 inches.

Property from a Private Collection, Chicago, Illinois

Provenance: Carl Hammer Gallery, Chicago

$500 - 700

36

Kathleen Blackshear (AMERICAN, 1897-1988) Untitled watercolor and gouache on paper 29 x 21 1/2 inches.

Property from the Carol Williams Collection

Provenance: Florence Arquin

Samuel A. Williams, husband of the above Thence by descent to the present owner

$1,500 - 2,500

37 Florence Arquin (AMERICAN, 1900-1976)

Still Life with Fruit oil on canvas signed ARQUIN (center right) 36 x 22 inches.

Property from the Carol Williams Collection

Provenance: The Artist Samuel A. Williams, husband of the above Thence by descent to the present owner

Exhibited: San Francisco Museum of Art, c. 1940s (partial label)

$1,000 - 2,000

38 Mr. Imagination (AMERICAN, 1948-2012)

Self Portrait Bottlecap Guitar, 2006 bottlecaps and mixed media on found guitar signed Mr. Imagination, dated, and inscribed  One of a Kind U.S.A. (verso) 43 x 16 x 5 inches.

Property from a Private Collection, Chicago, Illinois

$3,000 - 5,000

39 Lee Godie (AMERICAN, 1908-1994)

We Own

Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois

Provenance: The Artist

Estate of Lee Godie

Thence

$1,000 - 2,000

Chicago

ink, watercolor, and crayon double-sided folio on poster board signed Lee Godie (lower right) and titled (lower left) 22 x 14 inches.

by descent to the present owner, the Artist’s daughter

40 Lee Godie (AMERICAN, 1908-1994)

Staying Alive! ink and watercolor on poster board titled (upper left) 28 x 22 inches.

Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois

Provenance: The Artist Estate of Lee Godie

Thence by descent to the present owner, the Artist’s daughter

$800 - 1,200

41 Lee Godie (AMERICAN, 1908-1994)

Untitled ink and watercolor on poster board signed Godie (lower left) 28 x 22 inches.

Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois

Provenance: The Artist Estate of Lee Godie

Thence by descent to the present owner, the Artist’s daughter

$800 - 1,200

42 Lee Godie (AMERICAN, 1908-1994)

Untitled (Self-Portrait) ink, crayon, and photocollage on canvas signed Lee Murelist (center right) 17 1/2 x 14 inches.

Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois

Provenance: The Artist

Estate of Lee Godie

Thence by descent to the present owner, the Artist’s daughter

$1,500 - 2,500

Lee Godie (AMERICAN, 1908-1994)

Untitled (Woman with Grapes) double-sided ink and watercolor on stuffed pillowcase signed Lee (lower right); signed Lee Godie  (verso) 18 1/2 x 15 x 3 inches.

Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois

Provenance: The Artist Estate of Lee Godie

Thence by descent to the present owner, the Artist’s daughter

$1,500 - 2,500

44 Lee Godie (AMERICAN, 1908-1994)

John John and Yellow Canary double-sided ink, watercolor, and crayon on poster board signed Lee Godie, titled, and inscribed 28 x 22 inches.

Property from the Collection of Mrs. Bonnie Blank, Elgin, Illinois

Provenance: The Artist Estate of Lee Godie

Thence by descent to the present owner, the Artist’s daughter

$800 - 1,200

45

Untitled  pencil and watercolor on cardstock signed Stasys (lower right)

5 1/2 x 3 1/2 inches.

$1,000 - 2,000

Stasys Eidrigevičius (LITHUANIAN, B. 1949)

46

David Robilliard (AMERICAN, 1952-1988)

Untitled, 1986 ink on paper initaled DR and dated (lower right) 16 5/8 x 23 3/8 inches.

Provenance:

Hirschl & Adler Modern, New York

$1,000 - 2,000

47

Sidon Rothenberg (ISRAELI, 1937-2018)

Untitled (Figure), c. 1972 etching signed, titled and annotated A/P II in pencil 20 x 16 inches.

Property from the Collection of the National Council of Jewish Women, St. Louis, Missouri

Provenance: Safrai Gallery, Jerusalem, Israel

$500 - 700

48

We are grateful for the research conducted by Susan Weininger, Professor Emerita, Roosevelt University

Provenance: The Artist Hugh Cameron, gift of the Artist, Benton Harbor, Michigan Thence by descent to the present owner

Exhibited: Chicago, Illinois, Hyde Park Art Center, Gertrude Abercrombie, A Retrospective Exhibition, January 28 - March 5, 1977, no. 91

$7,000 - 9,000

Gertrude Abercrombie (AMERICAN, 1909-1977)

Self Portrait, 1968 pen and ink on paper signed Abercrombie and dated (lower right) 11 1/8 x 9 5/8 inches.

A Self Portrait of Myself

Abercrombie’s late pen and ink Self Portrait, 1968, is the last in a long line of images of herself done by the artist. She painted herself often and in various guises from her earliest known work, a 1929 image in the guise of Greta Garbo (location unknown); to the young, sweet woman in a watercolor of c. 1932 (Private Collection); to the Picasso-esque Self Portrait in Green (1938, Illinois State Museum); to the enigmatic Self Portrait of My Sister (1941, Art Institute of Chicago); to a very stern Self Portrait (1951, location unknown). In addition to these and numerous other self-portraits done throughout Abercrombie’s career, there are all the compositions in which she figures as a component, whether in a landscape, an interior space, or in some combination of the two. In one of her latest known works, For Once in My Life (1969, location unknown) her nude body is partially enclosed in a huge shell on a barren beach, combining two of the interior and exterior spaces that she painted throughout her career. The artist said, “It is always myself that I paint,” and this is borne out in a survey of her work.

The representation of Abercrombie’s features in this Self Portrait are close to those in her portrayals of three decades earlier, such as Self Portrait of My Sister. Even though she appears in photographs from the 1960s with age-appropriate wrinkles, filled out facial features, and sagging chin, she returns to an idealized youth in the present image. The sensitive pen strokes indicate that she may have a few wrinkles, but otherwise her skin appears taut and with the chiseled chin, long neck, and slim, strong shoulders so characteristic of her appearance in early portraits. Is this the way the artist saw herself or imagined herself at 59 years old? Even if she had not been experiencing the accelerated aging caused by a lifelong abuse of alcohol and the various physical ailments that beset her at this time of her life, the normal effects of growing older would have been visible. This drawing is consistent with the simplification and idealization characteristic of all the representations of herself.

Balancing the large portrait head on either side are a barren tree and a dark crescent moon seen against the white of the paper. These simple, emblematic details, personal symbols that Abercrombie used in her work repeatedly, enhance the image as well as alluding to the loneliness that afflicted her all her life. Executed late in the artist’s productive life and given to Hugh Cameron, a close friend, this drawing is a personal statement. The delicate pen and ink work provides a penetrating character study of a perpetually fascinating individual and is characteristic of Abercrombie’s ability to make compelling and revealing images from the most basic materials in the most efficient way.

Stranger Things Have Happened

Mysterious Stranger is dominated by the figure of a bearded man in a black top hat, maroon cape, and black pants who stands on a path that leads to an almost cubic house. A woman (Abercrombie herself) appears behind the open shutter of one of the windows, the rest of which are tightly closed. The only other details in the barren landscape are a tiny flowering bush on the left of the composition and a black cat on the right. These elements are familiar in the work of the artist, but as always, are arranged in a unique and original manner.

While Abercrombie often included a female figure that represented herself in her paintings, men make many fewer appearances. Apart from portraits, some done on commission, and a few images of her two husbands, the only other identifiable man that she painted was Abraham Lincoln. Although the facial features of the man in Mysterious Stranger do not look exactly like Lincoln, there is reasonable to believe that he should be identified as the revered President from Illinois. Abercrombie included Lincoln by name in a number of paintings, including Lincoln and Christine (1955, location unknown), an image of an interior space that contains a bust length portrait of a hatless Lincoln on the wall above where the cat Christine plays with a ball; Abe Lincoln (1942, location unknown), a conventional half-length portrait with his top hat resting upside down on a table next to him; and a smaller painting called Lincoln and Tower (Abe and Tower) (1954, location unknown) that was exhibited widely in the 1950s.

Mysterious Stranger is one of three paintings in which a top hatted figure is seen in a landscape, either approaching or retreating from a simple blocky structure. The male figure in each case wears a top hat and black clothing, and in one case, Pink Visit (Lincoln Paying a Call) (1945, private collection) is identified explicitly in Abercrombie’s title. In the other, The Visit (The Night Visit) (1944, location unknown), a woman peaks out from behind the curtains in a window at the front of the house, like that of the woman in Mysterious Stranger And the top hatted figure appears in yet one more guise, that of a magician, in such paintings as Levitation (1967, private collection) where he stands, arms at his sides behind a marble top table, above which a woman (Abercrombie) levitates.

Abraham Lincoln held a special place in Abercrombie’s heart. As a dedicated Midwesterner who spent her childhood in the small western Illinois town of Aledo and her adult life in Chicago, Lincoln represented values important to the artist. Not only was he a quintessential Midwesterner, beloved by many in the state, but Abercrombie, whose social circle included many Black people, may have found his role in ending slavery even more meaningful. The number of times he appears in her paintings attests to the symbolic importance she attributed to him.

Yet Mysterious Stranger is anomalous in several ways. The top hatted figure is not wearing the typical black suit, white shirt, and tie; he seems to be heading away from the house rather than to it; and the darkened eyes and visage give him a somewhat ominous look. At the same time, the woman looks patiently out the window as if to welcome him or to bid him goodbye. It is notable that Abercrombie encloses herself in an impenetrable space, with an unopenable door and tightly shut windows, except for the one she looks out of. This is consistent with the rooms Abercrombie painted throughout her career, austere and barren interiors linked metaphorically to her internal state. It is possible that the figure is meant to represent a combination of the ideal male, Lincoln, and her current husband, Frank Sandiford, who was all too human. Their 1948 marriage was already beginning to fray by 1953. The lack of communication between the figures extends to the cat (one of the artist’s alter egos) who holds up her paw as if to connect with the man but is isolated and surrounded by the green lawn. The blooming bush is the only sign of hope.

Typical of Abercrombie, the composition is seemingly simple and consists of limited elements arranged beautifully to advance the ideas in the artwork. The diagonal path rushes toward the house and divides the painting, which itself is balanced by the large man to the left and the woman at the window with the large cat directly below her to the right. The number above the door of the house is 1952, which may reference the date the artist began to work on the painting; it doesn’t relate to any address connected with the artist but is the kind of witty detail that is often included in her work. The minimal, unassuming quality of the work is deceptive. The painting’s ambiguity and inscrutability push the viewer to hold conflicting ideas in balance, and complicates what appears to be a simple scene, thus offering more with each encounter.

Gertrude Abercrombie (AMERICAN, 1909-1977)

The Mysterious Stranger (Man, House, and Lady), 1953 oil on masonite signed Abercrombie and dated (lower right) 16 1/4 x 19 3/4 inches.

We are grateful for the research conducted by Susan Weininger, Professor Emerita, Roosevelt University

Provenance:

The Artist

Hugh Cameron, Benton Harbor, Michigan, purchased from the Artist, 1954

Thence by descent to the present owner

Exhibited:

Chicago, Illinois, Hyde Park Art Center, Gertrude Abercrombie, A Retrospective Exhibition, January 28 - March 5, 1977, no. 67

Chicago, Illinois, State of Illinois Art Gallery, Gertrude Abercrombie, March 18 - May 17, 1991 (also traveled to Springfield, Illinois State Museum, July 28 - October 15, 1991), p. 93 New York, New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018

Literature:

Robert Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel,  Gertrude Abercrombie, New York, 2018, p. 347, illus.

$60,000 - 80,000

50

Gertrude Abercrombie (AMERICAN, 1909-1977)

Untitled (Stallion and Shed), 1963 oil on masonite signed Abercrombie and dated (lower left) 8 x 10 inches.

We are grateful for the research conducted by Susan Weininger, Professor Emerita, Roosevelt University

Provenance:

Hugh Cameron, Benton Harbor, Michigan

Thence by descent to the present owner

Exhibited:

Chicago, Illinois, Hyde Park Art Center, Gertrude Abercrombie, A Retrospective Exhibition, January 28 - March 5, 1977, no. 79

Chicago, Illinois, State of Illinois Art Gallery, Gertrude Abercrombie, March 18 - May 17, 1991 (also traveled to Springfield, Illinois State Museum, July 28 - October 15, 1991), p. 95 (as Untitled)

New York, New York, Karma, Gertrude Abercrombie, August 9September 23, 2018 (as Station and Shed)

Literature:

Robert Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, p. 445, illus. (as Station and Shed)

$50,000 - 70,000

A Blue Ribbon Horse

Untitled (Stallion and Shed) is a spare image of a shed with a window through which we see a female figure, representative of Abercrombie. The head of a horse emerges from the right side of the building, while the tail end of the horse is seen on the left. This minimal scene partakes of the surreal and humorous qualities often included in many of Abercrombie’s works. For example, in Screen, Shadow, and Cats (1950, Illinois State Museum, Springfield) the head of a black cat emerges from the right side of a large screen while the rear of the cat follows behind on the left. In a slightly more complicated version of the split animal, in Blue Screen (1945, formerly Maurer Collection) a cat emerges from behind the screen in a room, while a cat disappears behind the screen in a painting on the wall. With its green, grassy ground and dark backdrop, the austere setting of the present artwork depicts limited details, including a narrow path that leads to and from the shed where the horse/s presumably would enter and exit, and a curved chimney pipe on the roof.

While horses and simple architectural structures are common in Abercrombie’s work, this is a unique combination of familiar elements. The white horse in Abercrombie’s world is sometimes a reference to the ideal partner. In this case the woman is situated in the center between the divided animal, presiding over a broken relationship. It may be significant that her divorce from Frank Sandiford was made official in 1964. As always, the artist is powerful and in charge.

The composition is thoughtful and skillfully balanced, with the protagonist in the center, her blue dress echoed in the blue ribbon on the tail of the horse. The figure holds a branch shaped liked a dowsing rod, a detail that references Abercrombie’s love of magic; its downward angle resonates with the upward angle of a subtle crack in the façade. The odd, curved pipe emerging from the ceiling of the shed is balanced by the diagonally placed stone in front of the building. The brilliant turquoise, a color Abercrombie favored, draws the eye, and links the parts of the painting. Done with care, the separate elements join magic, mystery, and humor into one composition.

51 Bill Sawyer (AMERICAN, 1936-2020) Mister, will you come back? oil on masonite signed Bill Sawyer and titled (verso) 17 x 21 inches.

Property from the Collection of Mary M. Woodward $3,000 - 5,000

52

Florence Arquin (AMERICAN, 1900-1974)

Texas Negro Cabin gouache on paper signed ARQUIN (lower right) 19 3/4 x 27 inches.

Property from the Carol Williams Collection

Provenance: The Artist Samuel A. Williams, husband of the above

Thence by descent to the present owner

Exhibited: Chicago, Illinois, Art Institute of Chicago, Twentyfirst International Exhibition of Water-Colors, May 14 - August 23, 1942

$500 - 700

53

Ethel Spears (AMERICAN, 1903-1974)

Punch and Judy, Tuilleries Gardens, Paris watercolor on paper signed Ethel Spears, titled, and inscribed To Florence (lower edge)

19 3/4 x 25 1/2 inches.

Property from the Carol Williams Collection

Provenance: The Artist Florence Arquin, gift from the Artist Samuel A. Williams, husband of the above Thence by descent to the present owner

$500 - 700

54 Ethel Spears (AMERICAN, 1903-1974)

Galena gouache and watercolor signed ETHEL SPEARS (lower right); signed, titled, and inscribed (verso) 21 3/4 x 30 inches.

Property from the Carol Williams Collection

Provenance:

Florence Arquin

Samuel A. Williams, husband of the above

$1,500 - 2,500

Thence by descent to the present owner

Untitled, 1946 gouache on paper signed Alice Rahon, dated, and inscribed for Florence Arquin cariñoso (lower right) 10 1/4 x 14 1/2 inches.

Property from the Carol Williams Collection

We are grateful to Dr. Salomón Grimberg for his assistance in cataloguing this lot.

Provenance:

The Artist Florence Arquin, gift from the Artist Samuel A. Williams, husband of the above Thence by descent to the present owner

$7,000 - 9,000

55 Alice Rahon (FRENCH/MEXICAN, 1904-1987)

Property from the Carol

Provenance: The

$500

56 Florence Arquin (AMERICAN, 1900-1974)

Untitled oil on paper signed ARQUIN (lower left) 20 x 14 inches.

Williams Collection

Artist Samuel A. Williams, husband of the above Thence by descent to the present owner

- 700

A Shell for Hugh Cameron

In the early 1950s, Gertrude Abercrombie was encouraged by her friend, the artist John Wilde, to paint more carefully and with more detail. As a result, she became interested in still life painting, often lavishing attention on the objects she chose to create extremely naturalistic images. She tried, sometimes successfully, to achieve this goal; in late 1951 Abercrombie wrote to Wilde that she wished he could see the shells she was painting, so she must have been proud of her achievements in this area. A beautiful, highly detailed painting of shells on a beach by Wilde, dated 1951 (now in the Madison Museum of contemporary Art), was in her estate and must have provided her with firsthand inspiration. In 1952, Abercrombie made the present small painting for her friend Hugh Cameron.

In addition, in the early part of the decade, Abercrombie worked assiduously, necessitated at least in part by concerns over money. Her marriage to Bob Livingston, a lawyer and good provider, ended in 1948 and she married Frank Sandiford, a petty criminal turned record store salesperson, which changed her economic situation. She produced numerous tiny paintings, often of single shells, that were sometimes made into pins or brooches with frames of the artist’s design fabricated by a jeweler and sold at local art fairs. These could be produced relatively rapidly and were very popular. Archival records indicate that many of these minute paintings, such as this one, were made for, and given as presents to, her good friends. Very small shell paintings were made as special gifts for artist friends Karl Priebe, Jerry Karidis, and Frances Strain Biesel; family members such as her cousin Maurine Campbell; jazz great Dizzy Gillespie; and friends Bill O’Nan and Esther Wilcox. Hugh Cameron was a close friend from the 1950s until the end of Abercrombie’s life and owned a number of her works.

The shell was a significant subject for Abercrombie, who was drawn to interior spaces from an early point in her career. She often painted the austere interior that was her own room and which represented a kind of prison, corresponding to her own feelings of entrapment, insecurity, and loneliness. The shell is another kind of room, a simple space from which there is no escape, echoing the constructed spaces she so often represented. Abercrombie almost certainly had a collection of shells on which she modelled her paintings and there are several types that recur regularly. Shells such as this conch are seen alone and as part of more complicated still life compositions. For example, this shell, with its small irregular break that looks like a tiny window, makes an appearance in the large Shell and Drape, 1952 (formerly Maurer Collection, Chicago). Although Abercrombie used many of the same elements in her paintings, she did not usually repeat a composition. One of the ways she distinguished the small paintings of single shells was by varying the backgrounds and the size relationship between setting and shell. This Shell is set on a black surface against a pink background. It is significant that Hugh Cameron owned another painting by Abercrombie that has the same color scheme, but with a different kind of shell as the subject. This tiny painting attests to Abercrombie’s care and attention to even the smallest objects she created.

SPEAKING

Gertrude Abercrombie (AMERICAN, 1909-1977)

Shell (HUGH) oil on masonite signed Abercrombie (lower right) and inscribed HUGH (upper center) 1 x 1 inches.

We are grateful for the research conducted by Susan Weininger, Professor Emerita, Roosevelt University

Provenance: The Artist

Hugh Cameron, Benton Harbor, Michigan, gift from the Artist Thence by descent to the present owner

Exhibited:

New York, New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018 (as Shell Miniature)

Literature:

Robert Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel, Gertrude Abercrombie, New York, 2018, p. 396 (as Shell Miniature)

$10,000 - 15,000

58

Gertrude Abercrombie (AMERICAN, 1909-1977)

Coffee Mill, 1964 oil on masonite signed Abercrombie and dated (lower right) 15 5/8 x 19 7/8 inches.

We are grateful for the research conducted by Susan Weininger, Professor Emerita, Roosevelt University

Provenance:

Gilman Galleries, Chicago

John Clarke

Miriam Andreas

Hugh Cameron, Benton Harbor, Michigan

Thence by descent to the present owner

Exhibited:

(probably) Chicago, Gilman Galleries, Primitives,1965

Chicago, Illinois, Hyde Park Art Center, Gertrude Abercrombie, A Retrospective Exhibition, January 28 - March 5, 1977, no. 85

Chicago, Illinois, State of Illinois Art Gallery, Gertrude Abercrombie, March 18 - May 17, 1991 (also traveled to Springfield, Illinois State Museum, July 28 - October 15, 1991), p. 95 New York, New York, Karma, Gertrude Abercrombie, August 9 - September 23, 2018

Literature:

Robert Storr, Susan Weininger, Robert Cozzolino, Dinah Livingston, Studs Terkel,  Gertrude Abercrombie, New York, 2018, p. 457, illus.

$60,000 - 80,000

Coffee for One

Coffee Mill, 1964, (also titled Coffee Grinder by the artist) is a striking image of an antique coffee mill, the most elaborate of a few she made of this object, which was probably one of her own possessions. It falls into the same category as several other antique objects that she painted with great care in the mid 1950s: the Old Phonograph, called Inheritance in its largest iteration (Blake School, Minnesota, 1955); and Old Telephone, a wall mounted wooden contrivance. These objects, like the ubiquitous cats, gloves, carnations, and white stoneware in her work, take on personal significance and become stand-ins for the artist, whose work is always about herself on some level.

The painting called Inheritance provides a clue to the further importance of this kind of object. This is a family heirloom with links to the Victorian past, a period that was of importance to Abercrombie, who collected and often included her own Victorian furniture and objects in her work. That these items were part of her connection to her own past makes the personal element evident and important. These were not just inanimate objects but a reflection of the artist’s life and family. While the coffee mill is simply a useful object made striking in Abercrombie’s composition, the other two antiques are communication devices, silenced in her paintings of them.

Like many of the artist’s work, Coffee Mill consists of a select few elements aside from its subject. The central object sits on a pink marble surface on which the only other item is a simple white egg. According to Don Baum, the gray background seen in the composition was formulated by Abercrombie from cerulean blue and burnt umber to create a unique and unusual hue. The marble topped table, which appears in many of her works, usually as a surface on which magic occurs, was also a real possession. Eggs appear in numerous still lifes beginning in the 1950s and serve as an enclosure paralleling the closed rooms she painted throughout her career, a metaphor for her own isolation and inability to connect. The painting conveys both her powerful connection to the past, especially to her extended family in Aledo, Illinois, where some of these objects originated, as well as her feeling of loneliness. Holding two conflicting ideas at one time contributes to the power, mystery, and resonance of the present work.

The painting is done in the careful and precise style she practiced at her best in the 1950s and 1960s. The elegant color scheme, juxtaposing the gray veined pink marble, the shiny gray metal bowl of the coffee grinder, and its gray shadow with the matte gray background helps to balance the painting. The careful creation of the grinder and the egg as fully realized, three dimensional objects are evidence of Abercrombie’s technical skill and add additional stability to the composition. This is characteristic of the deceptive simplicity typical of Abercrombie’s work, layered with meaning, ambiguity, and mystery.

59 Henry Faulkner (AMERICAN, 1924-1981) Lemon Festival – Taormina oil on board signed Faulkner (lower left) and titled (verso) 17 3/4 x 9 3/4 inches.

$4,000 - 6,000

60 Julia Thecla (AMERICAN, 1896–1973) Young Crow, 1943

gouache signed Julia Thecla (lower right); dated (lower left) 10 x 8 inches.

This lot is located in Chicago.

Provenance: Miriam Edwards, Chicago

Exhibited:

Springfield, Illinois, The Illinois State Museum, Julia

Thecla, November 11, 1984 - February 17, 1985, no. 33

Chicago, Illinois, State of Illinois Art Gallery, Julia Thecla, June 2 - July 25, 1986, no. 33

$2,000 - 4,000

Cats, 1986 watercolor and

(lower left); initialed and dated (lower right)  14 1/2 x 21 1/2 inches.

Property from the Collection of Raquelle Azran

Provenance:

Purchased directly from the artist by current owner

$3,000 - 5,000

Year of the Tiger, 1998 gouache on newspaper initialed and dated (lower right); titled and dated (center left)  15 7/8 x 12 inches.

Property from the Collection of Raquelle Azran

Provenance:

Purchased directly from the artist by current owner

$3,000 - 5,000

61 Julia Thecla (AMERICAN, 1896-1973)

Untitled (Monkeys), 1934 gouache on board signed Julia Thecla and dated (lower right) 6 1/4 x 15 1/4 inches.

$2,000 - 4,000

62 Nguyen Tu Nghiem (VIETNAMESE, 1918-2016)

pastel on paper signed Nghiem

63

Nguyen Tu Nghiem (VIETNAMESE, 1918-2016)

64 Attributed to Jesus Reyes Ferreira (MEXICAN, 1882-1977)

St. George oil and gold paint on unknown support 28 1/2 x 18 inches.

Property from the Carol Williams Collection

Provenance:

Florence Arquin

Samuel A. Williams, husband of the above

Thence by descent to the present owner

$800 - 1,200

65 George Dergalis (AMERICAN, B. 1928)

Untitled (Abstraction), 1974 oil on canvas signed G. Dergalis and dated (lower right) 31 x 52 inches.

$500 - 700

66 Wolfgang Paalen (AUSTRIAN/MEXICAN, 1905-1959)

Untitled, 1943 oil on canvas initialed WP and dated (lower left); dated and inscribed à Florence Arquin son ami Wolfgang Paalen Mexico (verso) 21 3/4 x 18 inches.

Property from the Carol Williams Collection

Dr. Andreas Neufert has confirmed the authenticity of this work.

Provenance:

The Artist

Florence Arquin, gift from the Artist

Sam A. Williams, husband of the above

Thence by descent to the present owner

$40,000 - 60,000

Scenes for a Sorcerer (You Never See the Witches)

The roster of our Figuratively Speaking sale reads like a veritable Who’s Who of some of the key players of the twentiethcentury Mexican avant-garde—Wolfgang Paalen, Alice Rahon, and Diego Rivera, among others—as collected by Florence Arquin, the noted collector, critic, educator, and celebrated artist in her own right. Arquin, though born in New York, spent much of her life and career in Chicago, Mexico, and traveling through Latin America, employing her experiences as an artist, a friend, and confidant of important artists in Mexico such as Frida Kahlo and Diego Rivera, and her travels to champion the study of Mexican and Latin American art in the United States.

Hindman is pleased to offer these works from the Florence Arquin Collection, many of which feature gifts from her circle of friends that, in addition to emphasizing the intricacies of the social web of this artistic community, are relics from crucial moments in their careers. This is particularly clear in the works offered by Wolfgang Paalen and Alice Rahon— who— from Parisian beginnings among the vibrancy of the Surrealist movement to the fertile influences of the Americas—are emblematic of the chaotic and romantic development of the art world in their time.

Born in 1904 in Chenecy-Bullion, France, Alice Marie Yvonne Philppot would become Alice Paalen and later Alice Rahon, adopting her mother’s maiden name. She was sometimes born in 1912, or in Brittany, where she summered as a child, or in any number of places in any number of years. It’s fitting, then, that the 2021 anthology of her poetry transcribed in English by Mary Ann Caws is titled Shapeshifter. Rather than a loss of identity, her character’s fluidity mirrors her little-known yet lasting impact on some of the most influential figures in art history and her multidisciplinary, spellbinding career.

At age three, her right hip fractured, and then her leg broke at twelve, causing much of her childhood to be confined to a cast in relative isolation. The solitude wasn’t an issue for her avid imagination and only further fueled her hunger for books and stories of mythology. Her family moved to Paris in 1920, and she met the artist Wolfgang Paalen on a trip to Corsica in 1931.

Paalen was in Corsica with a dear friend, Swiss photographer Eva Sulzer. Paalen and Sulzer met after Paalen’s painful rejection from the Academy in Berlin. He was ultimately undeterred from becoming an artist; having grown up surrounded by his father’s collection of Old Masters paintings and under the tutelage of painter Leo von Konig, his deep appreciation for the subject had been instilled from an early age. Although Paalen was a year her junior, it seemed he had lived several lifetimes by the time he met Rahon. Formerly distinguished upper-class members of the Austro-Hungarian Empire, his parents separated after his younger brother died suddenly in an insane asylum following a homoerotic affair, presumably of suicide. His mother’s increasingly bipolar disposition worsened as the Wall Street crash of 1929 drained the rest of their fortune. Finally, his older brother Rainer shot himself in the head with a pistol in front of him. Rainer miraculously survived, but Paalen’s personal and artistic development had been forever altered in this decade of family tragedy.

Paalen and Rahon fell deeply in love in Paris, marrying in 1934. Perched cautiously in the years between the wars, Paris was bohemian heaven, with André Breton at the helm of the burgeoning Surrealist movement. Paalen was already among this circle and brought the vivacious Rahon along with him; she quickly befriended Miró, modeled for Man Ray in Harper’s Bazaar, and began designing hats for Schiaparelli. Éluard nicknamed her L’Abeielle Noire (the black bee) for her deep brunette hair, and Picasso took her as a lover before Paalen harshly objected.

Breton officially invited the couple to join the Surrealists in 1935. Around this time, Rahon began to paint, scraping the paint from Paalen’s palettes to make works inspired by the ancient wall paintings in Altamira, Spain, that they had visited at Miró’s bequest.

Deeply inspired by her travels, the couple returned to Paris, where Breton encouraged Rahon to publish her first book of poetry: A meme la Terre (On Bare Ground), printed by Editions Surrealistes -- a limited edition each with an engraving by Yves Tanguy. She would go on to publish two additional books of poetry before deciding to devote herself entirely to painting.

At the same time, Breton was encouraging another artist: Frida Kahlo. After meeting in Mexico through Leon Trotsky, the Soviet revolutionary, he arranged for her first solo exhibition at the Julien Levy Gallery in New York in 1938. After its success, he invited her to Paris for another exhibition the following year. Kahlo arrived in Paris to find that Breton had yet to clear any of her paintings for customs, nor did he actually still own a gallery; a last-minute effort from Duchamp managed to bring together a show, albeit less successful than her previous. The trip was not without its victories, however -- a purchase from the Louvre made Kahlo the first Mexican artist in their collection, and the doyennes of the Parisian art scene welcomed her warmly -- including Picasso, Miró, Schiaparelli, and Rahon. Despite Breton’s insistence that Kahlo’s work was Surrealist, she rejected this label, writing to a friend after her show of “this bunch of coocoo lunatics and very stupid surrealists” who “are so crazy ‘intellectual’ and rotten that I can’t even stand them anymore.” Though the canonical categorization of Kahlo’s work is frequently debated, she was not the only one who felt this way about the defining characteristics of the Surrealist movement – a growing skepticism had begun to haunt Paalen as an ideological shift began to lead him to reject the hold of Freud’s rigid theories.

Rahon and Kahlo were fast friends, with a mutual understanding of their physical childhood traumas and struggles with mobility and their childlessness as women –and women artists, no less. As political unrest loomed, Kahlo invited Rahon and Paalen to stay with them in Mexico City, an offer that was quickly accepted.

Paalen, Rahon, and their close friend and patron Sulzer set off for New York, intending to head directly to Mexico but changing course to the Northwest after being intrigued by native artworks after a chance encounter at a gallery. Meandering down the West Coast, Paalen, Rahon, and Sulzer were profoundly affected by local artists, with Paalen and Rahon continuing to be drawn to totemic and indigenous works and Sulzer likewise influenced by the vast landscapes. Finally, at the end of 1939, the three of them settled into a home Kahlo and her husband Rivera had rented for them in the San Angel section of Mexico City, directly next to their home, Casa Azul.

Upon the Paalens settling in Mexico City, Duchamp wrote intermittently to Peggy Guggenheim and Julien Levy, passionately promoting the work of his friend Paalen: Dear Julien, P. S. to my recent letter: Do you know Paalen’s work? I suppose that you have seen some reproductions. Among the young Surr[ealists]’s, he ought to come out – he paints scenes “for” a sorcerer (you never see the witches). All this to hope that you might show him in N.Y.

Levy was impressed and arranged an exhibit for Paalen in New York. It was well attended, including Pollock, Gottlieb, and Motherwell. One notable absence, however, was Trotsky. Though an introduction was frequently encouraged, Paalen refused, accusing his friends of “pseudo-religious paternal fixations of Surrealists, who didn’t dispose of the means to find other ways out of the crisis Marxism left in their minds than to find a new political father.” This repudiation was to become another marker of Paalen’s dissatisfaction with Surrealism.

He announced his public separation from the group and divorced himself from Breton in 1942 with the publication of the first issue of DYN, an art magazine centered on philosophical art theory with scathing criticism of Surrealism and all it stood for.

Though only six issues of DYN were produced between 1942 and 1944, the publication was profoundly influential as the center of the art world transitioned from Surrealism to Abstract Expressionism following the end of the second World War. With Paalen as editor, the magazine included poems from César Moro, photographs and paintings from Florence Arquin, writings from Henry Miller and Anais Nïn, art from Henry Moore, and the contributions of many others.

Rahon’s painting career began to achieve widespread recognition during the DYN years, with her first solo show at Galeria de Arte Mexicano in Mexico City in 1944. She would frequently exhibit in North America and Europe for the remainder of her life. Her personal works – gifts to friends and pieces in honor of them – most aptly illustrate the magical and indescribable parts of this catalytic time in history and art. Just as she was Eluard’s L’Abeielle Noire, she became Kahlo’s jirafa (giraffe) for her long legs and large brown eyes. Rahon, in turn, memorialized Kahlo in her painting Ballad for Frida, dedicated to “Frida aux Yeux d’hirondelle” (Frida in the eyes of a swallow), inhabited by scenes from their friendship and animal talismans from their years together – owls, birds, cats, and of course, giraffes. It’s with great pleasure that we present in this sale several gifts to Florence Arquin from both Rahon and Paalen, tokens of their affection and markers of their development as artists.

Rahon gave Arquin two works: Le Chat (1943) and Untitled (1946). Le Chat (1943), a personalized drawing inscribed pour Florence son amie Mexico, comes to life with lines that seem to vibrate off the page, both detailed and fantastically obscure. Cats, familiars to the sorcerers of Surrealism, snake in and

out of the photos Arquin took and carefully preserved in her scrapbook from her time with Kahlo, Rivera, Paalen, and Rohan. Untitled (1946) is colorful and topographical, with a note of the genuine tenderness between them: in the lower right corner, after the dedication, the word cariñoso is inscribed – caring.

Paalens’ gifts are equally intimate and demonstrate the breadth of his skill as an artist. Two untitled works from 1943 are each emotive and meticulous: the first with swirls of color and movement, the second stormy and reflexive. A third piece, Untitled (1947), is an excellent example of the influence of his environment and interest in indigenous culture, with thin lines of gouache carefully painted on an indigenous Mexican Amate paper.

The years surrounding these exchanges were tumultuous for the couple; through Rahon’s career taking flight and the buzzy years of DYN, they ultimately decided to divorce in 1947.

Rahon would become a Mexican citizen and create screenplays for ballet and film. On the night of the opening of her exhibition at Galeria Pecanins in Mexico City in 1969, she fell and fractured her right hip again, leading her to retreat to a life of relative isolation. This time, she denied any medical intervention, remembering the pain of her childhood. Her continued isolation (save for a few guests, including Sulzer) contributed to the increasingly younger art world overlooking her work, despite her role in developing Mexican art and her influential circle of friends. Her final solo exhibition was in 1986, and she died the following year at a nursing home in Mexico City after refusing to eat. History all too often lets the careers of female artists retreat to the shadows of their male counterparts. Still, Rahon was a force of nature, and with the recent reconsideration of the art world may finally be getting her due.

Paalen’s prolific career continued, and he eventually made amends with Breton, who acknowledged that any criticism of Surrealism that he had was valid. He became increasingly interested in archaeology and contributed to ideas of the matrilinear social structure of ancient societies in Mesoamerica. Paalen’s genius never dampened, but his bipolar disposition made it increasingly difficult for him to function, while his obsessive collection of indigenous artifacts started attracting rumors of illicit activity. The last years of his life were spent in an old house and studio in a small town in Morelos, Mexico, where he was supported by his close friends Gordon Onslow Ford and Sulzer. He was found dead of a gunshot wound to the head in 1959.

Though Rahon and Paalen’s relationship was at times tempestuous, their connection – and that of their circle of friends – left an indelible mark on the art world. Arquin’s careful preservation of these works allows us a look inside the inner life of the avant-garde. The gifts are, in a way, a complete picture of the couple, if only for a moment: offering the full spectrum of color and darkness, form and lack thereof, image and anxiety, during a time when their own lives were rapidly changing shape.

67 Wolfgang Paalen (AUSTRIAN/MEXICAN, 1905-1959)

Untitled

18

Property from the Carol Williams Collection

Dr. Andreas Neufert has confirmed the authenticity of this work.

Provenance: The Artist Florence Arquin, gift from the Artist Samuel A. Williams, husband of the above Thence by descent to the present owner

$10,000 - 15,000

, 1947 gouache on Mexican (indigenous) Amate paper initialed WP, dated, and inscribed à Florence Arquin son ami Mexico (lower left)

1/2 x 10 1/2 inches.

68

Wolfgang Paalen (AUSTRIAN/MEXICAN, 1905-1959)

Untitled, 1943 ink and wash on paper signed Wolfgang Paalen and with initials WP, dated and inscribed à Florence Arquin (lower right) 16 x 12 inches.

Property from the Carol Williams Collection

Dr. Andreas Neufert has confirmed the authenticity of this work.

Provenance: The Artist Florence Arquin, gift from the Artist Samuel A. Williams, husband of the above Thence by descent to the present owner

$6,000 - 8,000

We are grateful to Dr.

Grimberg for his assistance in cataloguing

Provenance:

69 Alice Rahon (FRENCH/MEXICAN, 1904-1987)

Le Chat, 1943 ink and wash on paper signed Alice Paalen and titled (lower center); signed, dated, and inscribed pour Florence son amie Mexico (lower right) 10 1/4 x 11 1/2 inches.

Property from the Carol Williams Collection

Salomón

this lot.

The Artist Florence Arquin, gift from the Artist Samuel A. Williams, husband of the above Thence by descent to the present owner

$5,000 - 7,000

70

Jim Nutt (AMERICAN, B. 1989)

Various authors. Who Chicago? An Exhibition of Contemporary Imagists. England, 1980. Together with a Jim Nutt etching. Frontispiece of the Chicago skyline and numerous illustrations of artists and their work. Publisher’s grey pictorial cloth and matching folding case. Includes illustrations of works by Chicago Imagist artists Roger Brown, James Falconer, Art Green, Philip Hanson, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Romberg, Suellen Rocca, Barbara Rossi, H. C. Westermann, Karl Wirsum, Joseph Yoakum, and Ray Yoshida. Together with an etching by Jim Nutt (American, b. 1938) I Have Been Waiting signed, titled, and numbered 64/125 in pencil.

7 1/2 x 7 1/2 inches.

Property from a Private Collection, Chicago, Illinois

$3,000 - 5,000

Monument to a Standing New Yorker, 2001 etching and aquatint

initialed, titled, dated and numbered 5/250 in pencil 11 3/4 x 9 3/4 inches.

Property from a Private Collection, Chicago, Illinois

Printed by Big Cat Press, Chicago, Illinois; published by Tony Fitzpatrick and the Museum of Contemporary Art, Chicago Illinois

Provenance:

Literature: Elizabeth Taylor, I Like Being a Matchmaker, The Chicago Tribune, Chicago, Illinois, November 18, 2001

$300 - 500

71 Tony Fitzpatrick (AMERICAN, B. 1958)

72 Jonathan Borofsky (AMERICAN, B. 1942)

Molecule Men, 1983 aluminum edition sculpture shot-peened and sandblasted inscribed Jonathan Borofsy; stamped and numbered 10/15 87 3/8 x 69 1/2 x 8 1/2 inches.

Provenance: Carl Solway Gallery, Cincinnati

Literature: Gemini G.E.L. 1108

$10,000 - 15,000

73

Ernest Trova (AMERICAN, 1927-2009)

Walking Jackman, 1985 stainless steel AP 2/2 17 x 22 x 28 inches.

Property from the Collection of the National Council of Jewish Women, St. Louis, Missouri

$10,000 - 15,000

74

Artist Unknown (AMERICAN, 20TH CENTURY) The Introduction oil on wood panel initialed EC (lower left); titled (verso) 10 3/4 x 12 1/2 inches.

$1,500 - 2,500

75 John Wilde (AMERICAN, 1919-2006)

H. and Death #2, 1968 oil on panel initialed J (upper left); dated (upper right); signed and dated (verso)

6 3/4 x 8 1/4 inches.

Provenance:

Banfer Gallery, New York

Exhibited:

(possibly) New York, New York, Banfer Gallery, John Wilde: Recent Paintings, December 11-28, 1968

For a similar painting, see: Russell Panczeno and Theodore F. Wolff, Wildeworld: The Art of John Wilde, New York: Hudson Hills Press, cat. 81

$10,000 - 15,000

Ed Paschke (AMERICAN, 1939-2004)

Heads in Love, 1999

oil on linen

signed E. Paschke and dated (lower left); signed, titled and dated (verso) 14 x 24 inches.

Property from a Private Collection, Chicago, Illinois

$20,000 - 30,000

$1,000

77 Carl Robert Holty (AMERICAN, 1900-1970) Untitled (Odin) oil on canvas 23 x 19 inches.

- 2,000

78 Zygmunt Czyż (POLISH, 1940-2003) Promieki Sie Odcloudi (The Rays Are Unclouded), 1977 screenprint signed, titled, dated and annotated EA VI in pencil 30 x 18 inches.

Property from the Collection of Dominic Pangborn, Grosse Pointe, Michigan

$500 - 700

79

Carl Robert Holty (AMERICAN, 1900-1970)

Untitled (Painter) graphite and watercolor on paper signed Carl Holty (lower left) 10 1/4 x 7 7/8 inches.

$1,500 - 2,500

80

Carl Robert Holty (AMERICAN, 1900-1970)

Untitled (Sculptor) graphite and watercolor on paper signed Carl Holty (lower right) 10 1/4 x 7 7/8 inches.

$1,500 - 2,500

81

Ernest Trova (AMERICAN, 1927-2009)

Untitled oil on board signed Trova (lower right) 8 3/4 x 11 inches.

Property from the Collection of the National Council of Jewish Women, St. Louis, Missouri

$500 - 700

Provenance: AM Sachs Gallery, New York

Sold: Doyle, New York, December 15, 2020, lot 73

$3,000 - 5,000

82 Stephen Pace (AMERICAN, 1918-2010)

Self Portrait in Quarry, 1977 oil on canvas signed Pace and dated (lower left) 43 7/8 x 55 7/8 inches.

83 Brad Kahlhamer (AMERICAN, B.

Bird

Provenance: Sean Horton Gallery, New York

$3,000 - 5,000

1956)

+ Thalia Watching TV Sixteen Candles, 2000 watercolor and pencil on paper signed Brad K and dated (lower right); titled (lower left) 22 x 30 inches.

84

Carlos Mérida (GUATEMALAN, 1895-1984)

Untitled, 1939 watercolor and gouache on canvas signed Carlos Mérida and dated (upper left); inscribed To Florence from Carlos Mérida (lower right) 20 3/4 x 24 1/2 inches.

Property from the Carol Williams Collection

Provenance:

The Artist Florence Arquin, gift from the Artist

Samuel A. Williams, husband of the above

Thence by descent to the present owner

$10,000 - 15,000

Marilyn Levine (AMERICAN, 1935-2005)

Untitled (Shoe), c. 1970 glazed ceramic 4 x 3 1/2 x 10 inches.

Provenance: Sold: Sotheby’s New York, March 3, 2016, lot 178

$5,000 - 7,000

86

Mr. Imagination (AMERICAN, 1948-2012)

Untitled (Dreadlocks), 2000 sandstone signed Mr. Imagination and dated Height: 10 3/8 inches.

Property from a Private Collection, Chicago, Illinois

$500 - 700

87 Raymond Coins (AMERICAN, 1904-1998) Nativity Scene (a group of 12 sculptures) carved stone Property From the Estate of Lucia Woods Lindley

Provenance: American Primitive Gallery, New York

Exhibited: New York, New York, The Outsider Art Fair, American Primitive Gallery, January 25 - 27, 2002

Literature: Steve Sundlof, The Outsider Art Fair: Celebrating Ten Years of Visionary Works, Antiques and The Arts Weekly, Newton, Connecticut, February 5, 2002

$3,000 - 5,000

88

Jamali (PAKISTANI, B. 1947)

Untitled (A Pair of Works), 1979 mixed media on paper each signed Jamali and dated (lower left); signed and dated (verso) Each 60 X 26 1/2 inches.

$2,000 - 4,000

89

Joseph Dudley Downing (AMERICAN, 1925-2007)

Untitled mixed media on paper 15 3/8 x 10 1/4 inches.

$1,000 - 2,000

90

Kathleen Blackshear (AMERICAN, 1897-1988)

Untitled (Head of a Man) watercolor and graphite on paper 10 1/4 x 12 inches.

Property from the Carol Williams Collection

Provenance: Florence Arquin

Samuel A. Williams, husband of the above Thence by descent to the present owner

$1,000 - 2,000

and numbered II Height: 24 inches.

Property from a Private Collection, Chicago, Illinois

$1,000 - 2,000

Birdfeeder, 1984 oil on wooden crate top signed Bob Helm and inscribed (verso) 35 x 27 inches.

Provenance: Edward Thorp Gallery, New York

$1,000 - 2,000

91 Robert Helm (AMERICAN, B. 1943)

92 Ellen Lanyon (AMERICAN, 1926-2013) Hawk, 1985 bronze inscribed ES, dated

Martin Silverman (AMERICAN, B. 1950) , 1977

M.S., dated and numbered 1/3

Height: 24 1/4 inches.

Carter Ratcliff,  The Renaissance Society at the University of Chicago, 1979, p. 8

Visionary Images: Emblematic

$3,000 - 5,000

94

Francisco Zúñiga (MEXICAN, 1912-1998)

Domitila, 1977

bronze inscribed Zúñiga, dated and numbered VI/VI

Height: 24 inches.

We are grateful to Mr. Ariel Zúñiga for his assistance in cataloguing this lot.

Provenance:

Private Collection, Florida

Galerie Ninety-Nine, Bay Harbor Islands, Florida

Literature:

Francisco Zúñiga, Ariel Francisco Zúñiga, Francisco Zúñiga: Catálogo Razonado i Escultura, 1923-1993, Volume I, México: Fundación Zuñiga Laborde, 1999-2006, no. 746, another cast illustrated

$15,000 - 25,000

95

Andrea Chisesi (ITALIAN, B. 1966)

Venere Marina (Marine Venus), 2018 mixed media on canvas signed Chisesi and dated (lower right); signed and dated (verso) 59 1/8 x 47 1/8 inches.

Provenance: The Artist

Acquired from the Artist by the present owner, 2019

Exhibited: Naples, Italy, Castel dell’Ovo, Sreet Home: Andrea Chisesi,  August 30 - October 15, 2018, pp. 284-285, illus.

$2,000 - 3,000

ARTIST INDEX

GLOSSARY OF TERMS

ADRIAEN JANSZ VAN OSTADE

This work, in our best opinion, is by the named artist.

ATTRIBUTED TO ADRIAEN JANSZ VAN OSTADE

To our best judgment, this work is likely to be by the artist, but with less certainty as in the aforementioned category.

STUDIO OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, this unsigned work may or may not have been created under the direction of the artist.

CIRCLE OF ADRIAEN JANSZ VAN OSTADE

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

STYLE OF . . .

FOLLOWER OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, a work by a painter emulating the artist’s style, contemporary or nearly contemporary to the named artist.

MANNER OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, a work in the style of the artistand of a later period.

AFTER ADRIAEN JANSZ VAN OSTADE

To our best judgment, a copy of a known work of the artist.

The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist.

The term bears a signature and/or a date and/or an inscription means that, in our opinion, a signature and/or date and/or inscription have been added by another hand.

Dimensions are given height before width.

Upcoming Auction Schedule

SALE 1150

FIGURATIVELY SPEAKING

FEBRUARY 10 | CHICAGO | LIVE + ONLINE

SALE 1138

EUROPEAN FURNITURE & DECORATIVE ARTS

FEBRUARY 15 | CHICAGO | LIVE + ONLINE

SALE 1153

PALM BEACH FURNITURE & DECORATIVE ARTS

FEBRUARY 21 | PALM BEACH | LIVE + ONLINE

SALE 1132

PALM BEACH FINE ART

FEBRUARY 22 | PALM BEACH | LIVE + ONLINE

SALE 1154

PALM BEACH JEWELRY

FEBRUARY 23 | PALM BEACH | LIVE + ONLINE

SALE 1118

AFRICAN AMERICANA

FEBRUARY 28 | CINCINNATI | LIVE + ONLINE

SALE 1149

ROADSIDE ATTRACTION:

THE SUSANN CRAIG COLLECTION, CHICAGO, IL

MARCH 9 | CHICAGO | LIVE + ONLINE

SALE 1157

PROPERTY FROM THE FRED AND KAY KREHBIEL COLLECTION, CHICAGO, IL

PART I MARCH 15 | CHICAGO | LIVE + ONLINE

SALE 1159

PROPERTY FROM THE FRED AND KAY KREHBIEL COLLECTION, PALM BEACH, FL

PART II MARCH 16 | PALM BEACH | LIVE + ONLINE

SALE 1158

PROPERTY FROM THE FRED AND KAY KREHBIEL COLLECTION

PART III MARCH 17 | ONLINE

SALE 1201

GRAILS AND GOATS

MARCH 24 | CHICAGO | LIVE + ONLINE

SALE 1124

CHINESE & HIMALAYAN WORKS OF ART

MARCH 28 | CHICAGO | LIVE + ONLINE

SALE 1160

JAPANESE & KOREAN WORKS OF ART

MARCH 29 | CHICAGO | LIVE + ONLINE

Featured in:

Roadside Attractions: The Susann Craig Collection

March 9 | Chicago | Live + Online

Roger Brown (AMERICAN, 1943-1997)

Crossing the Bandiagara Escarpment With Baobab Trees and Dogon Dancers, 1989

$60,000 - 80,000

JOSEPH STANFIELD

VICE PRESIDENT SENIOR SPECIALIST

312.600.6063

JOSEPHSTANFIELD @HINDMANAUCTIONS.COM

Fine Art

Trusts, Estates & Private Clients

KATHERINE HLAVIN DIRECTOR, SENIOR SPECIALIST

303.825.1855 KATHERINEHLAVIN @HINDMANAUCTIONS.COM

ZACHARY WIRSUM DIRECTOR, SENIOR SPECIALIST POST WAR & CONTEMPORARY ART

312.600.6069 ZACHARYWIRSUM @HINDMANAUCTIONS.COM

MONICA BROWN DIRECTOR, SENIOR SPECIALIST FINE PRINTS

303.825.1855 MONICABROWN @HINDMANAUCTIONS.COM

ALYSSA D. QUINLAN CHIEF EXECUTIVE OFFICER

312.447.3272 ALYSSAQUINLAN @HINDMANAUCTIONS.COM

MOLLY MORSE LIMMER EXECUTIVE VICE PRESIDENT DEPUTY CHAIRMAN 312.447.3275

MOLLYLIMMER @HINDMANAUCTIONS.COM

PAULINE ARCHAMBAULT SPECIALIST

513.871.1670

PAULINEARCHAMBAULT @HINDMANAUCTIONS.COM

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MOLLY E. GRON, J.D. MANAGING DIRECTOR, TRUSTS, ESTATES & PRIVATE CLIENTS

312.334.4235 MOLLYGRON @HINDMANAUCTIONS.COM

ATLANTA KRISTIN VAUGHN

VICE PRESIDENT, SENIOR DIRECTOR TRUSTS, ESTATES & PRIVATE CLIENTS 404.800.0192

KRISTINVAUGHN @HINDMANAUCTIONS.COM

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872.270.3105

ANGELAWHITAKER @HINDMANAUCTIONS.COM

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BOSTON

LAGINA AUSTIN SENIOR DIRECTOR TRUSTS, ESTATES & PRIVATE CLIENTS

312.280.1212

LAGINAAUSTIN @HINDMANAPPRAISALS.COM

CHICAGO

MIRANDA MAXFIELD SENIOR MANAGER

TRUSTS, ESTATES & PRIVATE CLIENTS 312.334.4208 MIRANDAMAXFIELD @HINDMANAUCTIONS.COM

CINCINNATI VAUGHN H. SMITH

MANAGER TRUSTS, ESTATES & PRIVATE CLIENTS 513.666.4987 VAUGHNSMITH @HINDMANAUCTIONS.COM

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312.334.4234 ABBYCHAMBERS @HINDMANAUCTIONS.COM

JULIANNA TANCREDI SENIOR RESEARCHER

312.334.4228

JULIANNATANCREDI @HINDMANAUCTIONS.COM

CAMERON QUADE CATALOGUER FINE ART 312.280.1212 CAMERON QUADE @HINDMANAUCTIONS.COM

CLEVELAND CARRIE PINNEY

MANAGER TRUSTS, ESTATES & PRIVATE CLIENTS 216.292.8300

CARRIEPINNEY @HINDMANAUCTIONS.COM

DENVER

CHRISTINE BROSKI

MANAGER

TRUSTS, ESTATES & PRIVATE CLIENTS

303.825.1855 CHRISTINEWHALING @HINDMANAUCTIONS.COM

DETROIT PAM IACOBELLI DIRECTOR TRUSTS, ESTATES & PRIVATE CLIENTS

313.774.0900

PAMELAIACOBELLI @HINDMANAUCTIONS.COM

MIAMI

THEA ANDRUS CATALOGUER

FINE ART

312.280.1212 THEAANDRUS @HINDMANAUCTIONS.COM

CHRISTINA KIRIAKOS DEPARTMENT COORDINATOR

312.334.4216 CHRISTINAKIRIAKOS @HINDMANAUCTIONS.COM

JOHN MARTINEZ DEPARTMENT COORDINATOR

312.600.6064 JOHNMARTINEZ @HINDMANAUCTIONS.COM

ELIZABETH RADER, PHD DIRECTOR

TRUSTS, ESTATES & PRIVATE CLIENTS 239.643.4448

ELIZABETHRADER @HINDMANAUCTIONS.COM

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Offices

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DIRECTOR TRUSTS, ESTATES & PRIVATE CLIENTS 414.220.9200 SARAMULLOY @HINDMANAUCTIONS.COM

NAPLES

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NEW YORK REGION

GEMMA SUDLOW

MANAGING DIRECTOR 312.280.1212 GEMMASUDLOW @HINDMANAUCTIONS.COM

PALM BEACH, SCOTTSDALE SARAH ROY DIRECTOR

TRUSTS, ESTATES & PRIVATE CLIENTS 561.833.8053 SARAHROY @HINDMANAUCTIONS.COM

SAN DIEGO

KATIE GUILBAULT, G.G.

VICE PRESIDENT, DIRECTOR TRUSTS, ESTATES & PRIVATE CLIENTS 858.442.6104 KATIEGUILBAULT @HINDMANAUCTIONS.COM

SCOTTSDALE LOGAN BROWNING

DIRECTOR TRUSTS, ESTATES & PRIVATE CLIENTS 480.546.5150 LOGANBROWNING @HINDMANAUCTIONS.COM

ST. LOUIS

ANNA SHAVER

DIRECTOR

TRUSTS, ESTATES & PRIVATE CLIENTS 314.833.0833 ANNASHAVER @HINDMANAUCTIONS.COM

WASHINGTON D.C.

MAURA ROSS

VICE PRESIDENT, DIRECTOR TRUSTS, ESTATES & PRIVATE CLIENTS 202.853.1638 MAURAROSS @HINDMANAUCTIONS.COM

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JAY FREDERICK KREHBIEL EXECUTIVE CHAIRMAN

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WES COWAN VICE-CHAIR

MARON HINDMAN VICE-CHAIR

JIM SHARP

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MOLLY MORSE LIMMER

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AUCTION OPERATIONS, CLIENT SERVICES

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FINANCE

MARCO GUSELLA VICE PRESIDENT, FINANCE MARCOGUSELLA @HINDMANAUCTIONS.COM

TRUSTS, ESTATES & PRIVATE CLIENTS

MIRANDA MAXFIELD SENIOR MANAGER MIRANDAMAXFIELD @HINDMANAUCTIONS.COM

SAMANTHA SCHWARTZ SENIOR ASSOCIATE SAMANTHASCHWARTZ @HINDMANAUCTIONS.COM

NNEKA DUNHAM MANAGER NNEKADUNHAM @HINDMANAUCTIONS.COM

ALLISON DURIAN MANAGER ALLISONDURIAN @HINDMANAUCTIONS.COM

HANNAH UNGER MANAGER HANNAHUNGER @HINDMANAUCTIONS.COM

KATHRYN HODGE SENIOR ASSOCIATE, WEST KATHRYNHODGE @HINDMANAUCTIONS.COM

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APPRAISALS

LAGINA AUSTIN SENIOR DIRECTOR, APPRAISALS & VALUATIONS LAGINAAUSTIN @HINDMANAPPRAISALS.COM

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MUSEUM SERVICES CAROLINE MUJICA-PARODI DIRECTOR, MUSEUM SERVICES CAROLINEMUJICA @HINDMANAUCTIONS.COM

MICHAEL SHAPIRO SENIOR ADVISOR MUSEUMS & PRIVATE COLLECTIONS

BRIAR KOEHL OLEFERCHIK BUSINESS DEVELOPMENT SENIOR ASSOCIATE MUSEUM SERVICES FINE ART

JOSEPH STANFIELD VICE PRESIDENT SENIOR SPECIALIST JOSEPHSTANFIELD @HINDMANAUCTIONS.COM

ZACHARY WIRSUM DIRECTOR, SENIOR SPECIALIST POST WAR & CONTEMPORARY ART ZACHARYWIRSUM @HINDMANAUCTIONS.COM

MONICA BROWN DIRECTOR, SENIOR SPECIALIST FINE PRINTS & MULTIPLES MONICABROWN @HINDMANAUCTIONS.COM

KATHERINE HLAVIN DIRECTOR, SENIOR SPECIALIST KATHERINHLAVIN @HINDMANAUCTIONS.COM

MADALINA LAZEN DIRECTOR, SENIOR SPECIALIST EUROPEAN ART MADALINALAZEN @HINDMANAUCTIONS.COM

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PAULINE ARCHAMBAULT SPECIALIST

ANGELA WHITAKER ASSOCIATE SPECIALIST

ABBY CHAMBERS ASSOCIATE SPECIALIST

ALEXANDRIA DREAS ASSOCIATE SPECIALIST

JULIANNA TANCREDI SENIOR RESEARCHER THEA ANDRUS CATALOGUER CAMERON QUADE CATALOGUER

CHRISTINA KIRIAKOS DEPARTMENT COORDINATOR

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EUROPEAN FURNITURE & DECORATIVE ARTS CORBIN HORN VICE PRESIDENT, SENIOR SPECIALIST CORBINHORN @HINDMANAUCTIONS.COM

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SAM COWAN NATIONAL HEAD OF SALE, THE COLLECTED HOME

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Inquiries

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WILLIAM NORWOOD CATALOGUER

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EMMA FULMER

ATF MANAGER AND SENIOR COORDINATOR

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JOSHUA MCCRACKEN DEPARTMENT COORDINATOR

MARKETING

ASHLEY GALLOWAY VICE PRESIDENT

PHOTOGRAPHY

ZOË BARE

DIRECTOR

DAVID JACKSON SUPERVISOR

GABBY BOSHARA CARMEN COLOME

CHAD FEIERSTONE LIM HWOANG

DEOGRACIAS LERMA ROBERTO MARTINEZ

LIBBY MOORE

MIKE REINDERS

BILL ROSS

RACHEL SMITH

DALLAS TOLENTINO* HARLEY WINCE

DESIGN

AIMEE GUZMAN

CREATIVE DIRECTOR

BRIAN MASLOUSKI* SENIOR DESIGNER

JENNIFER CASTLE GRAPHIC DESIGNER

*LEAD DESIGN AND PHOTOGRAPHY FOR SALE 1150

Guide for Prospective Sellers and Buyers

GUIDE FOR PROSPECTIVE SELLERS

Evaluation of Property

Hindman is pleased to provide complimentary auction estimates for items

you’re considering consigning. You are welcome to submit items electronically (consign@hindmanauctions.com) or to contact any of our offices directly.

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

To begin an estimate, our specialists will need:

• At least 3 photos

• Detailed description

• Details on signatures or marks

Shipping Arrangements

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

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

Appraisals

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

Professional appraisals are prepared for estate tax, gift tax, charitable contribution, insurance and for equitable distribution purposes.

• Estate Tax

• Gift Tax

• Charitable Contribution

• Insurance

• Appraisals for Corporate Valuation Needs

Our trust and estates department recognizes that each client and appraisal situation is unique and often involves multiple asset categories and residences. Fees for appraisals are determined by the number of specialists, hours involved and the necessary travel and expenses. Our competitive fees are negotiated based upon the express needs of each client and are competitive within the marketplace.

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

Estate Services

Estate settlement is a meticulous and multi-faceted process. Hindman provides executors, fiduciaries and beneficiaries throughout the country with confidential and customized appraisals and disposition services. All appraisals are prepared fully in accordance with USPAP guidelines and meet all current requirements set forth by the IRS.

We recognize that each client and appraisal situation is unique and often involves multiple asset categories and residences. Our Trusts and Estates department offers services that are tailored to meet our clients’ timelines and specifications.

Our specialists offer complimentary walk-through services with the goal of providing an accurate representation of each items’ value based on the current auction market. A detailed proposal outlining the manner in which a sale will be conducted from the initial value assessment to removal of the property and settlement is provided to all parties involved.

Please contact our Estate Services (inquiries@hindmanauctions.com) team for more information.

Updated 1.1.23

GUIDE FOR PROSPECTIVE BUYERS

Conditions of Sale

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

Viewing Auction Items

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

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.

Condition Reports

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

Bidding at Auction

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

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:

– 20,000

– 50,000

– 100,000

In-House Bidding

Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

Live Bid Online

Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com.

Absentee Bidding

If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.

Telephone Bidding

You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $500 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.

Conditions of Sale

These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction.

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES

Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance— are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot.

2. CONDITION

The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report.

3. VIEWING LOTS

We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping purposes.

4.

ESTIMATES

Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges.

5. WITHDRAWAL

We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID

1. GENERAL

We reserve the right to reject any bid. By participating in the sale, you represent and warrant that:

(a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and

(c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation.

2. NEW BIDDERS

New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity.

(a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s

name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.

3. RETURNING BIDDERS

If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction.

4. BIDDING FOR ANOTHER PERSON

If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal.

5. BIDDING IN THE SALEROOM

If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction.

6. OUR BIDDING SERVICES

We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services.

(a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids.

(b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites.

(c) Written Bids: You can find a Written Bid Form at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.

7. CREDIT CARD AUTHORIZATION HOLD

When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a temporary authorization hold on the card that will remain until it falls off, usually within 2 to 7 days.

C. DURING THE AUCTION

1. BIDDING IN THE AUCTION

(a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.

(b) Online Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.

(c) Timed Auctions. Bids may only be submitted on our website between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.

2. AUCTIONEER’S DISCRETION

The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).

3. BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at a set increment lower than the lot’s low estimate and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.

4. SUCCESSFUL BIDS AND INVOICES

Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges. Please note that Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Hindman prior to the sale.

D. AFTER THE AUCTION

1. THE BUYER’S PREMIUM

In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge twenty-six percent (26%) of the hammer price up to and including $1,000,000; twenty percent (20%) of any amount in excess of $1,000,001 up to and including $5,000,000; and fifteen percent (15%) of any amount in excess of $5,000,001. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium

2. TAXES

The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required.

3. MAKING PAYMENT

(a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date.

(b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name.

(c) You must pay for lots in US dollars in one of the following ways:

(i) Wire transfer.

(ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed.

(iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us.

(iv) Credit card: Credit card payments may not exceed $10,000 and a

convenience fee of 3% will be added to each credit card payment.

(v) ACH Bank Transfer

(d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department.

4. TRANSFERRING OWNERSHIP TO YOU

You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you.

5. TRANSFERRING RISK TO YOU

Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse.

6. YOUR FAILURE TO PAY

If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion:

(a) We can charge interest from the due date at a rate of up to one and one-half percent (1.5%) per month on the unpaid amount due.

(b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation.

(c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount.

(d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law.

(e) We can reveal your identity and contact details to the seller.

(f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids.

(g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us.

(h) We can take any other action we deem necessary or appropriate.

7. SHIPPING, COLLECTION, AND STORAGE

(a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping.

(b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate.

(c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot.

(d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES

(a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot.

(b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be

responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

E. WARRANTIES

1. SELLER’S WARRANTIES

For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

2. OUR LIMITED AUTHENTICITY WARRANTY

Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows:

(a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty.

(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type.

(c) It does not apply to any Heading or part of a Heading that is qualified.

“Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty.

(d) It applies to the Heading as amended by any saleroom notice.

(e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion.

(f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot.

(g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else.

(h) In order to make a claim under the limited authenticity warranty, you must

(i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses.

(j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

3. ADDITIONAL WARRANTY FOR BOOKS

If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances:

(a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms:

(i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale.

(ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale.

(iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

4. JEWELRY

(a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time.

(b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report.

(c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report.

(d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced.

5. WATCHES AND CLOCKS

(a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys.

(b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use.

(d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap.

6. YOUR WARRANTIES

You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money

laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties.

(b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale.

(c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH.

(d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services.

(e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot.

(f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS

1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3. COPYRIGHT

We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights.

4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6. PERSONAL INFORMATION

We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.

7. WAIVER

No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

8. LAW AND DISPUTES

This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY

authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material.

buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice.

due date: has the meaning given to it in paragraph D(3)(a).

estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two.

hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E(2).

limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law.

purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms:

(a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter.

(b) “Attributed to” means, in our opinion, a work probably by the artist.

(c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style.

(d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist.

(e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work.

(f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned.

UPPERCASE type: type having all capital letters.

warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Update 1.1.23

Kerry James Marshall (American, b. 1955)