Sale 743 | Post War and Contemporary Art by Hindman

POST WA R AND CONTE MPORA RY ART 5 | 21 | 2020

PO S T WAR AN D CO N TEMPO R ARY AR T Thursday May 21 | Chicago 10AM CT | Live

AUCTION THURSDAY MAY 21 | 10AM CT POST WAR AND CONTEMPORARY ART

LOTS 1 – 74

P RO P E R T Y P I C K U P H O U R S MONDAY – FRIDAY | 9:00AM – 4:30PM All property must be picked up within seven business days per our Conditions of Sale. Lots marked with an asterisk (*) are tax exempt as permitted by law. VIEW THE COMPLETE CATALOG AT HINDMANAUCTIONS.COM Photography Zoë Bare Jason Mitchell Bill Ross Brodie Sturm

hindmanauctions.com Front and Back Cover Lot 49 | Bob Thompson (American, 1937-1966) The Sack (The Snook), 1961

CO N T E N T S AUCTION 743 | LIVE THURSDAY MAY 21 | 10AM CT POST WAR AND CONTEMPORARY ART

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ARTIST INDEX

AUCTION INQUIRIES

CONDITIONS OF SALE

TELEPHONE / ABSENTEE BID FORM

Lot 56 | Jean Dubuffet (French, 1901-1985) Paysage, 1974

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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 CHARLENE S. BRY, ST. LOUIS, MISSOURI AN IMPORTANT PRIVATE COLLECTION OF MODERNIST WESTERN ART SARI AND JAMES KLEIN, CHICAGO, ILLINOIS A PRIVATE COLLECTION, TUCSON ARIZONA GLORIA THOMPSON (REAGAN). SCOTTSDALE, ARIZONA PROPERTY FROM A CORPORATE ART COLLECTION NORENE GOLDSTEIN, CHICAGO, ILLINOIS P RO P E R T Y F RO M T H E E S TAT E S O F STANLEY M. FREEHLING, HIGHLAND PARK, ILLINOIS MARY AND BRUCE GOODMAN, HIGHLAND PARK, ILLINOIS STANLEY MICHAEL MEYLER, EVANSTON, ILLINOIS JORDON F. TODD, DENVER, COLORADO

Opposite Lot 40 | Robert Richenburg (American, 1917-2006) MOMA Collage, 1960

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Lot 55 | Cy Twombly (American, 1928-2011) Untitled, 1965

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1 Miyoko Ito

(AMERICAN, 1918-1983)

Irrigation, 1976 oil on canvas signed Ito and titled (verso) 46 x 42 inches. Provenance: Phyllis Kind Gallery, Chicago Exhibited: Chicago, The Renaissance Society at the University of Chicago,Â Miyoko Ito: A Review, October 5 - November 9, 1980, pp. 8, 24, no. 26 $40,000-$60,000

POST WAR AND CONTEMPORARY ART

2 Miyoko Ito

(AMERICAN, 1918-1983)

Pyramid for Stevens oil on canvas titled (verso) 47 x 39 1/2 inches. $30,000-$50,000

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2 | Detail

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3 | Detail

Miyoko Ito The four present artworks, Captured, Susquehanna (The River), Irrigation, and Pyramid for Stevens trace the artistic development of Miyoko Ito. A strikingly innovative painter, Ito created nuanced abstractions that traced a personal exploration of an inner, poetic world. In the 1940s, Ito trained as a watercolorist in California alongside artists Earle Loran, Worth Rider, and John Haley, leaders of the “Bay Region” or “Berkley School.” Her work during this time was a form of structured Synethetic Cubism with recognizable, representational values. In 1944, Ito moved to Chicago, where she was to remain the rest of her life. It was in her new environment that the artist abandoned watercolors and embraced oil painting as her preferred medium. Ito also gradually moved away from representationalism and towards a more abstracted approach that employed the multiple and shifting perspectives of cubism. Concurrently, she developed the use of underpainting, a technique developed in the 17th century. Ito would apply one color as the ground, then add a second layer in a different, contrasting color. The surface image was applied with short, quick brushstrokes that allow the underlayers to show through. The color contrasts create a shimmering, glowing energy, enhanced by the texture provided by the short brushstrokes. By the early 1950s, Ito’s work no longer included references to the physical world, opting instead for pure creations from her own mind. Both Captured, circa 1952, and Susquehanna (The River), 1959, are vibrant examples of this new approach. Overlapping shapes emerge and recede against each other, without ever disturbing their stable arrangement. Susquenhanna (The River) also exhibits Ito’s use in the late 1950s of tubular forms that weave and intertwine with each other and the color fields. The two paintings are executed in the jewel-like, rich palette favored by Ito in the 1950s. Irrigation, 1976, and Pyramid for Stevens, which may date to the 1970s, represent a transition of Ito’s palette to pearly, pinkish tans and beiges, with the occasional highlights of hot red. The rich tones with muted gradations radiate a smoldering light. The modulated color and the artist’s incorporation of recessive orthogonals in both paintings provide a sense of depth and suggest themes of land and nature. However, while the artworks’ titles and forms allude to landscapes, they are landscapes in only the loosest sense. They can instead be viewed as timeless visions of mystic possibility. The present paintings are artistic accomplishments and the product of Miyoko Ito’s singular and unique personal development. For Ito, art, life, and the mysteries of life were inextricably connected. Their metaphoric, dreamy stillness provoke a meditation on the experience, memory, place, and time. The artist’s love of color, mystery, and sublime composition have resulted in a uniquely private yet accessible legacy.

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Miyoko Ito

Captured, c. 1952

Susquehanna (The River), 1959

oil on canvas 39 x 50 inches.

oil on canvas signed Miyoko Ito and titled (verso) 49 3/4 x 54 1/4 inches.

(AMERICAN, 1918-1983)

Provenance: Thomas McCormick Gallery, Chicago Corbett vs. Dempsey, Chicago Exhibited: Louis Comfort Tiffany Foundation Chicago, Illinois, McCormick Gallery, Mistress of the Sea, June 2 - July 1, 2000, pp. 12, 17, no. 9, illustrated $20,000-$30,000

POST WAR AND CONTEMPORARY ART

(AMERICAN, 1918-1983)

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

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Roger Brown Dancing Houses-The Earthquake of 1994 is a prime example of Roger Brown’s career-long exploration of natural disasters and their effect on people and nature. In the late 1960s, Brown developed a mature visual vocabulary, using black-silhouetted figures against yellow backdrops; eerie nocturnal cityscapes; and empty theatre facades and interiors. By the early 1970s, he received acclaim for paintings of stylized landscapes and cityscapes as stark backdrops for aspects of contemporary life, including the “Disasters” series, which depicted exploding buildings (1972). Disaster and cataclysmic events acted as grand, allegorical backdrops for the larger physical and metaphysical forces that dwarf the human endeavor. In 1993, Brown moved to La Conchita, in southern California, where his works focused on the unique experiences provided by the topographical and urban environment of the state. A year later after his relocation, the San Fernando Valley was rocked by a magnitude 6.6 earthquake. It is unknown if the artist’s home was affected, but he responded with several “seismic” paintings, including the present painting; 6.6 Tremor, 1994; Earthquake in a Small Town, 1995; and San Andreas Fault, 1995 (locations unknown?). A preparatory sketch for Dancing Houses is included in Roger Brown’s 1993-1997 sketchbook (Roger Brown Study Collection, Chicago). © The School of the Art Institute of Chicago and the Brown family. Courtesy of Kavi Gupta and Venus Over Manhattan.

5 Roger Brown

(AMERICAN, 1941-1997)

Dancing Houses-The Earthquake of 1994, 1994 oil on canvas titled (verso) 48 x 72 inches. Provenance: Phyllis Kind Gallery, Chicago Acquired from the above by the present owner in 1994 Exhibited: Chicago, Phyllis Kind Gallery, April 8 - May 6, 1994 Santa Barbara, California, Santa Barbara Contemporary Arts Forum, Roger Brown: California Dreamin’, November 1996 - January 26, 1997 A preliminary sketch of this painting is included in the 1993-1997 Roger Brown Sketchbook, located in the Roger Brown Study Collection, Chicago. $50,000-$70,000

In Dancing Houses-The Earthquake of 1994, the suburban homes are depicted as solid forms, but with one or two vertical lines on each side to indicate the movement caused by the quake. Silhouetted figures are seen in each home’s windows and are likewise partially “repeated” on the left and right to give the visual equivalent of the earthquake’s jarring sensation. The feeling of instability is further emphasized by the overall composition. The canvas is filled with repeated, overlapping hills, with two swirling vortexes of ominous clouds above. The overlapping suggests recession and yet the patterning returns the viewer to the painted surface. Additionally, the paradoxically readable and yet unsettlingly illogical landscape is heightened by repeating bands of green at the top of each hill. The green bands quickly yield to the desert yellow below and convey the artificiality of southern California’s landscape. Each hill is impossibly steep and disconnected from each other, heightening the sense of surreal fantasy in an inaccessible, and dangerous, environment. Even in the same home, each figure experiences the quake separately, and the viewer is made to feel his separation from the scene. The silhouettes offer little in the way of human contact. The separateness of the landscape, mirrored by the disconnected individuals, combine to create the sensation of a strangely isolated apocalypse.

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6 Karl Wirsum

(AMERICAN, B. 1939)

It’s Not a Crack That’s Just the Way I Part My Hair, 1987 colored pencil on paper 50 x 38 inches. Provenance: Phyllis Kind Gallery, Chicago $6,000-$8,000

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7 Jim Nutt

(AMERICAN, B. 1938)

Back Man (Study for Back Man),Â c. 1966 graphite on paper titled (upper left) 12 1/2 x 9 1/2 inches. Provenance: Dell Gallery Ltd, Chicago $15,000-$25,000

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Barbara Rossi In the early to mid-1970s, the Chicago Imagist Barbara Rossi executed a number of reverse paintings on Plexiglas, including Mir-ror Grr-L, 1971. Like her fellow Imagists, she was inspired by a range of sources, including lowbrow imagery, “Outsider” art, and non-Western art. However, unlike the overtly representational art of her colleagues, Rossi devised a unique, abstracted painting method, starting each work without any compositional plan. The open-ended and introspective process allows the painting to emerge one form at a time, with sporadic figurative suggestions that transform her wandering lines into mischievous, psychedelic portraits. As painting the back of Plexiglas does not allow for revision, this technique requires intense concentration and precise application of the flat color, lines, and dots. Mir-ror Grr-L reveals the slow, fragmentary nature of Rossi’s constructive approach, which enables her to assemble different, interlocking shapes and lines. Out of the fantastic amalgamation emerges a grotesque chin with sharp teeth; a hand holding a miniscule mirror; a fan; and various parts of underclothes. Everything is interspersed with seething knobs and bulges that suggest folds of skin or mounds of flesh.

8 Barbara Rossi

(AMERICAN, B. 1940)

Mir-ror Grr-L, 1971 acrylic on plexiglass 30 1/2 x 24 1/2 inches. Provenance: Phyllis Kind Gallery, Chicago Acquired from the above by the present owner in 1973 $30,000-$50,000

In Mir-ror Grr-L, the artist’s meticulous care is also evident in the pinhead-sized dots that make up the crisscrossed background pattern and in the delicate accents around selected contours. The constellation of dots cast pointillist shadows through the transparent Plexiglas onto the layer below. As a result, light and shadow play an integral part to the heaving and fantastic shapes, intensifying an optical experience that already borders on the otherworldly. In a review of a 2015 New Museum show of the artist’s work, Ken Johnson described these portraits “...like X-rays revealing subdermal viscera, which in turn suggest churning inner souls. Seen through the glossy plastic surfaces ...they have an adamantine clarity that enhances a grotesque comedy.” (Cited https://www.nytimes.com/2015/12/25/arts/design/barbararossis-zany-vision-revisited.html?_r=1, accessed 03.31.20)

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9 Gladys Nilsson

(AMERICAN, B. 1940)

Gr-Apes, 1972 acrylic on canvas signed Gladys Nilsson, titled and dated (verso) 28 x 22 inches. Provenance: Phyllis Kind Gallery, Chicago Acquired from the above by the present owner in 1973 Exhibited, New York, Whitney Museum of American Art, Gladys Nilsson, April 12 - May 13, 1973 $30,000-$50,000

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10 Gladys Nilsson

(AMERICAN, B. 1940)

A Man, 1972 acrylic on canvas signed Nilsson, titled and dated (verso) 18 x 15 inches. $30,000-$50,000

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Gladys Nilsson The present group of extraordinary artworks by Gladys Nilsson reveal the depth and breadth of her long career. Nilsson’s works, which are rendered on canvas, plexiglass, and paper, are universes in themselves, formed from an imagination driven by a fascination with all variations of the body. The artist first came to prominence in 1966, when she joined five other recent Art Institute graduates (Jim Falconer, Art Green, Jim Nutt, Suellen Rocca, and Karl Wirsum) for the first of a series of group exhibitions called the Hairy Who. Like many of the Hairy Who artists, Nilsson employs a type of horror vacui and many of her works are filled with interwoven, playful imagery. Her work often focuses on aspects of human sexuality and its inherent contradictions. Since the late 1960s, Nilsson crowds her paintings with wild allegories of human foibles that are elegantly dignified despite the wackiness of the figures. For example, in Big Floor Show, circa 1967, a woman impossibly gyrates her body for a group of leering men. However, her pendulous breasts seem more a result of forces within the composition’s structure than as sexual objects. Both from 1972, Gr-Apes and A Man, exhibit a departure from Nilsson’s earlier works and display definite landscapes, rather than compositions with figures alone. In these paintings, figures composed of globular, vegetable-like shapes with winding appendages are situated in a space overgrown with foliage and clouds. The space is dense and overlapping, opening out in the center to make the landscape both more fantastic and more “real.” Gr-Apes was included in the 1973 exhibition, Gladys Nilsson, at the Whitney Museum of American Art in New York, the first solo show of any Hairy Who member and also one of the first women to have a solo exhibition at the museum.

11 Gladys Nilsson

(AMERICAN, B. 1940)

Big Floor Show, c. 1967 watercolor on paper 16 x 13 1/2 inches. Provenance: Dell Gallery Ltd,, Chicago $8,000-$12,000

Around 1973, Nilsson reverted to the use of watercolors, which had been her medium of choice earlier in her career. Drawing has always been structurally integral to her work and gives her watercolors a crisp definition. The artist’s confident application of lines snake around the dancing couple in 2 Dansers, 1975, and express the joy and vitality that lies at the heart of her practice. Monastic Views, 1991, and Basket Case, 1993, likewise reveal Nilsson’s later work to be increasingly labyrinthine. Every corner of every surface is filled with idiosyncratic figures and objects engaged in enigmatic interactions. In the artist’s unruly fantasy world, playful figures are alive with energy and her works celebrate humanity in all its forms.

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12 Gladys Nilsson

(AMERICAN, B. 1940)

Basket Case, 1993 watercolor on paper 15 1/4 x 11 1/4 inches. Provenance: Phyllis Kind Gallery, Chicago $5,000-$7,000

POST WAR AND CONTEMPORARY ART

*13 Gladys Nilsson

(AMERICAN, B. 1940)

2 Dansers, 1975 watercolor on paper signed Gladys Nilsson, titled and dated (verso) 15 1/4 x 10 1/4 inches. Property from the collection of Sari and James Klein, Chicago, Illinois Provenance: Phyllis Kind Gallery, Chicago $6,000-$8,000

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14 Gladys Nilsson

(AMERICAN, B. 1940)

Monastic Views, 1991 watercolor on paper signed Gladys Nilsson, titled and dated (verso) 15 x 14 3/4 inches. Provenance: Phyllis Kind Gallery, Chicago $5,000-$7,000

POST WAR AND CONTEMPORARY ART

15 Pat Andrea

(DUTCH, B. 1942)

Untitled, 1985 mixed media on canvas signed Pat Andrea, and dated (lower right) 64 x 80 inches. $4,000-$6,000

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16 Robert Lostutter (AMERICAN, B. 1930)

Weeping for Mexico, 1981 watercolor on paper signed Lostutter, titled and dated (lower left) 8 x 9 inches. Provenance: Monique Knowlton Gallery, New York Exhibited: Chicago, The Renaissance Society at The University of Chicago, Robert Lostutter: The Watercolors, February 12 - March 25, 1984, no. 215, pg. 13 illustrated $2,000-$4,000

POST WAR AND CONTEMPORARY ART

17 Robert Lostutter (AMERICAN, B. 1939)

Lovely Cotinga, 1977 watercolor on paper signed Lostutter, titled and dated (lower left) 12 1/4 x 14 inches. Provenance: Monique Knowlton Gallery, New York Exhibited: Chicago, The Renaissance Society at The University of Chicago,Â Robert Lostutter: The Watercolors,Â February 12 - March 25, 1984, no. 167 $3,000-$5,000

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18 Ed Paschke

(AMERICAN, 1939-2004)

Red Impressions, 1988 oil on canvas signed E Paschke and dated (lower right); signed, titled and dated (verso) 24 x 38 inches. $15,000-$25,000

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19 Donald Roller Wilson

(AMERICAN, B. 1938)

Shirley’s Friend’s Head and Chest Were His Primary Attractions..., 1984 oil on canvas signed Donald Roller Wilson and dated (upper edge) 8 1/4 x 8 1/4 inches. Provenance: Moody Gallery, Houston, Texas Acquired from the above by the present owner in 1984 $7,000-$9,000

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20 Jack Beal

(AMERICAN, 1931-2013)

Sandra at Her Desk pastel on paper 40 x 48 inches. $2,000-$4,000

21 Leon Golub

(AMERICAN, 1922-2004)

Untitled, 1964 conte crayon on vellum signed Golub (lower right) 36 x 25 1/2 inches. Provenance: Allan Frumkin Gallery, Chicago Property from a Corporate Art Collection $3,000-$5,000

POST WAR AND CONTEMPORARY ART

*22 Philip Pearlstein (AMERICAN, B. 1924)

Nude on a Hammock, 1974 oil on canvas signed Philip Pearlstein and dated (lower right) 48 x 48 inches. Property from The Estate of Stanley M. Freehling, Highland Park, Illinois Provenance: Allan Frumkin Gallery, Chicago $30,000-$50,000

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23 Nicolas Africano (AMERICAN, B. 1948)

Ingenue,Â 1984-85 (diptych) acrylic paint and canvas, on canvas signed Nicholas Africano, titled and dated (verso) each 90 x 66 1/2 inches. $5,000-$7,000

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*24 Ricardo Martinez (MEXICAN, 1918â&#x20AC;&#x201C;2009)

Untitled, 1974 oil on canvas signed Martinez and dated (lower left) 21 x 24 inches. Property from the Collection of Gloria Thompson (Reagan). Scottsdale, Arizona $20,000-$40,000

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Joseph Cornell A master appropriator, Joseph Cornell gathered ephemeral materials and small objects from all corners of life. He transformed this miscellanea into his signature, spellbinding shadow boxes and collages. According to Lynda Roscoe Hartigan, Cornell’s belief “…in the ordinary and the fleeting was so elevated that he named it the “métaphysique d’éphemera,” suggesting that literal things can create an elaborate and subtle form of magic.” (Lynda Roscoe Hartigan, Joseph Cornell: Shadowplay…Eterniday, London, 2003, p. 23) His ability to unite unlike things into a congruous whole led the artist to be lauded as an American Surrealist. However, Cornell himself never claimed to be a Surrealist, and indeed, his delicate dialogues between the narrative and visual elements transcend this influence.

25 Joseph Cornell

(AMERICAN, 1903-1972)

Untitled (For Caroline von Gunderode) Printed paper collage on printed paper mounted on board signed Joseph Cornell and titled (verso) 10 x 7 ¼ inches. Provenance: Acquired directly from the artist, NY, 1970 Diane Waldman, New York Private collection, Los Angeles Jonathan Novak Contemporary Art, Los Angeles $10,000-$15,000

Cornell’s fascination with subjects ranged from astronomy to cinema to literature, with a keen emphasis on European culture. The artist’s inscription on the verso of the present work, For Caroline von Gunderode, is an indication of his far-reaching interests. Caroline von Gunderode (also known as Karoline vön Gunderrode) was an obscure late 18th century German Romantic poet whose poems focused on strong heroic women in a central role, while also criticizing bourgeois ideals and traditional gender roles. Birds, frequently used by Cornell as symbols of thought and imagination, here stand in the collage for the enigmatic poet and her words. Perched on a rocky coast that overlooks a wide and empty expanse of water, the birds appear in stasis, either unwilling or unable to fly into the unknown horizon. This seems an apt metaphor for an individual who once wrote, “There is an unfortunate but unalterable imbalance in my soul; and it will and must remain so, since I am a woman and have desires like a man without a man’s strength.” (Sibylle Duda, “Karoline von Günderrode.” FemBio FrauenBiographieforschung. Retrieved 2020-01-28)

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26 Frank Sinatra

(AMERICAN, 1915-1998)

Untitled (Still Life), 1955 oil on canvasboard signed F. Sinatra and dated (lower right); signed and inscribed (verso) 20 x 16 inches. $5,000-$7,000

POST WAR AND CONTEMPORARY ART

*27 Donald Baechler (AMERICAN, B. 1956)

Flower, 1992 watercolor and collage on paper initialed DB and dated (lower left) 26 1/2 x 20 1/2 inches. Property from the Estate of Mary and Bruce Goodman, Highland Park, Illinois Provenance: Galleria Durini Ltd., New York $4,000-$6,000

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*28 Donald Baechler (AMERICAN, B. 1956)

Flower, 1992 watercolor and collage on paper initialed DB and dated lower right 52 x 40 inches. Property from the Estate of Mary and Bruce Goodman, Highland Park, Illinois $8,000-$12,000

POST WAR AND CONTEMPORARY ART

*29 Paul Jenkins

(AMERICAN, 1923-2012)

Phenomena Place of Domino Sounds, 1973 acrylic on canvas signed Paul Jenkins (lower left); signed, titled and dated (verso) 33 x 33 inches. Property from the Estate of Mary and Bruce Goodman, Highland Park, Illinois Provenance: Evelyn Aimis Fine Art, Toronto, Ontario $10,000-$15,000

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

Leon Berkowitz

Sam Francis

Algonquit No. 15, 1986

Untitled (SF74-208), 1974

oil on canvas signed Leon Berkowitz, titled and dated (verso) 48 x 69 inches. Property from the Collection of Norene Goldstein, Chicago, Illinois

acrylic on paper signed Sam Francis and estate stamped (verso) 19 1/4 x 14 1/2 inches.

(AMERICAN, 1911-1987)

Provenance: Baumgartner Galleries Inc., Washington D.C. $4,000-$6,000

(AMERICAN, 1923-1994)

Provenance: The Estate of the Artist, 1994 Gallery Delaive, Amsterdam Sold: Sotheby’s New York, September 24, 2009, lot 205 Masterworks Fine Art, Inc., Oakland, California Sold: Hindman, September 26, 2019, Lot 2 Exhibited: Los Angeles, California, Frank Perls Gallery, Sam Francis, March 1965, no. 16 Bern, Switzerland, Sam Francis: Self-Portraits, October - November, 1977, no. 14 Literature: Francis, Sam, Saturated Blue: Writings from the Notebooks, Venice, California, 1995 (illustrated) This work is identified with the interim identification number of SF74208 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. $20,000-$30,000

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32 Karel Appel

(DUTCH, 1921-2006)

He is Too Late, 1984 acrylic and mixed media on paper laid to cardboard signed Appel (lower left); titled and dated (verso) 45 x 75 inches. $30,000-$50,000

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*33 Gyorgy Kepes

(AMERICAN/HUNGARIAN, 1906-2001)

Hazy Glow, 1988 oil on canvas signed Gy Kepes, titled and dated (verso) 60 x 60 inches. Property from the Estate of Mary and Bruce Goodman, Highland Park, Illinois $4,000-$6,000

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34 Jennifer Bartlett (AMERICAN, B. 1941)

Green Landscape,Â 1998-99 oil over silkscreen grid on baked enamel and steel plate signed J. Bartlett and dated (verso) 25 x 25 inches. $5,000-$7,000

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35 Ynez Johnston

(AMERICAN, B. 1920)

Straits of Messina, 1953 casein on board signed Ynez Johnson (lower right) 21 x 14 inches. Property from an Important Private Collection of Modernist Western Art Provenance: Paul Kantor Gallery, Los Angeles Tobey C. Moss Gallery, Los Angeles Acquired from the above by the present owner in 2014 $3,000-$5,000

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36 Vaclav Vytlacil

(AMERICAN, 1892-1984)

Colorado, 1951 casein on board signed Vaclav Vytlacil and dated (lower right); signed, titled, dated and estate stamped (verso) 22 x 32 inches. Property from an Important Private Collection of Modernist Western Art $3,000-$5,000

POST WAR AND CONTEMPORARY ART

*37 Hans Hofmann

(AMERICAN, 1880-1966)

Untitled, 1941 crayon on paper signed Hans Hofmann (lower left) 11 x 13 3/4 inches. Property from the Estate of Stanley Michael Meyler, Evanston, Illinois Provenance: The estate of the artist Ameringer Yohe Fine Art, New York Berta Walker Gallery, Provincetown, MassachusettsÂ KN Gallery, Chicago Gallery KH, Chicago $8,000-$12,000

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38 Ethel Schwabacher (AMERICAN, 1903â&#x20AC;&#x201C;1984)

Ode # II, 1951 oil on linen signed Ethel Schwabacher and dated (lower left); titled (verso) 25 x 18 inches. Provenance: Anita Shapolsky Gallery, New York Acquired from the above by the present owner in 2003 $3,000-$5,000

POST WAR AND CONTEMPORARY ART

39 Emerson Woelffer (AMERICAN, 1914-2003)

Bird Hovering, 1956 oil on canvas signed Woelffer, titled and dated (verso) 30 x 22 inches. Property from an Important Private Collection of Modernist Western Art Provenance: Chez Camille, Beverly Hills, California, 2014 $4,000-$6,000

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40 Robert Richenburg (AMERICAN, 1917-2006)

MOMA Collage, 1960 torn and pasted papers on cardboard 22 x 28 inches. Provenance: Thomas McCormick Gallery, Chicago Acquired from the above by the present owner in 2003 Exhibited: New York, Museum of Modern Art, the Art of Assemblage, October 2 - November 12, 1961, no. 181; Dallas, Texas, Dallas Museum for Contemporary Arts, January 9 - February 11, 1962; San Francisco, California, San Francisco Museum of Art, March 5 - April 15, 1962 Waltham, Massachusetts, Rose Art Museum, Robert Richenburg: Abstract Expressionist, August 28 - October 17, 1993, no. 31 $3,000-$5,000

POST WAR AND CONTEMPORARY ART

41 Hannelore Baron

(AMERICAN, 1926-1987)

Untitled, 1977 mixed media and wood assemblage signed Hannelore Baron (verso) 9 1/2 x 13 1/2 inches. $7,000-$9,000

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POST WAR AND CONTEMPORARY ART

Stanley Boxer

WASMACHTESDERSHATTEN (WHATISTHESHADOWDOING), 1995

Archingscreaminwinterslash, 1982

(AMERICAN, 1926-2000)

mixed media on canvas signed S. Boxer, titled and dated (verso) 79 x 54 1/2 inches. Property from the Collection of Norene Goldstein, Chicago, Illinois $3,000-$5,000

(AMERICAN, 1926-2000)

oil on linen signed S. Boxer, titled and dated (verso) 60 x 60 inches. Property from the Collection of Norene Goldstein, Chicago, Illinois Provenance: Andre Emmerich Gallery, New York Hokin Gallery, Palm Beach, Florida $4,000-$6,000

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*44

Ron Davis

Karl-Fred Dahmen

Interior Frame

Untitled (Peinture), 1961

polyester resin and fiberglass 42 x 88 inches. Property from the Collection of Charlene S. Bry, St. Louis, Missouri

mixed media on canvas signed Dahmen (lower right); signed K. F. Dahmen (verso) 33 5/8 x 30 7/8 inches.

Provenance: The Helman Gallery, St. Louis, Missouri

Provenance: Galerie La Roue, Paris

$5,000-$7,000

Exhibited: Aachen, Germany, Museumsverein Aachen, Suermondt-Museum Aachen, 1965

(AMERICAN, B. 1937)

(GERMAN, 1917-1981)

Literature: Weber, Thomas, K.F. Dahmen, Werkverzeichnis Band I 19461965, Cologne, 2003, p. 352, no. 009.61-B 0731, illustrated $8,000-$12,000

POST WAR AND CONTEMPORARY ART

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

Hiroshi Sugito

Alan Davie

Suzanne Caporael

Enter, 1996-97

Fisherman’s Myth No. 11 (ochre), 1974

Sisters, 1990

acrylic and graphite signed Hiroshi Sugito, titled and dated (verso) 56 x 86 inches. Property from a Corporate Art Collection

oil on board signed Alan Davie, titled and dated (verso) 40 x 48 inches.

oil on canvas signed CAPORAEL and dated (verso) 48 x 66 inches.

Provenance: Gimpel Fils Gallery, London

Provenance: Richard Gray Gallery, Chicago

$8,000-$12,000

$4,000-$6,000

(JAPANESE, B. 1970)

$5,000-$7,000

POST WAR AND CONTEMPORARY ART

(SCOTTISH, 1920-2014)

(AMERICAN, B. 1949)

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

POST WAR AND CONTEMPORARY ART

Bob Thompson Bob Thompson’s The Sack (The Snook), 1961, is a drama of bold exaggerations, highlighted by the artist’s use of assertive, and unmodulated colors. Thompson’s short, dynamic, career began in the late 1950s and ended in his premature death less than a decade later. Born in Louisville, Kentucky, Thompson studied briefly at Boston University and at the University of Louisville. On the advice of a teacher, in the summer of 1958 he traveled to Provincetown, where he was introduced to the expressive figurative work of Jan Muller, Hans Hofmann and Red Grooms. Later in 1958, Thompson migrated to New York, where he quickly arrived at his iconic style.

49 Bob Thompson

(AMERICAN, 1937-1966)

The Sack (The Snook), 1961 oil on canvas signed B Thompson and dated (lower left); signed, titled and dated (verso) 23 3/8 x 35 1/4 inches. Provenance: Noah Goldowsky Fine Arts, New York $20,000-$30,000

Using as a springboard the dynamism of classical scenes by artists such as Piero della Francesca, Nicolas Poussin, and Tintoretto, Thompson transformed their compositions into simplified, abstracted forms applied with flat, bright color fields. The Sack (The Snook) highlights the singular aspects of Thompson’s mature style. Executed in Paris, where Thompson and his wife had settled in 1961 thanks to a Walter Guttman Foundation grant, the collage-like painting depicts an enigmatic scene, with its silhouetted figures and vivid colors. Although the exact inspiration for this artwork is unknown, Thompson frequently drew on Greco-Roman mythology and the Bible, as well as appropriating material from Classical paintings. He turned this subject matter into his own vision of contemporary allegorical nightmares. In The Sack (The Snook), two mysterious figures in hats enrobe a third in a black sack. To their right, two other figures appear to have thrust a person head-first into a purple sack. Additional ambiguous figures populate the mid-ground. The scene takes place against a shallow, compressed space that calls attention to the picture plane. The flattened forms and silhouettes evoke the undulating rhythms and syncopated movement found in jazz music, which Thompson deeply admired. Together, these elements combine to create an abstracted, dreamlike atmosphere that renders place and time indistinct.

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50 Jose De Rivera

(AMERICAN, 1904-1985)

Untitled (Three Elements), c. 1945 oil on canvas 24 x 24 inches. Provenance: Herbert B. Palmer and Company, Los Angeles Richard Gray Gallery, Chicago $3,000-$5,000

POST WAR AND CONTEMPORARY ART

51 Susan Rothenberg (AMERICAN, B. 1945)

5 Eyes (Study), 1997 oil on canvas signed S. Rothenberg, titled and dated (verso) 24 x 27 inches. Provenance: Sperone Westwater, New York Property from a Corporate Art Collection $10,000-$15,000

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52 James Brooks

(AMERICAN, 1906-1992)

Untitled, 1967 mixed media on paper signed J. Brooks and dated (lower right) 11 1/4 x 15 3/4 inches. Provenance: Martha Jackson Gallery, New York $4,000-$6,000

53 Alejandro Otero

(VENEZUELAN, 1921-1990)

Untitled, 1969 gouache on paper inscribed and dated (lower right) 12 x 9 inches. Provenance: Gifted by the artist to Juan Maldonado Gifted by the above to present owner $3,000-$5,000

53 64

POST WAR AND CONTEMPORARY ART

54 Wayne Thiebaud (AMERICAN, B. 1920)

Cake Studies, 1997 black ball point pen and pastel on lined notebook paper signed Thiebaud (lower right) and titled (lower left) 11 x 8 1/2 inches. Provenance: John Berggruen Gallery, San Francisco $20,000-$30,000 V I E W T H E C O M P L E T E C ATA L O G AT H I N D M A N A U C T I O N S . C O M

POST WAR AND CONTEMPORARY ART

Cy Twombly Untitled, 1965 exemplifies Cy Twombly’s unique draftsmanship, with its characteristic active, scribbled, and scratched lines. The artist first came to prominence in the late 1950s, when his graffiti-like, frenetic pencilwork appeared to subvert the thendominant painterly mode of Abstract Expressionism. By 1964, the artist’s practice had shifted from all-over compositions of scrawled renderings to more precise arrangements. His untamed markings became organized into concise, hovering masses that float within the picture plane, set off by the white field of paper. In Untitled, the square format emphasizes the horizontal midline of the composition. A tight cloud of curlicues, selectively highlighted with pink and orange crayon, hovers over a horizontal black bar and grid of squared-off colored smudges. The weight conveyed by the prominent, closely massed imagery creates an almost iconic presentation of the expressive marks.

55 Cy Twombly

(AMERICAN, 1928-2011)

Untitled, 1965 pencil and wax crayon signed Cy Twombly, dated and inscribed (lower right) 26 1/2 x 34 inches. Provenance: Private Collection, Rome Galerie Ascan Crone, Hamburg Private Collection, Germany John Weber Gallery, New York Galerie Karsten Greve, Cologne Greenberg Gallery, St. Louis Robert McClain & Co., Houston Marisa Del Re Gallery, New York Sold: Christie’s New York, May 12, 2005, lot 212 Exhibited: New York, Leo Castelli Gallery, Cy Twombly: Drawings, February 12-March 2, 1966 (likely) Paris, Musée d’Art Moderne de la Ville de Paris, ARC2, Cy Twombly - Dessins 1954 -1976, 1976 Houston, Robert McClain & Co., Cy Twombly. Works on Paper from Four Decades, 1995 Literature: Del Roscio, Nicola, Cy Twombly Catalogue Raisoneé of Drawings, V. 4 1964-1969, Munich, 2014, p. 75, no. 77, illustrated Property from a Corporate Art Collection $50,000-$70,000

Originally from Virginia, Twombly permanently relocated to Rome in 1957. The career-defining move let the artist to create a body of work inspired by the surrounding architecture, language, history and lifestyle, in a world where past and present collide. As a result of these influences, Twombly embarked in December 1963 upon a series of groundbreaking works titled Nine Discourses on the Commodus (Guggenheim Bilbao Museao). The series was inspired by the murder of the Roman emperor Aurelius Commodus (161192 CE). Geographically and intellectually separated from the Pop art and hard-edged Minimalism happening in the United States, the messy, esoteric canvases were as far removed from the 1960s New York art scene as they could possibly be. The Commodus paintings were first exhibited at Leo Castelli Gallery in New York in March 1964 and attracted scathing reviews. The criticism let Twombly to retreat, and for several years, he produced at a much slower pace. In a somewhat rueful reminiscence, the artist commented that the Commodus episode made him “the happiest painter around, for a couple of years; no one gave a damn what I did.” (cited in Kirk Varnedoe, Cy Twombly, a retrospective, New York, 1994, p. 39) Untitled, 1965 is therefore a rare example of the Twombly’s work at this time. The present artwork also illustrates the freedom he felt to experiment. The previously untamed lines have been formally reduced and are characterized by an emphasis on dominant rectangular structures. Situated at this critical juncture within Twombly’s career, Untitled articulates an important evolution in his practice, which culminated in the artist’s celebrated mid– 1960s monochromatic, grey paintings.

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56 68

POST WAR AND CONTEMPORARY ART

Jean Dubuffet In Paysage, Jean Dubuffet has unleashed a fantastically energetic style marked by intricate patterns on a dense background of alternating irregular fields. Executed in 1974, the present work is part of the artist’s L’Hourloupe series. This series was begun in 1962 as distracted ballpoint pen doodles made while Dubuffet was on the telephone. Intrigued by the nonsensical drawings, the artist cut the forms out and pasted them onto black paper. Originally Dubuffet experimented with various colors, before settling on a restricted palette of white, black, red, and blue of interlocking biomorphic forms. The graphic effect became a signature characteristic of the series, which lasted for twelve years and was to encompass graphic work, paintings, and sculpture.

56 Jean Dubuffet

(FRENCH, 1901-1985)

Paysage, 1974 colored pencils and black pen pasted on black paper initialed J.D. and dated (lower left) 18 x 12 3/4 inches. Provenance: The Waddington Galleries, London Posner Gallery, Milwaukee, Wisconsin Richard Gray Gallery, Chicago Literature: Loreau, Max, Catalogue des Travaux de Jean Dubuffet, Crayonnages, Récits, Conjectures, fascicule XXIX, Paris, 1979, p. 56, no. 117, illustrated Exhibited: Paris, Musée d’art moderne de la ville de Paris, San Lazzaro et ses amis, November 19, 1975 January, 11, 1976 Basel, Galerie Beyeler, Autres dimensions : collages, assemblages, reliefs..., June - September 1976, no. 23 $20,000-$30,000

The word Hourloupe itself is a word invented by Dubuffet. As the artist explained, ‘I associate it, by assonance, with “hurler” [to howl], “hululer” [to hoot], “loup” [wolf], “Riquet à la houppe” [a French folk tale] and to the title of Maupassant’s book Le Horla, that is inspired by psychological distraction’ (J. Dubuffet, quoted at http:// www.dubuffetfondation.com/ focus.php?menu=38=en [accessed 6 February 2020]). In French, its closest counterpart is ‘entourlouper’, meaning ‘to make a fool of’. It is a word not bound to the physical world, but a new language that channels the arbitrary and the irrational. Highly fitting for an artist who once declared, “I consider written language a poor tool. As an instrument of communication, it conveys merely the carcass of a thought: what slag is to fire.” (Jean Dubuffet: Works on Paper 1974-85, Waddington Galleries, London, 1987, p. 8) The collaged shapes pasted onto black paper remain deliberately elusive in Paysage. Despite the artwork’s title, the jigsaw-like pieces are liberated of any association with a specific location in time or space. The flat white fields outlined in black and interrupted by colorful scribblings erase all depth, as well as any sense of hierarchy of form. It was with this method, of erasing the familiar, that Dubuffet claimed to have abolished traditional classifications of human, figure, cloud, ground, or landscape, Towards the end of the L’Hourloupe series, Dubffet began introducing additional colors to his palette of black, white, red, and blue. The yellow, green, and orange hues therefore link the present work to both the beginning and the end of the series, and stands as an example of an artistic path fully explored and come full circle.

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

POST WAR AND CONTEMPORARY ART

Leung Kui-ting

Luciano Castelli

Landscape 2008, (a pair of works), 2001

Horses II, 1991

ink on paper signed Leung Kui-ting and dated in Chinese characters (left center) Each: 14 1/2 x 21 inches.

oil and oil crayon on canvas signed Luciano Castelli and dated (verso) 31 1/2 x 39 1/2 inches.

(CHINESE, B. 1945)

(SWISS, B. 1951)

Provenance:Â Alisan Fine Arts Limited, Hong KongÂ

Provenance: Raab Galerie, Berlin Richard Gray Gallery, Chicago

$40,000-$60,000

$3,000-$5,000

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59 Rashid Johnson (AMERICAN, B. 1977)

Untitled (from the Manumission Papers) Van Dyke print (unique) signed and dated 50 x 39 1/2 inches. Provenance: Gift of the artist to the present owner $8,000-$12,000

POST WAR AND CONTEMPORARY ART

60 Rashid Johnson (AMERICAN, B. 1977)

UntitledÂ (from theÂ Manumission Papers) Van Dyke print (unique) signed and dated 40 x 32 inches. Provenance: Gift of the artist to the present owner $8,000-$12,000

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

61 Howardena Pindell (AMERICAN, B. 1943)

Video Drawing: Swimming Series, 1976 c-print documenting drawing on acetate over television screen edition of 10; signed H. Pindell and dated (lower right) 4 3/4 x 6 1/2 inches. From a Private Collection, Tucson Arizona Provenance: Acquired directly from the artist by the present owner in 1997 $6,000-$8,000

POST WAR AND CONTEMPORARY ART

62 Howardena Pindell (AMERICAN, B. 1943)

Video Drawing: Hockey Series,Â 1973-1976 c-print documenting drawing on acetate over television screen edition of 10; signed H. Pindell (lower right) 6 1/2 x 9 1/4 inches. From a Private Collection, Tucson Arizona Provenance: Acquired directly from the artist by the present owner in 1997 $6,000-$8,000

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

POST WAR AND CONTEMPORARY ART

Howardena Pindell

Richard Pettibone

Video Drawings: Baseball Series,Â 1974-76 (diptych)

Andy Warhol, Most Wanted Man #11, Dada 1963, 2002

c-prints documenting drawing on acetate over television screen each signed H. Pindell and dated (lower right) 5 1/2 x 7 1/2 and 4 3/4 x 6 1/2 inches. From a Private Collection, Tucson Arizona

silkscreen, oil on canvas signed Richard Pettibone, titled and dated (verso) 7 1/2 x 8 1/2 inches.

(AMERICAN, B. 1943)

Provenance: Acquired directly from the artist by the present owner in 1997 $10,000-$15,000

(AMERICAN, B. 1938)

Provenance Leo Castelli Gallery, New York Private Collection, New York Wolfgang Roth, Miami, Florida The work is registered in the archives of Leo Castelli, (RP-74) $8,000-$12,000

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

*66

Deborah Kass

Zhang Dali

Enough Already, 2012

Untitled, 2006

neon and electrical transformer edition of 18 14 x 18 1/2 inches.

neon and electrical transformer mounted to board signed Zhang Dali and dated 46 x 36 inches. Estate of Jordon F. Todd, Denver, Colorado

Provenance: Artspace, New YorkÂ

$5,000-$7,000

(AMERICAN, B. 1952)

$8,000-$12,000

POST WAR AND CONTEMPORARY ART

(CHINESE, B. 1963)

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

67 Ivรกn Navarro

(CHILEAN, B. 1972)

Floor Hole, 2005 fluorescent light, glass, mirror, one-way mirror, wooden box and electric energy 29 1/2 x 29 1/2 x 5 inches. Provenance: Galerie Daniel Templon, Paris Acquired from the above by the present owner in 2008 $15,000-$20,000

POST WAR AND CONTEMPORARY ART

68 Jean Pierre Yvaral (Vasarely) (FRENCH, 1934-2002)

Progression Polychrome, 1970 acrylic on composition board signed Yvaral, titled and dated (verso) 34 3/4 x 34 3/4 inches. Provenance: Galerie Denise Rene, Paris Sold: Sotheby’s New York, June 23, 1982, Lot 122 Sold: Leslie Hindman Auctioneers, December 13, 2018, Lot 16 $8,000-$12,000

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

69 Torben Giehler (GERMAN, B. 1973)

Cocaine Blues, 2004 acrylic on canvas signed T. Giehler, titled and dated (verso) 32 1/4 x 26 1/4 inches. Provenance: Arndt & Partner, Berlin $6,000-$8,000

POST WAR AND CONTEMPORARY ART

70 Julian Stanczak

(AMERICAN, 1928-2017)

Harmony Green, 1991 acrylic on panel signed J. Stanczak, titled and dated (verso) 14 x 14 inches $10,000-$15,000

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

71 Gottfried Honegger (SWISS, 1917–2016)

Tableau Relief Z471, 1967 acrylic and cardboard collage on canvas signed HONEGGER, titled and dated (verso) 57 1/2 x 57 1/2 Provenance: Gimpel & Hanover Galerie, Zurich, Switzerland Acquired by Mr. James H. Clark in 1969 Clark Gallery, Lincoln, Massachusetts Acquired from the above in 1982 $15,000-$25,000

POST WAR AND CONTEMPORARY ART

72 Sol LeWitt

(AMERICAN, 1928-2007)

Cube, 1979 painted aluminum inscribed Sol LeWitt, dated and numbered 16/35 11 x 11 x 11 inches. Provenance:Â Museum of Contemporary Art Menâ&#x20AC;&#x2122;s Council, Chicago Acquired from the above in 1980 $10,000-$15,000

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

*73 Donald Sultan

(AMERICAN, B. 1951)

Iron & Iron 444 lb. Displaced Mar 1989, 1989 iron inscribed DS, titled, dated and numbered 2/3 16 x 13 x 11 inches. Property from the Collection of Charlene S. Bry, St. Louis, Missouri $3,000-$5,000

POST WAR AND CONTEMPORARY ART

74 Lesley Dill

(AMERICAN, B. 1950)

White Poem Dress, 1994 patinated bronze edition 1/4 approximately 55 x 37 x 30 inches. Provenance: Bernard Toale Gallery, Boston, Massachusetts Acquired from the above by the present owner in 1994 $15,000-$25,000

V I E W T H E C O M P L E T E C ATA L O G 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

Africano, Nicolas . . . . . . . . . . . . . . . . . . . . . . 23 Andrea, Pat . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Appel, Karel . . . . . . . . . . . . . . . . . . . . . . . . . 32 Baechler, Donald . . . . . . . . . . . . . . . . . . . 27-28 Baron, Hannelore . . . . . . . . . . . . . . . . . . . . . 41 Bartlett, Jennifer . . . . . . . . . . . . . . . . . . . . . . 34 Beal, Jack . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Berkowitz, Leon. . . . . . . . . . . . . . . . . . . . . . . 29 Boxer, Stanley . . . . . . . . . . . . . . . . . . . . . 42-43 Brooks, James . . . . . . . . . . . . . . . . . . . . . . . 52 Brown, Roger. . . . . . . . . . . . . . . . . . . . . . . . . . 5 Caporael, Suzanne . . . . . . . . . . . . . . . . . . . . 48 Castelli, Luciano . . . . . . . . . . . . . . . . . . . . . . 58 Cornell, Joseph . . . . . . . . . . . . . . . . . . . . . . . 25 Dahmen, Karl-Fred . . . . . . . . . . . . . . . . . . . . . 45 Dali, Zhang . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Davie, Alan . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Davis, Ron . . . . . . . . . . . . . . . . . . . . . . . . . . 44 De Rivera, Jose . . . . . . . . . . . . . . . . . . . . . . . 50 Dill, Lesley . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Dubuffet, Jean . . . . . . . . . . . . . . . . . . . . . . . 56 Francis, Sam . . . . . . . . . . . . . . . . . . . . . . . . . 31 Giehler, Torben. . . . . . . . . . . . . . . . . . . . . . . . 69 Golub, Leon . . . . . . . . . . . . . . . . . . . . . . . . . 21 Hofmann, Hans . . . . . . . . . . . . . . . . . . . . . . . 37 Honegger, Gottfried . . . . . . . . . . . . . . . . . . . . 71 Ito, Miyoko . . . . . . . . . . . . . . . . . . . . . . . . . 1-4 Jenkins, Paul . . . . . . . . . . . . . . . . . . . . . . . . . 30 Johnson, Rashid . . . . . . . . . . . . . . . . . . . 59-60 Johnston, Ynez . . . . . . . . . . . . . . . . . . . . . . . 35 Kass, Deborah . . . . . . . . . . . . . . . . . . . . . . . 65 Kepes, Gyorgy . . . . . . . . . . . . . . . . . . . . . . . . 33 Kui-ting, Leung . . . . . . . . . . . . . . . . . . . . . . . 57 LeWitt, Sol . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Lostutter, Robert . . . . . . . . . . . . . . . . . . . 16-17 Martinez, Ricardo . . . . . . . . . . . . . . . . . . . . . 24 Navarro, Iván . . . . . . . . . . . . . . . . . . . . . . . . . 67 Nilsson, Gladys . . . . . . . . . . . . . . . . . . . . . 9-14 Nutt, Jim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Otero, Alejandro . . . . . . . . . . . . . . . . . . . . . . 53 Paschke, Ed . . . . . . . . . . . . . . . . . . . . . . . . . 18 Pearlstein, Philip . . . . . . . . . . . . . . . . . . . . . . 22 Pettibone, Richard . . . . . . . . . . . . . . . . . . . . . 64 Pindell, Howardena . . . . . . . . . . . . . . . . . 61-63 Richenburg, Robert . . . . . . . . . . . . . . . . . . . . 40 Rossi, Barbara . . . . . . . . . . . . . . . . . . . . . . . . 8 Rothenberg, Susan . . . . . . . . . . . . . . . . . . . . 51 Schwabacher, Ethel . . . . . . . . . . . . . . . . . . . . 38 Sinatra, Frank . . . . . . . . . . . . . . . . . . . . . . . . 26 Stanczak, Julian . . . . . . . . . . . . . . . . . . . . . . 70 Sugito, Hiroshi . . . . . . . . . . . . . . . . . . . . . . . 46 Sultan, Donald . . . . . . . . . . . . . . . . . . . . . . . 73 Thiebaud, Wayne . . . . . . . . . . . . . . . . . . . . . . 54 Thompson, Bob . . . . . . . . . . . . . . . . . . . . . . . 49 Twombly, Cy . . . . . . . . . . . . . . . . . . . . . . . . . 55 Vytlacil, Vaclav . . . . . . . . . . . . . . . . . . . . . . . 36 Wilson, Donald Roller . . . . . . . . . . . . . . . . . . 19 Wirsum, Karl . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Woelffer, Emerson . . . . . . . . . . . . . . . . . . . . . 39 Yvaral (Vasarely), Jean Pierre . . . . . . . . . . . . . 68

POST WAR AND 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.

SOLD FOR $162,500 SOLD PRICES ARE INCLUSIVE OF BUYERâ&#x20AC;&#x2122;S PREMIUM

SALE 657 | LOT 22 SAM FRANCIS (AMERICAN, 1923-1994) UNTITLED (SF84-223), 1984 ACRYLIC ON RICE PAPER 37 X 71 1/2 INCHES

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

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Alexandria Dreas Consignment Manager alexandriadreas@hindmanauctions.com 303.825.1855

hindmanauctions.com 312.280.1212

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

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT Alyssa Quinlan Senior Vice President, Business Development alyssaquinlan@hindmanauctions.com 312.447.3272 Molly E. Gron, J.D. National Director, Trusts & Estates Senior Director, Chicago mollygron@hindmanauctions.com 312.334.4235 Katie Matusik Director, Appraisals and Valuations katelynmatusik@hindmanauctions.com 312.334.4224 Susan Mackenzie Business Development Director, Midwest susanmackenzie@hindmanauctions.com 312.447.3267

Maggie Porter VP Sales Strategy maggieporteri@hindmanauctions.com Kimberly Burt VP, Marketing and Luxury Goods kimberlyburt@hindmanauctions.com

Fine Art Joseph Stanfield Director, Senior Specialist josephstanfield@hindmanauctions.com Zack Wirsum Senior Specialist zacharywirsum@hindmanauctions.com Tess Hall Senior Specialist anastasiahall@hindmanauctions.com

Julianna Tancredi Cataloger juliannatancredi@hindmanauctions.com

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

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

Asian Works of Art Annie Wu Director, Senior Specialist anniewu@hindmanauctions.com

Megan Sadler Associate Cataloger megansadler@hindmanauctions.com

Fine Furniture, Decorative Arts and Silver

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

Maria Fernandez Cataloger mariafernandez@hindmanauctions.com 312.334.4236

Nate Brady Associate Specialist nathanbrady@hindmanauctions.com

Briar Koehl Business Development Senior Associate briarkoehl@hindmanauctions.com 312.600.6075

MUSEUM SERVICES

Francis Wahlgren Senior Consultant franciswahlgren@hindmanauctions.com

Flora Zhang Cataloger florazhang@hindmanauctions.com

Mary Grace Bilby Account Executive marygracebilby@hindmanauctions.com 312.334.4216

Samantha Schwartz Business Development Associate samanthaschwartz@hindmanauctions.com 312.447.3297

Gretchen Hause Director, Senior Specialist gretchenhause@hindmanauctions.com

Monica Brown Senior Specialist monicabrown@hindmanauctions.com

Vaughn Smith Business Development Manager vaughnsmith@hindmanauctions.com 312.334.4238

Miranda Maxfield Business Development Associate mirandaluce@hindmanauctions.com 312.334.4208

Books and Manuscripts

POST WAR AND CONTEMPORARY ART

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

Couture and Luxury Accessories Timothy Long Director, Senior Specialist timothylong@hindmanauctions.com Michael Hall Cataloger michaelhall@hindmanauctions.com Beatrice Levine Account Executive beatricelevine@hindmanauctions.com

Sports Memorabilia James Smith Specialist jamessmith@hindmanauctions.com

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

Atlanta

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

Denver

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

Milwaukee

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

Naples

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

West Palm Beach

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

San Diego

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

Scottsdale

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

St. Louis

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

Washington, D.C.

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

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

GUIDE FOR PROSPECTIVE BUYERS Conditions of Sale Hindman LLC encourages all prospective buyers to read the Conditions of Sale printed in this catalogue. Exhibitions Hindman LLC recommends that all prospective buyers attend the pre-sale exhibition prior to the auction. Staff members are available at our pre-sale exhibitions to advise prospective buyers on particular objects or on any aspect of the bidding process. Estimates Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision. Condition Reports We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports. Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

Bidding Increments Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The normal bidding increments are:

$0 - $200 ........................................ $10 $200 - $500 ........................................ $25 $500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $200 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,000 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Over > $200,000 ...... Auctioneer’s Discretion

In-House Bidding Live bidding at Hindman LLC is by paddle only. Please register for a paddle at the entrance of the sales room. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer. Online Bidding Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com. Absentee Bidding If you are unable to attend an auction, you may use the absentee bid form provided at the back of this catalogue. Hindman LLC will exercise written order bids and telephone bids at no additional charge. Lots will always be sold as inexpensively as is allowed other bids and reserves as are on our books or bids executed in competition from the audience. Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law.

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

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

CONDITIONS OF SALE HINDMAN LLC AS AGENT The lots listed in this catalogue will be offered by Hindman LLC as owner or as agent for consignor(s) subject to the following terms and conditions. By bidding at auction you agree to be bound by these Conditions of Sale.

BEFORE THE SALE Prospective buyers are strongly advised to personally examine any property in which they are interested before the auction takes place. Condition reports are usually available on request, on lots with a low estimate of $300 and above. All lots are sold “AS IS” and without recourse and neither Hindman LLC nor its consignor(s) makes any warranties or representations, express or implied with respect to such lots. Neither Hindman LLC nor its consignor(s) makes any express or implied warranty or representation of any kind or nature with respect to merchantability, fitness for purpose, correctness of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, material, genuineness, attribution, provenance, period, culture, source, origin, exhibitions, literature or historical significance of any lot sold. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. No statement, whether written or oral, and whether made in the catalogue, or in supplements to the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, the remarks of an auctioneer, or otherwise, shall be deemed to create any warranty, representation or assumption of liability. Hindman LLC and its consignor(s) make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Hindman LLC expressly reserves the right to reproduce any image of the lots sold in the catalogue.

AT THE SALE Refusal of Admission Hindman LLC has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid. Registration before Bidding A prospective buyer must complete and sign a registration form and provide identification before bidding. We may require bank or other financial references.

Online Bids We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the Internet or software malfunctions related to the execution of online bids. Reserves Some lots in the sale are subject to a reserve which is the confidential minimum price below which such lot will not be sold. The reserve will not exceed the low estimate of the lot. Reserves are agreed upon with consignors or, in the absence thereof, the absolute discretion of Hindman LLC. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. With respect to lots that are offered without reserve, unless there are already competing bids, the auctioneer, in his or her discretion, will generally open the bidding at half of the low estimate for the lot. In the absence of a bid at that level, the auctioneer may proceed backwards at his or her discretion until a bid is recognized, and then continue up from that amount. Auctioneer’s Discretion The auctioneer has the right at his or her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he or she may decide, to withdraw any lot, and in the case of error or dispute, and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, our sale record is conclusive. Successful Bid The highest bidder acknowledged by the auctioneer will be the purchaser. In the case of a tie bid, the winning bidder will determined by the auctioneer at his or her sole discretion. In the event of a dispute between bidders, the auctioneer has final discretion to determine the successful bidder or to reoffer the lot in dispute. If any dispute arises after the sale, the Hindman LLC sale record shall be conclusive. Title passes upon the fall of the auctioneer’s hammer to the highest acknowledged bidder subject to the Conditions of Sale set forth herein, and the bidder assumes full risk and responsibility.

AFTER THE SALE

Bidding as Principal When making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium, all applicable taxes and all other applicable charges, unless it has been explicitly agreed upon in writing with Hindman LLC before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Hindman LLC, and that Hindman LLC will only look to the principal for payment.

Buyer’s Premium In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium and the applicable sales tax added to the final total. The buyer’s premium for all purchases except via live online bidding is twenty-five (25%) of the hammer price up to and including $250,000; twenty percent (20%) of any amount in excess of $250,000 up to and including $3,000,000; and twelve percent (12%) of any amount in excess of $3,000,000.

Absentee Bids We will use reasonable efforts to carry out written bids given to us at least 24 hours prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in U.S. dollars. If we receive written bids on a particular lot for identical amounts, and these are the highest bids on the lot at the auction, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with the written bid.

Third-Party Platform Fee If the buyer bids through a third-party platform the buyer agrees to pay a surcharge to Hindman LLC equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium.

Telephone Bids On lots with a low estimate of $300 and above and if a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone and we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding. These telephone bids may be recorded at the discretion of Hindman LLC.

POST WAR AND CONTEMPORARY ART

Payment The buyer must pay the entire amount due (including the hammer price, buyer’s premium, all applicable taxes and other charges) no later than 5 p.m. on the seventh (7) business day following the sale. Payment in U.S. dollars may be made with cash; bank check or cashier’s check drawn on a U.S. bank; money order; or wire transfer unless other arrangements are made with Hindman LLC. Hindman LLC reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Hindman LLC a handling charge of $50 for any check dishonored by the drawee. Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law.

Collecting Purchases Once Hindman LLC has received all funds due to us, the buyer shall collect purchased lots within seven (7) business days from the date of the sale. Packing and Shipping If your bid is successful, we can provide you with a list of shippers. We will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. Property will not be released to the shipper without the buyer’s written consent and until payment has been made in full. Packing and handling of purchased lots by us is at the entire risk of the purchaser, and Hindman LLC will have no liability of any loss or damage to such items. Non Payment If we do not receive payment in full, in good cleared funds, within seven (7) business days following the sale, we are entitled in our absolute discretion to exercise one or more of the following measures, in addition to any additional actions available to us by law: a.) to impose a late charge of one and a half percent (1.5%) per thirty (30) days of the total purchase price b.) to hold the defaulting buyer liable for the total amount due and to begin legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law c.) to cancel the sale d.) to resell the property publicly or privately with such terms as we find appropriate, to resell the property at public auction without reserve, and with the purchaser liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages. In addition, a defaulting purchaser will be deemed to have granted us a security interest in, and we may retain as collateral security for such purchaser’s obligations to us, any property in our possession owned by such purchaser. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or in the case of bank or cashier’s checks, we have confirmed their authenticity.

LIABILITY Condition Reports Hindman LLC is not responsible for the correctness of any statement of any kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lot. Neither the seller, ourselves, our officers, employees or agents, 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, completeness, authorship, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind whatsoever is excluded by this paragraph. Items under $1,000 are collated upon request. Purchased Lots If for any reason a purchased lot cannot be delivered in the same condition as at the time of sale, or should any purchased lot be stolen, mis-delivered or lost prior to delivery, Hindman LLC shall not be liable for any amount in excess of that paid by the purchaser. Legal Ramifications The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of the jurisdiction in Illinois. If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law. Discretion Any and all of the conditions may be waived or modified in the sole discretion of Hindman LLC. 07/19

e.) to offset against any amount owed f.) to not allow any bids at any upcoming auction by or on behalf of the buyer g.) to take other action as we find necessary or appropriate

Failure to Collect Purchases If property is not picked up within seven (7) business days following the sale, whether or not payment has been made, Hindman LLC reserves the right to charge $5 per lot per day or to deliver said property to a public warehouse for storage at the purchaser’s expense. Hindman LLC shall have no liability for any damage to property left on its premises for more than seven (7) business days following the sale. In addition, we reserve the right to impose a late charge of one and a half percent (1.5%) per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. For property that is not picked up after thirty (30) calendar days, an additional administration fee of $75 will be charged. Property which is paid for but left on our premises for any reason in excess of sixty (60) calendar days is subject to sale by us with the balance of any funds recovered in excess of storage charges and any other fees being remitted to you.

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

WE INVITE YOU TO CONSIGN WITH US UPCOMING AUCTIONS

SALE 788

AMERICAN AND EUROPEAN ART Wednesday, September 30 | 10:00AM CT Chicago | Live + Online

SALE 789

POST WAR AND CONTEMPORARY ART Thursday, October 1 | 10:00AM CT Chicago | Live + Online

SALE 790

PRINTS AND MULTIPLES Thursday, October 1 | 2:00PM CT Chicago | Live + Online CONSIGNMENT INQUIRIES hindmanauctions.com 1338 West Lake Street Chicago, Illinois 60607 312.280.1212 94

POST WAR AND CONTEMPORARY ART

Lynn Chadwick (British, 1914-2003) Maquette IV Walking Woman, 1984, bronze Sold for: $85,000

BID FORM

FX 312.280.1211 EM BID@HINDMANAUCTIONS.COM

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

Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The normal bidding increments are:

NAME

SALE No./NAME

743 - Post War Art BUSINESS NAME

BILLING ADDRESS

CITY

STATE

COUNTRY/ZIP

CONTACT NAME

PRIMARY PHONE

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

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

SECONDARY PHONE

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

FAX

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

DAT E

( FO R H INDM AN L CC)

DAT E

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

25% 20% 12%

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

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

LOT DESCRIPTION

ABSENTEE BID

PHONE BID

BACK-UP BID

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

PL EAS E C H EC K

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

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

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

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