20th Century Art 10 October 2019 by Wright Auction

A U C T I O N 10 O C T O B E R 2 01 9

20TH CENTURY ART

E X H I B I T I O N 3 – 10 October 2019 10 am – 4 pm Monday – Friday 1440 W Hubbard St Chicago IL 60642 wright20.com

100 E D R U S C H A b. 1937 Real Estate Opportunities (from the Book Covers series) 1970 lithograph on white Arches paper 8 ¼ h × 11 ¼ w in (21 × 29 cm) Sheet measures: 16 h × 20 w inches. Signed, dated and numbered to lower left ‘U.S.F. VIII E.R. 1970’. This work is number 8 of 10 University of South Florida impressions within the edition of 30 printed and published by Graphicstudio, University of South Florida, Tampa. $ 15,000 – 20,000

Literature Engberg 51 Provenance Texas Gallery, Houston Private Collection

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101 A N D Y W A R H O L 1928–1987 Alexander the Great 1982 screenprint on Lenox Museum Board 39 ¾ h × 39 ¾ w in (101 × 101 cm) Stamped to verso ‘© Andy Warhol 1982’. This work is outside of the edition of 25 printed by Rupert Jasen Smith, New York and published by Alexander Iolas, New York. $ 30,000 – 50,000

Literature Feldman / Schellmann II.291–292 Provenance Acquired from Rupert Jasen Smith by Manuel Pardo, New York Gift from the previous to Medardo Clavijo, New York

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102 A N D Y W A R H O L 1928–1987 Marilyn Monroe (Marilyn) 1978 screenprint on Curtis Rag paper 18 h × 14 w in (46 × 36 cm) Sheet measures: 22.5 h × 17.5 w inches. Stamped to verso ‘© Andy Warhol Enterprises Inc. 1978’. This work is from the edition of an unknown size printed by Rupert Jasen Smith based on a publicity photograph by Gene Korman for the 1953 film Niagara. It was created around the same time as the 1979-80 series of Reversal paintings. $ 70,000 – 90,000

Literature Feldman / Schellmann IIIA.3 Provenance Acquired from Rupert Jasen Smith by Manuel Pardo, New York Gift from the previous to Medardo Clavijo, New York

Swen Swenson was a classically trained dancer, best known for his work on Broadway and television. He also loved art, he had the world’s largest collection of carousel figures, and he bred and raised Yorkies for over forty years (the present lot is a portrait of one his cherished canines). But, above all, Swen was an activist, and although passionate about many causes, he was a relentless advocate in the fight against AIDS. Among his many philanthropic acts, he was known to spend his weekends on Santa Monica Boulevard raising money for the disease by letting people pet his “gay” dog, Fever, for one dollar. Swen met Keith Haring in the 1980s and took the artist to his first ACT UP meeting in New York. The two maintained a close friendship until the artist’s death in 1990 and Swen continued to champion and support Haring until his own death from an AIDSrelated illness in 1993. Bound by a commitment to fight the disease, the two shared a unique bond, illustrated in the loving correspondence and thoughtful letters he sent to Haring before his death. In one such note, Swen writes, “Dear Keith, There’s an awful lot of love from so many people surrounding you to help you pull through this. So, hang in there, Buddy!” The card is signed with love from Swen, Fever, and his two Yorkies, Stash and Popcorn.

103 K E I T H H A R I N G 1958–1990 Untitled 1988 ink on paper 22 ½ h × 30 w in (57 × 76 cm) Signed, dated and inscribed to right ‘For Swen - Merry Christmas 1988 Love Keith’. $ 50,000 – 70,000

Provenance Gift from the artist to Swen Swenson Thence by descent

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104 collection of Keith Haring ephemera 1985–1991 printed paper 10 h × 15 w in (25 × 38 cm) Collection includes various pieces of ephemera including postcards, exhibition fliers, memorial tributes and a copy of the PopShop catalog poster from 1988. A complete list is available online. $ 1,000 – 1,500

Provenance Family of Swen Swenson Thence by descent

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105 signed copy of Keith Haring 1982/88 ink on paper, bound printed paper 9 h × 9 ½ w × 1 d in (23 × 24 × 3 cm) Signed, titled and inscribed to first page ‘For Swen - K.Haring 88’. This copy of Keith Haring by Robert Pincus-Witten, Jeffrey Deitch and David Shapiro, published in 1982 by Tony Shafrazi Gallery, New York, features a dedication and drawing done by Haring to his friend, Swen Swenson. $ 5,000 – 7,000

Provenance Acquired directly from the artist in 1988 by Swen Swenson Thence by descent

106 R I C H A R D P E T T I B O N E b. 1938 Marilyn 1978 screenprint ink and acrylic on canvas 3 ½ h × 3 w in (9 × 8 cm) Signed and dated to verso ‘Richard Pettibone 1978’. $ 15,000 – 20,000

Provenance Collection of the artist Morgan Gallery, Kansas City, MO Private Collection Thence by descent

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Actual size

107 F R I E D E L D Z U B A S 1915–1994 La Plata 1976 acrylic on canvas 6 ¼ h × 16 w in (16 × 41 cm) Titled and dated to verso ‘La Plata 1976’. $ 5,000 – 7,000

Provenance Leslie Feely Fine Art, New York Private Collection

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108 F R I E D E L D Z U B A S 1915–1994 Procession 1985 monoprint and paint on handmade paper 42 ½ h × 92 w in (108 × 234 cm) Signed and dated to lower right ‘Friedel Dzubas 85’. $ 10,000 – 15,000

Provenance Gallery One, Toronto Private Collection

109 A L F R E D L E S L I E b. 1927

Exhibited

Oval

Alfred Leslie 1951–1962: Expressing the Zeitgeist,

1959 collage with gouache on paper 22 h × 18 w in (56 × 46 cm) Signed and dated to lower edge ‘Alfred Leslie 59’. $ 5,000 – 7,000

Literature Alfred Leslie, 1951–1962: Expressing the Zeitgeist, Stone, no. 16 Collage: Personalities, Concepts, Techniques, Janis and Blesh, pg. 174, no. 238

16 October – 22 December 2004, Allan Stone Gallery, New York Alfred Leslie: Abstraction 1951–1962, 29 October – 24 December 2015, Allan Stone Projects, New York Provenance Martha Jackson Gallery, New York Adler Gallery, Los Angeles Allan Stone Gallery, New York

110 R O B E R T S . N E U M A N 1926–2015

Exhibited

Parrot in the Snow

Robert S. Neuman, January – February 1966,

1958 oil on canvas 49 ½ h × 72 w in (126 × 183 cm)

Allan Stone Gallery, New York Robert S. Neuman: 50 Years, 12 January – 4 March 2006, Allan Stone Gallery, New York

Signed and dated to verso ‘Robert S. Neuman 1958’.

Provenance

$ 7,000 – 9,000

Acquired directly from the artist

Literature Robert S. Neuman, 50 Years, Stone, pg. 11 Impulse and Discipline: Sixty Years of Painting by Robert S. Neuman: 1950 — 2010, Ketner, pg. 62, fig. 39

Allan Stone Gallery, New York

111 M I LT O N R E S N I C K 1917–2004 Untitled 1981 oil on paper mounted to linen 34 ½ h × 24 w in (88 × 61 cm) $ 6,000 – 8,000

Provenance Estate of Max Hutchinson, Kenoza Lake, New York Private Collection

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112 P H I L I P G U S T O N 1913–1980 Untitled (Still-Life) 1965 ink on paper 19 h × 25 ¼ w in (48 × 64 cm) Signed, dated and inscribed to lower edge ‘To Tom Garver Philip Guston 1965’. $ 20,000 – 30,000

Provenance Gift from the artist to the present owner, Tom Garver, Madison, WI

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113 F R A N Z K L I N E 1910–1962 Untitled 1957 oil and collage on linen 5 h × 4 ¼ w in (13 × 11 cm) $ 40,000 – 60,000

Exhibited Grand Salon: The Visionary Eye of Allan Stone, 13 September – 10 November 2018, Allan Stone Projects, New York Provenance O.K. Harris Gallery, New York Allan Stone Gallery, New York

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114 E L L S W O R T H K E L LY 1923–2015 Untitled (Studies for Curve I and II) c. 1970

pencil on paper 10 ½ h × 8 w in (27 × 20 cm) This work comes from the collection of noted art critic and historian, E.C. Goossen. $ 3,000 – 5,000

Provenance Collection of E.C. Goossen Private Collection

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115 DONALD JUDD STUDIO Untitled (Study for Fibonacci Sequence Sculpture) c. 1970

pencil on paper 8 ¼ h × 10 ¾ w in (21 × 27 cm) This work comes from the collection of Heather McGill, the former head of Sculpture at Cranbrook Academy of Art. $ 5,000 – 7,000

Provenance Collection of Heather McGill Private Collection

116

117

B R I C E M A R D E N b. 1938

Untitled (from Adriatics portfolio)

1973

etching and aquatint on Rives BFK paper

23 ¾ h × 14 w in (60 × 36 cm)

Sheet measures: 32.5 h × 22 w inches. Signed

to lower margin ‘20/40 B. Marden 73’. This work

is number 20 from the edition of 40 published

by Parasol Press, New York.

$ 3,000 – 5,000

Literature

Lewison 22b

Lewison 22c

Provenance

Texas Gallery, Houston

Private Collection

118 B R I C E M A R D E N b. 1938 Untitled (from Adriatics portfolio) 1973 etching and aquatint on Rives BFK paper 23 ¾ h × 14 w in (60 × 36 cm) Sheet measures: 32.5 h × 22 w inches. Signed to lower margin ‘20/40 B. Marden 73’. This work is number 20 from the edition of 40 published by Parasol Press, New York. $ 3,000 – 5,000

Literature Lewison 22a Provenance Texas Gallery, Houston Private Collection

119 DADAMAINO (EDUARDA E M I L I A M A I N O ) 1930–2004 Oggetto Ottico Dinamico 1963–65 milled aluminum on painted wood 28 h × 28 w × 1 d in (71 × 71 × 3 cm) Dated and inscribed on artist’s label to verso ‘26.3.1965’. This work is presently undergoing registration with the Archivio Dadamaino. $ 40,000 – 50,000

Provenance A. Boillat & C., Milan Judith Spanjer Herford, São Paulo Private Collection, São Paulo

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120 LY N D A B E N G L I S b. 1941 N.Z. of N.M. 1994 purified pigmented beeswax and damar resin on masonite 36 h × 4 ½ w × 1 d in (91 × 11 × 3 cm) Signed, titled and dated to verso ‘L. Benglis 94 N.Z. of N.M.’. $ 50,000 – 70,000

Provenance Collection of the artist Private Collection, Boston Skinner, 20th Century Design, 7 December 2013, Lot 526 Private Collection

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121 R O N G O R C H O V b. 1930 Hercules 1978 oil on shaped canvas 48 ¼ h × 50 w × 12 d in (123 × 127 × 30 cm) Signed, titled and dated to verso ‘Hercules Ron Gorchov 1978 Gorchov 1978’. $ 50,000 – 70,000

Exhibited Painting and Sculpture Today 1980, 24 June – 17 August 1980, Indianapolis Museum of Art, Indianapolis Provenance Young Hoffman Gallery, Chicago Susanne Hilberry Gallery, Inc., Birmingham, MI Private Collection

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122 R A L P H H U M P H R E Y 1932–1990 Untitled 1966 acrylic and Day-Glo paint on canvas 72 h × 84 w in (183 × 213 cm) $ 20,000 – 30,000

Provenance Bykert Gallery, New York Roselyne C. Swig Artsource for a Private Collector Private Collection

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123 LY N D A B E N G L I S b. 1941

Literature

Aquanot #24

Selected Prints III, Brooke Alexander,

1980

exhibition catalog, unpaginated

cast pigmented paper, gouache, sparkles

Exhibited

43 h × 35 w × 4 d in (109 × 89 × 10 cm)

Selected Prints III, 7 September – 2 October

Signed, dated and numbered to verso ‘#24 Benglis

1982, Brooke Alexander Gallery, New York

1980’ with Bummy Huss stamp. This work is number 24 from the edition of 33 unique works made with Steven Kasher at Bummy Huss Paper, New York and published by Brooke Alexander Gallery and Paula Cooper Gallery, New York. $ 3,000 – 5,000

Provenance Brooke Alexander, New York Private Collection

124 LY N D A B E N G L I S b. 1941 Palladium Wave 1983 glazed ceramic 13 h × 17 w × 17 d in (33 × 43 × 43 cm) This work is a study for Benglis’ first fountain,

Signed and numbered to underside ‘Lynda Benglis

The Wave of The World which was originally

4/24’. This work is number 4 from the edition of 24,

installed at the 1984 Louisiana World Exposition.

of which only 6 are known to have been produced,

She rediscovered the model at the Modern Art

published by Julio Juristo at Topaz Editions, Tampa.

Foundry in Long Island City while working on

$ 7,000 – 9,000

sculptures for her 2015 exhibition Lynda Benglis: Water Sources at the Storm King Art Center and used it as the basis for her 2015 work Lion Paw.

Provenance Collection of the artist Atlantic Center for the Arts, New Smyrna Beach, FL Paddle8, A Benefit Auction for Atlantic Center for the Arts, 2014 Private Collection

125 LY N D A B E N G L I S b. 1941 Lagniappe I 1978 cast pigmented paper, acrylic, sparkles, polypropylene 50 h × 28 w × 15 d in (127 × 71 × 38 cm) Signed, dated and numbered to verso ‘L. Benglis 78 22/26’. This work is number 22 from the edition of 26 unique works made with Lynn Forgach and Exeter Press and published by Paula Cooper Gallery, New York. $ 10,000 – 15,000

Provenance Collection of the artist Private Collection, Boston Skinner, 20th Century Design, 7 December 2013, Lot 550 Private Collection

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126 R A Y M O N D P A R K E R 1922–1990 Untitled 1959 oil on canvas 72 h × 70 w in (183 × 178 cm) Signed and dated to lower edge ‘Parker 59’. Signed and dated to verso ‘Parker 59’. $ 50,000 – 70,000

Provenance Dr. Ted Fields, Washington, D.C. Private Collection

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127 J O A N S E M M E L b. 1932 Portrait of Rosemary 1977 oil on canvas 40 h × 50 w in (102 × 127 cm) Signed and dated to lower right ‘Joan Semmel 77’. $ 50,000 – 70,000

Provenance Lerner-Heller Gallery, New York Private Collection

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128 B R U C E C O N N E R 1933–2008 Untitled c. 1970

glass, plastic, soil, paper 7 h × 2 ½ w × 2 ½ d in (18 × 6 × 6 cm) $ 1,500 – 2,000

Provenance Acquired directly from the artist Collection of Natasha Nicholson

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129 B R U C E C O N N E R 1933–2008 Report (16mm film print) 1967 film reel 1 h × 9 ½ w × 9 ½ d in (3 × 24 × 24 cm) Report is a 13 minute film by Bruce Conner consisting of newsreel footage and radio tapes from the assassination of John F. Kennedy, set to the soundtrack Four Days That Shocked The World. $ 3,000 – 5,000

Provenance Acquired directly from the artist Collection of Natasha Nicholson

Central to Reinhard Mucha’s practice are the ideas of transivity and interconnectedness. His works are often assemblages, objects of his own creation melded with elements of mass production, high-end craft, stark modernity and always dense in their construction. On its own, the materiality speaks for itself, weighty, rich and rooted in historical traditions. Mucha uses these implications to frame the conceptual and intangible and bridge the gap between observer and idea. The present lot, BBK Edition is comprised of two posters advertising Mucha’s exhibitions from the past. One exhibition, aptly titled Kopfidktate (which roughly translates to You Copycat), was staged first in 1980 and then ten years later in 1990 and illustrates a child observing a mighty steam engine. The other, Kasse beim Faher (Buy ticket from the operator) was held at Kunsthalle Bern and Kunsthalle Basel in 1987 and depicts a pastoral scene. As is the case in much of his practice, the frames are very much a part of the work and bear Mucha’s signature engraved lines signifying train tracks—a reoccurring theme in his work, referencing industrialism offset by nature and the indeterminate symbolic network that connects us all. These heavy, intricate, oak constructions elevate the posters to unique works of art that are both institutionalizing and commemorative. While redundant in their very nature (printed multiples) and in subject matter (reoccurring exhibitions), Mucha literally and figuratively transforms the works in such a way that they become inherently unique, embedded within the complex network of the observer’s own personal experience and the grand narrative.

130 R E I N H A R D M U C H A b. 1950 BBK Edition (diptych) 1990 lithograph on paper in artist’s frame 45 ¼ h × 34 w × 2 ¼ d in (115 × 86 × 6 cm) Signed and numbered to each work ‘Reinhard Mucha 1990 15/25’ and ‘R.M. 1990 15/25’. This work is number 15 from the edition of 25. Sold with original artist-made crates. $ 10,000 – 15,000

Provenance Luhring Augustine, New York Acquired from the previous in 1993 by David Campbell Thence by descent

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131 E L L I O T T P U C K E T T E b. 1967 Untitled 1992 gesso, kaolin and ink on panel 35 h × 25 w in (89 × 64 cm) Signed and dated to verso ‘Elliott Puckette 92’. $ 5,000 – 7,000

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132 D A V I D N A S H b. 1945 Four Wall Sheaves 2005 oak 64 ¾ h × 6 ½ w × 9 d in (largest element) $ 20,000 – 30,000

Provenance Annely Juda Fine Art, London Private Collection, New York

133 F R A N K S T E L L A b. 1936 Bene come il sale 1989 etching, aquatint, relief on white TGL handmade paper 77 ½ h × 58 ¾ w in (197 × 149 cm) Signed, dated and numbered to lower center ‘25/50 F. Stella 89’. This work is number 25 from the edition of 50 published by Tyler Graphics, Ltd., Mount Kisco, New York. $ 7,000 – 9,000

Literature Axsom (2016) 184

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134 I D A K O H L M E Y E R 1912–1997 Untitled 1990 painted and enameled aluminum 76 h × 82 w × 7 d in (193 × 208 × 18 cm) Signed and dated to interior element ‘Kohlmeyer 1990’. $ 7,000 – 9,000

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135

136

TONY (BERNARD) ROSENTHAL

R A Y M O N D D A U S S Y b. 1919

1914–2009

Tour de France

Cellist

1945

c. 1955

oil on canvas

bronze

11 h × 14 w in (28 × 36 cm)

23 h × 8 ½ w × 6 ½ d in (58 × 22 × 17 cm)

Signed and dated to lower right ‘Daussy 45’.

Impressed signature to base ‘Rosenthal’.

$ 10,000 – 15,000

$ 5,000 – 7,000

Provenance David Bright Collection Private Collection

Provenance Private Collection, Santa Fe

137 S A M G I L L I A M b. 1933 Neruda’s Fibers of Darkness 1989 mixed media construction in artist’s frame 47 h × 42 ½ w × 6 d in (119 × 108 × 15 cm) Signed and dated to lower left ‘Sam Gilliam 89’. This work is unique. $ 20,000 – 30,000

Provenance Echo Press, Bloomington, IN Private Collection

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138 H A N N E L O R E B A R O N 1926–1987 Untitled 1981 wood, fabric, paper, ink, paint, lead, string in artist’s frame and easel 9 ¾ h × 10 ½ w × 1 ¾ d in (25 × 27 × 4 cm) Signed and dated to verso ‘Hannelore Baron 1981’. Sold with a copy of the certificate of authenticity from the Estate of Hannelore Baron and a copy of the exhibition catalog The Keeper. This work is registered in the archive of the Estate of Hannelore Baron as number B81036. $ 10,000 – 15,000

Literature The Keeper, The New Museum, pg. 69 Exhibited The Keeper, 20 July – 2 October 2016, The New Museum, New York Provenance Roger Ramsay Gallery, Chicago Private Collection, Chicago Christie’s, New York, First Open: Summer Edition, 24 July 2014, Lot 190 Leslie Feely Gallery, New York Private Collection, Pennsylvania

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139 G E R T R U D E A B E R C R O M B I E 1909–1977 Shell 1952 oil on Masonite in artist’s frame 3 h × 3 ½ w in (8 × 9 cm) Signed and dated to lower left ‘Abercrombie 52’. $ 5,000 – 7,000

Literature Gertrude Abercrombie, Karma Books, pg. 331 Exhibited Gertrude Abercrombie, 9 August – 23 September 2018, Karma, New York Provenance Private Collection, New York

140 G E R T R U D E A B E R C R O M B I E 1909–1977 Untitled (Woman and Tree) 1948 oil on Masonite in artist’s frame 4 h × 5 w in (10 × 13 cm) Signed and dated to lower left ‘Abercrombie 48’. $ 3,000 – 5,000

141 H E N R I M A T I S S E 1869–1954 Danseuse endormie au divan (from Dix danseuses) 1927 lithograph on Arches paper 11 h × 18 w in (28 × 46 cm) Sheet measures: 13 h × 19.75 w inches. Signed and numbered to lower left ‘80/130 Henri Matisse’. This work is number 80 from the edition of 130 published by Galerie d’Art Contemporain, Paris. $ 10,000 – 15,000

Literature Duthuit 485 Provenance Irving Galleries, Milwaukee Private Collection

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142 P A U L D E L V A U X 1897–1994 Untitled 1948 pen and ink on paper 6 ¼ h × 5 w in (16 × 13 cm) Signed to lower right ‘P. Delvaux’. $ 3,000 – 5,000

Provenance LoGoudice Gallery, Chicago Collection of Marlene Baumgarten, Chicago

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143 R I C H A R D D I E B E N K O R N 1922–1993 Seated Woman Drinking from a Cup 1965 lithograph on Arches paper 30 h × 22 ¼ w in (76 × 57 cm) Signed, dated and numbered to lower edge ‘93/100 RD 65’ with blindstamps. This work is number 93 from the edition of 100 printed and published by Original Press/Joe Zirker, San Francisco. $ 7,000 – 9,000

144 J O H N G R A H A M 1886–1961 Untitled c. 1940

pencil on paper 13 ½ h × 9 ¾ w in (34 × 25 cm) Signed to upper left ‘Graham’. This work is double-sided. $ 5,000 – 7,000

Literature John Graham, Sum Qui Sum, Rand, pg. 106 Exhibited John Graham: Artist Sweating Blood, 7 September – Verso of the present lot

21 October 2017, Allan Stone Projects, New York Provenance Allan Stone Gallery, New York

145 J O H N G R A H A M 1886–1961 Untitled (Landscape) c. 1945

oil on canvas 18 h × 24 w in (46 × 61 cm) Signed to lower left ‘Graham’. $ 10,000 – 15,000

Literature John Graham, Sum Qui Sum, Rand, pg. 58 Exhibited Andover Alumni Collectors, 28 April – 31 July 1995, Addison Gallery of American Art, Andover, MA Provenance Allan Stone Gallery, New York

146 F R A N Z K L I N E 1910–1962 Street Scene 1936–38 ink on paper 5 h × 7 w in (13 × 18 cm) $ 2,000 – 3,000

Literature Franz Kline: Architecture & Atmosphere, Stone, pl. 11 Exhibited Franz Kline: The Early Works as Signals, March – November 1977, University Art Gallery, State University of New York, Binghamton, NY and Neuberger Museum, State University of New York, Purchase, New York Franz Kline: Architecture & Atmosphere, 28 October 1997 – 17 January 1998, Allan Stone Gallery, New York Provenance Mrs. Frederick Ryan Parke-Bernet Galleries, New York, 13 May 1966, Lot 78 Allan Stone Gallery, New York

147 W A Y N E T H I E B A U D b. 1920 Untitled 1996 ink on paper 10 ½ h × 15 w in (27 × 38 cm) Signed to lower left ‘Thiebaud’ with heart insignia. This work is double-sided. $ 5,000 – 7,000

Literature Wayne Thiebaud In Black and White, Ratcliff, pg. 70 Verso of the present lot

Wayne Thiebaud: Prints and Works on Paper, Sims Reed Gallery exhibition catalog, pg. 67 Exhibited Wayne Thiebaud, 1 May – 27 June 1997, Allan Stone Gallery, New York Wayne Thiebaud In Black and White, 23 October – 19 December 2014, Sims Reed Gallery, London Grand Salon: The Visionary Eye of Allan Stone, 13 September – 10 November 2018, Allan Stone Projects, New York Provenance Allan Stone Gallery, New York

148 W A Y N E T H I E B A U D b. 1920 Untitled 1960 ink on paper 26 h × 40 w in (66 × 102 cm) Signed and dated to verso ‘Thiebaud 60’. $ 8,000 – 10,000

Provenance Allan Stone Gallery, New York

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Alternate view when activated with flash photography

149 H A N K W I L L I S T H O M A S b. 1976 Social Friendship (Solarized) 2019 screenprint on retroreflective vinyl mounted on Dibond 19 ¾ h × 20 ¼ w in (50 × 51 cm) This work is unique. Sold with a certificate of authenticity from Hank Willis Thomas Studio, LLC. signed by the artist. $ 7,000 – 9,000

Provenance Courtesy of the artist Equal Means Equal: Benefit Auction 2019 Acquired from the previous by the present owner

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150 I R A N D O E S P Í R I T O S A N T O b. 1963 Gray Box 2003 cast concrete 4 ¾ h × 13 w × 9 d in (12 × 33 × 23 cm) Sold with a certificate of authenticity from the artist. $ 2,000 – 3,000

Provenance Phillips de Pury & Company, Contemporary Art, November 2012, Lot 251 Private Collection

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151 R I C H A R D H A M I LT O N W I T H MARCEL DUCHAMP Oculist Witnesses 1968 screenprint and silver mirror on laminated glass, aluminum 25 h × 20 w × 8 d in (64 × 51 × 20 cm) Signed and numbered to lower edge ‘d’apres Marcel Duchamp Richard Hamilton 15/50’. This work is number 15 from the edition of 50 published by Petersburg Press, London. $ 20,000 – 30,000

Literature Etienne Lullin M2 Provenance Acquired directly from Petersburg Press, London by the present owner

152 E L A D L A S S R Y b. 1977 Untitled (Baguette, Challah, Croissant) 2008 c-print in artist’s frame 14 ½ h × 11 ½ w in (37 × 29 cm) This work is number 5 from the edition of 5. $ 2,000 – 3,000

Exhibited New Photography 2010: Roe Ethridge, Elad Lassry, Alex Prager, Amanda Ross-Ho, September 2010 – January 2011, Museum of Modern Art, New York Provenance David Kordansky Gallery, Los Angeles Acquired from the above by David Teiger in 2010 Private Collection

153 H E L E N P A S H G I A N b. 1934 Untitled 2009 cast epoxy 12 w × 1 ¼ d × 12 h in (30 × 3 × 30 cm) Sold with a digital copy of the certificate of authenticity issued by TOTAH, New York. $ 3,000 – 5,000

Provenance TOTAH, New York Private Collection

154 W A LT E R D A R B Y B A N N A R D 1934–2016 Early Hour 1959 alkyd on canvas 10 h × 14 w in (25 × 36 cm) Signed and dated to verso ‘WD Bannard 1959’. Sold with documentation signed by the artist. $ 2,000 – 3,000

Provenance Acquired directly from the artist in 2014 by the present owner

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155 J U L I O L E P A R C b. 1928 Continuel Lumiere 1966 lacquered wood, aluminum, enameled steel, electric motor construction 33 h × 24 ½ w × 6 ¼ d in (84 × 62 × 16 cm) Signed to gallery label ‘Le Parc’. This work is number 10 from the edition of 100 published by Éditions Denise René, Paris. $ 7,000 – 9,000

156 S I D N E Y G O R D I N 1918–1996 Untitled Relief 1 c. 1965

acrylic on wood construction 19 h × 24 w × 3 d in (48 × 61 × 8 cm) $ 10,000 – 15,000

Provenance Estate of the artist Private Collection

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157 R O B E R T S . N E U M A N 1926–2015 Mirage Painting 1977 oil on linen 55 h × 65 w in (140 × 165 cm) Signed and dated to lower right ‘RSN 1977’. Signed, titled and dated to verso ‘Robert S. Neuman 1977 Mirage Painting’. $ 3,000 – 5,000

Provenance Acquired directly from the artist Allan Stone Gallery, New York

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158 C H A R L E S H I N M A N b. 1932 Asissi 1982 acrylic on shaped canvas over wood 50 h × 75 w × 5 d in (127 × 191 × 13 cm) Signed, titled and dated to verso ‘Hinman 1982 Asissi’. $ 5,000 – 7,000

159 J A M E S H A V A R D b. 1937 Outside Pojoaque 1990 acrylic and collage on wood 56 h × 48 w in (142 × 122 cm) Signed and dated to upper right ‘Havard 1990’. Titled and dated to verso ‘Outside Pojoaque 1990’. $ 3,000 – 5,000

Exhibited James Havard: Cultural Crossroads, 27 April – 17 June 2017, Alan Stone Gallery, New York Provenance Acquired directly from the artist Allan Stone Gallery, New York

160 J A M E S H A V A R D b. 1937 Cane Garden Bay 1981 acrylic and graphite on canvas 60 h × 107 w in (152 × 272 cm) Signed and dated to upper right ‘Havard 81’. Signed and dated to verso ‘Havard 81’. $ 7,000 – 9,000

Provenance Acquired directly from the artist Allan Stone Gallery, New York

161 K A Z U K O I N O U E b. 1946 Untitled (diptych) 1982 acrylic on canvas 50 h × 100 w in (127 × 254 cm) Each panel measures: 50 h × 50 w inches. Signed and dated to verso ‘Kazuko Inoue 82’. $ 7,000 – 9,000

Provenance Acquired directly from the artist Allan Stone Gallery, New York

2 0 T H C E N T U R Y A R T 10 October 2019

162 K A Z U K O I N O U E b. 1946 Untitled 1997 acrylic on linen 50 h × 50 w in (127 × 127 cm) Signed and dated to verso ‘Kazuko Inoue 97’. $ 5,000 – 7,000

Provenance Acquired directly from the artist Allan Stone Gallery, New York

2 0 T H C E N T U R Y A R T 10 October 2019

163 K A Z U K O I N O U E b. 1946 Untitled 1983 acrylic on canvas 50 h × 50 w in (127 × 127 cm) Signed and dated to verso ‘Kazuko Inoue 83’. $ 5,000 – 7,000

Provenance Acquired directly from the artist Allan Stone Gallery, New York

164 R O B E R T S W A I N b. 1940 Untitled (Study for the Schering Corporation) 1971 acrylic on canvas 40 h × 95 w in (102 × 241 cm) Signed, dated and inscribed to verso ‘Robert Swain 1971’. $ 5,000 – 7,000

2 0 T H C E N T U R Y A R T 10 October 2019

165 B A R R Y M C G E E b. 1966 Untitled 1991 spraypaint on panel 96 h × 251 ½ w × ¾ d in (244 × 639 × 2 cm) These panels were originally part of the construction fence surrounding the Yerba Buena Museum of Art, San Francisco. Then curator, Renny Pritikin, commissioned Barry McGee to paint a mural on the fence, which was later removed when construction was complete. $ 15,000 – 20,000

Provenance Commissioned directly from the artist by the Yerba Buena Museum of Art, San Francisco Santa Monica Auctions, Paintings, Prints, Photography, Sculpture, 7 October 2018, Lot 111 Private Collection

166 S A M D U R A N T b. 1961 When Do We Start Rioting? 2017 screenprint on translucent film, light box 12 h × 15 ¾ w × 4 ¾ d in (30 × 40 × 12 cm) Signed and numbered on applied studio label to verso ‘Sam Durant 15/25’. This work is number 15 from the edition of 25 produced by Case Studyo. Sold with a certificate of authenticity issued by Case Studyo, signed and numbered by the artist and original packaging. $ 2,000 – 3,000

Provenance Acquired directly from Case Studyo in 2017 by the present owner

167 E R W I N W U R M b. 1954 Selbstporträt als Essiggurkerl (self-portrait as a pickle) 2016 cast and hand-painted acrylic resin 1 dia × 3 h in (3 × 8 cm) Signed to certificate of authenticity ‘E Wurm’. Sold with a certificate of authenticity issued by Galerie Thaddaeus Ropac and signed by the artist. $ 5,000 – 7,000

Provenance Galerie Thaddaeus Ropac, Salzburg Private Collection

168 W I L L I A M J . O ’ B R I E N b. 1975 Untitled 2011 color pencil and ink on paper with glitter and felt 72 ¾ h × 36 w in (185 × 91 cm) $ 10,000 – 15,000

Provenance Marianne Boesky Gallery, New York Private Collection

2 0 T H C E N T U R Y A R T 10 October 2019

169 J A C O B H A S H I M O T O b. 1973 Untitled 2012 pencil and marker on paper 17 h × 14 w in (43 × 36 cm) Signed and dated to lower right ‘JH 2012’. $ 1,500 – 2,000

Provenance Studio la Città, Verona Private Collection, New York

2 0 T H C E N T U R Y A R T 10 October 2019

170 CÉSAR (CÉSAR BALDACCINI) 1921–1998 Compression c. 1998

compressed commercial aluminum cans 8 ¼ h × 3 ¾ w × 4 d in (21 × 10 × 10 cm) Signed to edge ‘César’. $ 15,000 – 20,000

Provenance Gallery Jerome, Copenhagen Private Collection, Paris

171 J A C O B H A S H I M O T O b. 1973 History of the Moon 2010 wood, acrylic, vellum, string, paper 48 h × 73 w × 8 d in (122 × 185 × 20 cm) Signed and dated to lower edge ‘Hashimoto 2010’. $ 30,000 – 50,000

Provenance Studio la Città, Verona Private Collection, New York

2 0 T H C E N T U R Y A R T 10 October 2019

172 J O S E F A L B E R S 1888–1976 Adapted and Above the Water (two works) 1944 woodcut on paper 21 h × 17 w in (53 × 43 cm) Adapted is outside the edition of 25 printed at Biltmore Press, Asheville, N.C. Above the Water is outside of the edition of 35 printed at Biltmore Press, Asheville, N.C. $ 3,000 – 5,000

Literature Danilowitz 109 and 117 Provenance Estate of Warren “Pete” Jennerjahn Private Collection

2 0 T H C E N T U R Y A R T 10 October 2019

173 J O S E F A L B E R S 1888–1976 Prefatio (from the Graphic Tectonics series) 1942 lithograph on paper 18 ½ h × 22 ½ w in (47 × 57 cm) Signed, titled, dated and numbered to lower edge ‘Prefatio 12/30 Albers 42’. This work is number 12 from the edition of 30 printed by Reinhard Schumann, Hickory, N.C. $ 5,000 – 7,000

Literature Danilowitz 103 Provenance Private Collection

2 0 T H C E N T U R Y A R T 10 October 2019

173â&#x20AC;&#x201A; Interaction of Color production tests with notes

2 0 T H C E N T U R Y A R T 10 October 2019

174 J O S E F A L B E R S 1888–1976 Interaction of Color production tests with notes 1963 printed paper, offset lithograph, screen print, graphite, ink, and colored pencil on paper Josef Albers’ Interaction of Color has been

13 ¾ h × 10 ½ w × 4 ¾ d in (35 × 27 × 12 cm)

a best-seller since shortly after it was first

Lot is comprised of 75 color study folios including

published by Yale University Press in 1963.

screenprints and sketches with hand-written notes

The publication, a volume about Albers’ color

by Albers and Sillman, several original collages

course featuring recreations of color studies

by Albers’ students and a typed copy of Albers’ text.

made by his students, was a challenging and

$ 15,000 – 20,000

experimental undertaking that required the unprecedented approach of putting process ahead of theory, a method Albers employed in the classroom. Further, it required a high level of precision in regards to color and printing. To realize the project, Albers worked closely with two former students; Sewell Sillman who mixed eight-hundred plus color inks for the plates of Interaction of Color, and Norman Ives who arrived at the format of the book divided into three parts: text, eighty folders containing color studies, and Albers commentary on them. The present lot comes from the Estate of Sewell Sillman and is a galley proof for Interaction of Color. The proof is comprised of a typed copy of Albers’ text, 75 color study folios that include a mix of screenprints and sketches with hand-written notes by Albers and Sillman as well as several of the original collages and works completed by Albers’ students. This comprehensive collection provides valuable insight into what it took for Albers create a work that remains an influential and groundbreaking book of color still today.

Provenance Estate of Sewell Sillman Private Collection

W O R K S F R O M T H E E S TAT E O F S E W E L L S I L L M A N

175 J O S E F A L B E R S 1888–1976 Structural Constellation c. 1955–1965

machine-engraved plastic laminate 3 ¼ h × 4 w in (8 × 10 cm) Dated, numbered and inscribed ‘For S. XII 65’. This work is based on Structural Constellation U-18 (1955) of which Albers had an undetermined number of versions engraved in various sizes which he gave as gifts throughout the 1950s and 1960s. $ 5,000 – 7,000

176 J O S E F A L B E R S 1888–1976 sketch for a Structural Constellation c. 1969

graphite and colored pencil on printed graph paper 18 h × 23 w in (46 × 58 cm) $ 6,000 – 8,000

177 J O S E F A L B E R S 1888–1976 I-S VVI 1971 screenprint on paper 18 ½ h × 31 ½ w in (47 × 80 cm) Signed, titled, dated and numbered to lower edge ‘I-S VV I 51/100 A 71’. This work is number 51 from the edition of 100 published by Ives-Sillman, Inc., New Haven. $ 2,000 – 3,000

178 J O S E F A L B E R S 1888–1976 sketch for a Structural Constellation c. 1969

graphite and colored pencil on printed graph paper 18 h × 23 w in (46 × 58 cm) $ 6,000 – 8,000

2 0 T H C E N T U R Y A R T 10 October 2019

179 J O S E F A L B E R S 1888–1976 I-S Va 3 (from Six Variants) 1969 screenprint on paper 33 h × 37 ¼ w in (84 × 95 cm) This work is outside the edition of 150 published by Ives-Sillman, Inc., New Haven. $ 1,000 – 1,500

180 JOSEF AND ANNI ALBERS Holiday Cards (three works) printed paper 6 h × 4 ¼ w in (15 × 11 cm) $ 700 – 900

181 J O S E F A L B E R S 1888–1976 Fenced 1944 linocut on paper 20 ¾ h × 28 ½ w in (53 × 72 cm) Signed, titled, dated and inscribed to lower edge ‘Fenced (proof) To Si - January 49 A Albers 44’. This work is from the edition of 33 printed at Biltmore Press, Asheville, N.C. $ 5,000 – 7,000

182 J O S E F A L B E R S 1888–1976 I-S VVII 1971 screenprint on paper 18 ½ h × 31 ½ w in (47 × 80 cm) Signed, titled, dated and numbered to lower edge ‘I-S VVII 51/100 A 71’. This work is number 51 from the edition of 100 published by Ives-Sillman, Inc., New Haven. $ 2,000 – 3,000

W O R K S F R O M T H E E S TAT E O F S E W E L L S I L L M A N

183 J O S E F A L B E R S 1888–1976 Reserved (two works) and Pompeian (one work) 1962/1965 screenprint on paper 11 h × 11 w in (28 × 28 cm) These examples are overruns, or extras, outside of the editions published by Ives-Sillman, Inc., New Haven. $ 1,000 – 1,500

184 J O S E F A L B E R S 1888–1976 Formulation: Articulations proofs 1962–1970 printed pages 20 w × ½ d × 15 h in (51 × 1 × 38 cm) Lot is comprised of two hand-signed front matter proofs for Formulation: Articulation, one front matter proof for the Homage to the Square portfolio, and several duplicate text pages of Josef Albers: The Exercise of Integrity by James Lord. $ 1,000 – 1,500

185 Josef Albers monographs and ephemera 1956–1984 printed and bound paper Collection includes various pieces of ephemera and several monographs; forty pieces total. A complete list is available online. $ 2,000 – 3,000

2 0 T H C E N T U R Y A R T 10 October 2019

186 D I E T E R R O T H 1930–1998 Untitled c. 1965

ink on paper 11 h × 8 ½ w in (28 × 22 cm) $ 800 – 1,200

187 R O B E R T R A U S C H E N B E R G 1925–2008 Core Poster 1965 offset color lithograph and screenprint with varnish on wove paper 37 h × 25 ¼ w in (94 × 64 cm) Stamped to lower right and verso ‘Ives-Sillman Test Print’. This work is a test print outside of the edition printed by Ives-Sillman, New Haven for CORE (Congress of Racial Equality), Chicago. $ 1,000 – 1,500

188 N O R M A N I V E S 1923–1978 Untitled (cube construction) c. 1960

painted artist board construction 5 h × 5 w × 4 ½ d in (13 × 13 × 11 cm) $ 800 – 1,200

W O R K S F R O M T H E E S TAT E O F S E W E L L S I L L M A N

189 S E W E L L S I L L M A N 1923–1992 Untitled (two works) c. 1960

oil on blotter paper 19 h × 24 w in (48 × 61 cm) Additional work measures: 15 h × 20 w inches. $ 1,000 – 1,500

190 S E W E L L S I L L M A N 1923–1992 Untitled c. 1965

acrylic on board 50 h × 50 w in (127 × 127 cm) Stamped mark to verso ‘Estate of Sewell Sillman’. $ 7,000 – 9,000

191 S E W E L L S I L L M A N 1923–1992 collection of four drawings 1965/1984/1985 ink on paper 11 ¾ h × 16 w in (30 × 41 cm) Collection includes four works, framed in pairs. Signed, titled and dated to lower edge of one work ‘SS 84 Battle Lines Sketch #7’. Signed, titled and dated to lower edge of one work ‘Battle Lines SS 84’. Signed, titled and dated to lower edge of one work ‘iii 65 S. Sillman’. Dated to lower right of one work ‘Chile 13 June 1985’. $ 1,500 – 2,500

192 S E W E L L S I L L M A N 1923–1992 Untitled c. 1965

acrylic on board 23 h × 27 w in (58 × 69 cm) Stamped to verso ‘Estate of Sewell Sillman’. $ 3,000 – 5,000

2 0 T H C E N T U R Y A R T 10 October 2019

193 S E W E L L S I L L M A N 1923–1992 viii 1967 scratchboard 19 dia in (48 cm) Framed dimensions measure: 31 h × 31 w × 1 d inches. Signed, titled, and dated to verso of frame ‘S. Sillman viii 67’. $ 1,000 – 1,500

194 S E W E L L S I L L M A N 1923–1992 Sketch #1 1976 acrylic on board 16 ¼ h × 18 ¾ w in (41 × 48 cm) Signed, titled and dated to lower edge ‘Sketch #1 Jan 10 76 Sillman’. Stamped to verso ‘Estate of Sewell Sillman’. $ 2,000 – 3,000

195 D I E T E R R O T H 1930–1998 Untitled (a huntingscene) c. 1964

typewriter ink on paper with collage, ink, and paint on tagboard. 8 ½ h × 3 w in (22 × 8 cm) This work is double-sided with a poem titled a huntingscene affixed to verso. $ 800 – 1,200

TERMS AND CONDITIONS

Each Lot in a Wright Auction or Wright Catalogue

Bidding Increments All Wright Auction sales will

is offered subject to the following Terms and

be conducted in the following increments, and

Conditions of Sale (“Terms”), as supplemented

nonconforming Bids will not be executed, honored

in writing or otherwise by us at any time prior to the

or accepted:

sale. By Registering to Bid, Bidding, or otherwise

$ 25 to 500

$ 25 increment

purchasing a Lot from Wright, you agree to be bound

$ 500 to 1,000

$ 50 increment

by these Terms. In these Terms, “we,” “us,” “our,”

$ 1,000 to 2,000

$ 100 increment

“Wright” or similar terms mean R. Wright, Inc. and

$ 2,000 to 3,000

$ 200 increment

any of its agents, and “you,” “your,” “buyer” or similar

$ 3,000 to 5,000

$ 250 increment

terms mean a person Bidding on or buying a Lot

$ 5,000 to 10,000

$ 500 increment

at a Wright Auction, Private Sale, Wright Now Sale

$ 1,000 increment or

or otherwise through us. Please see Section 9 below

for the meanings of capitalized terms or phrases that are not defined elsewhere in these Terms. 1

B I D D I N G AT A U C T I O N

Prerequisites To Bid, you must Register to Bid with us in advance of the sale. In addition to our general registration requirements, we reserve the right to require (a) photo identification; (b) bank references; (c) a credit card; and (d) a monetary deposit (which

$ 10,000+

auctioneer’s discretion

Reserve All Lots may be offered subject to a confidential minimum price below which the Lot will not be sold (the “Reserve”). The auctioneer may open the bidding on any lot below the Reserve by placing a Bid on behalf of the Seller. The auctioneer may continue to Bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive Bids or by placing Bids in response to other bidders.

will be refunded immediately if you do not submit the

Remote Bidding As a convenience to buyers who

highest bid on a lot and will be applied to any Purchase

cannot be present on the day of a Wright Auction and

Price Bid).

have Registered to Bid, we will use reasonable efforts

Assumed Costs and Risks By Bidding, you understand that any Bid you submit can and maybe regarded as the Purchase Price Bid for a particular Lot; accordingly, your Bid constitutes a legally binding agreement to purchase the Lot in accordance with your Bid if accepted by the auctioneer. You agree to assume personal responsibility to pay the Purchase Price Bid, plus the Buyer’s Premium and any additional charges that become due and payable in connection with your purchase of a Lot; and that upon the fall of the auctioneer’s hammer or other indication by the auctioneer that bidding has closed for a particular Lot, if your last Bid is the Purchase Price Bid, you agree to purchase the Lot and assume all risk of loss and damage to such Lot, in addition to any obligations, costs and expenses relating to its handling, shipping, insurance, taxes and export. All sales are final.

to execute (i) written, properly completed absentee Bids described on Wright bid forms delivered to us prior to that sale; or (ii) Bids delivered to us via the Internet, whether by properly completed Wright absentee bid forms or, if available, a live bidding service authorized by Wright. We assume no responsibility for a failure to execute any such Bid, or for errors or omissions made in connection with the execution of any such Bid. If requested prior to a Wright Auction in writing, we will use reasonable efforts to contact the buyer by telephone to enable the buyer to Bid by telephone on the day of the sale, but we assume no responsibility for errors or omissions made in connection with any such arrangement (including without limitation miscommunication of instructions given over the phone or failure to establish a connection prior to a sale). You acknowledge that there may be additional terms and conditions governing the use

Auctioneer Discretion The auctioneer has the right,

of any third-party service in connection with Bidding

in his absolute discretion, to determine the conduct

on the Internet, including, but not limited to, those

of any Wright Auction sale, including, without limitation,

providing for additional charges and fees relating to the

to advance the bidding, to reject any Bid offered,

execution of such Bids. Wright has no control over, and

to withdraw any lot, to reoffer and resell any lot, and

assumes no responsibility for, the content, privacy

to resolve any dispute in connection with such sale.

policies, or practices of any third party websites

In any such case, the judgment of the auctioneer is final,

or services. You expressly release Wright from any

and shall be binding upon you and all other participants

and all liability arising from your use of any third-party

in such sale.

website or services. Additionally, your dealings with such third party sites, including payment and delivery of goods, and any other terms (such as warranties) are solely between you and such third parties. We encourage you to be aware of, and to read, the terms and conditions and privacy policy of any third-party website or service that you visit.

2 0 T H C E N T U R Y A R T 10 October 2019

2 P A Y M E N T F O R A N D C O L L E C T I O N

Export, Import and Endangered Species

OF PURCHASES

Licenses and Permits Before bidding for any

You Pay Buyer Costs If your Bid results

property, prospective buyers are advised to make

in a Purchase Price Bid (or you agree to pay the

their own inquiries as to whether a license is required

purchase price for a Lot as a part of a Wright Now

to export a lot from the United States or to import it into

Sale or Private Sale), you agree to pay the following

another country. Prospective buyers are advised that

charges associated with the purchase of such Lot:

some countries prohibit the import of property made

i. Hammer Price (for Auction Sales) or Lot purchase Price (for Wright Now Sales and Private Sales); ii. Buyer’s Premium (for Auction Sales) which is 25 % of the Hammer Price (or part thereof) up to and including $ 100,000; 20 % of the Hammer Price (or part thereof) in excess of $ 100,000 up to and including $ 1,000,000; and 12 % of the Hammer Price (or part

thereof) in excess of $ 1,000,000. An additional premium will be added to any successful bid accepted through a third-party site. iii. any applicable sales tax, late payment charges, storage fees, Enforcement Costs or other costs, damages or charges assessed in accordance with these Terms (for all sales) ((i) – (iii) collectively, the “Buyer Costs”). All purchases will be subject to state sales tax in Illinois or New York unless the buyer has provided us with a valid certificate of exemption from such tax. Payment Procedure You agree to pay all Buyer Costs immediately following Wright’s acceptance of the Purchase Price Bid unless other arrangements have been approved by Wright in advance. If Wright approves of such other arrangement for payment, Wright may at its discretion require you to make a nonrefundable down payment on Buyer Costs. All payments must be made in US Dollars, in any of the following acceptable forms of payment:

• Cash

• Check, with acceptable identification

• Visa, MasterCard or American Express

Wright reserves the right to charge and collect an additional 2% of payments made by credit card. Title and Risk of Loss Title to a Lot purchased in accordance with these Terms shall not pass to the buyer until Wright has received the Buyer Costs (including clearance of checks and wire transfers). We reserve the right to delay delivery of or otherwise prevent access to any purchased Lot until Wright has received all Buyer Costs. notwithstanding passage of title, risk of loss to a Lot passes immediately to buyer upon Wright’s acceptance of a Purchase Price Bid. All sales are final.

of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Wright will advise clients who inquire about lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to advise on lots containing protected or regulated species. Delivery Buyer is solely responsible for collection of purchased Lots from Wright facilities, including making arrangements and paying all costs associated with packing and delivery. We may, as a courtesy to the buyer, provide or arrange packing, shipping or similar logistical services, or refer the buyer to third parties who specialize in these services. Any such services referred, provided or arranged by us are at the buyer’s sole risk and expense, we assume no responsibility for any act or omission of any party in connection with any such service or reference, and we make no representations or warranties regarding such parties or their services. You expressly release Wright from any and all liability arising from your use of any third-party website or services. Storage, Abandonment and Related Charges All purchased Lots not collected from Wright’s facilities by buyer or buyer’s authorized agents within thirty (30) days following the Sale Date will become subject to storage fees of not less than $ 5 per day. A late payment fee equal to 1.5 % per month may be assessed on any Buyer Costs remaining unpaid thirty (30) days following the Sale Date. If a purchased Lot has not been collected from us within sixty (60) days after the Sale Date, and Wright has not consented to continue to store

Security As security for full payment to us of all

the Lot, the buyer will be deemed to have defaulted

amounts due from the buyer and prompt collection

under these Terms, and, in addition to any other

of your purchased Lots in accordance with these Terms,

remedies we may have at law or equity, we shall

we retain, and the buyer grants to us, a security interest

be entitled to foreclose on the Security Interest by

in any Lot purchased by the buyer in accordance with

selling such Lots and using the proceeds from such sale

these Terms (and any proceeds thereof), and in any

for any purpose (including payment of storage fees and

other property or money of the buyer in our possession

administrative expenses of handling such matter),

or coming into our possession subsequently (“Security

without any further liability to the buyer. You agree

Interest”). We may apply any such money or treat

that this remedy is reasonable in light of the costs

any such property in any manner permitted under the

Wright would have to incur to continue to store

Uniform Commercial Code and/or any other applicable

and process purchased Lots after sale.

law. You hereby grant us the right to prepare and file, any documents sought by us to protect and confirm our security interests including but, not limited to a UCC-1 Financing Statement.

Breach If a buyer fails to make timely payment

so long as the name of the Author is set forth

as required in these Terms, or breaches any other

unqualifiedly in a heading in Bold type in the applicable

covenant, representation or warranty in this Agreement,

and most current Wright Catalogue. The term “Author”

we shall be entitled, in our discretion, to exercise any

or “Authorship” means the creator, designer, culture

remedies legally available to us, including, but not

or source of origin of the property, as the case may

limited to, the following:

be, as specifically identified in Bold type in the

i. cancellation of the sale of the Lot to the non-paying buyer, including the sale of any other Lot to the same buyer (whether or not paid); ii. reselling the Lot, at public or private sale, with or without reserve; iii.

applicable and most current Wright Catalogue, and shall not include any supplemental text or information included in any other descriptions (whether or not in the Wright Catalogue).

retention of all amounts already paid by the buyer

Exclusions from and Conditions to the

to Wright, which shall constitute a processing and

Authorship Warranty Notwithstanding, this warranty

restocking fee (which you acknowledge would be

is subject to the following:

reasonable in light of the costs Wright would have to incur to process your breach and attempt to re-auction or resell the Lot); iv. rejection of any Bids by the buyer at future auctions; v. setting-off any amounts owed by Wright to the buyer in satisfaction of unpaid amounts; and/or vi. taking any other action we deem necessary or appropriate under the circumstances.

i. The benefits of this warranty are only available to the original buyer of a Lot from Wright, and not to any subsequent purchasers, transferees, successors, heirs, beneficiaries or assigns of the original buyer. ii. This warranty shall not apply to any Lot for which a Wright Catalogue description states that there is a conflict of opinion among specialists as to Authorship. iii. This warranty shall not apply to any Lot for which, at the time

Confession of Judgment If you default on payment

of sale, the statements regarding Authorship made

of one or more Purchase Price Bids under this

by Wright conformed with the generally accepted

Agreement, you hereby authorize any attorney

opinion of scholars, specialists or other experts, despite

to appear in a court of record and confess judgment

the subsequent discovery of information that modifies

against you in favor of Wright for the payment of such

such generally accepted opinions. iv. The buyer must

Purchase Price Bids and all related Buyer Costs.

provide written notice of any claim under this warranty

Accordingly, the confession of judgment may be without

to Wright (validated by no fewer than two (2) written

process and for any amount due on this Note including

opinions of experts whose principal line of business

collection costs and reasonable attorneys’ fees. This

is the appraisal and authentication of art, antiquities,

authorization is in addition to all other remedies

design objects or other valuable objects similar to the

available to Wright.

Lot) not later than thirty (30) days after becoming aware of the existence of such a claim, an in any event

L I M I T E D WA R R A N T Y

no later than two (2) years following the date of sale,

“As Is”, “Where Is”. Except as expressly stated

and must return the Lot subject to such claim to Wright

below, each Lot is sold “as is” “where is”, with

in the same condition as at the time of the original sale.

no representation or warranty of any kind from any

Wright reserves the right to appoint two independent

party (including Wright or the consignors of the

specialists to examine the Lot and evaluate the buyer’s

Lots), express or implied, including warranties

claim prior to buyer’s receipt of any remedy pursuant

of merchantability, fitness for a particular purpose

to this warranty.

and non-infringement. Because you are responsible for satisfying yourself as to condition or any other matter concerning each purchased Lot, you are advised to personally examine any Lot on which you intend to bid prior to the auction and/or sale. As a courtesy, condition reports for any Lot are available from Wright prior to the sale, but Wright assumes no responsibility for errors and omissions contained in any such report, a Wright Catalogue or other description of a Lot that may be available on the Wright website. Any statements made by Wright with respect to a Lot (whether in a condition report, a Wright Catalogue or on the

Buyer’s Only Remedy for Authorship Warranty Breach The buyer’s sole remedy, and Wright’s sole liability, under this warranty shall be the cancellation of the sale of the Lot in question, or (if the sale has already concluded) the refund of the purchase price originally paid by such buyer for the Lot in question (not including any late fees, taxes, shipping, storage or other amounts paid to Wright in accordance with these Terms). Buyer hereby waives any and all other remedies at law or equity with respect to breaches of this warranty.

Wright website), whether orally or in writing, are

Limit of Liability In no event shall wright be

intended as statements of opinion only, are not

liable to you or any third party for any consequential,

to be relied upon as statements of fact and do not

exemplary, indirect, special, punitive, incidental

constitute representations or warranties of any kind.

or similar damages, whether foreseeable or

Authorship Warranty Subject to the following terms and conditions, Wright warrants, for a period of two (2) years following the date of sale, the information presented in a Wright Catalogue with respect to Authorship of any Lot is true and correct,

unforeseeable, regardless of the cause of action on which they are based, even if advised of the possibility of such damages occurring. With respect to any sale of a lot, in no event shall wright be liable to you or any third party for losses in excess of the purchase price paid by you to wright for such lot to which the claim relates. 2 0 T H C E N T U R Y A R T 10 October 2019

RESCISSION OR VOIDING

9 DEFINITIONS

OF SALE BY WRIGHT

The following terms have the following meanings:

If we become aware of an adverse claim of a third party

Author and Authorship have the meanings given

relating to a Lot purchased by you, we may, in our

in Section 3. Bidding, Bid or place a Bid means

discretion, rescind the sale. Upon notice of our election

a prospective buyer’s indication or offer of a price

to rescind a sale, you will promptly return such Lot

he or she will pay to purchase a Lot at a Wright Auction

to us, at which time we will refund to you the Hammer

which conforms with the provisions of Section 1. Buyer

Price and Buyer’s Premium paid to us by you for such

Costs has the meaning given in Section 2. Buyer’s

Lot. This refund will represent your sole remedy against

Premium means the following for any Lot: (i) 25 %

us and/or the consignor in case of a rescission of sale

of the Hammer Price (or part thereof) up to and

under this paragraph, and you agree to waive all other

including $ 100,000; (ii) 20 % of the Hammer Price

remedies at law or equity with respect to the same.

(or part thereof) in excess of $ 100,000 up to and

If you do not return such Lot to us in accordance with

including $ 1,000,000; and (iii) 12 % of the Hammer

this paragraph, you agree to indemnify, defend and

Price (or part thereof) in excess of $ 1,000,000. An

hold Wright, its officers, directors, employees, agents

additional premium will be added to any successful

and their successors and assigns, harmless from any

bid accepted through a third-party site.

damages, costs, liabilities or other losses (including attorney’s fees) arising as a result of such third party claim. 5

Wright and its licensors will retain ownership of our intellectual property rights, including, without limitation, rights to the copyrights and trademarks and other images, logos, text, graphics, icons, audio clips, video clips, digital downloads in, and the “look and feel” of, the Wright website and each Wright Catalogue. You may not obtain any rights of ownership, use, reproduction or any other therein by virtue of these Terms or purchasing a Lot. You may not use any of our trademarks or service marks in any way.

Hammer Price means the price for a Lot established by the last bidder and acknowledged by the auctioneer before dropping the hammer or gavel or otherwise indicating the bidding on such Lot has closed. Lot means the personal property offered for sale by Wright, whether at a Wright Auction, Private Sale, Wright Now Sale or otherwise. Passed Lot is a Lot which does not reach its reserve or otherwise fails to sell at a Wright Auction. Private Sale is a non-public, discrete sale of a Lot (such Lot typically not being exhibited by Wright). Purchase Price Bid means the bid submitted by a Buyer for a Lot which is accepted as the Hammer Price, or in the case of Private Sales or Wright Now Sales, the price accepted by Wright for the sale of such Lot.

6 SEVERABILITY

If any provision of these Terms is held by any court

providing Wright with your complete, accurate contact

to be invalid, illegal or unenforceable, the invalid/

information (including address, phone and email) and

illegal/unenforceable aspect of such provision shall

a current, valid credit card number (including security

be disregarded and the remaining Terms enforced

code), and (i) in the case of phone or absentee bidders,

in accordance with the original document and

a properly completed Wright bid form and (ii) in the

in accordance with applicable law.

case of online bidders, registration with such authorized third-party online auctioneer service providers

G OV E R N I N G L AW

described on our website on the How to Bid page.

These Terms shall be governed by and interpreted

Reserve has the meaning given in Section 1. Sale

in accordance with the law of the State of Illinois and,

Date means, in the case of Wright Auctions, the date

by Registering to Bid or Bidding in the Wright Auction

of the closing of bidding for a particular Lot and

(whether personally, by telephone or by agent), the

acceptance of the Purchase Price Bid for such Lot;

you agree to submit to the exclusive jurisdiction of the

in the case of all other sales by Wright, the date Wright

state and federal courts located in Cook County, Illinois

agrees in writing to sell a Lot to a buyer.

in connection with any matter related to these Terms, the Wright Auction or other sale of a Lot to you by Wright. 8 EXPENSES

Security Interest has the meaning given in Section 2. Seller means the owner of a Lot offered for sale at a Wright Auction, Private Sale, Wright Now Sale or other sale administered by Wright.

In addition to the foregoing, you agree to pay to Wright

Terms has the meaning given in the Introduction

or Seller on demand the amount of all expenses paid

to this Agreement. Wright Auction means the sale

or incurred by Wright and Seller, including attorneys’

of Lots to the public through competitive bidding

fees and court costs paid or incurred by Wright

administered by Wright (including sales administered

or Seller in exercising or enforcing any of its rights

through a third-party Internet auctioneer authorized

hereunder or under applicable law, together with

by Wright). Wright Catalogue means the design

interest on all such amounts at 1.5 % per month

catalogues published by Wright which features Lots

(the “Enforcement Costs”) within thirty (30) days

available at particular Wright Auctions. Wright Now

of the buyer’s receipt of Wright’s invoice for such

Sale is a sale of a Lot consigned to Wright by a third

Enforcement Costs.

party, either posted on Wright’s website directly or solicited after a Lot fails to sell at auction.

Auction 24 October 2019 10 am ct

FROM MEDICI TO M ONTICI Richard Blow and the Modern Pietre Dure

Exhibition 17 – 24 October 2019 507 W 27th St New York NY 10001

R A P H A E L C A L A

President

Graphic Designer

312 521 7150 | rwright @ wright20.com

312 563 0020 | rcala @ wright20.com

KELLI LENOX

TODD SIMEONE

Director of Operations

Image Post-Producion & Social Media

312 521 7161 | klenox @ wright20.com

312 521 7158 | tsimeone @ wright20.com

M E G A N W H I P P E N

J A K E WAT T S

Senior Specialist

Image Post-Producion

212 585 0200 | mwhippen @ wright20.com

312 521 7158 | jwatts @ wright20.com

M E R E D I T H H I L F E R T Y

MASON KESSINGER

Senior Specialist

Web Developer

212 585 0200 | mhilferty @ wright20.com

312 521 7166 | mkessinger @ wright20.com

PETER JEFFERSON

DEVIN EHRENFRIED

Senior Specialist

Photographer

312 521 7156 | pjefferson @ wright20.com

312 563 0020 | dehrenfried @ wright20.com

L U K E PA L M E R

E VA N S T O N E

Specialist

Photographer

312 235 4179 | lpalmer @ wright20.com

312 235 4175 | estone @ wright20.com

E M I L I E S I M S

CHARLES MEADOWS

Director of Research & Content

Director of Property & Transport

312 235 4181 | esims @ wright20.com

312 235 4177 | cmeadows @ wright20.com

C L A R E B L A I N E

I A N B A R N A R D

Editor & Chief Researcher

Cataloger

312 235 4171 | cblaine @ wright20.com

312 563 0020 | ibarnard @ wright20.com

E LY M A R I S

R YA N R A N N E Y

Research & Client Services

Client Services & Logistics

312 563 0020 | emaris @ wright20.com

312 521 7159 | shipping @ wright20.com

L E S L E Y G U S TA F S O N

DENIA GARCIA

Client Services Associate

Art & Property Handler

312 521 7151 | lgustafson @ wright20.com

312 563 0020 | dgarcia @ wright20.com

J E N N I F E R M A H A N A Y

ANDREW REICHOLD

Creative Director

Art & Property Handler

312 235 4185 | jmahanay @ wright20.com

312 563 0020 | areichold @ wright20.com

E L L E N W I N S T O N

JORDAN BROEKER

Senior Graphic Designer

Art & Property Handler

312 235 4183 | ewinston @ wright20.com

312 563 0020 | jbroeker @ wright20.com

S E A N D I L L E R

MORGAN SIMS

Graphic Designer

Art & Property Handler

312 563 0020 | sdiller @ wright20.com

312 563 0020 | msims @ wright20.com JEAN MARTIN Client Accounts

Bid Department t 312 563 0020 | f 312 235 4182 bid @ wright20.com Request Condition Reports t 312 563 0020 condition @ wright20.com

312 521 7169 | clientaccounts @ wright20.com

R I C H A R D W R I G H T

Richard Wright Auctioneer Illinois No. 041000341

C O N TA C T