Sale 870 | Post War & Contemporary Art by Hindman

P OST WA R & C ONTE MP ORARY ART 5 | 4 | 2021

POST WAR & CONTEMPORARY ART SALE 870 Tuesday, May 4, 2021 | 10am CT | Chicago Lots 1–83 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. All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale. PHOTOGRAPHERS Zoë Bare Avery Campbell Alexandria Dreas Amelia Moore Rachel Smith CONTENTS Post War & Contemporary Art Lots 1-83 Artist Index Auction Inquiries Auction Schedule Conditions of Sale

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FRONT COV E R Lot 19 | Sadamasa Motonaga - Untitled, 1968

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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 Lynne Meyers Gordon, Indianapolis, Indiana George M. Irwin, Quincy, Illinois Leslie "Mitzi" S. Magin sold to Benefit the Following Four Naples, Florida Charities: Ave Maria School of Law, NCH Healthcare System, Saint Ann School Foundation, and St. John Neumann Catholic High School Sandra Lee Vosburgh, Atlanta, Georgia 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 Holly Banninga, Carmel, Indiana Dr. Mark List Cohen and Jane Cohen, Atlanta, Georgia A Corporate Art Collection Julie Lasky, New York, New York Robert Campbell Lenox and Mary James Gluek, Minneapolis, Minnesota Mark and Patricia McGrath, Chicago, Illinois The School of the Art Institute of Chicago, Chicago, Illinois, Sold to Establish the Rupprecht Memorial Endowment Fund Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida Mavis Staples, Chicago, Illinois Leonard Stark, Chicago, Illinois Ginny L. Williams, Denver, Colorado A Private Collection A Private Collection, Atlanta, Georgia A Private Collection, Taos, New Mexico P RO P E R T Y S O L D T O B E N E F I T The Acquisitions Fund of the Columbus Museum, Georgia O P P O S I TE Lot 6 | Bernard Frize - Rimano, 2003

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POST WAR & CONTEMPORARY ART LOTS 1 – 83

O P P O S I TE Lot 70 | Radcliffe Bailey - Untitled, 2002

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*1 Richard Anuszkiewicz (AMERICAN, 1930-2020)

Temple of Permanent Green #710, 1983 acrylic on panel signed RICHARD ANUSZKIEWICZ and dated (verso) 36 x 24 inches. Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida Provenance: Harmon-Meek Gallery, Naples, Florida $15,000 - 25,000 6

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2 Richard Anuszkiewicz (AMERICAN, 1930-2020)

Temple of Deep Blue & Cadmium #767, 1985 acrylic on board signed RICHARD ANUSZKIEWICZ and dated (verso) 17 x 12 inches. Provenance: Harmon-Meek Gallery, Naples, Florida Corbino Galleries, Sarasota, Florida $8,000 - 12,000

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*3 Robert Rauschenberg (AMERICAN, 1925-2008)

Untitled (Hot Weather Bobb), c. 1980 solvent transfer, paper and fabric collage 8 x 6 inches. Property from the Estate of Lynne Meyers Gordon, Indianapolis, Indiana $4,000 - 6,000

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4 Victor Vasarely

(FRENCH/HUNGARIAN, 1906-1997)

Untitled (22 color study for poster), c. 1970 mixed media collage 12 1/2 x 12 inches. Property from the Collection of Dr. Mark List Cohen and Jane Cohen, Atlanta, Georgia $3,000 - 5,000

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*5 Joseph Zucker

(AMERICAN, B. 1941)

Untitled oil on canvas signed Joe Zucker (verso) 53 x 55 inches. Property from the Collection of Leonard Stark, Chicago, Illinois $4,000 - 6,000

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*6 Bernard Frize

(FRENCH, B. 1949)

Rimano, 2003 acrylic and resin on canvas signed Bernard Frize, titled and dated (verso) 76 1/4 x 86 3/4 inches. Property from the Estate of Leslie “Mitzi” S. Magin sold to Benefit the Following Four Naples, Florida Charities: Ave Maria School of Law, NCH Healthcare System, Saint Ann School Foundation, and St. John Neumann Catholic High School Provenance: Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria Acquired from the above by the present owner in 2003 $30,000 - 50,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*7 Ron Davis

(AMERICAN, B. 1937)

Fourteen Panels, 1973 acrylic on linen on board 18 x 56 inches. Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: Leo Castelli, New York $4,000 - 6,000

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*8 Thomas Nozkowski (AMERICAN, 1944-2019)

Untitled L-6, 2011 oil on paper 22 x 30 inches. Property from the Collection of Mark and Patricia McGrath, Chicago, Illinois Provenance: Pace Gallery, New York $5,000 - 7,000

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*9 Ray Parker

(AMERICAN, 1922-1990)

Untitled (Blue and Gray), 1974 acrylic on canvas signed R Parker and dated (verso) 39 x 54 1/2 inches. Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: Gloria Luria Gallery, Bay Harbor Islands, Florida $7,000 - 9,000

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10 Jack Youngerman (AMERICAN, B. 1926)

Untitled, 1974 reverse painted acrylic on Plexiglas initialed and dated (lower right) 54 x 162 inches. $5,000 - 7,000

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Beatrice Mandelman I am a believer in the poetr y of the subconscious moving into the realm of abstraction. My work could be called ‘subjective abstractions.’ I have the freedom of choice today to let my space flow. I make room in my painting for the obser ver to dream. -Beatrice Mandelman, Mandelman Shows in Taos, 1977, Santa Fe New Mexican A prolific painter throughout her life, Beatrice Mandelman, or “Bea,” knew she wanted to be a painter from an early age. Born in Newark, New Jersey in 1912, Mandelman was introduced at an early age to Russian Constructivism and other avant-garde movements by Louis Lozowick, an artist and family friend. She began taking classes at the age of 12 at the Newark School of Fine and Industrial Art and eventually studied at both Rutgers University and the New York Art Student’s League. From 1935 to 1942, Mandelman was employed by the Works Project Administration in New York, where she became associated with numerous New York School artists including Louis Lozowick, Willem de Kooning, Arshile Gorky, Jackson Pollock, and Stuart Davis. Although Mandelman’s style was to evolve over time, she remained committed to modernism and abstraction throughout her career. In 1944, Mandelman and her husband, Louis Ribak, settled in Taos, New Mexico. She and Ribak became a par t of the group of artists known as the Taos Moderns, which included Ed Corbett, Agnes Martin, Oli Sihvonen, and Clay Spohn. Far from the strictures of the New York ar t scene, Mandelman found the freedom to develop a style that was distinctly her own. Inspired by the light, the local color, the landscape and the confluence of diverse cultures in Taos, her work flourished. The artist moved away from her previous, Ashcan, social-inspired scenes of the WPA period and adopted a bright, expressive version of Abstract Expressionism, often working in series. Gray Clouds, 1948, and Formations, c. 1950, are proof of this evolution into abstraction. Collage was a frequent technique in Mandelman’s oeuvre beginning in the 1950s. Her ability to form captivating compositions through shifting blocks of color, whether with paper or oil on canvas, can be seen in such works as Stripes (Green Spot), c. 1960s. Throughout the 1960s and 1970s, she also began to reduce her palette and focused on primar y colors used in conjunction with black and white. Mandelman’s adroit use of negative space is applied in both Celebration Series, 1976, and Spring, c. 1970s. The background in these paintings is neither neutral nor a void. Rather it is an already established presence that must be considered in relation to the colors and lines, which puncture, divide, and transform it into an entirely different kind of surface. In her later works, Mandelman painted a number of diptychs and triptychs in several series, such as Jazz, Carnival, New York, Garden and Music. Garden #8 1/2-C, c. 1994, again reveals her gift at melding and fusing past and present modernist styles into her own unique language. The Garden and Music series are the most reductive of these later series, with large blocks of a limited color palette and generous use of black. These mature compositions are distinguished by a confident ebullience and bold, musical lyricism that is all the artist’s own.

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11 Beatrice Mandelman (AMERICAN, 1912-1998)

Stripes (Green Spot), c. 1960s oil on canvas signed Mandelman (lower right) 20 x 30 inches. Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico This work is accompanied by a certificate of authenticity issued by the MandelmanRibak Collection $3,000 - 5,000

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12 Beatrice Mandelman (AMERICAN, 1912-1998)

Celebration Series, 1976 oil on canvas signed Mandelman (lower right); titled and dated (verso) 48 x 24 inches. Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico This work is accompanied by a certificate of authenticity issued by the MandelmanRibak Collection $5,000 - 7,000

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13 Beatrice Mandelman (AMERICAN, 1912-1998)

Spring, c. 1970s acrylic on canvas signed Mandelman (lower right) 36 x 24 inches. Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico This work is accompanied by a certificate of authenticity issued by the MandelmanRibak Collection $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

14 Jesus Rafael Soto

(VENEZUELAN, 1923-2005)

Quadrato, 1974 acrylic on aluminum with painted metal rods stamped Soto, Editions Denise Rene, titled, dated and numbered 46/75 18 1/2 x 27 x 17 inches. Provenance: Editions Galerie Denise Rene, Paris $20,000 - 30,000

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*15 Johnnie Ross

(AMERICAN, B. 1949)

Salt Creek Seeps, 2004 oil on linen signed Johnnie Ross (stretcher bar) 36 x 34 inches. Property from the Estate of Leslie “Mitzi” S. Magin sold to Benefit the Following Four Naples, Florida Charities: Ave Maria School of Law, NCH Healthcare System, Saint Ann School Foundation, and St. John Neumann Catholic High School Provenance: Irvine Contemporary, Washington D.C. James Kelley Contemporary, Santa Fe, New Mexico $6,000 - 8,000

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*16 Sol LeWitt

(AMERICAN, 1928-2007)

Fold Piece, Sixteen Squares, 1972 folded paper signed Sol LeWitt and dated (lower right) 10 1/2 x 10 1/2 inches. Property from the Estate of Sandra Lee Vosburgh, Atlanta, Georgia Provenance: Max Protetch Gallery, Washington, D.C. Acquired from the above by the present owner in 1975 $8,000 - 12,000

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*17 Hermann Bartels (GERMAN, 1928-1989)

Uberspannung Weiss, 1966 oil on canvas signed Hermann Bartels and dated (verso) 30 x 41 1/2 inches. Property from the Collection of Mark and Patricia McGrath, Chicago, Illinois Provenance: De Rijk Fine Art, The Hauge, Netherlands Acquired from the above by the present owner in 2010 $2,000 - 4,000 24

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*18 Hermann Bartels (GERMAN, 1928-1989)

Spachtelbild Monochrome, 1960 oil on canvas signed Bartels (upper right); signed and dated (verso) 47 x 35 inches. Property from the Collection of Mark and Patricia McGrath, Chicago, Illinois Provenance: De Rijk Fine Art, The Hague, Netherlands Acquired from the above by the present owner in 2010 $3,000 - 5,000

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19 Sadamasa Motonaga (JAPANESE, 1922-2011)

Untitled, 1968 oil on canvas on board 26 x 31 1/2 inches. Provenance: Tokyo Gallery, Tokyo The work is accompanied by a certificate of authenticity issued by Motonaga Archive Research Institution $30,000 - 50,000

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Untitled, 1968 is a superb example of Sadamasa Motonaga’s work during an important transitional period in his painting approach and technique. A member of Japan’s vaunted Gutai movement, Motonaga, in keeping with the group’s ethos, consistently explored ways to break from artistic conventions and push possibilities through his experiments with painted color. His earlier work, influenced by the Abstract Expressionists, employed varied and numerous painterly techniques, ranging from lyrically poured and dripped pigments to more active layers of thick gestural brushstrokes, most often depicting playful amorphous shapes or swirling eddies of color. Motonaga traveled to New York City for a year's stay from 1966 to 1967, a visit which proved pivotal in his practice and ultimate trajectory. During his time in the then epicenter of artmaking, Motonaga’s work underwent a radical change as he became exposed to and embraced new material methods and processes. He departed from the heavy, gestural style he had previously favored and began to apply paint precisely and evenly, almost mechanically, without the visible built-up texture and impressively devoid of evidence of the artist’s hand. His work from this era satisfyingly flattens as he utilizes an airbrush for systematize sprayed swathes of color, creating large singular abstract shapes, unified in saturation and surface, dually geometric and organic forms glowing and humming with vibrant auras. More minimal than the colorful palettes of his New York paintings, the sparse by intent Untitled, 1968, captivatingly accentuates the hard-edged aspects and graphic qualities of his newly adopted, immutable airbrushed painting mode. Original created as a tableau for a printed work produced for Tokyo Gallery, Untitled, 1968 has a sublime balance of matte black background contrasting with a spiraling glossy black singular shape, referencing both the looping totality of a snake and the space of a stylized solar system, capped with a pop of muted yellow, the gold or cheese prize at the end of the cyclone maze. This small yellow pinpoint a callback satellite signal, reminiscent of his earlier colorful pseudo figural orbs, yet also a bridging beacon, illuminating Motonaga’s course to the solid sustained lines and otherworldly ovoid shapes that became his eventual hallmark.

20 Louise Nevelson

(AMERICAN, 1899-1988)

Cryptic XXXIX (Camera), 1966 wood painted black inscribed Nevelson and dated (lower edge) 7 x 8 x 6 3/4 inches. Property from the Collection of Dr. Mark List Cohen and Jane Cohen, Atlanta, Georgia Provenance: Pace Gallery, New York Collection of Vera List, thence by descent $20,000 - 40,000

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21 Wang Tiande

(CHINESE, B. 1960)

Untitled ink on paper mounted to silk 26 x 26 inches. Provenance: Acquired directly from the artist $5,000 - 7,000

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*22 George L. K. Morris (AMERICAN, 1905-1975)

Excavation, 1956 oil on canvas signed Morris (lower right); signed, titled and (verso) 8 x 10 inches. Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: The Alan Gallery, New York $3,000 - 5,000

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*24 Hans Hofmann

(GERMAN/AMERICAN, 1880-1966)

*23 Hans Hofmann

(AMERICAN/GERMAN, 1880–1966)

Untitled (Pair of Works), 1935 mixed media on paper each signed Hans Hofmann and dated (lower edge) Largest: 11 x 8 3/4 inches. Property from the Collections of the School of the Art Institute of Chicago, Chicago, Illinois, Sold to Establish the Rupprecht Memorial Endowment Fund $3,000 - 5,000

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Untitled, c. 1944 India ink on paper signed Hofmann (lower right) 10 3/4 x 8 1/4 inches. Property from the Estate of Lynne Meyers Gordon, Indianapolis, Indiana Stamped Estate of Hans Hofmann and numbered M-933/51 to verso of backing board Provenance: Andre Emmerich Gallery, New York Acquired from the above by the present owner in 1972 Exhibited: New York, New York, Andre Emmerich Gallery, Hans Hoffman-Works on Paper, October 21 - November 16, 1972 $4,000 - 6,000

*25 Robert Natkin

(AMERICAN, 1930-2010)

Untitled (Field Mouse Series), c. 1970 oil on canvas signed Natkin (lower right) 54 x 62 inches. Property from George M. Irwin Trust, Quincy, Illinois Provenance: Acquired directly from the Artist by George M. Irwin Exhibited: Champaign, Illinois, Krannert Art Museum, Selections from the Collection of George M. Irwin, March 2-April 13, 1980 $6,000 - 8,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

*26 Dan Christensen

(AMERICAN, 1942-2007)

Maternal Blues, 1984 acrylic on canvas signed D Christensen, titled and dated (verso) 68 x 59 1/2 inches. Property from the Collection of Leonard Stark, Chicago, Illinois Exhibited: Wichita, Kansas, Edwin A. Ulrich Museum of Art, Dan Christensen: Paintings, October 31 - December 2, 1984 $8,000 - 12,000

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*27 Dan Christensen

(AMERICAN, 1942-2007)

City Girl, 1983 acrylic on canvas signed D Christensen, titled and dated (verso) 49 x 39 inches. Property from the Collection of Leonard Stark, Chicago, Illinois $6,000 - 8,000

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28 Ed Moses

(AMERICAN, 1926–2018)

Wedges Series II, 1972 acrylic and pencil on paper laid to mat board 38 x 57 1/2 inches. $3,000 - 5,000

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*29 Alexander Liberman

(AMERICAN/RUSSIAN, 1912-1999)

Vrata X , 1983 acrylic and collage on canvas signed Alexander Liberman and dated (lower right); signed, dated and titled (verso) 60 x 60 inches. Property from the Estate of Leslie “Mitzi” S. Magin sold to Benefit the Following Four Naples, Florida Charities: Ave Maria School of Law, NCH Healthcare System, Saint Ann School Foundation, and St. John Neumann Catholic High School Provenance: Andre Emmerich Gallery, New York Hokin Gallery, Palm Beach, Florida $3,000 - 5,000

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*30 Arthur Osver

(AMERICAN, 1912-2006)

Pharos, 1984 mixed media on canvas signed A. Osver (lower left); signed. titled and dated (verso) 72 x 49 inches. Property from the Estate of Leslie “Mitzi” S. Magin sold to Benefit the Following Four Naples, Florida Charities: Ave Maria School of Law, NCH Healthcare System, Saint Ann School Foundation, and St. John Neumann Catholic High School Provenance: Fairweather Hardin Gallery, Chicago $3,000 - 5,000

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*31 Paul Jenkins

(AMERICAN, 1923-2012)

Phenomena Mandala Veil, 1967 oil on canvas signed Jenkins (lower right); signed, titled and dated (verso) 64 3/4 x 38 3/4 inches. Property from George M. Irwin Trust, Quincy, Illinois Provenance: Acquired directly from the Artist by George M. Irwin Exhibited: Champaign, Illinois, Krannert Art Museum, Selections from the Collection of George M. Irwin, March 2-April 13, 1980 $20,000 - 30,000

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Joan Mitchell Joan Mitchell (American, 1925-1995) rose to fame as part of the second wave of the Abstract Expressionist movement in 1950s New York City, a rare feminine voice in this brash boy’s club of action painters, matching her peer’s machismo with her bold methodology to painting and composition. Mitchell uniquely abandoned the prevailing understanding of abstraction as nonhierarchical flat overall painting, instead systematically opposing static structural elements with violent passages of colorful gestural improvisation, more concerned with the omnipresence of perceived space, than the theoretical all-encompassing ideal of nonrepresentational painting. A hardnosed iconoclast, Mitchell stayed rooted in the traditional figure ground language of landscape while confidently flying into the heady lofts of form invention, reactive atmospheric transcriptions with a terrestrial tether.

32 Joan Mitchell

(AMERICAN, 1925-1992)

Untitled, 1989 oil on canvas 24 x 19 3/4 inches. Property from a Private Collection, Atlanta, Georgia Provenance: The Artist The Estate of Joan Mitchell The Joan Mitchell Foundation Cheim & Read, New York Acquired from the above by the present owner in 2012 $500,000 - 700,000

In pleasing contrast to Mitchell’s at times aggressive slashing paint handling in earlier work, we see a softer brush at play in Untitled, 1989, with elusive open glazy strokes, just as impactfully painterly and distinctly her singular vision, but evolved to an earned plane of delectable and delicate restraint. Untitled, 1989 is an exceptional example of Joan Mitchell’s lush and transcendent, late career painting, a more introver ted reflective final act in the artist’s often outwardly intense career, informed in part by psychological changes brought on by her battle with cancer, blues pour on to the canvas, poignant and gorgeously raw. Some three decades after her initial expatriation to France, the late 1980s found Mitchell painting in the literal backyard and figurative footprints of one of her greatest influences, Claude Monet. It is no surprise that the gentler abstraction of Untitled, 1989 evokes the sacred spirts of Impressionism, embellishing its inherent Expressionism. Although relatively modest in scale at 24 x 19 ¾ inches, Untitled, 1989 is expansive in its created compositional space, giving the work a more dynamic presence than its size might suggest, judicially employed black, blue, green, white and yellow deftly arranged provide structure and establish this satisfying painted space. Swirling passages of broadly applied blue both anchor the work and swim through the picture plane, over shadowy streaks of black and billows of white, inviting the gaze to a deeper beyond from a lower right foreground that reads as the edge of a body of water to an active pale green shore or horizon in the distant upper left. Spectral washy whites whisp up the right and left sides, flanking stacks, elegantly framing the black, blue and green that dance across the surface like tidal pull, with a central flash of yellow, a splash of refracted light or a stray ray escaping from cloud coverage. The decisive marks made, fluidly vacillate in weight and gauge, fur ther emphasizing the already pleasing depth of field and visual movement within. This work like many of Mitchell’s paintings shares identifiable creative space with Cy Twombly’s looping automatic symbology, Jackson Pollock’s neurological network of dripped paint pathways and Claude Monet’s soft ethereal pond reflections, synthesizing all to become something daring and new with the added comfor t of ar t historical familiarity. Conceptionally these later works feel more emotionally connected than works completed as a younger artist, as Mitchell seeming becomes a participant in the unfolding forces of nature, contemplating and reacting to her place in the greater expanse of environment rather than an observer documenting the ensuing results. In a 1958 letter Mitchell said of her work “I paint from remembered landscapes that I carr y with me—and remembered feelings of them, which of course become transformed. I could cer tainly never mirror nature. I would like more to paint what it leaves me with." This timeless approach remained constant throughout Mitchell’s career and is still on full display in Untitled, 1989, the essence of the external world internalized, interpreted and expressed in paint, conveying a deeper and harder felt meaning. In practice and in principle, gracing the painting’s viewer with the meaningful experience of feeling how the experienced experiences the elements. 1 Letter from Mitchell, in John I. H. Baur, Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in Twentieth-Centur y American Art (New York: Whitney Museum of American Art, 1958), p. 75.

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33 Sam Francis

(AMERICAN, 1923-1994)

Untitled (SF60-020), 1960 watercolor on paper signed Sam Francis and dated (verso) 13 3/4 x 10 inches. Provenance: Sold: Bonham’s & Butterfield’s, California, November 19, 2007, Lot 1542 Acquired from the above by the present owner Exhibited: Santa Barbara, California, Esther Bear Gallery, Sam Francis: Black and White Works, June 17-July 20, 1973, no. 21 Mill Valley, California, Robert Green Fine Arts, Sam Francis: Paint on Paper and Original Prints, June 3-August 31, 2003 Burchett-Lere, Debra, ed. "Untitled, Dated as 1960 (0000 / Francis Archive SF60-020)." Sam Francis: Online Catalogue Raisonné Project. https://cr.samfrancisfoundation.org/catalogue/entry.php?id=1569 $20,000 - 30,000

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34 Claes Oldenburg (AMERICAN, B. 1929)

Study for Fire Plug Column, 1975 crayon and watercolor 11 x 8 1/2 inches. Property from a Corporate Art Collection Provenance: Richard Gray Gallery, Chicago $5,000 - 7,000

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*35 Alexander Calder

(AMERICAN, 1898-1976)

Pyramidal Shapes, 1956 oil on canvas signed Calder and dated (lower right) 30 x 26 inches. Property from the Estate of Lynne Meyers Gordon, Indianapolis, Indiana Provenance: Artist’s Studio Charles Burdick, Woodbury, Connecticut, 1957 Sold: Sotheby’s New York, October 18, 1984, lot 194 Private Collection, 1984 Sold: Sotheby’s New York, October 1, 1985, lot 76

Private Collection, New York, 1985 O’Hara Gallery, New York, 1987 Irving Galleries, Palm Beach, 1999 Acquired from the above by the present owner in 2001 Exhibited: New York, Perls Galleries, Calder, February 6 - March 10, 1956 New York, O’Hara Gallery, Motion - Emotion: The Art of Alexander Calder, October 21 - December 4, 1999 Literature: O’Hara Gallery, Alexander Calder: Sculpture, Paintings, Works on Paper, New York, 1993, no. 7 This work is registered in the archives of the Calder Foundation, New York, under application number A05452 $200,000 - 300,000

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*36 Mark Di Suvero (AMERICAN, B. 1933)

Mizorbit, 1982 steel inscribed MdS Height: 18 inches. Property from the Estate of Lynne Meyers Gordon, Indianapolis, Indiana Provenance: Sold: The Fifth Annual Creative Growth Art Auction, New York, 1982 Acquired from the above sale by the present owner $20,000 - 30,000

*37 George Rickey

(AMERICAN, 1907-2002)

Documenta, 1966 stainless steel inscribed Rickey and dated Height: 10 1/4 inches. Property from the Estate of Lynne Meyers Gordon, Indianapolis, Indiana $5,000 - 7,000

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*38 Ibram Lassaw

(AMERICAN, 1913-2003)

Arallu, 1979 bronze inscribed Lassaw, titled and dated 14 x 12 inches. Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida Exhibited: Washington D.C., Phoenix Gallery, Ibram Lassaw: Drawings and Sculpture, 1982 Brasilia, Brazil, Galeria de Arte Da Casa Thomas Jefferson, Ibram Lassaw, 1985 $5,000 - 7,000

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*39 Ibram Lassaw

(AMERICAN, 1913-2003)

Labyrinth VII, 1969 red brass 15 x 13 x 11 inches. Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida Exhibited: New York, Kootz Gallery, Sculptura in America, 1977 $4,000 - 6,000

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*40 Yuyu Yang

(TAIWANESE, 1926-1997)

Taroko Gorge, 1973 bronze inscribed 英風, Yuyu Yang, and dated 24 x 60 x 36 inches. Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida $20,000 - 30,000

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*41 Yuyu Yang

(TAIWANESE, 1926–1997)

Departure in Return,, 1985 steel inscribed 英風, Yuyu Yang, No.2, and dated Height: 33 inches. Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida $6,000 - 8,000

*42 Yuyu Yang

(TAIWANESE, 1926-1997)

Return to Great Beginning, 1986 steel inscribed 英風 and dated; edition of 25 Height: 39 inches. Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida $6,000 - 8,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

43 Richard Hunt

(AMERICAN, B. 1935)

Winged Hybrid, 1963 welded steel inscribed R Hunt and dated Height: 14 1/2 inches. Provenance: B.C. Holland Gallery, Chicago $8,000 - 12,000

POST WAR & CONTEMPORARY ART

44 Richard Hunt

(AMERICAN, B. 1935)

Organic Construction V, 1960 steel Height: 6 1/2 x 31 x 10 inches. Provenance: Alan Gallery, New York Acquired from the above in 1960 $10,000 - 15,000

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45 Richard Hunt

(AMERICAN, B. 1935)

Acrobats, 1955 wire and lead Height: 8 inches. Provenance: 57th Street Art Fair, Chicago $6,000 - 8,000

46 Theodore Halkin

(AMERICAN, 1924-2020)

Vanity or Morning Mirror, 1963 mixed media relief 10 1/2 x 20 inches. Provenance: Allan Frumkin Gallery, Chicago Acquired from the above in 1963

$1,500 - 2,500

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*47 Magdalena Abakanowicz (POLISH, 1930-2017)

Figure with Open Arms, 1984-96 resin and synthetic burlap signed M. Abakanowicz and dated 75 x 70 x 8 inches. Sold to Benefit the Acquisitions Fund of the Columbus Museum, Georgia Provenance: Marlborough Gallery, New York Sold: Sotheby’s New York, May 10, 2012, Lot 565 $40,000 - 60,000

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*48 Tom Wesselmann (AMERICAN, 1931-2004)

Drawing for Great American Nude #88, 1967 thinned Liquitex and pencil on paper initialed W. and dated (lower right), signed and dated (on verso) 7 x 5 3/4 inches. Property from the Estate of Sandra Lee Vosburgh, Atlanta, Georgia Provenance: Artist’s Studio Mayor Gallery, London, 1975 Henri Gallery, Washington, D.C Acquired from the above by the present owner in 1978 $30,000 - 50,000

POST WAR & CONTEMPORARY ART

49 Hans Scheib

(GERMAN B. 1949)

Standing Nude Woman carved and painted wood Height: 70 inches. $5,000 - 7,000

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50 Jim Nutt

(AMERICAN, B. 1938)

just a little Bit, perhaps?, 1978 colored pencil on paper signed Jim Nutt, titled and dated (verso) 11 x 10 inches. Provenance: Phyllis Kind Gallery, Chicago Acquired from the above in 1978 Exhibited: Boston, Massachusetts, Institute for Contemporary Art Boston, 20th Century Drawings From Massachusetts Collections, July 10-September 2, 1979 Rotterdam, Holland, Rotterdamse Kunststichting Lijnbaancentrum, Jim Nutt: A Retrospective, organized by the Rotterdam Arts Foundation, February 16-March 31, 1980 $20,000 - 40,000

POST WAR & CONTEMPORARY ART

51 Jim Nutt

(AMERICAN, B. 1938)

Did You Hear Something?, 1981 acrylic on canvas signed Jim Nutt, titled and dated (verso) 14 x 12 inches. Provenance: Phyllis Kind Gallery, Chicago Acquired from the above in 1982 Exhibited:Boston, Massachusetts, The Institute of Contemporary Art Boston, Who Chicago?, November 10, 1981-January 3, 1982 $100,000 - 150,000

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52 Vladimir Ovchinnikov (RUSSIAN, 1941-2015)

Judgment of Paris, 1978 oil on canvas signed in Cyrillic and dated (lower right); signed, titled, and dated (verso) 23 1/2 x 29 1/2 inches. We would like to thank Mikhail Ovchinnikov for his assistance cataloguing the painting. $8,000 - 12,000

*53 Enrico Baj

(ITALIAN, 1924-2003)

Le Capitain Chapuis , c. 1966 oil, collage, cotton, passementerie and military decorations on fabric signed Baj (upper left); titled (verso) 36 x 28 1/4 inches. Property from the Collection of Robert Campbell Lenox and Mary James Gluek, Minneapolis, Minnesota $20,000 - 30,000 56

POST WAR & CONTEMPORARY ART

Italian mixed media artist Enrico Baj (Italian, 1924-2003) was introduced to an eager American audience and acclaim with his inclusion in Surrealist Intrusion in the Enchanter’s Domain, at D’Arcy Galleries, curated by Marcel Duchamp and Andre’ Breton, anointing him as the maverick torchbearer of Post-War Surrealism and Dadaism with this stamp of approval from the movement’s magnanimous luminaries. Baj’s series of absurdly combative and eclectic two-dimensional assemblage caricatures of military brass, informally known as Generals, dominated his output through the 1960s and endure as his most significant body of work. Often composed in classical portrait format, the Generals defied convention with their reckless calculatedly frivolous material choices, incorporating collaged flourishes of commercial textile passementerie and decorative military regalia to bedeck his grotesque clownishly painted authoritarian subjects, all comically tragic emblems of martial folly. Arguably as heavy handed as the tactics of the despotic targets of his critique, Baj bluntly explained his inventive objects of overt antiwar commentary as being, “representations of power and stupid authority.” Le Capitain Chapuis, c. 1966, depicts a captain in seemingly regal profile, a satirical over adornment of adhered rank stripes and garishly ribboned medals burden an ill-fitting jacket encasing the overfed officer’s frame. Efficiently conceptual and functional, these adhered found objects add a sophisticated variance in surface texture, while echoing the repurposed generic floral fabric background. Beyond the direct association to the brutal fascist dictator Benito Mussolini, the war monger’s distorted face and bald head allude to more sympathetic, yet cautionary fictional Italians Pagliacci and Pinocchio, grease painted an unnatural flat white, an idiot jester with a deceitful puppet’s engorged proboscis and a single lifeless green eye awkwardly confronting the viewer. More loathsome than frightening, yet morbidly alluring. Painted at the height of Baj’s most prominent period of production, Le Capitain Chapuis, c. 1966, has all the signature elements that define Baj’s Generals and is a prime example of the artist’s most central and lasting theme.

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*54 Saul Steinberg

(AMERICAN, 1914-1999)

Conditioned Reﬂexer, 1965 ink, crayon, watercolor on paper signed Steinberg and dated (lower right) 18 3/4 x 24 1/4 inches. Property from the Estate of Lynne Meyers Gordon, Indianapolis, Indiana Provenance: Flair Gallery, Cincinnati, Ohio Acquired from the above by the present owner in 1968 $5,000 - 7,000

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55 Gladys Nilsson

(AMERICAN, B. 1940)

Coyboy, 1989 watercolor on paper signed Gladys Nilsson, titled and dated (verso) 5 3/4 x 6 1/2 inches. $5,000 - 7,000

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56 Robert Lostutter (AMERICAN, B. 1939)

A Memory, 1969 watercolor and pencil on paper signed Lostutter and dated (center right); titled (lower right) 7 1/2 x 6 inches. Provenance: Corbett vs. Dempsey, Chicago $5,000 - 7,000

POST WAR & CONTEMPORARY ART

*57 Viola Frey

(AMERICAN, 1933–2004)

Untitled (from Western Western Civilization Series), c. 2000 ceramic signed V Frey Height: 24 inches. Property from the Collection of Holly Banninga, Carmel, Indiana $10,000 - 15,000

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58 Karl Wirsum

(AMERICAN, B. 1939)

Untitled colored pencil 23 1/2 x 17 1/2 inches. $3,000 - 5,000

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59 Karl Wirsum

(AMERICAN, B. 1939)

Untitled (Walking Woman with Leg Options), 1966 ballpoint pen, colored pencil and felt-tip marker on paper signed Karl Wirsum (lower left) and dated (lower right) 14 x 11 inches. $3,000 - 5,000

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60 William Copley

(AMERICAN, 1919-1996)

Some Like it Hot, 1973 charcoal on paper signed CPLY and dated (lower left) 39 1/2 x 25 1/2 inches. Provenance: The Gallery on Greene, Key West, Florida $6,000 - 8,000

POST WAR & CONTEMPORARY ART

61 Ray Yoshida

(AMERICAN, 1930-2009)

Untitled, c. 1972 mixed media on paper signed Ray Yoshida (lower right edge) 14 7/8 x 19 7/8 inches. $6,000 - 8,000

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62 Ray Yoshida

63 Ray Yoshida

64 Don Baum

IAUU!, 2000 collage signed Yoshida and dated (lower right) 22 x 30 inches.

TAA DAAH!, 2000 collage signed Yoshida and dated (lower right) 22 1/2 x 30 inches.

Higher Power II: Ninie, 1990 mixed media titled (base) 15 1/2 x 16 x 9 1/2 inches.

Property from a Corporate Art Collection

Property from a Private Collection

$3,000 - 5,000

Provenance: Carl Hammer Gallery, Chicago

(AMERICAN, 1930-2009)

(AMERICAN, 1922-2009)

(AMERICAN, 1930-2009)

$2,000 - 3,000

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*65 Ed Paschke

(AMERICAN, 1939-2004)

Cross Block, 2004 mixed media on paper signed E. Paschke and dated (lower right); titled (lower left) 29 1/2 x 22 1/2 inches. Property from the Collection of Julie Lasky, New York, New York $3,000 - 5,000

POST WAR & CONTEMPORARY ART

66 Ed Paschke

(AMERICAN, 1939-2004)

Face to Face, 1997 oil on linen signed E. Paschke and dated (lower right) 36 x 40 inches. Provenance: Acquired directly from the Artist by the present owner in 1997 $25,000 - 35,000

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Mavis Staples Hailed by NPR as “one of America’s defining voices of freedom and peace,” Mavis Staples is the kind of once-in-a-generation artist whose impact on music and culture would be difficult to overstate. She’s both a Blues and a Rock and Roll Hall of Famer; a civil rights icon; a GRAMMY Award-winner; a char t-topping soul/gospel/R&B pioneer; a National Arts Awards Lifetime Achievement recipient; and a Kennedy Center honoree. She marched with Dr. Martin Luther King, Jr., performed at John F. Kennedy’s inauguration, and sang in Barack Obama’s White House. She’s collaborated with everyone from Prince and Bob Dylan to Arcade Fire and Hozier, blown away countless festival goers from Newpor t Folk and Glastonbury to Lollapalooza and Bonnaroo, performed with The Band at The Last Waltz, and graced the airwaves on Fallon, Colbert, Ellen, Austin City Limits, Jools Holland, the GRAMMYs, and more. At a time when most artists begin to wind down, Staples ramped things up, releasing a trio of critically acclaimed albums in her 70’s with Wilco’s Jeff Tweedy that prompted Pitchfork to rave that “her voice has only gained texture and power over the years'' and People to proclaim that she “provides the comfor t of a higher power.” In between records with Tweedy, Staples teamed up with a slew of other younger ar tists—Bon Iver’s Justin Vernon, Nick Cave, Valerie June, tUnE-yArDs, and M. Ward among others—for ‘Livin’ On A High Note,’ an album The Boston Globe called “stunningly fresh and cutting edge” and which first introduced her to Ben Harper. “I come from a family of Mavis fans,” explains Harper, “so her music has been woven into the fabric of my life from the ver y start. When I got the call for this gig, it felt like my entire career, ever ything I’d ever written, had been pre-production for this.” Leading up to the recording sessions, Harper sat in the audience for several of Staples’ concer ts, approaching her performances now as a student more than a fan. As brilliant as Staples’ studio output was over the years, Harper came to understand the stage as her home and her touring band as her family. Capturing as much of that spirit as possible seemed like the obvious approach for her 2019 album ‘We Get By’, produced by Ben Harper. It’s impossible to listen to a voice like Staples’ without contemplating all she’s been through in her life—the album cover features a heartrending Gordon Parks photo that speaks to the casual cruelty of racial segregation in 1950’s Alabama—but it only ser ves to make her optimism and resilience that much more inspiring and contagious.

POST WAR & CONTEMPORARY ART

*67 Don McIlvane

(AMERICAN, 1930-2015)

The Staples Singers oil on board signed McIlvane (lower right) 28 x 36 inches. Property from the Collection of Mavis Staples, Chicago, Illinois Provenance: Gifted by the Artist to the present owner Lot Note: Don McIlvane was a longtime friend of Ms. Staples. Her sister, Cleedi, introduced Ms. Staples to Mr. McIlvane in the early 1970s, and the artist gifted art to her in the years to follow. Mr. McIlvane went to all of the Staple Singers shows in Chicago. His painting of the family group was based on a visual memory of an outdoor summertime show held in the West Side of Chicago around ‘71-’72, which is why they are wearing sunglasses. $4,000 - 6,000

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*68 Ernie Barnes

(AMERICAN, 1938-2009)

Singer oil on canvas signed Ernie Barnes (lower right) 24 x 20 inches. Property from the Collection of Mavis Staples, Chicago, Illinois Provenance: Acquired directly from the Artist by the present owner Lot Note: Ms. Staples met Ernie Barnes around 1966 at a Staple Singers’ show in San Francisco. After the show, he went backstage to introduce himself, invited them to his studio on that Sunday, and on Monday the family picked out which paintings they wanted to buy. That would be their only meeting. $15,000 - 25,000 72

POST WAR & CONTEMPORARY ART

*69 Ernie Barnes

(AMERICAN, 1938-2009)

The Grape Vine oil on canvas signed Ernie Barnes (lower right); titled (verso) 24 x 36 inches. Property from the Collection of Mavis Staples, Chicago, Illinois Provenance: Acquired directly from the Artist by the present owner $20,000 - 30,000

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70 Radcliffe Bailey (AMERICAN, B. 1968)

Untitled, 2002 mixed media and collage on paper signed Radcliffe Bailey and dated (verso) 58 3/4 x 81 1/4 inches. $15,000 - 25,000

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71 Cleve Gray

(AMERICAN, 1918-2004)

Big Space Collector #2, 1997 oil on canvas signed C. Gray, titled and dated (verso) 76 x 104 inches. Property from a Corporate Art Collection $5,000 - 7,000

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72 Beatrice Mandelman (AMERICAN, 1912-1998)

Garden #8 1/2-C, c. 1994 acrylic on canvas 40 x 60 inches. Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico This work is accompanied by a certificate of authenticity issued by the MandelmanRibak Collection $7,000 - 9,000 76

POST WAR & CONTEMPORARY ART

73 Beatrice Mandelman (AMERICAN, 1912-1998)

Gray Clouds, 1948 casein with collage on masonite signed Mandelman (lower right); titled and dated (verso) 16 x 20 inches. This work is accompanied by a certificate of authenticity issued by the MandelmanRibak Collection $2,000 - 4,000

74 Beatrice Mandelman (AMERICAN, 1912-1998)

Formations, c. 1950 oil on canvas 20 x 32 inches. Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico Exhibited: Harwood Foundation Art Gallery, Taos, New Mexico This work is accompanied by a certificate of authenticity issued by the Mandelman-Ribak Collection $3,000 - 5,000

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76 78

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*75 William T. Wiley

*76 William T. Wiley

77 Francisco Toledo

Scrap’s Proposal Heaped, 1968 watercolor and felt-tip marker on paper signed William T. Wiley and dated (lower right); titled (center) 20 1/2 x 15 1/2 inches.

Monument for Union Oil and Paciﬁc Wild Life, 1969 watercolor and felt-tip marker on paper signed William T. Wiley, titled and dated (center) 20 1/2 x 15 1/2 inches.

Fantastic Creature, c. 1965-68 ink and gouache on paper signed Toledo (lower center) 8 ¼ x 10 ½ inches.

(AMERICAN, B. 1937)

Property from George M. Irwin Trust, Quincy, Illinois Provenance: Allan Frumkin Gallery, Chicago Acquired from the above by George M. Irwin in 1969 Exhibited: Macomb, Illinois, Browne Hall Gallery, Western Illinois University, Six Approaches to Watercolor, March 4-23, 1973 Champaign, Illinois, Krannert Art Museum, Selections from the Collection of George M. Irwin, March 2-April 13, 1980 $3,000 - 5,000

(AMERICAN, B. 1937)

(MEXICAN, 1940-2019)

Property from George M. Irwin Trust, Quincy, Illinois Provenance: Allan Frumkin Gallery, Chicago Acquired from the above by George M. Irwin in 1969

Property from a Private Collection, Taos, New Mexico Provenance: Gerald P. Peters, Santa Fe, New Mexico $4,000 - 6,000

Exhibited: Berkeley, California, University Art Museum, University of California, Berkeley, William T. Wiley, September 15-October 24, 1971 Macomb, Illinois, Browne Hall Gallery, Western Illinois University, Six Approaches to Watercolor, March 4-23, 1973 Champaign, Illinois, Krannert Art Museum, Selections from the Collection of George M. Irwin, March 2-April 13, 1980 $3,000 - 5,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

78 Ree Morton

(AMERICAN, 1936-1977)

Regional Piece, 1976 (diptych) oil on wood with celastic Each: 20 x 40 inches. Property from a Private Collection Provenance: Droll/Kolbert Gallery, New York Obelisk Gallery, Boston. Massachusetts Acquired from the above by the present owner in 1989 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 $15,000 - 25,000

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The elusive and enigmatic Ree Morton made an impactful and influential contribution to the art world, making more than the most of her woefully brief, less than a decade span of creation. Morton, rarely one for the more ordinary path, came to formal artmaking later than usual after starting a family and only drawing as ideal pursuit. An artist’s artist, her unique and visionary practice layered conceptual aspects of feminism, minimalism, semiotics and regionalism, realized most recognizably as ambiguous narrative objects that straddle painting, sculpture and craft. Often cloaked in veils of sly innocence and ironic humor to disguise the sharp teeth of biting social commentary and a subversive nature at the core of the work. Morton pioneered the use of Celastic, an industrial plastic impregnated fabric originally used for theatrical prop making that can shaped when saturated and dries hard, holding form, as fine art media creating low relief curtains, flowers, ribbons and bows employed as perplexing and alluring accents and framing devices. Regional Piece, 1976 is part of a series of 12 vertical stacked horizontal seascape diptychs, many of which are held in museum collections, that comprised one of the last bodies of work she produced before her tragic death in a 1977 car accident. All painted in San Diego the Regional Piece works pair upper paintings of austere ocean sunsets above a lower paintings of a lone fish swimming at unknown depths, a speck in the vastness. Both picture planes bordered by open sculptural curtains, implying stages or windows, portals to displays, inviting the attention of an audience. Purposefully sentimental, but with a subtle edginess that avoids drifting to saccharine, thematically these works explore the existential reality of individual insignificance in the immeasurable expanse of the university or more literally as the title of the series might suggest being regionalized to a small fish in a big ocean. Regional Piece, 1976 is more overtly minimal than other examples in the series and arrestingly so, a limited palette of unmodulated complementary orange and blue applied in large passages devoid of texture express the sky water and fish, formally reading at once as a crisper version of Mark Rothko color field and more directly sideways Barnett Newman stripes, bolstering the narrative component with purely abstract aesthetics. Black and white are sparingly used as detail on the fish and dark gray flowing drapery surround both panels, a supporting grayscale elevating and clarifying the more eye-catching color focal points. Additionally, the seemingly decorative for decorations sake curtains function as a disarming dose of cheeky camp offsetting the stark seriousness of the symbolism and making a heavy topic more accessible and comprehensible. This wonderfully beguiling and encapsulating example of both the Regional Piece series and Morton’s entire oeuvre was importantly included in her posthumous 1980 retrospective Ree Morton: Retrospective 1971-1977, that curated by Alan Schwartzman and Kathleen Thomas for the New Museum in New York City and traveled to institutions in Houston, Boulder, Buffalo and Chicago.

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79 Lu Hsien-Ming

(TAIWANESE, B. 1959)

Bus Under the Bridge, 1991 oil on canvas signed 先銘, initialed L.S.M. and dated (lower right) 20 3/4 x 16 inches. Provenance: Dr. Andrew Chew, Founder of the Hong-Gah Museum, Taipei, Taiwan Sold: Christie’s Hong Kong, May 28, 2017, Lot 187 Acquired from the above sale by the present owner $4,000 - 6,000

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*80 Felix Gonzalez-Torres

(AMERICAN/CUBAN, 1957-1996)

Untitled (from Printed Matter Photography Portfolio 1), 1994 color coupler print in acrylic box frame signed, dated and numbered 25/25 4 x 6 inches. Property from the Ginny L. Williams Collection, Denver, Colorado $3,000 - 5,000

*81 Felix Gonzalez-Torres

(AMERICAN/CUBAN, 1957-1996)

Untitled (suddenly, we had all the time), c. 1989 ink and Polaroid print mounted on paper inscribed ‘suddenly, we had all the time’ (lower edge) 4 1/8 x 5 1/4 inches. Property from the Ginny L. Williams Collection, Denver, Colorado Provenance: Sold: Christie’s New York, May 10, 2006, Lot 666 $5,000 - 7,000

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*82 Ricci Albenda

(AMERICAN, B. 1966)

Burst acrylic on canvas 6 x 6 inches. Property from the Ginny L. Williams Collection, Denver, Colorado $2,000 - 4,000

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*83 José-María Cano (SPANISH, B. 1959)

The Yanks Are Back encaustic on canvas on plywood 42 x 57 inches. Property from the Ginny L. Williams Collection, Denver, Colorado Provenance: Hauser and Wirth, London Gifted by the Artist to Ginny L. Williams $10,000 - 15,000

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ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Anuszkiewicz, Richard . . . . . . . . . . . . . . . . .1-2 Abakanowicz, Magdalena . . . . . . . . . . . . . . . 47 Albenda, Ricci . . . . . . . . . . . . . . . . . . . . . . . 82 Bailey, Radcliffe . . . . . . . . . . . . . . . . . . . . . . 70 Baj, Enrico . . . . . . . . . . . . . . . . . . . . . . . . . 53 Barnes, Ernie . . . . . . . . . . . . . . . . . . . . .67-68 Bartels, Hermann . . . . . . . . . . . . . . . . . .17-18 Baum, Don . . . . . . . . . . . . . . . . . . . . . . . . . 64 Calder, Alexander . . . . . . . . . . . . . . . . . . . . . 35 Cano, Jose-Maria . . . . . . . . . . . . . . . . . . . . . 83 Christensen, Dan . . . . . . . . . . . . . . . . . .26-27 Copley, William . . . . . . . . . . . . . . . . . . . . . . 60 Davis, Ron . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Di Suvero, Mark . . . . . . . . . . . . . . . . . . . . . 36 Francis, Sam . . . . . . . . . . . . . . . . . . . . . . . . 33 Frey, Viola . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Frize, Bernard . . . . . . . . . . . . . . . . . . . . . . . . 6 Gonzalez-Torres, Felix . . . . . . . . . . . . . . . .80-81 Gray, Cleve . . . . . . . . . . . . . . . . . . . . . . . . . 71 Halkin, Theodore . . . . . . . . . . . . . . . . . . . . . 46 Hofmann, Hans . . . . . . . . . . . . . . . . . . . .23-24 Hsien-Ming, Lu . . . . . . . . . . . . . . . . . . . . . . 79 Hunt, Richard . . . . . . . . . . . . . . . . . . . . .43-45 Jenkins, Paul . . . . . . . . . . . . . . . . . . . . . . . . 31 Lassaw, Ibram . . . . . . . . . . . . . . . . . . . . .38-39 LeWitt, Sol . . . . . . . . . . . . . . . . . . . . . . . . . 16 Liberman, Alexander . . . . . . . . . . . . . . . . . . 29 Lostutter, Robert . . . . . . . . . . . . . . . . . . . . . 56 Mandelman, Beatrice . . . . . . . . . . 11-13, 72-74 McIlvane, Don . . . . . . . . . . . . . . . . . . . . . . . 69 Mitchell, Joan . . . . . . . . . . . . . . . . . . . . . . . 32 Morris, George L. K. . . . . . . . . . . . . . . . . . . 22 Morton, Ree . . . . . . . . . . . . . . . . . . . . . . . . 78 Moses, Ed . . . . . . . . . . . . . . . . . . . . . . . . . 28 Motonaga, Sadamasa . . . . . . . . . . . . . . . . . 19 Natkin, Robert . . . . . . . . . . . . . . . . . . . . . . . 25 Nevelson, Louise . . . . . . . . . . . . . . . . . . . . . 20 Nilsson, Gladys . . . . . . . . . . . . . . . . . . . . . . 55 Nozkowski, Thomas . . . . . . . . . . . . . . . . . . . . 8 Nutt, Jim . . . . . . . . . . . . . . . . . . . . . . . . .50-51 Oldenburg, Claes . . . . . . . . . . . . . . . . . . . . . 34 Osver, Arthur . . . . . . . . . . . . . . . . . . . . . . . . 30 Ovchinnikov, Vladimir . . . . . . . . . . . . . . . . . . 52 Parker, Ray . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Paschke, Ed . . . . . . . . . . . . . . . . . . . . . .65-66 Rauschenberg, Robert . . . . . . . . . . . . . . . . . . 3 Rickey, George . . . . . . . . . . . . . . . . . . . . . . 37 Ross, Johnnie . . . . . . . . . . . . . . . . . . . . . . . 15 Scheib, Hans . . . . . . . . . . . . . . . . . . . . . . . 49 Soto, Jesus Rafael . . . . . . . . . . . . . . . . . . . 14 Steinberg , Saul . . . . . . . . . . . . . . . . . . . . . 54 Tiande, Wang . . . . . . . . . . . . . . . . . . . . . . . 21 Toledo, Francisco . . . . . . . . . . . . . . . . . . . . . 77 Vasarely, Victor . . . . . . . . . . . . . . . . . . . . . . . 4 Wesselmann, Tom . . . . . . . . . . . . . . . . . . . . 48 Wiley, William T. . . . . . . . . . . . . . . . . . . . .75-76 Wirsum, Karl . . . . . . . . . . . . . . . . . . . . . .58-59 Yang, Yuyu . . . . . . . . . . . . . . . . . . . . . . .40-42 Yoshida, Ray . . . . . . . . . . . . . . . . . . . . . .61-63 Youngerman, Jack . . . . . . . . . . . . . . . . . . . . 10 Zucker, Joseph . . . . . . . . . . . . . . . . . . . . . . . 5

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.

WE INVITE YOU TO CONSIGN WITH US UPCOMING AUCTION

STEPPING INTO TOMORROW POST WAR ART & DESIGN Thursday, July 29 | Chicago

CONSIGNMENT INQUIRIES consign@hindmanauctions.com 1338 West Lake Street Chicago, Illinois 60607 312.280.1212

HINDMANAUCTIONS.COM

Fine Art

JOSEPH STANFIELD VICE PRESIDENT, SENIOR SPECIALIST

ZACHARY WIRSUM SENIOR SPECIALIST POST WAR & CONTEMPORARY ART

MONICA BROWN SENIOR SPECIALIST FINE PRINTS

KATHERINE HLAVIN DIRECTOR AND SPECIALIST, WESTERN & WILDLIFE ART

ZACHARYWIRSUM@HINDMANAUCTIONS.COM 312.600.6069

MONICABROWN@HINDMANAUCTIONS.COM 303.825.1855

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NATE BRADY ASSOCIATE SPECIALIST

JULIANNA TANCREDI CATALOGUER

ALEXANDRIA DREAS CATALOGUER

MARY GRACE BILBY DEPARTMENT COORDINATOR

ABBY CHAMBERS DEPARTMENT COORDINATOR

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JOSEPHSTANFIELD@HINDMANAUCTIONS.COM 312.600.6063

PAULINE ARCHAMBAULT SPECIALIST PAULINEARCHAMBAULT@HINDMANAUCTIONS.COM 513.871.1670

Estates, Appraisals & Business Development

ALYSSA QUINLAN SENIOR VICE PRESIDENT, BUSINESS DEVELOPMENT

MOLLY E. GRON, J.D. NATIONAL DIRECTOR, TRUSTS & ESTATES SENIOR DIRECTOR, CHICAGO

312.447.3272 ALYSSAQUINLAN@HINDMANAUCTIONS.COM

312.334.4235 MOLLYGRON@HINDMANAUCTIONS.COM

TIM LUKE SENIOR APPRAISER 561.833.8053 TIMLUKE@HINDMANAUCTIONS.COM

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

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

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

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

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

SCOTTSDALE LOGAN BROWNING BUSINESS DEVELOPMENT DIRECTOR 480.490.3175 LOGANBROWNING@HINDMANAUCTIONS.COM

DENVER MARON HINDMAN VICE CHAIR 303.825.1855 MARON@HINDMANAUCTIONS.COM

MIAMI, PALM BEACH SARAH ROY DIRECTOR, BUSINESS DEVELOPMENT 561.660.0579 SARAHROY@HINDMANAUCTIONS.COM

ST. LOUIS ANNA SHAVER BUSINESS DEVELOPMENT MANAGER 314.833.0833 ANNASHAVER@HINDMANAUCTIONS.COM

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

PALM BEACH KATE STAMM SENIOR ASSOCIATE, BUSINESS DEVELOPMENT 561.833.8053 KATESTAMM@HINDMANAUCTIONS.COM

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

POST WAR & CONTEMPORARY ART

Auction Inquiries FINANCE MARCO GUSELLA DIRECTOR, FINANCE MARCOGUSELLA @HINDMANAUCTIONS.COM 312.280.1212 CLIENT SERVICES RITA SWANBERG MANAGER, CLIENT SERVICES RITASWANBERG @HINDMANAUCTIONS.COM 312.280.1212 ESTATES, APPRAISALS & BUSINESS DEVELOPMENT VAUGHN SMITH BUSINESS DEVELOPMENT MANAGER VAUGHNSMITH @HINDMANAUCTIONS.COM 312.334.4238 BRIAR KOEHL BUSINESS DEVELOPMENT SENIOR ASSOCIATE BRIARKOEHL @HINDMANAUCTIONS.COM 312.600.6075 SAMANTHA SCHWARTZ BUSINESS DEVELOPMENT ASSOCIATE, TRUSTS & ESTATES SAMANTHASCHWARTZ @HINDMANAUCTIONS.COM 312.447.3297 NNEKA DUNHAM BUSINESS DEVELOPMENT ASSOCIATE, WEST NNEKADUNHAM @HINDMANAUCTIONS.COM 312.334.4232 HANNAH UNGER BUSINESS DEVELOPMENT ASSOCIATE, EAST HANNAHUNGER @HINDMANAUCTIONS.COM 312.447.3267 MUSEUM SERVICES MICHAEL SHAPIRO SENIOR ADVISOR MUSEUMS & PRIVATE COLLECTIONS MICHAELSHAPIRO @HINDMANAUCTIONS.COM 312.334.4210 MIRANDA MAXFIELD BUSINESS DEVELOPMENT SENIOR ASSOCIATE, MUSEUM SERVICES MIRANDALUCE @HINDMANAUCTIONS.COM 312.334.4208 CONSIGNMENT DEPARTMENT JIM SHARP CHIEF OPERATING OFFICER JIMSHARP @HINDMANAUCTIONS.COM MAGGIE PORTER VP SALES STRATEGY, DEPUTY COO MAGGIEPORTER @HINDMANAUCTIONS.COM MOLLY MORSE LIMMER SENIOR VICE PRESIDENT, DECORATIVE ARTS & COLLECTIBLES MOLLYLIMMER @HINDMANAUCTIONS.COM

FINE ART JOSEPH STANFIELD VP, SENIOR SPECIALIST JOSEPHSTANFIELD @HINDMANAUCTIONS.COM ZACK WIRSUM SENIOR SPECIALIST, POST WAR & CONTEMPORARY ART ZACHARYWIRSUM @HINDMANAUCTIONS.COM MONICA BROWN SENIOR SPECIALIST, PRINTS & MULTIPLES MONICABROWN @HINDMANAUCTIONS.COM KATHERINE HLAVIN DIRECTOR AND SPECIALIST, WESTERN & WILDLIFE ART KATHERINEHLAVIN @HINDMANAUCTIONS.COM PAULINE ARCHAMBAULT SPECIALIST PAULINEARCHAMBAULT @HINDMANAUCTIONS.COM NATE BRADY ASSOCIATE SPECIALIST NATHANBRADY @HINDMANAUCTIONS.COM ALEXANDRIA DREAS CATALOGUER ALEXANDRIADREAS @HINDMANAUCTIONS.COM JULIANNA TANCREDI CATALOGUER JULIANNATANCREDI @HINDMANAUCTIONS.COM ABBY CHAMBERS DEPARTMENT COORDINATOR ABBYCHAMBERS @HINDMANAUCTIONS.COM EUROPEAN FURNITURE & DECORATIVE ARTS CORBIN HORN DIRECTOR, SENIOR SPECIALIST CORBINHORN @HINDMANAUCTIONS.COM 312.334.4214 MIKE INTIHAR SENIOR SPECIALIST MIKEINTIHAR @HINDMANAUCTIONS.COM NICK COOMBS SPECIALIST NICKCOOMBS @HINDMANAUCTIONS.COM GENEVIEVE KING ASSOCIATE SPECIALIST GENEVIEVEKING @HINDMANAUCTIONS.COM ELIZABETH REED CATALOGUER ELIZABETHREED @HINDMANAUCTIONS.COM AMERICAN FURNITURE, FOLK & DECORATIVE ARTS BENJAMIN FISHER DIRECTOR, SENIOR SPECIALIST BENJAMINFISHER @HINDMANAUCTIONS.COM

JENNIFER HOWE SENIOR SPECIALIST JENNIFERHOWE @HINDMANAUCTIONS.COM LEAH VOGELPOHL SPECIALIST LEAHVOGELPOHL @HINDMANAUCTIONS.COM ANTIQUITIES JACOB COLEY DIRECTOR AND SENIOR SPECIALIST, ANTIQUITIES JACOBCOLEY @HINDMANAUCTIONS.COM MODERN DESIGN HUDSON BERRY DIRECTOR, SPECIALIST HUDSONBERRY @HINDMANAUCTIONS.COM SABRINA GRANADOS ASSOCIATE CATALOGUER SABRINAGRANADOS @HINDMANAUCTIONS.COM NATIVE AMERICAN, PREHISTORIC & TRIBAL ART DANICA FARNAND DIRECTOR, SENIOR SPECIALIST DANICAFARNAND @HINDMANAUCTIONS.COM ERIN RUST SPECIALIST ERINRUST @HINDMANAUCTIONS.COM MADISON LIGHT ASSOCIATE CATALOGER MADISONLIGHT @HINDMANAUCTIONS.COM BOOKS & MANUSCRIPTS GRETCHEN HAUSE DIRECTOR, SENIOR SPECIALIST GRETCHENHAUSE @HINDMANAUCTIONS.COM KATIE HORSTMAN SENIOR SPECIALIST KATIEHORSTMAN @HINDMANAUCTIONS.COM DANIELLE LINN SPECIALIST DANIELLELINN @HINDMANAUCTIONS.COM EMILY PAYNE SPECIALIST EMILYPAYNE @HINDMANAUCTIONS.COM KAYLAN GUNN ASSOCIATE SPECIALIST KAYLANGUNN @HINDMANAUCTIONS.COM FRANCIS WAHLGREN SENIOR CONSULTANT FRANCISWAHLGREN @HINDMANAUCTIONS.COM

ASIAN ART ANNIE WU DIRECTOR, SENIOR SPECIALIST ANNIEWU @HINDMANAUCTIONS.COM FLORA ZHANG ASSOCIATE SPECIALIST FLORAZHANG @HINDMANAUCTIONS.COM MEGAN SADLER CATALOGUER MEGANSADLER @HINDMANAUCTIONS.COM MARIELLE EPSTEIN DEPARTMENT COORDINATOR MARIELLEEPSTEIN @HINDMANAUCTIONS.COM JEWELRY & TIMEPIECES SALLY KLARR, G.G. DIRECTOR, SENIOR SPECIALIST SALLYKLARR @HINDMANAUCTIONS.COM KATIE HAMMOND GUILBAULT, G.G. BUSINESS DEVELOPMENT DIRECTOR, SAN DIEGO, SENIOR SPECIALIST, JEWELRY AND TIMEPIECES KATIEGUILBAULT @HINDMANAUCTIONS.COM MARISA ACKERMAN, G.G. SPECIALIST MARISAACKERMAN @HINDMANAUCTIONS.COM KARINA HAMMER, G.G. SPECIALIST KARINAHAMMER @HINDMANAUCTIONS.COM HANA THOMSON CATALOGUER HANATHOMSON @HINDMANAUCTIONS.COM MADELINE SCHROEDER ASSOCIATE CATALOGUER MADELINESCHROEDER @HINDMANAUCTIONS.COM COUTURE & LUXURY ACCESSORIES TIMOTHY LONG DIRECTOR, SENIOR SPECIALIST TIMOTHYLONG @HINDMANAUCTIONS.COM MICHAEL HALL CATALOGUER MICHAELHALL @HINDMANAUCTIONS.COM ARMS, ARMOR & MILITARIA TIM CAREY DIRECTOR, SPECIALIST TIMCAREY @HINDMANAUCTIONS.COM SPORTS MEMORABILIA JAMES SMITH SPECIALIST JAMESSMITH @HINDMANAUCTIONS.COM

PATRICIA TENCH SENIOR CATALOGUER PATRICIATENCH @HINDMANAUCTIONS.COM MARIA FERNANDEZ CATALOGUER MARIAFERNANDEZ @HINDMANAUCTIONS.COM 312.334.4236

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

FRIEDEL DZUBAS ELIXIR VITAE, 1977 SOLD FOR $100,000

SOLD PRICES ARE INCLUSIVE OF BUYER’S PREMIUM

Upcoming Auction Schedule 865 | EUROPEAN FURNITURE & DECORATIVE ARTS APRIL 21-22 | CHICAGO

875 | TIMEPIECES MAY 17 | CHICAGO

893 | A GENTLEMAN'S PURSUITS APRIL 27 | CHICAGO

876 | IMPORTANT JEWELRY MAY 18 | CHICAGO

892 | DINING AT HOME APRIL 29 | CHICAGO

878 | MODERN DESIGN MAY 20 | CHICAGO

869 | AMERICAN & EUROPEAN ART MAY 3 | CHICAGO

903 | ATLANTA COLLECTIONS MAY 21 | ATLANTA

870 | POST WAR & CONTEMPORARY ART MAY 4 | CHICAGO

898 | PALM BEACH COLLECTIONS, SESSION I MAY 24 | PALM BEACH

871 | PRINTS & MULTIPLES MAY 5 | CHICAGO

919 | ARMS & ARMOR, SESSION I MAY 25 | CINCINNATI

835 | WESTERN PAINTINGS & SCULPTURE INCLUDING CONTEMPORARY NATIVE AMERICAN ART MAY 6-7 | DENVER

881 | ANTIQUITIES MAY 27-28 | CHICAGO

873 | BOOKS & MANUSCRIPTS MAY 12-13 | CHICAGO 890 | CINCINNATI COLLECTIONS MAY 14 | CINCINNATI 90

POST WAR & CONTEMPORARY ART

882 | SUMMER FASHION & ACCESSORIES JUNE 3 | CHICAGO 883 | SPORTS MEMORABILIA JUNE 8 | CHICAGO

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.

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:

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.

$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

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.

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.

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.

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.

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.

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 4/21

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.

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

CONDITIONS OF SALE These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction. A glossary at the end defines the words in bold type.

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance—are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot. 2. CONDITION The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report. 3. VIEWING LOTS We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. 4. ESTIMATES Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges. 5. WITHDRAWAL We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID

1. NEW BIDDERS New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity. (a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid. 2. RETURNING BIDDERS If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction. 3. BIDDING FOR ANOTHER PERSON If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization

POST WAR & CONTEMPORARY ART

allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal. 4. BIDDING IN THE SALEROOM If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction. 5. OUR BIDDING SERVICES We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services. (a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids. (b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites. (c) Written Bids: You can find a Written Bid Form in the back of our catalogues, at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids. 6. CREDIT CARD AUTHORIZATION HOLD When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a $100 authorization hold on the card that will remain until it falls off, usually within 48 hours.

C. DURING THE AUCTION

1. BIDDING IN THE AUCTION (a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/ her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (b) Online-only Auctions. Bids may only be submitted on our website or through third-party bidding sites between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion. 2. AUCTIONEER’S DISCRETION The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1). 3. BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at approximately fifty percent (50%) of the lot’s low estimate; where

necessary, will lower the asking bid until a bid is received; and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold. 4. SUCCESSFUL BIDS AND INVOICES Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges.

D. AFTER THE AUCTION

1. THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots, we charge twenty-five percent (25%) of the hammer price up to and including $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. (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.

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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. 94

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

F. OUR LIABILITY TO YOU

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

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

G. OTHER TERMS

1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities. 6. PERSONAL INFORMATION We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com. 7. WAIVER No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy. 8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy, or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), you and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This

arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY

authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. due date: has the meaning given to it in paragraph D(3)(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot. Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic. other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law. purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms: (a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter. (b) “Attributed to” means, in our opinion, a work probably by the artist. (c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style. (d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist. (e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work. (f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned. UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct. Updated 4/21

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POST WAR & CONTEMPORARY ART | MAY 4, 2021 NO. 870

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