Sale 1274 | Forever Young: Photographs from the Joe Baio Collection

FOREVER YOUNG: PHOTOGRAPHS FROM THE JOE BAIO COLLECTION

19 OCTOBER 2023

FOREVER YOUNG: PHOTOGRAPHS FROM THE JOE BAIO COLLECTION

SALE 1274

19 October 2023

10:00am ET | New York | Live + Online

Lots 1–101

PREVIEW Auction Room and Galleries 21 Greene Street, New York, NY 10013 fineart@hindmanauctions.com

Saturday October 7 11:00am–4:00pm Sunday October 8 11:00am–4:00pm Monday October 9 10:00am–5:00pm Tuesday October 10 10:00am–5:00pm

PROPERTY PICK UP HOURS

Tuesday–Friday | 9:00am–4:00pm By appointment 212.243.3000

Friday October 13 10:00am–5:00pm Saturday October 14 11:00am–4:00pm Sunday October 15 11:00am–4:00pm Monday October 16 10:00am–5:00pm Tuesday October 17

All property must be paid within seven days and picked up within thirty days per our Conditions of Sale. Property will be available for collection from 21 Greene Street, New York NY 10013 until Friday, November 3rd, after which all uncollected property will be transferred to Hindman’s Gallery and Salesroom at 1550 West Carroll Street, Chicago IL 60607.

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

To view the complete catalogue, sign up to bid, and read our Conditions of Sale, visit hindmanauctions.com or the Hindman App. All bidders must agree to Hindman’s Conditions of Sale prior to registering to bid. For bid support contact: 312.280.1212 or bid@hindmanauctions.com.

LOTS 1-101

Icollect photographs, and have been doing so for over thirty years, for one reason only: to experience sheer joy. Every aspect of collecting is a blast: searching for treasures (hidden and in plain sight), experiencing the thrill of victory (“It’s mine!”), framing the works to suit their personalities, exploring their endless interrelationships, curating new combinations, and showing the results at home and in public. More recently, my wife, Anne Griffin, and I have donated selections to museums and educational organizations that have shown the photographs in different contexts and to wide audiences. Spreading the joy is itself joyful!

I will continue to be a collector—and not just a former collector—for as long as I can. By selling these works we will stay in the game, and the cycle of joy will continue. But this sale is not a goodbye. Once a photograph is part of the collection it maintains its special place, even after it is “gone.” Since 2005 (with the exception of the COVID years), we have done an annual “hang” of 200 to 300 works, organized by sub-themes, and have hosted a celebration for friends, gallerists, and many of the artists whose works are on the walls. Every work in this sale has appeared in at least one hang, and we have photographed every hang. So each precious work will always be part of the family.

Can’t wait for the next hang.

–Joe Baio

Since the mid-1980s, Joe Baio has amassed a unique and spectacular collection of photographs of children through the ages—an unparalleled journey through the complex lives of young people— which he hangs in glorious, densely packed, thematic selections at home in lower Manhattan, as well as on the walls of his law firm’s midtown offices.

In recognition of the importance of Baio’s collection, he was invited to exhibit 300 photographs from the collection at AIPAD (the most important US photography trade fair) in March 2018. This carefully curated group of pictures—many of which are included in this auction—provided photography enthusiasts with a rare opportunity to see some of this important private collection at first hand.

This historic sale now provides collectors with a unique opportunity to acquire photographs from this exquisitely curated collection. It goes without saying that on behalf of Hindman, I am extremely honored to have been entrusted with its care.

–Laura Paterson, Director, Senior Specialist, Photographs

Photographer, Bob Krasner

Roman Vishniac (1897-1990)

Mukačevo, 1938

image:

Provenance:

With Howard Greenberg Gallery, New York, acquired 1998

$4,000- 6,000

1

Gelatin silver print, mounted and printed c. 1938, titled, dated and notation ‘46’ in ink on the mount; signed by Mara Vishniac Kohn, Estate Executor, in ink on the Estate copyright credit stamp and stamped ‘Yivo Institute for Jewish Research, Inc., 1048 Fifth Avenue, New York 10028’ on the mount verso.

10 1/4 x 13in. (26 x 33cm.); mount 20 x 16in. (50.8 x 40.7cm.)

I was unable to save my people, only their memory.

ROMAN VISHNIAC

Robert Frank (1924-2019)

Yom Kippur, East River, New York City, 1955

Gelatin silver print, printed 1971, signed, titled ‘NYC’ and dated in ink in the margin. image: 9 5/8 x 14 1/4in. (24.4 x 36.2cm.); sheet: 12 x 16in. (30.5 x 40.6cm.)

Literature:

Frank, Les Americains, Delpire, pl. 16, p. 37

Frank, The Americans, Grove Press, unpaginated [pl. 16]

Robert Frank, Aperture, p. 33

Robert Frank, Centre National de la Photographie, pl. 32

$12,000 - 18,000

Of all the photographs in “The Americans”, I think there were only two or three where I did talk to the person, but most of the time I was completely silent, walking through the landscape, through the city, and photographing and turning away. Well, that is my temperament, to be silent, just looking on… What I liked about photography was precisely this: that I could walk away and I could be silent and it was done very quickly and there was no direct involvement.

ROBERT FRANK

Boys Playing Football, Naples, 1959

Gelatin silver print, printed c. 1959, credit stamps on the verso. image/ sheet: 8 3/4 x 11 1/2in. (22.2 x 29.2cm.)

Provenance:

Christie’s New York, March 23, 1996, lot 259

$2,500 - 3,500

The pictures I took spontaneously—with a blisslike sensation, as if they had long inhabited my unconscious—were often more powerful than those I had painstakingly composed. I grasped their magic as in passing.

HERBERT LIST

3 Herbert List (1903-1975)

Seville, 1933

(1908-2004)

Gelatin silver print, printed c. 1960,  ‘Cartier-Bresson/ Magnum’ credit stamp on the verso.

image/ sheet: 9 1/4 x 14 5/8in. (23.5 x 37.1cm.)

Provenance:

With James Danziger Gallery, New York, acquired 1998

Literature:

Cartier-Bresson: Images à la Sauvette, Verve, 1952, pl. 11

Galassi, Henri Cartier-Bresson: The Early Work, The Museum of Modern Art, New York, 1987, p. 102

De qui s’agit il?: Henri Cartier-Bresson, Bibliothèque Nationale de France/ Gallimard, 2003, p. 101

$8,000 - 12,000

4 Henri Cartier-Bresson

One has to tiptoe lightly and steal up to one’s quarry; you don’t swish the water when you are fishing.

HENRI CARTIER-BRESSON

5 Diane Arbus (1923-1971)

Kids in a coat, N.Y.C., 1960

Gelatin silver print, printed c. 1960, stamped ‘a diane arbus print’, numbered ‘875-16-10-1114’ by Doon Arbus, Estate Administrator, in ink and Estate copyright credit reproduction limitation stamps on the verso.

image: 9 x 6in. (22.9 x 15.2cm.); sheet: 14 x 11in. (35.5 x 28cm.)

Provenance:

With Robert Miller Gallery, New York, acquired 2002

$12,000 - 18,000

I mean, it’s very subtle and a little embarrassing to me, but I really believe there are things which nobody would see unless I photographed them.

DIANE ARBUS

Daido Moriyama (born 1938)

Matsushima, 1974

Silkscreen

Provenance:

With Galerie Polka, Paris, acquired 2013 $10,000 - 15,000

My photos are often out of focus, rough, streaky, warped, etc. But if you think about it, a normal human being will in one day perceive an infinite number of images, and some of them are focused upon, others are barely seen out of the corner of one’s eye.

DAIDO MORIYAMA

on canvas; printed later, signed and numbered ‘1/3’ in ink on the canvas backing. image/ sheet: 43 1/4 x 60in. (109.8 x 152.4cm.)

7

Morris Engel (1918-2005)

Coney Island, New York, 1940s

Gelatin silver print, printed 1940s and flush-mounted, signed in ink on the flush-mount verso.

image/ sheet/ flush-mount: 10 3/8 x 12 1/8in. (26.4 x 30.7cm.)

Provenance:

With Charles Hartman, San Francisco, acquired 2002

$3,000 - 5,000

The French new wave would never have come into being if it had not been for the young American Morris Engel.

FRANÇOIS TRUFFAUT

8 Robert Doisneau (1912-1994)

Printemps (Spring), 1947

Gelatin silver print, printed c. 1947, signed, dated, inscribed ‘Cette image de premièrs chaleurs du printemps 47’ (this image from the first spring warmth of ‘47), various (an)notations in pencil/ ink, stamped ‘À Paris’ and ‘Doisneau/ Rapho’ credit stamps on the verso.

image: 9 1/2 x 6 7/8in. (24.1 x 17.5cm.); sheet: 9 1/2 x 7 1/8in. (24.1 x 18cm.)

Provenance:

With Robert Mann Gallery, New York, acquired 2016

$4,000 - 6,000

You must not trample on other people’s secret gardens. To suggest is to create; to describe is to destroy.

ROBERT DOISNEAU

9 William Klein

(1926-2022)

Candy Store, New York, 1955

Gelatin silver print, printed 1960s, titled, dated and ‘Rue de Medicis’ credit stamp on the verso. image: 7 7/8 x 9 3/4in. (20 x 24.7cm.); sheet: 8 1/4 x 10 1/4in. (21 x 26cm.)

Literature:

Heilpern, William Klein: Photographs, Aperture, 1981, pp. 56-57 Caujolle, William Klein, Centre national de la photographie, Paris, 1985, p. 9

$3,000 - 5,000

The kinetic quality of New York, the kids, dirt, madness—I tried to find a photographic style that would come close to it. So I cropped, blurred, played with the negatives.

WILLIAM KLEIN

Nan Goldin (born 1953)

Skinhead with Child, London, 1978

Dye-bleach print, flush-mounted on board and printed c. 1978, signed, titled, dated and numbered ‘A.P. 5’ in ink in the margin. image: 14 7/8 x 22 7/8in. (37.7 x 58cm.); sheet/ flushmounted: 17 3/4 x 23 1/2in. (45.1 x 59.7cm.)

Provenance:

The Collection of Melva Bucksbaum; Lyon and Turnbull, August 16, 2018, lot 190

Literature:

Holborn, Heiferman & Fletcher eds., Nan Goldin,The Ballad of Sexual Dependency, Aperture, 1986

$5,000 - 7,000

It’s commonly said that “Ballad” is about “marginalized” people. We were never marginalized. We were the world. We were our own world, and we couldn’t have cared less about what “straight” people thought of us. I made my people into superstars, and the “Ballad” maintains their legacy.

NAN GOLDIN

11

Mark Cohen (born 1943)

Boy in yellow shirt, smoking, Scranton, PA, 1977

Dye-transfer print, printed 1977, signed, titled, dated and numbered ‘1/5’ in pencil on the verso.

image: 12 x 18in. (30.5 x 45.7cm.); sheet: 16 x 20in. (40.6 x 50.8cm.)

Provenance:

With James Danziger Gallery, New York, acquired 2009

$4,000 - 6,000

I used these neighborhoods like a set. MARK COHEN

Weegee (1899-1968)

Palace Theatre, New York City (Two girls with lollipops), 1950s Gelatin silver print, printed 1950s, ‘451 West 47th Street’ credit stamp on the verso. image: 10 3/8 x 13 3/8in. (26.3 x 34cm.) sheet: 11 x 14in. (28 x 35.6cm.)

Provenance:

With Henry Feldstein, New York, acquired 2002 $1,500 - 2,000

Every time I heard a sigh or a groan in the dark, I pushed the button.

WEEGEE

13

Joel Meyerowitz (born 1938)

Late Afternoon, Eliza, Provincetown, 1982

Chromogenic print, printed c. 1982, signed, titled ‘Eliza’ and dated in ink on the verso.

image: 23 1/4 x 18 3/8in. (59 x 46.7cm.); sheet: 24 x 20in. (61 x 50.8cm.)

Provenance:

With Ariel Meyerowitz Gallery, New York, acquired 2005

$2,500 - 3,500

You look at a photograph and all around the real world is humming, buzzing and moving, and yet in this little frame there is stillness that looks like the world.

JOEL MEYEROWITZ

Massimo Vitali (born 1944)

Viareggio - September, 1995

Archival pigment print, printed 1997 (reprinted 2022), facemounted and flush-mounted to Plexiglas; accompanied by a studio label, signed and numbered ‘5/9’ in ink. image: 59 x 74in. (149.9 x 188cm.) sheet/ flush-mount: 71 x 86 5/8in. (180.3 x 220cm.)(180 x 220cm.); artist’s hanging construction on flush-mount verso.

Provenance:

With Marianne Boesky Gallery, New York, acquired 1998 $10,000 - 15,000

I was really amazed by the amount of information you can collect on the beach—information about us, about our lives, about our time, about our fashion, about our way of living. It’s a fantastic place...

MASSIMO VITALI

15 Diane Arbus

Girl

Photograph’,

(1923-1971)

Provenance:

With Robert Miller Gallery, New York; with Thomas Zander Gallery, Cologne; with DJT Fine Art, New York Phillips New York, November 1, 2013, lot 97

$5,000 - 7,000

in a party dress, NYC, 1967

Gelatin silver print, printed later by Neil Selkirk, stamped ‘A Diane Arbus

signed, titled, dated, numbered ‘13/75’ by Doon Arbus, Estate Administrator, in ink and Estate copyright credit reproduction limitation stamps on the verso.

image: 14 3/4 x 14 1/4in. (37.5 x 36.2cm.) sheet: 20 x 16in. (50.8 x 40.6cm.)

I think it does, a little, hurt to be photographed.

DIANE ARBUS

16

Seydou Keita (1923-2001)

Untitled (#420,) 1950-1952

Archival pigment print, flush-mounted and printed 2001; accompanied by a Certificate of Authenticity, signed and dated ‘22-3-02’ by the Seydou Keita Foundation President; number 2 from the edition of 3.

image/ flush mount: 63 x 45in. (160 x 114.3cm.)

Provenance:

With Sean Kelly Gallery, New York, acquired 2002

Exhibited:

Full of Grace, Palm Beach Photographic Centre, January 25, 2012-March 14, 2012, West Palm Beach, Florida

$6,000 - 8,000

To have your picture taken was an important event. The person had to be made to look his or her best. Often they became serious, and I think they were also intimidated by the camera.

SEYDOU KEITA

17

Mary Ellen Mark (1941-2015)

Tiny in Her Halloween Costume, Seattle, from series “Streetwise”, 1983

Gelatin silver print, printed later, signed, titled, dated and numbered ‘18/75’ in pencil on the verso.

image: 19 x 14 1/2in. (48.3 x 36.8cm.); sheet: 20 x 16in. (50.8 x 40.6cm.)

$2,500 - 3,500

I’m interested in people who aren’t the lucky ones, who maybe have a tougher time surviving, and telling their story.

MARY ELLEN MARK

Emmet Gowin (born 1941)

Provenance:

Christie’s New York, April 5, 2000, lot 295

Exhibited:

Full of Grace, Palm Beach Photographic Centre, West Palm Beach, Florida, January 25-March 14, 2012

$4,000 - 6,000

Nancy, Danville, Virginia, 1969

Gelatin silver print, printed c. 1969, signed, titled and dated in pencil on the mount verso. image: 5 1/4 x 6 3/4in. (13.3 x 17.1cm.) mount: 14 x 11in. (35.5 x 28cm.)

We tremble at the feelings we experience as our sense of wholeness is reorganized by what we see. EMMET GOWIN

19

Erwin Blumenfeld

Lisette, Paris, 1936

(1897-1969)

Gelatin silver print, printed c. 1936, Estate stamp on the verso.

image/ sheet: 11 3/4 x 9 1/2in. (29.8 x 24.1cm.)

Provenance:

With Deborah Bell Photographs, New York, acquired 2007

$12,000 - 18,000

Day and night I try, in my studio with its six two-thousand watt suns, balancing between the extremes of the impossible, to shake loose the real from the unreal, to give visions body, to penetrate into unknown transparencies.

ERWIN BLUMENFELD

Hans Bellmer (1902-1975)

Les Jeux de la Poupée VII, 1939

Hand-colored

Provenance:

Phillips New York, April 1, 2014, lot 65

Literature:

Hans Bellmer, Obliques, 1975, p.101

Taylor, Hans Bellmer: The Anatomy of Anxiety, MIT Press, 2000, pls. 4, 12, for a variant

Corbeau & Renard, La trajectoire du regard. Une collection de Photographies du XXe Siècle, Schaden, 2006, p. 43

$8,000 - 12,000

Yes, my dolls were the beginning. Obviously there was a convulsive flavor to them because they reflected my anxiety and unhappiness. To an extent they represented an attempt to reject the horrors of adult life as it was in favor of a return to the wonder of childhood, but the eroticism was all-important, they became an erotic liberation for me.

HANS BELLMER

gelatin silver print, mounted on paper and printed 1939, plate notation ‘VII’ in pencil on the mount. image: 5 1/2 x 5 3/8in. (14 x 13.7cm.); mount: 9 1/2 x 7 1/2in. (24.1 x 19xcm.)

21

Chris Killip (born 1946)

Youth on Wall, Tyneside, 1976

Gelatin silver print, printed c. 1976, signed and dated in pencil on the verso.

image: 7 7/8 x 10in. (20 x 25.4cm.); sheet: 9 x 11 1/4in. (22.9 x 28.8cm.)

Provenance:

Christie’s London, November 26, 2010, lot 3

Literature:

Christopher Killip: In Flagrante, Secker & Warburg, 1988

$4,000 - 6,000

The objective history of England doesn’t amount to much if you don’t believe in it, and I don’t, and I don’t believe that anyone in these photographs does either as they face the reality of de-industrialization in a system which regards their lives as disposable.

CHRIS KILLIP

22

Ryan McGinley (born 1977)

Boy Hiding, 2001

Chromogenic print, flush-mounted and printed 2002, signed and inscribed in ink on a gallery label affixed to the flush-mount verso.

image/ flush-mount: 40 x 30in. (101.6 x 76.2cm.)

Provenance:

With Peter Hay Halpert Fine Art, New York (signed label); with ClampArt, New York, acquired 2008

$4,000 - 6,000

Just having the camera, being able to pull back from situations and be an observer, it saved my life... I realised I could find these intimate moments and that people trusted me. That, basically, my camera was magic.

RYAN McGINLEY

23

Gordon Parks (1912-2006)

Children with Doll, Washington, D.C., 1942

Gelatin silver print, printed later, signed and inscribed in ink in the margin. image: 8 7/8 x 12in. (22.5 x 30.5cm.); sheet: 11 x 14in. (27.9 x 35.6cm.)

Provenance:

With Howard Greenberg Gallery, New York, acquired 2018

$7,000 - 9,000

Washington, D.C. in 1942 was not the easiest place in the world for a Negro to get along.

GORDON PARKS

Yasuhiro

Ishimoto (1921-2012)

Untitled (Children on Stoop, Chicago),1951-1952

Gelatin silver print, printed 1950s, credit in pencil on the verso. image: 7 5/8 x 9 1/2in. (19.4 x 24.1cm.); sheet: 8 x 10in. (20.3 x 25.5cm.)

Provenance:

With Charles A. Hartman, San Francisco, acquired 1999

Exhibited:

Full of Grace, Palm Beach Photographic Centre, West Palm Beach, Florida, January 25, 2012-March 14, 2012

$4,000 - 6,000

Perhaps it was the influence of the New Bauhaus that let him see objects without any preconceived notions... He is very curious, always asking, “Why, why?”

SHIGERU ISHIMOTO

Mariana Yampolsky (1925-2002)

Esquina, c. 1960

Gelatin silver print, printed c. 1960, signed and titled in pencil on the verso.

image: 7 3/4 x 7 1/2in. (19.7 x 19.1cm.); sheet

11 x 13 1/8in. (28 x 33.2cm.)

$1,000 - 1,500

The street is my studio...I was interested in reflecting a moment in the lives of people that others perhaps don’t see or don’t value.

MARIANA YAMPOLSKY

Louis Stettner (1922-2016)

New York (Girl and lamp post), 1952-1959

Gelatin silver print, printed c. 1952-1959, signed, titled and dated in pencil on the verso.

image/ sheet: 12 5/8 x 17 5/8in. (32 x 45.4cm.)

Provenance:

Christie’s New York, October 6, 1995, lot 433

$1,500 - 2,000

Brassaï showed me that it was possible to find something significant in photographing subjects in everyday life doing ordinary things by interpreting them in your own way and with your own personal vision.

LOUIS STETTNER

27

Ernst Haas (1921-1986)

London Docks, 1951

Dye-transfer print, printed c. 1951, signed in ink on the recto; credit stamp on the verso.

image: 19 x 13 1/2in. (48.3 x 34.3cm.);

sheet: 19 3/4 x 13 5/8in. (50.3 x 34.5cm.)

Provenance:

With Atlas Gallery, London, acquired 2017

$15,000 - 20,000

The best pictures differentiate themselves by nuances… a tiny relationship—either a harmony or a disharmony—that creates a picture.

ERNST HAAS

Dave Heath  (1931-2016)

Vengeful Sister, Chicago, 1956

Gelatin silver print, printed c. 1956, signed and dated in ink on the mount verso. image/ sheet: 7 1/2 x 9 1/2in. (19.1 x 24.1cm.); mount 14 x 11in. (35.5 x 28cm.)

Provenance:

Swann Galleries, March 23, 2003, lot 188

Literature:

Heath, A Dialogue with Solitude, 1986, Community Press, 1965, unpaginated

$10,000 - 15,000

I am glad someone noticed!

DAVE HEATH

29

Roy DeCarava (1919-2009)

“Kids God Bless,” 1950s

Gelatin silver print, flush-mounted and printed c. 1960, titled and notation ‘5 on 3’ and ‘16’ in pencil on the flush-mount verso; accompanied by a jazz album by the Kenny Drew Trio, with this image on its cover. image/ flush-mount: 14 x 20in. (35.5 x 50.8cm.)

Provenance:

With with Argosy Books & Prints, New York; The Collection of Harry Belafonte; with Peter Hay Halpert Fine Art, New York, acquired 2014

$10,000 - 15,000

Going outside and meeting the challenge of taking what is and making it yours, that’s what photography does for me.

ROY DECARAVA

30

Henri Cartier-Bresson (1908-2004)

Texas, 1960

Oversized, possibly unique, gelatin silver exhibition print, flushmounted on thick board and printed c. 1968. image/ flush-mount: 35 1/2 x 23 1/8in. (90.1 x 58.7cm.)

Provenance:

From the artist; The Museum of Modern Art, New York; Christie's New York, October 11, 2017, lot 32

Exhibited:

Henri-Cartier-Bresson: Recent Photographs, The Museum of Modern Art, New York,  June 25-September 2, 1968, no. 99

$40,000 - 60,000

Above all, I craved to seize the whole essence in the confine of one single photograph, of some situation that was in the process of unrolling itself before my eyes.

HENRI CARTIER-BRESSON

MoMA, New York 1968 Cartier-Bresson exhibition installation shot. Reproduction courtesy of MoMA, New York.

31 Roger Mayne (born

1929)

St. Stephen’s Gardens, London, 1957

Gelatin silver print, printed c. 1957, signed, titled, dated, inscribed ‘vintage print’ in pencil and ‘7a Addison Avenue, London W11’ copyright credit stamps on the verso.

image/ sheet: 9 3/4 x 6 1/2in. (24.2 x 16.5cm.)

Provenance:

With Zelda Cheatle Gallery, London, acquired 1999

$1,000 - 1,500

This is the way children should be photographed but never are.

ROGER MAYNE

Mary Ellen Mark (1941-2015)

Boy with Mask and His Sister, Gypsy Camp, Barcelona, 1987 Gelatin silver print, printed c. 1987, signed, titled, dated and numbered ‘22/100’ in pencil on the verso.

image: 9 x 13 3/8in. (22.9 x 34cm.) sheet: 11 x 14in.

Provenance: Swann Galleries, April 20, 2017, lot 201

$1,000 - 1,500

I’m just interested in people on the edges. I feel an affinity for people who haven’t had the best breaks in society. I’m always on their side. I find them more human, maybe.

MARY ELLEN MARK

33

Josef Koudelka (born 1938)

Family Portrait, Zerhra, 1967

Gelatin silver print, printed c. 1967, title, date, various annotations in pencil/ ink and ‘Koudelka/ Magnum Paris’ copyright credit stamps on the verso. image: 9 3/8 x 6 1/8in. (23.7 x 15.5cm); sheet 10 x 8in. (25.4 x 20.2cm.).)

Provenance:

With Steven Kasher Gallery, New York, acquired 2010

Literature:

Alexander, Koudelka: Gitanes, Delpire, 2022, p. 25

$6,000 - 8,000

I have always been drawn to what is ending, what will soon no longer exist.

JOSEF KOUDELKA

Sally Mann (born 1951)

Gelatin silver print, printed c. 1987, signed, titled, dated, numbered ‘5/25’ and edition notations in pencil on the verso. image: 7 3/4 x 9 3/4in (19.7 x 24.8cm.) sheet: 8 x 10in. (20.3 x 25.4cm.)

Provenance:

Grisebach, November 27, 2017, lot 2165

Literature:

Mann, Immediate Family, Aperture, 1992, unpaginated.

$5,000 - 7,000

Tobacco Spit, 1987

I feel I’m a strange mixture of insecurity and strength...I’m transferring that same concept to the people I photograph.

SALLY MANN

35

Vik Muniz (born 1961)

Untitled P28 (Me and Grandma), 1995

Graphite, casein and ink on woven paper, initialed and dated in pencil on the recto. image: 3 1/2 x 4 3/4in. (9 x 12.1cm.)

Provenance: With Olivier Renaud-Clément, New York; Swann Galleries, New York, November 13, 2001, lot 132

$7,000 - 9,000

...The more important question was, “When did I start calling this art?”

VIK MUNIZ

36

Jacques-Henri Lartigue (1894-1986)

Provenance:

1/2in. (11.4 x 16.5cm.)

Collection of Jacques-Henri Lartigue; by bequest to Florette Lartigue; to a Private Collection;

Christie’s London, November 14, 2006, lot 25

Literature:

Goldberg, Jacques-Henri Lartigue, Photographer, Thames & Hudson, 1998, pl. 6 $8,000 - 12,000

First Photo - Aunt Yéyé, My little Cousin Dédé, Uncle Auguste, Daddy, Zissou,  Mummy and Marcelle, Pont de l’Arche, 1902

Printing out paper, printed c. 1902, initialed, inscribed ‘1-iere photo, tirage 1902’  [first photo, 1902 printing] and sunburst motif in ink on the verso. image/ sheet: 4 1/2 x 6

It’s marvellous, marvellous! Nothing will ever be as much fun. I’m going to photograph everything, everything!

JACQUES-HENRI LARTIGUE

Emmet

Richie, Amy, Reva, and Edith, Danville, Virginia, 1969

Gelatin silver print, mounted on archival board and printed c. 1969, signed, titled and dated in pencil on the mount verso.

image: 5 1/4 x 6 5/8in. (13.3 x 16.8cm.); mount 14 x 11in. (35.3 x 28cm.)

Provenance:

Christie's New York, April 5, 2000, lot 299

$2,500 - 3,500

Gowin (born 1941)

I was going round the world searching for an interesting place, when I realized that the place that I was in was already interesting.

EMMET GOWIN

Bruce Davidson (born 1933)

Wales (Coal Miner and Baby), 1965

Oversized gelatin silver exhibition print, possibly unique, mounted on board and printed c. 1965, signed, titled and dated in ink on the mount verso.

image: 20 x 16in. (50.8 x 40.6cm.); mount: 21 3/4 x 18in. (55.3 x 45.8cm.)

Literature:

Bruce Davidson: Photographs, Agrinde/ Summit, 1978, p. 117

Bruce Davidson, Aperture, Fundación MAPFRE, 2016, p. 194

$15,000 - 25,000

There was something beautiful about a life that was so horrible.

BRUCE DAVIDSON

39

Esko Männikkö (born 1959)

Cowboy, San Antonio, 1997

Chromogenic print, flush-mounted on board and printed c. 1998, signed, titled, dated and numbered ‘6/20’ in pencil on the flush-mount verso. image/ flush-mount: 26 7/8 x 33 1/4n. (68.3 x 84.5cm.)

Provenance:

With Galerie Nordenhake, Stockholm; Phillips New York, Künne Collection, October 13, 2004, lot 75

$4,000 - 6,000

I am a photographer of fish, dogs and old men.

ESKO MÄNNIKKÖ

40 Ben Shahn (1898-1969)

Child

c.

Provenance:

The Collection of Marion Post Wolcott; with Barry Singer Gallery, Petaluma, CA, acquired 2005 $3,000 - 5,000

of Fortuna Family, Hammond, Louisiana, Strawberry Picker, 1935 Gelatin silver exhibition print, flush-mounted on masonite and printed

1935, signed and inscribed ‘this image was photographed by Ben Shahn and has been in my personal collection, acquired from the F.S.A. in 1939-40’ by Marion Post Wolcott in pencil and ‘Ben Shahn F.S.A.’ credit in ink on the reverse of the flush-mount verso. image/ sheet/ flush-mount: 9 1/4 x 7 1/4in. (23.5 x 18.4cm.)

When you talk about war on poverty it doesn’t mean very much; but if you can show this kind of thing to some degree then you can show a great deal more of how people are living.

BEN SHAHN

Sebastaiõ Salgado (born 1944)

Brasil, 1983

Gelatin silver print, printed c. 1983, dated ‘October 1983’, various annotations in ink and ‘Salgado/ Magnum’ copyright credit stamps on the verso. image: 9 x 13 1/2in. (22.8 x 34.6cm.) sheet: 12 x 16in. (30.5 x 40.6cm.)

Provenance:

Westlicht Auctions, June 9, 2017, lot 207

$1,500 - 2,000

The problem is, we live in a society where all that interests us is power and money.

SEBASTAIÕ SALGADO

Pieter Hugo (born 1976)

Abdulai Yahaya, Agbogbloshie Market, Accra, Ghana, from the series “Permanent Error,” 2010

Chromogenic print, flush-mounted and printed c. 2010, signed, titled, dated, numbered ‘Artist’s Proof 1 of 2’ and edition annotation on the flush-mount verso; from the edition of 10 plus 2 artist proofs. image: 32 1/4 x 32 1/4in. (82 x 82cm.); sheet/ flush-mount: 39 x 39in. (99.1 x 99.1cm.)

Provenance:

With Yossi Milo Gallery, New York, acquired 2011

Literature:

Hugo, Permanent Error, Prestel, 2011, unpaginated

$7,000 - 9,000

I think it is fair to say that Agbogbloshie is a dark and dirty monument to the digital age, to our faith in technology and its built-in obsolescence. This idea of surplus and waste, which is key to our digital experience, is not one that many people seem comfortable addressing...where geopolitical imbalances are being exploited to effectively dump waste on poor countries and their beleaguered inhabitants.

PIETER HUGO

William Eggleston (born 1939)

Outskirts of Morton, Mississippi, Halloween, 1971

Chromogenic print, printed later, signed in ink on the verso. image: 10 x 14 3/4in. (25.4 x 37.5cm.); sheet: 12 x 17 3/4in. (30.2 x 45.1cm.)

Provenance:

From the artist; to a private collection, Germany; Artnet, July 31, 2018, lot 125704

Literature:

Szarkowski, William Eggleston’s Guide, The Museum of Modern Art, New York, 1976, p. 104

Sussman & Weski, William Eggleston: Democratic Camera, Photographs and Video 1961-2008, Whitney Museum of American Art, 2009, pl. 34, pp. 84-85

$8,000 - 12,000

If Eggleston’s perspective is essentially romantic...it has generally been expressed in a style heavy with special effects: glints and shadows, dramatic simplicities, familiar symbols, and idiosyncratic technique.

JOHN SZARKOWSKI

44

image/

mount: 11 1/8 x 9 3/8in. (28.2

Provenance:

With Alan Klotz Gallery, New York, acquired 2010

$10,000 - 15,000

Anton Giulio Bragaglia (1890-1960)

Portrait of a Child in a Pierrot Costume, 1930

Gelatin silver print, printed c. 1930, signed in wax pencil on the mount; decorative studio label affixed on the mount verso.

sheet: 8 1/4 x 6 1/4in. (21 x 15.9cm.);

x 23.7cm.)

...when a person gets up, the chair is still full of his soul.

ANTON GIULIO BRAGAGLIA

Boy and Dog on Street, 1957

Gelatin silver print, printed c. 1957, dated in ink and ‘Larrain/ Magnum’ copyright credit stamp on the verso. image/ sheet: 13 5/8 x 9 1/8in. (34.5 x 23.2cm.)

$2,000 - 3,000

SERGIO

45 Sergio Larrain (1931-2012)

I can only materialize that world of phantoms when I see something that resonates within me.

LARRAIN

Richard Avedon (1923-2004)

Italy #13, Palermo, Sicily, September 1, 1947

Gelatin silver print, printed 1994, signed, numbered ‘1/7’ in pencil, stamped ‘Limited exhibition print, made at the time of RICHARD AVEDON RETROSPECTIVE 1944-1994, Whitney Museum American Art, New York City,’ copyright credit, title, date and edition stamps on the verso. image/ sheet 20 x 16in. (50.8 x 40.6cm.)

Provenance:

With Rick Wester Fine Art, New York, acquired 2017

Literature:

Shanahan, ed., Richard Avedon: Evidence 19441994, Random House, 1994, p. 129

$10,000 - 15,000

46

I think if I had decided to go into the fortune-telling business, I would have probably been very good. What happens to me in work—I look for something in a face, and I look for contradiction, complexity.

RICHARD AVEDON

Gelatin silver print, flush-mounted and printed c. 1980, signed, dated in pencil and ‘Bleak Beauty’ credit stamp on the flush-mount verso.

image: 10 1/4 x 10 1/8in. (26 x 25.6cm.) sheet/ flush-

mount: 11 3/8 x 11 1/4in. (28.8 x 28.8cm.)

Provenance:

Swann Galleries New York, December 11, 2014, lot 425

$2,000 - 3,000

47 Danny Lyon (born 1942) Boys Smoking, 1968

The pictures do not ask you to help these people, but something much more difficult; to be briefly, intensely aware of their existence, an existence as real and significant as your own.

DANNY LYON

Brassaï (1899-1984)

Members of Big

BRASSAÏ

image: 11 5/8 x 9in. (30 x 22.5cm.); mount: 15 1/2 x 11 3/4in. (39.3 x 29.8cm.)

Provenance: The Collection of Allan Rubenstein; with Alan Klotz Gallery, New York, acquired 2017

Literature:

Brassaï, The Museum of Modern Art, New York/ New York Graphic Society, 1968, p. 26

Morand, Brassaï, Paris By Night, Flammarion, 1988, np

$6,000 - 8,000

Albert’s Gang, Place d’Italie, 1936 Gelatin silver print, mounted and printed later, signed in ink on the mount; negative notation ‘Pl. 172’ in pencil, inscribed ‘Paris Secret 56’ and copyright credit stamp on the mount verso.

I need the subject to be as conscious as possible that he is taking part in an event… in an artistic act. I need his active collaboration.

49

Lewis Carroll (Charles Lutwidge Dodgson, 1832-1898)

Xie Kitchen, c. 1872

Albumen print, printed c. 1872.

image/ sheet (tondo): 4 1/2 x 6in. (11.4 x 15.2cm.)

Provenance:

The Collection of English illustrator Henry Halliday; Sotheby’s, London, 1983; to a Private Collection; Swann Galleries, February 21, 2019, lot 2

$8,000 - 12,000

Alice: “How long is forever?”

White Rabbit: “Sometimes, just one second.”

LEWIS CARROLL

50

Duane Michals (born 1932)

The Bogeyman, 1973

Suite of 7 gelatin silver prints, printed c. 1973, the first signed (twice), dated, numbered ‘19/25’ and the remaining 6 consecutively numbered ‘2-7’ in ink in the margin. image: each 3 3/8 x 5in. (8.5 x 12.7cm.); sheet: each 5 x 7in. (12.7 x 17.8cm.)

Provenance:

Christie's New York, March 8, 2005, lot 61

$8,000 - 12,000

Trust that little voice in your head that says “Wouldn’t it be interesting if...”; And then do it.

DUANE MICHALS

51 John Waters (born 1946)

I Accuse, 2006

7 gelatin silver prints, mounted together and printed c. 2006, signed, titled and numbered ‘5/5’ in pencil on the mount verso; signed, titled, dated and numbered ‘5/5’ in pencil on the mount verso.

image/ sheet: each 7 x 4 7/8in. (17.8 x 12.1cm); overall

49 x 4 7/8in. (124.5 x 12.1cm.); mount: 11 1/2 x 55 3/4in. (29.2 x 141.6cm.)

Provenance:

With Rena Bransten Gallery, San Francisco, acquired 2008

$2,000 - 3,000

I always was a weird child. My mother told me the story that, in kindergarten, I would come home and tell her about this weird kid in my class who drew only with black crayons and didn’t speak to other kids. I talked about it so much that my mother brought it up with the teacher, who said, “What? That’s your son.”

JOHN WATERS

Julia

image: 14 1/2 x 9 1/4in. (36.2 x 23.5cm.) mount: 23 x 17 3/4in. (58.4 x 45.1cm.)

Provenance:

Sotheby’s London, The Collection of Paul F. Walther, May 10, 2001, lot 118

Exhibited:

Full of Grace, Palm Beach Photographic Centre, West Palm Beach, Florida, January 25-March 14, 2012

$10,000 - 15,000

Margaret Cameron (1815-1879)

Queen Henrietta Maria announcing to her children the coming fate of their father King Charles I (Isabel Bateman, Laura and Rachel Gurney,) 1874

Albumen print, mounted on period board and printed 1871, signed, titled, dated, inscribed ‘From Life Registered Photograph copyright’ in ink and ‘Colnaghi’ embossed stamp on the mount; collection annotation in an unknown hand in ink on the mount verso.

From the first moment I handled my lens with a tender ardour.

JULIA MARGARET CAMERON

53

Robert Frank (1924-2019)

Mary and Pablo, New York City, 1951

Gelatin silver print, printed later, signed, titled and dated in ink in the margin. image: 8 1/2 x 13in. (21.6 x 33cm.) sheet: 11 x 14in. (27.9 x 35.6cm.)

Provenance:

With Laurence Miller Gallery, New York, acquired 2005

Literature:

Greenough, Robert Frank: Moving Out, Scalo, 1994, p. 55

Robert Frank: Black and White and Things, Scalo, 1994 pl. 13

Greenough (ed.) & Alexander, Looking In: Robert Frank's The Americans, National Gallery of Art, Washington, DC, 2009, pl. 38

Robert Frank: the Lines of my Hand, Pantheon Books, 1989, unpaginated

$20,000 - 30,000

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice.

ROBERT FRANK

Peter didn’t photograph anyone or anything he didn’t have deep feelings for. He had such integrity...

The depth in Peter’s photographs is astounding. They are as calm as he was but so intense. He had a special relationship with light. Many people have tried to imitate it and failed. In his portraits, he doesn’t exert the gaze, which is the norm of most photography. He met people where they lived. He is the greatest portraitist of the twentieth century.

NAN GOLDIN

54

Peter Hujar (1934-1987)

Chloe Finch, 1981

Gelatin silver print, printed 1981, signed, titled ‘Chloe’ and numbered ‘AP #1’ in ink on the verso. image: 14 1/2 x 14 5/8in. (36.8 x 37.2cm.); sheet: 20 x 16in. (30.8 x 40.7cm.)

Provenance:

With Alan Klotz Gallery, New York, acquired 2013

Literature:

Peter Hujar: A Retrospective, Scalo, 1994, cover and pl. 160 $15,000 - 25,000

55

One,

The artist recalls modern rituals such as the mug shot, passport photo, or police line-up, which filter individual subjects through the homogenizing, bureaucratic systems of contemporary life.

Provenance:

With Stephen Cohen Gallery, New York, acquired 2008

$4,000 - 6,000

METROPOLITAN MUSEUM OF ART

Ken Ohara (born 1942)

#14, 1970

Gelatin silver print, printed c. 1970, signed in pencil in the margin; signed in pencil on the verso. image: 8 1/2 x 7 1/8in. (21.5 x 18.1cm.); sheet: 10 x 8in. (25.4 x 20.3cm.)

LaToya Ruby Frazier (born 1982)

Momme, 2008

Gelatin silver print, printed 2008, signed, titled, dated and numbered ‘3/8’ in pencil on the mount verso. image/ sheet: 15 3/8 x 19 3/8in. (39 x 49.2cm.); mount: 24 x 28in. (61 x 71.1cm.)

Provenance:

With Higher Pictures, New York, acquired 2009

Literature:

LaToya Ruby Frazier: The Notion of Family, Aperture, 2014

$20,000 - 30,000

I’ve always seen the beauty in my mother’s imperfections. I’ve always loved her unconditionally.

LATOYA RUBY FRAZIER

57

Inez van Lamsweerde (born 1963)

Chromogenic

Provenance:

With Matthew Marks Gallery; to Angelica Blechschmidt; The Estate of Angela Blechschmidt; Villa Grisebach, October 26, 2018, lot 2095

Exhibited:

Matthew Marks Gallery, New York, The Widow, AprilMay 1997 (another example exhibited).

$6,000 - 8,000

Kirsten, from the series “The Widow (Black)”, 1996

print, face-mounted to acrylic and flushmounted mounted on Diasec, printed c. 1996. image/ face-mount/ flush-mount: 29 1/2 x 29 1/2in. (74.9 x 74.9cm.)

In these images, there is neither dream nor reality, time nor space, inside nor outside, young nor old, black nor white, man nor woman.

INEZ VAN LAMSWEERDE

Angela Strassheim (born 1969)

Untitled

Chromogenic

image/ flush-mount: 35 7/8 x 23 3/8in. (91

Provenance:

With Marvelli Gallery, New York, acquired 2011

$12,000 - 18,000

I am attracted to the already existing pristine, saccharine pastel interiors of the upper-middleclass home. I work with large format cameras and professional lighting to capture as much detail as possible in the settings as well as the details of a person’s face...I am more interested in perspective, forcing the viewer to be a more active participant in the seemingly mundane moments...

ANGELA STRASSHEIM

(Father and Son), 2004

print, flush-mounted on aluminum and printed c. 2004, signed and numbered ‘8/8’ in the ink on the flush-mount verso.

x 72cm.)

59 Ruud van Empel

(born 1958)

Babies #s 3 and 4, 2005

2 dye-bleach prints, each face-mounted on acrylic and flush-mounted on Dibond, each signed, titled, dated, numbered ‘2’ and ‘1’ respectively in pencil on a credit label affixed on the artist’s frame backing. image/ sheet/ flush-mount: each 23 1/4 x 16 1/2in. (59 x 42cm.) artist’s frame construction

Provenance:

With TZR Galerie, Cologne, acquired 2005

Exhibited:

Full of Grace, Palm Beach Photographic Centre, West Palm Beach, Florida, January 25-March 14, 2012

$8,000 - 12,000

Yes, they say everything has been done, “But has it been done your way?” is the question you should ask yourself.

RUUD VAN EMPEL

60

Mary Ellen Mark (1941-2015)

Heather and Kelsey Dietrick, Twinsburg, Ohio (variation #3), 2002

Unique Polaroid print, printed 2002, signed, titled and dated in pencil on the verso.

image: 26 x 21 3/4in. (66 x 55.3cm.); sheet: 28 1/4 x 22in. (71.7 x 55.9cm.)

Provenance:

With Kennedy Boesky Photographs, New York; to a Private Collection, acquired 2002; Swann Galleries New York, February 21, 2019, lot 210

Literature:

Mary Ellen Mark: Twins, Aperture, 2005, unpaginated

$5,000 - 7,000

It was an amazingly visual experience and at the same time, very strange and frustrating. I felt somewhat isolated not being a twin.

MARY ELLEN MARK

61 Bill Brandt (1904-1983)

Gelatin

image: 13 3/4 x 11 1/4in. (34.9 x 28.6cm.)

mount: 20 x 16in. (50.8 x 40.6cm.)

Provenance:

Swann Galleries, February 21, 2019, lot 196

$3,000 - 5,000

Portrait of a Young Girl, Eaton Place, London, 1955

silver print, printed later, signed in ink on the mount.

Most photographers would feel a certain embarrassment in admitting publicly that they carried within them a sense of wonder.

BILL BRANDT

62

Dawoud Bey (born 1953)

Mandy, 1998

Unique chromogenic Polaroid ER triptych, printed 1998, each panel with credit and consecutively numbered in ink on a label affixed to the frame backing. sheet: each 29 1/2 x 22in. (75 x 55.9cm.)

Provenance:

Christie’s New York, February 20, 2008, lot 163

$10,000 - 15,000

People say don’t stare. Through the photos, not only do I stare, but I allow viewers to stare at the subject, to see things that they cannot see with a casual glance.

DAWOUD BEY

63 Amy Arbus (born 1954)

The Smirk, 1994

Vintage gelatin silver print, printed c. 1994, signed, titled, dated, numbered ‘2/75’ in ink and copyright credit reproduction limitation stamps on the verso. image: 19 1/2 x 15 1/2in. (49.5 x 39.4cm.); sheet: 20 x 16in. (50.8 x 40.6cm.)

Provenance:

With Robert Mann gallery, New York, acquired 1998

$1,000 - 1,500

When I ask to photograph someone, it is because I love the way they look and I think I make that clear. I’m paying them a tremendous compliment. What I’m saying is, I want to take you home with me and look at you for the rest of my life.

AMY ARBUS

64

Alexander

Rodchenko (1891-1956)

Pioneer with Trumpet, 1930

Gelatin

Provenance:

The Collection of Lev Borodulin

Westlicht Auctions, May 23 2014, lot 109

Literature:

Lavrentiev (ed.,) Alexander Rodchenko, Photography

1924-1954, Konemann, 1995, cover

Alexander Rodchenko: Revolution in Photography, Moscow Museum of Photography, 2008, p. 93

$4,000 - 6,000

We must revolutionize our visual perception. We must tear the veil from our eyes. The most interesting visual angles of our times are those from top to bottom and from bottom to top, and their diagonals.

ALEXANDER RODCHENKO

silver print, printed 1950s, credit, title and date in Russian in pencil and credit stamp on the verso. image: 7 5/8 x 6 3/4in. (19.3 x 17cm); sheet: 8 x 7in. (20.2 x 17.8cm.)

The portrait I do best is of the person I know best.

FÉLIX NADAR

65

Félix Nadar (1820-1910)

Portrait of Paul Nadar, c. 1862

Collotype, printed c. 1862 and mounted on card. image/ sheet (tondo) 9 1/4 x 7 1/4in. (23.5 x 18.5cm.); mount 9 3/4 x 7 5/8in. (24.7 x 19.3cm.)

Provenance:

Sotheby’s London, Collection of Marie-Thérèse and André Jammes, October 27, 1999,  lot 124; to a Private Collection; Heritage Auctions, June 5, 2018, lot 73124

Literature:

Aubenas & Lacoste, Les Nadar: Une Legende Photographique, Bibliothèque nationale de France, 2018, p. 92

$8,000 - 12,000

Reality is greater than our dreams.

FREDERICK SOMMER

66

Frederick Sommer (1905-1999)

Livia, 1948

Gelatin silver print, printed 1993, signed, titled and dated in pencil on the mount verso.

image: 7 1/2 x 9 3/8in. (19 x 23.8cm.) sheet: 12 1/2 x 14 1/2in. (31.7 x 36.8cm.)

Provenance:

With Bruce Silverstein Gallery, New York, acquired 2010

Literature:

Weiss, ed., Venus, Jupiter & Mars: The Photographs of Frederick Sommer, Delaware Art Museum, 1980, pl. 24

Sommer: Images, Center for Creative Photography, 1984, pl. 47 Davis, The Art of Frederick Sommer: Photography, Drawing, Collage, Yale University Press, 2005, cover and p. 41

$30,000 - 50,000

67

Dorothea Lange (1895-1965)

Torso, San Francisco (Constance Dixon,) 1923

Gelatin silver print, printed c. 1960, ‘Euclid Avenue’ credit stamp on the verso.

image/ sheet: 9 x 7 1/8in. (22.7 x 17.8cm.)

Provenance:

Villa Grisebach, November 28, 2014, lot 230

Literature:

Dorothea Lange, The Museum of Modern Art, New York/ Doubleday, 1966, pl. 18

Borhan, Dorothea Lange: The Heart and Mind of a Photographer, Bulfinch Press, 2002, p. 50

$8,000 - 12,000

One should really use the camera as though tomorrow you’d be stricken blind.

DOROTHEA LANGE

68

Paul Outerbridge Jr.  (1896-1958)

Girl with Toy Dog, 1938

Color carbro print, printed c. 1938, Estate credit

stamp, numbered ‘817’ in ink on the verso.

image: 16 3/4 x 11 3/4in. (42.5 x 29.8 cm.);

sheet: 17 3/4 x 12 3/4in. (45.1 x 32.4cm.)

Provenance:

Swann Galleries, December 13, 2007, lot 376

$10,000 - 15,000

photograph

A

should do something to the eye of the beholder; either give a more complete appreciation of beauty or, if nothing else, even a good mental kick in the pants.

PAUL OUTERBRIDGE JR.

69 William Klein (1926-2022)

Dance in Brooklyn, 1955 from “New York 54/55”

Gelatin silver print, printed 1978, signed and portfolio annotations in pencil on the verso. image: 8 1/4 x 11 5/8in. (21 x 29.5cm.)

$2,000 - 3,000

I’d crop, blur, play with the negatives, I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York “Daily News.”

WILLIAM KLEIN

Elliott Erwitt (born 1928)

Honfleur, France, 1969

Gelatin silver print, printed c. 1970, signed in ink in the margin; signed, titled and dated in pencil on the verso. image: 8 x 12in. (20.3 x 30.5cm.); sheet 11 x 14in. (28 x 35.5cm.)

Literature:

McDonald, Elliott Erwitt: Home Around the World, Harry Ransome Center/ Aperture, 2016, pl. 168

Exhibited:

Full of Grace, Palm Beach Photographic Centre, West Palm Beach, Florida, January 25-March 14, 2012.

$2,500 - 3,500

To me, photography is about finding something interesting in an ordinary place.

ELLIOTT ERWITT

71 Baron Willem von Gloeden (1856-1931)

Untitled (Boy seated on rocks), 1890s

Vintage platinum-palladium print, virtually flush-mounted and printed c. 1900, inscribed ‘Captain Williams’ and notation ‘8’ in an unknown hand in ink on the flush-mount verso. image/ sheet/ flush-mount: 8 3/4 x 6 3/4in. (22.2 x 17.2cm.)

Provenance:

Swann Galleries, April 15, 2002, lot 92

$1,500 - 2,000

I said, “Isn’t there some count or baron or something who took photographs of children in Italy?... Do you happen to have any pictures by him?” and the dealer pulled out a book of original Von Gloeden photographs. This was really the first acquisition Sam Wagstaff or myself made in photography... that started the whole thing going.

ROBERT MAPPLETHORPE

Photograms don’t show us what’s beyond the visible, but they give us a hint of it...It is true that the subject resting on the photo-sensitive paper presents its reverse side to be recorded, the side that is in shadow, the shadow cast by the object itself. This intimate physical connection inscribes into the paper, and this, if you are open to it, is the real fascination of photograms: the tension between the hidden and the revealed.

72

Floris Neusüss (1937-2020)

Flötenspieler III (Girl with flute), 1967

Unique oversized gelatin silver photogram scroll, printed c. 1967, signed, titled and dated in pencil on the recto. sheet: 93 x 41in. (236.2 x 104.1cm.)

Provenance:

Galerie Bassenge, December 4, 2013, lot 4297

Literature:

Immisch, ed., Floris Neusüss, Korperbilder: Fotogramme der Sechziger Jahre, Staatliche Galerie Moritzburg Halle, 2001

$8,000 - 12,000

FLORIS NEUSÜSS

73 Roger Ballen (born 1950)

Boy under lamp, 2001

Gelatin silver print, printed c. 2001, signed, titled, dated and numbered ‘5/20’ in pencil on the verso. image: 14 1/8 x x 14 1/4in. (35.8 x 36.2cm.); sheet 16 1/4 x 16in. (41.2 x 40.7cm.)

$1,500 - 2,000

You can’t just set things up and photograph them and expect the picture to “zap.” It is very important that the mind feels that there is a moment of truth or a moment of authenticity... if the artist’s hand is seen as too strong, the pictures seem either dead or contrived.

ROGER BALLEN

Provenance:

Heritage Auctions, October 27, 2016, lot 2316

$1,500 - 2,000

74 Alessandra Sanguinetti (born 1968)

The Necklace, from “Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams”, 1999

Archival pigment print, printed c. 1999, signed and dated in pencil on the verso. image: 9 x 9in. (22.9 x 22.9cm.); sheet: 12 x 12in. (22.8 x 22.8cm.)

I enjoyed being with them. They had this very special thing about them, they really enjoyed the attention I gave them, you know, they were alone—to have somebody coming and saying, “you are the center of the universe… play” was, for them, for a time, fabulous.

ALESSANDRA SANGUINETTI

75

Arthut Tress (born 1940)

Flood Dream, Ocean City, N.J., 1971

Oversized gelatin silver print, flush-mounted and printed 2006, signed, titled, dated, numbered ‘8/50’ in ink in the margin. image: 27 3/4 x 27 3/4in. (70.5 x 70.5cm.); sheet/ flushmount: 40 x 30in. (101.5x 76.2cm.)

Provenance:

With Vintage Works on Paper, Chalfont, PA, acquired 2008

Literature:

Minahan, Arthur Tress: The Dream Collector, Westover, 1973

$6,000 - 8,000

The roof of a building was just lying abandoned on an empty pier. In the far background there was a decrepit ferryboat hauled onto the dock waiting to be restored. Out of nowhere, a young boy with a round face and blond hair of about ten came riding by on a small bike. I asked if he would stand beneath the roof where it had a gaping hole in it. He was glad to do it and just looked peacefully at the camera. And it was one of those strange moments that moves the ordinary into a special archetypical space.

ARTHUR TRESS

76

Aubervilliers, Paris, 1947

Gelatin silver print, printed later, signed, titled, dated and numbered ‘2/6’ in pencil on the verso; signed, titled and dated in pencil on the accompanying matboard. image: 12 3/4 x 10in. (32.4 x 25.4cm.); sheet: 14 x 11in. (35.5 x 28cm.)

$1,200 - 1,800

Lou Stettner (1922-2016)

When I go out to take pictures, I let reality decide what to do. Sometimes I go somewhere and I only find something I want to photograph in the last hour of being there. I only take a picture when I’m deeply moved by what I see.

LOUIS STETTNER

77

Marvin Newman (born 1927)

Untitled (Boy on Toboggan), 1955

Gelatin silver print, printed c. 1955, signed, dated, stamped ‘Exhibition Print’ and copyright credit reproduction limitation stamps on the verso. image/ sheet: 11 x 14in. (28 x 35.5cm.)

Provenance:

With Bruce Silverstein Gallery, New York, acquired 2010

$1,500 - 2,000

I feel I have no problem when people ask me: “What do you do?” and I say, “I’m a photographer.” I never worry about whether they think I’m doing Bar Mitzvahs or I’m on this level...

MARVIN NEWMAN

Walter Rosenblum (1919-2006)

Hopscotch, 105th Street, New York City,1952

Provenance:

With PDNB Gallery, Houston, acquired 1998

$1,200 - 1,800

Gelatin silver print, flush-mounted on card and printed c. 1952, signed, titled, dated and inscribed ‘vintage print’ in ink on the flush-mount verso.

image/ flush-mount : 6 3/8 x 8in. (16 x 20.2cm.)

A photographer doesn’t just copy reality, but communicates to others what he or she experiences.

WALTER ROSENBLUM

79

Joel-Peter Witkin (born 1939)

Van Gloeden in Asien, 1984

Gelatin silver print, printed c. 1984, signed, titled, dated and numbered ‘4/15’ in pencil on the verso. image: 14 3/4 x 14 3/4in. (37.5 x 36.8cm.); sheet: 20 x 16in. (50.8 x 40.6cm.)

Provenance:

With Howard Greenberg Gallery, New York; Rago Auctions, Photographs from the Collection of Joshua P. Smith, May 19, 2007, lot 82

$3,000 - 5,000

At the moment of photography I act instantaneously and instinctively. At the moment of printing I take time for esthetic decisions for which I didn’t have time for with the camera, I redesign the image into something more powerful, more mysterious.

JOEL-PETER WITKIN

80

O. Winston Link (1914-2001)

“Hotshot”, Eastbound, Iaeger, WV, 1956

Gelatin silver print, printed 1993, signed, dated ‘527-93’ and negative notation ‘NW1103-76’ in ink on the verso. image: 9 3/4 x 12 1/4in. (24.8 x 31.1cm.); sheet: 11 x 14in. (28 x 35.5cm.)

$6,000 - 8,000

All I wanted was to get some nice pictures of trains at night.

O.

WINSTON LINK

81

Julia

Bedroom

Archival

Provenance:

Kunsthaus Lempertz, December 12, 2016, lot 156

$2,000 - 3,000

“In Between” continues my story of a girl's experiences during her transition from girlhood to womanhood...These images are very dynamic...to indicate a forward, very positive movement towards maturity. I have included a state of minor “chaos” in the pictures... a reminder that this is a hallmark of the pandemonium of teenage years.

Fullerton-Batten (born 1970)

(from the series “In Between,”) 2008

pigment print, flush-mounted on acrylic and printed c. 2008, signed, dated and numbered ‘3/7’ in ink on the flush-mount. sheet/ flush-mount: 40 x 53 1/2in. (101.6 x 135.9cm.)

JULIA FULLERTON-BATTEN

Justine Kurland (1969)

Provenance:

With

Hula Girls, Christianburg, Virginia, 2000

Chromogenic print flush-mounted on Sintra and printed c. 2000, signed in ink on a gallery label affixed on the frame backing; edition ‘3/8’. image/ sheet/ flush-mount: 18 x 22 1/2in. (40.5 x 57.1cm.)

Gorney Bravin + Lee, New York (signed label); with Mitchell-Innes & Nash, New York; with Pranayama Art, Inc., Brooklyn, NY

$1,500 - 2,000

It seemed clear to me early on that one of the things a photograph could do was make a reality, and I wanted to do that. I always think of looking inside an Easter egg and seeing a perfect world.

JUSTINE KURLAND

83

Sally Mann (born 1951)

Hayhook, 1989

Gelatin silver print, printed c. 1989, signed, titled, dated, numbered ‘16/25’ and edition notations in pencil on the verso.

image: 18 3/4 x 23 1/4in. (47.6 x 59.1cm.); sheet 20 x 24in. (50.5 x 61cm.)

Provenance:

With Houk Friedman Gallery, New York; Christie’s New York, October 5, 2018, lot 237

Literature:

Mann, Immediate Family, Aperture, 1992, unpaginated

$10,000 - 15,000

I try and take the commonplace... and make it universally resonant, revelatory, and beautiful at the same time.

SALLY MANN

Mark Klett (born 1952)

Natalie Throwing Rocks, Aravalpa Canyon, 1996

Gelatin silver print, printed c. 1996, signed, titled, dated and numbered ‘1/50’ in silver ink in the margin; signed, dated and numbered ‘1/50’ in pencil on the verso. image: 18 1/4 x 22 3/4in. (46.4 x 57.8cm.); sheet: 20 x 24in. (50.8 x 61cm.)

Provenance:

With Pace MacGill Gallery, New York, acquired 1999 $3,000 - 5,000

The most prevalent way of working in photography right now is project oriented: you go after an idea. I like the old way, the intuitive approach. You follow your nose and take pictures and see what emerges.

MARK KLETT

85 Charles Harbutt

(born 1935)

Blind Boy at Wall, 1961

Gelatin silver print, printed c. 1961, signed, titled, dated and various notations in pencil on the verso. image: 12 x 7 7/8in. (30.5 x 20.1cm.); sheet: 14 x 11in. (35.5 x 28cm.)

Provenance:

With Laurence Miller Gallery, New York, acquired 1999 $1,000 - 1,500

Click. Now nothing, not age, not trouble, not vicissitudes, not dope, not long hair, Nothing, no thing can take that moment away.

CHARLES HARBUTT

86 Ralph Eugene Meatyard (1925-1972)

Untitled (Masked children in barn), 1965

Gelatin silver print, printed c. 1965, signed by Madelyn O. Meatyard, Estate Executor, in pencil and ‘Lexington, Kentucky’ credit stamp on the verso. image/ sheet: 6 1/4 x 7in. (15.9 x 17.8cm.)

Provenance:

With Ehlers Caudhill Gallery, Chicago, acquired 1998

$3,000 - 5,000

It has been said that my work resembles, more closely than any photographer, Le Douanier Rousseau—working in a fairly isolated area and feeding mostly on myself—I feel that I am a primitive photographer.

RALPH EUGENE MEATYARD

87

Garry Winogrand (1928-1984)

Adrienne and Laurie at Window, 1957

Gelatin silver print, printed later, signed and dated ‘D 57’ in ink on  a label affixed on the verso. image: 9 x 13 1/2in. (22.8 x 34.3cm.); sheet: 11 x 14in. (28 x 35.5cm.)

Provenance:

Christie’s Los Angeles, December 17, 1998, lot 237

$2,500 - 3,500

My intention is to make interesting photographs. That’s it, in the end.

GARRY WINOGRAND

88

W. Eugene Smith (1918-1978)

A Walk to Paradise Garden, 1946

Provenance:

With Robert Miller Gallery, New York; with Robert Mann Gallery, New York, acquired 2005

Exhibited:

Full of Grace, Palm Beach Photographic Center, West Palm Beach, Florida, January 25-March 14, 2012

$10,000 - 15,000

Oversized gelatin silver print, printed later, inscribed ‘Repro’ in ink in the margin; notation ‘II’ in pencil and credit stamp on the verso.

image: 20 1/2 x 16 3/4in. (52.1 x 42.5cm.); sheet: 22 x 18in. (56 x 45.8cm.)

Isn’t that sweet! Those two kids and that wonderful light. All is joy and hope at an age when everything is new!

W. EUGENE SMITH

89

Saul Leiter (1923-2013)

Torn Shoes, New York, 1951

Gelatin silver print, printed c. 1951, signed in pencil on the verso.

image/ sheet: 10 1/2 x 13 3/8in. (26.7 x 34cm.)

Provenance:

With Howard Greenberg Gallery, New York, acquired 2001

$7,000 - 9,000

There are the things that are out in the open and then there are the things that are hidden, and life has more to do, the real world has more to do with what is hidden, maybe. You think?

SAUL LEITER

90

Sabine Weiss (born 1924)

Saddle Shoes, 1955

Gelatin silver print, printed c. 1955, signed and inscribed ‘pour Rapho Guillumette’ in ink, publication and date stamps with notations in pencil/ ink on the verso. image/ sheet: 19 x 1/8 x 13 3/8in. (22.9 x 34.3cm.)

Provenance:

With Howard Greenberg Gallery, New York, acquired 2003

Literature: New York Times Magazine, June 12, 1955

$3,000 - 5,000

All the pictures I take are entirely instant. What I like is to make an instant picture...I like the click, click, click. I never wait.

SABINE WEISS

91

Judith

Joy Ross (born 1946)

Portraits from Eurana Park, Weatherly, PA, 1982-1989

Printing out paper, printed c. 1982-1989, signed and dated in pencil on the verso.

image: 7 1/2 x 9 1/2in. (19.1 x 24.1cm.); sheet: 8 x 10in. (20.3 x 25.4cm.)

Provenance:

Christie's South Kensington, November 21, 2007, lot 582

$2,500 - 3,500

Something happens, I see them intensely, and we never see each other again. I know it’s just a photograph. I know I’m being delusional. But I like to think I’m capturing the real thing.

JUDITH JOY ROSS

Mark

Steinmetz (born 1961)

Turtletown, Tennessee, 1995

Gelatin silver print, printed 1995, signed, titled and dated in pencil on the verso. image: 12 x 7in. (30.5 x 43.2cm.); sheet 16 x 20in.

Provenance:

With Yancey Richardson Gallery, New York, acquired 2001

$800 - 1,200

I like to stress the poetry and ambiance of a place, while still trying to be truthful... The South has many great writers—William Faulkner, Flannery O’Connor, Carson McCullers—and they’ve influenced me.

MARK STEINMETZ

93

Alex

Prager (born 1979)

Sloth #1 (Elevator), 2005

Chromogenic print flush-mounted on acrylic and printed c. 2005, signed, titled, dated and numbered ‘3/7’ in ink on a label affixed on the flush-mount verso. image/ sheet/ flush-mount: 24 x 31 5/8in. (61 x 80.3cm.)

Provenance:

With M+B, Los Angeles; to a Private Collection, New York; Artnet, July 31, 2018, lot 125806

Literature:

Prager & Helnwein, The Book of Disquiet: An Immoral Drama, Devil’s Porchlight Press, 2005, cover

$5,000 - 7,000

I think that’s one of the reasons it’s nice to leave out a lot; it can become a lot more personal to people if there is room for them to put their own experiential time track on it.

ALEX PRAGER

94

Lyle Ashton Harris (born 1965)

The Child, 1994

Chromogenic print, flush-mounted on aluminum and printed c. 1994, signed, titled, dated and numbered ‘3/6’ in ink on the flush-mount verso. image: 20 x 16in. (50.8 x 40.6cm.); sheet/ flushmount 24 x 20in. (61 x 50.8cm.)

Provenance:

With CRG Gallery, New York, acquired 2005

$3,000 - 5,000

I wanted to have the work be grounded in the specificity of a transatlantic African culture that deals with the contemporary in terms of African America but in relationship to Africa.

LYLE ASHTON HARRIS

95

Frank Meadow Sutcliffe (1853-1941)

Excitement, 1888

Matte albumen print panorama, printed c. 1888, notation ‘253’ on the period mount verso. image/ sheet: 9 x 17 3/8in. (22.8 x 44.1cm.); mount: 11 1/2 x 19 5/8in. (29.2 x 49.8cm.)

Provenance:

With Ken and Jenny Jacobson, Essex, UK, acquired 2001

Exhibited:

Full of Grace, Palm Beach Photographic Centre, West Palm Beach, January 25-March 14, 2012

$4,000 - 6,000

If the painter finds it difficult to paint a good genre picture, how much more difficult is it for the photographer to make one with the camera. Anyone who has tried this kind of work knows how perilously near the ridiculous is to the sublime.

FRANK MEADOW SUTCLIFFE

96

Malick Sidibé (c. 1936-2015)

Les 4 Amies, 1974

Gelatin silver print, printed c. 1974, signed, titled and dated in ink on the artist’s unique painted glass frame. overall: 7 1/4 x 5 1/4in. (18.5 x 13.3cm.)

Provenance:

With Jack Shainman Gallery, New York, acquired 2005 $2,000 - 3,000

For people in my country, it’s important to have photographs of themselves to be able to show them to their family, their friends... It’s a kind of social gesture.

MALICK SIDIBÉ

97

Weegee (Arthur Fellig, 1899-1968)

Mother

Provenance:

Phillips New York, January 31, 2000, lot 139

$2,500 - 3,500

and Child in Harlem, 1939

Gelatin silver print, printed before 1968, inscribed ‘Printed by Weegee from original negative for...’ and dated ‘7/20/81’ by Louis Stettner in pencil and ‘451 West 47th Street’ stamp on the verso. image: 13 x 10 5/8in. (33 x 27cm.); sheet: 14 x 11in. (35.5 x 28cm.)

Sure. I’d like to live regular. Go home to a goodlooking wife, a hot dinner, and a husky kid. But I guess I got film in my blood. I love this racket. It’s exciting. It’s dangerous. It’s funny. It’s tough. It’s heartbreaking.

WEEGEE

98

Saul Leiter (1923-2013)

Girl in Halloween Costume, 1950s

Gelatin silver print, printed 1950s, signed and cropping notations in pencil on the verso. image/ sheet 13 1/4 x 9in. (33.7 x 22.9cm.)

Provenance:

With Howard Greenberg Gallery, New York, acquired 2001

$7,000 - 9,000

I must admit that I am not a member of the ugly school. I have a great regard for certain notions of beauty even though to some it is an old fashioned idea.

SAUL LEITER

99

Untitled,

Provenance:

Sotheby’s New York, March 25, 2001

$1,500 - 2,000

Berenice Abbott (1898-1991)

New York (Children and brownstones), c. 1935 Gelatin silver print, printed c. 1935,  credit and inscribed in an unknown hand in pencil and ‘50 Commerce Street, New York’ credit stamp on the verso. image/ sheet: 7 x 9 1/8in. (17.9 x 23.2cm.)

The challenge for me has first been to see things as they are, whether a portrait, a city street, or a bouncing ball.

BERENICE ABBOTT

100 Carl Moon (1979-1948)

Last of His People - Hopi Boy on Cliffs, First Mesa, 1914

Orotone in an elaborate frame, printed c. 1914, embossed credit on the recto. image/ plate: 11 x 14in. (27.9 x 35.6cm.); artist’s frame 21 1/2 x 28in. (54.5 x 71.1cm.)

Provenance:

Swann Galleries, March 24, 2011, lot 34

$3,000 - 5,000

I was a little boy living in a little town in southern Ohio when I first thought of going out West to hunt Indians. I loved Indian stories...When I was twentythree I did just as I said I would do, but instead of hunting Indians with a gun and bowie knife... I was to hunt my Indian with a camera, paint brushes, and a writing pad.

CARL MOON

101 Arnold Genthe (1869-1942)

Untitled (Children at street corner, Chinatown,) c. 1900

Gelatin silver print, printed c. 1900, signed, titled and dated in pencil on the mount. image: 9 1/2 x 13 1/8in. (24.1 x 33.3cm.); mount: 14 x 18in. (35.6 x 45.8cm.)

Provenance: With Alan Klotz Gallery, New York, acquired 2014 $4,000 - 6,000

The beauty of old Chinatown appealed equally to the plain citizen... and to the artist. From every doorway flashed out a group, an arrangement, which suggested the Flemish masters.

ARNOLD GENTHE

Artist Index

Glossary of Terms

ADRIAEN JANSZ VAN OSTADE

This work, in our best opinion, is by the named artist.

ATTRIBUTED TO ADRIAEN JANSZ VAN OSTADE

To our best judgment, this work is likely to be by the artist, but with less certainty as in the aforementioned category.

STUDIO OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, this unsigned work may or may not have been created under the direction of the artist.

CIRCLE OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, a work by an unknown but distinctive hand linked or associated with the artist but not definitively his pupil.

STYLE OF . . .

FOLLOWER OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, a work by a painter emulating the artist’s style, contemporary or nearly contemporary to the named artist.

MANNER OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, a work in the style of the artistand of a later period.

AFTER ADRIAEN JANSZ VAN OSTADE

To our best judgment, a copy of a known work of the artist.

The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist.

The term bears a signature and/or a date and/or an inscription means that, in our opinion, a signature and/or date and/or inscription have been added by another hand.

Dimensions are given height before width.

SALE 1282

EUROPEAN FURNITURE & DECORATIVE ARTS

SEPTEMBER 20 | CHICAGO | LIVE + ONLINE

SALE 1245

PRINTS & MULTIPLES

SEPTEMBER 21 | CHICAGO | LIVE + ONLINE

SALE 1220 | 1221

NATIVE AMERICAN ART, SESSION I & II

SEPTEMBER 22 & 26 | CINCINNATI | LIVE + ONLINE

SALE 1222

ASIAN WORKS OF ART

SEPTEMBER 27 | CHICAGO | LIVE + ONLINE

SALE 1237

POST WAR & CONTEMPORARY ART

SEPTEMBER 28 | CHICAGO | LIVE + ONLINE

SALE 1225

ASIAN WORKS OF ART ONLINE

SEPTEMBER 29 | CHICAGO | TIMED ONLINE

SALE 1218

FALL FASHION & ACCESSORIES

OCTOBER 3 | CHICAGO | TIMED ONLINE

SALE 1226

AMERICAN FURNITURE, FOLK & DECORATIVE ARTS

OCTOBER 4 | CINCINNATI | LIVE + ONLINE

Upcoming Auction Schedule

Estimate: $150,000 - 250,000

To be offered October 26

SALE 1228

EUROPEAN FURNITURE & DECORATIVE ARTS

OCTOBER 10 | CHICAGO | LIVE + ONLINE

SALE 1246

PRE-COLUMBIAN & ETHNOGRAPHIC ART

OCTOBER 12 | CHICAGO | ONLINE

SALE 1232

EUROPEAN ART

OCTOBER 17 | CHICAGO | LIVE + ONLINE

SALE 1231

AMERICAN ART

OCTOBER 17 | CHICAGO | LIVE + ONLINE

SALE 1267

TIME AND SPACE: WATCHES FROM THE COLLECTION OF GLEN DE VRIES

OCTOBER 18 | NEW YORK | LIVE + ONLINE

SALE 1230

WATCHES

OCTOBER 18 | NEW YORK | LIVE + ONLINE

SALE 1274

FOREVER YOUNG: PHOTOGRAPHS FROM THE JOE BAIO COLLECTION

OCTOBER 19 | NEW YORK | LIVE + ONLINE

SALE 1279

HAVING A BALL

OCTOBER 23 | CHICAGO | TIMED ONLINE

SALE 1234

ARMS, ARMOR & MILITARIA

OCTOBER 24 | CINCINNATI | LIVE + ONLINE

SALE 1283

THE COLLECTION OF JUDITH AND PHILIP SIEG, BELLEFONTE, PENNSYLVANIA, SESSION I & II

OCTOBER 26 | NEW YORK | LIVE + ONLINE

SALE 1239

WESTERN & CONTEMPORARY

NATIVE AMERICAN ART

NOVEMBER 1 | DENVER | LIVE + ONLINE

SALE 1242

FINE BOOKS FROM THE DORROS FAMILY COLLECTION

NOVEMBER 9 | CHICAGO | LIVE + ONLINE

SALE 1241

FINE PRINTED BOOKS & MANUSCRIPTS, INCLUDING AMERICANA

NOVEMBER 10 | CHICAGO | LIVE + ONLINE

SALE 1244

MODERN DESIGN

NOVEMBER 14 AM | CHICAGO | LIVE + ONLINE

SALE 1243

EARLY 20TH CENTURY DESIGN

NOVEMBER 14 PM | CHICAGO | LIVE + ONLINE

Charles Prendergast (American, 1858-1924) Fantasy with Three Figures (Allegory), 1921

The Collection of Judith and Philip Sieg, Bellefonte, Pennsylvania

Fine Art

LAURA PATERSON DIRECTOR, SENIOR SPECIALIST PHOTOGRAPHS

312.280.1212 LAURAPATERSON @HINDMANAUCTIONS.COM

MONICA BROWN VICE PRESIDENT, DIRECTOR PRINTS & MULTIPLES

303.825.1855 MONICABROWN @HINDMANAUCTIONS.COM

ZACK WIRSUM VICE PRESIDENT, DIRECTOR POST WAR & CONTEMPORARY ART 312.600.6069 ZACHARYWIRSUM @HINDMANAUCTIONS.COM

MADALINA LAZEN DIRECTOR, SENIOR SPECIALIST EUROPEAN ART 561.833.8053 MADALINELAZEN @HINDMANAUCTIONS.COM

AARON CATOR SENIOR SPECIALIST POST WAR & CONTEMPORARY ART 646.864.1746 AARONCATOR @HINDMANAUCTIONS.COM

PAULINE ARCHAMBAULT SPECIALIST AMERICAN ART 513.871.1670

PAULINEARCHAMBAULT @HINDMANAUCTIONS.COM

ALEXANDRIA DREAS SPECIALIST, HEAD OF SALE WESTERN & WILDLIFE ART 303.825.1855

ALEXANDRIADREAS @HINDMANAUCTIONS.COM

ANGELA WHITAKER SENIOR APPRAISER, FINE ART 872.270.3105 ANGELAWHITAKER @HINDMANAUCTIONS.COM

JULIANNA TANCREDI SENIOR RESEARCHER 312.334.4228 JULIANNATANCREDI @HINDMANAUCTIONS.COM

KATHERINE HLAVIN CONSULTANT FINE ART

303.825.1855

KATHERINEHLAVIN @HINDMANAUCTIONS.COM

THEA ANDRUS CATALOGUER 872.270.3120 THEAANDRUS @HINDMANAUCTIONS.COM

CHRISTINA KIRIAKOS CATALOGUER 312.334.4216 CHRISTINAKIRIAKOS @HINDMANAUCTIONS.COM

JOHN MARTINEZ DEPARTMENT COORDINATOR 312.600.6064

JOHNMARTINEZ @HINDMANAUCTIONS.COM

SARAH GRAY DEPARTMENT COORDINATOR 312.334.4234

SARAHGRAY @HINDMANAUCTIONS.COM

Updated 8.1.23

Leadership

Offices

ATLANTA KRISTIN VAUGHN VICE PRESIDENT 404.800.0192 KRISTINVAUGHN @HINDMANAUCTIONS.COM

CHICAGO MIRANDA MAXFIELD 312.334.4208 MIRANDAMAXFIELD @HINDMANAUCTIONS.COM

CINCINNATI VAUGHN H. SMITH 513.666.4987 VAUGHNSMITH @HINDMANAUCTIONS.COM

CLEVELAND CARRIE PINNEY 216.292.8300 CARRIEPINNEY @HINDMANAUCTIONS.COM

DENVER

NAPLES

ALLISON DURIAN 239.643.4448

ALLISONDURIAN @HINDMANAUCTIONS.COM

NEW YORK

CAROLINE BAKER SMITH 212.243.3000 CAROLINEBAKERSMITH @HINDMANAUCTIONS.COM

PALM BEACH ELIZABETH MARSHMAN 561.621.8461 ELIZABETHMARSHMAN @HINDMANAUCTIONS.COM

SAN DIEGO KATIE GUILBAULT, G.G. VICE PRESIDENT 858.442.6104

KATIEGUILBAULT @HINDMANAUCTIONS.COM

MOLLYLIMMER

Trusts, Estates & Private Clients

MARON HINDMAN 303.825.1855 MARONHINDMAN @HINDMANAUCTIONS.COM

DETROIT PAM IACOBELLI 313.774.0900 PAMELAIACOBELLI @HINDMANAUCTIONS.COM

MIAMI

ELIZABETH RADER, PHD 239.643.4448 ELIZABETHRADER @HINDMANAUCTIONS.COM

GEMMASUDLOW

Appraisals

561.833.8053

TIMLUKE @HINDMANAPPRAISALS.COM

MILWAUKEE SARA MULLOY 414.220.9200 SARAMULLOY @HINDMANAUCTIONS.COM

SCOTTSDALE LOGAN BROWNING 480.546.5150 LOGANBROWNING @HINDMANAUCTIONS.COM

ST. LOUIS ANNA SHAVER 314.833.0833

ANNASHAVER @HINDMANAUCTIONS.COM

WASHINGTON, D.C.

MAURA ROSS VICE PRESIDENT 202.853.1638

MAURAROSS @HINDMANAUCTIONS.COM

Updated 9.5.23

MOLLY E. GRON, J.D. MANAGING DIRECTOR

312.334.4235 MOLLYGRON @HINDMANAUCTIONS.COM

TIM LUKE, CAI, BAS, MPPA, ISA-AM MANAGING DIRECTOR

ALYSSA D. QUINLAN CHIEF EXECUTIVE OFFICER 312.447.3272 ALYSSAQUINLAN @HINDMANAUCTIONS.COM

MOLLY MORSE LIMMER EXECUTIVE VICE PRESIDENT, DEPUTY CHAIRMAN 312.447.3275

@HINDMANAUCTIONS.COM

ANDREW SELTZER INTERIM CHIEF OPERATING OFFICER 312.280.1212 ANDREWSELTZER @HINDMANAUCTIONS.COM

JAY FREDERICK KREHBIEL EXECUTIVE CHAIRMAN JAYKREHBIEL @HINDMANAUCTIONS.COM

GEMMA SUDLOW MANAGING DIRECTOR, NEW YORK REGION 212.243.3000

@HINDMANAUCTIONS.COM

Inquiries

LEADERSHIP

Alyssa D. Quinlan

Chief Executive Officer alyssaquinlan @hindmanauctions.com

Jay Frederick Krehbiel Executive Chairman

Leslie Hindman Founder & Chairman Emeritus

Wes Cowan Vice-Chair

Maron Hindman Vice-Chair

Andrew Seltzer Interim Chief Operating Officer andrewseltzer @hindmanauctions.com

Molly Morse Limmer Executive Vice President, Deputy Chairman mollylimmer @hindmanauctions.com

AUCTION OPERATIONS, CLIENT SERVICES

Rita Swanberg Manager, Client Experience ritaswanberg @hindmanauctions.com

Dawnie Komotios Operations Director Cincinnati dawniekomotios @hindmanauctions.com

Nicole Joy Regional Manager Auction Operations nicolejoy @hindmanauctions.com

FINANCE

Marco Gusella Vice President, Finance marcogusella @hindmanauctions.com

TRUSTS, ESTATES & PRIVATE CLIENTS Molly E. Gron, J.D. Managing Director mollygron @hindmanauctions.com

Miranda Maxfield Senior Manager mirandamaxfield @hindmanauctions.com

Hannah Unger Manager hannahunger @hindmanauctions.com

Kathryn Hodge Senior Associate, West kathrynhodge @hindmanacutions.com

Erin Madarieta Associate, East erinmadarieta @hindmanauctions.com

APPRAISALS

Tim Luke, CAI, BAS, MPPA, ISA-AM Managing Director timluke @hindmanappraisals.com

LaGina Austin Senior Director, Appraisals & Valuations laginaaustin @hindmanappraisals.com

Margaret Cece Appraisals Supervisor margaretcece @hindmanappraisals.com

MUSEUM SERVICES

Timothy Long Director, Museum Business Development & Corporate Client Services timothylong@ hindmanauctions.com

Briar Koehl Oleferchik Senior Manager, Museum Services briarkoehl@ hindmanauctions.com

FINE ART Monica Brown Vice President, Director Prints & Multiples monicabrown @hindmanauctions.com

Zack Wirsum Vice President, Director Post War & Contemporary Art zacharywirsum @hindmanauctions.com

Madalina Lazen Director, Senior Specialist European Art madalinalazen @hindmanauctions.com

Laura Paterson Director, Senior Specialist Photographs laurapaterson @hindmanauctions.com

Aaron Cator Senior Specialist Post War & Contemporary Art aaroncator @hindmanauctions.com

Katherine Hlavin Consultant Fine Art

Pauline Archambault Specialist, American Art

Alexandria Dreas Specialist, Head of Sale Western & Wildlife Art

Angela Whitaker Senior Appraiser, Fine Art

Julianna Tancredi Senior Researcher

Thea Andrus Cataloguer

Christina Kiriakos Cataloguer

John Martinez Department Coordinator

Sarah Gray Department Coordinator

EUROPEAN FURNITURE & DECORATIVE ARTS

Corbin Horn Vice President, Senior Specialist corbinhorn @hindmanauctions.com

Nick Coombs Senior Specialist nickcoombs @hindmanauctions.com

Donna Tribby Senior Specialist

Sam Cowan National Head of Sale, The Collected Home

Nicholas Gordon Associate Specialist

Elizabeth Reed Associate Specialist

Alison Lynch Associate Cataloguer

Tyler Wilson Department Coordinator

AMERICAN FURNITURE, FOLK & DECORATIVE ARTS

Ben Fisher Vice President, Senior Specialist benfisher @hindmanauctions.com

Leah Vogelpohl Specialist

Katie Benedict

Associate Specialist

ANTIQUITIES & ANCIENT ART

Jacob Coley Director, Senior Specialist jacobcoley @hindmanauctions.com

Sean Galvin Associate Cataloguer

DESIGN

Hudson Berry Director, Senior Specialist hudsonberry @hindmanauctions.com

Sabrina Granados Associate Specialist

John Martinez Department Coordinator

BOOKS & MANUSCRIPTS

Gretchen Hause Vice President, Senior Specialist gretchenhause @hindmanauctions.com

Katie Horstman Senior Specialist katiehorstman @hindmanauctions.com

Emily Payne Specialist

Kaylan Gunn Specialist

Leslie Winter Associate Specialist

Joshua McCracken

Department Coordinator

ASIAN ART Annie Wu Vice President, Senior Specialist anniewu @hindmanauctions.com

Flora Zhang Specialist

Megan Sadler Associate Specialist

Datura Zhou Department Coordinator

JEWELRY & WATCHES

Reginald Brack Senior Vice President, Director, Jewelry & Watches reginaldbrack @hindmanauctions.com

April Matteini, G.G. Associate Director, Jewelry Senior Specialist, Jewelry & Watches aprilmatteni @hindmanauctions.com

Karina Hammer, G.G. Senior Specialist karinahammer @hindmanauctions.com

Katie Hammond Guilbault, G.G. Senior Specialist San Diego katieguilbault @hindmanauctions.com

Sean Johnson Senior Specialist, Watches seanjohnson @hindmanauctions.com

Leslie Roskind, G.G. Senior Specialist, New York leslieroskind @hindmanauctions.com

Ruth Thuston, G.G. Senior Specialist ruththuston @hindmanauctions.com

Marisa Palmer, G.G. Senior Appraiser marisapalmer @hindmanauctions.com

Madeline Schroeder, G.G. Associate Specialist

Gina O’Connor Cataloguer

Camille Michelotti Department Coordinator

LUXURY HANDBAGS & COUTURE

Tanner Branson Specialist, Head of Sale tannerbranson@ hindmanauctions.com

Brett Heeley Department Coordinator brettheeley@ hindmanauctions.com

NATIVE AMERICAN, PREHISTORIC & TRIBAL ART

Danica Farnand Vice President, Senior Specialist danicafarnand @hindmanauctions.com

Erin Rust Specialist

William Norwood

Department Coordinator

ARMS, ARMOR & MILITARIA

Tim Carey Director, Senior Specialist timcarey @hindmanauctions.com

Emma Fulmer

ATF Manager and Senior Coordinator

Barrett Sharpnack Cataloguer

Tucker Etnoyer Cataloguer

SPORTS MEMORABILIA

James Smith Director, Senior Specialist jamessmith @hindmanauctions.com

Joshua McCracken Department Coordinator

MARKETING & DESIGN

Ashley Galloway Vice President, Marketing

Zoë Bare Director, Photography

David Jackson Supervisor, Photography

Photographers:

Tyler Chumney*

Carmen Colome

Marisa Fabiilli

Chad Feierstone

Jared Hefel

Kristen Hudson

Deogracias Lerma

Roberto Martinez

Libby Moore

Elizabeth Phillips

Mike Reinders

Bill Ross

Maddie Scarpone

Scott Schedivy*

Rachel Smith

Dallas Tolentino

Leanne Uzelac

Brian Maslouski Senior Designer

Jennifer Castle* Graphic Designer

*Lead Photography and Design for Sale 1274

Updated 9.5.23

Guide for Prospective Sellers and Buyers

GUIDE FOR PROSPECTIVE SELLERS

Evaluation of Property

Hindman is pleased to provide complimentary auction estimates for items you’re considering consigning. You are welcome to submit items electronically (consign@hindmanauctions.com) or to contact any of our offices directly.

Our specialists are eager to help you learn more about your collection and current auction sale estimates.

To begin an estimate, our specialists will need:

• At least 3 photos

• Detailed description

• Details on signatures or marks

Shipping Arrangements

Buyers assume full responsibility for the packing and shipping of lots won at auction. Our Recommended Shippers offer a wide variety of local, domestic, and international shipping options.

In the interest of our clients, Hindman requires a written authorization from the buyer in order to release property to anyone other than the purchaser of record (including but not limited to our recommended shippers). You may submit the Shipping Release Form via fax to 312.280.1211 or email to shipping@hindmanauctions.com

Appraisals

Our exceptional team of specialists regularly appraises property by analyzing market trends and conducting comprehensive research. Specialists evaluate thousands of objects each year for auction, allowing them to closely monitor the nuances of the current market.

Professional appraisals are prepared for estate tax, gift tax, charitable contribution, insurance and for equitable distribution purposes.

• Estate Tax

• Gift Tax

• Charitable Contribution

• Insurance

• Appraisals for Corporate Valuation Needs

Our trust and estates department recognizes that each client and appraisal situation is unique and often involves multiple asset categories and residences. Fees for appraisals are determined by the number of specialists, hours involved and the necessary travel and expenses. Our competitive fees are negotiated based upon the express needs of each client and are competitive within the marketplace.

Please contact our Appraisals Department (appraisals@ hindmanauctions.com) for more information.

Estate Services

Estate settlement is a meticulous and multi-faceted process. Hindman provides executors, fiduciaries and beneficiaries throughout the country with confidential and customized appraisals and disposition services. All appraisals are prepared fully in accordance with USPAP guidelines and meet all current requirements set forth by the IRS.

We recognize that each client and appraisal situation is unique and often involves multiple asset categories and residences. Our Trusts and Estates department offers services that are tailored to meet our clients’ timelines and specifications.

Our specialists offer complimentary walk-through services with the goal of providing an accurate representation of each items’ value based on the current auction market. A detailed proposal outlining the manner in which a sale will be conducted from the initial value assessment to removal of the property and settlement is provided to all parties involved.

Please contact our Estate Services (inquiries@hindmanauctions.com) team for more information.

GUIDE FOR PROSPECTIVE BUYERS

Conditions of Sale

All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.

Viewing Auction Items

It is highly recommended that all prospective bidders either view the sale via our online catalogue or contact Hindman LLC for further images or to schedule an appointment to view objects in person.

Estimates

Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision.

Condition Reports

We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

Bidding at Auction

The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

Bidding Increments

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

The standard bidding increments are:

In-House Bidding

Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

Live Bid Online

Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com.

Absentee Bidding

If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.

Telephone Bidding

You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $500 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.

Updated 1.13.23

Conditions of Sale

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

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES

Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance— are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot.

2. CONDITION

The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report.

3. VIEWING LOTS

We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping purposes.

4.

ESTIMATES

Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges.

5. WITHDRAWAL

We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID

1. GENERAL

We reserve the right to reject any bid. By participating in the sale, you represent and warrant that:

(a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and

(c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation.

2. NEW BIDDERS

New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity.

(a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s

name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.

3. RETURNING BIDDERS

If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction.

4. BIDDING FOR ANOTHER PERSON

If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal.

5. BIDDING IN THE SALEROOM

If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction.

6. OUR BIDDING SERVICES

We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services.

(a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids.

(b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites.

(c) Written Bids: You can find a Written Bid Form at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.

7. CREDIT CARD AUTHORIZATION HOLD

When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a temporary authorization hold on the card that will remain until it falls off, usually within 2 to 7 days.

C. DURING THE AUCTION

1. BIDDING IN THE AUCTION

(a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.

(b) Online Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.

(c) Timed Auctions. Bids may only be submitted on our website between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.

2. AUCTIONEER’S DISCRETION

The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).

3. BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at a set increment lower than the lot’s low estimate and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.

4. SUCCESSFUL BIDS AND INVOICES

Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges. Please note that Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Hindman prior to the sale.

D. AFTER THE AUCTION

1. THE BUYER’S

PREMIUM

In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots except for those in Coins, Medals & Banknotes; Sports Memorabilia; and Arms, Armor & Militaria auctions we charge twenty-six percent (26%) of the hammer price up to and including $1,000,000; twenty percent (20%) of any amount in excess of $1,000,001 up to and including $5,000,000; and fifteen percent (15%) of any amount in excess of $5,000,001. For all lots offered in Coins, Medals & Banknotes we charge a buyer’s premium of twenty percent (21%) of the hammer price. Sports Memorabilia; and Arms, Armor & Militaria auctions we charge a buyer’s premium of twenty percent (20%) of the hammer price. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium.

2. TAXES

The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required.

3. MAKING PAYMENT

(a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date.

(b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name.

(c) You must pay for lots in US dollars in one of the following ways:

(i) Wire transfer.

(ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed.

(iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us.

(iv) Credit card: Credit card payments may not exceed $10,000 and a convenience fee of 3% will be added to each credit card payment.

(v) ACH Bank Transfer

(d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department.

4. TRANSFERRING OWNERSHIP TO YOU

You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you.

5. TRANSFERRING RISK TO YOU

Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse.

6. YOUR FAILURE TO PAY

If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion:

(a) We can charge interest from the due date at a rate of up to one and one-half percent (1.5%) per month on the unpaid amount due.

(b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation.

(c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount.

(d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law.

(e) We can reveal your identity and contact details to the seller.

(f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids.

(g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us.

(h) We can take any other action we deem necessary or appropriate.

7. SHIPPING, COLLECTION, AND STORAGE

(a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping.

(b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate.

(c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot.

(d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES

(a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot.

(b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be

responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

E. WARRANTIES

1. SELLER’S WARRANTIES

For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

2. OUR LIMITED AUTHENTICITY WARRANTY

Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows:

(a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty.

(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type.

(c) It does not apply to any Heading or part of a Heading that is qualified.

“Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty.

(d) It applies to the Heading as amended by any saleroom notice.

(e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion.

(f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot.

(g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else.

(h) In order to make a claim under the limited authenticity warranty, you must

(i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses.

(j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

3. ADDITIONAL WARRANTY FOR BOOKS

If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances:

(a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms:

(i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale.

(ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale.

(iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

4. JEWELRY

(a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time.

(b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report.

(c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report.

(d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced.

5. WATCHES AND CLOCKS

(a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys.

(b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use.

(d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap.

6. YOUR WARRANTIES

You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money

laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties.

(b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale.

(c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH.

(d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services.

(e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot.

(f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS

1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3. COPYRIGHT

We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights.

4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6. PERSONAL INFORMATION

We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.

7. WAIVER

No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

8. LAW AND DISPUTES

This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY

authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material.

buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice.

due date: has the meaning given to it in paragraph D(3)(a).

estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two.

hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E(2).

limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law.

purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms:

(a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter.

(b) “Attributed to” means, in our opinion, a work probably by the artist.

(c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style.

(d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist.

(e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work.

(f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned.

UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Updated 8.1.23

Expressions of Life:

Photographs by Ruth Orkin

November 20 Chicago | Timed Online

Ruth Orkin, Couple in MG, Florence, 1951