Sale 809 | Post War and Contemporary Art by Hindman Auctions

P OST WA R AND C ONTE MP ORARY ART 12 | 9 | 2020

PO S T WAR AN D CO N TEMPO R ARY AR T Wednesday, December 9 | Chicago | 10AM CT

AUCTION WEDNESDAY, DECEMBER 9 | 10AM CT LOTS 1-54 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. Lots marked with an asterisk (*) are tax exempt as permitted by law. Photography Zoë Bare Matthew Hollis Bill Ross Rachel Smith Brodie Sturm

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hindmanauctions.com Cover Lot 32 | Dan Christensen (American, 1942-2007) Altair, 1969

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POST WAR AND CONTEMPORARY ART

CO N T E N T S AUCTION 809 DECEMBER 9 | 10AM CT POST WAR AND CONTEMPORARY ART

LOTS 1-54

ARTIST INDEX

AUCTION INQUIRIES

CONDITIONS OF SALE

TELEPHONE / ABSENTEE BID FORM

Above Lot 24 | Ron Gorchov (American, b. 1930), Wallflower, 1979

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

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 AN AMERICAN CORPORATION A CHICAGO COLLECTION SCOTT AND JENNIFER COHEN, DEERFIELD, ILLINOIS SANDRA EU, NEW YORK, NEW YORK AN IMPORTANT COLORADO COLLECTION THE SALLY W. KAPLIN LIVING TRUST, NORTHBROOK, ILLINOIS, A PRESTIGIOUS PRIVATE MIDWEST COLLECTION A PRIVATE COLLECTION, CHICAGO, ILLINOIS A PRIVATE COLLECTION, DECATUR, GEORGIA A PRIVATE COLLECTION, HIGHLAND PARK, ILLINOIS A PRIVATE COLLECTOR, WINNETKA, ILLINOIS SUELLEN ROCCA, CHICAGO, ILLINOIS WEBSTER UNIVERSITY, ST. LOUIS, MISSOURI, SOLD TO BENEFIT THE STUDENT EXPERIENCE P RO P E R T Y F RO M T H E E S TAT E O F HARRIET WILSON ELLIS, CHICAGO, ILLINOIS

Opposite Lot 13 | Jim Nutt (American, b. 1938), Shouldn't We Be More Carefull?, 1977

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

1 Dorothy Fratt

(AMERICAN, 1923-2017)

Red Hush, 1988-1998 acrylic on canvas titled and dated (verso) 56 x 48 inches Provenance: Riva Yares Gallery, Scottsdale, Arizona Acquired from the above by the present owner in 1999 $3,000-$5,000

POST WAR AND CONTEMPORARY ART

2 Gottfreid Honneger (SWEDISH, 1917-2016)

Tableau-Relief Z 841, 1980 acrylic and oil on collage on canvas signed Honegger, titled and dated (verso) 79 x 39 1/4 inches. Provenance: Gimpel Hanover Galerie, Zürich Andre Emmerich Gallery, New York Acquired from the above by the present owner in 1980 This work is accompanied by a preparatory drawing for Tableau-Relief Z 841 $10,000-$15,000

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*3 Jules Olitski

(AMERICAN, 1922-2007)

Surge, 1966 acrylic on canvas signed Jules Olitski, titled and dated (verso) 69 3/4 x 82 3/4 inches. Property from the Estate of Harriet Wilson Ellis, Chicago, Illinois Provenance: Kasmin Limited, London $60,000-$80,000

POST WAR AND CONTEMPORARY ART

Surge, 1966, and First Tremor, 1969, are foremost examples of Jules Olitski’s radically innovative technique of laying down atmospheric blankets of colored spray on canvas. The artist began using spray guns to apply paint in the early 1960s while teaching at Bennington College in Vermont. A class visit to Kenneth Noland’s studio, accompanied by fellow instructor and sculptor Anthony Caro, led Olitski to this revolutionary artistic experiment. Olitski recalled, “Tony says he wants for his sculpture to emphasize the density, the materiality of steel. Without thinking I said I want the opposite for my painting... Later that night, falling asleep, I saw it in my mind’s eye, a flow of paint indeed; colors merging. Paradise. I rented a spray gun the next day.” For his process, Olitski stretched and stapled canvas to the floor to keep it from shrinking. From atop a ladder, he clamped a dozen spray guns filled with diluted acrylic paint aimed at a canvas below. The artist then led the gun’s electric cord to a multiple outlet extension cord, and that to another outlet, until all that was required to set off the apparatus was to plug in the last one. Olitski waited to see the spray cloud in its purity of color before he left the room, allowing the paint to fall where it may. He repeated this process until the paint accreted into a dense surface, intermittently making subtle adjustments to the randomly colored flow of paint. The canvas of Surge, 1966, is unprimed, which allows the thin water-based acrylic polymer to stain and flow through the fibers. Much of the surface is occupied by diaphanous pale pink splashes, which hypnotically billow and ripple toward the dark boundary that bisects the composition’s right side. These defined paint edges show the artist’s practice of masking out areas of pigment during the painting process in order to create internal frames within the composition. Olitski began to use this technique in the winter of 1965-66, as he continued and developed his compositional practice of confining incident to the periphery of the canvas, usually by defining an edge, or edges, with a stripe of paint or a line of pastel in a different color. Surge was created the same year Olitski was selected as one of four artists to represent the U.S. at the 33rd Venice Biennale. First Tremor, 1969, is a moodily ethereal work, with predominant colors of green and purple that intensify each other, an effect Olitski often took advantage of in his work. The artist was always drawn to bright color, experimenting with unusual color harmonies and chromatic changes. The green splatters of pigment in First Tremor shimmer and shift against the deep purple and create an almost palpable presence to the painting. Along the right and left sides are delineated boundaries of paint, which show Olitski’s continued practice of creating internal frames. A painting with a similar title, Second Tremor, 1969, is now in the Albright-Knox Art Gallery, Buffalo, New York. 1969 is also the same year the artist was invited to show his aluminum spray-painted sculptures at the Metropolitan Musem of Art, New York, the first living American artist to be given a solo exhibition there. Both Surge and First Tremor reveal that Olitski had “...accomplished what the Abstract Expressionist pioneers grasped only tenuously: the creation of an abstract picture as an autonomous, spiritual object made solely from painting’s own irreducible materials of paint and canvas and from their concomitant expressive features of scale, surface, and color.” (Kenneth Moffett, Jules Olitski, New York, 1981, p. 64)

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*4 Jules Olitski

(AMERICAN, 1922-2007)

First Tremor, 1969 acrylic emulsion on canvas signed Jules Olitski, titled and dated (verso) 118 x 69 1/2 inches. Property from the Collections of Webster University, St. Louis, Missouri, Sold to Benefit the Student Experience Provenance: Lawrence Rubin Gallery, New York $80,000-$120,000

POST WAR AND CONTEMPORARY ART

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5 Vasa Velizar Mihich (YUGOSLAVIAN, B. 1933)

Rectangular Column #2896, 1988 acrylic inscribed Vasa, titled and dated 72 x 5 inches. Provenance: Vasa Studio, Los Angeles Acquired from the above by the present owner in 1988 $3,000-$5,000

POST WAR AND CONTEMPORARY ART

6 Richard Anuszkiewicz (AMERICAN, 1930-2020)

Blue Square with Red & Green, 1979 acrylic on canvas signed RICHARD ANUSZKIEWICZ and dated (verso) 48 x 48 inches. Provenance: Acquired directly from the artist by the present owner in 1979 $25,000-$35,000

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*7 Victor Vasarely

(HUNGARIAN, 1906-1997)

Citra-C, 1955-62 casein on ragboard on wood signed Vasarely (lower right); signed, titled and dated (verso) 19 x 17 3/4 inches. Property from the Collections of Webster University, St. Louis, Missouri, Sold to Benefit the Student Experience Provenance: Galerie Denise Rene, Paris B.C. Holland Gallery, Chicago The Pace Gallery, New York Feigen Palmer Gallery, Los Angeles $8,000-$12,000

POST WAR AND CONTEMPORARY ART

*8 Ken Price

(AMERICAN, 1935-2012)

The Blob, 1987 acrylic on ceramic 7 1/2 x 12 1/2 x 11 inches. Property from the Collections of Webster University, St. Louis, Missouri, Sold to Benefit the Student Experience Provenance: Greenberg Van Doren Gallery, St. Louis $60,000-$80,000

“I don’t know what to call new pieces: sculpture, objects, ceramics? I just make them; somebody else can decide what they’re called.” (Ken Price, quoted in Joan Simon. “An Interview with Ken Price.” Art in America, January 1980, p. 100) Ceramicist Ken Price represents the generation of artists who came out of the revolutionary West Coast movement in the 1960s. His work reflects the excitement and brashness of the California culture as well as his love for the ocean and marine life. He was part of a group of artists--including Ed Kienholz, Ed Ruscha, and Billy Al Bengston--associated with the Ferus Gallery, and who were progenitors of the Finish Fetish school of meticulous object-making. With artists from both coasts, including John Chamberlain, Donald Judd, John McCracken and Dan Flavin, Price also helped to usher vibrant color irrevocably into modern sculpture, often with the help of automobile lacquer and enamel. Blob, 1987, represents Price’s free experiments and explorations that push the limits of ceramic technique. He tended to work in loose series, and in the late 1980s began to create lumpy, bulbous forms that were cut into and polished, much like geodes. The rumpled surface of Blob is abruptly interrupted by the geometrical, fluorescent pink slice, which reveals a gaping negative space. The unexpected blackness challenges the viewer to determine if it is a painted shape or a hole. The sharp angles are especially jolting when compared to the variegated veins that trace the organic form. A strange interplay takes place as a result, causing a frisson between the joyful and ominous. To achieve the shimmering surface effect, Price applied multiple layers of paint to the clay sculpture, which were then sanded down to reveal the strata. A “core sample” was then taken, cutting into the form and revealing the geometric planes of monochromatic surfaces. In such artworks as Blob, Price moved to detach the form from the material elements of its composition, embracing a vocabulary of pure abstraction that virtually integrates color within threedimensional form. As the artist once commented: “I’m trying for an organic fusion of color with surface form.” Price’s ineffable, technically brilliant ceramics helped to greater dissolve the chasm between art and craft.

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10 Roger Brown

(AMERICAN, 1941-1997)

Untitled (Black shrubs, brown rocks, red sky, 2 profiles), c. 1967-68 oil on canvas 12 x 12 inches. Property from a Private Collection, Chicago Provenance: The Artist The School of the Art Institute Chicago Roger Brown Estate Painting and Print Collection Russell Bowman Art Advisory, Chicago Acquired from the above by the present owner in 2003 $30,000-$50,000

POST WAR AND CONTEMPORARY ART

11 Philip Hanson

(AMERICAN, B. 1943)

Untitled, 1972 oil on masonite and wood frame signed Philip Hanson and dated (verso) 20 x 18 7/8 inches. $10,000-$15,000

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12 Ed Paschke (AMERICAN, 1939-2004)

Double Green, 1977 oil on canvas signed E. Paschke and dated (lower right) 50 x 74 inches. Provenance: Acquired directly from the Artist by the present owner in 1977 $80,000-$120,000

POST WAR AND CONTEMPORARY ART

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POST WAR AND CONTEMPORARY ART

In the early 1970s, Chicago Imagist Jim Nutt began incorporating theatrical elements into his compositions, with greater textural and tonal variations than previously in his career. In contrast to the flatness of his early works, these paintings arrange figural groups in deeper architectural spaces, framed by prosceniums and stage curtains. The primary focus in these narrow stage settings are confrontations between male and female characters, who act out inscrutable scenes of mysterious plays. The stage is typically surrounded by a painted frame that is an integral aspect of the composition, which emphasizes the passage into a selfcontained, alternate reality of the artist’s invention. The addition of obscure captions serves to further confuse, rather than enlighten, the viewer.

*13 Jim Nutt

(AMERICAN, B. 1938)

Shouldn’t We Be More Carefull?, 1977 acrylic on canvas and wood frame signed Jim Nutt, titled, dated and inscribed (verso) 30 3/8 x 31 3/8 inches. Property from the Collection of Scott and Jennifer Cohen, Deerfield, Illinois Provenance: Phyllis Kind Gallery, Chicago Edwin and Lindy Bergman, Chicago, Illinois Thence by decent to the present owner Exhibited: Milwaukee, Wisconsin, Milwaukee Art Museum, Jim Nutt, June 17-August 28, 1994; Seattle, Washington, Henry Art Gallery, University of Washington, September 14-November 20, 1994; Washington, D.C., National Museum of American Art, Smithsonian Institution, February, 10-May 21, 1995; Cincinnati, Ohio, Contemporary Arts Center, July 8-September 6, 1995 Amsterdam, Netherlands, The Stedelijk Museum Amsterdam, Eye Infection: Work by Robert Crumb, Mike Kelley, Jim Nutt, Peter Saul and H.C. Westermann, November 3, 2001-January 2, 2002 Literature: Andrea, Margaret & Bowman, Russell, Jim Nutt, Milwaukee Art Museum, Milwaukee, 1994, no. 54, pp. 32, 108 (illustrated) Fuchs, Rudi & Storr, Robert, Eye Infection: Work by Robert Crumb, Mike Kelley, Jim Nutt, Peter Saul and H.C. Westermann, Richter Verlag, Düsseldorf, Germany, 2002, p. 96 (illustrated)

Shouldn’t We Be More Carefull?, 1977, was executed as part of this group of theater paintings. A richly purple and patterned border opens onto an interior space beyond, which itself is framed by a proscenium arch. A large woman appears to assist a smaller male, who holds out his hand to her. With her precisely rendered visage countered by Cubist breasts, the woman presages Nutt’s later elegant and restrained ladies. The diminutive man, with his crawling, caterpillar lines of hair, harkens back to Nutt’s earlier fantastical, cartoonish characters. Both figure’s faces are lit underneath by unseen footlights and this glow imparts an eerie, Carvaggio-esque sensibility. The scene at first glance appears almost maternal, until the furry protuberance that juts out of the male’s pants is noticed. The surrounding text, which can be deciphered in several ways, reads “...or Big potatoes and small thumbs” and only deepens the enigmatic encounter. The critical reception of Nutt’s art was confirmed in 1977, the year of execution of Shouldn’t We Be More Carefull?, with the inclusion of four of the artist’s works in the Whitney Biennial. The present painting was once owned by Edwin and Lindy Bergman, renowned Chicago patrons and philanthropists of the arts. The couple were college sweethearts who married in 1940 and began to collect in the mid-1950s. It was in a MoMA publication that they were introduced to the assemblage artist Joseph Cornell. Cornell’s works became a center of their collection, many of which they donated to the Art Institute of Chicago. The Bergmans were also stalwarts of the Chicago art scene and actively promoted the Hairy Who collective and the wider Chicago Imagists. The inclusion of Shouldn’t We Be More Carefull? in the collection of the Bergmans is confirmation not only of its importance, but also of the couple’s discerning eye and commitment to Surrealism in all its iterations.

$300,000-$500,000

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POST WAR AND CONTEMPORARY ART

Jim Nutt first attracted international attention as a member of the Hairy Who. The group exhibited together several times between 1966-69 around the country but were based initially in Chicago. They espoused no collective philosophy or formal manifesto but came together out of shared sensibilities, largely ignoring the vogue at the time for New York abstraction and opted instead to incorporate Surrealism and Expressionism with the illustrational style of American comic books. Representational rather than abstract, Nutt’s own work seems to signal content and to lay out some comprehensible, if bizarre, story line. Nutt’s colored pencil drawing from 1982, I’ll look for an other, continues the theatrical themes that the artist had begun to explore in the 1970s. Drawing had always been an important part of the artist’s practice. From 1975 to mid-1977, Nutt concentrated primarily on pencil drawings of stages with complex scenery populated by multiple figures. By about 1980, a formal change occurred in the drawings, with the focus on a single figure or pair of figures within a simple interior space, framed by rigid curtains or proscenium. The figures, as seen in those of I’ll look for an other, are also less distorted and more geometricized, with an air of domesticity. These seemingly familiar couples may well have been influenced by the work of the artist’s wife, Gladys Nilsson, which frequently spoke to issues of “women’s work.” In the present drawing, both the man and woman are nude, yet easily exist together inside the confines of a small room. The woman holds up a small mirror, a recurrent motif in Nutt’s work, to the mustachioed man (who bears a striking resemblance to the artist). As Chicago critic Dennis Adrian stated, “His [Nutt’s] protagonists and subsidiary figures often hold mirrors, magnifying glasses, examining lenses, or objects that both glow and reflect. These figures constitute a frequent reiteration of the idea that seeing is a kind of thinking.” (“The Metaphysics of Perception in the Drawings of Jim Nutt,” Drawing, July-August 1993, p. 29) The idea of self-examination and reflection, and perhaps falling a little short in the process, is further heightened by the typically tonguein-cheek title given by the artist.

14 Jim Nutt

(AMERICAN, B. 1938)

I’ll look for an other, 1982 colored pencil on paper 12 3/4 x 16 inches. Property from a Private Collection, Chicago Provenance: Phyllis Kind Gallery, Chicago Russell Bowman Art Advisory, Chicago Acquired from the above by the present owner in 2007 $40,000-$60,000

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15 Karl Wirsum

(AMERICAN, B. 1939)

Yaray, 2001 acrylic on wood signed Karl Wirsum and inscribed (verso) 30 x 20 inches. Property from a Private Collection, Chicago Provenance: Jean Albano Gallery, Chicago Acquired from the above by the present owner in 2006 $15,000-$25,000

POST WAR AND CONTEMPORARY ART

16 Karl Wirsum

(AMERICAN, B. 1939)

Displaced Future Falls to Banana Baggage, 2007 acrylic on canvas and frame 38 x 56 1/2 inches. Provenance: Jean Albano Gallery, Chicago Acquired from the above by the present owner in 2010 $30,000-$50,000

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17 Gladys Nilsson

(AMERICAN, B. 1940)

Flood Playne, 2005 watercolor and gouache on paper signed Gladys Nilsson, titled and dated (verso) 10 x 14 inches. Property from a Chicago Collection Provenance: Jean Albano Gallery, Chicago Acquired from the above by the present owner in 2005 $6,000-$8,000

POST WAR AND CONTEMPORARY ART

*18 Gladys Nilsson

(AMERICAN, B. 1940)

Candy Outside, 1966 acrylic on plexiglass and wood frame 11 1/2 x 14 3/4 inches. Property from the Collection of Suellen Rocca, Chicago, Illinois Exhibited: Chicago, Illinois, the Hyde Park Art Center, Hairy Who II, February 24-March 24, 1967 Milan, Italy, Fondazione Prada, Famous Artists From Chicago 1965-1975, October 20, 2017-January 15, 2018 Chicago Illinois, the Art Institute of Chicago, Hairy Who? 19661969, September 27, 2018-January 6, 2019 New York, New York, Matthew Marks Gallery, Gladys Nilsson Honk! Fifty Years of Painting, January 30-April 18, 2020 Literature: Celant, Germano, Famous Artists From Chicago 1965-1975, Fondazione Prada, Milan, no. 27 (illustrated) Goldstein, Ann, Nichols, Thea Liberty & Pascale, Mark, Hairy Who? 1966-1969, Yale University Press, New Haven and London, no. 30, p. 77 (illustrated) Gingeras, Alison M. & Tucker, Marcia, Gladys Nilsson Honk! Fifty Years of Painting, Matthew Marks Gallery & Garth Greenan Gallery, New York, (illustrated) $60,000-$80,000

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19 Suellen Rocca

(AMERICAN, 1943-2020)

Confessions, 1982 marker and colored pencil on paper titled (center) 14 x 11 inches. Provenance: The Ruth Horwich Collection, Chicago Russell Bowman Art Advisory, Chicago Acquired from the above by the present owner in 2015 Exhibited: Chicago, Illinois, Russell Bowman Art Advisory, Ruth: Selections from the Horwich Collection, May 21 – July 2, 2015 $6,000-$8,000

POST WAR AND CONTEMPORARY ART

20 Ed Paschke

(AMERICAN, 1939-2004)

Hat Study, 1989 colored pencil on paper signed E. Paschke and dated (lower right); titled (lower center) 30 x 22 3/8 inches. Prestigious Private Midwest Collection Provenance: Phyllis Kind Gallery, Chicago $3,000-$5,000

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21 Don Baum

(AMERICAN, 1922-2008)

That House that Jack Built..., 1981 wood and mixed media 14 1/2 x 18 x 13 inches. Property from a Private Collection, Chicago Provenance: Carl Hammer Gallery, Chicago Acquired from the above by the present owner in 2001 $3,000-$5,000

POST WAR AND CONTEMPORARY ART

*22 Juan Hamilton

(AMERICAN, B. 1945)

Untitled (7-5-82), 1982 bronze inscribed Juan, dated and numbered 1/7 26 x 17 x 22 inches. Property from the Collections of Webster University, St. Louis, Missouri, Sold to Benefit the Student Experience $8,000-$12,000

23 Richard Rezac

(AMERICAN, B. 1952)

Untitled (87-07), 1987 bronze inscribed REZAC 10 x 10 x 2 3/4 inches. Property from a Private Collection, Chicago Provenance: Acquired directly from the artist by the present owner in 2003 $3,000-$5,000

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24 Ron Gorchov

(AMERICAN, B. 1930)

Wallflower, 1979 oil on shaped canvas signed Ron Gorchov, titled and dated (verso) 31 x 32 inches. Provenance: Private Collection, Birmingham, Michigan Thence by decent to the present owner $50,000-$70,000

POST WAR AND CONTEMPORARY ART

Ron Gorchov was born in Chicago in 1930 and studied locally at the School of the Art Institute Chicago and the University of Illinois, before departing for New York in 1953 to embark on his artistic career, supporting that pursuit and a family working at Cooney Island as a life guard. The protective guardian instincts required for his day job appears to have permeated into his painting practice, as in 1966 we see the emergence of the shield paintings, a theme the artist would dedicatedly explore for the next six decades. Gorchov narrowed his approach to abstract works, for this signature series, constructing arching curved wood sculptural strainers, canvas roughly stretched over exposed edges, establishing an elliptical surface supporting loosely plied subdued hues in nimbly morphing opacity. Praised for their primitive vitality and stripped-down coherence, in uniquely polarizing fashion these same attributes were points of contentions with his critics. In battle, a shield functions dually as offensive and defensive implement, this antagonistic tension, in varying degrees of subtlety, resonate throughout the painted versions, organizationally and conceptually. Armed with his freeform force fields Gorchov proved a valiant advisory to the late 20th century notion of painting being dead, steadfast in his devotion to the medium while peers abandoned paint for loftier endeavors. Meriram-Webster’s Dictionary defines a wallflower as “any of several Old World perennial herbs (genus Cheiranthus) of the mustard family” or “a person who from shyness or unpopularity remains on the sidelines of a social activity”. Ron Gorchov’s 1979 painting Wallflower aptly satisfies both variants of the definition effusively and efficiently. Painted two years after his rarified second consecutive inclusion in the illustrious Whitney Biennial, this emblematic work clearly encapsulates Gorchov’s peaks of both production and critical acclaim. Wallflower in composition is literally is comprised of breezy yet restrained gestural brush strokes in a pallet parallel to the pigmentation of the leaves and blooms of the European namesake plant. Vertical streaks of soft shifting greens and subtle fluctuating pale yellows amalgamate into an ethereal backdrop, evoking wood grain, leaf veins or other organic patterning, barely breathing. Twin plumes of rich earthy maroon pierce this delicately verdant ground, reading as war painted eyes or finial crests, stabilizing sensors engaging gaze and unifying the painted environment. The sophisticatedly saturated linen mounted to the hand-hewn concave substructure unapologetically without artifice, partially sculpture, the painting playfully protruding from the wall, enticing the viewer to be enveloped by and ultimately absorbed by the object’s abstract atmosphere. In a figurative sense, Gorchov as an artist embodies this peripheral to the party persona. By no means shy about his commitment to formalist purity, he successfully embraced unpopularity with his convention rejecting stripped to essentials, saddle shaped, shield paintings, a succinct recipe with pleasing results that remained a career spanning staple. Initially heralded as groundbreaking with their charming crudeness of assembly punctuating the astutely sensitive application of color, later decried for this same elemental consistency and later still, celebrated again for faithfulness to perceived primary tents of painting. Gorchov, not so much sidelined at the painter’s spring social, but deftly dancing alone with confidence, indifferent and demanding attention with concise creation and method. In an October 2013 interview with Nathlie Provosty for Brooklyn Rail, Gorchov stated, “There are many definitions of art, but what strikes me as art is when something’s much better than it should be, when you just can’t figure out why it’s so good.” Not coincidentally this conception applies to Gorchov’s own work, it is hard to figure out why it is so good, but so good it is. A seemingly constrained studio system which runs the risk of monotony, unexpectedly produces timeless and evergreen variations. With simplicity of focus Gorchov has cracked the code, unlocking the freedom of limitations, each shield, though organized the same way, an irrationally beautiful individual. Sadly, Gorchov passed away earlier this year, he will be remembered as a stalwart traditionalist, a tireless champion of abstraction who devised an ingenious formula for painting that left a legacy of iconic and enduring nonrepresentational work.

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Larry Poons

(AMERICAN, B. 1937)

Untitled, 1983

Monarch, 1991

acrylic on canvas signed L. Poons and dated (verso) 7 1/8 x 16 1/2 inches Property from an Important Colorado Collection

acrylic and mixed media on canvas signed LARRY POONS, titled and dated (verso) 78 1/2 × 157 3/4

Provenance: Andre Emmerich Gallery, New York $5,000-$7,000

(AMERICAN, B. 1937)

POST WAR AND CONTEMPORARY ART

Provenance: Salander-O’Reilly Galleries, New York $60,000-$80,000

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27 Chun Kwang Young (KOREAN, B. 1944)

Aggregation Foo, 143A, c. 2000 mixed media with Korean Mulberry paper signed Chun Kwang Young and titled (verso) 54 x 45 inches. $30,000-$50,000

POST WAR AND CONTEMPORARY ART

28 Chun Kwang Young (KOREAN, B. 1944)

Aggregation Foo, 176, 2000 mixed media with Korean Mulberry paper signed Chun Kwang Young, titled and dated (verso) 40 x 32 inches. $15,000-$25,000

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Stanley Boxer

Kenneth Snelson

Tangetailslatherofsleetatbay, 1980

Untitled, 1968-74

oil on canvas signed S. Boxer, titled and dated (verso) 36 x 72 inches.

inscribed Snelson and dated 104 x 36 x 36 inches.

(AMERICAN, 1926-2000)

Provenance: Andre Emmerich Gallery, New York Acquired from the above by the present owner in 1980 $6,000-$8,000

POST WAR AND CONTEMPORARY ART

(AMERICAN, 1927-2016)

$15,000-$25,000

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*32

Nelly Rudin

Dan Christensen

Untitled, 1979

Altair, 1969

nitro color on aluminum each 14 x 14 inches.

acrylic on canvas titled and dated (verso) 84 x 53 inches. Property from the Collections of Webster University, St. Louis, Missouri, Sold to Benefit the Student Experience

(SWISS, B. 1928)

Provenance: Galerie Lopes AG, Zürich Acquired from the above by the present owner in 1980 $2,000-$4,000

(AMERICAN, 1942-2007)

Provenance: Andre Emmerich Gallery, New York $20,000-$40,000

POST WAR AND CONTEMPORARY ART

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33 Sam Francis

(AMERICAN, 1924-1994)

Return of Blue Balls, 1984 oil, ink and dry pigments on paper signed Sam Francis (lower right) 44 x 60 inches. Provenance: Irving Galleries, Palm Beach, Florida Dr. and Mrs. Jack Durell, McLean, Virginia Sold: Leslie Hindman Auctioneer, December 14, 2016, Lot 182 Acquired from the above sale by the present owner Estate of Sam Francis No. SFM84-524 $30,000-$50,000

POST WAR AND CONTEMPORARY ART

34 Norman Bluhm

(AMERICAN, 1921-1999)

Untitled, 1981 acrylic on paper signed Bluhm and dated (lower right) 36 x 24 inches. Property from a Private Collection, Decatur, Georgia $4,000-$6,000

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35 Fabian Marcaccio

(ARGENTINE/ITALIAN, B. 1963)

Untitled, 1992 oil, silicone gel and wood on printed fabric signed Marcaccio and dated (verso) 46 x 38 1/2 inches. Provenance: John Post Lee, Inc., New York $3,000-$5,000

POST WAR AND CONTEMPORARY ART

36 Jack Roth

(AMERICAN, 1927-2004)

Babylon I, 1979 acrylic on canvas signed Roth and dated (lower left); signed, titled and dated (verso) 70 x 49 3/4 inches. Provenance: M. Knoedler & Co., Inc., New York Galerie 99 Acquired from the above by the present owner in 1980 $6,000-$8,000

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37 Tony Rosenthal

(AMERICAN, 1914-2009)

Madonna, c. 1955 bronze inscribed Rosenthal Height: 77 inches. Property from a Private Collection, Highland Park, Illinois $3,000-$5,000

*38 Cesar Baldaccini (FRENCH, 1921-1998)

L’Homme de Villetaneuse, 1956-62 bronze 29 x 20 x 6 1/4 inches. Property from the Collections of Webster University, St. Louis, Missouri, Sold to Benefit the Student Experience $20,000-$40,000

POST WAR AND CONTEMPORARY ART

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39 Paul Horiuchi

(AMERICAN/JAPANESE, 1906-1999)

To See Beyond, 1963 mixed media, ink and collage on canvas signed Hoiruchi and dated (lower right) 78 x 71 inches. Property from a Private Collection, Highland Park, Illinois $3,000-$5,000

POST WAR AND CONTEMPORARY ART

*40 Nikos Kessanlis (GREEK, 1930-2004)

Vecchio Re (The Old King), 1958 oil on canvas signed K. Nikos and dated (lower right); signed (verso) 39 x 51 inches. Property from the Sally W. Kaplin Living Trust, Northbrook, Illinois Provenance: International Galleries, Chicago $6,000-$8,000

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41 Harry Bertoia

(AMERICAN, 1915-1978)

Untitled (Sunburst), 1960 melt coated brass and nickel over steel Height: 38 inches. Provenance: Commissioned by the present owner in 1960 Exhibited: Denver, Colorado, Denver Art Museum, Colorado Collects, 1962, no. 68 This work is accompanied by a Certificate of Authenticity issued by the Harry Bertoia Foundation $30,000-$50,000

POST WAR AND CONTEMPORARY ART

42 Ida Kohlmeyer

(AMERICAN, 1912-1997)

Cloistered #10, c. 1969 oil on canvas signed Kohlmeyer (lower right) 27 x 26 3/4 inches. Sold: Neal Auction Company, September 11, 2010, Lot 387 Acquired from the above sale by the present owner $3,000-$5,000

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43 Christian Eckart (AMERICAN, B. 1959)

Detail painting #530, 1988, 1988 23 ct. gold leaf on birch plywood panel and pine and poplar frame signed Christian Eckart, titled and dated (verso) 25 1/2 x 27 3/4 inches. Provenance: Massomo Audiello Gallery, New York $3,000-$5,000

POST WAR AND CONTEMPORARY ART

44 Robert Natkin

(AMERICAN, 1930-2010)

Apollo Series oil on paper

signed Natkin (lower right) 29 3/4 x 29 3/4 inches. Provenance: Sold: Doyle New York, May 20, 2008, Lot 2223 Acquired from the above sale by the present owner $3,000-$5,000

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45 Charles Schorre

(AMERICAN, 1925–1996)

Sandsignal Acrylic on canvas signed Charles Schorre (lower right)

36 x 48 inches. $1,500-$2,500

POST WAR AND CONTEMPORARY ART

46 Robert Neuman

(AMERICAN, 1926-2015)

Barcelona Espana, 1957 oil on canvas signed Robert S. Neuman, titled and dated (on verso) 24 x 20 inches. Provenance: Allan Stone, New York Sold: Sotheby’s, New York, June 23, 1982, Lot 79 Mr. and Mrs. Harold Berliner, West Palm Beach, Florida Sold: Hindman Auctions, January 11, 2019, Sale 642, Lot 46 Acquired from the above sale by present owner $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

47 Joe Goode

(AMERICAN, B. 1937)

Forest Fire #97, 1984 oil on canvas signed Joe Goode, titled and dated (verso) 37 1/2 x 66 1/2 inches. Provenance: The Studio of Joe Goode, Los Angeles Exhibited: Oklahoma City, Oklahoma, The Oklahoma Art Center, Joe Goode/Jerry McMillan/ Edward Ruscha, July 14-September 3, 1989; Orlando, Florida, Orlando Museum of Art, September 24-December 3, 1989 Literature: Hopkins, Henry T. & Sue, Scott, Joe Goode/Jerry McMillan/Edward Ruscha, The Oklahoma Art Center, Oklahoma City, p. 32 (illustrated) $30,000-$50,000

POST WAR AND CONTEMPORARY ART

Oklahoma born Joe Goode followed childhood friend and fellow artist Ed Ruscha to California, where he first received international acclaim in 1962 with his inclusion in Walter Hopps’ historic survey of Pop Art, New Painting of Common Objects at the Pasadena Art Museum and an Artforum cover selection of a representative Milk Bottle painting. Goode is frequently associated with the West Coast Light and Space Movement for his shared concerns with perception and environment, though something of an artistic shapeshifter, with his explorative versatility and straddling of abstract and representational approaches, the work itself often runs contrary to continued critical classification. Vision and sight lines, in and out of and more specifically important through the presupposed picture plane is a principle interest and conceptual constant in all of Goode’s work. Through each successive series, Goode visually contradicts expectations of transparency and opacity, from the obscured and subsumed milk bottles, to the shredded surfaces of his torn clouds, to the buckshot perforation arrangements of environmental impact, sublimely surprising and shocking the presumed eye experience. Forest Fire #97, 1984 is a seminal painting from Goode’s series of the same name, a substantial triptych cleverly composed of chaotic orange, yellow, gray and black scrawling movements of paint, the work is excitingly both a vibrant color field abstraction and a realistic rendering of consuming flames. Smoke and mirrors, illusionistic in every sense, the very content and construction of the painting challenge what it is exactly that we see. Like the Torn Cloud and Environmental Impact works, by capturing static moments of violent action or activity, in the Forest Fire series Goode transmutes devastating destruction into creative beauty, aesthetic alchemy. The magic of the metamorphic process of wood burning, from solid matter, to combusting energy, to dissipating ash and disappearing smoke, all phases can be seen at once on the canvases, a slight of hand and a sight to behold. Forest Fire #97 was significantly loaned by the artist as an indicative example of this important body of work to the heroic homecoming 1989 exhibition at the Oklahoma Art Center, Joe Goode/ Jerry McMillan/Edward Ruscha, celebrating and displaying three Sooners who staked their claims in the art world firmly.

48 JPW3

(AMERICAN, B. 1981)

1 Key to My Orange, 2015 ink transfer, wax and marker on canvas signed JPW3 and dated (verso) 48 x 36 inches. Provenance: Patron Gallery, Chicago $3,000-$5,000

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49 Nathan Oliveira

(AMERICAN, 1928-2010)

Untitled, 1961 watercolor on paper signed Oliveira and dated (upper left) 9 x 7 inches Provenance: John Berggruen Gallery, San Francisco Reyes Contemporary Art, Phoenix, Arizona $2,000-$4,000

POST WAR AND CONTEMPORARY ART

*50 Eric Fischl

(AMERICAN, B. 1948)

Untitled, 1988 oil on coated paper signed Fischl and dated (lower right) 17 x 15 inches. Property from the Collection of Sandra Eu, New York, New York Provenance: Gagosian Gallery, New York $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

51 Steve Canaday

(AMERICAN, B. 1967)

Cherry Blossom, 2005 oil on canvas signed Steve Canaday, titled and dated (verso) 36 x 28 inches. Provenance: Black Dragon Society, Los Angeles $3,000-$5,000

POST WAR AND CONTEMPORARY ART

52 Rafael Coronel (MEXICAN, B. 1932)

Niño, 1980 oil on canvas signed Rafael Coronel (lower left) 23 1/4 x 29 1/2 inches. $8,000-$12,000

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53 Carlo Maria Mariani (ITALIAN, B. 1931)

Punished Beauty, 1995 mixed media and oil on canvas signed Carlo Maria Mariani, titled and dated (verso) 55 1/4 x 51 7/8 inches. Property from a Private Collector, Winnetka, Illinois Provenance: Forum Gallery, New York Acquired from the above by the present owner in 1996 $8,000-$12,000

POST WAR AND CONTEMPORARY ART

54 Joe Andoe

(AMERICAN, B. 1955)

Horse, 1992 oil on canvas initialed JA (verso) 50 x 60 inches Property from the Collection of an American Corporation Provenance: Blum Helman Gallery, New York Carey Ellis Company, Houston, Texas $7,000-$9,000

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ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Andoe, Joe .................................................. 54 Anuszkiewicz, Richard .................................... 6 Baldaccini, Cesar ........................................ 38 Baum, Don ................................................. 21 Bertoia, Harry ............................................. 41 Bluhm, Norman ........................................... 34 Boxer, Stanley ............................................. 29 Brown, Roger .............................................. 10 Canaday, Steve ........................................... 51 Christensen, Dan ........................................ 32 Coronel, Rafael ........................................... 52 Eckart, Christian ......................................... 43 Fischl, Eric .................................................. 50 Francis, Sam ............................................... 33 Fratt, Dorothy ................................................ 1 Goode, Joe ................................................. 47 Gorchov, Ron ............................................... 24 Hamilton, Juan ............................................ 22 Hanson, Philip ............................................. 11 Honneger, Gottfreid ....................................... 2 Horiuchi, Paul .............................................. 39 JPW3........................................................... 48 Kessanlis, Nikos ......................................... 40 Kohlmeyer, Ida ............................................ 42 Marcaccio, Fabian ....................................... 35 Mariani, Carlo Maria .................................... 53 Mihich, Vasa Velizar ....................................... 5 Natkin, Robert ............................................. 44 Neuman, Robert .......................................... 46 Nilsson, Gladys ...................................... 17-18 Nutt, Jim ................................................ 13-14 Olitski, Jules .............................................. 3-4 Oliveira, Nathan .......................................... 49 Paschke, Ed .......................................... 12, 20 Poons, Larry ........................................... 25-26 Price, Ken ..................................................... 8 Rezac, Richard ............................................ 23 Rocca, Suellen ............................................ 19 Rosenthal, Tony ........................................... 37 Roth, Jack ................................................... 36 Rudin, Nelly ................................................ 31 Schorre, Charles ......................................... 45 Snelson, Kenneth ........................................ 30 Vasarely, Victor .............................................. 7 Wirsum, Karl .......................................... 15-16 Young, Chun Kwang ................................ 27-28

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.

POST WAR AND CONTEMPORARY ART

WE INVITE YOU TO CONSIGN WITH US UPCOMING AUCTIONS SALE 869

SALE 870

AMERICAN AND EUROPEAN ART

POST WAR AND CONTEMPORARY ART

MAY 3

MAY 4

SALE 871

SALE 835

PRINTS AND MULTIPLES

WESTERN PAINTINGS AND SCULPTURE

MAY 5

MAY 6

Alexander Calder(American, 1898-1976) Triple Cross, 1947 Sold at auction for $1,872,500

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POST WAR AND CONTEMPORARY ART

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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

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

POST WAR AND CONTEMPORARY ART

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. 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 onehalf 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.

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

2. OUR LIMITED AUTHENTICITY WARRANTY Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows: (a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type. (c) It does not apply to any Heading or part of a Heading that is qualified. “Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty. (d) It applies to the Heading as amended by any saleroom notice. (e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion. (f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot. (g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else. (h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses. (j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void. 3. ADDITIONAL WARRANTY FOR BOOKS If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances: (a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms: (i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale. (ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale. (iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void. 70

POST WAR AND CONTEMPORARY ART

4. JEWELRY (a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time. (b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report. (c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report. (d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced. 5. WATCHES AND CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use. (d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap. 6. YOUR WARRANTIES You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties. (b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale. (c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE

OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH. (d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services. (e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS

1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities. 6. PERSONAL INFORMATION We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com. 7. WAIVER No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy. 8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. 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

U P C O M I N G AU C T I ON S C H E D U L E 800 | FINE BOOKS AND MANUSCRIPTS NOVEMBER 12 | CHICAGO

808 | HOLIDAY ESSENTIAL JEWELRY DECEMBER 3 | CHICAGO

802 | MODERN DESIGN NOVEMBER 17 | CHICAGO

812 | IMPORTANT JEWELRY DECEMBER 7 | CHICAGO

803 | EARLY 20TH CENTURY DESIGN NOVEMBER 17 | CHICAGO

809 | POST WAR AND CONTEMPORARY ART DECEMBER 9 | CHICAGO

829 | FINE BOOKS AND MANUSCRIPTS NOVEMBER 20 | ONLINE

810 | PRINTS AND MULTIPLES DECEMBER 9 | CHICAGO

818 | ANTIQUITIES AND ISLAMIC ART NOVEMBER 23 | CHICAGO

811 | AMERICAN AND EUROPEAN ART DECEMBER 10 | CHICAGO

814 | DECEMBER PALM BEACH COLLECTIONS DECEMBER 1 | PALM BEACH

770 | LUXE HOLIDAY COUTURE AND LUXURY ACCESSORIES DECEMBER 11 | CHICAGO

828 | PALM BEACH COLLECTIONS ONLINE DECEMBER 2 | PALM BEACH

804 | FINE ART + DESIGN SELECTIONS DECEMBER 15 | CHICAGO

Andy Warhol (American, 1928-1987) Mao, 1972, color screenprints To be sold in the upcoming Prints and Multiples Auction on December 9, 2020 Presale Estimate (each): $25,000-35,000

POST WAR AND CONTEMPORARY ART

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 registration through our website at www.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

809 - Post War & Contemporary 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 executed 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. S IG N ATURE

DAT E

( FO R H INDM AN LCC)

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

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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

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

Sale 809 | Post War and Contemporary Art

Articles inside

CONDITIONS OF SALE