Florsheim/Goldberg: An Extended Conversation 15 February 2018 by Wright Auction

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Auction 15 February 2018 12 pm central

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Exhibition / New York 1 – 15 February 2018 11 am – 5 pm Monday – Friday

Exhibition / Chicago 1 – 15 February 2018 10 am – 4 pm Monday – Friday

980 Madison Avenue New York NY 10075

1440 West Hubbard Street Chicago IL 60622

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Lake Michigan Bertrand and Nancy Goldberg Residence 1518 N Astor St

Lillian Florsheim Home & Studio

Lake Sho

Maximâ&#x20AC;&#x2122;s de Paris Astor Tower / 1300 N Astor St

re Drive

1328 N State St

Chicago â&#x20AC;&#x2122;s Gold Coast

Lucille Strauss Residence 179 E Lake Short Drive

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This catalog highlights an exchange between two extraordinary peopleâ&#x20AC;&#x201D; Lillian Florsheim, an elegant and thoughtful woman who amassed a remarkable collection of art while producing her own art, and her son-in-law, Bertrand Goldberg, an innovative architect whose iconic structures standout in the Chicago skyline. Intensely creative, both Lillian and Bertrand surrounded themselves with art and objects and maintained relationships with important artists across the globe. Their friendship developed over shared ideas, interests, and concepts explored in their individual artistic practices and in the artworks they collected. Nancy Florsheim, Lillianâ&#x20AC;&#x2122;s daughter, brought the two together. Nancy married Bertrand in 1946 and two years later Lillian asked her architect son-in-law to renovate her home and studio. For the project, Bertrand designed a pioneering and sophisticated kitchen that bridged the two buildings, clad in fiberglass and featuring only white, black and silver within. The relationship grew from there, as Lillian supported Bertrand and he in turn encouraged her work and interest in the arts. Bertrand helped Lillian by making special displays for the art she collected and for her own works, and developed special lighting and hardware systems in her studio. He photographed her works and lit her shows.

right Custom kitchen designed by Bertrand Goldberg for Lillian Florsheim overlay Views of Lillian Florsheimâ&#x20AC;&#x2122;s home interior

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right Custom kitchen designed by Bertrand Goldberg for Lillian Florsheim overlay Views of Lillian Florsheimâ&#x20AC;&#x2122;s home interior

The symbiosis of their relationship was apparent early on but it extended beyond mutual respect, appreciation and support into more formal artistic concerns. From exploration into materials and form, both the architecture of Bertrand Goldberg and the art of Lillian Florsheim share significant overlaps. The timeline and connections are not necessarily linear or direct, but it is evident in a vibrant dialogue between their works and the art with which they surrounded themselves. Both had early interest in curved, three-dimensional form. Lillian began her work Layout model with varied geometries by Bertrand Goldberg Associates for the Health Sciences Center in Stony Brook, NY

in the 1940s with figural sculptures, which evolved into more abstract works and string models. Bertrand’s interest in curvature started with two-dimensional curves in his furniture design of the late 1940s and early 1950s, and by the end of the decade and into the early 1960s, his control and understanding of curves was much more sophisticated as revealed in the three-dimensional volumes of Marina City and the Brenneman School with its hyperbolic concrete shells sheltering individual classrooms. Quatrefoil, a cast plaster work by Lillian from 1963-64 presages the quatrefoil plans of Bertrand’s hospitals of a few years later and illustrates their shared interest in volumetric expression. At times, the dialog in their production is obvious but it is rarely simple. Rather, it is an extended conversation between two thinking individuals, each working in their own medium. In the end, Bertrand remained focused on structural form while Lillian was more interested in conceptual issues and they each remained true to their individual training and to their teachers ’ philosophies (Lillian to László Moholy-Nagy via her studies at the Institute of Design, and her exchanges with the artists Georges Vantongerloo and Max Bill; Bertrand to Josef Albers and Ludwig Mies van der Rohe).

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In addition to the dialog between Lillian’s art and Bertrand’s architecture, other aspects of their daily lives were intertwined not only with family ties but by their proximity to each other; Bertrand and Nancy lived just a few blocks away from Lillian’s home and studio in the Gold Coast of Chicago. Furthermore, all were near Bertrand’s Astor Tower, home to Maxim’s de Paris, the esteemed French restaurant based on the legendary Parisian establishment that was owned and run by Nancy Goldberg for two decades and enjoyed frequently by all three. The family was close knit and even their travels were at times shared. In 1956 Lillian, Nancy and Bertrand attended the Venice Biennale and afterwards all three visited the artist, Pietro Consagra in Rome. Both Lillian and Bertrand acquired works from Consagra further illustrating just how often their interests and appreciations aligned. They often collected works by the same artists, and also ancient artifacts and antiques. Yet, throughout each maintained their own singular vision that was both informed and inspired by the other. With nearly 200 lots, this unique offering explores the complex and multi-faceted relationship of the artist, Lillian Florsheim and architect, Bertrand Goldberg. upper right Brenneman School, Chicago designed by Bertrand Goldberg above Quatrefoil by Lillian Florsheim; Drawing of the Basic Science Tower by Bertrand Goldberg Associates for the Health Sciences Center in Stony Brook, NY

L I L L I A N

F L O R S H E I M

18 9 6 –19 8 8

Lillian Florsheim came to the arts late in life. She began with painting in the 1940s, starting artistic work in her fifties. Her life up to then had been more conventional. She was born Lillian Hyman, in 1896 to parents Clara Newman and Harris Hyman. Raised in New Orleans in a large house on St. Charles Avenue in the Garden District, she summered with her family in Charlevoix, Michigan. The first woman in her family to go to college, Lillian was a strong student, and graduated from Smith College where she studied literature and philosophy. In 1918 she married Irving Florsheim of the prominent manufacturing company Florsheim Shoes, founded by his father. The young couple moved to Chicago and kept homes both in the city and outside in Libertyville. Lillian and Irving had two daughters, Mary and Nancy. After twenty-eight years of marriage, in 1946, Lillian and Irving divorced and she would never remarry. It was at this time that Lillian began to pursue her interest in the arts. She took courses in painting with Rudolph Wiesenborn and George Buehle, before studying sculpture under Hugo Weber at the Institute of Design in Chicago where she was introduced to more exploratory abstractions and three-dimensional studies. Throughout the 1950s Lillian dedicated herself to creating works that ranged from small abstract figures to string studies. In the late 1950s and early 1960s she moved to more abstract and complex studies of form and larger geometric constructions. From the mid-1960s through the early 1980s, Lillian’s art was widely exhibited locally as well as overseas in Europe. In 1970 she was one of three artists featured in solo exhibitions at the Museum of Contemporary Art, Chicago. Not only did Lillian make art, but she also began to collect art in the late 1950s. She undertook this with serious investigation into the Cubists and other artists of the 1930s Paris -based group Abstraction-Création, and assembled a leading collection of their work. She traveled and met many of the artists whose works she collected, with particularly strong friendships with Georges Vantongerloo and Max Bill among others. Over the next two decades she would amass a well-considered and impressive collection which was shown in exhibitions around the world. Her own work continued to evolve in scale and technique, reflecting changing ideas about art as she worked late into life, well into her eighties. Lillian died in 1988 at the age of 92. Today, works from her collection can be found in major museum collections including The Art Institute of Chicago, Hirshhorn Museum and Sculpture Garden, Smithsonian American Art Museum and the New Orleans Museum of Art, as well as in museums in Europe. Her work too has found homes in numerous prominent collections across the globe.

Lillian Florsheim in her studio

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18 9 6 –19 8 8

Lillian Florsheim came to the arts late in life. She began with painting in the 1940s, starting artistic work in her fifties. Her life up to then had been more conventional. She was born Lillian Hyman, in 1896 to parents Clara Newman and Harris Hyman. Raised in New Orleans in a large house on St. Charles Avenue in the Garden District, she summered with her family in Charlevoix, Michigan. The first woman in her family to go to college, Lillian was a strong student, and graduated from Smith College where she studied literature and philosophy. In 1918 she married Irving Florsheim of the prominent manufacturing company Florsheim Shoes, founded by his father. The young couple lived in Chicago and kept homes both in the city and outside in Libertyville. Lillian and Irving had two daughters, Mary and Nancy. After twenty-eight years of marriage, in 1946, Lillian and Irving divorced and she would never remarry. It was at this time that Lillian began to pursue her interest in the arts. She took courses in painting with Rudolph Weisenborn and George Buehle, before studying sculpture under Hugo Weber at the Institute of Design in Chicago where she was introduced to more exploratory abstractions and three-dimensional studies. Throughout the 1950s Lillian dedicated herself to creating works that ranged from small abstract figures to string studies. In the late 1950s and early 1960s she moved to more abstract and complex studies of form and larger geometric constructions. From the mid-1960s through the early 1980s, Lillian’s art was widely exhibited locally as well as overseas in Europe. In 1970 she was one of three artists featured in solo exhibitions at the Museum of Contemporary Art, Chicago. Not only did Lillian make art, but she also began to collect art in the late 1950s. She undertook this with serious investigation into the Cubists and other artists of the 1930s Paris-based group Abstraction-Création, and assembled a leading collection of their work. She traveled and met many of the artists whose works she collected, with particularly strong friendships with Georges Vantongerloo and Max Bill among others. Over the next two decades she would amass a well-considered and impressive collection which was shown in exhibitions around the world. Her own work continued to evolve in scale and technique, reflecting changing ideas about art as she worked late into life, well into her eighties. Lillian died in 1988 at the age of 92. Today, works from her collection can be found in major museum collections including The Art Institute of Chicago, Hirshhorn Museum and Sculpture Garden, Smithsonian American Art Museum and the New Orleans Museum of Art, as well as in museums in Europe. Her work too has found homes in numerous prominent collections across the globe.

B E R T R A N D

G O L D B E R G

1913 –19 9 7

Born in 1913 in Chicago, Bertrand was exposed to new ways of thinking at an early age. His older sister had broken conventions and was active in radical street theater and the Goodman Theater, a hotbed of progressive thinking. Bertrand left Chicago to study architecture at Harvard College and then went to the Bauhaus in Berlin, one of several Americans at this exceptional, short-lived school for architecture, design and the arts. He worked in Mies van der Rohe’s office, and returned to the United States at the end of 1933 when the Bauhaus was closed. Guided by Philip Johnson to return to Chicago, Bertrand began working in 1934 for Keck and Keck, modernist architects in Chicago. In 1937, he started his own practice, doing both residential projects and industrial design. He designed prefabricated housing in 1939, and expanded his involvement into factory production of their premade components. During the war he put this knowledge to work for the government, designing portable medical labs that could readily be demounted and assembled. These early projects furthered Bertrand’s interest in structures that could be quickly and affordably constructed, eventually leading to the architect’s embrace of advantageous forms and techniques. In 1946, Bertrand married Nancy Florsheim, daughter of Lillian and Irving Florsheim of the Florsheim Shoe Company. His mother-in-law, Lillian, was an accomplished artist and avid art collector and the two formed a friendship with shared appreciation of materials, formal innovation and a deep interest in the formal issues of design. At the end of the 1950s, Goldberg began work on two large commissions: the residential high-rise, Astor Tower, was followed by his masterwork, Marina City, the project for which he is best known. This massive project was an entirely new concept in urban planning, and the culmination of his unique design philosophy and innovative engineering. A “city within a city”, it was a complex which encompassed all aspects of life—residential apartments for the middle class, dining and entertainment, and offices and recreational areas were all contained within a meticulously planned urban environment. Socially progressive, Bertrand continued to apply his design philosophy to affordable housing projects, hospitals, college campuses and residential buildings in years following. Bertrand Goldberg Associates also grew, employing over 100 people by the end of the 1970s. The office’s last major commission was Wright College, a five-building campus in Chicago’s northwest side, completed in 1992; Bertrand died five years later. His legacy remains visible in the Chicago Skyline, and Bertrand Goldberg’s designs continue to be among the most recognizable and defining buildings of the city.

Bertrand Goldberg in his office

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18 9 6 –19 8 8

Born in 1913 in Chicago, Bertrand was exposed to new ways of thinking at an early age. His older sister had broken conventions and was active in radical street theater and the Goodman Theater, a hotbed of progressive thinking. Bertrand left Chicago to study architecture at Harvard College and then went to the Bauhaus in Berlin, one of several Americans at this exceptional, short-lived school for architecture, design and the arts. He worked in Mies van der Rohe’s office, and returned to the United States at the end of 1933 when the Bauhaus was closed. Guided by Philip Johnson to return to Chicago, Bertrand began working in 1934 for the modernist architects Keck and Keck. In 1937, he started his own practice, doing both residential projects and industrial design. He designed prefabricated housing in 1939, and expanded his involvement into factory production of their premade components. During the war he put this knowledge to work for the government, designing portable medical labs that could readily be demounted and assembled. These early projects furthered Bertrand’s interest in structures that could be quickly and affordably constructed, eventually leading to the architect’s embrace of advantageous forms and techniques. In 1946, Bertrand married Nancy Florsheim, daughter of Lillian and Irving Florsheim of the Florsheim Shoe Company. His mother-in-law, Lillian, was an accomplished artist and avid art collector and the two formed a friendship with shared appreciation of materials, formal innovation and a deep interest in the formal issues of design. At the end of the 1950s, Goldberg began work on two large commissions: the residential high-rise, Astor Tower, was followed by his masterwork, Marina City, the project for which he is best known. This massive project was an entirely new concept in urban planning, and the culmination of his unique design philosophy and innovative engineering. A “city within a city”, it was a complex which encompassed all aspects of life—residential apartments for the middle class, dining and entertainment, and offices and recreational areas were all contained within a meticulously planned urban environment. Socially progressive, Bertrand continued to apply his design philosophy to affordable housing projects, hospitals, college campuses and residential buildings in years following. Bertrand Goldberg Associates also grew, employing over 100 people by the end of the 1970s. His office’s last major commission was Wright College, a five-building campus in Chicago’s northwest side, completed in 1992; Bertrand died five years later. His legacy remains visible in the Chicago Skyline, and Bertrand Goldberg’s designs continue to be among the most recognizable and defining buildings of the city.

Lillian Florsheim

Bertrand Goldberg

Nancy Florsheim Goldberg

Josef Albers

László Moholy-Nagy

Ludwig Mies van der Rohe

Georges Vantongerloo

Max Bill

Denise René

P A R I S

Georges Vantongerloo B A U H A U S Begins abstract work, joins De Stijl 1920

Max Bill

Josef Albers

László Moholy-Nagy Teach together

A B S T R A C T I O N - C R É A T I O N Bertrand Goldberg

Jean (Hans) Arp

Lillian Florsheim

Studies with Albers at Bauhaus Arp, Vantongerloo, Albers, Moholy-Nagy, Bill are members

C H I C A G O Founds New Bauhaus in Chicago, which becomes the Institute of Design 1940

Victor Vasarely

Denise René

Open gallery

Marries Nancy Florsheim

together

CONSTRUCTION WITH AND WITHIN A CUBE

Moves into 1328 North State St

DARK d . 194 6

Studies at ID

F O R M AT I O N D E L A M AT I È R E F LO R S H E I M K I T C H E N SPICE RACK

Albers and Goldberg work on theater C O N S T E L L AT I O N

Friendship between René, Vantongerloo, Bill, Albers, Goldberg, and Florsheim 1960 Marina City MARINA CIT Y STEEL BENCH PLEXI ROD SCULPTURE d . 196 5 QUASAR d . 196 6

Exhibitions

Exhibitions at

with Lillian Florsheim

Denise René

MCA exhibition

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The Art Collections of Lillian Florsheim & Bertrand Goldberg

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Lillian Florsheim the Artist

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Bertrand Goldberg the Architect

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Art & Artifacts from the Goldberg Family Collection part 1

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Maximâ&#x20AC;&#x2122;s de Paris

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Art & Artifacts from the Goldberg Family Collection part 2

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100 LYONEL FEININGER

1871 – 1956

UNTITLED

1953 ink and watercolor on paper 3 ¼ h × 6 ¼ w in (8 × 16 cm) Signed to lower left ‘Feininger’. $ 10,000 – 15,000 EXHIBITED

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012, The Arts Club of Chicago

PROVENANCE

Andre Emmerich Gallery, New York | Collection of Bertrand Goldberg | Thence by descent

101 LYONEL FEININGER

1871 – 1956

UNTITLED

1953 ink and watercolor on paper 3 ¼ h × 6 ¼ w in (8 × 16 cm) Signed and dated to lower left ‘Feininger 1953’. $ 10,000 – 15,000 EXHIBITED

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012, The Arts Club of Chicago

PROVENANCE

Andre Emmerich Gallery, New York | Collection of Bertrand Goldberg | Thence by descent

102 LYONEL FEININGER

1871 – 1956

S C È N E D E FA M I L L E

c. 1953 ink and watercolor on paper 3 h × 6 w in (8 × 15 cm) Signed and titled to lower edge ‘Feininger Scène de Famille’. $ 10,000 – 15,000 EXHIBITED

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012, The Arts Club of Chicago

PROVENANCE

Andre Emmerich Gallery, New York | Collection of Bertrand Goldberg | Thence by descent

103 PAUL KLEE

1879 – 194 0

MENACING HEAD FROM THE INVENTIONS SERIES

1905 etching on paper 7 h × 5 w in (18 × 13 cm) This work is from the edition of approximately 16 printed by Max Girardet, Bern and published by the artist. $ 50,000 – 70,000 LITERATURE EXHIBITED

Kornfeld 18

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012, The Arts Club of Chicago

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

104 PAUL KLEE

1879 – 194 0

KLEINWELT

1914 etching on paper 5 ½ h × 3 ¾ w in (14 × 10 cm) Signed, titled and numbered to lower margin ‘Kleinwelt 1/3 Klee’. This work is 1 from the edition of 3. $ 5,000 – 7,000 LITERATURE

Kornfeld 61B

PROVENANCE

Allan Frumkin Gallery, Chicago | Collection of Bertrand Goldberg | Thence by descent

105 JACQUES VILLON

1875 – 196 3

MONSIEUR D. READING

1913 drypoint on Rives paper 19 ¼ h × 11 ½ w in (49 × 29 cm) Sheet measures: 19.25 h × 14 w inches. Signed and numbered to lower edge ‘17/32 Jacques Villon ’ with watermark of the printer. This work is number 17 from the edition of 32 printed by Eugène Delâtre. $ 20,000 – 30,000 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

106 MAX BILL

19 0 8 – 19 94

CONSTRUCTION WITH AND WITHIN A CUBE

1944–45 brass, marble 19 ½ h × 14 ¾ w × 6 d in (50 × 37 × 15 cm) Sold with the original invoice and correspondence from Max Bill. $ 70,000 – 90,000 EXHIBITED

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012, The Arts Club of Chicago

PROVENANCE

Acquired in 1954 directly from the artist | Collection of Lillian Florsheim | Thence by descent

107 JOSEF ALBERS

18 8 8 – 1976

DARK

1947 oil on masonite 25 ¾ h × 37 ¼ w in (65 × 95 cm) Signed and dated to lower right ‘A 47’. Signed, titled and dated to verso ‘Dark Albers ‘47’. This work will be included in the forthcoming catalogue raisonné being prepared by the Anni and Josef Albers Foundation, registered as 1947.1.9. $ 200,000 – 300,000 LITERATURE

Annual Exhibition of Contemporary American Painting, exhibition catalog, unpaginated,

illustrates this work Abstract Painting and Sculpture in America, exhibition catalog, pg. 76 illustrates this work EXHIBITED

Third Exhibition of the La Tausca Art Competition, 10 January–1 February 1948, Riverside Museum,

New York (traveling exhibition) | Paintings by Josef Albers, 7 December 1949–30 January 1950, Yale University Art Gallery, New Haven | Annual Exhibition of Contemporary American Painting, December 1950–1 January 1951, California Palace of the Legion of Honor, San Francisco | Abstract Painting and Sculpture in America, 24 January–25 March 1951, Museum of Modern Art, New York | 60th Annual American Exhibition: Painting and Sculpture, 25 October–16 December 1951, Art Institute of Chicago | Josef Albers: Paintings, Prints, Projects, 25 April–18 June 1956, Yale University Art Gallery, New Haven | Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012, The Arts Club of Chicago PROVENANCE

Sidney Janis Gallery, New York | Mrs. Albert H. Newman, Chicago

Collection of Bertrand Goldberg | Thence by descent

108 JEAN (HANS) ARP

18 8 6 – 196 6

CONSTELL ATION

1956 painted wood relief 27 ¼ h × 26 ½ w × 2 ¼ d in (69 × 67 × 6 cm) Signed to paper label to verso ‘Arp’. Sold with the original invoice from Galerie Chalette. $ 70,000 – 90,000 EXHIBITED

Dada and Surrealism in Chicago Collections, 29 November 1984–27 January 1985,

Museum of Contemporary Art, Chicago PROVENANCE

Acquired in 1960 from Galerie Chalette, New York

Collection of Lillian Florsheim | Thence by descent

109 LEON POLK SMITH

19 0 6 – 19 96

C O M P O S I T I O N 11 0 0

1959 oil on stainless steel 10 ¾ dia × ¾ d in (27 × 2 cm) Signed, titled and dated to verso ‘Leon Polk Smith 1100 1959’. Sold with the original invoice from Galerie Chalette. $ 20,000 – 30,000 EXHIBITED

Construction in Geometry and Painting, 1960, Galerie Chalette, New York (traveled

to The Arts Club of Chicago, 1960) | Geometric Abstraction, 17 May–30 June 1985, Midwest Museum of American Art, Elkhart, Indiana PROVENANCE

Acquired in 1961 from Galerie Chalette, New York

Collection of Lillian Florsheim | Thence by descent

110 ZOLTÁN KEMÉNY

19 07 – 196 5

CRISTAL D ’ESPRIT

1957 brass construction over wood 39 ¾ h × 28 ½ w × 4 ½ d in (101 × 72 × 11 cm) Signed to verso ‘Kemény’. $ 15,000 – 20,000 EXHIBITED

1957, Galerie Paul Facchetti, Paris | 1959, Kunsthaus, Zurich | 1964, Swiss Pavilion, Venice Biennial

PROVENANCE

Acquired in 1959 from Galerie Paul Facchetti | Collection of Lillian Florsheim | Thence by descent

111 GEORGES VANTONGERLOO

18 8 6 –196 5

FORMATION DE L A MATIÈRE

1951

The Belgian artist, Georges Vantongerloo (1896-1965), was a founding member of De Stijl and then later

oil on panel in artist’s frame

was head of the artist group Abstraction-Création in Paris in the 1930s. Introduced by Hugo Weber her instructor

16 h × 18 ¾ w in (41 × 48 cm)

at the Institute of Design, Lillian met Vantongerloo in Paris and visited the reclusive artist each year in his studio.

Signed, titled and dated to verso ‘Formation de la Matière Paris 1951 G. Vantongerloo ’.

They corresponded throughout the 1950s, discussing their works in progress, materials and process, and even

$ 70,000 – 90,000

the everyday events and concerns of their lives. Vantongerloo shared his more personal writings with her in this

EXHIBITED

Geometric Abstraction, 17 May–30 June 1985, Midwest Museum of American Art,

close relationship.

Elkhart, Indiana | Georges Vantongerloo: A Longing for the Infinity, 4 November 2009–22 February 2010,

Lillian fondly collected several works from her good friend, including the piece offered here. Her Vantongerloo

Museo Nacional Centro de Arte, Reina Sofia, Madrid

pieces were displayed prominently and proudly in her home for many years, and in January of 1963, after

PROVENANCE

Acquired directly from the artist | Collection of Lillian Florsheim | Thence by descent

an exhibition of Vantongerloo’s work at Marlborough Gallery in London, Lillian wrote him: You have received the praises from everyone in London, but you ought to know how everyone here finds your beautiful pieces in my home. They continue to give me enormous pleasure. I always thank you for having accepted me finally as a lover (amateur) of your work, not merely as a buyer (marchand).

112 PRE-COLUMBIAN FEMALE FIGURE

550–950 AD terracotta 15 h × 7 ½ w × 5 d in (38 × 19 × 13 cm) $ 2,000 – 3,000 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

113 PAUL KLEE

1879 – 194 0

KOMIKER

1904 etching and aquatint on paper 6 h × 6 ½ w in (15 × 17 cm) Signed to lower right ‘Paul Klee’. This work is from the edition of approximately 50 printed by Max Girardet, Bern and published by the artist. $ 30,000 – 50,000 LITERATURE EXHIBITED

Kornfeld 10

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012, The Arts Club of Chicago

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

114 YA AC OV AGA M

B . 1928

C O N T I N U I T Y ( T R A N S F O R M A B L E PA I N T I N G , C I R C U L A R )

1958 wood, cork, paint and steel 26 ¼ dia × 4 d in (67 × 10 cm) Signed, titled and dated to verso ‘Yaacov Agam Continuity Paris 1958’. This painting can be rotated and the placement of the elements can be modified. $ 30,000 – 50,000 LITERATURE EXHIBITED

Agam, Popper, figs. 228–231 illustrate this work

Exposition Internationale de Pittsburgh, 4 December 1958–8 February 1959, Carnegie Institute, Pittsburgh

PROVENANCE

Acquired directly from the artist | Collection of Lillian Florsheim | Thence by descent

115 PIET ZWART

18 85 – 197 7

FREE COMPOSITION

1925 letterpress on paper 9 ¼ h × 6 ½ w in (23 × 17 cm) Signed to lower right ‘Zwart’. Sold with the original invoice from Ex Libris. $ 1,500 – 2,000 PROVENANCE

Acquired in 1980 from Ex Libris, a division of TJ Art Inc., New York

Goldberg Family Collection

116 KARL-PETER RÖHL

189 0 – 1975

ZWEI IM ROT

1922 colored paper collage 11 ¼ h × 7 ¾ w in (29 × 20 cm) Titled and dated to lower edge ‘Zwei im Rot 1922’. $ 7,000 – 9,000 PROVENANCE

Acquired circa 1962 from B.C. Holland, Chicago

Collection of Lillian Florsheim | Thence by descent

117 DEWAIN VALENTINE

B . 193 6

UNTITLED (CIRCLE)

c. 1975 cast polyester resin 34 ½ dia × 2 ¼ d in (88 × 6 cm) $ 50,000 – 70,000 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

118 JOSEF ALBERS

18 8 8 – 1976

UNTITLED

c. 1958 lithograph on smooth wove paper 12 h × 9 w in (30 × 23 cm) Sheet measures: 12.5 h × 9.5 w inches. $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

119 LAJOS KASSAK

18 87 – 1967

BILDARCHITEKTUR I

1921 gouache on paper 9 ¾ h × 10 w in (25 × 25 cm) Signed to lower right ‘LK’. Signed and dated to verso ‘Kassak 1924’. Sold with correspondence between Lillian Florsheim and Galerie Krugier et Cie in regards to this work. $ 10,000 – 15,000 PROVENANCE

Estate of the artist | Acquired from Galerie Krugier et Cie, Geneva

Collection of Lillian Florsheim | Thence by descent

120

121

MIRKO (BASALDELLA)

1910 – 196 9

ROBERTO SEBASTIAN MAT TA

1911 – 2 0 0 2

ENRICO III

U N T I T L E D ( S T U DY F O R PA I N T I N G )

1957

1960

cast bronze, cast stone

colored and lead pencil on paper

15 ¼ h × 3 w × 3 d in (39 × 8 × 8 cm)

19 ½ h × 25 ½ w in (50 × 65 cm)

This work is number 3 from the edition of 8. $ 2,000 – 3,000

Signed and dated to lower right ‘Matta 60’. Sold with original certificate issued

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

by the Matta archives in Tarquinia, Italy. $ 10,000 – 15,000 LITERATURE

Sabatier D60/ 7

PROVENANCE

Allan Frumkin Gallery, Chicago | Collection of Bertrand Goldberg | Thence by descent

122 VICTOR VASARELY

19 0 6 – 19 97

QUASAR

1965 tempera or casein on panel 31 ½ h × 31 ½ w in (80 × 80 cm) Signed to lower right ‘ Vasarely’. Signed, titled and dated to verso ‘Quasar 1965 Vasarely’. Sold with the original invoice from Galerie Denise René. $ 30,000 – 50,000 EXHIBITED

Geometric Abstraction, 17 May–30 June 1985, Midwest Museum of American Art,

Elkhart, Indiana PROVENANCE

Acquired in 1965 from Galerie Denise René, Paris | Collection of Lillian Florsheim | Thence by descent

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T H E

A R T I S T

Lillian’s artistic production took place late in her life; she began studying art in the late 1940s in her fifties and she continued to work into her eighties. She began with painting courses taught by Rudolph Wiesenborn and George Buehle, both in Chicago. After viewing a work by Max Bill at the Art Institute of Chicago she became more interested in abstract work and enrolled in classes with Hugo Weber at the Institute of Design in 1951. Here she was introduced to more exploratory abstractions and three-dimensional studies, working with string and wire armatures, a technique derived from László Moholy-Nagy’s early teachings at the school. Through the 1950s Lillian worked unaccompanied at home in her studio making abstracted figures, string study models, and a variety of utilitarian objects in Plexiglas. In the early 1960s, her sculptures became more abstract, complex studies of pure form. She began to layer Plexiglas, and then moved into strong geometric constructions of rods and planes. By the end of the decade, her works became much larger, first with tall columns and plinths and later with assemblies of tubes and portals. By the end of the 1970s, she returned to making smaller more intimately scaled works. Over these three decades, she created an impressive body of work with more than 200 sculptures. She explored a variety of techniques, approaches, materials and methods throughout her career, probing the material and conceptual boundaries of her creations. Lillian’s sculptural work was widely exhibited from the mid-1960s through the 1980s; she had at least sixteen solo shows, and participated in twelve group shows in seven countries. She was a close friend of the highly-regarded Parisian gallerist Denise René, who showed Lillian’s work in 1968 and 1969. In 1970, Lillian was one of three artists in a major exhibition at the Museum of Contemporary Art, Chicago. She was represented by the notable Fairweather Hardin Gallery in Chicago, who hosted two solo shows of Lillian’s work in 1980 and 1983.

L I L L I A N

F L O R S H E I M

T H E

A R T I S T

Lillian’s artistic production took place late in her life; she began studying art in the late 1940s in her fifties and she continued to work into her eighties. She began with painting courses taught by Rudolph Weisenborn and George Buehle, both in Chicago. After viewing a work by Max Bill at the Art Institute of Chicago she became more interested in abstract work and enrolled in classes with Hugo Weber at the Institute of Design in 1951. Here she was introduced to more exploratory abstractions and three-dimensional studies, working with string and wire armatures, a technique derived from László Moholy-Nagy’s early teachings at the school. Through the 1950s Lillian worked unaccompanied at home in her studio making abstracted figures, string study models, and a variety of utilitarian objects in Plexiglas. In the early 1960s, her sculptures became more abstract, complex studies of pure form. She began to layer Plexiglas, and then moved into strong geometric constructions of rods and planes. By the end of the decade, her works became much larger, first with tall columns and plinths and later with assemblies of tubes and portals. By the end of the 1970s, she returned to making smaller more intimately scaled works. Over these three decades, she created an impressive body of work with more than 200 sculptures. She explored a variety of techniques, approaches, materials and methods throughout her career, probing the material and conceptual boundaries of her creations. Lillian’s sculptural work was widely exhibited from the mid-1960s through the 1980s; she had at least sixteen solo shows, and participated in twelve group shows in seven countries. She was a close friend of the highly-regarded Parisian gallerist Denise René, who showed Lillian’s work in 1968 and 1969. In 1970, Lillian was one of three artists in a major exhibition at the Museum of Contemporary Art, Chicago. She was represented by the notable Fairweather Hardin Gallery in Chicago, who hosted two solo shows of Lillian’s work in 1980 and 1983.

123 LILLIAN FLORSHEIM

1896 – 198 8

U N T I T L E D ( R O D S T H R O U G H P L A N E F O R M , H 11 )

1965 acrylic, Plexiglas 20 h × 20 w × 11 d in (51 × 51 × 28 cm) $ 2,000 – 3,000 EXHIBITED

Lillian Florsheim Retrospective, 1985, Loyola University of Chicago

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

124 LILLIAN FLORSHEIM

1896 – 198 8

UNTITLED (SHARDS FORM, Q7)

1980 Plexiglas 19 h × 7 ¼ w × 5 ½ d in (48 × 18 × 14 cm) $ 1,000 – 1,500 EXHIBITED

Lillian Florsheim, 1980, Fairweather Hardin Gallery, Chicago

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

125 LILLIAN FLORSHEIM

1896 – 198 8

UNTITLED (STACKING FORM, R1)

c. 1980 stainless steel 33 h × 26 w × 8 d in (84 × 66 × 20 cm) $ 2,000 – 3,000 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

126

127

LILLIAN FLORSHEIM

1896 – 198 8

LILLIAN FLORSHEIM

1896 – 198 8

UNTITLED (CONSTRUCTION FORM, O4)

U N T I T L E D ( PAT T E R N F O R M , G 4 )

c. 1972

1966

Plexiglas

15 ¼ h × 5 ¼ w × 5 ¼ d in (39 × 13 × 13 cm)

34 h × 64 w × 1 ¼ d in (86 × 163 × 3 cm)

$ 1,500 – 2,000

$ 3,000 – 5,000

EXHIBITED

Lillian Florsheim, 1972, Circle Gallery, New Orleans

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

EXHIBITED

Lillian Florsheim Retrospective, 1985, Loyola University of Chicago

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

128

129

LILLIAN FLORSHEIM

1896 – 198 8

LILLIAN FLORSHEIM

1896 – 198 8

U N T I T L E D ( U T I L I TA R I A N F O R M , A 1. 2 )

UNTITLED (STACKING FORM, R2)

c. 1958

1980

Plexiglas

stainless steel, enameled steel

3 ¼ h × 7 w × 7 d in (8 × 18 × 18 cm)

27 ½ h × 24 ¼ w × 18 d in (70 × 62 × 46 cm)

$ 300 – 500

$ 2,000 – 3,000

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

EXHIBITED

Lillian Florsheim, 1980, Fairweather Hardin Gallery, Chicago

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

B E R T R A N D

G O L D B E R G

T H E

A R C H I T E C T

Bertrand Goldberg was one of several Americans trained at the Bauhaus, and is unique for his extensive and productive architectural career that spanned from the 1930s into the 1990s. Born in Chicago, Goldberg first went to Harvard before going to study at the Bauhaus in Germany, working briefly in the small office of Mies van der Rohe in Berlin. After returning to Chicago, he started his own firm in 1937, working on both single family residences and industrial design, with his custom solutions burnished with his growing knowledge of manufacturing. Goldberg’s largest and most iconic project was Marina City in Chicago completed in the 1960s. This multi-building complex featured two round sixty story towers, with 900 apartments, a theater, office and commercial spaces, a marina, and many kinds of recreation. The towers have long been iconic structures in Chicago’s skyline and are still in Chicago imagery. At Marina City, Bertrand Goldberg used the creation of a “city within a city” to combine living, recreation, entertainment and commercial space into a single complex, a recurring concept throughout his career. The project featured numerous design and construction innovations; at the time of completion the Marina City towers were the tallest apartment buildings and concrete structures in the world. Bertrand’s designs were always unique and forward thinking, starting with residential commissions in the 1930s through the 1950s, and extending into major commissions following Marina City. From 1965-1976 Bertrand Goldberg designed nine major hospitals and two large educational campuses, including the Health Sciences Center in Stony Brook, New York, a mega-complex of three large buildings connected through multi-acre base structure. He had a particular interest in the dynamic of the individual and their use of the space around them, an idea that extended to his hospital designs. These all featured a particular approach, with beds clustered around care centers, giving his buildings unique form. His particular combination of Bauhaus ideas coupled with his American pragmatism is evident throughout his career. Its roots are visible in his early single-family residences and furniture, where every detail was considered, with custom furniture and fixtures common to all buildings. Two projects from the 1950s stand out, one a home out of large prefabricated building shells, from boxcars he was manufacturing in plywood, which were then cantilevered out over Long Island Sound. At the same time, he designed for his mother-in-law Lillian, a unique kitchen-as-bridge, spanning from her small house to her studio. Clad in fiberglass, its elegant interior was in stainless or gloss black, and featured all custom fittings, in perforated metal and machine-parts. While Bertrand completed many single-family and multi-family residential projects and numerous institutional and commercial projects, the special objects and fittings he designed are rarely seen. With a personal design sensibility rooted in material and technological innovations, Bertrand’s furniture is not only rare, but also exceptional for its uniqueness. The works offered here are exemplary and represent a part of this significant individual’s contribution to modernism.

B E R T R A N D

G O L D B E R G

T H E

A R C H I T E C T

One of several Americans who studied at the Bauhaus, Bertrand Goldberg was unique for his extensive and productive architectural career that spanned from the 1930s into the 1990s. Born in Chicago, Goldberg first went to Harvard before going to study at the Bauhaus in Germany, working briefly in the small office of Mies van der Rohe in Berlin. After returning to Chicago, he started his own firm in 1937, working on both single family residences and industrial design, with his custom solutions burnished with his growing knowledge of manufacturing. Goldberg’s largest and most iconic project was Marina City in Chicago completed in the 1960s. This multi-building complex featured two round sixty story towers, with 900 apartments, a theater, office and commercial spaces, a marina, and many kinds of recreation. The towers have long been iconic structures in Chicago’s skyline and are still a part of Chicago imagery. At Marina City, Bertrand Goldberg used the creation of a “city within a city” to combine living, recreation, entertainment and commercial space into a single complex, a recurring concept throughout his career. The project featured numerous design and construction innovations; at the time of completion the Marina City towers were the tallest apartment buildings and concrete structures in the world. Bertrand’s designs were always unique and forward thinking, starting with residential commissions in the 1930s through the 1950s, and extending into major commissions following Marina City. From 1965–1996 Bertrand Goldberg designed nine major hospitals and two large educational campuses, including the Health Sciences Center in Stony Brook, New York, a mega-complex of three large buildings connected through a multi-acre base structure. He had a particular interest in the dynamic of the individual and their use of the space around them, an idea that extended to his hospital designs. These all featured a particular approach, with beds clustered around care centers, giving his buildings unique form. His particular combination of Bauhaus ideas coupled with his American pragmatism is evident throughout his career. Its roots are visible in his early single-family residences and furniture, where every detail was considered, with custom furniture and fixtures common to all buildings. Two projects from the 1950s stand out, one a home out of large prefabricated building shells, from boxcars he was manufacturing in plywood, which were then cantilevered out over Long Island Sound. At the same time, he designed for his mother-in-law Lillian, a unique kitchen-as-bridge, spanning from her small house to her studio. Clad in fiberglass, its elegant interior was in stainless or gloss black, and featured all custom fittings, in perforated metal and machine-parts. While Bertrand completed many single-family and multi-family residential projects and numerous institutional and commercial projects, the special objects and fittings he designed are rarely seen. With a personal design sensibility rooted in material and technological innovations, Bertrand’s furniture is not only rare, but also exceptional for its uniqueness. The works offered here are exemplary and represent a part of this significant individual’s contribution to modernism.

130 BERTRAND GOLDBERG MARINA CITY PHOTOGRAPHS, COLLECTION OF TEN

USA, 1959–1967 mounted black and white photographs 62 ¾ h × 40 ¼ w in (159 × 102 cm) largest $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

131 BERTRAND GOLDBERG COLLECTION OF FIVE PRESENTATION BOARDS

USA, 1959–68 transfer-print on board 22 h × 18 w in (56 × 46 cm) largest Collection includes plans for various projects including Marina City, the San Diego Community Theater, the ABC Office Building and Raymond Hilliard Homes (not shown). $ 200 – 300 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

132

133

BERTRAND GOLDBERG

MARINA CITY (THREE WORKS)

SPICE RACK FOR THE HOUSE OF LILLIAN FLORSHEIM

USA, 1968

USA, 1948

gelatin silver print

perforated stainless-steel, metal engine parts

16 ¾ h × 13 ¼ w in (43 × 34 cm)

11 ½ w × 7 ¾ d × 20 h in (29 × 20 × 51 cm)

Framed together measuring 20.25 h × 36 w inches. This lot is comprised of a selection

$ 2,000 – 3,000

of promotional photographs of Goldberg’s iconic Marina City. The image on the left

EXHIBITED

featured the ice skating rink that has since been destroyed and the image on the right

The Arts Club of Chicago

was featured in Look Magazine. $ 200 – 300

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012, Collection of Bertrand Goldberg | Thence by descent

134 BERTRAND GOLDBERG NORTH P OLE ICE CREAM STATION PRESENTATION BOARD

USA, 1938 gelatin silver print mounted on board 30 h × 40 w in (76 × 102 cm) The mobile North Pole ice cream store was a fully portable structure designed with a cantilevered roof and walls fastened to a truck chassis. Goldberg’s intention was for this to be a portable store, serviced by a portable ice cream manufacturing ‘mother ship’ which would sell ice cream in Chicago during the summer months and travel to Florida for the winter. $ 200 – 300 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

135 BERTRAND GOLDBERG C U S TO M B E N C H F O R T H E M A R I N A C I T Y T H E AT E R LO B BY

USA, c. 1965 aluminum, leather 85 w × 24 d × 16 ½ h in (216 × 61 × 42 cm) $ 5,000 – 7,000 EXHIBITED

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012, The Arts Club of Chicago

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

136 BERTRAND GOLDBERG MODEL FOR HEALTH SCIENCES CENTER, STONY BROOK, NY

USA, c. 1969 mixed media 10 ¾ w × 10 ¾ d × 8 ½ h in (27 × 27 × 22 cm) The Health Sciences Center, built for the State University of New York, was a massive facility that occupied more than 2 million square feet. With Goldberg’s visionary aesthetic, the new megacomplex featured a new way of integrating educational facilities and hospitals. $ 2,000 – 3,000 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

137 BERTRAND GOLDBERG COLLECTION OF ELEVEN STUDIES ON BOARD

USA, c.1970 transfer-print on board 9 ¼ h × 11 ¼ w in (23 × 29 cm) Collection includes eleven studies created by Goldberg of examples of curvilinear or organic form built at other times and in other cultures. $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

138

139

BERTRAND GOLDBERG

860–880 LAKE SHORE DRIVE

WALL -MOUNTED DESK FROM THE OFFICES OF BERTR AND GOLDBERG ASSOCIATES

USA

USA, c. 1952

inkjet print

marble, chrome-plated steel

23 ¼ h × 29 ½ w in (59 × 75 cm)

24 w × 36 d × 27 ¾ h in (61 × 91 × 70 cm)

The twin glass and steel towers of 860-880 Lake Shore Drive were designed by Goldberg’s mentor,

$ 3,000 – 5,000

Ludwig Mies van Der Rohe in 1949. Goldberg took this photograph of the buildings in the 1950s.

PROVENANCE

The inclusion of the frame illustrates his awareness of both the iconic quality of the buildings and also the role of the viewer, something he remained interested in throughout his career. $ 500 – 700 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

140 BERTRAND GOLDBERG L I G H T B OX F E AT U R I N G T H E C H I C AG O C H A M B E R O F C O M M E R C E

USA, c. 1985 transfer-print on canvas, enameled aluminum 62 ¼ w × 45 ¼ d × 5 ½ h in (158 × 115 × 14 cm) $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

These custom light boxes feature imagery of old Chicago; the images were taken from glass negatives, printed onto canvas and mounted in uniquely designed light boxes designed by and fabricated for Goldberg.

141

142

BERTRAND GOLDBERG

L I G H T B OX F E AT U R I N G T H E C H I C AG O P O S T O F F I C E A N D C U S TO M H O U S E

L I G H T B OX F E AT U R I N G R A N D O L P H S T R E E T, C H I C AG O

USA, c. 1985

transfer-print on canvas, enameled aluminum

65 ¼ h × 45 ¼ w × 5 ½ d in (166 × 115 × 14 cm)

62 ¼ h × 45 ¼ w × 5 ½ d in (158 × 115 × 14 cm)

$ 1,000 – 1,500

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

143 BERTRAND GOLDBERG M A R I N A C I T Y: A C I T Y W I T H I N A C I T Y

USA, 1962 printed paper 12.5 w × 12.5 d inches This special catalog for the Marina City residential towers was designed by John Massey for Goldberg to give to potential residents. The exuberant catalog included dramatic graphics and an interior planning aid with floor plans and punch-out furnishings for laying out the apartment. Furniture selections included double or twin beds, tables and seating of various sizes and shapes and even a baby grand piano. $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

144 BERTRAND GOLDBERG CUSTOM COFFEE TABLE FROM THE BERTR AND GOLDBERG RESIDENCE

USA, c. 1958 mahogany, chrome-plated steel 66 w × 24 d × 16 h in (168 × 61 × 41 cm) This custom table was initially designed by Goldberg as a library table but he later modified it into a coffee table by shortening the legs. $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

145 BERTRAND GOLDBERG MODEL FOR HEALTH SCIENCES CENTER, STONY BROOK, NY

USA, c. 1969 mixed media 10 ½ w × 10 ½ d × 10 h in (27 × 27 × 25 cm) $ 2,000 – 3,000 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

146 BERTRAND GOLDBERG COLLECTION OF SEVEN ARCHITECTURAL POSTERS

USA, 1958–1986 gelatin silver print 76 h × 38 w in (193 × 97 cm) Lot includes photographs of various projects including River City, Marina City, Prentice Women ’s Hospital, St. Joseph ’s Hospital, Elgin State Hospital, Brenneman School, Good Samaritan Hospital, Astor Tower and Raymond Hillard Homes. Several of these photographs were included in an 1985 exhibition of Bertrand Goldberg’s work at the Paris Art Center. $ 500 – 700 EXHIBITED

1985, Paris Art Center

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

147 BERTRAND GOLDBERG MARINA CITY MARKETING BROCHURE

USA, 1960 printed paper 14 h × 11 w × 14 d in (36 × 28 × 36 cm) This special brochure was produced for the ground-breaking of Bertrand Goldberg’s Marina City. The introduction explains: “Marina City, with its housing, working and recreation, is planned as a 24-hour -a-day city.” $ 25 – 50 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

148 BERTRAND GOLDBERG RIVER CITY I

USA, 1984 printed paper 15 h × 21 w in (38 × 53 cm) This large scale marketing piece is for an early version of River City featuring Bertrand Goldberg’s dramatic concept for the entire site. The design included a radical cone shaped shopping center structure, a residential tower and a snake -like residential complex form. The book includes perspective renderings, among the finest prepared by the office. $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

149

150

BERTRAND GOLDBERG

ABC BUILDING (THREE WORKS)

RECORD R ACK FOR THE PERSONAL OFFICE OF BERTAND GOLDBERG

USA, c. 1963

USA, c. 1952

mounted black and white photographs

laminate, mahogany

66 ¼ h × 18 w in (168 × 46 cm)

72 w × 16 d × 11 h in (183 × 41 × 28 cm)

In 1963, Goldberg began plans for a sixty-story tower that would house the American

$ 2,000 – 3,000

Broadcasting Company headquarters in New York and a massive free -standing transmission

PROVENANCE

antenna. The proposed building was arranged to follow ABCs corporate structure —offices were grouped by department and clustered around a central communal area. The project was ultimately never realized due to financial difficulties. $ 200 – 300 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

151 ARTHUR SIEGEL

1913 – 1978

L I L L I A N ’S K I T C H E N

1949–52/printed later inkjet print 23 ½ h × 29 ½ w in (60 × 75 cm) Arthur Siegel photographed Goldberg’s groundbreaking kitchen that bridged Lillian Florsheim’s home and studio. The interior was all black, white and silver, with fiberglass walls and stainless steel appliances. $ 200 – 300 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

152 JONATHAN SANTLOFER

B . 194 6

UNTITLED

1976 pencil and collage on paper 22 h × 30 w in (56 × 76 cm) Signed and dated to lower right ‘Santlofer 1976’. Sold with the original invoice from Pam Adler Gallery. $ 500 – 700 PROVENANCE

Acquired in 1979 from Pam Adler Gallery, New York

Collection of Lillian Florsheim | Thence by descent

153

154

BERTRAND GOLDBERG

CHINESE

R I V E R C I T Y I I I E L E VAT I O N

E AV E T I L E

USA, c. 1985

possibly Han Dynasty

sepia print with hand-coloring

impressed pottery

78 ½ h × 30 w in (199 × 76 cm)

9 h × 5 ½ w × 3 ¼ d in (23 × 14 × 8 cm)

Printed to lower edge ‘River City III Bertrand Goldberg Associates, Inc’. $ 1,000 – 1,500

Sold with walnut stand. $ 300 – 500

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

155 BERTRAND GOLDBERG C O L L E C T I O N O F F I F T E E N P H O T O G R A P H S O F E A R LY A R C H I T E C T U R A L P R O J E C TS

USA, 1938–1968 mounted black and white photographs 63 w × 40 d inches Collection includes photographs of various early architectural projects including North Pole Ice Cream, Astor Tower, Helstein House, Affiliated Hospitals Center, San Diego Theatre, Snyder House, Unicel Prefabricated Freight Cars, and the Clark—Maple Gas Station among others. $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

156 JOHN VINCI CUSTOM WALL -MOUNTED CONSOLE FOR LUCILLE STR AUSS

USA, c. 1972 wenge 95 ¼ w × 20 d × 5 ¼ h in (242 × 51 × 13 cm) Console features four drawers and one flip-top compartment. $ 500 – 700 PROVENANCE

Lucille Strauss (sister of Bertrand Goldberg), Chicago | Thence by descent

157 NASA M A N N E D S PAC E C R A F T C E N T E R O F F I C I A L P H OTO G R A P H

USA, 1965 gelatin silver print 10 h × 8 w in (25 × 20 cm) Printed to upper right corner ‘NASA S-65-64887’. Stamped to verso ‘Manned Spacecraft Center Official Photograph ’. $ 200 – 300 PROVENANCE

Goldberg Family Collection

158 NATIVE AMERICAN TOOLS, SET OF TWO

stone 5 ½ w × 3 d × 2 h in (14 × 8 × 5 cm) Additional tool measures: 3.75 w × 2 d × 1 h inches. $ 300 – 500 PROVENANCE

Goldberg Family Collection

159 JOSEF ALBERS

18 8 8 – 1976

WHITE LINE SQUARE V

1966 three color lithograph on Arches Cover paper 21 h × 21 w in (53 × 53 cm) Signed, titled, numbered and dated to lower edge ‘ WLS - V 66-125 A ‘66’. This work is number 66 from the edition of 125 published by Gemini G.E.L., Los Angeles. $ 2,000 – 3,000 LITERATURE

Danilowitz 171.5

PROVENANCE

Allan Frumkin Gallery, Chicago | Collection of Bertrand Goldberg | Thence by descent

160 HARRY CALLAHAN

1912 – 19 9 9

ELEANOR, PORT HURON

c. 1954/printed later gelatin silver print 7 h × 7 w in (18 × 18 cm) $ 2,000 – 3,000 PROVENANCE

Acquired circa 1990 from Friends of Photography, San Francisco

Goldberg Family Collection

161 JIM BEAM MARINA CITY WHISKEY BOT TLE

USA, 1962 glazed porcelain 5 ½ w × 2 ¾ d × 10 ¾ h in (14 × 7 × 27 cm) $ 200 – 300 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

162 AERO DISTRIBUTING CO., INC. MARINA CIT Y — CHICAGO AT NIGHT P OSTCARDS, SET OF FOUR

USA, c. 1965 offset color lithograph 3.5 w × 5.5 d inches $ 50 – 100 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

163 I LYA B O LOTOW S K Y

19 07 – 1981

UNTITLED (YELLOW TONDO)

c. 1971 screenprint on paper 22 h × 29 ¾ w in (56 × 76 cm) Signed and numbered to lower edge ‘68/75 Ilya Bolotowsky’. This work is number 68 from the edition of 75. Sold with the original invoice from Grace Borgenicht Gallery. $ 300 – 500 PROVENANCE

Acquired in 1976 from Grace Borgenicht Gallery, New York

Collection of Lillian Florsheim | Thence by descent

164 ELGIN NATIONAL WATCH COMPANY P OCKET WATCH

USA, c. 1930 brass, glass 1 ¾ w × ¼ d × 2 ¼ h in (4 × 1 × 6 cm) Printed manufacturer’s mark to face: [Elgin]. $ 100 – 200 PROVENANCE

Goldberg Family Collection

165 NEPALESE F L AT W E AV E C A R P E T

hand-woven wool 35 ½ w × 69 ½ l in (90 × 177 cm) $ 1,000 – 1,500 PROVENANCE

Goldberg Family Collection

166 BERTRAND GOLDBERG RIVER CITY PHOTOGRAPHS, COLLECTION OF FIVE

USA, 1972–1986 mounted photographs 66 ½ h × 43 ¾ w in (169 × 111 cm) River City was the last major residential project built by Goldberg. Covering several acres along the Chicago river on the city’s south-east side, River City was over ten years in the making. Initially planned as the site of several skyscrapers containing everything from homes, schools, shops and infrastructure, the project took various shapes over the years. After more radical design schemes were halted by the city, Goldberg and his team developed River City II, a scaled down and snake -like complex containing 446 residences overlooking an interior atrium named River Road. The complex also featured shops, restaurants, offices, recreation areas and a seventy boat marina. Goldberg and his wife Nancy moved into a penthouse unit and relocated the offices of Bertrand Goldberg Associates to River City from 1987–1990. $ 200 – 300 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

167 GIOVANNI BAT TISTA PIR ANESI

172 0 – 17 78

THE SMOKING FIRE (PL ATE VI OF THE SECOND EDITION, SECOND ISSUE, OF THE CARCERI)

1761/printed later etching on paper 21 ¼ h × 15 ¾ w in (54 × 40 cm) Inscribed in plate by the printer ‘Piranesei F’. $ 1,500 – 2,000 PROVENANCE

RS Johnson Fine Art, Chicago | Collection of Bertrand Goldberg | Thence by descent

168 VICTOR VASARELY

19 0 6 – 19 97

UNTITLED

c. 1965 screenprint on board 19 ¼ h × 22 ¾ w in (49 × 58 cm) Stamped to verso ‘Éditions Denise René’. This work is from the edition published by Éditions Denise René, Paris. $ 300 – 500 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

169 CHINESE H A N DY N A S T Y F I G U R E S , PA I R

206 BC–220 AD gray pottery 6 ¾ h × 3 ½ w × 1 ¾ d in (17 × 9 × 4 cm) $ 500 – 700 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

170 FRANTIŠEK DRTIKOL

18 8 3 – 1961

UNTITLED

1925–28 vintage gelatin silver print 5 ½ h × 3 ½ w in (14 × 9 cm) Impressed to lower right edge of paper ‘Drtikol-Prague’. $ 1,000 – 1,500 PROVENANCE

Stephen Daiter Gallery, Chicago | Goldberg Family Collection

171

172

AFRICAN

JOHN CANNON

MONUMENTAL CURRENCY TOKEN

U N T I T L E D # 11

Zaire, Mangbetu

1965

iron

acrylic on Masonite

69 h × 16 w × ½ d in (175 × 41 × 1 cm)

24 h × 24 w in (61 × 61 cm)

Sold with iron stand. $ 2,000 – 3,000

Signed and dated to verso ‘Cannon 65’. Sold with the original invoice

PROVENANCE

Dr. Werner Muensterberger, New York

Collection of Bertrand Goldberg | Thence by descent

B . 194 2

from K. Kazimir Gallery. $ 2,000 – 3,000 EXHIBITED

17 May—30 June 1985, Midwest Museum of American Art, Elkhart, IN

PROVENANCE

Acquired in 1966 from K. Kazimir Gallery, Chicago

Collection of Lillian Florsheim | Thence by descent

173 PETER AGOSTINI

1913 – 19 93

UNTITLED

1966 Hydrocal 5 ½ h × 2 ¾ w × 2 ½ d in (14 × 7 × 6 cm) Signed to underside ‘Peter Agostini’. Sold with the original invoice from Richard Gray Gallery. $ 1,000 – 1,500 PROVENANCE

Acquired in 1967 from Richard Gray Gallery, Chicago

Collection of Lillian Florsheim | Thence by descent

174 PABLO PICASSO

18 81 – 1973

PEINTRE ET MODÈLE TRICOTANT FROM LE CHEF -D ’OEUVRE INCONNU

1927 etching on paper 7 ¾ h × 11 w in (20 × 28 cm) Sheet measures: 10 h × 13 w inches. This work is from the suite of thirteen illustrations by Picasso for the short story Le Chef d’Oeuvre inconnu by Honoré de Balzac. It is from the edition of 340 printed by L. Fort and published by Ambroise Vollard, Paris. $ 3,000 – 5,000 LITERATURE

Bloch 85

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

175 SARAH CANRIGHT

B . 1941

UNTITLED

1978 cut paper construction 22 ¼ h × 30 w in (57 × 76 cm) Signed and dated to lower right corner ‘S. Canright 1978’. $ 300 – 500 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

176 GENEVIÈVE CLAISSE

B . 193 5

SCALAIRE

1989 lithograph on Arches 6 ½ h × 6 ½ w in (17 × 17 cm) Signed and numbered to lower edge ‘72/375 Claisse’. This work is number 72 from the edition of 375 published by Galerie Denise René, Paris. $ 300 – 500 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

177 PRE-COLUMBIAN MACE HEAD

carved stone 3 ½ dia × 2 ¼ h in (9 × 6 cm) $ 500 – 700 PROVENANCE

Goldberg Family Collection

178 PRE-COLUMBIAN A R T I FA C T

earthenware 1 ½ h × 1 w × ¾ d in (4 × 3 × 2 cm) Sold with stand. $ 100 – 200 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

179 PABLO PICASSO

18 81 – 1973

TA U R E A U E T C H E VA L F R O M L E C H E F - D ’ O E U V R E I N C O N N U

1927/1934 etching on van Gelder paper 7 ¾ h × 11 w in (20 × 28 cm) Sheet measures: 14 h × 18.75 w inches. Signed and numbered to lower edge ‘98/99 Picasso ’. This work is from the suite of thirteen illustrations by Picasso for the short story Le Chef-d’OEuvre Inconnu by Honoré de Balzac. It is number 98 from the edition of 99 aside from the full book edition of 340 printed by L. Fort and published by Ambroise Vollard, Paris. $ 3,000 – 5,000 LITERATURE

Bloch 84

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

180 INDONESIAN COW BELL

carved wood, cane, fabric 28 w × 8 d × 12 ½ h in (71 × 20 × 32 cm) $ 200 – 300 PROVENANCE

Goldberg Family Collection

181 ANDRÉ KERTÉSZ

1894 – 1985

UNTITLED (ACROBATS)

Goldberg Family Collection

182 CLAIRE ZEISLER

19 0 3 – 19 91

UNTITLED

1977 leather with found objects 5 h × 6 ½ w in (13 × 17 cm) Lillian Florsheim and Claire Zeisler were sisters-in-law, both to later divorce but remain friends. $ 2,000 – 3,000 PROVENANCE

Acquired directly from the artist | Collection of Lillian Florsheim | Thence by descent

183 PRE-COLUMBIAN C H A N C AY B U R I A L D O L L T E X T I L E S , C O L L E C T I O N O F T H R E E

Peru hand-woven wool 10 w × 3 d × 12 h in (25 × 8 × 30 cm) $ 1,000 – 1,500 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

184 PABLO PICASSO

18 81 – 1973

PEINTRE RAMASSANT SON PINCEAU FROM LE CHEF -D ’OEUVRE INCONNU

1927/1934 etching on van Gelder paper 7 ¾ h × 11 w in (20 × 28 cm) Sheet measures: 13.5 h × 19 w inches. Signed and numbered to lower edge ‘6/99 Picasso ’. This work is from the suite of thirteen illustrations by Picasso for the short story Le Chef-d’OEuvre Inconnu by Honoré de Balzac. It is number 6 from the edition of 99 aside from the full book edition of 340 printed by L. Fort and published by Ambroise Vollard, Paris. $ 3,000 – 5,000 LITERATURE

Bloch 88

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

185

186

KUBA

EDDA RENOUF

TEXTILE

FA B L E S E T R É A L I T É S P O R T F O L I O

Democratic Republic of the Congo

USA, 1998

woven jute

etching and aquatint on Rives BFK paper

20 w × 25 d inches

8 ¼ h × 8 ¼ w in (21 × 21 cm)

$ 300 – 500

Each sheet measures: 11.25 h × 11.25 w inches. Signed, numbered and dated to lower edge

PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

of each sheet ‘16/30 E. Renouf 98’. Comprised of seven works (four shown), this complete portfolio is number 16 from the edition of 30 published by Editions Sollertis, Toulouse, France. $ 300 – 500 PROVENANCE

Goldberg Family Collection

187 ANCIENT ROMAN COLLECTION OF TEN VESSELS

glass 2 ½ dia × 6 ½ h in (6 × 17 cm) largest $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

188 GWENDOLYN AKIN AND ALL AN LUDWIG

UNTITLED

c. 1985 platinum print 24 ¾ h × 21 w in (63 × 53 cm) Signed to lower edge ‘Allan Ludwig Gwendolyn Akin proof ’. $ 700 – 900 PROVENANCE

Goldberg Family Collection

189 LURISTAN HARNESS RING

Persia bronze 2 ¾ w × ½ d × 2 ½ h in (7 × 1 × 6 cm) Sold with stand. $ 500 – 700 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

190 IMOGEN CUNNINGHAM

18 8 3 – 1976

A G AV E D E S I G N I

c. 1925/printed later gelatin silver print 13 ¼ h × 10 ¼ w in (34 × 26 cm) Embossed signature to backing sheet ‘Imogen Cunningham’. $ 1,000 – 1,500 PROVENANCE

Goldberg Family Collection

191 EDWARD MILLMAN

19 07 – 1964

UNTITLED (TWO WORKS)

1960 ink on paper 14 ¼ h × 19 ¾ w in (36 × 50 cm) Additional work measures: 13 h × 13.5 w inches. Signed, dated and inscribed to lower right of each work ‘Edward Millman 1960’. $ 500 – 700 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

192 WYNN BULLOCK

19 0 2 – 1975

FLORENCE, TREES AND SAND DUNES

1959 vintage gelatin silver print 8 h × 10 w in (20 × 25 cm) Signed to lower left ‘ Wynn Bullock’. $ 1,000 – 1,500 PROVENANCE

Goldberg Family Collection

193 ANASAZI COLLECTION OF THREE VESSELS

900–1100 clay 6 dia × 3 ¾ h in (15 × 10 cm) largest $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

194 MILTON HORN

19 0 6 – 19 95

UNTITLED

1946 ink on paper in painted frame 14 ¼ h × 19 w in (36 × 48 cm) Signed and dated to lower edge ‘Milton Horn 46’. $ 200 – 300 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

195 JOHN CAGE

1912 – 19 92

N O T WA N T I N G T O S AY A N Y T H I N G A B O U T M A R C E L ( P L E X I G R A M I )

1969 screenprints on Plexiglas, walnut 14 ½ h × 24 w × 14 ½ d in (37 × 61 × 37 cm) Signed and numbered to base ‘John Cage I 93/125’. Signed with transfer printed mark to base ‘IH Hollander Workshop, Incorporated’. This work is number 92 from the edition of 125 printed by Hollander Workshop, Inc. and published by Eye Editions, Cincinnati. $ 1,000 – 1,500 PROVENANCE

Goldberg Family Collection

196 ARTIST UNKNOWN CATHÉDR ALE NOTRE-DAME DE REIMS

vintage gelatin silver print 14 h × 17 w in (36 × 43 cm) $ 300 – 500 PROVENANCE

Goldberg Family Collection

197 ETRUSCAN VESSEL

terracotta 8 ¼ dia × 8 ¼ h in (21 × 21 cm) $ 500 – 700 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

198 DOROTHY DEHNER

19 01 – 19 94

FIGURES IN LANDSCAPE

1958 etching on wove paper 9 h × 11 ¾ w in (23 × 30 cm) Signed, titled, numbered and dated to lower edge ‘Figures in Landscape 25/35 Dorothy Dehner 1958’. This work is number 25 from the edition of 35. $ 500 – 700 LITERATURE

Teller 25

PROVENANCE

Louise Hallett Gallery, London | Goldberg Family Collection

199 NATHAN LERNER

1913 – 19 97

LIGHT EXPERIMENT: WOODEN DOWELS, CHICAGO

1939/1978 gelatin silver print 11 ¼ h × 17 w in (29 × 43 cm) This work is from the edition of 45 included in the portfolio Nathan Lerner Fifteen Photographs: 1935-1978. $ 500 – 700 EXHIBITED

The New Bauhaus, Photographs 1935–1945, 19 May–5 June 1976,

Allan Frumkin Gallery, Chicago PROVENANCE

Goldberg Family Collection

200 CÉSAR (CÉSAR BALDACCINI)

1921 – 19 98

UNTITLED

c. 1961 lithograph on Rives BFK paper 13 h × 11 w in (33 × 28 cm) Sheet measures: 22 h × 18 w inches. Signed and numbered to lower right corner ‘César 66/85’. This work is number 66 from the edition of 85. $ 300 – 500 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

201 COUSHAT TA VESSEL

North America, 1996 glazed stoneware 5 ¾ dia × 4 ¼ h in (15 × 11 cm) Initialed and dated to underside: [WT 96]. $ 200 – 300 PROVENANCE

Goldberg Family Collection

M A X I M ’ S

D E

P A R I S

C H I C A G O

19 6 3 – 19 8 2

The Goldberg family brought the famed Maxim’s de Paris to Chicago in the early 1960s, forever changing the culinary direction of the Midwestern industrial city by introducing haute-cuisine, in what had been to date a steak and martini town. Nancy Goldberg was developing a new boutique hotel tower in Chicago’s Gold Coast, next door to the Ambassador Hotel, and in need of a restaurant. Her architect and husband, Bertrand, asked his elegant mother-in-law for the best restaurant in the world; she quickly identified Maxim’s de Paris. Bertrand began a campaign to recruit its Parisian owners, first by making a unique French cultural center in the building, and then personally persuading them to make a franchise in Chicago, their first ever. It was a unique moment for both. Within a few months, Nancy Goldberg stepped in and ran the operations, making Maxim’s de Paris in Chicago an award winning restaurant for two decades. She supervised all aspects, going personally to Paris to recruit chefs and staff. Exotic foods were flown in from Europe, or specially cultivated in the United States. Bertrand culled the markets of Paris for suitable artwork, and together they took care with every detail. Designed entirely by Bertrand, Maxim’s in Chicago was modeled on the interiors of the legendary Parisian restaurant. From the jewel box entrance of Astor Tower, guests descended a winding dramatic staircase into a lobby decorated with vintage Parisian art before entering the softly lit, romantic Art Nouveau interior with red velvet clad walls, gilt brass vines and ornate mirrors. The tables were set with unique flatware made by Christofle in silver and gold, plates designed by Bertrand made in Limoges. Even the staff wore specially designed attire. Every detail was considered and intentional and of the highest quality. Maxim’s de Paris in Chicago became a fixture for world class haute-cuisine and French culture. It was one of the most elegant restaurants and nightspots in the city and it became the center for high society who danced into the early hours of the morning in the restaurant’s discotheque, the city’s first. The sophisticated and the renowned dined on the gourmet fare, a precursor to the city’s burgeoning culinary scene, and the establishment set the trend for Maxim’s de Paris to become an international brand now found widely throughout the world.

above Nancy Goldberg circa 1972, photo by Victor Skrebneski overlay Bertrand Goldberg’s Astor Tower; interior of Maxim’s de Paris, Chicago

M A X I M ’ S

D E

P A R I S C H I C A G O

19 6 3 – 19 8 2

The Goldberg family brought the famed Maxim’s de Paris to Chicago in the early 1960s, introducing haute-cuisine, in what had been to date a steak and martini town. Nancy Goldberg was developing a new boutique hotel tower in Chicago’s Gold Coast, next door to the Ambassador Hotel, and in need of a restaurant. Her architect and husband, Bertrand, asked his elegant mother-in-law for the best restaurant in the world; she quickly identified Maxim’s de Paris. Bertrand began a campaign to recruit its Parisian owners, first by making a unique French cultural center in the building, and then personally persuading them to make a franchise in Chicago, their first ever. It was a unique moment for both. Within a few months, Nancy Goldberg stepped in to run the operations, making Maxim’s de Paris in Chicago an award winning restaurant for two decades. She supervised all aspects, going personally to Paris to recruit chefs and staff. Exotic foods were flown in from Europe, or specially cultivated in the United States. Bertrand culled the markets of Paris for suitable artwork, and together they took care with every detail. Designed entirely by Bertrand, Maxim’s in Chicago was modeled on the interiors of the legendary Parisian restaurant. From the jewel box entrance of Astor Tower, guests descended a winding dramatic staircase into a lobby decorated with vintage Parisian art before entering the softly lit, romantic Art Nouveau interior with red velvet clad walls, gilt brass vines and ornate mirrors. The tables were set with unique flatware made by Christofle in silver and gold, plates designed by Bertrand made in Limoges. Even the staff wore specially designed attire. Every detail was considered, intentional and of the highest quality. Maxim’s de Paris in Chicago became a fixture for world class haute-cuisine and French culture. It was one of the most elegant restaurants and nightspots in the city and it became the center for high society who danced into the early hours of the morning in the restaurant’s discotheque, the city’s first. The sophisticated and the renowned dined on the gourmet fare, a precursor to the city’s burgeoning culinary scene, and the establishment set the trend for Maxim’s de Paris to become an international brand now found widely throughout the world.

above Nancy Goldberg circa 1972, photo by Victor Skrebneski overlay Bertrand Goldberg’s Astor Tower; interior of Maxim’s de Paris, Chicago

202

203

ALPHONSE MUCHA

18 6 0 – 193 9

ALPHONSE MUCHA

18 6 0 – 193 9

L A D A M E A U X C A M E L I A S P O S T E R F R O M M A X I M ’S , C H I C A G O

C H A M PA G N E R U I N A R T P O S T E R F R O M M A X I M ’S , C H I C A G O

1896

color lithograph on paper

80 h × 29 ½ w in (203 × 75 cm)

70 ½ h × 24 w in (179 × 61 cm)

This work is from the edition printed by F. Champenois, Paris. $ 5,000 – 7,000

LITERATURE

Rennert/Weill 13

PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

LITERATURE

Rennert/Weill 86

PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

Interior of the original Maximâ&#x20AC;&#x2122;s de Paris; Bertrand studied the interior creating a close replica in Chicago

right Dining room of Maxim’s de Paris, Chicago below Entrance lobby to Maxim’s on the ground floor of Astor Tower

204 R . T A U P I N D ’A U G E C A N D L E S T I C K S F R O M M A X I M ’S , C H I C A G O , PA I R

France gilt bronze 7 ¾ dia × 9 h in (20 × 23 cm) Impressed manufacturer’s marks to each example: [R. Taupin d’Auge]. $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

205 MAXIM’S DE PARIS D I N N E R P L AT E S , S E T O F T W E LV E

transfer-printed porcelain 10 ¼ dia × ¾ h in (26 × 2 cm) Glazed signature to underside of one example ‘Maxim’s ’. $ 500 – 700 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

206

207

ALPHONSE MUCHA

18 6 0 – 193 9

HENRI PRIVAT-LIVEMONT

18 61 – 18 89

LORENZACCIO, THÉÂTRE DE L A RENAISSANCE

PA L A I S D E L A F E M M E

1896/1899

1900

color lithograph on paper

41 h × 15 w in (104 × 38 cm)

47 ½ h × 32 w in (121 × 81 cm)

This work is from the edition printed by F. Champenois, Paris. $ 2,000 – 3,000

This work is from the edition printed by Affiches d’Art Privat-Livemont, Brussels. $ 3,000 – 5,000

LITERATURE

Rennert/Weill 20, 62

PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

right Even the attire worn by the staff of Maxim’s was designed by Bertrand Goldberg below Dining room of Maxim’s de Paris, Chicago

208 ALFONSO LANNELLI

18 8 8 –196 5

A L I C E L LOY D

c. 1914–15 color lithograph on paper 39 ½ h × 29 ½ w in (100 × 75 cm) $ 700 – 900 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

209 MAXIM’S DE PARIS COLLECTION OF BOWLS AND COFFEE POT

silverplate 6 w × 4 d × 7 ¼ h in (15 × 10 × 18 cm) Lot includes one coffee pot, one coupe and thirteen bowls of various sizes; fifteen pieces total. Engraved logo to the handled coupe. $ 300 – 500 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

left Maxim’s de Paris in Chicago had the city’s first discoteque below Interior of the original Maxim’s de Paris; Bertrand studied the interior creating a close replica in Chicago

210

211

MAXIM’S DE PARIS

ALPHONSE MUCHA

RHINE WINE GLASSES, SET OF ELEVEN

J O B P O S T E R F R O M M A X I M ’S , C H I C A G O

glass

1898

3 dia × 7 h in (8 × 18 cm)

color lithograph on paper

Printed logo to face of each glass. $ 500 – 700

61 h × 41 ¼ w in (155 × 105 cm)

PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

18 6 0 – 193 9

This work is from the edition printed by F. Champenois, Paris. $ 3,000 – 5,000 LITERATURE

Rennert/Weill 51

PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

above Interior of the bar at Maximâ&#x20AC;&#x2122;s de Paris in Chicago below Diners and guests enjoy the luxurious and elegant French establishment

212 MAXIM’S DE PARIS D I N N E R P L AT E S , S E T O F T W E LV E

transfer-printed porcelain 10 ¼ dia × ¾ h in (26 × 2 cm) Glazed signature to underside of two examples ‘Maxim’s ’. $ 500 – 700 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

213 MAXIM’S DE PARIS COLLECTION OF THIRTEEN FOOTED BOWLS

silver-plated brass 8 ½ dia × 6 h in (22 × 15 cm) largest Collection includes one example by Gourd-Denise et Cie, five examples by Reed & Barton measuring 5 dia × 3.75 h inches, five examples by Victor Co. measuring 4.5 dia × 3.25 h inches and two examples by Victor Co. measuring 4 dia × 2.5 h inches. $ 500 – 700 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

214 EARLY 20TH CENTURY S C A L A , A F L E U R D E P E A U A N D 21 C L U B S C A R F

c. 1904/ c. 1950 color lithograph on paper, screenprint on silk 29 ¼ h × 21 w in (74 × 53 cm) Lot includes Scala, A Fleur de Peau by Sem from the edition printed by Affiches Devers, Paris and a scarf from the 21 Club in New York measuring 30 h × 30 w inches. $ 500 – 700 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

215 MAXIM’S DE PARIS COLLECTION OF SIX SERVING DISHES

silver-plated brass 6 h × 4 ¼ w × 3 ½ d in (15 × 11 × 9 cm) largest Engraved logo to face of each example. $ 300 – 500 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

The sophisticated and renowned dined and socialized at Maximâ&#x20AC;&#x2122;s de Paris in Chicago

216 MAXIM’S DE PARIS RHINE WINE GLASSES, SET OF FIFTEEN

glass 3 dia × 7 ¼ h in (8 × 18 cm) Printed logo to each glass. $ 200 – 300 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

217 MAXIM’S DE PARIS W I N E G L A S S E S , S E T O F T W E LV E

glass 2 ¾ dia × 8 ¼ h in (7 × 21 cm) Printed logo to each glass. $ 300 – 500 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

218

219

ALPHONSE MUCHA

18 6 0 – 193 9

ALPHONSE MUCHA

18 6 0 – 193 9

B É N É D I C T I N E P O S T E R F R O M M A X I M ’S , C H I C A G O

Ö S T E R R E I C H A U F D E R W E L T A U S T E L L U N G P A R I S 19 0 0 P O S T E R F R O M M A X I M ’ S , C H I C A G O

1898

1899

color lithograph on paper

82 h × 30 ½ w in (208 × 77 cm)

39 ¾ h × 27 ½ w in (101 × 70 cm)

This work is from the edition printed by F. Champenois, Paris. $ 2,000 – 3,000

This work is from the edition printed by S. Czeiger, Vienna. $ 1,000 – 1,500

LITERATURE

Rennert/Weill 58

PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

LITERATURE

Rennert/Weill 248–249

PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

220 POTFER ICE BUCKETS, SET OF THREE

France silver-plated brass 5 ¾ w × 5 d × 5 h in (15 × 13 × 13 cm) Engraved logo to face of each example. Signed with impressed manufacturer’s mark to underside of each example: [Potfer]. $ 100 – 200 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

221 CHRISTOFLE AND VUILLERMET S I LV E R WA R E F R O M M A X I M ’S , C H I C A G O

France sterling silver, stainless steel Collection includes 181 pieces total, comprised of dinner forks, salad forks, butter knives, dinner knives and fish knives with enough examples for a complete five -piece service for twelve. Signed with impressed manufacturer’s mark and touchmarks to each fork and butter knife: [Christofle France]. Signed with stamped manufacturer’s mark to dinner knives: [Vuillermet France]. $ 2,000 – 3,000 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

222 SEM UNTITLED (TWO WORKS)

c. 1900 offset lithograph on paper 20 ½ h × 14 w in (52 × 36 cm) $ 200 – 300 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

223 J&E GAILLARD PA I R O F T U R B O T F I S H P O A C H E R S F R O M M A X I M ’S D E PA R I S , C H I C A G O

France aluminum, brass 25 ¾ w × 21 d × 7 ¾ h in (65 × 53 × 20 cm) Signed with impressed manufacturer’s mark to each example: [Gaillard Paris]. $ 500 – 700 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

224 MAXIM’S DE PARIS COLLECTION OF EPHEMERA

transfer-printed and gilt porcelain, glass, brass Collection includes two bottles of water and two ashtrays. $ 100 – 200 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

225 BRASSAÏ (GYULA HALÁSZ)

189 9 – 1984

S O I R É E D E G A L A , C H E Z M A X I M ’S , PA R I S

1949/printed later gelatin silver print 14 ½ h × 11 w in (37 × 28 cm) This famous photograph of Chez Maxim’s in Paris documents a gala attended by notable guests such as Aristotle Onassis, Joseph and Rose Kennedy among others. Signed and numbered to lower edge ‘2/30 Brassaï’. Titled and dated to verso ‘Soiree de Gala. Maxim’s Paris So. 737 1949 2/30’. Stamped twice with studio marks ‘Copyright by Brassai 81 Faubourg St. Jacques Tirage de l’Auteur’. $ 3,000 – 5,000 PROVENANCE

Collection of Bertrand and Nancy Goldberg | Thence by descent

226 ART NOUVEAU PA I R O F P O S T E R S

c. 1900 color lithograph on paper 32 ½ h × 23 ½ w in (83 × 60 cm) Lot includes Paris Courses by Jules Chéret from the edition printed by Ateleiers Chéret, Paris and Thermes Liegeois, Casino by Georges de Feure from the edition printed by Bourgerie & Cie., Paris measuring 33 h × 25 w inches. $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

227 MAXIM’S DE PARIS C U P S A N D S A U C E R S , S E T O F T W E LV E

transfer-printed porcelain 4 ¾ dia × 1 h in (12 × 3 cm) Cups measure: 3.25 w × 2.5 d × 2 h inches. $ 300 – 500 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

228 MAXIM’S DE PARIS COLLECTION OF FIVE SERVING PIECES

silver-plated brass, ebony 9 ½ w × 7 ¾ d × 4 ¾ h in (24 × 20 × 12 cm) Collection includes one asparagus server, two handled pots, and two chafing dishes. Impressed to underside of handled pots: [International Silver Co. SN04534 Por 64]. Impressed to underside of each chafing dish: [International Silver Co. 0810 64]. $ 500 – 700 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

229 ART NOUVEAU COLLECTION OF THREE POSTERS

c. 1900 color lithograph on paper Lot includes Cycles Cottereau by Rene Prejelan from the edition printed by G. Gerin Fils Dijon–Paris, Le Figaro by Michel Simonidy from the edition printed by Lemercier & Cie, Paris measuring 47 h × 31.5 w inches and Lidia by Jules Chéret from the edition printed by Ateliers Chéret, Paris measuring 49 h × 35 w inches. $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

230 CÂNDIDO AR AGONEZ DE FARIA C I R C U S O . C A R R E P O S T E R F R O M M A X I M ’S , C H I C A G O

c. 1895 lithograph on paper 29 ½ h × 17 ½ w in (75 × 44 cm) $ 300 – 500 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

231 MAXIM’S DE PARIS WINE BASKETS AND ICE BUCKETS, SET OF TWO

silver-plated brass, wicker 12 ¾ w × 4 ½ d × 6 ¾ h in (32 × 11 × 17 cm) Ice buckets measure: 5.75 w × 5.25 d × 5.25 h inches. Engraved logo to each ice bucket. Impressed manufacturer’s mark and touchmarks to underside of each wine basket: [SOH M.Blanc]. Impressed touchmarks to underside of each ice bucket: [OP Potfer]. $ 50 – 100 PROVENANCE

Collection of Bertrand and Nancy Goldberg for Maxim’s | Thence by descent

left The haute-cuisine of Maxim’s de Paris would forever change the culinary direction of Chicago below Dining room of Maxim’s de Paris in Chicago

232 CHEZ MAXIM’S C H E Z M A X I M ’S : S E C R E T S A N D R E C I P E S F R O M T H E W O R L D ’S M O S T FA M O U S R E S TA U R A N T

1962 printed paper 8 w × 1 d × 12 h in (22 × 3 × 30 cm) This is a first edition hardcover copy by Countess of Toulouse Lautrec and published in 1962 by McGraw -Hill Book Company, New York. $ 25 – 50 PROVENANCE

Collection of Bertrand and Nancy Goldberg | Thence by descent

233 LOU STOUMEN

1917 – 19 91

TIMES SQUARE

1940 gelatin silver print 13 ¾ h × 10 ¾ w in (35 × 27 cm) Signed and dated to lower right ‘Lou Stoumen 1940’. $ 1,000 – 1,500 PROVENANCE

Goldberg Family Collection

234 JULIO LE PARC

B . 1928

UNTITLED (FROM MIROIRS)

c. 1975 embossed Mylar 5 ½ h × 5 ½ w in (14 × 14 cm) Signed and numbered to lower edge ‘26/275 Le Parc’. This work is number 26 from the edition of 275 published by Galerie Denise René, Paris. $ 700 – 900 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

235 JOHN VINCI CUSTOM WALL -MOUNTED NIGHTSTANDS FOR LUCILLE STR AUSS

USA, c.1972 wenge 9 ½ w × 12 ½ d × 6 ½ h in (24 × 32 × 17 cm) $ 300 – 500 PROVENANCE

Lucille Strauss (sister of Bertrand Goldberg), Chicago | Thence by descent

236 VICTOR VASARELY

19 0 6 – 19 97

UNTITLED

c. 1965 screenprint on board 23 ½ h × 23 ½ w in (60 × 60 cm) Sheet measures: 26.75 h × 26.75 w inches. Signed and numbered to lower edge ‘129/250 Vasarely’. This work is number 129 from the edition of 250 published by Éditions Denise René, Paris. $ 500 – 700 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

237 NAVA JO VESSEL

c. 1850 ceramic 4 ½ dia × 4 ¾ h in (11 × 12 cm) $ 500 – 700 PROVENANCE

Goldberg Family Collection

238 LATE RENAISSANCE UNTITLED

ink on parchment 3 ¼ h × 5 ½ w in (8 × 14 cm) $ 500 – 700 PROVENANCE

Goldberg Family Collection

239 NAVA JO NECKLACE

tin, turquoise 4 w × 34 l in (10 × 86 cm) $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

240 ALVAR AALTO WA L L - M O U N T E D S H E LV E S , S E T O F T W O

Finland, 1933/c. 1960 | Artek laminated birch 35 ½ w × 11 d × 10 h in (90 × 28 × 25 cm) $ 300 – 500 LITERATURE

Alvar & Aino Aalto Design: Collection Bischofberger, Kellein, pg. 100

PROVENANCE

Estate of Jody Kingrey, Chicago | Goldberg Family Collection

241 NAZCA FRINGE BORDER

Peru hand-woven wool 5 h × 28 ½ w in (13 × 72 cm) $ 1,000 – 1,500 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

242 FOLK ART SEWING MACHINE AND BICYCLE (TWO WORKS)

USA wire 6 ¼ h × 10 w × 4 ¼ d in (16 × 25 × 11 cm) Bicycle measures: 6.75 h × 7.5 w × 3.75 d inches. $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

243 PRE-COLUMBIAN

textile tie-dyed cotton 21 ½ w × 38 ½ l in (55 × 98 cm) $ 1,000–1,500

244

245

GIOVANNI BAT TISTA PIR ANESI

172 0 – 17 78

ETHIOPIAN

T H E R M O P O L I U M P L A N A N D E L E VAT I O N

CARPET

1804

c. 1970

etching on paper

hand-woven wool

14 ¼ h × 21 w in (36 × 53 cm)

78 w × 123 l in (198 × 312 cm)

Sheet measures: 19 h × 26.5 w inches. This work was printed

$ 500 – 700

by Francesco Piranesi. $ 200 – 300

PROVENANCE

Goldberg Family Collection

Collection of Bertrand Goldberg | Thence by descent

246 FOLK ART UNTITLED

painted wood 13 ¼ h × 18 w × 6 d in (34 × 46 × 15 cm) $ 300 – 500 EXHIBITED

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012,

The Arts Club of Chicago PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

247 JAMES PRESTINI BOWL

USA, c. 1955 walnut 11 ¾ dia × 3 h in (30 × 8 cm) Branded signature to underside: [Prestini]. $ 700 – 900 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

248 PERUVIAN WARI TEXTILE

hand-dyed and knotted wool 44 ½ w × 54 l in (113 × 137 cm) $ 2,000 – 3,000 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

249 PRE-COLUMBIAN CUFF

hand-hammered copper 3 ½ w × 1 ¾ d × 4 h in (9 × 4 × 10 cm) $ 200 – 300 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

250 PABLO PICASSO P I C A S S O 347

Spain, 1968/1970 offset lithograph on paper 12 ½ w × 3 ½ d × 17 ½ h in (32 × 9 × 44 cm) This first edition two-volume set was published in 1970 by Random House, New York and is comprised of 347 offset lithographs done after original etchings executed by Pablo Picasso between March 16 and October 5, 1968. It was printed and bound by Conzett & Huber, Zurich, designed and produced by Chanticleer Press, Inc., New York and retains original case. $ 500 – 700 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

251 POUL KJAERHOLM P K 22 LO U N G E C H A I R S , PA I R

Denmark, 1956/c.1972 | Fritz Hansen matte chrome-plated steel, suede 24 ¾ w × 27 d × 28 h in (63 × 69 × 71 cm) This pair of PK22s features custom suede upholstery. Signed with stamped manufacturer’s mark to underside of one example: [Denmark]. $ 2,000 – 3,000 LITERATURE

The Furniture of Poul Kjaerholm: Catalogue Raisonné, Sheridan,

ppg. 72–75 E. Kold Christensen, manufacturer’s catalog, 1964, unpaginated PROVENANCE

Lucille Strauss (sister of Bertrand Goldberg), Chicago | Thence by descent

252 ARTIST UNKNOWN UNTITLED (ARCHITECTS OFFICE)

gelatin silver print 11 h × 14 w in (28 × 36 cm) $ 100 – 200 PROVENANCE

Goldberg Family Collection

253 FLORENCE KNOLL EXECUTIVE OFFICE CABINET

USA, c. 1960 | Knoll Associates lacquered walnut, marble, chrome-plated steel 74 ½ w × 18 d × 26 h in (189 × 46 × 66 cm) Cabinet features eight drawers and two file drawers. $ 1,500 – 2,000 LITERATURE

Knoll: A Modernist Universe, Lutz, pg. 160 discusses series

PROVENANCE

Lucille Strauss (sister of Bertrand Goldberg), Chicago | Thence by descent

254

255

PAUL MAYÉN

RICHARD NICKEL

FLOOR LAMP

MONADNOCK BUILDING, CHICAGO

USA, c. 1965 | Habitat

c. 1960

acrylic

gelatin silver print

12 dia × 52 h in (30 × 132 cm)

20 h × 16 w in (51 × 41 cm)

Signed with applied manufacturer’s label to fixture: [Habitat, Inc. New York City]. $ 300 – 500

$ 300 – 500

PROVENANCE

Lucille Strauss (sister of Bertrand Goldberg), Chicago | Thence by descent

PROVENANCE

1928 – 1972

Estate of Richard Nickel | Goldberg Family Collection

256 MICHAEL HEINDORFF

B . 194 9

UNTITLED

1980 graphite on paper 22 ¾ h × 30 ¾ w in (58 × 78 cm) $ 300 – 500 PROVENANCE

Roger Ramsay Gallery, Inc., Chicago

Collection of Lillian Florsheim | Thence by descent

257 CINELLI SPECIALE CORSA BICYCLE

Italy, c.1970 enameled steel, aluminum, leather 68 w × 16 ¾ d × 39 h in (173 × 43 × 99 cm) $ 1,500 – 2,000 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

258 ARTIST UNKNOWN COLOSSEUM, ROME

vintage print 12 ½ h × 18 ½ w in (32 × 47 cm) Titled to verso ‘Colosseum, Rome’. $ 300 – 500 PROVENANCE

Goldberg Family Collection

259 AFRICAN C O L L E C T I O N O F A R T I FA C T S

carved wood, wrought iron, twine 7 w × 4 ½ d × 6 ½ h in (18 × 11 × 17 cm) Collection includes one Kenyan headrest, three pairs of Kenyan bells, three Kisi tally sticks and one wooden spindle holder. $ 1,000 – 1,500 PROVENANCE

Douglas Dawson Gallery, Chicago | Goldberg Family Collection

260 INUIT TOTEM

carved horn 4 h × 1 ½ w × 1 ½ d in (10 × 4 × 4 cm) $ 300 – 500 PROVENANCE

Goldberg Family Collection

261 CHRIS IRION F O L D E D PA P E R # 1

gelatin silver print 7 h × 5 w in (18 × 13 cm) Signed and titled to verso ‘Folded Paper #1 Chris Irion ’. $ 300 – 500 PROVENANCE

Goldberg Family Collection

262 VICTOR VASARELY

19 0 6 – 19 97

UNTITLED

c. 1965 screenprint on paper 14 ¾ h × 13 ½ w in (37 × 34 cm) Sheet measures: 26 h × 20.25 w inches. Signed and numbered to lower edge ‘54/100 Vasarely’. This work is number 54 from the edition of 100. $ 300 – 500 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

263 ARTIST UNKNOWN UNTITLED

bronze 5 ½ h × 6 ½ w × 3 ¼ d in (14 × 17 × 8 cm) Signed and numbered to verso ‘100’. $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

264 PIET MONDRIAN

1872 – 194 4

B R O A D WAY B O O G I E -W O O G I E

1957 screenprint on paper 13 ½ h × 13 ½ w in (34 × 34 cm) Sheet measures: 25.75 h × 19.75 w inches. Numbered to lower edge ‘25/300’. This work is number 25 from the edition of 300 published by Galerie Denise René, Paris. $ 1,000 – 1,500 PROVENANCE

Lucille Strauss (sister of Bertrand Goldberg), Chicago | Thence by descent

265 MICHAEL WEINSTEIN UNTITLED (CHICAGO RIVER)

1950 gelatin silver print 14 h × 11 w in (36 × 28 cm) Signed to lower edge ‘Michael Weinstein ’. $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

266

267

BACTRIAN

THEODOROS STAMOS

AXE HEAD

F I R E F LY T R E E

bronze

1949–1951

4 ¾ w × 1 d × 2 ¼ h in (12 × 3 × 6 cm)

oil on canvas

Sold with iron stand. $ 1,000 – 1,500

32 ½ h × 15 ½ w in (83 × 39 cm)

PROVENANCE

Goldberg Family Collection

192 2 – 19 97

Signed to lower left ‘Stamos ’. $ 10,000 – 15,000 PROVENANCE

Betty Parsons Gallery, New York

Collection of Lillian Florsheim | Thence by descent

268 THAI VESSEL

ceramic 9 ¼ dia × 9 ½ h in (23 × 24 cm) $ 300 – 500 PROVENANCE

Goldberg Family Collection

269 LYMAN KIPP

1929 – 2 014

UNTITLED

1967 painted wood 6 ¼ h × 3 w × 3 d in (16 × 8 × 8 cm) Incised signature and date to underside ‘Kipp 1967’. $ 1,000 – 1,500 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

270 FRANK LLOYD WRIGHT C O L L E C T I O N O F F O U R A R C H I T E C T U R A L P L A N S A N D E L E VAT I O N S

USA, 1903–10 lithograph on paper 24 h × 14 ¾ w in (61 × 37 cm) Collection includes plan and elevations for Victor Metzger House, Unity Temple, Darwin D. Martin House and Pettit Memorial Chapel (shown) published by Ernst Wasmuth, Berlin. $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

271 PAUL PHILP VESSEL

United Kingdom, 2003 glazed earthenware 10 dia × 10 ½ h in (25 × 27 cm) $ 1,000 – 1,500 PROVENANCE

Acquired from Richard Philip, London | Goldberg Family Collection

272

273

HENRI CARTIER-BRESSON

19 0 8 – 2 0 04

ALICIA PENALBA

1913 – 1982

WOMAN WITH AMERICAN FLAG, NEW ENGLAND

RELIEF CHINOIS

1947/printed later

1960

laminated offset lithograph

cast bronze on wood panel

13 ¾ h × 9 ¼ w in (35 × 23 cm)

31 h × 21 w × 6 d in (79 × 53 × 15 cm)

$ 1,500 – 2,000

Signed and numbered to lower edge ‘Penalba 2/6’. This work is number 2

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

from the edition of 6 cast by Valsuani, Paris. Sold with the original invoice from Otto Gerson Gallery, Inc. $ 10,000 – 15,000 PROVENANCE

Acquired in 1960 from Otto Gerson Gallery, Inc., New York

Collection of Lillian Florsheim | Thence by descent

274 ITALIAN CUP OL A OF SANTA MARIA DELL A SALUTE

19th Century engraving on paper 20 h × 13 ½ w in (51 × 34 cm) Sheet measures: 22.5 h × 15.75 w inches. $ 200 – 300 PROVENANCE

Goldberg Family Collection

275 ARTIST UNKNOWN JOHNSON WAX BUILDING ARCHITECTUR AL PHOTOGR APHS, COLLECTION OF THREE WORKS

c. 1955 gelatin silver print 16 h × 20 w in (41 × 51 cm) $ 200 – 300 PROVENANCE

Collection of David R. Phillps | Collection of Bertrand Goldberg | Thence by descent

276 MEL BOGART FIREPLACE ACCESSORIES

USA, c. 1955 | Stewart-Winthrop wrought iron, bronze 5 w × 4 d × 29 h in (13 × 10 × 74 cm) Set includes shovel, poker and tongs. $ 1,000 – 1,500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

277 MIGUEL PINEDA T R AY

Mexico, c. 1970 enameled copper 10 ¾ w × 10 ¾ d × ¾ h in (27 × 27 × 2 cm) Enameled signature to underside: [Miguel Pineda Mexico]. $ 100 – 200 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

278 NIKOLAI SUETIN D E S S E R T P L AT E S , S E T O F T W E LV E

Russia, 1923/c. 1990 | Vista Alegre for Mottahedeh transfer-printed porcelain 5 ¾ dia × ¾ h in (15 × 2 cm) Produced for the Museum of Modern Art, New York, these plates are reproductions of saucers decorated by Nikolai Suetin, originally manufactured by Petrograd Porcelain Factory in 1923. Printed manufacturer’s mark to underside: [Mottahedeh Vista Alegre Portugal]. $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

279 GEORGE LADAS ORBITA CLOCK

USA, 1968 | Rathcon Inc. acrylic, metal 9 ½ w × 9 ½ d × 9 ½ h in (24 × 24 × 24 cm) Signed with applied manufacturer’s label to underside: [Orbita 9.5 Designed By George Ladas Serial 2253 Rathcon Inc]. $ 300 – 500 PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

280 ARTIST UNKNOWN ARCHITECTURAL PHOTOGRAPH

gelatin silver print 13 ¼ h × 16 ¾ w in (34 × 43 cm) $ 300 – 500 PROVENANCE

Goldberg Family Collection

281 BERNARD DUFOUR

192 2 – 2 016

UNTITLED

1958 oil on canvas 57 h × 44 ½ w in (145 × 113 cm) Signed and dated to upper left corner ‘Bernard Dufour 58’. $ 700 – 900 PROVENANCE

B.C. Holland Gallery, Chicago | Collection of Lillian Florsheim | Thence by descent

282

283

NATALIA DUMITRESCO

1915 – 19 97

ETHIOPIAN

UNTITLED

COPTIC PROCESSIONAL CROSS

c. 1965

20th century

lithograph on paper

brass

25 h × 18 ½ w in (64 × 47 cm)

12 ¾ w × 4 ¼ d × 19 ¼ h in (32 × 11 × 49 cm)

Sheet measures: 25 h × 18.5 w inches. Signed and numbered to lower edge ‘III/X

$ 500 – 700

Natalia Dumitresco ’. This work is number 3 from the edition of 5. $ 300 – 500

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

284 RONALD DAVIS

B . 1937

TILT

1980 color etching with aquatint on Arches paper 23 ½ h × 12 ¼ w in (60 × 31 cm) Signed, dated and numbered to lower edge ‘24/31 Ronald Davis 1980’. This work is number 24 from the edition of 31 published by Gemini G.E.L., Los Angeles. $ 500 – 700 PROVENANCE

Richard Gray Gallery, Chicago | Collection of Lillian Florsheim | Thence by descent

285 JUAN PUIG MANERA

1912 – 2 013

UNTITLED

1959 oil on burlap 36 h × 29 w in (91 × 74 cm) Signed and dated to verso ‘Manera - 59’. Sold with the original invoice from Craven Galerie d’Art. $ 1,000 – 1,500 PROVENANCE

Acquired in 1959 from Craven Galerie d’Art, Paris

Collection of Lillian Florsheim | Thence by descent

286 PAT KECK

B . 1955

BIG HEAD BLUE PRINT

1999 lithograph on paper in artist’s frame 3 ½ h × 8 ¾ w in (9 × 22 cm) Signed, titled and numbered to lower edge ‘Big Head Blue Print 19/100 P. Keck’. This work is number 19 from the edition of 100. $ 200 – 300 PROVENANCE

Goldberg Family Collection

287 ROBERT WILSON

B . 1941

ALCESTE ACT II

1990 charcoal on Vinci paper 25 ¾ h × 17 ½ w in (65 × 44 cm) Signed, titled and dated to lower edge ‘ALCESTE Wilson ‘90’. $ 1,000 – 1,000 PROVENANCE

Feigen Incorporated, Chicago | Goldberg Family Collection

288 F. ROBSON & CO. BAROMETER

United Kingdom, c. 1850 brass, glass, oak 14 ¼ w × 8 ½ d × 8 h in (36 × 22 × 20 cm) Signed with applied manufacturer’s mark to interior: [F. Robson & Co. 46 Dean Street Newcastle -on-Tyne]. $ 300 – 500 EXHIBITED

Bertrand Goldberg: Reflections, 16 September 2011–13 January 2012,

The Arts Club of Chicago PROVENANCE

Collection of Bertrand Goldberg | Thence by descent

289 BRETT WESTON

1911 – 19 93

UNTITLED

1971 gelatin silver print 13 ¼ h × 10 ½ w in (34 × 27 cm) Signed and dated lower right edge of backing ‘Brett Weston 1971’. $ 1,000 – 1,500 PROVENANCE

Acquired directly from the artist | Goldberg Family Collection

290 CHARLES WHITIN UNTITLED

1979 gelatin silver print mounted to board 13 ¾ h × 9 ¾ w in (35 × 25 cm) Signed and dated to verso ‘Charles P. Whitin April 1 1979’. $ 100 – 200 PROVENANCE

Goldberg Family Collection

291 PRE-COLUMBIAN C H A N C AY B U R I A L D O L L S

Peru hand-woven wool 4 ½ h × 16 w × 4 d in (11 × 41 × 10 cm) $ 1,000 – 1,500 PROVENANCE

Collection of Lillian Florsheim | Thence by descent

292 GERTRUD AND OT TO NATZLER BOWL

USA, c. 1942 wheel-thrown earthenware with lavastone glaze 7 ½ dia × 3 ½ h in (19 × 9 cm) Slip signature to underside: [Natzler]. $ 2,000 – 3,000 LITERATURE

Form and Fire: Natzler Ceramics 1939–1972, Natzler, pg. 29 illustrates glaze

PROVENANCE

Collection of Lillian Florsheim | Thence by descent

293 ED RUSCHA

B . 1937

BOWL (FROM DOMESTIC TRANQUILIT Y)

1974 lithograph on Arches paper 12 h × 15 w in (30 × 38 cm) Sheet measures: 18 h × 22.25 w inches. Signed, numbered and dated to lower edge ‘40/65 Edward Ruscha 1974’. This work is number 40 from the edition of 65 published by Multiples, Inc., New York and Castelli Graphics, New York. $ 1,000 – 1,500 LITERATURE

Edward Ruscha: Editions 1959–1999, Catalogue Raisonné, Engberg, vol. 1,

pg. 20 and vol. 2, pg. 94, no. 74 PROVENANCE

Goldberg Family Collection

T E R M S

C O N D I T I O N S

O F

T H E

S A L E

Each Lot in a Wright Auction or Wright Catalog is offered subject to the following Terms and Conditions of Sale (“Terms”), as supplemented in writing or otherwise by us at any time prior to the sale. By Registering to Bid, Bidding, or otherwise purchasing a Lot from Wright, you agree to be bound by these Terms. In these Terms, “we,” “us,” “our,” “Wright” or similar terms mean R. Wright, Inc. and any of its agents, and “you,” “your,” “buyer” or similar terms mean a person Bidding on or buying a Lot at a Wright Auction, Private Sale, Wright Now Sale 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 Bidding at Auction 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 will be refunded immediately if you do not submit the highest bid on a lot and will be applied to any Purchase Price Bid). 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. Auctioneer Discretion The auctioneer has the right, in his absolute discretion, to determine the conduct of any Wright Auction sale, including, without limitation, to advance the bidding, to reject any Bid offered, to withdraw any lot, to reoffer and resell any lot, and to resolve any dispute in connection with such sale. In any such case, the judgment of the auctioneer is final, and shall be binding upon you and all other participants in such sale. Bidding Increments All Wright Auction sales will be conducted in the following increments, and nonconforming Bids will not be executed, honored or accepted: $ 25 to 5 00 $ 5 00 to 1,000 $ 1,000 to 2,000 $ 2 ,000 to 3,000 $ 3 ,000 to 5,000 $ 5 ,000 to 10,000 $ 10,000+

$ 25 increment $ 5 0 increment $ 100 increment $ 200 increment $ 250 increment $ 5 00 increment $ 1,000 increment or

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.

Remote Bidding As a convenience to buyers who cannot be present on the day of a Wright Auction and have Registered to Bid, we will use reasonable efforts 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 of any third-party service in connection with Bidding on the Internet, including, but not limited to, those providing for additional charges and fees relating to the execution of such Bids. Wright has no control over, and assumes no responsibility for, the content, privacy policies, or practices of any third party websites or services. You expressly release Wright from any and all liability arising from your use of any third-party 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 Payment and Collection of Purchases You Pay Buyer Costs If your Bid results in a Purchase Price Bid (or you agree to pay the purchase price for a Lot as a part of a Wright Now Sale or Private Sale), you agree to pay the following charges associated with the purchase of such Lot: 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.

Security As security for full payment to us of all amounts due from the buyer and prompt collection of your purchased Lots in accordance with these Terms, we retain, and the buyer grants to us, a security interest in any Lot purchased by the buyer in accordance with these Terms (and any proceeds thereof), and in any other property or money of the buyer in our possession or coming into our possession subsequently (“Security Interest”). We may apply any such money or treat any such property in any manner permitted under the Uniform Commercial Code and/or any other applicable 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.

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. retention of all amounts already paid by the buyer to Wright, which shall constitute a processing and restocking fee (which you acknowledge would be 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.

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Confession of Judgment If you default on payment of one or more Purchase Price Bids under this Agreement, you hereby authorize any attorney to appear in a court of record and confess judgment against you in favor of Wright for the payment of such Purchase Price Bids and all related Buyer Costs. Accordingly, the confession of judgment may be without process and for any amount due on this Note including collection costs and reasonable attorneys’ fees. This authorization is in addition to all other remedies available to Wright.

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 the Lot, the buyer will be deemed to have defaulted under these Terms, and, in addition to any other remedies we may have at law or equity, we shall be entitled to foreclose on the Security Interest by selling such Lots and using the proceeds from such sale for any purpose (including payment of storage fees and administrative expenses of handling such matter), without any further liability to the buyer. You agree that this remedy is reasonable in light of the costs Wright would have to incur to continue to store and process purchased Lots after sale. Breach If a buyer fails to make timely payment as required in these Terms, or breaches any other covenant, representation or warranty in this Agreement, we shall be entitled, in our discretion, to exercise any remedies legally available to us, including, but not limited to, the following:

3 Limited Warranty “As Is”, “Where Is”. Except as expressly stated below, each Lot is sold “as is” “where is”, with no representation or warranty of any kind from any party (including Wright or the consignors of the Lots), express or implied, including warranties of merchantability, fitness for a particular purpose 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 Catalog 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 Catalog or on the Wright website), whether orally or in writing, are intended as statements of opinion only, are not to be relied upon as statements of fact and do not constitute representations or warranties of any kind. 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 Catalog with respect to Authorship of any Lot is true and correct, so long as the name of the Author is set forth unqualifiedly in a heading in Bold type in the applicable and most current Wright Catalog. The term “Author” or “Authorship” means the creator, designer, culture or source of origin of the property, as the case may be, as specifically identified in Bold type in the applicable and most current Wright Catalog, and shall not include any supplemental text or information included in any other descriptions (whether or not in the Wright Catalog). Exclusions from and Conditions to the Authorship Warranty Notwithstanding, this warranty is subject to the following: 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 Catalog 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 of sale, the statements regarding Authorship made by Wright conformed with the generally accepted opinion of scholars, specialists or other experts, despite the subsequent discovery of information that modifies such generally accepted opinions. iv. The buyer must provide written notice of any claim under this warranty to Wright (validated by no fewer than two (2) written opinions of experts whose principal line of business is the appraisal and authentication of art, antiquities, design objects or other valuable objects similar to the Lot) not later than thirty (30) days after becoming aware of the existence of such a claim, an in any event no later than two (2) years following the date of sale, and must return the Lot subject to such claim to Wright in the same condition as at the time of the original sale. Wright reserves the right to appoint two independent specialists to examine the Lot and evaluate the buyer’s claim prior to buyer’s receipt of any remedy pursuant to this warranty.

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. Limit of Liability In no event shall wright be liable to you or any third party for any consequential, exemplary, indirect, special, punitive, incidental or similar damages, whether foreseeable or 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. 4 Rescission or Voiding of Sale by Wright If we become aware of an adverse claim of a third party relating to a Lot purchased by you, we may, in our discretion, rescind the sale. Upon notice of our election to rescind a sale, you will promptly return such Lot to us, at which time we will refund to you the Hammer Price and Buyer’s Premium paid to us by you for such Lot. This refund will represent your sole remedy against us and/or the consignor in case of a rescission of sale under this paragraph, and you agree to waive all other remedies at law or equity with respect to the same. If you do not return such Lot to us in accordance with this paragraph, you agree to indemnify, defend and hold Wright, its officers, directors, employees, agents and their successors and assigns, harmless from any damages, costs, liabilities or other losses (including attorney’s fees) arising as a result of such third party claim. 5 Copyright Notice 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 Catalog. 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. 6 Severability If any provision of these Terms is held by any court to be invalid, illegal or unenforceable, the invalid/illegal/unenforceable aspect of such provision shall be disregarded and the remaining Terms enforced in accordance with the original document and in accordance with applicable law. 7 Governing Law These Terms shall be governed by and interpreted in accordance with the law of the State of Illinois and, by Registering to Bid or Bidding in the Wright Auction (whether personally, by telephone or by agent), the you agree to submit to the exclusive jurisdiction of the state and federal courts located in Cook County, Illinois in connection with any matter related to these Terms, the Wright Auction or other sale of a Lot to you by Wright. 8 Expenses In addition to the foregoing, you agree to pay to Wright or Seller on demand the amount of all expenses paid or incurred by Wright and Seller, including attorneys’ fees and court costs paid or incurred by Wright or Seller in exercising or enforcing any of its rights hereunder or under applicable law, together with interest on all such amounts at 1.5 % per month (the “Enforcement Costs”) within thirty (30) days of the buyer’s receipt of Wright’s invoice for such Enforcement Costs.

9 Definitions The following terms have the following meanings: Author and Authorship have the meanings given in Section 3. Bidding, Bid or place a Bid means a prospective buyer’s indication or offer of a price he or she will pay to purchase a Lot at a Wright Auction which conforms with the provisions of Section 1. Buyer Costs has the meaning given in Section 2. Buyer’s Premium means the following for any Lot: (i) 25 % of the Hammer Price (or part thereof) up to and including $ 100,000; (ii) 20 % of the Hammer Price (or part thereof) in excess of $ 100,000 up to and including $ 1,000,000; and (iii) 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. 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 nonpublic, 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. Register to Bid or Registering to Bid means providing Wright with your complete, accurate contact information (including address, phone and email) and a current, valid credit card number (including security code), and (i) in the case of phone or absentee bidders, a properly completed Wright bid form and (ii) in the case of online bidders, registration with such authorized third-party online auctioneer service providers described on our website on the How to Bid page. Reserve has the meaning given in Section 1. Sale Date means, in the case of Wright Auctions, the date of the closing of bidding for a particular Lot and acceptance of the Purchase Price Bid for such Lot; in the case of all other sales by Wright, the date Wright agrees in writing to sell a Lot to a buyer. 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. Terms has the meaning given in the Introduction to this Agreement. Wright Auction means the sale of Lots to the public through competitive bidding administered by Wright (including sales administered through a third-party Internet auctioneer authorized by Wright). Wright Catalog means the design catalogs published by Wright which features Lots available at particular Wright Auctions. Wright Now Sale is a sale of a Lot consigned to Wright by a third party, either posted on Wright’s website directly or solicited after a Lot fails to sell at auction.

Auction 15 February 2018 12 pm central

Richard Wright President 312 521 7150 rwright @ wright20.com

Todd Simeone Image Post-Production & Social Media 312 521 7158 tsimeone @ wright20.com

Michael Jefferson Senior Vice President 312 521 7165 mjefferson @ wright20.com

Mason Kessinger Web Developer 312 521 7166 mkessinger @ wright20.com

Kelli Lenox Director of Operations 312 521 7161 klenox @ wright20.com

Devin Ehrenfried Photographer 312 563 0020 dehrenfried @ wright20.com

Megan Whippen Senior Specialist, New York 212 585 0200 mwhippen @ wright20.com

Ross Floyd Photographer 312 563 0020 rfloyd @ wright20.com

Peter Jefferson Specialist 312 521 7156 pjefferson @ wright20.com

Charles Meadows Director of Property & Transport 312 235 4177 cmeadows @ wright20.com

Emilie Sims Editor & Chief Researcher 312 235 4181 esims @ wright20.com

Alexa DeTogne Client Services & Logistics 312 521 7159 adetogne @ wright20.com

Clare Blaine Research & Client Services 312 235 4171 cblaine @ wright20.com

Denia Garcia Art & Property Handler 312 563 0020 dgarcia @ wright20.com

Jennifer Mahanay Art Director 312 235 4185 jmahanay @ wright20.com

Andrew Reichold Art & Property Handler 312 563 0020 areichold @ wright20.com

Bid Department t 312 563 0020 f 312 235 4182 bid @ w right20.com

Ellen Winston Graphic Designer 312 563 0020 ewinston @ wright20.com

Ian Barnard Art & Property Handler 312 563 0020 ibarnard @ wright20.com

Request Condition Reports t 312 563 0020 condition @ wright20.com

Michael Zhang Graphic Designer 312 563 0020 mzhang @ wright20.com

Jordan Broeker Art & Property Handler 312 563 0020 jbroeker @ wright20.com

Leah Wendzinski Graphic Designer 312 563 0020 lwendzinski @ wright20.com

Jean Martin Client Accounts 312 521 7169 clientaccounts @ wright20.com

Wright 1440 W Hubbard St Chicago IL 60642 t 312 563 0020 980 Madison Ave New York NY 10075 t 212 585 0200 wright20.com