Sale 789 | Post War and Contemporary Art by Hindman Auctions

P OST WA R A ND C ONTE MP ORA RY A RT 10 | 1 | 2020

118 P O S T WA R A N D C O N T E M P O R A R Y A R T

PO S T WAR AN D CO N TEMPO R ARY AR T Thursday October 1 | Chicago | 10AM CT

AUCTION THURSDAY OCTOBER 1 | 10AM CT POST WAR AND CONTEMPORARY ART

LOTS 1 – 85

P RO P E R T Y P I C K U P H O U R S MONDAY – FRIDAY | 9:00AM – 4:30PM All property must be picked up within seven business days per our Conditions of Sale.

Photography Zoë Bare Carmen Colome Jordyn Cox Alexandria Dreas Brodie Sturm Front Cover Lot 32 | David Smith (American, 1906-1965) Untitled, 1954 Inside Front Cover Lot 39 | Jenny Holzer (American, b. 1950) Untitled (from Truism series), 1985

Lots marked with an asterisk (*) are tax exempt as permitted by law. VIEW THE COMPLETE CATALOGUE AT HINDMANAUCTIONS.COM

hindmanauctions.com © Hindman LLC 2020 C H IC AGO, IL L IN O IS ILLINOIS AUCTION FIRM LICENSE NUMBER 444.000521

CONTENTS AUCTION 789 | LIVE THURSDAY OCTOBER 1 | 10AM CT POST WAR AND CONTEMPORARY ART

LOTS 1 –85

ARTIST INDEX

106

AUCTION INQUIRIES

108

CONDITIONS OF SALE

110

TELEPHONE / ABSENTEE BID FORM

115

Lot 77 | Saul Steinberg (French, 1914-1999) Niagara Crocodile, 1968 (detail)

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

P RO P E R T Y F RO M T H E C O L L E C T I O N S O F MARK ELLENBURG, NEW YORK, NEW YORK JANE HUMZY, CHICAGO, ILLINOIS A MIDWESTERN COLLECTION SUSAN AND FRED NOVY, NORTHBROOK, ILLINOIS DR. S.R. PETERSON, HAMDEN, CONNETICUT A PRIVATE COLORADO COLLECTOR SUELLEN ROCCA, CHICAGO, ILLINOIS MR. DAVID TENNENBAUM, EVANSTON, ILLINOIS P RO P E R T Y F RO M T H E E S TAT E S O F RAWLEIGH & MARY ANN WARNER, HOBE SOUND, FLORIDA JOAN CONWAY CRANCER, ST. LOUIS, MISSOURI

Opposite Lot 27 | William Kentridge (South African, b. 1955) Untitled (Boat/Plate) (detail)

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

POST WAR AND CONTEMPORARY ART

The Estate of Joan Conway Crancer Born into an artist’s world, Joan Conway Crancer spent her entire life surrounded by art and those who created it. The only daughter of legendary St. Louis artist Fred Conway, Joan grew up watching him paint and came to appreciate art in all its forms, and the people who create it. She graduated from Webster Groves High School and attended Washington University in St. Louis, where her father taught painting for more than forty years. While not a painter herself, Joan’s education and deep appreciation for fine art allowed her to become a serious art collector. With the encouragement of her husband, the two began touring Europe together to build their collection, often hand-carrying purchases home on the plane. Over the years, Joan honed her curatorial skills, spreading the growing collection throughout the family home. In 2000, the couple designed and built a new home to highlight the collection, featuring gallery-style public spaces with high ceilings and professional lighting. She took pride in the collection and often hosted tours for visiting groups from art museums around the country. The Crancers became actively involved with the Saint Louis Art Museum, where Joan served for many years as a Museum Trustee and a member of its Acquisitions Committee. Always generous to the Museum, the couple were members of its Beaux Arts Council and were the honorees for the Council’s 1999 Award Dinner. They also endowed a Museum gallery, which is named for Alice and Fred Conway, Joan’s parents. Joan remained an Honorary Trustee of the Museum for the rest of her life. Hindman is delighted at the opportunity to work with the Crancer family to present this collection of fine art along with other fine property from the Estate that will be offered for sale in the following auctions this fall: American and European Art, Post War and Contemporary Art, Prints and Multiples, Modern Design, Fine Furniture and Decorative Arts, Fine Art and Design Selections, Antiquities, Japanese and Korean Works of Art, and Important Jewelry. Highlights from the collection include archetypal sculptures by Alexander Calder, Barbara Hepworth, Gaston Lachaise, Ibram Lassaw, Henry Moore, Louise Nevelson and John Storrs; elegant prints and works on paper by George Ault, Paul Klee, Emil Nolde, David Smith, Joseph Stella and Henri de Toulouse-Lautrec as well as a stunning and versatile array of Fred Conway paintings and drawings.

Opposite Lot *62 | Alexander Calder (American, 1898-1976) Petit poteau jaune (Little Yellow Post), 1963 Lot *63 | Alexander Calder (American, 1898-1976) Triple Cross, 1947 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

POST WAR AND CONTEMPORARY ART

Ed Paschke (1939-2004) was the quintessential Chicago-based artist of the Imagist generation which emerged in the disruptive period of the late 1960s. His work centered on what critic James Yood called “The human figure under duress” as he described the salient theme of Imagist art. Other prominent Imagists mined the psychological surrealism of lowbrow popular culture. Ed Paschke relied on photo imagery drawn directly from mass media. He was interested in the adversarial relationship between individual identity and culture (which he defined as “symbols, metaphors, icons…and their baggage of referentiality”). He did not have a program, he was too inventive, the master Rule Breaker. In retrospect we see that he was working the grand theme of our age: The loss of self and hopeful redemption. His early work centers on outsider identity, using ironic, comic exaggeration of figures and their costumes (wearable defenses), freaks and their anatomical damages. These characters were the excluded ones, while the viewer is the eager insider observer: a little smug, a little horrified, a little amused, a little sympathetic, like a visitor at a zoo or an extreme entertainment event. As Paschke’s work develops, the viewer is gradually absorbed by the surrounding, immersive, fractured context, like electric flashes, in an abusive culture. In his late work, the individual is replaced by mythic icons of public power, layered with color shards, as if torn from signs. Outsider and insider are then mingled and subsumed. The individual, the autobiographical, the essence of human identity, vanishes. Or it may seem, but Paschke was not a nihilist. He chose ambiguity, contradiction and paradox over finality. Paschke held to a Law of Opposites, embracing the contradiction of one thing evoking its opposite alerting us to the “baggage” of ambiguous referentiality. That holds our attention and draws us close. We want to see Paschke’s art not only from the usual distance but also up close. We need to savor its surfaces and the paradox of image portraying the loss of self, and method asserting the redemption of self.

*1 Ed Paschke

(AMERICAN, 1939-2004)

Boots, 1972 colored pencil and graphite on paper signed E. Paschke and dated (lower right) 22 x 18 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois

Ed Paschke was a superb craftsman. His technical mastery of drawing and painting is evident on every inch of surface. His confident touch, the featherweight delicacy of his method and the gentle assurance of his marks reveal his skill and his patient, generous, temperament. It is as though he was in private conversation with his art and its characters. He used sponges to apply and rub paint, tiny pointed brushes, pure pigments straight from the tubes and ink, crayon, and pencil that scarcely touched the surface. The canvas -and its helpless inhabitantsnever felt his hand, or if they did, it was a caress, a kiss, a protective palm, a slight tap. The surface reveals Ed’s truth. There is his love and empathy, to protect and rescue each of them and each of us. Boots, 1972, shows how visual concentration guided his pencil and crayons to an exacting, sculptural rendering that nevertheless retains a loose, almost casual, fading of edges. Thousands of bundled lines overlap, encircle and weave. They accumulate without effort. The boots are shown as in-use by an invisible wearer. Who? One thinks of bizarre militarism, maybe a crazed officer or costumed prankster. Elongated, too narrow, the boots convey oddness and tight discomfort. They are restrictive physical and psychological prosthetics. But the laces don’t bind. Instead they seem fluffy, almost like luminous chrysalises about to burst into butterflies — and freedom.

Provenance: Phyllis Kind Gallery, Chicago $20,000-$30,000

William Conger, Artist; Professor Emeritus, Art Theory and Practice, Northwestern University

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

From Judith Russi Kirshner, Formal Tease: The Drawings of Christina Ramberg:

“The Chicago Imagists’ well-known embrace of popular culture rejected hierarchical differences between high and low, and unlike the more ironic Pop artists, Imagists absorbed the formal techniques of cartooning and the funky immediacy of popular culture. Alone among the Chicagoans, Ramberg and Suellen Rocca used overt female imagery while Gladys Nilsson portrayed antic female figures. In the artist’s papers we find an important description of the scrapbook she and her then husband, painter Phil Hanson, kept of comic-book conventions ‘shorthand methods of depicting various themes and objects.’ Comics offered ‘exaggerations, flat color, stylization, mass production, and narrative sequence’ to convey such major themes of humanity as ‘adventure, ideal, crime, horror, science fiction and love.’ The comic artist’s use of entertainment cliché rather than didactic polemics was attractive to Ramberg.”1 “Ramberg produced an unusual group of colored drawings of reclining women, again repeated on one page, derived from melodramatic comic strips of the late ‘50s. Using both sides of notebook pages, she first drew one set of figures, then reversed the sheet to trace and adjust her own drawings, to try out different poses for different emotional nuances. Dejected, the figures are clearly in despair and while the cartoon code of long hair becomes a shroud or suffocating pillow in some images, in others, ink-black ponytails highlighted with blue resemble weapons and mountain ranges. Ramberg forges unsettling interconnections between wounds and hairdos, thereby making references to castration, loss, and imaginary threats. …No matter how various and aesthetically considered are the tourniquets and restraints, something always escapes, leaks out protrudes in an embarrassing bulge. In her paintings Ramberg restores bodily integrity and puts them back together again by wrapping them in furs, leather, and lace, yet inevitably the textures she depicts are shown as unraveling and splintering. A constant puzzle of this work is its duality: the intentional, occasionally comic, archive of female fetishism, combined with an aesthetic of repression and repetition.”2

1 Indeck, Karen, Kirshner, Judith, McQuade, Molly and Rossi, Barbara, Christina Ramberg: Drawings, Gallery 400, University of Illinois at Chicago College of Architecture and the Arts, 2000, p. 13 2 Indeck, Karen, Kirshner, Judith, McQuade, Molly and Rossi, Barbara, Christina Ramberg: Drawings, Gallery 400, University of Illinois at Chicago College of Architecture and the Arts, 2000, pp. 26-27

POST WAR AND CONTEMPORARY ART

*2 Christina Ramberg (AMERICAN, 1946-1995)

Untitled (Tying Up Hair), c. 1970 (a pair of works) mixed media 3 x 1 1/2 and 3 1/2 x 3 1/2 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois Provenance: Corbett vs. Dempsey, Chicago Literature: Indeck, Karen, Kirshner, Judith, McQuade, Molly and Rossi, Barbara, Christina Ramberg: A Drawings, Gallery 400, University of Illinois at Chicago College of Architecture and the Arts, 2000, p. 26 (illus.) $20,000-$30,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

Property from the Collection of Suellen Rocca Suellen Rocca was an artist as well as instructor, collector in addition to curator. Her distinctive compositional arrangements and initially loose mark-making set her art production apart from her peers, a generation of artists colloquially known as the Chicago Imagists. Likewise, she taught in schools and colleges in and around Chicago for a range of age groups from diverse backgrounds, including students at The School of the Art Institute of Chicago (SAIC), The Jane Addams Hull House, and Elmhurst College, among others. Rocca’s personal collection included the present cache of prized works created by her friends and fellow artists— often obtained through trades and purchases made amongst them— and she stewarded these works just as she dutifully attended to Elmhurst College’s art collection, where she served as Curator and Director of Exhibitions since 2006. Boasting over 150 works, Elmhurst’s collection echoes Rocca’s own, since its growth is, in part, a result of donations and gifts made directly by artists. Rocca got an incredibly early start in the arts, and followed an esteemed trajectory throughout her career. A bit of a wunderkind, her artistic talents were recognized by a grade school teacher who recommended she attend children’s art classes at The Art Institute of Chicago, and by age 16, she was entering art school on scholarship at SAIC. It was there that instructors nurtured the development of Rocca’s eye, hand and personal collecting habits, and after graduating, she and a group of likeminded friends and fellow SAIC classmates—including Gladys Nilsson— formed an exhibition group. They named themselves Hairy Who, and in a natural evolution from the informal, generative and also stimulatingly competitive relationships forged in art school, they began mounting now infamous exhibitions at The Hyde Park Art Center on Chicago’s Southside. Together, Rocca and her peers created a bold context for their work, framing it within ornate exhibition designs accompanied by zany ephemera. The control and autonomy their collective, communal efforts yielded was a form of mutual aid—their exhibition group both emphasized and benefited Rocca and each artist as individuals. The critical acclaim Rocca and the Hairy Who garnered is still unparalleled when considered within the context of Chicago’s history of art. In the greatest form of flattery, they inspired subsequent generations to follow in their footsteps, beginning with exhibition groups such as Nonplussed Some and False Image, which included Phil Hanson and Roger Brown. In this way, Rocca’s wide-ranging and lifelong commitment to the arts not only showcased her unique abilities and vision, but also supported and provided opportunities for others to make and show their own art.

Thea Liberty Nichols

POST WAR AND CONTEMPORARY ART

From the Jeffrey Goldstein Chicago Press Photo Art Archive V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

Gladys Nilsson

Philip Hanson

Untitled (Hairy Legged, Star Tattooed Giantess in Striped Dress Skipping Rope), c. 1965

Untitled (Camera Lady), c. 1968

(AMERICAN, B. 1940)

oil on canvas signed G. Nutt (verso) 20 x 20 1/4 inches. Property from the Collection of Suellen Rocca, Chicago, Illinois Provenance: Acquired directly from the Artist via trade $40,000-$60,000

POST WAR AND CONTEMPORARY ART

(AMERICAN, B. 1943)

oil on canvas signed Phil Hanson (verso) 13 3/4 x 13 3/4 inches. Property from the Collection of Suellen Rocca, Chicago, Illinois $10,000-$15,000

Suellen and her husband Dennis bought Camera Girl at an auction to support the legal costs of The Chicago Seven in 1969. The late sixties were a turbulent and exciting time in the city of Chicago, socially, politically and artistically. Many artists who had participated in the demonstrations against the Vietnam War also donated artwork to the cause. Suellen felt the excitement of the times and actively engaged with the exhilarating events of the era. Besides her generosity at the auction, she bought tickets for Christina [Ramberg] and I to see the musical Hair, another sixties moment that had especially moved her and that we could never have afforded, allowing us to share in the experience. The last time I saw Suellen at an opening, she spoke of how in reinstalling the Elmhurst Collection she had put one of her large paintings next to one of my large room paintings. She enthusiastically agreed when I said there had always been affinities in our work. Phillip Hanson, member of The False Image

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

POST WAR AND CONTEMPORARY ART

Sketch for Unknown (female at table facing two male silhouettes, with carpet frame), Circa 1968 - 1969, oil on canvas, pile carpet, carpet tacks, painted wood shelves flank the composition (canvas has a slash, is taped on the verso),

For Roger Brown, the famous line in Hamlet, “All the world’s a stage, and all men and women merely players”1 rang true. The soliloquy outlines the stages of life, and Brown used the image and metaphor of the stage in all stages of his work. In addition to the depictions of theaters in his work, Brown made many object/ paintings with shelves as kinds of stages. Three and a half centuries after Shakespeare, the 20th century stages for Brown were movie houses, where newsreels, westerns, film noir, and everything Hollywood conjured and served up, could be experienced in charged, darkened spaces. In 1968 and ‘69, during his graduate studies at the School of the Art Institute of Chicago (SAIC), Brown knuckled down, hit his stride, and made his earliest mature works: over 25 paintings (more are occasionally discovered) focusing on movie houses. He decked interiors with stylized Deco proscenia and drapery, which in turn frame enigmatic, peculiar cinematic scenes. Brown depicted movie house exteriors at night in eerie streetscapes, also with stylized Art Deco facades, and several with upright, phallic blades. Movie theaters featured strongly in his youth, likely as pleasurable counterparts to the several-times-per-week obligatory Church of Christ Sunday School sessions and other Church services. Roger spent every possible moment and most of his pocket money at the Martin Theater in Opelika, Alabama. In letters to his parents from SAIC, Brown mentions seeing stage plays and films regularly, getting a job and ushering at Chicago’s Civic Opera so he could take in the performances. He wrote that the father of his “roommate” owned a movie theater, where they saw Toys in the Attic, The Caretaker, and The Haunting, and In Cold Blood. These and other films may have informed the spectral disquiet of the theater paintings either in process or to come. In her essay Roger Brown: Theater of the Mind, Shannon R. Stratton describes another aspect of the early theater paintings, “[They] appear to set a tone for his practice, establishing his interest in creating an aestheticized psychological space and set of stylized tactics, which he would apply again and again to conjure up a consistent atmosphere in his work.”2

*5 Roger Brown

(AMERICAN, 1941-1997)

The two painting/assemblage/constructions from Suellen Rocca’s collection are outstanding, original, and somewhat rare examples of Brown’s incorporation of sculptural materials into his early mature work, marking his commitment to bringing paintings into the third dimension by bringing objects into paintings––a critical aspect of his work through his entire oeuvre. While Untitled (Two Figures at Bar…) isn’t exactly a theater, it has the characteristics of many of Brown’s theater interiors: seated figures seen from behind, looking toward a figure on a “screen,” all wrapped in a mysterious glow. This is one of 5 known works from this period, and Brown’s entire oeuvre, in which he incorporated pile carpet–seemingly an odd choice, and not, to my knowledge, widely in use at the time. Using carpet he wrapped the painting in a soft and fuzzy frame that echoes the stiff-faced, square shouldered, staring female’s piled high and cascading coiffed hair.

Untitled (Two Figures at Bar, Female Behind Counter, Carpet Frame), 1969 oil on canvas with pile carpet signed R. Brown (verso) 14 x 14 inches. Property from the Collection of Suellen Rocca, Chicago, Illinois $30,000-$50,000

1 William Shakespeare, Hamlet, 1601. All the world’s a stage’ monologue, spoken by Jaques, Act 2 Scene 7 2 Stratton’s essay in Roger Brown: Virtual Still Lifes, the exhibition of the same title, brilliantly curated by Stratton for the Museum of Arts and Design, New York, May 2 – September 15, 2019

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

POST WAR AND CONTEMPORARY ART

Brown’s Untitled (Stepped Stage with Velvet Glove Curtains) is unlike any other work in his oeuvre. Painting a theater stage as an object––a theater within a theater––stairs lead up to an empty stage, with an ephemeral suggestion of the arc of the sky against green walls—oddly anticipating today’s green screen. The stage-set-diorama is wrapped in a shimmery halo, echoing the white-to-blue colors in the arc. Brown attached a black painted metal “curtain rod” to the frame. Using wire drape hangers he hung elbow-length, violet women’s gloves–-the type one might wear to the theater or opera––as curtains, creating the illusion that the empty gloves, as Surrealistic hands, gently hold and present the painting as a gift. Here, I give you this precious painting. Consider its mysteries and handle it with care. Roger and Suellen were friends, in a cohort of artists that were literally making the Chicago art scene for a number of years. These two object/ paintings were likely gifts from Suellen to Roger, or Rocca may have traded her painting Palm Head (1967, now in the Roger Brown Study Collection, RBSC) for one or both works. It is tempting to think that Brown made the object with gloves especially for Suellen. The feminine touch of the gloves brings to mind photos of Suellen from a 1967 exhibition in which she’s stylin’, garbed in a Pucci dress and stockings that appear to be her work, she blends into her work, she is her work. The RBSC Archive has a document that’s evidence of Roger and Suellen’s friendship, and of his high esteem for her work. In November 1983 the John Simon Guggenheim Memorial Foundation requested a letter of support for Suellen’s application for a Guggenheim Fellowship. Excerpts from Brown’s handwritten draft evoke their personal and professional relationship.

Palm Head, 1967

“Suellen’s work was perhaps even more directly influential on a number of artists in the Chicago area, than any of the other artists in the Hairy Who. The work of Phyllis Bramson, Hollis Sigler, and Phillip Hanson are indebted to Suellen’s painterly expressionist style, which also at least presaged many of the so called neo-expressionists of today. I also am indebted to her use of emblematic images which she freely used to conjure up images of the past as well as associations with our contemporary culture.” He continued,

*6 Roger Brown

(AMERICAN, 1941-1997)

Untitled (Stepped Stage with Velvet Glove Curtains), c. 1970 oil on canvas with velvet gloves 13 x 14 inches. Property from the Collection of Suellen Rocca, Chicago, Illinois $30,000-$50,000

“I would like to make as strong as possible a recommendation for Suellen Rocca’s candidacy for a Guggenheim Fellowship. For several years following a [her] move to California it was sad for all of us who had enjoyed Suellen’s work that she was not active as an artist. On returning to Chicago she became more and more productive and happily at the level of competency and intensity as her earlier work.”

Lisa Stone, Roger Brown Study Collection curator from January 1997 to June 2020 Note: Dates for many of Brown’s works from 1968-70, including the two of Suellen Rocca’s, are approximate. Many are known from undated slides or undated canvases.

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*7 Pauline Simon

(AMERICAN, 1898-1976)

The Egyptians, c. 1970 oil on canvas signed Simon and titled (verso) 30 x 36 inches. Property from the Collection of Suellen Rocca, Chicago, Illinois $3,000-$5,000

POST WAR AND CONTEMPORARY ART

8 John Seery

(AMERICAN, B. 1941)

Mamamita, 1975

acrylic on canvas signed John Seery, titled and dated (verso) 72 x 52 inches. $3,000-$5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

Drawings have always had a special place in the art of Judy Pfaff. On some occasions they are integrated into her complex environmental installations, other times they stand alone as independent works of art. The two works here, +’s & -‘s #14, of 2018 and Untitled, of 2020, are very fine examples of her most recent approach to drawing.

9 Judy Pfaff

(AMERICAN, B. 1946)

Untitled, 2020 oil stick and encaustic on vintage paper initialed J.P and dated (lower right) 14 3/8 x 28 2/8 inches. $5,000-$7,000

POST WAR AND CONTEMPORARY ART

+’s & -‘s #14, the earlier of the two, is made up of two sheets of paper that have been mounted side by side. They are flattened folio pages taken from a Chinese book as the calligraphy is visible in numerous places across the surface where it either has not been covered or only thinly covered by the encaustic overdrawing. The drawing itself is composed of a two-tiered brightly colored diamond pattern, which, may have been, consciously or unconsciously, inspired by the formal geometric structure of the calligraphy beneath. The multi-layered encaustic surface is vigorously applied. There is no attempt to stay precisely within bounds, and colors frequently intrude into or overlap with the colors of adjacent shapes. Clearly, the drawing is not about geometry itself, it is just that geometry has conveniently loaned itself to the artistic composition. The smudges and splatters around the edges of the two folios further attest to the spontaneity and informality of the composition. The artist-designed frame, on the other hand puts the drawing into a more formal context.

10 Judy Pfaff

(AMERICAN, B. 1946)

+’s & -’s # 14, 2018 oil stick and encaustic on Chinese book pages in artist made frame initialed JP and dated (lower right) 13 1/4 x 32 1/4 inches. $5,000-$7,000

The support for Untitled, of 2020 is also a palimpsest. However, only small fragments of the fine handwriting beneath the artist’s encaustic and oil stick drawing are still visible. Although the two principle elements of this horizontal drawing also broadly reflect an orderly geometric inspiration, it is a complex organic geometry deriving from nature. Two large circles, containing a myriad of smaller intensely colored circles anchor the two sides of the overall composition. Radiating out from each of these centers are symmetrical lines evocative of a geometric flower of life. They are negatively rendered, carved out for emphasis, allowing glimpses of the paper support beneath the encaustic and oil stick. Color energy and definition gradually subside the further the eye wanders from the two circles. The whole, however, has a contained energy that seems to want to expand outward beyond the wooden frame circumscribing the entire composition. The whole is further gentled by the fact that they are floral forms.

Russell Panczenko

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*11 Wolfram Aichele

(GERMAN, 1924-2016)

Untitled, c. 1967 oil on wood 12 x 12 x 12 inches. Property from the Collection of Mark Ellenburg, New York, New York $1,500-$2,500

POST WAR AND CONTEMPORARY ART

*12 Wolfram Aichele

(GERMAN, 1924-2016)

Untitled, 1967 signed Wolfram and dated (lower left) 31 1/2 x 30 1/2 inches. Property from the Collection of Mark Ellenburg, New York, New York $2,000-$4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

13 Spencer Finch

(AMERICAN, B, 1962)

Study for Magic Hour, 2004 watercolor and graphite on paper titled and dated (lower edge) 13 x 11 inches. Property from the Collection of Dr. S.R. Peterson, Hamden, Connecticut Provenance: Sold: Artspace Benefit Auction, New Haven, Connecticut, 2005 $2,000-$4,000

POST WAR AND CONTEMPORARY ART

14 Stanley Boxer

(AMERICAN, 1926-2000)

Sosoftsummeralms, 1976 oil on linen signed S Boxer, titled and dated (verso) 80 x 38 inches. Property from the Collection of Dr. S.R. Peterson, Hamden, Connecticut Provenance: Richard Gray Gallery, Chicago $6,000-$8,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

15 Hannah Wilke

(AMERICAN, 1940-1993)

Untitled (Terracotta Vagina), 1984 glazed terracotta inscribed Wilke and dated (underside) 2 1/2 x 2 1/2 x 5 1/4 inches. Provenance: Gifted by the artist to Barb King Gifted by the above to Steamboat Creates, Steamboat Springs, Colorado $4,000-$6,000

POST WAR AND CONTEMPORARY ART

16 Joe Goode

(AMERICAN, B. 1937)

Untitled (Triptych) from Wash and Tear Series, 1975 color screenprint on cotton flannel and cotton batiste; double-layered and torn from the edition of 9 unique examples 31 x 62 inches. $5,000-$7,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

Joe Goode

Saul Steinberg

Untitled from Wash and Tear Series, 1975

Mesa with Figures, 1971

color screenprint on silk, double-layered and torn from the edition of 24 unique examples 37 x 51 1/2 inches.

watercolor, ink, pencil, and rubber stamp on paper signed Steinberg and dated (lower right) 19 x 14 1/4 inches.

(AMERICAN, B. 1937)

$5,000-$7,000

(AMERICAN, 1914-1999)

Provenance: The Estate of the artist, New York The Saul Steinberg Foundation, New York Exhibited: East Hampton, New York, Guild Hall Museum, Saul Steinberg, May 8-June 13, 1993, no. 3 Literature: Steinberg, Saul & Strassfield, Christina Saul Steinberg, Guild Hall Museum, East Hampton, NY, 1993, no. 3 $20,000-$30,000

POST WAR AND CONTEMPORARY ART

Mesa with Figures is one of Steinberg’s postcard-style landscapes. Exquisitely brushed or sponged in oil or thin watercolor wash, they are simple compositions, with cloud-sky formations above, punctuated by rubber stamp sun-seals, and a horizontal expanse of flat land and/or water below; sometimes a bit of faux calligraphy feigns elucidation. They are peopled with rubber-stamp figures, the kind of embellishments called staffage in earlier landscape painting. “If I use a rubber stamp…I do it to show that this paint is not real paint, it’s a symbol of the thing painted.” Steinberg didn’t depict nature, but nature as translated by art, from high to low, the low end here represented by the clichéd vistas of tourist postcards. Explaining one of his multipaneled postcard-style landscapes to an interviewer, he said:

“These postcards represent not the reality, not the truth—they represent our convention and our idea of what nature looks like. So in a sense, the greatest influence [on] landscape has been Poussin, [one of] the inventors of landscapes, who have also been the inventors of the postcards. So that now nature looks to us like imitating art, …or it imitates the slapstick of the sunset, all the histrionics of nature and light and sun.” The titles of the postcard-style landscapes are often as generic as the compositions— “landscape,” “sunset,” or just “postcard”; but they are just as often christened with the name of a locale where Steinberg lived or visited. Travelogue by fiat. © 2020 Saul Steinberg Foundation

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

19 Friedel Dzubas

(GERMAN/AMERICAN, 1915-1994)

Elixir Vitae, 1977 magna acrylic on canvas signed Dzubas, titled and dated (verso) 72 x 72 inches. Provenance: Sold: Sotheby’s New York, November 5, 1987, lot 264 Acquired from the above by the present owner $40,000-$60,000

POST WAR AND CONTEMPORARY ART

20 Friedel Dzubas

(GERMAN/AMERICAN, 1915-1994)

Untitled, 1985 watercolor and acrylic on paper signed Friedel Dzubas and dated (lower right) 29 3/4 x 24 5/8 inches. $4,000-$6,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*21 Paul Jenkins

(AMERICAN, 1923-2012)

Phenomena Wind Buttress, 1977-78 acrylic on canvas signed Paul Jenkins (lower right); signed, titled and dated (verso) 74 1/2 x 65 inches. Property from the Estate of Rawleigh & Mary Ann Warner, Hobe Sound, Florida Provenance: Gimpel & Weitzenhoffer Ltd., New York $30,000-$50,000

POST WAR AND CONTEMPORARY ART

*22 Paul Jenkins

(AMERICAN, 1923-2012)

Phenomena Winds of Palace Change, 1976 oil on canvas signed Jenkins (lower right); signed, titled and dated (verso) 44 x 85 inches. Property from the Estate of Rawleigh & Mary Ann Warner, Hobe Sound, Florida Provenance: Gimpel & Weitzenhoffer Ltd., New York $30,000-$50,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

23 Keith Jacobshagen (AMERICAN, B. 1941)

Devils Night IV, 1987 mixed media on paper signed K Jacobshagen, titled and dated (lower edge) 26 1/4 x 43 inches. $2,000-$4,000

POST WAR AND CONTEMPORARY ART

24 Keith Jacobshagen (AMERICAN, B. 1941)

Night Ice, Near Ashland, 1987 mixed media on paper signed K Jacobshagen, titled and dated (lower edge) 26 x 38 inches. $2,000-$4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

Much of Gerhard Richter’s career is distilled in this intimate square painting from 1996. Its sonorous, deep almost monochromatic maroon color suggests the gentle tidal movement of the sea in early evening. The picture conveys a sense of motion and depth under its surface. Inspired initially by his very early work in a photo lab in East Germany and then refined over years by his process on painting in multiple layers, Richter learned to evoke this sense of quasi photographic but painterly movement. In this work he used the blunt end of a paint brush to incise what reads like a horizon line, and the modulated surface in the top register appears like an overcast sky, just moments before night falls.

POST WAR AND CONTEMPORARY ART

Thus, the painting can be read not only as an abstraction, but also as a romantic seascape. It is this sense of existing in the realm between abstraction and realism that characterizes much of the artist’s best work. One can also add that the square format of this painting is a shape that Richter gravitated towards, it is repeatedly utilized in his paintings and drawings and even can be seen in the design of his house in Cologne. Like the satisfying square, this work is perfectly balanced and even. The only movement is suggested by the paint on its surface.

*26

Gerhard Richter

Theaster Gates

Untitled (6 Nov. 96), 1996

Untitled

oil on canvas signed and dated (lower left) 5 3/4 x 5 3/4 inches.

mixed media on paper 22 3/4 x 30 inches. Property from the Collection of Jane Humzy, Chicago, Illinois

(GERMAN, B. 1932)

Provenance: Nolan/Eckman Gallery, New York Acquired from the above by the present owner in 1998

(AMERICAN, B. 1973)

$5,000-$7,000

$30,000-$50,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

27 William Kentridge

(SOUTH AFRICAN, B. 1955)

Untitled (Boat/Plate) charcoal and pastel on paper signed Kentridge (lower right) 6 3/4 x 9 3/4 inches. Provenance: Greg Kucera Gallery, Seattle, Washington $10,000-$15,000

POST WAR AND CONTEMPORARY ART

28 Malcolm Morley (BRITISH, 1931-2018)

Study for Regatta, 1994 graphite on paper signed Malcom Morley (lower left) 4 x 5 3/4 inches. Provenance: Michael Klein Gallery, New York $2,000-$4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

29 Joseph Raffael

(AMERICAN, B. 1933)

Untitled watercolor on paper signed Joseph Raffael (lower right) 33 x 43 inches. $3,000-$5,000

POST WAR AND CONTEMPORARY ART

30 Nicholas Carone

(AMERICAN, 1917-2010)

Untitled, 1957 oil on board signed Carone (lower right) 25 x 35 inches. Provenance: Staempfli Gallery, New York Acquired directly from the artist by the present owner in 2004 Exhibited: New York, New York, The American Federation of Arts, Lyricism in Abstract Art, October 1962 - May 1963 $8,000-$12,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*31 Tadeusz Brzozowski (POLISH, 1918-1987)

Untitled, 1959-60 oil on canvas signed T. Brzozowski and dated (verso) 22 x 18 1/ 2 inches. Property from the Collection of Mark Ellenburg, New York, New York $20,000-$30,000

POST WAR AND CONTEMPORARY ART

*32 David Smith

(AMERICAN, 1906-1965)

Untitled, 1954 black ink, salmon tempera and white oil on paper signed and dated (lower right) 20 1/2 x 15 1/2 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Estate of the artist Collection of Rebecca and Candida Smith Pace Master Prints, New York Acquired from the above in 1989 $15,000-$25,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*33 Isaac Witkin

(AMERICAN, 1936-2006)

Badlands, 1984 bronze 34 x 23 x 27 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Hirschl & Adler Modern, New York Acquired from the above in 1985 Exhibited: New York, Hirschl & Adler Modern, Isaac Witkin, April 20 - May 1985 St. Louis, Saint Louis Art Museum, Art of the 80s: Recent Acquisitions by St. Louis Private Collectors, 1986 $2,000-$4,000

POST WAR AND CONTEMPORARY ART

*34 Barbara Hepworth (BRITISH, 1903-1975)

Maquette (Variation on a Theme), 1958 bronze on marble base

edition 6/9

17 1/2 x 7 1/2 x 4 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: The Artist’s Studio Gimpel Fils, London Dallas Smith, London 1960 Edward Bowman, London Sold: Christie’s London, June 28, 1977, lot 75 Gimpel Fils, London Acquired from the above by the present owner in 1981 Literature: Hodin, J.P., Barbara Hepworth, London, 1961, p. 170, no. 247 Barbara Hepworth, Volume of Sculpture Records, Tate Archive, TGA 7247/28, pg. 29-30 $60,000-$80,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*35 Henry Moore

(BRITISH, 1898-1986)

Pointed Reclining Figure conceived in 1948, cast in 1969 bronze inscribed Moore and stamped 2/9 3 1/2 x 8 1/2 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Wildenstein & Co., New York, Private Collection, New York James Kirkman Limited, London Acquired from the above in 1980 Literature: Bowness, Alan, Henry Moore: Complete Sculpture, 1980-86, vol. VI, London, 1999, no. 268a, pg. 30 - 31 $80,000-$120,000

POST WAR AND CONTEMPORARY ART

36 Lynn Chadwick

(BRITISH, 1914–2003)

Sitting Woman, Maquette IX, 1986 bronze stamped C46 and numbered 9/9 5 3/4 x 6 1/4 x 6 inches. Literature: Farr, Dennis; Chadwick, Eva, Lynn Chadwick, Sculptor, Gloucestershire, 2006, no. C46, pg. 368 - 369 $12,000-$18,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

37 Annette Messager (FRENCH, B. 1943)

Piques, 1994 steel, fabric, colored pencils, Styrofoam with graphite, pastel and charcoal on paper, cardboard, glass and tape signed Annette Messager and dated on photo certificate dimensions variable. Provenance: Galerie Chantal Crousel, Paris Acquired from the above by the present owner in 1996 $15,000-$25,000

POST WAR AND CONTEMPORARY ART

Along with its sinister contemporary companion the Guillotine, pikes and specifically aristocratic heads impaled on them, have macabrely become as emblematic of the French Revolution as the Marie Antionette attribution “Let them eat cake.” According to Madame Tussaud’s account, in the days leading up to the storming of the Bastille the citizen resistance approached her uncle Philippe Mathé Curtius, the principal of the wax museum Salon de Cire for use of wax busts of the royals to employ figurative battle standards in the ensuing demonstrations to which he acquiesced. Following the successful overthrow of the ruling monarchy and the complicit nobility these manufactured figure heads became actualized atrocities, a perverse proclamation of victory and a deadly serious didactic against future tyranny or the support thereof. Honoré Gabriel Riqueti, Count of Mirabeau, a noted orator and leading dissident voice of the critical mass, retroactively justified the practice as being the product of “centuries of despotism which corrupted the people’s character and, ‘If the anger of the people is terrible it is the cold blood of despotism that is atrocious. Its systematic cruelties do more damage in a day than popular insurrections destroy in a year.” The pikes, in action and manifestation being necessary evils in vanquishing the greater hierarchically evil of the establishment. In her Piques series, renowned French installation and conceptual artist Annette Messager distills and repurposes these historic revolutionary ideals with her own unique take on these gruesome trophies of rebellious triumph, as if the voice of a Menu Peuple nouveau in opposition to a contemporary set of systemic inequalities. Ingeniously and appropriately coming full circle from the inciteful prototypal protest props, the precursors and perhaps inspiration for the grizzly realization of the original effigies, Messager returns to surrogate speared heads to artfully ignite new fires for current causes of the common caste. Her rendition a pleasing contradiction, composed of pole mounted plush stuffed stockings, bright colored buttons and pencils, delicate diagrams and cartography, sensitively disarming in appearance yet disquieting in aggressive conceptual subtext. The nylon hose an especially charged material choice, dually the soft oft fetishized symbols of alluring feminine ornamentation, whether desired or required, the also resonate as the utilitarian low-tech face masking disguise of gunmen, criminal actors and freedom fighters alike. The drawn components are illustrative vignettes of strife and discord, emotive expressive mark making and maps delineating various fragmented sectors of control, subtler rest points that upon exploration still speak truth to power. Perhaps depending on the scale of concern and in turn the imagined uprising, the individual Piques works are presented in variously sized sculptural arsenal arrangements, syncopated rows of rods, leaning at a pitch against the installation wall, evoking memories of the 18th century the shocking source souvenirs displayed in a town square or castle courtyard. Piques, 1994 was included in an exhibition of Messager’s work at Galerie Chantal Crousel, Paris and has been in a single private collection since 1996. Larger examples from the series are held in international institutional collections including the Centre Pompidou, the Tate and the Museum of Modern Art.

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

Love Will Tear Us Apart

Celebrated and controversial, artist, entrepreneur, collector, filmmaker, market maverick and well-rehearsed rebellious chameleon, Damien Hirst, rose to unparalleled prominence as a member of the Young British Artists in 1990s London. One of the first bodies of work to achieve Hirst recognition was his Medicine Cabinets series, literal boxed arrangements of medical tablets, serums, containers and dispensers, superficially minimalist pop color coded sculptural compositions, echoing the crisp contours of Judd and LeWitt constructions, with a self-assured disruptive nihilistic depth of concept. In part inspired by a youthful near fatal accident when a toddler Hirst mistook prescription pills for candy resulting in an emergency stomach pump, the works demonstrated the aesthetically alluring decoration of the outer shell concealing the dangerous contents effectively identifying the translucent veil between antidote and poison. Collectively sanitized generic readymade Cornell boxes depicting a disordered organization of a disturbingly compulsive collector, shines to a specific psychosis. Brightly coated with a deadly serious beneath, a subtler harbinger of his later shockingly confrontational entombed carcass specimens and opulently bedecked skulls and pharmaceuticals. This series of installations began Hirst’s career spanning artistic exploration of the beauty in systems of mortality and decay. The inevitable constant of death has remained a cardinal theme to Hirst’s work, as that which does not live cannot die, it could be argued that life is also of thematic importance to the artist or at very least an attempt to define the delicate distinction between the inherently linked states. An overt Memento Mori, Love Will Tear Us Apart, 1995 allegorically appropriates its title from Joy Division’s post punk breakout single, that tortured iconic front man Ian Curtis, tragically took his own life before he could see the successful reception of. A call back to Hirst’s seminal Medicine Cabinet series, which brashly borrowed it’s titles from the track list of punk pioneers the Sex Pistols’ Never Mind the Bullocks, this installment more directly explores the vital/fatal drug duality with the sterile packaged syringes, crucial instruments of healthcare and the addicts tool of self-inflicted sickness, depending on the plunger’s pilot, comprising the systematic compartmentalized display. Curtis embodying the mortal moral for this tonic, toxic correlation, his painfully British stoic suffering through the medical mismanagement of his Epilepsy, the crippling collateral depression of its treatment contributing to his ultimate suicide the evidentiary archetype. The unintended caustic consequence of a cure is the crux of this conceptual biscuit, mirroring Hirst own childhood brush with overdose death to a degree. The star-crossed romanticism of the contradiction within the title as well introduces a parallel interpretation. Hopelessly “Love Will”, not ‘Love Can”, this a love so powerful it is destined for self-destruction, readably a poetic description of addiction. The needles grimly point to an intravenous drug user unable to escape the dragon’s fateful flames. Hirst no stranger to struggles with excess, having experiential knowledge of the sparkling skull and crossbones that is overindulgence in a good thing, even if that goodness is merely perceived. That which we think will bring us joyful salvation being also the device that designs our demise, seems an absolute sadness of existence. It has been sardonically said that the words love, God and drugs can be interchangeable expressions of longing and fulfillment in any rock and roll lyric. Hirst whose own cult of personality brilliantly blurs the lines between artistic and rock star popular celebrity, synthesizes all three subjects to a complex singular science in the provocatively poignant Love Will Tear Us Apart, a starkly severe still life instilled with life.

POST WAR AND CONTEMPORARY ART

38 Damien Hirst

(BRITISH, B. 1965)

Love Will Tear Us Apart, 1995 acrylic syringe dispenser, needles, syringes and packaging signed Damien Hirst and numbered 10/30 (label verso) 14 x 20 inches. Provenance: Tanya Bonakdar Gallery, New York, Los Angeles $10,000-$15,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

39 Jenny Holzer

(AMERICAN, B. 1950)

Untitled (from Truism series), 1985 electronic LED sign with yellow diodes edition 2/5 5 1/2 x 30 1/2 x 4 inches. Provenance: Cybernetic Data Products, Chatsworth, California Rhona Hoffman Gallery, Chicago Sold: Museum of Contemporary Art Benefit Auction, October 12, 1985 Private Collection, Chicago Rhona Hoffman Gallery, Chicago Private Collection $20,000-$40,000

POST WAR AND CONTEMPORARY ART

Truisms At the height of World War II transcendent folk troubadour Woody Guthrie emblazoned his trusty guitar with the heroic battle cry “This Machine Kills Fascists”, an explosive statement of the strength of the voice against violent oppression. This artful verbal salvo against authoritarianism, a most urgent update of Edward Bulwer-Lytton’s 19th century dichotomous dictum, comparing the efficacy of advocacy implements, composed communication more powerful still than steel when words sung load and not just penned. Channeling the timeless relevance of her predecessors in protest in her Truisms series, Jenny Holzer (American, b. 1950) automatizes this enduring proclamation, an extended magazine of explosive verse, rapidly reporting truth to treacherous power. Holzer first started playing with the words of Truisms while an independent philosophy and literature student in the radical late 70s New York City of CBGBs and Bronx park jams. Holzer shrewdly subverted contemporary cliché language creating a compilation of her own provocative maxims, resting in the Venn Diagram overlap of news flash, social commentary, self-help affirmation, one-liner punchline and manifesto thesis, skewering the constructs of over consumption culture. The concept was initially realized consciously as commercial printed alphabetized, type set arrangements of Holzer’s concocted adages, publicly peppering the pages through the city as confrontational broadsheets for widespread absorption. Unlike many of her text based artistic contemporaries who juxtaposed imagery with words, Holzer embraced pure symbology seeing the phrases themselves as composition enough. The delivery system was the variable, the content, the constant, to expand the bandwidth of the message reception ranging from the intimacy of a cookie’s fortune revealed to a global ad campaign’s call to action. Arguably Truisms conceptionally culminated with the 1982 installation of an electronic billboard version of the slogans set in Time Square, the glowing signifier of mass media commerce, stocker ticker scrolling a disruptive digital display of ideas as a currency of influence to the apex of audience. Untitled (from Truisms Series), 1985, is something of the play at home version of the stadium scale game show grandeur of the epic Time Square take over. A plastic housed LED console with yellow lit diodes, measuring 5 1/2 x 30 1/2 x 4 inches, transmitting 947 word segment of the original anthology of algorisms. Sequenced in a 20 odd minute loop with strategically static digestible pauses, reading individually as prescient alerts, collectively as a challenging poetic sermon, championing individuality and constructive change. By utilizing an established format for the mass presentation of information saturation to examine the medium of media, the poppy field is not the subjugator’s dreamy trap, but the following vivid anti-establishment stare behind the wizard’s curtain: CHANGE IS VALUABLE BECAUSE IT LETS THE OPRESSED BE TYRANTS CHASING THE NEW CHASING THE NEW CHASING THE NEW IS DANGEROUS TO SOCIETY CHILDREN ARE THE CRUELEST OF ALL CHILDREN ARE THE HOPE OF THE FUTURE CLASS ACTION IS A NICE IDEA WITH NO SUBSTANCE CLASS STRUCTURE IS AS ARTIFICAL AS P-L-A-S-T-I-C CONFUSING YOURSELF IS A WAY TO STAY HONEST CRIME AGAINST PROPERTY IS RELATIVELY UNIMPORTANT DECADENCE CAN BE AN END IN ITSELF DECCENCY IS A RELATIVE THING DEPENDENCE-CAN-BE-A-MEAL-TICKET DESCRIPTION IS MORE VALUABLE THAN METAPHOR DEVIANTS ARE SACRIFICED TO INCREASE GROUP SOLIDARITY DISGUST IS THE APPROPRIATE RESPONSE TO MOST SITUATIONS DISORGANIZATION IS A KIND OF ANTHESIA DON’T PLACE TOO MUCH TRUST IN EXPERTS DON’T RUN PEOPLES LIVES FOR THEM DRAMA OFTEN OBSCURES THE REAL ISSUES DREAMING WHILE AWAKE IS A FRIGHTENING CONTRADICTION DYING AND COMING BACK GIVES CONSIDERABLE PERSPECTIVE DYING SHOULD BE AS EASY AS FALLING OFF A LOG EATING TOO MUCH IS CRIMINAL ELABORATION IS A FORM OF POLLUTION EMOTIONAL RESPONSES ARE AS VALUABLE AS INTELLECTUAL RESPONSES ENJOY YOURSELF BECAUSE YOU CAN’T CHANGE ANYTHING ANYWAY ENSURE THAT YOUR LIFE STAYS IN FLUX EVEN YOUR FAMILY CAN BETRAY YOU EVERY ACHIEVEMENT REQUIRES A SACRIFICE EVERYONE’S WORK IS EQUALLY IMPORTANT EVERYTHING THAT’S INTERESTING IS NEW EXCEPTIONAL PEOPLE DESERVE SPECIAL CONCESSIONS EXPIRING FOR LOVE IS BEAUTIFUL BUT STUPID EXPRESSING ANGER IS NECCESARY EXTREME BEHAVIOR HAS ITS BASIS IN PATHOLOGICAL PSYCHOLOGY EXTREME SELFCONCIOUSNESS LEADS TO PERVERSION FAITHFULNESS IS A SOCIAL NOT BIOLOGICAL LAW FAKE OR REAL INDIFFERENCE IS A POWERFUL PERSONAL WEAPON FATHERS

OFTEN USE TOO MUCH FORCE FEAR IS THE GREATEST INCAPACITATOR FREEDOM IS A LUXURY NOT A NECCISITY GO ALL OUT IN ROMANCE AND LET THE CHIPS WHENEVER GOOD DEEDS ARE EVENTUALLY REWARDED GOVERNMENT IS A BURDEN ON THE PEOPLE GRASS ROOTS AGITATION IS THE ONLY HOPE GUILT AND SELF-LACERATION ARE INDULGENCES HABITUAL CONTEMPT DOESN’T REFLECT A FINE SENSIBILITY HIDING YOUR MOTIVES IS DESPICABLE HOLDING BACK PROTECTS YOUR VITAL ENERGIES HUMANISM IS OBSOLETE HUMOR IS A RELEASE IDEALS ARE REPLACED BY CONVENTIONAL GOALS AT A CERTAIN AGE IF YOU ARE TRUSTING YOU ARE CONFIDENT IN YOURSELF IF YOU AREN’T POLITCAL YOUR PERSONAL LIFE SHOULD BE EXEMPLRY IF YOU CAN’T LEACE YOUR MARK GIVE UP IF YOU HAVE MANY DESIRES YOUR LIFE WILL BE INTERESTING IF YOU LIVE SIMPLY YOU HAVE NOTHING TO WORRY ABOUT IF YOU LIVE SIMPLY YOU HAVE NOTHING TO WORRY ABOUT IF YOU UNDERSTAND THE PARTS YOU’LL UNDERSTAND THE WHOLE IGNORING ENEMIES IS THE BEST WAY TO FIGHT ILLNESS IS A STATE OF MIND IMPOSING ORDER IS MAN’S VOCATION FOR CHAOS IS HELL IN SOME INSTANCES IT’S BETTER TO DIE THAN TO CONTINUE INHERITANCE MUST BE ABOLISHED IT CAN BE HELPFUL TO KEEP GOING NO MATTER WHAT IT IS HEROIC TO TRY TO STOP TIME…..IT IS MAN’S FATE TO OUTSMART HIMSELF IT’S A GIFT TO THE WORLD NOT TO HAVE BABIES IT’S BETTER TO BE LONELY THAN TO BE WITH INFERIOR PEOPLE IT’S BETTER TO BE NAÏVE THAN JaDeD IT’S BETTER TO STUDY THE LIVING FACT THAN TO ANALYZE HISTORY IT’S CRUCIAL TO HAVE AN ACTIVE FANTASY LIFE IT’S GOOD TO GIVE EXTRA MONEY TO CHARITY IT’S IMPORTANT TO STAY CLEAN ON ALL LEVELS IT’S IMPOSSIBLE TO RECONCILE YOUR HEART AND HEAD IT’S JUST AN ACCIDENT YOUR PARENTS ARE YOUR PARENTS IT’S NOT GOOD TO HOLD TOO MANY ABSOLUTES IT’S NOT GOOD TO LIVE ON CREDIT IT’S VITAL TO LIVE IN HARMONY WITH NATURE JUST BELIEVING SOMETHING CAN MAKE IT HAPPEN KILLING IS UNAVOIDABLE BUT IS NOTHING TO BE PROUD OF KNOWING YOURSELF HELPS YOU UNDERSTAND OTHERS KNOWLEDGE SHOULD BE ADVANCED AT ALL COSTS LABOR IS A LIFE-DESTROYING ACTIVITY LACK OF CHARISMA CAN BE FATAL LEARN THINGS FROM THE GROUND UP LEISURE TIME IS A GIGANTIC SMOKESCREEN LISTEN WHEN YOUR BODY TALKS LOOKING BACK IS THE FIRST SIGN OF AGING AND DECAY LOVING ANIMALS IS A SUBSTITUTE ACTIVITY LOW EXPECTATIONS ARE GOOD PROTECTION MANUAL LABOR CAN BE REFRESHING AND WHOLESOME MEN ARE NOT MONOGAMOUS BY NATURE MODERATION KILLS THE SPIRIT MONEY CREATES TASTE MONOMANIA IS A PREREQUISITE OF SUCCESS MORALS ARE FOR LITTLE PEOPLE MOST PEOPLE ARE NOT FIT TO RULE THEMSELVES MOSTLY YOU SHOULD MIND YOUR OWN BUSINESS MOTHERS SHOULDN’T MAKE TOO MANY SACRIFICES MUCH WAS DECIDED BEFORE YOU WERE BORN MURDER HAS ITS SEXUAL SIDE MYTHS MAKE REALITY MORE INTELLIGIBLE NOISE CAN BE HOSTILE NOTHING UPSETS THE BALANCE OF GOOD AND EVIL OCCASIONALLY PRINCIPLES ARE MORE VALUABLE THAN PEOPLE OFFER VERY LITTLE INFORMATION ABOUT YOURSELF OFTEN YOU SHOULD ACT LIKE YOU ARE SEXLESS OLD FRIENDS ARE BETTER LEFT IN THE PAST OPACITY IS AN IRRESISTIBLE CHALLENGE PAIN CAN BE A POSITIVE THING PEOPLE ARE BORING UNLESS THERE ARE EXTREMISTS PEOPLE ARE NUTS IF THEY THINK THEY’RE IMPORTANT PEOPLE ARE RESPONSIBLE FOR WHAT THEY DO UNLESS THEY’RE INSANE PEOPLE WHO DON’T WORK WITH THEIR HANDS ARE PARASITES PEOPLE WHO GO CRAZY ARE TOO SENSITIVE PEOPLE WON’T BEHAVE IF THEY HAVE NOTHING TO LOSE PHYSICAL CULTURE IS SECOND-BEST PLANNING FOR THE FUTURE IS ESCAPISM PLAYING IT SAFE CAN CAUSE A LOT OF DAMAGE IN THE LONG RUN POLITICS IS USED FOR PERSONAL GAIN POTENTIAL COUNTS FOR NOTHING UNTIL IT’S REALIZED PRIVATE PROPERTY CREATED CRIME PURSUING PLEASURE FOR THE SAKE OF PLEASURE WILL RUIN YOU PUSH YOURSELF TO THE LIMIT AS OFTEN AS POSSIBLE PUSH YOURSELF TO THE LIMIT AS OFTEN AS POSSIBLE RAISE BOYS AND GIRLS THE SAME WAY RANDOM MATING IS GOOD FOR DEBUNKING SEX MYTHS RECHANNELING DESTRUCTIVE IMPULSES IS A SIGN OF MATURITY RECLUSES GET WEAK EVEN IF STRONG ORIGINALLY REDISTRIBUTING WEALTH IS IMPERATIVE RELATIVITY IS NO BOON TO MANKIND RELIGION CAUSES AS MANY PROBLEMS AS IT SOLVES REMEMBER YOU ALWAYS HAVE FREEDOM OF CHOICE REPETITION IS THE BEST WAY TO LEARN The limits of the technology of the day nostalgically dates the work somewhat to of a moment, still the substantive significance communicates directly to the now of screen time gluttony and tweeter feeds feeding fake news, ultimately sadly timeless. Indelibly so, Holzer’s revolutionary onslaught of axioms assault the viewers with weaponized words, theoretical truths that illicit a reflexive interpretation of what true is to you.

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

40 Alfredo Jarr

(CHILEAN, B. 1956)

Gold in the Morning, 1985 transparency printed in colors flush-mounted to Plexiglas in an aluminum electrical light box; printed in 2002 edition of 30 14 x 38 inches. Provenance: Documeneta 11_Editions, Kassel, Germany; Edition Schellmann, München, Germany, New York $8,000-$12,000

POST WAR AND CONTEMPORARY ART

41 Ed Paschke

(AMERICAN, 1939-2004)

No Fumare Por Favor, 1997 PSCHologram signed E. Paschke, numbered 8/16, titled and dated 23 1/4 x 19 1/4 inches. Provenance: Maya Polsky Gallery, Chicago Acquired from the above by the present owner in 1998 $6,000-$8,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

42 Ed Paschke

(AMERICAN, 1939-2004)

Spirit of Power, 1989 ink and colored pencil on paper signed E Paschke, titled and dated (lower edge) 18 x 24 inches. Provenance: Phyllis Kind Gallery, Chicago Acquired from the above by the present owner in 1990 $3,000-$5,000

POST WAR AND CONTEMPORARY ART

Spirit of Power, 1989, is a spectral image of a gun, one of many that Paschke made at this time. It’s an icon of gang violence and societal authority and defense, complicated further by the religious allusion of the INRI inscription and a cross. Meticulous rendering in several media, applied in succession, invite a visual delayering, as if peeling away the marks will reveal meaning. At this time Paschke was drawing over washes with ink dots that mimic his method of painting with the tips of small brushes, accumulating tone and illusion without obscuring the illumination from under-layers. There is a ritualist’s fondness for repetition in his method. It asks the viewer to participate in drawing and to contemplate the deceptive aura of an icon of sudden and terrible violence.

William Conger, Artist; Professor Emeritus, Art Theory and Practice, Northwestern University

*43 Ed Paschke

(AMERICAN, 1939-2004)

Tracer, 1989 oil on linen signed E. Paschke and dated (lower right); signed, titled and dated (verso) 36 x 24 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois Provenance: Phyllis Kind Gallery, Chicago Exhibited: Terre Haute, Indiana, Turman Gallery, Indiana State University, First Person Plural: Part II/ Focus on Ed Paschke, March 3-April 3, 1991, no. 4 This lot is accompanied by a The School of the Art Institute of Chicago promotional poster featuring Tracer $40,000-$60,000

Tracer, 1989: The jittery, glowing face of the iconic comic strip Dick Tracy is surrounded by a TV screen and to its left a full color mirror image (also indicated by reverse numbers on the frontal face) of a wannabe Dick Tracy, a Tracer. The duo reflects the essential oneness of the two faces. The merging of icon with “the common man “ suggests the projection of self into cultural identity or the absorption of self by a fictional, flickering icon. The delicately painted surface is a clue to Paschke’s encouraging empathy for a Tracer, the character under a big 1940s gangland Fedora.

William Conger, Artist; Professor Emeritus, Art Theory and Practice, Northwestern University

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*44 Ed Paschke

(AMERICAN, 1939-2004)

Sky Blue, 1994 oil on linen signed E. Paschke and dated (lower right); signed, titled and dated (verso) 36 x 40 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois Provenance: Phyllis Kind Gallery, Chicago Exhibited: Chicago, Illinois, Chicago History Museum, Ed Paschke: Chicago Icon – A Retrospective, September 30 2006-February 19, 2007 Indianapolis, Indiana, Herron Gallery, Herron School of Art and Design, Indiana University Purdue University, Ed Paschke Nonplussed: Paintings 1967-2004, March 9-April 29, 2007 Godfrey, Illinois, Lewis and Clark College, Unfinished Business, September 22-October 19, 2007 $30,000-$50,000 60

POST WAR AND CONTEMPORARY ART

Sky Blue, 1994, represents Paschke’s moving on from the large celebrity or historical icon portraits of a few years earlier (such as his Elvis and Lincoln). Here Paschke reinvents a human scale generalized androgynous face overlaid with tattoo-like symbols of little chicks. They may be either dreaded or soothing chicks but they fill the head. (they may refer to his father’s inspiring carvings of birds). On the upper right a larger chicken without a wattle is neither fully hen nor rooster. This ambiguity leads us again to Paschke’s paradoxical law of opposites that resist efforts to explain his imagery as a simple narrative. Paschke employs wide ovals and lines to merge with the painted head. Together they suggest the five senses. Other symbols float nearby. It’s an uncertain private dialogue about personal identity happening in broad daylight. The paint application is more varied in this work, sometimes thick, vigorous; sometimes water thin and dotted, evoking the presence of studio hands-on working and experiment. Sky Blue shows how Paschke’s commitment to inventive at-the-moment problem solving was guided by his career-long maxim: “Show life in the picture plane.”

William Conger, Artist; Professor Emeritus, Art Theory and Practice, Northwestern University

*45 Robert Lostutter (AMERICAN, B. 1939)

III Superb Sunbird, 1991 watercolor on paper signed Lostutter, titled and dated (lower right) 14 x 28 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois Provenance: Corbett vs. Dempsey, Chicago $5,000-$7,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

46 Mel Ramos

(AMERICAN, 1935-2018)

Mixed Nuts: The Lost Painting of 1965 #35, 2004 oil on canvas signed M Ramos and dated (verso) 47 3/4 x 36 inches. Provenance: Modernism, San Francisco Private Collection, Toronto Exhibited: New York, Art Deals Association of America, THE ART SHOW, February 19 - 23, 2004 San Francisco, Modernism, Modernism: 25 Years 1979-2004, pg. 398 - 399, illustrated Literature: Kuspit, Donald; Meisel, Louis K., Mel Ramos Pop Art Fantasies: The Complete Paintings, New York, 2004, pg. 208 - 209, illustrated $80,000-$120,000

POST WAR AND CONTEMPORARY ART

47 Bruno Surdo

(AMERICAN, B. 1963)

Interface, 2008 oil on canvas stretched over board signed Bruno Surdo (lower right) 78 x 83 3/4 inches. Provenance: Ann Nathan Gallery, Chicago Literature: Bruno Surdo The Grand Manner $3,000-$5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

48 Tibor Csernus

(FRENCH/HUNGARIAN, 1927–2007)

Untitled (Nu Blouse Orange), 1982 oil on canvas signed Csernus and dated (verso) 45 x 64 inches $20,000-$30,000

POST WAR AND CONTEMPORARY ART

49 Jonathan Green (AMERICAN, B. 1955)

Untitled (Beach Scene) acrylic on canvas 73 x 53 1/2 inches $10,000-$15,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

50 Gladys Nilsson

(AMERICAN, B. 1940)

In the Afternoon, 2007 watercolor and gouache on paper signed Gladys Nilsson, titled and dated (verso) 13 7/8 x 19 7/8 inches. Provenance: Jean Albano Gallery, Chicago $6,000-$8,000

POST WAR AND CONTEMPORARY ART

51 Gladys Nilsson

(AMERICAN, B. 1940)

Oopps, 1988 watercolor on paper signed Gladys Nilsson, titled and dated (verso) 22 3/4 x 15 1/4 inches. $8,000-$12,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

52 Zhu Wei

(CHINESE, B. 1966)

Spring Festival No. 6, 2001 ink and color on paper signed and stamped 26 x 26 inches. Property from a Midwestern Collection Provenance: Plum Blossoms, New York Acquired from the above by the present owner in 2001 $8,000-$12,000

POST WAR AND CONTEMPORARY ART

53 Richard Yarde

(AMERICAN, 1939-2011)

Mother and Child, 1985 watercolor on paper signed Yarde and dated (lower right) 37 1/2 x 28 inches. $3,000-$5,000

54 Richard Yarde

(AMERICAN, 1939-2011)

Madame Walker’s Ride (First Black Millionairess), 1985 watercolor on paper signed Yarde and dated (lower right) 21 x 23 1/2 inches. $2,000-$4,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*55 Bob Thompson

(AMERICAN, 1937-1966)

The Feeding, 1963 oil on canvas signed Bob Thompson and dated (upper right); signed and dated (verso) 18 x 24 inches. Property from the Collection of Mr. David Tennenbaum, Evanston, Illinois Provenance: Martha Jackson Gallery, New York David Anderson Gallery, New York Vanderwoude Tananbaum Gallery, New York Exhibited: New York, Martha Jackson Gallery, Figuration (Emilio Cruz, Stanley Edwards, John Hultberg, Lester Johnson, Bob Thompson), 1965, no. 9 Hartford, Connecticut, Wadsworth Atheneum, (label on verso) Buffalo, Albright-Knox Art Gallery (label on verso) New York, Vanderwoude Tananbaum Gallery, Bob Thompson, January 18 - February 26, 1983, no. 6 $60,000-$80,000

POST WAR AND CONTEMPORARY ART

56 Bob Thompson

(AMERICAN, 1937-1966)

Hercules and Antaeus, 1965 acrylic on paper mounted to board signed, inscribed and dated (verso) 8 1/2 x 4 1/8 inches. Provenance: Donald Morris Gallery, Birmingham, Michigan Acquired from the above by Susanne Hilberry and Richard Kandarian, Birmingham, Michigan Private Collection Exhibited: Detroit, Michigan, Founders Society the Detroit Institute of Arts, Bob Thompson Exhibition, October 24, 1999 - January 2, 2000 $30,000-$50,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

57 Betye Saar

(AMERICAN, B. 1926)

Two Women with Leaf, 1991 collage on paper signed Betye Saar, titled and dated (verso) 7 x 8 1/2 inches. $2,000-$4,000

POST WAR AND CONTEMPORARY ART

58 Betye Saar

(AMERICAN, B. 1926)

Woman with Two Fans, 1991 collage on paper signed Betye Saar, titled and dated (verso) 6 1/2 x 8 1/2 inches. $2,000-$4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

59 Rainer Fetting

(GERMAN, B. 1949)

Kenia, 1987 watercolor on paper signed Fetting, titled and dated (lower edge) 25 5/8 x 16 1/2 inches. Provenance: Raab Gallery, London $3,000-$5,000

POST WAR AND CONTEMPORARY ART

60 Malcolm Morley

(AMERICAN, 1931-2018)

African Warriors, 1985 watercolor on paper signed Malcolm Morley (lower right) 15 x 18 inches. Provenance: Rhona Hoffman Gallery, Chicago Frances and Tom Dittmer, Chicago Exhibited: Chicago, Illinois, Museum of Contemporary Art $3,000-$5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

61 Michal Rovner (ISRAELI, B. 1957)

Merging 6.5, 1997 digitally generated acrylic on canvas edition 5/5 52 x 60 1/4 inches. Property from a Private Colorado Collector $6,000-$8,000

POST WAR AND CONTEMPORARY ART

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

“When everything goes right a mobile is a piece of poetry that dances with the joy of life and surprises” (Alexander Calder, quoted in Jean Lipman, Calder’s Universe, London, 1977, p. 261). Calder’s instantly recognizable kinetic sculptures revolutionized three-dimensional art in the early 20th century. In 1926, the young artist began a seven-year sojourn in Paris, where he absorbed European Modernism and was particularly influenced by the biomorphic forms, flat planes, and primary colors used by Piet Mondrian and Joan Miró. Calder used these motifs to invent his own artistic language, constructing sculptures brimming with dynamism and vibrancy. These innovative creations include static sculptures termed stabiles, kinetic sculptures called mobiles, and a hybrid, the standing mobile, with a kinetic sculpture attached to a non-moving base. All forms delight and awe with their irregular forms, bold colors, and flat planes, harmoniously balanced to move with the faintest breath of air. Executed in 1947, Triple Cross exudes a whimsy that belies its sophisticated construction. One of Calder’s standing mobiles, it reflects the artist’s training as a mechanical engineer, as well as his use of humble materials such as sheet metal and wire struts. A long thin rod balances on top of the swooping foundation and forms the basis of a chain-linked system of smaller rods. Biomorphic, metal shapes are attached to the terminal points of the rods and carefully counterbalance each other. The black base, all angles and curves, is a solid contrapuntal to the colorful, quivering construction that rests on top. It is also worth noting that this sculpture does not bear the artist’s trademark CA monogram having been created during a younger more, idealistic period when Calder felt the work itself to be signature enough. Created toward the later middle of his storied career, Petit poteau jaune (Little Yellow Post), 1963 demonstrates through balance and movement a maker who has mastered his craft. The standing mobile takes its title from the yellow “post” composed of a triangular base that then extends vertically upward. Perched on top of the post is a wire with a red, crescent moon-shaped element connected on one side and a decrescendo of wires and round forms on the other. The juxtaposition of the large red crescent moon with the smaller black and white round elements creates a visual tension that gives the sculpture a unique presence. Calder’s desire to create an art that would resonate with life led to a constant engagement with the pull of gravity, the circulation of air, and the play of chance. The stable bases of Triple Cross and Petit poteau jaune (Little Yellow Post) support an intricate system of cantilevers that give the individual elements extraordinary mobility. Together, they express a delicate vitality and strength, testaments to Calder’s ingenuity and creativity.

*62 Alexander Calder

(AMERICAN, 1898-1976)

Petit poteau jaune (Little Yellow Post), 1963 sheet metal, rod, wire and paint signed CA to red element 12 x 15 x 7 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Gifted by the Artist to Maguerite and Aimé Maeght, Paris Galerie de l’Elysee, Paris Private Collection, San Francisco c. 1975 John Berggruen Gallery, San Francisco Acquired from the above in 1985 Exhibited: Saint-Paul-de-Vence, France, Fondation Maeght, Calder, April 2 - May 31, 1969, no. 201, p. 75; Humlebæk, Denmark, Louisiana Museum, June 29 - September 7, 1969, no. 163, p. 39; Amsterdam, Stedelijk Museum, October 4 - November 16, 1969, no. 115, p. 39 This work is registered in the archives of the Calder Foundation, New York, under application number A00946 $200,000-$300,000

POST WAR AND CONTEMPORARY ART

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*63 Alexander Calder

(AMERICAN, 1898-1976)

Triple Cross, 1947 sheet metal, wire and paint 31 1/2 x 37 x 11 3/4 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Acquired from the artist Buchholz Gallery/Curt Valentin, New York Virginia Pardridge Schoellkopf, New York Sold: William Doyle Galleries, New York, April 21, 1982, Lot 61 Perls Galleries, New York Acquired from the above in 1982 Exhibited: New York, New York, Buchholz Gallery/Curt Valentin, Alexander Calder, December 9 - 27, 1947 Literature: Matter, Herbert, Calder by Matter, Paris, 2014, p. 228, 229 illustrated This work is registered in the archives of the Calder Foundation, New York, under application number A08166 $600,000-$800,000

POST WAR AND CONTEMPORARY ART

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*64 Ibram Lassaw

(AMERICAN, 1913-2003)

Untitled, 1949 bronze stamped Lassaw (underside) 9 x 17 x 16 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Gimpel Fils, London Acquired from the above in 1984 $10,000-$15,000

POST WAR AND CONTEMPORARY ART

65 Harry Bertoia

(AMERICAN, 1915-1978)

Sonambient, c. 1973-1978 beryllium copper rods silvered to brass base 42 1/2 x 5 3/4 x 5 3/4 inches. This work is accompanied by a Certificate of Authenticity issued by the Harry Bertoia Foundation $30,000-$50,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

66 Clement Meadmore (AUSTRALIAN, 1929-2005)

Prez, 1992 bronze inscribed Meadmore, numbered 1/6 and dated 40 x 32 inches. $30,000-$50,000

POST WAR AND CONTEMPORARY ART

67 Arnaldo Pomodoro (ITALIAN, B. 1926)

Untitled bronze inscribed Arnaldo Pomodoro and numbered 8/9 Height: 8 5/8 inches. $3,000-$5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*68 Takeshi Kawashima (JAPANESE, B. 1930)

NY Series #212, 1967 oil on canvas signed Kawashima, titled and dated (verso) 68 1/2 x 68 1/2 inches. Property from the Collection of Mark Ellenburg, New York, New York Provenance: Waddell Gallery, New York Exhibited: San Francisco, California, The M. H. de Young Memorial Museum, Asian American Modern Art: Shifting Currents, 1900-1970, October 25, 2008–January 18, 2009 $5,000-$7,000 86

POST WAR AND CONTEMPORARY ART

*69 Takeshi Kawashima (JAPANESE, B. 1930)

Untitled, 1967 oil on canvas signed Kawashima and dated (verso) 18 x 19 inches. Property from the Collection of Mark Ellenburg, New York, New York $2,000-$4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

70 Lika Mutal

(DUTCH/PERUVIAN, B. 1939)

One, 1988 travertine 15 x 8 inches. Provenance: Nora Haime Gallery, New York Private Collection, New York Sold: Sotheby’s New York, May 27, 2010, Lot 146 Exhibited: New York, Nohra Haime Gallery, Lika Mutal: Silent Stone, March 15-April 15, 1989, p. 6, illus. $15,000-$25,000

POST WAR AND CONTEMPORARY ART

71 Ramiro Llona

(PERUVIAN, B. 1947)

Idea Fija, 1984 oil on canvas signed Llona (lower right); signed, titled and dated (verso) 60 x 64 inches. $8,000-$12,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*72 Louise Nevelson

(AMERICAN, 1899-1988)

Series of an Unknown Cosmos III, 1979 wood and paper polychrome collage signed Louise Nevelson (lower right) 20 x 16 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Baldwin Gallery, Aspen Acquired from the above in 1997 $10,000-$15,000

POST WAR AND CONTEMPORARY ART

“When I fell in love with black, it contained all color. It wasn’t a negation of color. It was an acceptance. Because black encompasses all colors. Black is the most aristocratic color of all…” -Louise Nevelson in Arthur C. Danto, “Black, White, and Gold: Monochrome and Meaning in the Art of Louise Nevelson,” in The Sculpture of Louise Nevelson: Constructing a Legend (New York: Jewish Museum, 2007).

This conscious commitment to the royal identification of fully unified color lends itself to a binary interpretation with the regal completeness of black being partnered in balance by the equally majestic all encompassing white, a monochrome scheme also favored by Nevelson in her constructions. Demonstrating that theoretically Mic Jagger could have yearned to paint the red door white to matching metaphorical impact. Black and white in polarized harmony the vacillating hallmark shades of Nevelson’s painted wood works, decisively occupying both the realms of expression that are painting and sculpture. Most exemplified in her wall reliefs, often square in format with symbolic token objective components, organized strategically within the exterior framing field, alluding to maps, mazes, alternating current circuit or stately game boards. On, off, open, shut, in, out, light, dark, day, night, good, evil, competing energized entities in finite opposition keeps a tension in the work always attractively at play. A departure from this signature spectrum system, Series of an Unknown Cosmos III, 1979, opaquely sensitive in shifting saturation, the whimsical princely contrast of the lyrically colorful Chinese Checker marble’s movement, to the rigid resolute king and queen of chess piece stasis. Subtle naturalistic hues, in breezy breaths of orange, red and hazy gray dance across the picture plane, active starbursts, atmospheric phenomena or celestial displays, the sequences of a painterly game. Not so much an outlier, but rather a supportive accompaniment to the at times daunting completeness of the black or white works utter resolution, the judicious splashes of tone in Series of an Unknown Cosmos III satisfy that same compositional concern with an abstract exploration of the mysterious universe of possibilities. We see here the sparing use of some shade resulting in the same compelling conclusion as the dynamic use of the prisms sum total more familar.

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*73 Phillip Hanson

(AMERICAN, B. 1943)

This is Just to Say (Williams), 2007 oil on canvas signed Philip Hanson and dated (verso) 16 x 12 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois Provenance: Corbett vs. Dempsey, Chicago $4,000-$6,000

POST WAR AND CONTEMPORARY ART

*74 Philip Hanson

(AMERICAN, B. 1943)

O Rose Thou Art Sick (Blake), 2008 oil on canvas signed Philip Hanson and dated (verso) 20 x 16 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois Provenance: Corbett vs. Dempsey, Chicago $5,000-$7,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*75 Roger Brown

(AMERICAN, 1941-1997)

He Has started Out to That Which Has Become A Circle, 1986 oil on canvas 30 x 48 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois Provenance: Phyllis Kind Gallery, Chicago Acquired by Jimmy Wright via trade, 1990 Corbett Vs. Dempsey, Chicago Acquired from the above by the present owner in 2007 $30,000-$50,000

POST WAR AND CONTEMPORARY ART

Sketch for He Has started Out to That Which Has Become A Circle, 1986, Oil on canvas, 30 x 48 in.

In a 1990 letter to artist and friend Jimmy Wright, discussing a potential trade of art work and sharing news of genealogical evidence for shared linage with Elvis Presley, Roger Brown identifies He Has started Out to That Which Has Become A Circle, 1986 as being part of a group of “perverse” paintings he had available “precisely because they are perverse and I knew when I painted them they were too much for most people.” Brown goes on to frankly explain the quintessentially surreal subconscious conception of the work he ultimately traded to Wright, “’He has started out to that which he will become’(or something like that) was done from a weird dream I had.”

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*76 Roger Brown

(AMERICAN, 1941-1997)

Thick Paint (Staying Clear of Existentialist Smog), 1983 oil on canvas titled (verso) 48 x 48 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois Provenance:, Sold: the School of the Art Institute Chicago, La Nuit de Fantasie IV Benefit Auction, February 4, 1984, Lot 1-Every Cloud Has A Silver Lining, Featured Fantasy Exhibited: Chicago, Illinois, Chicago Public Library Cultural Center, Chicago : the sky’s the limit : an exhibition at the Chicago Public Library Cultural Center, September 15-November 3, 1984 $70,000-$90,000

POST WAR AND CONTEMPORARY ART

77 Saul Steinberg

(AMERICAN, 1914-1999)

Niagara Crocodile, 1968 colored ink, pencil, and rubber stamps on paper signed Steinberg and dated (lower right) 19 1/2 x 25 1/2 inches. Provenance: The Estate of the Artist, New York The Saul Steinberg Foundation, New York Exhibited: East Hampton, New York, Saul Steinberg: Drawings, Constructions & Objects, The Drawing Room, July 20-August 26, 2018. Literature: Feldman, Jessica R., Saul Steinberg’s Literary Journeys: Nabokov and Joyce (and Many More), Charlottesville and London, University of Virginia Press, forthcoming 2021 $20,000-$30,000

From Jessica R. Feldman, Saul Steinberg’s Literary Journeys: Nabokov, Joyce, and Others (Charlottesville and London, University of Virginia Press, forthcoming 2021): “Steinberg, like Joyce, delights in combining myths, so that we see, in Niagara Crocodile, the symbolic unfinished pyramid and eye of the Great Seal anchored among the rocks of an Art Deco Niagara Falls, along with rubber-stamped people who are dwarfed by nature and doubly threatened by an upstate crocodile in waiting. The four “seals” that Steinberg rubber-stamps and draws on this sheet, along with the illegible writing, here refer to the power of “administration” with its official documentation that Steinberg abhors—and relates to the crocodile.”

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

78 KAWS

(AMERICAN, B. 1974)

Happy Birthday, 2011 ink on paper signed KAWS, titled, inscribed and dated 11 1/2 x 8 1/2 inches. $3,000-$5,000

POST WAR AND CONTEMPORARY ART

*79 Jim Nutt

(AMERICAN, B. 1938)

Untitled (Huge), 1992 graphite on gray paper signed Jim Nutt, titled and dated (verso) 12 3/8 x 12 3/8 inches. Property from the Collection of Susan and Fred Novy, Northbrook, Illinois $40,000-$60,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*80 Louise Nevelson

(AMERICAN, 1899-1988)

Man in Tanktop, 1930 red ink on paper signed Nevelson (lower right) 20 x 12 1/2 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Baldwin Gallery, Aspen Acquired from the above in 2001 $3,000-$5,000

100 P O S T WA R A N D C O N T E M P O R A R Y A R T

81 Carroll Dunham (AMERICAN, B. 1949)

The Search for Orgone (a group of four works), 2000-2001 permanent marker on paper each signed and dated Largest: 17 x 13 inches. Property from a Private Colorado Collector Provenance: Baldwin Gallery, Aspen, Colorado $8,000-$12,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 101

82 Jonathan Green (AMERICAN, B. 1955)

Untitled (Abstract) acrylic on canvas 78 x 52 inches. $6,000-$8,000

102 P O S T WA R A N D C O N T E M P O R A R Y A R T

*83 Niki de Saint Phalle (FRENCH, 1930-2002)

Magic Bird, 1981 painted polyester resin stamped 3/7 10 x 10 x 6 1/2 inches. Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: The Artist’s studio Gimpel Fils, London Acquired from the above in 1982 $6,000-$8,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 103

84 Red Grooms

(AMERICAN, B. 1937)

Gerrit Rietveld, 1991 acrylic on wood construction signed Red Grooms and dated (lower right) 36 x 21 x 5 inches. Provenance: Marlborough, Gallery, New York $5,000-$7,000

104 P O S T WA R A N D C O N T E M P O R A R Y A R T

85 Don Baum

(AMERICAN, 1922-2008)

Untitled (Broken Plates, Broken Dates), c. 1969 mixed media 18 x 15 1/2 x 7 inches. $3,000-$5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 105

ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Aichele, Wolfram . . . . . . . . . . . . . . . . . . . 11-12 Baum, Don. . . . . . . . . . . . . . . . . . . . . . . . . . 85 Bertoia, Harry . . . . . . . . . . . . . . . . . . . . . . . . 65 Boxer, Stanley . . . . . . . . . . . . . . . . . . . . . . . . 14 Brown, Roger. . . . . . . . . . . . . . . . . . . 5-6, 75-76 Brzozowski, Tadeusz. . . . . . . . . . . . . . . . . . . . 31 Calder, Alexander. . . . . . . . . . . . . . . . . . . 62-63 Carone, Nicholas. . . . . . . . . . . . . . . . . . . . . . 30 Chadwick, Lynn . . . . . . . . . . . . . . . . . . . . . . . 36 Csernus, Tibor. . . . . . . . . . . . . . . . . . . . . . . . 48 de Saint Phalle, Niki. . . . . . . . . . . . . . . . . . . . 83 Dunham, Carroll. . . . . . . . . . . . . . . . . . . . . . . 81 Dzubas, Friedel . . . . . . . . . . . . . . . . . . . . 19-20 Fetting, Rainer. . . . . . . . . . . . . . . . . . . . . . . . 59 Finch, Spencer. . . . . . . . . . . . . . . . . . . . . . . . 13 Gates, Theaster. . . . . . . . . . . . . . . . . . . . . . . 26 Goode, Joe. . . . . . . . . . . . . . . . . . . . . . . 16-17 Green, Jonathan. . . . . . . . . . . . . . . . . . . . 49, 82 Grooms, Red. . . . . . . . . . . . . . . . . . . . . . . . . 84 Hanson, Philip. . . . . . . . . . . . . . . . . . . 4, 73-74 Hepworth, Barbara. . . . . . . . . . . . . . . . . . . . . 34 Hirst, Damien. . . . . . . . . . . . . . . . . . . . . . . . . 38 Holzer, Jenny . . . . . . . . . . . . . . . . . . . . . . . . . 39 Jacobshagen, Keith . . . . . . . . . . . . . . . . . 23-24 Jarr, Alfredo. . . . . . . . . . . . . . . . . . . . . . . . . . 40 Jenkins, Paul. . . . . . . . . . . . . . . . . . . . . . 21-22 Kawashima, Takeshi. . . . . . . . . . . . . . . . . 68-69 KAWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Kentridge, William . . . . . . . . . . . . . . . . . . . . . 27 Lassaw, Ibram. . . . . . . . . . . . . . . . . . . . . . . . 64 Llona, Ramiro. . . . . . . . . . . . . . . . . . . . . . . . . 71 Lostutter, Robert . . . . . . . . . . . . . . . . . . . . . . 45 Meadmore, Clement. . . . . . . . . . . . . . . . . . . . 66 Messager, Annette. . . . . . . . . . . . . . . . . . . . . 37 Moore, Henry. . . . . . . . . . . . . . . . . . . . . . . . . 35 Morley, Malcolm. . . . . . . . . . . . . . . . . . . . 28, 60 Mutal, Lika. . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Nevelson, Louise. . . . . . . . . . . . . . . . . . . 72, 80 Nilsson, Gladys . . . . . . . . . . . . . . . . . . 3, 50-51 Nutt, Jim. . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Paschke, Ed. . . . . . . . . . . . . . . . . . . . . 1, 41-44 Pfaff, Judy. . . . . . . . . . . . . . . . . . . . . . . . . 9-10 Pomodoro, Arnaldo. . . . . . . . . . . . . . . . . . . . . 67 Raffael, Joseph . . . . . . . . . . . . . . . . . . . . . . . 29 Ramberg, Christina. . . . . . . . . . . . . . . . . . . . . . 2 Ramos, Mel. . . . . . . . . . . . . . . . . . . . . . . . . . 46 Richter, Gerhard. . . . . . . . . . . . . . . . . . . . . . . 25 Rovner, Michal. . . . . . . . . . . . . . . . . . . . . . . . 61 Saar, Betye . . . . . . . . . . . . . . . . . . . . . . . 57-58 Seery, John . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Simon, Pauline. . . . . . . . . . . . . . . . . . . . . . . . . 7 Smith, David . . . . . . . . . . . . . . . . . . . . . . . . . 32 Steinberg, Saul . . . . . . . . . . . . . . . . . . . . 18, 77 Surdo, Bruno. . . . . . . . . . . . . . . . . . . . . . . . . 47 Thompson, Bob . . . . . . . . . . . . . . . . . . . . 55-56 Wei, Zhu . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Wilke, Hannah. . . . . . . . . . . . . . . . . . . . . . . . 15 Witkin, Isaac . . . . . . . . . . . . . . . . . . . . . . . . . 33 Yarde, Richard. . . . . . . . . . . . . . . . . . . . . 53-54

106 P O S T WA R A N D C O N T E M P O R A R Y A R T

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.

SOLD FOR $45,000 SOLD PRICES ARE INCLUSIVE OF BUYER’S PREMIUM

HARRY BERTOIA (AMERICAN, 1915-1978) UNTITLED (BUSH), C. 1970s BRONZE 10 X 14 X 14 INCHES

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 107

AUCTION INQUIRIES | FINE ART DEPARTMENT

Joseph Stanfield Director, Senior Specialist

Monica Brown Senior Specialist, Fine Prints

Zack Wirsum Senior Specialist Post War and Contemporary Art

Nate Brady Associate Specialist

Julianna Tancredi Cataloger

FINANCE

Fine Art

Asian Works of Art

Marco Gusella Controller marcogusella@hindmanauctions.com 312.280.1212

Joseph Stanfield Director, Senior Specialist josephstanfield@hindmanauctions.com

Annie Wu Director, Senior Specialist anniewu@hindmanauctions.com

Zack Wirsum Senior Specialist zacharywirsum@hindmanauctions.com

Flora Zhang Cataloguer florazhang@hindmanauctions.com

Monica Brown Senior Specialist monicabrown@hindmanauctions.com

Megan Sadler Associate Cataloguer megansadler@hindmanauctions.com

Nate Brady Associate Specialist nathanbrady@hindmanauctions.com

Fine Jewelry and Timepieces

CLIENT SERVICES Rita Swanberg Client Experience Manager ritaswanberg@hindmanauctions.com 312.280.1212

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT Alyssa Quinlan Senior Vice President, Business Development alyssaquinlan@hindmanauctions.com 312.447.3272 Molly E. Gron, J.D. National Director, Trusts & Estates Senior Director, Chicago mollygron@hindmanauctions.com 312.334.4235 Katie Matusik Director, Appraisals and Valuations katelynmatusik@hindmanauctions.com 312.334.4224 Susan Mackenzie Business Development Director, Midwest susanmackenzie@hindmanauctions.com 312.447.3267 Vaughn Smith Business Development Manager vaughnsmith@hindmanauctions.com 312.334.4238 Briar Koehl Business Development Senior Associate briarkoehl@hindmanauctions.com 312.600.6075 Miranda Maxfield Business Development Associate mirandaluce@hindmanauctions.com 312.334.4208 Samantha Schwartz Business Development Associate samanthaschwartz@hindmanauctions.com 312.447.3297

MUSEUM SERVICES Michael Shapiro Senior Advisor, Museums and Private Collections michaelshapiro@hindmanauctions.com 312.334.4210

CONSIGNMENT DEPARTMENT

Julianna Tancredi Cataloguer juliannatancredi@hindmanauctions.com Mary Grace Bilby Account Executive marygracebilby@hindmanauctions.com 312.334.4216

Fine Furniture, Decorative Arts and Silver Corbin Horn Director, Senior Specialist corbinhorn@hindmanauctions.com 312.334.4214 Mike Intihar Senior Specialist mikeintihar@hindmanauctions.com Benjamin Fisher Senior Specialist benjaminfisher@hindmanauctions.com Nick Coombs Specialist nickcoombs@hindmanauctions.com Genevieve King Associate Specialist genevieveking@hindmanauctions.com

Modern Design Hudson Berry Director, Specialist hudsonberry@hindmanauctions.com Sabrina Granados Associate Cataloguer sabrinagranados@hindmanauctions.com

Arts of the American West Alexandria Dreas Consignment Manager alexandriadreas@hindmanauctions.com 303.825.1855

Books and Manuscripts

Jim Sharp Chief Operating Officer jimsharp@hindmanauctions.com

Gretchen Hause Director, Senior Specialist gretchenhause@hindmanauctions.com

Maggie Porter VP Sales Strategy maggieporteri@hindmanauctions.com

Francis Wahlgren Senior Consultant franciswahlgren@hindmanauctions.com

Kimberly Burt VP, Marketing and Luxury Goods kimberlyburt@hindmanauctions.com

Maria Fernandez Cataloguer mariafernandez@hindmanauctions.com 312.334.4236

108 P O S T WA R A N D C O N T E M P O R A R Y A R T

Mary Grace Bilby Account Executive

Katie Hammond Guilbault, G.G. Business Development Director, San Diego Senior Specialist, Jewelry and Timepieces katieguilbault@hindmanauctions.com Sally Klarr, G.G. Senior Specialist sallyklarr@hindmanauctions.com Marisa Ackerman, G.G. Specialist marisaackerman@hindmanauctions.com Hana Thomson Cataloguer hanathomson@hindmanauctions.com Madeline Schroeder Associate Cataloguer madelineschroeder@hindmanauctions.com 312.334.4223

Couture and Luxury Accessories Timothy Long Director, Senior Specialist timothylong@hindmanauctions.com Michael Hall Cataloguer michaelhall@hindmanauctions.com

Sports Memorabilia James Smith Specialist jamessmith@hindmanauctions.com

Hindman Interiors hindmanauctions.com 312.280.1212

REGIONAL OFFICES Abby Chambers Account Executive abbychambers@hindmanauctions.com 312.334.4234 Arrington Caison Account Executive arringtoncaison@hindmanauctions.com 312.447.3282

Abby Chambers Account Executive

Atlanta

668 Miami Circle NE Atlanta, Georgia 30324 atlanta@hindmanauctions.com 404.800.0192

Cincinnati

6270 Este Avenue Cincinnati, Ohio 45232 Tel: 513.871.1670 cincinnati@hindmanauctions.com

Cleveland

2515 Jay Avenue 1st Floor Cleveland, Ohio 44113 Tel: 216.292.8300 cleveland@hindmanauctions.com

Denver

2737 Larimer Street, Suite C Denver, Colorado 80205 denver@hindmanauctions.com 303.825.1855

Milwaukee

414 East Mason Street Milwaukee, Wisconsin 53202 milwaukee@hindmanauctions.com 414.220.9200

Naples

850 6th Avenue South Naples, Florida 34102 naples@hindmanauctions.com 239.643.4448

West Palm Beach

1608 South Dixie Highway West Palm Beach, Florida 33401 westpalmbeach@hindmanauctions.com 561.833.8053

San Diego

8910 University Center Lane, Suite 400 San Diego, California 92122 sandiego@hindmanauctions.com 858.442.6104

Scottsdale

15475 North Greenway Hayden Loop Suite B17 Scottsdale, Arizona 85260 scottsdale@hindmanauctions.com 480.490.3175

St. Louis

32 North Brentwood Boulevard Clayton, Missouri 63105 stlouis@hindmanauctions.com 314.833.0833

Washington, D.C.

700 12th Street, NW Suite 700 Washington, D.C. 20005 washingtondc@hindman.com 202.853.1638

GUIDE FOR PROSPECTIVE SELLERS

Evaluation of Property If you have property you wish to sell, please call our Consignment Department at 312.280.1212 to arrange for a consultation. At that time, you may make an appointment to bring your property or photographs, along with any other pertinent information, to Hindman LLC and we will be happy to provide you with complimentary estimates and advice. If you have a large collection, an appointment may be made to evaluate the property on-site. Fees for on-site visits may vary. Standard Commission Rates Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; and twenty-five percent (25%) of the hammer price on each lot sold for less than $5,001, with a minimum commission of $75 per lot sold. If your property fails to reach the reserve price agreed upon between you and Hindman LLC, you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price. Shipping Arrangements Hindman LLC can advise you as to how to have your property delivered to our galleries. Packing, shipping and insurance are payable by the seller. In certain instances, packing and shipping costs may be paid by Hindman LLC and deducted from the proceeds of the sale. We may recommend packers and shippers, but we are not responsible for their acts or omissions. Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances. Please contact our Estates and Appraisals Department at 312.280.1212 for further information.

GUIDE FOR PROSPECTIVE BUYERS Conditions of Sale Hindman LLC encourages all prospective buyers to read the Conditions of Sale printed in this catalogue. Exhibitions Hindman LLC recommends that all prospective buyers attend the pre-sale exhibition prior to the auction. Staff members are available at our pre-sale exhibitions to advise prospective buyers on particular objects or on any aspect of the bidding process. 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 normal bidding increments are: $0 - $200 ........................................ $10 $200 - $500 ........................................ $25 $500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $200 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,000 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Over > $200,000 ...... Auctioneer’s Discretion

In-House Bidding Live bidding at Hindman LLC is by paddle only. Please register for a paddle at the entrance of the sales room. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer. Online Bidding 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 use the absentee bid form provided at the back of this catalogue. Hindman LLC will exercise written order bids and telephone bids at no additional charge. Lots will always be sold as inexpensively as is allowed other bids and reserves as are on our books or bids executed in competition from the audience. Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law.

DRIVING DIRECTIONS/PARKING From the WEST: Take I-290 east. Take the Paulina Street/Ashland Boulevard exit 28B. Stay straight to go onto West Congress Parkway. Turn left onto South Paulina Street. Take a slight right onto West Ogden Avenue. Turn right onto West Lake Street. Building will be on the left side at 1338 West Lake Street. From the NORTH/NORTHWEST: Take I-90/I-94 east toward Chicago. Take the Ogden Avenue exit 50A. Stay straight to go onto North Racine Avenue. Turn right onto West Lake Street. Building will be on the right side at 1338 West Lake Street. From the SOUTHWEST: Take I-55 north. Exit 292A I-90/I-94 W Wisconsin Follow I-90/I-94 W Wisconsin to the Lake Street exit 51A. Turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street. From the SOUTH/SOUTHEAST: Take I-90/I-94 west Follow I-90/I-94 W via the exit on the left toward Chicago Loop. Take the Lake Street exit 51A and turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street.

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 109

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 glossary at the end defines the words in bold type.

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. 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. 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. 2. 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. 3. 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.

110 P O S T WA R A N D C O N T E M P O R A R Y A R T

4. 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. 5. 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 in the back of our catalogues, at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids. 6. 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 $100 authorization hold on the card that will remain until it falls off, usually within 48 hours.

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. 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-only Auctions. Bids may only be submitted on our website or through third-party bidding sites 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 approximately fifty percent (50%) of the lot’s low estimate; where necessary, will lower the asking bid until a bid is received; 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.

D. AFTER THE AUCTION

1. THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots, we charge twenty-five percent (25%) of the hammer price up to and including $250,000; twenty percent (20%) of any amount in excess of $250,000 up to and including $3,000,000; and twelve percent (12%) of any amount in excess of $3,000,000. 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) Cash: We accept cash payments (including money orders and traveler’s checks) subject to a maximum aggregate of US $10,000 per buyer, per sale. (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. (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: V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 111

(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

112 P O S T WA R A N D C O N T E M P O R A R Y A R T

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

H. GLOSSARY

authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. due date: has the meaning given to it in paragraph D(3)(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot. Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic. other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law. purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms: (a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter. (b) “Attributed to” means, in our opinion, a work probably by the artist. (c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style. (d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist. (e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work. (f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned. UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct. Updated 9/20

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 113

Upcoming Auctions Artists’ Books at Hindman Sale 829 Artists’ Books and Monographs November 6-20 | Online | 10amct

ALBERS, Josef (1888-1976) Formulation: Articulation [I & II] New York and New Haven: Harry N. Abrams and Ives-Sillman, 1972 The complete suite of 127 color screenprints on 66 sheets on Mohawk Superfine Bristol paper LIMITED EDITION, number 224 of 1000 copies SIGNED BY ALBERS Estimate $10,000.00 - $15,000.00 TO BE OFFERED AT AUCTION NOVEMBER 12, 2020

Sale 800 Fine Books & Manuscripts

Including Artists’ Books and Livres d’Artistes

November 12 | Chicago | 10amct

Inquiries Gretchen Hause, Director & Senior Specialist 312.334.4229 gretchenhause@hindmanauctions.com

HindmanAuctions.com

BID FORM

FX 312.280.1211 EM BID@HINDMANAUCTIONS.COM

Online registration/bid requests must be received at least 24 hours before the auction begins. Hindman LLC will confirm all bids received by fax or by return email. Phone bids will not be accepted on lots with a low estimate below $300. Hindman LLC allows absentee and telephone bidding registeration through our website at hindmanauctions.com

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 normal bidding increments are:

NAME

SALE No./NAME

789 - Post War Art BUSINESS NAME

BILLING ADDRESS

CITY

STATE

COUNTRY/ZIP

CONTACT NAME

PRIMARY PHONE

$0 – 200 $200 – 500 $500 – 1,000 $1,000 – 2,000 $2,000 – 5,000 $5,000 – 10,000 $10,000 – 20,000 $20,000 – 50,000 $50,000 – 100,000 $100,000 – 200,000 $200,000 +

$10 $25 $50 $100 $200 $500 $1,000 $2,000 $5,000 $10,000 AUCTIONEER’S DISCRETION

SECONDARY PHONE

For absentee bids, indicate your limit for each lot. Your bids will be excecuted at the lowest prices allowed by reserves and competing bids. If we receive more than one bid of the same value, the first one received will take precedence.

FAX

I authorize Hindman LLC to bid on my behalf up to the amount stated below. By bidding at auction you agree to be bound to the Conditions of Sale as stated in the sale catalogue and on our website. SIG N ATURE

DAT E

( FO R H INDM AN L CC)

DAT E

A per lot buyer’s premium is added to the final hammer price as per the following: $0 – 250,000 $250,001 – 3,000,000 $3,000,001 +

25% 20% 12%

Hindman LLC is not responsible for failure or other inadvertent errors relating to the execution of your bids.

First time bidders please provide a valid credit card and one of the following: Passport/Driver’s License/National Identity Card LOT No.

LOT DESCRIPTION

ABSENTEE BID

PHONE BID

BACK-UP BID

USD ($) L IMIT EX C L . BUY E R’S P REM I U M

PL EAS E C H EC K

F O R T EL EPH O N E B I D D ER S O N LY

1338 WEST LAKE STREET CHICAGO, ILLINOIS 60607 PH 312.280.1212 FX 312.280.1211 EM BID@HINDMANAUCTIONS.COM HINDMANAUCTIONS.COM

How did you hear about Hindman?

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 115

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 119

1338 West L ake Street Chicago, Illinois 60607 l ph 312.280.1212 l hindmanauctions.com

Sale 789 | Post War and Contemporary Art

Articles inside

CONDITIONS OF SALE

ARTIST INDEX