Sale 907 | Post War and Contemporary Art by Hindman Auctions

POST WAR & CONTEMPORARY ART 28 SEPTEMBER 2021

POST WAR & CONTEMPORARY ART SALE 907 28 September 2021 10am CT | Chicago Lots 1–77 P R E V I E W B Y A P P O I N T ME N T O N LY P RO P E R T Y P I C K U P H O U R S Monday - Friday | 9:00am – 4:30pm By appointment only. 312.280.1212 All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale. CONTENTS Post War & Contemporary Art | Lots 1-77 Artist Index Hindman Team Inquiries Conditions of Sale

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

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DEN 1057930 FL AB3688 GA AU-C003121 IL 444.000521 OH 2019000131 MO STL 102646 FRONT/BACK COVER Lot 18

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P RO P E R T Y F RO M T H E T R U S T S A N D E S TAT E S O F R. Lawrence Dunworth, Palm Beach, Florida Henry G. Shearouse, Denver, Colorado 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 Marie Battaglini-Levy, Washington, D.C. Karen DiGasbarro, St. Louis, Missouri The JFM Foundation Collection, Denver, Colorado A Private Collection A Private Collection, Chicago, Illinois A Private Collection, Illinois A Private Collection, Michigan A Private Collection, New York Lon and Wilmia Ramsey, Winnetka, Illinois Kathy Paddor-Rotholz and David Rotholz, Highland Park, Illinois The Rumsey Hall School, Washington Depot, Connecticut Gregg Sadowsky, Encinitas, California Daniel Weinberg, Highland Park, Illinois

O P P O S I TE Lot 60

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POST WAR & CONTEMPORARY ART LOTS 1 - 7 7

O P P O S I TE Lot 70

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Stephen Greene

(American, 1917-1999) Flagellation, c. 1947 oil and lacquer on canvas signed Greene (lower left) 9 x 16 inches. Provenance: The Renaissance Society, University of Chicago, Chicago Acquired from the above in 1947 Thence by descent to the present owner Exhibited: Chicago, Illinois, The Renaissance Society, University of Chicago, Pictures for Young Collectors, November 20 - December 17, 1947 $6,000 - 8,000

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Rodolfo Morales

(Mexican, 1925-2001) Sin Titulo, c. 1983 oil on canvas signed Morales (each corner) 35 1/2 x 39 1/2 inches. Provenance: Vorpal Gallery Soho, New York Acquired from the above by the present owner in 1985 $40,000 - 60,000

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Ed Paschke

(American, 1939-2004) First Quarter, 1990 signed E. Paschke and dated (lower right); titled (lower center) 16 1/2 x 12 inches. Property from the Collection of Kathy Paddor-Rotholz and David Rotholz, Highland Park, Illinois Provenance: Phyllis Kind Gallery, Chicago Judy A Saslow Gallery, Chicago $3,000 - 5,000

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Kehinde Wiley

(American, b. 1977) After La Negresse, 1872, 2006 resin and marble dust edition of 250 10 3/4 x 7 3/4 x 5 inches. Provenance: Sold: Art for Water: Los Angeles, September 25, 2013 Acquired from the above by the present owner $10,000 - 15,000

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Jaume Plensa

(Spanish, b. 1955) Slumberland XXXII (Sanna), 2015 graphite on paper signed Plensa and dated (lower left) 56 1/4 x 44 3/8 inches. Provenance: Richard Gray Gallery, Chicago $30,000 - 50,000

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Ann Hamilton

(American, b. 1956) Untitled, 2010 (a pair of works) mixed media on paper each signed Ann Hamilton and dated (verso) Each: 7 x 5 inches. Provenance: Animation & Fine Art Galleries, Chapel Hill, North Carolina $2,000 - 4,000

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Ree Morton

(American, 1936-1977) Prince and Princess from Signs of Love, 1976 (diptych) wash and graphite on mixed media each titled (lower center) Each: 32 1/4 x 25 inches. Exhibited: New York, New York, New Museum, Ree Morton: A Retrospective 1971 - 1977, February 16 - April 17, 1980; Houston, Texas, Contemporary Arts Museum, Houston, May 20 - June 29, 1980; Boulder, Colorado, University of Colorado Museum, Boulder; Buffalo, January 17 -March 1, 1981; New York, Albright-Knox Art Gallery; Chicago, Illinois, Renaissance Society at the University of Chicago, March 15–April 19, 1981 New York, New York, Alexander and Bonin, Ree Morton: Something in the Wind, October 15-December 22, 2016 $15,000 - 25,000

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Ree Morton Something of a late bloomer artistically, Ree Morton’s creative flower flourished fully during its tragically short yet captivating blossom. Morton who had always drawn for amusement did not start her professional artistic practice until her 30s, after starting a family, only to have the scope of her iconoclastic and impactful vison cruelly cut short in a car accident at 40. During her brief and bright burn on the artistic horizon of the 1970s Morton established herself as a wry insightful and inciteful voice, combining elements of feminism, minimalism, semiotics and social commentary in her multidisciplinary approach. Morton’s most acclaimed works defy classification, incorporating ingredients of painting, sculpture, performance and craft in seemingly whimsical narrative objects that subversively question the traditional constructs of femininity, romance, domesticity, sentimentality and storybook endings. Ribbons, drapery and flowers her most frequently employed visual language, both decorative and functional as symbols of the deeper and darker conceptual themes. Gorgeous and poignant, these works read as individual set pieces for an ambitious and disquieting societal farce, encouraging the examination and disruption of traditional and antiquated beliefs in gender roles. Created a year before her untimely death, the 1976 diptych Prince and Princess from the larger installation series Signs of Love is a signature work that shrewdly demonstrates unique ability to visually critique unrealistic cultural ideals, disarmingly yet directly. In this case the fairy tale is the target of her commentary, specifically the fanciful, prince charming dependent notion of perfection that is happily ever after. Morton borrows the regal compositions of Renaissance portraiture to represent her romantic archetypes specifically Raffaello Sanzio’s Portrait of Pietro Bembo serving as source for prince and Antonio del Pollaiuolo’s Profile Portrait of a Young Lady providing the inspiration for princess. Self-consciously stylized and simplified, these contemporary renderings of classical representations of royalty have the apparent sanitized comfort of Disney’s take on the fairytales true love resolution, while revealing with subtle satire the bleaker moral, that wolves, bluebeards and ogres are more common fates for damsels in distress than saviors. Presented as a pair, a couple, it is no accident that they are two separate works on paper with telling and loaded sight lines. The princess sits in profile her gaze fixed on her hero, she can be admired by all but is limited to admiring her better half, the prince in three quarter view, glances sidewise at his mate simultaneously free to meet the eyes of the viewer and able to admire a world of options beyond while secure in knowing he is the singular object of her admiration. Each beautiful objects, emblematic like playing cards, he and she are both symbols of character generalities perpetuated by childhood fiction, the rules of the game and the resulting conclusion, drastically different depending on the gender dealt the hand. Illusionistic threads stitch the respective his and her portraits to loosely painted green and red faux floral fabric backgrounds, at once a decorative framing device while conceptually tying the work to a domestic realm, further reinforcing the fallible sentimentality of the happy home, happy ending mythology. In all, Prince and Princess sophisticatedly draws attention to the trappings of the folkloric formula for happiness, in turn offering hope that the signs of love could not be just presubscribed constants, but rather an evolving and mysterious multitude as varied as the individuals witnessing the signs. Beyond the myriad formal, conceptual, technical and compositional attributes that make this work an extraordinary specimen of Morton’s peak output, it was significantly included in her posthumous 1980 retrospective Ree Morton: Retrospective 1971-1977, organized by Alan Schwartzman and Kathleen Thomas for the New Museum in New York City, ultimately traveling the country with stops at institutions in Houston, Boulder, Buffalo and Chicago.

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Betye Saar

(American, b. 1926) Lucky Mojo, 1998 mixed media signed Betye Saar, titled, and dated (verso) 6 x 4 inches. Provenance: Absolut Secret, 1998 $4,000 - 6,000

William T. Wiley and William Allan

(American, 1937-2021) (American, b. 1936) Mar - Vista - Mar, 1993 pastel and pencil on paper signed with the Artist’s monogram, inscribed and dated (lower left); signed William Allan (lower right) 13 x 18 inches. Provenance: Martha Mateyka Gallery, Washington, D.C. $2,000 - 4,000

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William T. Wiley

(American, 1937-2021) All Saints Ball, 1977 acrylic and charcoal on canvas monogrammed W, titled and dated (lower right) 40 x 35 1/2 inches Provenance: Hansen Fuller Gallery, San Francisco Exhibited: Minneapolis, Minnesota, Walker Art Center, Wiley Territory, December 9. 1979-January 27, 1980; Dallas, Texas, Dallas Museum of Fine Arts, May 10-June 21, 1980; Denver, Colorado, The Denver Art Museum, July 19-August 31, 1980; Des Moines, Iowa, Des Moines Art Center, September 29-November 9, 1980; San Francisco, California, San Francisco Museum of Modern Art, December 12, 1980-January 25, 1981 Literature: Graham W.J. Beal and John Perreault, Wiley Territory, Minneapolis, p. 54 illus. $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

Karl Wirsum

(American, 1939-2021) Private Nakamura, 1976 acrylic on acetate 17 x 13 inches Provenance: Phyllis Kind Gallery, Chicago Exhibited: London, England, Camden Art Centre, Who Chicago?, December 10, 1980 - January 25, 1981; Sunderland, England, Ceolfrith Arts Center, February 16 - March 14, 1981; Glasgow, Scotland, Third Eye Centre, March 21 - April 30,1981; Edinburgh, Scotland, Scottish National Gallery of Modern Art, May June, 1981; Belfast, Ireland, Ulster Museum, July - August, 1981 Literature: Dennis Adrian and Russell Bowman, Who Chicago?, Sunderland, no. 159, p. 214, illus. $10,000 - 15,000

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Karl Wirsum

(American, 1939-2021) Rabbit Double Gyro with Windshields, 1981 acrylic on canvas 38 3/4 x 28 1/2 inches. Provenance: Phyllis Kind Gallery, Chicago Exhibited: Boston, Massachusetts, The Institute of Contemporary Art Boston, Who Chicago?, November 10, 1981-January 3, 1982 New York, New York, Phyllis Kind Gallery, Karl Wirsum: A Retrospective, April 30-May 24, 1986 Literature: Dan Cameron, Karl Wirsum: A Retrospective, New York, no. 51 $20,000 - 40,000

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Karl Wirsum

(American, 1939-2021) Dancing Hare Toddy, Dancing Kong Tamari, together with a signed Hare Toddy Kong Tamari Objects selected by Karl Wirsum Exhibition Poster, 1980 offset lithograph on cardboard with brass grommets each signed Karl Wirsum and numbered 16/50 17 x 7 and 16 1/2 x 11 inches. Provenance: Museum of Contemporary Art, Chicago $2,000 - 3,000

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Genesis Belanger

(American, b. 1978) Uninvited Guest, 2019 porcelain signed Genesis Belanger and numbered 4/20 on accompanying Certificate of Authenticity 5 1/2 x 2 3/4 x 1 inches. Provenance: The Aldrich Contemporary Art Museum, Ridgefield, Connecticut in collaboration with Perrotin, New York $1,500 - 2,500

William T. Wiley

(American, 1937-2021) Le Grande Frommage, 1985 wood, metal sculpture inscribed with the Artist’s monogram, titled and dated 18 x 27 x 33 inches. Provenance: Sold: Christie’s New York: “East”, May 6, 1997, Lot 187 $6,000 - 8,000

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H. C. Westermann

(American, 1922-1981) Dear Ruthie..., 1963 (two page letter drawing to the Artist’s maternal aunt Ruth Marchant) ink, marker, watercolor and stamps on paper with embellished envelope each signed Cliff (lower right) each 11 3/4 x 8 7/8 inches. Provenance: Gifted to the present owner by Martha Westermann Renner in 2004 $8,000 - 12,000

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H. C. Westermann

(American, 1922-1981) Merry Xmas 62 & A Happy New Year with Disasters in the Sky # 1, 1962 (Christmas Card to the Artist’s sister Martha Renner) linocuts on paper with embellished envelope initialed H.C.W. and dated lower left 8 x 12 inches. Provenance: Gifted to the present owner by Martha Westermann Renner in 2004 $3,000 - 5,000

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Martin Wong

(American, 1946-1999) Persuit (El Que Gane Pierde - He Who Wins Looses), 1984 acrylic on canvas signed Martin Wong, titled and dated (lower center); signed and dated (upper right); titled (upper left) 48 x 72 inches. Property from the Rumsey Hall School, Washington Depot, Connecticut Provenance: Semaphore Gallery. New York Private Collection, New York, 1984 Gifted to the present owner by the above in 1998 $500,000 - 700,000

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Martin Wong Martin Wong was born in Portland, Oregon in 1946 and came of age artistically in the heady California dreamscape of late 1960s San Francisco. Living in the Haight-Ashbury neighborhood of Merry Pranksters and Grateful Dead infamy, Wong an openly gay man of Chinese ancestry, found acceptance in the free spirited, open-minded and mind expansive ideologies of the hippie lifestyle, while experimenting creatively in ceramic and performance art. Above all a painter, it was Wong’s works in the second dimension that earned him the most recognition in the Bay Area and the fabled handle Human Instamatic for his facility for cranking out $7.50 portraits at street art fairs and communal happenings. In 1978 Wong switched coasts, moving to New York’s Lower East Side, mythically on a friendly “if you can make it there…” type dare, to forge his path as an artist in the postpunk, postmodern epicenter of culture and cool. In New York Wong focused his creative energy on painting using his representation talents to compose edgy, enigmatic and existential character studies of the city, its denizens, buildings, bricks, concrete, steel and pavement, primarily limiting this raw documentation to the sourced sights and sites of his immediate neighborhood. For the most part a selftaught painter, Wong’s canvases identifiably have a naïve visionary quality, sensitively balancing fantastic wonder with observed reality, paint handling imbued with an overall haunting sense of longing, that seems to explore what it means to belong to a group. An artists’ artist, Wong established himself as fixture on the Low East Side art scene, supporting his passion for paint with a day job at the MOMA giftshop, also picking and flipping undervalued antiquities at auction to make ends meet. Just as he enjoyed fellowship with the dropped-out freaks in Frisco, Wong connected deeply with the emerging east coast underground culture of hip hop, specifically the graffiti element, importantly co-founding the Museum of American Graffiti in 1989 and generously donating his own impressive collection of artworks by graffiti pioneers to the Museum of the City of New York in 1994. Wong joined forces romantically and creatively with Nuyorican underground poet and playwright Miguel Piñero after the two met at an exhibition opening at alternative project space ABC No Rio in 1982. The pair’s time together was inspired and productive, with Wong creating many of his most innovative and accomplished painting during their partnership, culminating in Wong’s ambitious 1984 solo show Urban Landscapes at the taste making Semaphore Gallery. Painted in these salad days and acquired at Semaphore the year it was painted, Persuit (El Que Gane Pierde - He Who Wins Looses), 1984, is a self-consciously ominous New York nocturne, a surprisingly illusionistic wooden frame peppered with poetic phrasing, presumably words burrowed from his often collaborator Piñero, borders a clue that sleight-of-hand could be at play, a view finder, capturing and celebrating this authentically gritty New York minute. In his signature uncommon social meets magical realist fashion, Wong gracefully champions the underdog, the underrepresented, the unseen, revealing the unique and flawed glory of these ignored individuals, also the components that comprises the greater structural whole of an equally marred and magnificent metropolis. A comfortable insider to outsider or even outlaw company, Wong plays with this captivating contradiction visually and conceptually, arranging the composition with gorgeously detailed barriers and boundaries of crumbling brick facades, confining fences, locked gates and closed doors, challenging the audience to uneasily decide which side of the conflict or tracks they reside on, are you a part of, or apart from. In the lower left corner of Persuit…, a shadowy figure ambiguously give chase as loser or be chased as winner, either on the Ignatz Mouse or the Krazy Kat end of the brick toss, depending on the viewer’s chosen vantage, voyeur of the locked in or witness to the locked out. The phrase El Que Gane Pierde, which translates to the antagonistic Whoever Wins Loses also emphatically appears in the charged closing scene of Piñero’s 1984 play Short Eyes, loosely about his incarceration experience, lending credence to a potential jailbreak read of the subject’s trajectory. The lone actor blends with his staged surroundings, partially obscured by the stylized grid of a chain link fence, dwarfed by a desolate righthand crowded backdrop of apartment building geometry, obsessively rendered with Wong’s hallmark exposed brick motifs, enduring monuments of urban progress, a somber stoic chorus more than scenery. Overhead a cryptic surreal constellation map, a visual language of pattern parallel to the fingerspelling iconography the artist frequently employed, stands in as night sky accentuating the intoxicating mystery of the foreboding narrative unfolding. This carefully articulated and decisively stylized star chart dually provides shelter of darkness and celestial navigation guiding our hero hopefully to an escape of transcendent negating outcome, the sublime symbolism of the draw. Wong sadly lost his battle with AIDS in 1999, dying from complications of the illness years prior to his work receiving the universal acclaim it earns today. Always painstaking in the organization of his vision, following being diagnosed in 1994 Wong was able to realize his full body of work to a level of completion he felt resolved, satisfyingly defining his own destiny as that of a lasting legacy of artistic wins.

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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, Illinois 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

Robert Cottingham

(American, b. 1935) Barbershop, 1987 watercolor signed Cottingham and dated (lower right); titled (lower left) 10 1/2 x 10 1/2 inches. $6,000 - 8,000

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He Datian

(Chinese, b. 1950) Farmer’s Apartment, 1987 mixed media, oil on canvas signed Chinese with the Artist’s seal and dated (lower right) 43 x 31 1/2 inches. Property from the Estate of R. Lawrence Dunworth, Palm Beach, Florida Provenance: Hefner Galleries Inc., New York $7,000 - 9,000

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Félix Labisse

(French, 1905-1982) L’Apprenti Sorcier, 1962 oil on canvas signed Labisse, titled and dated (verso) 36 x 28 inches. Provenance: Musee Galliera, Paris, 1962 Gallery 63, New York, 1964 Literature: Isy, Brachot, Labisse: catalogue de l’oeuvre peint, 1927-1979, Brussels, 1979, no. 359, p. 192, illus. $5,000 - 7,000

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Henry Taylor

(American, b. 1958) Portrait of Kim Light acrylic on canvas 24 x 20 inches. Provenance: Gifted to the Sitter by the Artist $15,000 - 25,000

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Robert Lostutter

(American, b. 1939) Hope, 2000 watercolor on paper signed Lostutter, titled, and dated (lower right) 9 x 9 inches. Property from a Private Collection, Chicago, Illinois $3,000 - 5,000

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Alan Saret

(American, b. 1944) Thou Shall Not Die, 1980 oil on canvas stretched over board 65 1/2 x 90 inches. Provenance: Charles Cowles Gallery, New York Sold: Stair Galleries, July 27, 2012, Lot 936 $2,000 - 4,000

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Hollis Sigler

(American, 1948-2001) Me and my Trike, Salvation (Angel and Bicycle), 2000 mixed media on paper signed Hollis Sigler and dated (lower right); titled (upper center) 12 x 12 inches. Property from a Private Collection, Chicago, Illinois Provenance: Printworks, Chicago $2,000 - 4,000

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Mary Abbott

(American, 1921-2019) Happy Opens crayon on paper signed Mary A. and titled (lower right) 17 x 14 inches. $2,000 - 4,000

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William Scharf

(American, b. 1927) A Branch of the Egg, 1962 oil on canvas signed W. Scharf (lower right); signed, titled and dated (verso) 18 x 18 inches. Property from a Private Collection, New York $1,000 - 2,000

William Scharf

(American, b. 1927) The Scratched and Unfixed Air, 2007-8 and They Thought Their Worlds of Each Other, 2008 (a pair of works) acrylic on paper each signed W Scharf, titled and dated (verso) each 9 x 12 inches. Property from a Private Collection, New York Provenance: Meredith Ward Fine Art, New York Exhibited: New York, Meredith Ward Fine Art, William Scharf: Blue Is, January 9 - February 14, 2009, pp. 10; 12-13, illus. $1,000 - 2,000 32

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Esteban Vicente

(American/Spanish, 1903-2001) Corola, 1997 oil on canvas signed Esteban Vicente, titled and dated (verso) 52 x 42 inches. Property from a Private Collection, New York $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

Yvonne Thomas

(American, 1913-2009) Canyon, 1953 oil on canvas initialed YT (lower left); signed, titled and dated (verso) 20 x 24 inches. Property from a Private Collection, New York $30,000 - 50,000

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Yvonne Thomas Yvonne Thomas (American, 1913-2009), was born in Nice, France just before the onset of the Great War, eventually immigrating to the United States at the height of the roaring twenties in 1925. Out of necessity Thomas’ initial creative pursuits were commercial in nature, earning a living as a fashion illustrator and a graphic artist during the worst of the Great Depression prior to eventually enrolling at Artists Student League in 1938. At the ASL she studied closely with Vaclav Vytlacil and committed herself entirely to painting, staying faithful to this material dedication for the next seven decades. Thomas’ establishing breakthrough came in 1948 when artist Roberto Matta’s wife Patricia introduced her to the mentorship of the founders and of the revolutionary and short-lived Subjects of the Artist School, the abstraction defining icons William Baziotes, David Hare, Robert Motherwell, Barnett Newman, and Mark Rothko. Although open to the public lectures were presented by other nonobjective trailblazers of the day, the school, housed in a loft at 23 East 8th Street and more familiarly known as The Club, was more private collaborative than tutorial in format, with Thomas exploring paint and process possibilities alongside and in unison with her more celebrated teachers. By participating in these communal creative experiments and through connections made through the program with the like minds of Willem de Kooning, Lee Krasner, Marcel Duchamp, Philip Guston, Clyfford Still and Ad Reinhardt, Thomas became an artistic peer more than a student and indoctrinated her as one of the few female voices in the first wave of Abstract Expressionism movement. After the avantgarde school closed to become a more formal studio and exhibition space, Thomas continued her education in Abstract Expressionism directly with Motherwell focusing on varied technical and mark making approaches to procedural spontaneity, instinctive response and more cerebral automatism. Though further work with Hans Hofmann in the legendary setting of Provincetown the concern of color as more of essential evocative content than just compositional component confidentially emerged in Thomas work. Moving into the 1950s Thomas abandons the convention of figure ground differentiation solving the problem of imagined space more inclusively allowing the broad swathes of predominantly analogous pigments to unify the canvas plane with both visually and emotionally immersive effect. Painted in the year prior to her first solo show at Hendler Gallery in Philadelphia, Canyon, 1953 demonstrates Thomas as colorist at full strength of expression. Anchored by large gestural passages of heavily applied yet sensitively handled orange, it is Thomas’ most passionately favored hue yellow that atmospherically defines the positive and negative space, supplying compositional harmony with comforting mood. Exhibiting the dual guidance of Motherwell and Hofmann, Thomas’s color choices of this era return to sundrenched dreamy cradle memories of her grandmother’s Provencal garden as source. The lush yellows of Mimosa blooms, the delicate greens of Eucalyptus leaves and the vibrant orange tones of the eponymous fruit tree most frequently, at play with facility in Canyon, comprising her alluring palette. As the title suggests, the viewer can imagine sun light dancing of rock formations, shadows at play on saturated tones of cliff, bluff, gulch and gorge surfaces and silhouettes. The inventiveness of nature and structural organization of geology reimagined through paint and captured as a feeling in two dimensions, pleasurable and mysterious. Despite having important exhibitions at Abstract Expression stalwarts Stable and Betty Parsons galleries, as well as being included in all the New York Painting and Sculpture Annuals and the historic 1951 9th Street Show, Thomas’ significant contributions to the inception of the movement was greatly ignored at the time. A plight sadly shared by other female talents of the day whose substantial influence was also overshadowed by their more heralded male contemporaries due to societal inequality and is finally being corrected in recent years. Canyon, 1953 is a rare gem and extraordinary example of the still underappreciated Thomas’ most accomplished painting during the formative years of one of the most important art movements of the second half of the 20th century, a movement she is an almost forgotten foundational builder of.

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Hans Hofmann

(American/German, 1880-1966) Mutation in Transition, 1958 oil on canvas signed Hans Hofmann and dated (lower right); signed, titled and dated (verso) 40 x 50 inches. Property from a Private Collection, Illinois Provenance: Estate of the Artist, 1966 - 1988 Andre Emmerich Gallery, New York, 1988 Private Collection, 1988 - 2001 Richard Gray Gallery, Chicago Acquired from the above by the present owner in 2001 Exhibited: New York, Kootz, January 6 - 17, 1959 New York, Emmerich, 1968 Toronto, Canada, David Mirvish Gallery, 1974 New York, Acquavella Contemporary Art, 1978 New York, Emmerich, January 12 - February 6, 1980 Louisville, Kentucky, Martha White Gallery, 1981 Scottsdale, Arizona, Yares Gallery, 1983 Literature: Sam Hunter, Hans Hofmann, pl. 89, illus. Suzy Villiger, Hans Hofmann Catalogue Raisonne of Paintings, Volume III, 2014, no. P1092, p. 158, illus. $500,000 - 700,000 36

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Hans Hofmann Vibrating with energy, Hans Hofmann’s Mutation in Transition, 1958, is a multifaceted dialogue between color, form, and medium. It is a striking example of the innovative techniques that has ensured the artist’s enduring legacy. Hofmann’s carefully built compositions, filled with large planes of energetic color and dynamic brushstrokes, express his belief in the spirituality of color. Painted at a high point in his career, the present work exhibits the artist’s revolutionary painting practice. After nearly forty years of teaching, in 1958 Hofmann closed his New York and Provincetown schools. Hofmann’s new freedom allowed him to fully concentrate on his art and bring to fruition the “push pull” treatise in his paintings. In what has become perhaps his most famous dictum, the artist remarked, “Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of Renaissance perspective, but on the Orum etthe rat.creation Dis queof voluptas pratem aut quia nosaperepel Qui in raeS.dicontrary...by forces in the sense of push and pull”etur? (quoted Hunter, Hans Hofmann, moloreici voluptisofprate cusam quunt. between painting and New taspellore York, 1963,elignimus p. 14). Initially a student science, thevendi artistdolores drew a parallel Quam qui nesequibus aborum nectium quasperum atomic physics, in which thedis reaction that transforms matterquunt. into energy can occur only if proper Quas adare quebrought rem et together ut lab iustintiatur assum id que eatiur sum secae eaquisquo components in absolutely correct amounts. As Hofmann explained to his students officiis ducit in thetemqui early 1920s, staticoditatur? elements within the painterly composition could be animated through “…a balanced state of expansion and contraction…a positive produces a negative—a high, a low, a right, Ipsundam volore enda emolore nihit, sunture ium as siin Hans Hofmann: a left—a push aetpull andcore vice non versa.” (P. vendand Morrin, “The Education of Hansasi Hofmann,” velluptas dolorro tem rerfere, qui rehenim inctur rae adios des am vel ium aut latem Catalogue Raisonné of Paintings, 2014, p. 33) venimusae voluptis et plia doluptatquia dolor aut et voluptae dolesciis molo omnimpo rporehendia verum volorrovit, consed quiasit atecus ataque venesse nitiusam To achieve this “push pull” and the sense of three-dimensional space on the two-dimensional surface aspis dolorem solupta ssundis audae cor alibusd andandae la cus as eiureic ipsam, of canvas, Hofmann manipulated color contrasts to create light and movement. Mutation in Transition is et, abor molendis nectium conest officia sunte plique re volupta quibusae il ex es an exuberant example of this experimentation. The hot, bright red and yellow pigments on the right give experum qui ut aut explis doluptiume vollignis voluptas nist alis pro bereperem way to a scumbled, tumultuous orange and pink-tinged teal in the center, to pure blue and green in the harumque cum estius dollupta volor sunti bla que vella isqui officium ni re odit volor left of the canvas. Everywhere the hand of the artist is seen, whether in the vigorous brushstrokes, the sitas in eatusamusam esequo corro voluptium sectur sit a del eribus, tem hit laborpeaks and valleys of the dramatic impasto, or the aggressive ridges within the teal, likely created by the estis reprovidit accatus pellitis eicillaborro dolo tem re, que re labo. Itae nonse is handle of a paintbrush. The encrusted surface is a sculptural record of Hofmann’s expressive force— min ea parum repero occusdam faccabo. Dus ate moditium in nimus et fuga. Itatur, energy intoremquasi matter. net quidio voluptatum dolorec ulluptatem fugia aciende quitransformed optatium enis lliquiae nimilitam am, ut dus. The negative space of the white gesso that borders the pugnacious color block likewise accentuates the expanding contracting forces composition. To Hoffman, the plane was the primary Occuptas and dolore nullendant quaewithin officiathe doloreni sitium quidit autemperibus dolori pictorial of painting he wasasiminv heavilyellutem influenced by the orderly compositions of the Dutch aut element erum nobit, sum ent,and omnient et utes solessimus aut que veles painter Piet Mondrian. Hoffman’s application thick paint standslaborporum out from the surface and emphasizes solectis maio vellorum voluptibea quatioofblaborp oruptatust eumque the planar nature the canvas. Like alibus Mondrian’s fixed planes Mutation in Transition relies on ipitis nam et of resequia consequi assequam natem.ofIccolor, totaspisi de consequate the spatial relationship varyingque shapes to construct a hierarchy of forms. Compared net dolor sint liquisofvendita prehenit quunt dolorepe pre moluptiant que as to Mondrian’s moreerro static works, however, Hoffman’s bold colors emerge from and recede into energetic surfaces of que velenti te maximin ent laborro dolo etur aperis ad quam sitecea conseque verum sam, si disqui nonserum intersecting and overlapping shapes that reflect his abstract expressionist values of color and line.

Hans Hofmann

Through the gesture and action of painting, Hofmann sought a translation of the visual and spiritual experience of the forces of nature. He described a true work of art as an organism capable of a life of its own. The title, Mutation in Transition, itself hints toward this inner life, as if the colors are metamorphosing before our eyes. Birthed by the artist, it does not need to resemble or reproduce the outside world, but is a self-sufficient system with its own laws, harmony, and balance. Hofmann has formulated a new kind of painterly expression, one in which he incorporates gestural abstraction, independent planes to reveal depth and surface, and the audacious use of color and tonal contrasts to conjure pure and unbridled energy.

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*33

Karel Appel

(Dutch, 1921-2006) Untitled, 1959 mixed media on paper signed Appel and dated (lower right) 22 1/2 x 30 inches. Property from the Collection of Gregg Sadowsky, Encinitas, California $10,000 - 15,000

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33A

Karel Appel

(Dutch, 1921-2006) Personage in Landscape, 1991 oil on canvas signed Appel (lower right) 25 1/2 x 31 3/4 inches. Provenance: Gallery Delaive, Amsterdam Acquired from the above by the present owner in 1995 $20,000 - 30,000

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Norman Bluhm

(American, 1921-1999) Untitled, 1971 ink and acrylic on paper signed Bluhm and dated (lower left) 14 x 10 inches. $3,000 - 5,000

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34A

Cleve Gray

(American, 1918-2004) Issue, 1990 oil on canvas signed Gray, titled and dated (verso) 70 x 50 inches. Provenance: Eva Cohon Gallery, Chicago $8,000 - 12,000

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Fernando de Szyszlo

(Peruvian, 1925-2017) Untitled (W 59 N 7), c. 1972 oil on canvas signed Szyszlo (lower left) 64 x 50 1/2 inches. $40,000 - 60,000

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Stanley Boxer

(American, 1926-2000) Ohnight, 1973 oil on canvas signed Stanley Boxer, titled and dated (verso) 58 x 54 inches. Provenance: Tibor de Nagy Gallery, Houston, Texas $5,000 - 7,000

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Harry Bertoia

(American, 1915-1978) Untitled (Bush), 1970 bronze 16 x 18 x 18 inches. Provenance: Seal Furniture, Denver, Colorado Acquired from the above by the present owner in 1970 This work is accompanied by a Certificate of Authenticity issued by the Harry Bertoia Foundation $50,000 - 70,000

(American, 1915-1978) Untitled (Wheat), c. 1961-66 gold plated stainless steel mounted on brass base 18 1/2 x 10 7/8 x 6 1/2 inches. Property belonging to the JFM Foundation Collection, Denver, Colorado Provenance: Private Collection, Denver Inkfish Gallery, Denver Lost City Arts, New York Acquired from the above by the present owner in 2009 This work is accompanied by a Certificate of Authenticity issued by the Harry Bertoia Foundation $15,000 - 25,000

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*39

Lenore Tawney

(American, 1907–2007) Untitled (String Box), 1966 wood, paper, and linen initialed LT and dated (lower right) 8 1/2 x 4 3/4 x 2 1/2 inches. Property from the Collection of Daniel Weinberg, Highland Park, Illinois Provenance: The Artist Dr. & Mrs. Jack Weinberg, Glencoe, Illinois Thence by descent to the present owner $15,000 - 25,000

*40

Lenore Tawney

(American, 1907–2007) The Radiant White Dove, 1967 paper, paint, and egg initialed LT and dated (lower right) 7 x 9 inches. Property from the Collection of Daniel Weinberg, Highland Park, Illinois Provenance: Willard Gallery, New York The Artist Dr. & Mrs. Jack Weinberg, Glencoe, Illinois, 1976 (possibly) Thence by descent to the present owner $8,000 - 12,000

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Lenore Tawney Lenore Tawney’s pioneering fiber work redefined the traditional craft of weaving, helping to create the genre of fiber art. Born as Leonora Agnes Gallagher in Lorain, Ohio in 1907, she forged her own path by leaving home at the age of 20 to work in Chicago as a proofreader while taking night courses at the Art Institute of Chicago. In 1941, she married George Tawney, who unfortunately died eighteen months later. Tawney went on in 1946 to study sculpture with Alexander Archipenko and drawing with László Moholy-Nagy at the Chicago Institute of Design. Her work with textile art began in 1949, when she studied weaving with Marli Ehrman and then in 1954 with the distinguished Finnish weaver Martta Taipale at the Penland School of Crafts. At the age of 50, in 1957 Tawney left her comfortable life in Chicago to live in a derelict loft on the southern tip of Manhattan. Wanting to live “a barer life, closer to reality,” her move brought her into contact with artists Robert Indiana, Ellsworth Kelly, James Rosenquist, and Agnes Martin. Before her relocation, Tawney was already creating gauzy tapestries in which areas of plain weave were juxtaposed with laid-in designs and large, transparent sections of loose weaving. Exposure to the avant-garde art world of her neighbors, Tawney began to experiment with open-warp techniques that went beyond the traditional rectilinear format and moved the fiber art into three-dimensional space. When suspended from a ceiling, away from walls, the resultant complex shapes invite physical interaction not normally associated with weaving. In addition to her weaving, in 1964 Tawney began to produce mixed media collages and assemblages that include feathers, twigs, pebbles, string, and bones. She would also collect rare books, often in foreign languages, and use their pages to cover boxes and place these found items within. She seemed to revel in not knowing what the pages signified and the serendipity of the words often meaning what she intended, once translated. The same year, she commenced studies of the Jacquard loom and to create mesmerizing, precise ink drawings that explore the density of the mechanized weaving process. From these drawings, Tawney began to integrate thread into her paper-covered boxes. Both coming from one of the largest private collections of Tawney’s work, Untitled (String Box), 1966, and The Radiant White Dove, 1967, represent this shift in the her oeuvre. Composed of an open container swathed in book pages, Untitled (String Box) is a combination of assemblage and Tawney’s work with the Jacquard loom. Thin strips of paper drift from the upper portion of the box and quiver with the slightest breath of air. They are anchored by the strong diagonals of overlapping threads that create a twisting vortex from top to bottom to create a vibrating form. Radiant White Dove equally possesses a sense of intransience. Dense strips of yellowhued manuscript pages open to create a “nest” for a hidden egg. Tawney created a series of egg collages in 1967, including That Other Sea and One, Two, Three (locations unknown). The title is a direct reference to Carl Jung, for whom the dove was a potent dream symbol. Tawney studied Jung quite seriously, an interest she shared with her friend, psychiatrist Dr. Jack Weinberg, who was the original owner of this work. Long attracted by philosophies of both the East and West, these delicate, poetic pieces are imbued with intangible messages about inner peace and the fragility of life. Tawney continued to work and travel for the remainder of her long life, going on extended visits to India in the 1970s as her interest in Eastern philosophies grew. Her dedication to spirituality greatly influenced her work and choice of subject matter. She saw her repetitive and labor-intensive work as a form of mediation and her ethereal weaving and assemblages can be viewed as acts of devotion in an ongoing spiritual quest. Throughout her vibrant career, Tawney was a “devoted artist of contemplation, vitality, daring, and vision who, out of thousands of threads, words, feathers, and knots, brought forth a profound and dancing unity.” (Donna Seaman, Identity Unknown: Rediscovering Seven American Women Artists, New York, 2017, p. 411)

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Koon Wai-Bong

(Chinese, b. 1974) Luxuriant Green, 2011 (octaptych) ink and color on silk each signed in Chinese with the Artist’s seal Each: 11 x 11 inches. Property from a Private Collection Provenance: Grotto Fine Art Ltd., Hong Kong $8,000 - 12,000

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41A

Kikuo Saito

(Japanese, 1939-2016) Agnes Section, 1987 oil on canvas signed Kikuo Saito, titled and dated (verso) 42 1/2 x 88 1/2 inches. Provenance: Eva Cohon Gallery, Chicago Acquired from the above by the present owner in 1995 $10,000 - 15,000

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*42

Jean-Paul Riopelle

(Canadian, 1923-2002) Untitled, 1965 india ink and gouache on paper initialed R and dated (lower right) 10 3/4 x 7 1/2 inches. Property from the Collection of Karen DiGasbarro, St. Louis, Missouri Exhibited: San Diego, California, Fine Arts Gallery of San Diego, 11 Ways of Seeing: Photos by Karash and Works by 10 of his Subjects, September 28-October 27, 1974 $5,000 - 7,000

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42A

Larry Poons

(American, b. 1937) Emi Koussi, 1979 acrylic on canvas signed Poons, titled and dated (verso) 94 x 40 1/8 inches. Provenance: Andre Emmerich Gallery New York Sold: Christie’s New York: “East”, May 7, 1991, Lot 195 Eva Cohon Gallery, Chicago Acquired from the above by the present owner in 1991 $40,000 - 60,000

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Joseph Yoakum

(American, 1886-1972) Merimac Mtn of Ozark Mtn Range and Route #66 Out of St. Louis to Lebanon Missouri. mixed media on paper signed Joseph E. Yoakum and dated (upper left) 12 x 18 inches. Provenance: Douglas Kenyon Inc., Chicago $8,000 - 12,000

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Joseph Yoakum

(American, 1896-1972) The Hills of Old Wyoming in the Valley of the Moon. near Casper Wyoming. mixed media on paper signed Joseph E. Yoakum and dated (upper left) 12 x 18 inches. Provenance: Douglas Kenyon Inc., Chicago $8,000 - 12,000

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William Scharf

(American, b. 1927) San Francisco, 1973 oil on canvas signed Wm Scharf, titled and dated (verso) 42 x 101 inches. Property from a Private Collection, New York $3,000 - 5,000

William Scharf

(American, b. 1927) Whole Dawn, Half Egg, 1986 and Untitled (a pair of works) oil on masonite and tempera on paper signed William Scharf, titled and dated (verso) and signed W Scharf (lower left) 8 1/2 x 11 1/2 and 7 x 8 inches. Property from a Private Collection, New York Provenance: Gifted to the present owner by the Artist $800 - 1,200 54

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James Havard

(American, 1937-2020) Mimbres Cave, 1987 acrylic on canvas titled (lower left) 72 x 36 inches. Property belonging to the JFM Foundation Collection, Denver, Colorado $6,000 - 8,000

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William Scharf

(American, b. 1927) Vegetable Oracle, Grape’s Elephant, A Tryst of Ulnas, Untitled, Lung Prisoner, Coronation of the Moth and Spinal Task, c. 1999-2002 (a group of 7 works) acrylic on cardboard paper each signed, titled and dated (verso) Each: 9 x 4 inches. Property from a Private Collection, New York Provenance: Gifted to the present owner by the Artist $2,000 - 4,000

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William Scharf The present group of paintings by William Scharf span a decades long career and represent an artist who spent years exploring and refining his intensely realized inner vision. Although he is often grouped with the Abstract Expressionists, his unique oeuvre defies simple categorization. Ranging in size from miniature to immense, Scharf’s artworks teem with vaguely familiar forms that evoke Surrealism while also expressing the dynamism of Abstract Expressionism. His paintings embody a very individual and immediately recognizable pictorial vocabulary. Scharf was a master of the drawn line and this is seen in the swooping, curving brushstrokes in such works as A Branch of the Egg, 1962 (Lot 28), San Francisco, 1973 (Lot 45), and Whole Dawn, Half Egg, 1986 (lot 46). He was a constant doodler who would fill reams of napkins with drawings while at dinners. The strength of motion of his line serves as a defining force in the open shapes of his larger canvases that are filled and then colored in. The primacy of line is also a part of what makes his smaller works, some measuring no more than 9 x 4 inches, so compelling. In Vegetable Oracle and Coronation of the Moth, both c. 1999-2002 (Lot 48), confident lines form mysterious, organic shapes, which themselves are incised with assertive, incised strokes of both paint and the paintbrush’s handle. The role of color is likewise paramount to Scharf’s paintings and adds a pronounced physicality. A close friendship with Color Field artist Mark Rothko cemented Scharf’s interest in color and its emotive possibilities. He was an early adapter of acrylics, which lends a pure incandescence to his compositions. His loose brushstrokes, combined with semi-transparent layering of glazes, create swirls of richly juxtaposed color that generate a kaleidoscopic, almost hallucinogenic, sensation in works such as Grape’s Elephant, A Tryst of Ulnas, and Lung Prisoner, c. 1999-2000 (Lot 48). Elemental energy is aljso conveyed through the push/pull of dark and light pigments, as evidenced in The Scratched and Unfixed Air, 2007-8 and They Thought Their Worlds of Each Other, 2008 (Lot 29). The value of contrasting dark and light was recognized by Scharf, who stated, “As a painter I use the nearness of darks to enthuse myself to finding the brightness and brilliance of wondrous whites (quoted in William Scharf: Within White, exh. cat., New York, 2010). The gesture of his organic lines and the painterliness of his pigments unite and construct transcendental dreams of other worlds. “Scharf’s paintings seek origins in what look like seeds, pods, winding roots, the interior channels of human bodies and plants—and reciprocally ponder stars and moons, planets and galaxies. He subsumes the darkness of night in a pervasive richness of color— there is no better colorist—that radiates, glows, and burns with inner light” (Barbara Novak, “Bill Scharf and the Aboriginal Self: The Blue Paintings,” William Scharf: Blue Is, exh. cat., New York, 2009). Visual references to mythological or religious themes suggest creation, destruction, and propagation, and are gateways to existential mysteries. The artist’s evocative titles similarly invite a search for landmarks, and yet the works reject overt meaning or obvious imagery. Scharf’s complex compositions are a search for things seen and unseen, the real world and a world imagined. They are shaded in mystery and wonder and defy easy interpretation. Born in Media, Pennsylvania, in 1927, Scharf was encouraged to study art by American artist and illustrator N.C. Wyeth. He went on to study at the Pennsylvania Academy of the Fine Arts, the Barnes Foundation, and the Académie de la Grand Chaumière. Scharf moved to New York in the 1950s and became a close friend of Mark Rothko and his wife, Mell, as well as other artists of the New York School. A beloved educator, he taught at institutions including the School of Visual Arts in New York, the San Francisco Art Institute, Stanford University, the Pratt Institute, and the Arts Students League in New York, until his retirement in 2015. Scharf’s paintings can be found in the permanent collections of the Solomon R. Guggenheim Museum; the Brooklyn Museum; the Philadelphia Museum of Art; the Institute of Contemporary Art, Boston; the Irish Museum of Modern Art in Dublin; and the National Museum of American Art in Washington, DC.

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Gladys Nilsson

(American, b. 1940) Sound Bagging (Musical Making), 1975 watercolor on paper signed Gladys Nilsson, titled and dated (verso) 20 x 22 inches. Provenance: Jean Albano Gallery, Chicago $8,000 - 12,000

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Gladys Nilsson

(American, b. 1940) Curious Chez, 2004 watercolor and gouache on paper signed Gladys Nilsson, titled and dated (verso) 9 x 12 inches. Provenance: Jean Albano Gallery, Chicago $5,000 - 7,000

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Gladys Nilsson

(American, b. 1940) Venusian Stroll, 1991 watercolor on paper signed Gladys Nilsson, titled and dated (verso) 22 1/4 x 15 inches. Provenance: Phyllis Kind Gallery, Chicago Acquired from the above by the present owner in 1992 $8,000 - 12,000

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Richard Blake Shaw

(American, b. 1941) Working Female Figure, 1983 porcelain signed RB Shaw and dated Height: 47 inches. $5,000 - 7,000

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*53

Lynn Chadwick

(British, 1914-2003) Maquette VII Walking Woman, 1986 bronze stamped with the Artist’s monogram and numbered C33S 7/9 Height: 10 inches. Property from the Collection of Lon and Wilmia Ramsey, Winnetka, Illinois Literature: Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, Gloucestershire, 2006, no. C33S, p. 364 $30,000 - 50,000

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Howard Hancock Newman

(American, b. 1943) Winter, 1978 bronze inscribed H. Newman, dated and numbered 2/8 8 1/4 x 6 1/2 x 14 1/4 inches. Property from a Private Collection, New York $1,500 - 2,500

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Dimitri Hadzi

(American, 1921-2006) Untitled, 1998-9 bronze with brown patina on marble base inscribed D. Hadzi and numbered XIX/XXV 9 x 4 1/2 x 2 1/2 inches. Property from a Private Collection, New York Provenance: Acquired directly from the Artist by the present owner $1,500 - 2,500

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Dimitri Hadzi

(American, 1921-2006) Study for Ecumenical Doors, St. Paul ‘s Within-the-Walls, Rome, c. 1976 bronze on marble base inscribed D. Hadzi 19 x 15 x 4 inches. Property from a Private Collection, New York Provenance: Acquired directly from the Artist by the present owner $3,000 - 5,000

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Nicolas Guagnini

(Argentine, b. 1966) El Bien y El Mal, 1992 oil on panel initialed N.G., titled and dated (verso) 57 1/2 x 57 1/2 inches. $4,000 - 6,000

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Emerson Woelffer

(American, 1914-2003) Untitled, 1940 gouache on paper signed E. Woelffer and dated (lower right) 12 1/2 x 18 1/4 inches. Property belonging to the JFM Foundation Collection, Denver, Colorado Provenance: Robert Henry Adams Fine Art, Chicago $1,500 - 2,500

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Charmion Von Wiegand

(American, 1896-1983) The Dream Form, c. 1945-47 oil on canvas signed Charmion Wiegand and titled (verso) 19 7/8 x 25 inches. Property belonging to the JFM Foundation Collection, Denver, Colorado $30,000 - 50,000

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Charmion Von Wiegand Charmion von Wiegand is best known as a leading American practitioner of neoplasticism, an abstract style developed by Dutch avant-garde painter Piet Mondrian. Born in Chicago, von Wiegand worked as a journalist in New York and as a foreign correspondent in Moscow in the 1920s and 1930s. After returning to New York in 1932, she wrote art criticism for New Masses, Federal Art Project, and ARTnews, and acted as editor for Art Front. Her work as a journalist allowed her to interview Mondrian in 1941, after his immigration to New York. The two subsequently formed a close relationship. Von Wiegand translated key texts on neoplasticism into English for Mondrian, making it more accessible to the American population. Von Wiegand initially found Mondrian’s grid-like compositions cold and sterile, but she eventually embraced his spiritual approach to abstraction. She originally began to paint in 1926, impelled by intense visual memories she experienced while under psychoanalysis and painted expressionist-style landscapes after she re-settled in New York. Mondrian introduced von Wiegand to the concept that abstract painting could be a pathway to a “higher consciousness.” The older artist was seeking compositions that crystallized the invisible harmonies of the spirit. Already drawn to Theosophy and its hybrid of Asian and ancient Middle Eastern religions, von Wiegand came to share this fascination. However, von Wiegand did not strictly adhere to the constraints of neoplasticism. Her experimental sensibility led her to create an oeuvre that is a hybrid of geometric abstraction and multiple European avant-garde movements, such as suprematism and surrealism. Especially during the mid- to late 1940s, von Wiegand explored her own personal style of abstract art. In a letter from Alice Trumbull Mason to sculptor Ibram Lassaw, while he was serving in the armed forces during World War II, Mason recounts “…’discussing biamorphic [sic] forms’ with Charmion von Wiegand or perhaps, Mason corrects herself, with Balcomb and Gertrude Greene. Mason is puzzled. The dictionary yields nothing ‘except the word amorphous, which means without form. . . Does the bi have the sense of double? The Greek root bio means life, but there a new confusion enters. Is the word spelled biomorphic? In which case it would mean life forms. Charmion did say she felt biomorphic meant the true body rhythms, as distinct from obviously sexual forms’” (The Onward of Art: American Abstract Artists 80th Anniversary Exhibition, p. 11). The Dream Form likely dates from this period of biomorphic experimentation. Von Wiegand once stated, “The curve belongs to organic and natural life and rests us.” The curved and sinuous shapes, executed in contrasting blues and yellows, whites and black against a bold red field, reveal the artist’s concerns with the interaction of positive and negative space and the resulting tensions. She appears to have created several works featuring amoebic-like shapes from 1945-47, including Ominous Form, 1946 (Seattle Art Museum), The Nuptial Form, 1946-47 (Michael Rosenfeld Art, New York), and Telescopic Forms, 1945 (Kraushaar Galleries, New York). All feature the artist’s clean, smooth style and careful, methodical application and layering of oil paint, which reflect the continuing influence of Mondrian. However, the vibrating organic forms are unlike anything Mondrian might have done and reveals von Wiegand’s search for her own artistic mode. Von Wiegand’s profound understanding of European avant-garde styles can be seen in the present work, with its understanding of the formal and visual principles as well as the concepts and theories of these movements. Yet her unique strain of abstraction, which gradually incorporated an increasing use of Buddhist forms and intentions with the aesthetic purity of neoplasticism, reflects the complexities of the many varieties of abstract art that emerged in early 20th century United States. This is what makes her work from this period so captivating and opens a window into the development of the many iterations of American abstraction in the post-war era.

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Miyoko Ito

(American, 1918-1983) Bird in Sunset, c. 1960s oil on canvas signed Miyoko Ito, titled and dated (verso) 49 x 46 inches. Provenance: Phyllis Kind Gallery, Chicago $30,000 - 50,000

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Clement Meadmore

(Australian, 1929-2005) Upsurge, 1989 bronze inscribed Meadmore, dated and numbered 3/8 18 x 9 x 11 inches. Property from a Private Collection, Michigan $10,000 - 15,000

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*62

Paul Horiuchi

(American/Japanese, 1906-1999) Movement in Parallel #2 mixed media on canvas signed Horiuchi (lower left) 24 x 54 inches. Property from the Estate of Henry G. Shearouse, Denver, Colorado Provenance: Gordon Woodside Galleries, San Francisco $3,000 - 5,000

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Mel Bochner

(American, b. 1940) Obvious, 2013 monoprint with collage, engraving and embossment on hand-dyed Twinrocker handmade paper signed Bochner and dated (lower right) 12 x 11 1/2 Provenance: Galerie de Bellefeuille, Toronto, Ontario $10,000 - 15,000

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Ed Paschke

(American, 1939-2004) Elektroid, 1982 oil on linen signed E. Paschke and dated (lower right) 36 x 82 inches Provenance: Phyllis Kind Gallery, Chicago Exhibited: Boston, Massachusetts, The Institute of Contemporary Art, Currents, January 15-March 24, 1985 Seattle, Washington, Henry Art Gallery, The University of Washington, Sources of Light: Contemporary American Luminists, April 3- May 26, 1985 $40,000 - 60,000

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Curtis Mann

(American, b. 1979) Removal (Hilltop), 2010 synthetic polymer varnish on bleached c-print 56 x 90 inches. Property from a Private Collection Provenance: Kavi Gupta Gallery, 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

Michael Loew

(American, 1907-1985) Grey Painting, 1955 oil on canvas signed M. Loew, titled, and dated (verso) 32 x 25 inches. Property belonging to the JFM Foundation Collection, Denver, Colorado Provenance: Stable Gallery, New York The Members’ Gallery at the Albright Art Gallery, Buffalo, New York $4,000 - 6,000

POST WAR & CONTEMPORARY ART

Konstantin Milonadis (Ukrainian, 1916-2012) Kinetic Construction, 1971 stainless steel wire 36 x 8 3/4 x 6 3/8 inches.

Provenance: The Artist Dr. Achilles and Mrs. Vera Chreptowsky of Oak Brook, Illinois Thence by descent to Mrs. Vera Chreptowsky Acquired from the Estate of the above by the present owner Exhibited: Chicago, Illinois, Ukrainian Institute of Modern Art, Milonadis, November 9-December 2, 1973 Chicago, Illinois, Ukrainian Institute of Modern Art, Konstantin Milonadis: Material in Motion, September 5-October 24, 2004 Chicago, Illinois, Ukrainian Institute of Modern Art, Achilles and Vera Chreptowsky Collection, June 16-August 5, 2012 $3,000 - 5,000

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Sol LeWitt

(American, 1928-2007) Cube, 1979 painted aluminum inscribed Sol LeWitt, dated and numbered 2/35 11 x 11 x 11 inches. Provenance: Museum of Contemporary Art Men’s Council, Chicago Acquired from the above by the present owner in 1980 $15,000 - 25,000

POST WAR & CONTEMPORARY ART

Sol LeWitt

(American, 1928-2007) Vertical Brushstrokes, 1993 gouache on paper signed LeWitt and dated in pencil (lower right) 11 1/2 x 7 3/4 inches. Property belonging to the JFM Foundation Collection, Denver, Colorado Provenance: Sold: Christies, New York: Interiors, March 5, 2013, Lot 18 $8,000 - 12,000

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Jacob Hashimoto

(American, b. 1973) Glossolalia III, 2006 acrylic, cotton, Dacron, paper and wood signed J Hashimoto and dated (verso) 60 x 72 x 8 inches. Property from a Private Collection Provenance: Rhona Hoffman Gallery, Chicago $30,000 - 50,000

POST WAR & CONTEMPORARY ART

*71

Hsiao Domoto

(Japanese, 1928-2013) Side C I, 1970 acrylic and pencil on paper signed Domoto (lower right); signed and dated (verso) 22 x 30 1/2 inches. Property from the Collection of Marie Battaglini-Levy, Washington, D.C. Provenance: Martha Jackson 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

*72

Sayed Haider Raza

(Indian, 1922-2016) Virah, 2014 acrylic on canvas signed Raza and dated (lower right); signed, titled and dated (verso) 16 x 16 inches. Property from the Collection of Marie Battaglini-Levy, Washington, D.C. Provenance: Vadhera Art Gallery, New Delhi, India Sold: Cornette De Saint Cyr, June 27, 2019, Lot 128 Acquired from the above sale by the present owner Exhibited: New Delhi, India, Vadhera Art Gallery, S.H. Raza Nirantar, January 15-February 24, 2016 $15,000 - 25,000

POST WAR & CONTEMPORARY ART

*73

Sayed Haider Raza

(Indian, 1922-2016) Jal Thal, 2014 acrylic on canvas signed Raza and dated (lower right); signed, titled and dated (verso) 16 x 16 inches. Property from the Collection of Marie Battaglini-Levy, Washington, D.C. Provenance: Vadhera Art Gallery, New Delhi, India Sold: Cornette De Saint Cyr, June 27, 2019, Lot 129 Acquired from the above sale by the present owner Exhibited: New Delhi, India, Vadhera Art Gallery, S.H. Raza Aarambh, February 22 - March18, 2015 $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

*74

Liu Kuo Sung

(Taiwanese, b. 1932) Shih-men, 1973 ink and color on paper signed in Chinese with the Artist’s seal Diameter: 15 3/4 inches. Property from the Collection of Marie Battaglini-Levy, Washington, D.C. Provenance: Oriental Antiques, Williamsburg, Virginia Exhibited: Chicago, Illinois, The Arts Club of Chicago, Fifth Moon Group, May 22 - June 21, 1974; Minneapolis, Minnesota, Minnesota Museum of Art, 1974 Literature: Robert J. Poor, Fifth Moon Group, Chicago, no. 4, illus. $15,000 - 25,000

POST WAR & CONTEMPORARY ART

*75

Gu Wenda

(American/Chinese, b. 1955) Untitled (Pseudo Character) ink on paper signed in Chinese with the Artist’s seal 44 3/4 x 29 inches. Property from the Collection of Marie Battaglini-Levy, Washington, D.C. Provenance: Sold: Heritage Auctions, November 30, 2017, Lot 69049 $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

George Rickey

(American, 1907-2002) Weathervane, 1976 stainless steel kinetic sculpture on marble base signed Rickey and dated; inscribed Rickey, dated and numbered 45/47 25 1/2 x 34 1/2 inches. Provenance: Sold: Sotheby’s New York, September 10, 2008, Lot 293 Sold: Freeman’s, November 11, 2013, Lot 110 $12,000 - 18,000

POST WAR & 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

ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Abbott, Mary . . . . . . . . . . . . . . . . . . . . . . . . . 27 Appel, Karel. . . . . . . . . . . . . . . . . . . . . . 33, 33A Belanger, Genesis . . . . . . . . . . . . . . . . . . . . . 14 Bertoia, Harry . . . . . . . . . . . . . . . . . . . . . 37, 38 Bluhm, Norman . . . . . . . . . . . . . . . . . . . . . . . 34 Bochner, Mel. . . . . . . . . . . . . . . . . . . . . . . . . 63 Boxer, Stanley . . . . . . . . . . . . . . . . . . . . . . . . 36 Brown, Roger. . . . . . . . . . . . . . . . . . . . . . . . . 19 Chadwick, Lynn . . . . . . . . . . . . . . . . . . . . . . . 53 Cleve, Gray . . . . . . . . . . . . . . . . . . . . . . . . . 34A Cottingham, Robert . . . . . . . . . . . . . . . . . . . . 20 Datian, He. . . . . . . . . . . . . . . . . . . . . . . . . . . 21 de Szyszlo, Fernando . . . . . . . . . . . . . . . . . . . 35 Domoto, Hsiao. . . . . . . . . . . . . . . . . . . . . . . . 71 Greene, Stephen . . . . . . . . . . . . . . . . . . . . . . . 1 Guagnini, Nicholas. . . . . . . . . . . . . . . . . . . . . 57 Hadzi, Dimitri. . . . . . . . . . . . . . . . . . . . . . 55, 56 Hamilton, Ann . . . . . . . . . . . . . . . . . . . . . . . . . 6 Hancock Newman, Howard . . . . . . . . . . . . . . . 54 Hashimoto, Jacob. . . . . . . . . . . . . . . . . . . . . . 70 Havard, James. . . . . . . . . . . . . . . . . . . . . . . . 47 Hofmann, Hans . . . . . . . . . . . . . . . . . . . . . . . 32 Horiuchi, Paul. . . . . . . . . . . . . . . . . . . . . . . . . 62 Ito, Miyoko. . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Kuo Sung, Liu . . . . . . . . . . . . . . . . . . . . . . . . 74 Labisse, Félix. . . . . . . . . . . . . . . . . . . . . . . . . 22 LeWitt, Sol. . . . . . . . . . . . . . . . . . . . . . . . 68, 69 Loew, Michael . . . . . . . . . . . . . . . . . . . . . . . . 66 Lostutter, Robert . . . . . . . . . . . . . . . . . . . . . . 24 Mann, Curtis. . . . . . . . . . . . . . . . . . . . . . . . . 65 Meadmore, Clement. . . . . . . . . . . . . . . . . . . . 61 Milonadis, Konstantin. . . . . . . . . . . . . . . . . . . 67 Morales, Rodolfo . . . . . . . . . . . . . . . . . . . . . . . 2 Morton, Ree. . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Nilsson, Gladys . . . . . . . . . . . . . . . . . . . . 49-51 Paschke, Ed. . . . . . . . . . . . . . . . . . . . . . . . 3, 64 Plensa, Jaume. . . . . . . . . . . . . . . . . . . . . . . . . 5 Poons, Larry. . . . . . . . . . . . . . . . . . . . . . . . . 42A Raza, Sayed Haider . . . . . . . . . . . . . . . . . 72, 73 Rickey, George. . . . . . . . . . . . . . . . . . . . . . . . 76 Riopelle, Jean-Paul. . . . . . . . . . . . . . . . . . . . . 42 Saar, Betye . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Saito, Kikuo. . . . . . . . . . . . . . . . . . . . . . . . . 41A Saret, Alan. . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Scharf, William. . . . . . . . . . . . 28, 29, 45, 46, 48 Shaw, Richard Blake. . . . . . . . . . . . . . . . . . . . 52 Sigler, Hollis. . . . . . . . . . . . . . . . . . . . . . . . . . 26 Tawney, Lenore. . . . . . . . . . . . . . . . . . . . . 39, 40 Taylor, Henry . . . . . . . . . . . . . . . . . . . . . . . . . 23 Thomas, Yvonne. . . . . . . . . . . . . . . . . . . . . . . 31 Vicente, Esteban . . . . . . . . . . . . . . . . . . . . . . 30 Von Wiegand, Charmion . . . . . . . . . . . . . . . . . 59 Wai-Bong, Koon . . . . . . . . . . . . . . . . . . . . . . . 41 Wenda, Gu. . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Westermann, H. C.. . . . . . . . . . . . . . . . . . 16, 17 Wiley, Kehinde. . . . . . . . . . . . . . . . . . . . . . . . . 4 Wiley, William T. . . . . . . . . . . . . . . . . . . . . 10, 15 Wiley, William T. and William Allan . . . . . . . . . . . 9 Wirsum, Karl . . . . . . . . . . . . . . . . . . . . . . 11-13 Woelffer, Emerson . . . . . . . . . . . . . . . . . . . . . 58 Wong, Martin. . . . . . . . . . . . . . . . . . . . . . . . . 18 Yoakum, Joseph. . . . . . . . . . . . . . . . . . . . 43, 44 88

POST WAR & CONTEMPORARY ART

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.

ERNIE BARNES (AMERICAN, 1938-2009) THE GRAPE VINE, C. 1976 SOLD FOR $75,000 SOLD PRICES ARE INCLUSIVE OF BUYER’S PREMIUM

Upcoming Auction Schedule SALE 872 CHICAGO COLLECTIONS SEPTEMBER 10 | CHICAGO

SALE 935 ESSENTIAL JEWELRY SEPTEMBER 22 | ONLINE

SALE 908 PRINTS AND MULTIPLES SEPTEMBER 29 | CHICAGO

SALE 929 IMPORTANT JEWELRY SEPTEMBER 13 | CHICAGO

SALE 933 CHINESE & SOUTHEAST ASIAN WORKS OF ART SEPTEMBER 23 | CHICAGO

SALE 916 AMERICAN FURNITURE, FOLK & DECORATIVE ARTS SEPTEMBER 30 | CINCINNATI

SALE 976 JAPANESE WORKS OF ART SEPTEMBER 24 | CHICAGO

SALE 936 TIMEPIECES OCTOBER 5 | CHICAGO

SALE 909 AMERICAN AND EUROPEAN ART SEPTEMBER 27 | CHICAGO

SALE 928 PALM BEACH COLLECTIONS OCTOBER 6 | PALM BEACH

SALE 907 POST WAR AND CONTEMPORARY ART SEPTEMBER 28 | CHICAGO

SALE 940-41 EUROPEAN FURNITURE & DECORATIVE ARTS OCTOBER 19-20 | CHICAGO

SALE 930 NATIVE AMERICAN ART, SESSION I SEPTEMBER 16 | CINCINNATI SALE 931 NATIVE AMERICAN ART, SESSION II SEPTEMBER 17 | CINCINNATI SALE 937 ARMS, ARMOR & MILITARIA SEPTEMBER 20 | ONLINE SALE 932 FALL FASHION SEPTEMBER 21 | CHICAGO

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

Fine Art

JOSEPH STANFIELD VICE PRESIDENT, SENIOR SPECIALIST

MONICA BROWN SENIOR SPECIALIST FINE PRINTS

ZACHARY WIRSUM SENIOR SPECIALIST POST WAR & CONTEMPORARY ART

312.600.6063 JOSEPHSTANFIELD @HINDMANAUCTIONS.COM

303.825.1855 MONICABROWN @HINDMANAUCTIONS.COM

NATE BRADY ASSOCIATE SPECIALIST

JULIANNA TANCREDI CATALOGUER

ALEXANDRIA DREAS CATALOGUER

ABBY CHAMBERS DEPARTMENT COORDINATOR

CHRISTINA KIRIAKOS DEPARTMENT COORDINATOR

312.600.6064 NATHANBRADY @HINDMANAUCTIONS.COM

312.334.4228 JULIANNATANCREDI @HINDMANAUCTIONS.COM

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312.334.4234 ABBYCHAMBERS @HINDMANAUCTIONS.COM

312.334.4216 CHRISTINAKIRIAKOS @HINDMANAUCTIONS.COM

312.600.6069 ZACHARYWIRSUM @HINDMANAUCTIONS.COM

PAULINE ARCHAMBAULT SPECIALIST 513.871.1670 PAULINEARCHAMBAULT @HINDMANAUCTIONS.COM

BART MONSON DIRECTOR, SPECIALIST WESTERN ART 312.600.6063 BARTMONSON @HINDMANAUCTIONS.COM

Estates, Appraisals & Business Development

ALYSSA D. QUINLAN EXECUTIVE VICE PRESIDENT, CHIEF BUSINESS DEVELOPMENT OFFICER 312.447.3272 ALYSSAQUINLAN @HINDMANAUCTIONS.COM

MOLLY E. GRON, J.D. VICE PRESIDENT, NATIONAL DIRECTOR, TRUSTS & ESTATES SENIOR DIRECTOR, CHICAGO 312.334.4235 MOLLYGRON @HINDMANAUCTIONS.COM

TIM LUKE CAI, BAS, MPPA, ISA-AM DIRECTOR, APPRAISALS & VALUATIONS 561.833.8053 TIMLUKE @HINDMANAUCTIONS.COM

ATLANTA KRISTIN VAUGHN BUSINESS DEVELOPMENT SENIOR DIRECTOR 404.800.0192 ATLANTA@HINDMANAUCTIONS.COM

DETROIT PAM IACOBELLI BUSINESS DEVELOPMENT DIRECTOR 313.774.0900 DETROIT@HINDMANAUCTIONS.COM

SAN DIEGO KATIE GUILBAULT, G.G. BUSINESS DEVELOPMENT DIRECTOR 858.442.6104 SANDIEGO@HINDMANAUCTIONS.COM

CINCINNATI VAUGHN SMITH BUSINESS DEVELOPMENT MANAGER 312.334.4238 CINCINNATI@HINDMANAUCTIONS.COM

MILWAUKEE SARA MULLOY BUSINESS DEVELOPMENT DIRECTOR 414.220.9200 MILWAUKEE@HINDMANAUCTIONS.COM

SCOTTSDALE LOGAN BROWNING BUSINESS DEVELOPMENT DIRECTOR 480.546.5150 SCOTTSDALE@HINDMANAUCTIONS.COM

CLEVELAND CARRIE PINNEY BUSINESS DEVELOPMENT MANAGER 216.292.8300 CLEVELAND@HINDMANAUCTIONS.COM

NAPLES ELIZABETH RADER, PHD BUSINESS DEVELOPMENT DIRECTOR 239.643.4448 NAPLES@HINDMANAUCTIONS.COM

ST. LOUIS ANNA SHAVER BUSINESS DEVELOPMENT DIRECTOR 314.833.0833 STLOUIS@HINDMANAUCTIONS.COM

DENVER MARON HINDMAN VICE CHAIR 303.825.1855 DENVER@HINDMANAUCTIONS.COM

PALM BEACH, MIAMI SARAH ROY BUSINESS DEVELOPMENT DIRECTOR 561.833.8053 PALMBEACH@HINDMANAUCTIONS.COM

WASHINGTON D.C. MAURA ROSS BUSINESS DEVELOPMENT DIRECTOR 202.853.1638 WASHINGTONDC@HINDMANAUCTIONS.COM

POST WAR & CONTEMPORARY ART

Inquiries LEADERSHIP JAY FREDERICK KREHBIEL CO-CHAIR CHIEF EXECUTIVE OFFICER LESLIE HINDMAN CO-CHAIR WES COWAN VICE-CHAIR MARON HINDMAN VICE-CHAIR ALYSSA D. QUINLAN EXECUTIVE VICE PRESIDENT CHIEF BUSINESS DEVELOPMENT OFFICER ALYSSAQUINLAN @HINDMANAUCTIONS.COM JIM SHARP EXECUTIVE VICE PRESIDENT CHIEF OPERATING OFFICER JIMSHARP @HINDMANAUCTIONS.COM MOLLY MORSE LIMMER EXECUTIVE VICE PRESIDENT DEPUTY CHAIRMAN MOLLYLIMMER @HINDMANAUCTIONS.COM OPERATIONS MAGGIE PORTER VP SALES STRATEGY, DEPUTY COO MAGGIEPORTER @HINDMANAUCTIONS.COM RACHEL DALLMAN SENIOR MANAGER, AUCTION OPERATIONS AIMEE SCHNEIDER MANAGER, AUCTION OPERATIONS TARA SCHLITZ DIRECTOR, ONLINE SALES

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FINANCE MARCO GUSELLA DIRECTOR MARCOGUSELLA @HINDMANAUCTIONS.COM

ALEXANDRIA DREAS CATALOGUER

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ABBY CHAMBERS DEPARTMENT COORDINATOR

KATHRYN HODGE CLIENT SERVICES ASSOCIATE KATHRYNHODGE @HINDMANAUCTIONS.COM JOHN MARTINEZ CLIENT SERVICES ASSOCIATE JOHNMARTINEZ @HINDMANAUCTIONS.COM ESTATES & BUSINESS DEVELOPMENT MIRANDA MAXFIELD BUSINESS DEVELOPMENT SENIOR ASSOCIATE MIRANDAMAXFIELD @HINDMANAUCTIONS.COM SAMANTHA SCHWARTZ BUSINESS DEVELOPMENT ASSOCIATE, TRUSTS & ESTATES SAMANTHASCHWARTZ @HINDMANAUCTIONS.COM HANNAH UNGER BUSINESS DEVELOPMENT ASSOCIATE, EAST HANNAHUNGER @HINDMANAUCTIONS.COM LILLY KUSTEC BUSINESS DEVELOPMENT ASSOCIATE, WEST LILLYKUSTEC @HINDMANAUCTIONS.COM

JULIANNA TANCREDI CATALOGUER

CHRISTINA KIRIAKOS DEPARTMENT COORDINATOR EUROPEAN FURNITURE & DECORATIVE ARTS CORBIN HORN VICE PRESIDENT, SENIOR SPECIALIST CORBINHORN @HINDMANAUCTIONS.COM NICK COOMBS SENIOR SPECIALIST NICKCOOMBS @HINDMANAUCTIONS.COM DONNA TRIBBY SENIOR SPECIALIST GENEVIEVE KING ASSOCIATE SPECIALIST KATE STAMM ASSOCIATE SPECIALIST ELIZABETH REED CATALOGUER NICHOLAS GORDON DEPARTMENT COORDINATOR

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BENTON LUDGIN DEPARTMENT COORDINATOR MARKETING ASHLEY GALLOWAY VICE PRESIDENT PHOTOGRAPHY ZOË BARE DIRECTOR OF PHOTOGRAPHY DAVID JACKSON PHOTOGRAPHY SUPERVISOR MIKE REINDERS CARMEN COLOME AMELIA MOORE BILL ROSS CONOR CROOKHAM LIBBY MOORE JEREMY RAFTER RACHEL SMITH AVERY CAMPBELL 9/1

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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

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 312.334.4232 for further information.

GUIDE FOR PROSPECTIVE BUYERS Conditions of Sale All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction. Viewing Auction Items It is highly recommended that all prospective bidders either view the sale via our online catalogue or contact Hindman LLC for further images or to schedule an appointment to view objects in person. Estimates Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision. Condition Reports We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes. Bidding Increments Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The standard bidding increments are: $0 - $500 ........................................ $25 $500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $250 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,500 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Above > $200,000 .... At Auctioneer’s Discretion

In-House Bidding Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer. Live Bid Online Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com. Absentee Bidding If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids. Telephone Bidding You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $300 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time. Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law. Updated 8/13

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

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance—are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot. 2. CONDITION The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report. 3. VIEWING LOTS We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. 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.

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.

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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 $400,000; twenty percent (20%) of any amount in excess of $400,001 up to and including $4,000,000; and twelve percent (12%) of any amount in excess of $4,000,001. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium. 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. (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.

POST WAR & CONTEMPORARY ART

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

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

F. OUR LIABILITY TO YOU

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

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(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

POST WAR & CONTEMPORARY ART

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 8/13

Upcoming Auction Sale 908 Prints & Multiples 29 September | Chicago | 10am CT Inquiries Monica Brown Senior Specialist, Prints & Multiples 303.825.1885 monicabrown@hindmanauctions.com

HINDMANAUCTIONS.COM

POS T WAR & CONTEMPORARY ART | 28 SEPTEMBER 2 02 1

NO. 907

Sale 907 | Post War and Contemporary Art

Articles inside

Post War & Contemporary Art | Lots 1-77 1-83 Artist Index

Conditions of Sale