Sale 657 | Post War and Contemporary Art

POS TWAR AND C ONTEM POR ARY AR T 5 | 22 | 2019

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

Lot 57 | Ray Johnson (American, 1927-1995) Christophe de Menil Silhouette, c. 1979-87-88-90-91-92 collage on illustration board

PO S T WAR AN D CO N TEMPO R ARY AR T Wednesday May 22 | Chicago 10AM CT | Live + Online

PREVIEW SATURDAY MAY 18 | 10AM – 3PM SUNDAY MAY 19 | 12PM – 4PM MONDAY MAY 20 | 10AM – 5PM TUESDAY MAY 21 | 10AM – 5PM AUCTION WEDNESDAY MAY 22 | 10AM CT LOTS 1 – 119 P RO P E R T Y P I C K U P H O U R S MONDAY – FRIDAY | 9:00AM – 4:30PM All property must be picked up within seven business days per our Conditions of Sale.

Lots marked with an asterisk (*) are tax exempt as permitted by law.

Cover Lot 82 | Anish Kapoor (British/Indian, b. 1954) Untitled from 1,000 Names, 1984 polystyrene, plaster, cloth, gesso and raw pigment

VIEW THE COMPLETE CATALOGUE AT HINDMANAUCTIONS.COM

Opposite Lot 55 | Öyvind Fahlström (Swedish, 1928-1976) Notes 2 (WC’S), 1970 acrylic and ink on paper

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C ONTENTS AUCTION 657 | LIVE + ONLINE WEDNESDAY MAY 22 | 10AM CT POST WAR AND CONTEMPORARY ART ARTIST INDEX

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AUCTION INQUIRIES

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CONDITIONS OF SALE

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TELEPHONE / ABSENTEE BID FORM

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Lot 42 | Richard Artschwager, (American, 1923-2013) Splatter Chair, 1997 formica and polished aluminum on plywood

P RO P E R T Y F RO M T H E C O L L E C T I O N S O F ANN AND PAUL ARENBERG, ST. LOUIS, MISSOURI MS. BEVERLY KIRKS, SAN FRANCISCO, CALIFORNIA MR. FELIX PASTERNAK, LONG BEACH, INDIANA MR. GREGG PFISTER, OVERLAND PARK, KANSAS HARRIET AND LAWRENCE SINGER, MIAMI, FLORIDA LYNDE B. UIHLEIN, MILWAUKEE, WISCONSIN P RO P E R T Y F RO M T H E E S TAT E S A N D T R U S T S O F BILLIE ROSS, CHICAGO, ILLINOIS MRS. LOIS SMOLER, CHICAGO, ILLINOIS

Opposite Lot 81 | George Segal, (American, 1924-2000) Blue Girl Behind Blue Door, 1977 painted plaster, wood and metal

FINE PRINTS AND CONTEMPORARY ART FROM THE COLLECTION OF

ANN AND PAUL ARENBERG Hindman is proud to offer Fine Prints and Contemporary Art from the Collection of Ann and Paul Arenberg for sale at auction. The collection has been curated over time and across generations. Paul’s parents, Frances and Milton Arenberg, were collectors and passed on their love for modern art to Ann and Paul. The collection includes significant sculptural examples from artists Harry Bertoia and Barbara Hepworth, and highlights important prints from Richard Diebenkorn, Wayne Thiebaud, Roy Lichtenstein, Alex Katz, and Helen Frankenthaler. The Bertoia and Hepworth sculptures, among others, were part of Frances and Milton’s collection, and have been in the family for more than half a century.

Ann and Paul Arenberg were born and raised in Highland Park, Illinois. They attended the same high school, but it wasn’t until Ann was at Wellesley College, and Paul at Dartmouth College, that they began to date. They returned home to the northern suburb of Chicago to get married, and lived there until they moved with their four children to St. Louis, Missouri in 1965.

Ann and Paul were deeply involved in the arts and philanthropic communities in St. Louis. Their enthusiastic support benefited the St. Louis Art Museum, the St. Louis Symphony Orchestra, the Cancer Support Community of Greater St. Louis, the Scholarship Foundation of St. Louis, the Central Institute for the Deaf, and many other organizations. Ann and Paul are remembered for their generosity to the community, and for their devotion to their family.

Contemporary Art from the Collection of Ann and Paul Arenberg will be offered for sale at auction at 10:00 a.m. and the Fine Prints at 2:00 p.m. on May 22, 2019.

POST WAR AND CONTEMPORARY ART LOTS 1 – 119

1 Richard Hunt (AMERICAN, B. 1935)

Forms with Moving Line, 1960 steel inscribed R Hunt and dated Height: 7 1/2 inches.

Provenance: B.C. Holland Gallery, Chicago $8,000-12,000

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2* Richard Hunt

(American, b. 1935)

Hybrid, Emerging, 1981 bronze stamped and dated Height: 12 1/4 inches.

Property from the Collection of Mr. Felix Pasternak, Long Beach, Indiana $8,000-12,000

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3* Barbara Hepworth (BRITISH, 1903-1975)

Aegean, 1956

bronze numbered 1 from the edition of 6 11 x 9 x 11 inches.

Property from the Collection of Ann and Paul Arenberg, St. Louis, Missouri Provenance: Martha Jackson Gallery, New York David Anderson Gallery, New York Acquired from the above in 1962 Literature: J.P. Hodin., Barbara Hepworth, London, no. 217 Barbara Hepworth, Volume of Sculpture Records, Tate Archive, TGA 7247/26, pg. 17-18 This work is recorded as BH 217, cast 1/6, in the catalogue raisonné of the sculpture of Barbara Hepworth. A new edition of this is being prepared by Dr. Sophie Bowness of the Hepworth Estate. $100,000-150,000

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4 Sir Anthony Caro (BRITISH, 1924-2013)

China Bay, 1980-81 bronze cast and welded 63 1/2 x 34 x 32 inches.

Provenance: Harcus Krakow Gallery, Boston, Massachusetts Literature: Dieter Blume, Anthony Caro: Catalogue Raisonné, Cologne, no. 721, p. 167, illustrated $50,000-70,000

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5* Harry Bertoia

Early Wire Construction

(AMERICAN, 1915-1978)

Untitled open squares, cut nails and brass 68 1/2 x 25 x 15 inches.

Property from the Collection of Ann and Paul Arenberg, St. Louis, Missouri Provenance: Fairweather Hardin Gallery, Chicago Acquired from the above in 1957 Exhibited: Chicago, Illinois, Fairweather Hardin Gallery, 1956 This work is accompanied by a Certificate of Authenticity issued by the Harry Bertoia Foundation $100,000-150,000

This wire construction offering of cut nails and squares by Harry Bertoia is a fine example of some of his earliest sculptural work. The square and wire theme ran in the artist’s oeuvre all through the 1950s and even into the 1960s. When the artist worked for Knoll from 1950 – 1952, Hans and Shu Knoll encouraged him to display his early sculptures along with the chairs in the showrooms. Eero Saarinen, a former Cranbrook pal and budding architect, saw Bertoia’s wire screens at Knoll and hired him for his first monumental architectural commission. The large scale screen at the General Motors Technical Center, Warren, Michigan, 1953, was somewhat similar to this smaller scaled piece.

The artist was not averse to using ready-made pieces that suited his needs, and the nails filled his requirements for the wire constructions. Although square and angular overall, the organic shapes and imperfect squares add to the biomorphic impression for which Bertoia is known. Nature was a heavy influence is all his work and these may have been inspired by the thorny bushes on the estate.

This sculpture in particular was acquired by Fairweather Hardin Gallery in Chicago in 1956. Bertoia explained how this came about (Interview, Paul Cummings, Archives of American Art, June 20, 1972).

I think there was an exhibition at the Chicago Art Museum, an exhibition of sculpture and painting… During this time I had sent in two metal constructions and I think that Sally Fairweather and Shirley Hardin came this way [artist’s studio in Bally, Pennsylvania] and asked… These two sculptures must have interested them and they came this way to find out a little more about me and what they saw was perhaps so far a quality that they asked whether I would have a show in their gallery. This was a sort of meeting and it was the beginning of that relationship.

This piece was in the first solo Bertoia exhibition at the gallery in 1956. From the archival correspondence, it was obvious that Fairweather Hardin could hardly keep a Bertoia in the gallery, and were frequently pestering Bertoia for more sculptures. Hundreds of sculptures passed through their gallery and made the Bertoia name well known in Chicago. They had their last Bertoia show in 1984 and closed shop in 1991. The current owners obtained it directly from Fairweather Hardin, so the provenance couldn’t be better.

Check list from the 1956 Fairweather Hardin exhibit – lot 5 is shown at bottom left.

Harry Bertoia Foundation Archival Files 14018-40, sent to Fairweather Hardin 1956 for exhibition

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Bertoia was wont to title his pieces because he felt that the viewer’s opinion was the one that counted most. And he believed that, although it was his hands that created the piece, it was a divine creativity from a higher source that inspired his work and he didn’t want to take personal credit by signing.

We call this one wire construction simply because of its formation. What will you call it?

– Celia Bertoia, Harry Bertoia Foundation

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6* Dorothy Dehner (AMERICAN, 1901-1994)

Jericho, 1957 bronze Height: 18 inches.

Property from the Collection of Ann and Paul Arenberg, St. Louis, Missouri Provenance: Willard Gallery, New York $6,000-8,000

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7 Mark di Suvero (AMERICAN, B. 1933)

Untitled, 2007 steel inscribed diS Height: 7 1/4 inches. $15,000-25,000

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8* Franz Kline (AMERICAN, 1910-1962)

Untitled, 1957 oil on paper laid to board signed Kline (lower left) 13 1/2 x 14 1/2 inches.

Property from the Collection of Lynde B. Uihlein, Milwaukee, Wisconsin Provenance: Alan Stone Gallery, New York Private Collector Meridian Fine Art/Max Lang, New York Timothy J. B. Williams, Chicago $100,000-150,000

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9 Milton Resnick

(AMERICAN, 1917-2004)

End of Year, 1957 oil on canvas signed Resnick (lower right); titled and dated (verso) 57 x 67 inches.

Provenance: Mr. and Mrs. Herman Spertus, Glencoe, Illinois Exhibited: Chicago, Illinois, The Art Institute of Chicago, The 27th Annual Exhibition by the Society for Contemporary American Art, April 11-May 21. 1967 $60,000-80,000

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10 Milton Resnick

(AMERICAN, 1917-2004)

Untitled, 1959 oil on canvas mounted to board signed Resnick (lower left); signed and dated (verso) 34 x 22 1/2 inches.

Provenance: Holland-Goldowsky Gallery, Chicago B.C. Holland Gallery, Chicago McCormick Gallery, Chicago $10,000-15,000

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11 Jimmy Ernst (AMERICAN/GERMAN, 1920-1984)

Landscape Variation #11, 1963 oil on paper signed Jimmy Ernst and dated (lower right) 10 1/2 x 8 inches.

Provenance: Grace Borgenicht Gallery, New York $2,000-4,000

12* Jimmy Ernst

(AMERICAN/GERMAN, 1920-1984)

Untitled, 1960 gouache and ink on paper signed Jimmy Ernst and dated (lower right) 6 x 9 inches.

Property from the Collection of Ann and Paul Arenberg, St. Louis, Missouri Provenance: Gifted by the artist $2,000-4,000

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13 Eduardo Hoffmann

(ARGENTINIAN, B. 1957)

No 2085), 2000 mixed media on canvas signed Hoffmann, titled and dated (verso) 58 3/4 x 94 inches. $4,000-6,000

14 Robert Goodnough

(AMERICAN, 1917-2010)

Abduction XII, 1961 mixed media on board signed Goodnough (lower right); signed, titled and dated (verso) 5 3/4 x 8 inches. $1,000-2,000 14

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15 Alfred Leslie

(AMERICAN, B. 1927)

Untitled, 1961 mixed media on paper signed Alfred Leslie and dated (lower center) 25 x 19 1/2 inches. $10,000-15,000

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16 Norman Bluhm

(AMERICAN, 1921-1999)

Untitled #1, 1964 acrylic on paper mounted to canvas signed bluhm and dated (upper left) 30 1/2 x 22 1/4 inches.

Provenance: Hollis Taggart Galleries, New York $15,000-25,000

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17 Paul Jenkins

(AMERICAN, 1923-2012)

Phenomena Violet Hump, 1972 watercolor on paper signed Paul Jenkins (lower left); signed, titled and dated (verso) 30 x 22 1/2 inches.

Provenance: Martha Jackson Gallery, New York Irving Galleries, Milwaukee, Wisconsin $3,000-5,000

18* Paul Jenkins

(AMERICAN, 1923-2012)

Phenomena Pilgrim Thanks, 1979 watercolor on paper signed Paul Jenkins (lower center) 31 x 43 1/2 inches Property from The Estate of Mrs. Lois Smoler, Chicago, Illinois Provenance: Irving Galleries, Palm Beach, Florida $4,000-6,000 17

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19 Stanley William Hayter (BRITISH, 1901-1988)

Summer Evening, 1985 acrylic on canvas titled and dated (verso) 57 1/2 x 45 inches.

Provenance: J.C. Riedel Gallery, Paris $4,000-6,000

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Sam Francis

Sam Francis

Red, Yellow, and Black (SF54-069), 1954

Untitled (SF77-161), 1977

gouache on paper signed Sam Francis and dated (verso) 8 3/4 x 6 1/2 inches.

Property from the Estate of Billie Ross, Chicago, Illinois

acrylic on paper signed Sam Francis and dated (verso) 41 x 29 1/2 inches.

Property from the Estate of Billie Ross, Chicago, Illinois

Provenance: Gimpel Fils Gallery, London Dennis Hotz Fine Art, London Estate of the Artist, California Richard Gray Gallery, Chicago

Provenance: Richard Gray Gallery, Chicago

(AMERICAN, 1923-1994)

Exhibited: London, England, Gimpel Fils Gallery, Summer Exhibition, July 10 - August 31, 1956 This work is identified with the interim identification number of SF54-069 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. $50,000-70,000

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(AMERICAN, 1923-1994)

Exhibited: Palo Alto, California, Smith Andersen Gallery, Sam Francis: Works in Progress III, February 11 - April 2, 1978 This work is identified with the interim identification number of SF77-161 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information subject to change as scholarship continues by the Sam Francis Foundation. $60,000-80,000

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22* Sam Francis

(AMERICAN, 1923-1994)

Untitled (SF84-223), 1984 acrylic on rice paper 37 x 71 1/2 inches.

Property from the Estate of Billie Ross, Chicago, Illinois Provenance: Richard Gray Gallery, Chicago Exhibited: Chicago, Illinois, Richard Gray Gallery, Sam Francis: New Paintings, November 8 - December 7, 1985 This work is identified with the interim identification number of SF84-223 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information s subject to change as scholarship continues by the Sam Francis Foundation. $100,000-150,000

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Robert Rauschenberg

Richmond Burton

Gordon Onslow Ford

Fray from the Bifocal series, 1982

William Blake’s Glad Day, 1992

In Vironment, 2002

solvent transfer, acrylic and collage on cardboard initialed RR, titled and dated (verso) 45 x 50 1/2 inches.

oil on linen signed Richmond Burton, titled and dated (verso) 60 x 72 inches.

acrylic on paper mounted to linen signed G. Onslow Ford, titled and dated (verso) 43 x 81 inches.

Provenance: John Berggruen Gallery, San Francisco

$6,000-8,000

(AMERICAN, 1925-2008)

$40,000-60,000

(AMERICAN, B. 1950)

$5,000-7,000

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(BRITISH, 1912-2003)

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25A Mark Flood

(AMERICAN, B. 1957)

Sand Castle, 2004 acrylic on canvas laid to board signed Mark Flood, titled and dated (verso) 60 x 48 inches.

Provenance: Marty Walker Gallery, Dallas, Texas Sold: Phillips London, April 8, 2014, Lot 3 $15,000-25,000

26 Tania Bruguera (CUBAN, B. 1968)

Untitled mixed media collage 22 x 29 inches. $6,000-8,000

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27 Sheila Hicks

(AMERICAN, B. 1934)

Tapestry Volume, c. 1976 wool 12 x 9 3/4 x 3 1/2 inches.

Exhibited: Paris, France, Musee des Arts Decoratifs, Des Tapisseries Nouvelles, March 20 - May 19, 1975 Amsterdam, Netherlands, Galerie Collection d’Art, 5 x Textiel, February - March 1976 $5,000-7,000

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28 Sheila Hicks

(AMERICAN, B. 1934)

Tapestry Volume, c. 1976 wool, thread, twine and paper 7 x 9 3/4 x 7 inches. $5,000-7,000

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29 Sue Fuller

(AMERICAN, 1914-2006)

#319, 1969 string embedded in lucite signed Fuller, titled and dated 5 3/4 x 5 3/4 inches. $1,000-2,000

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30 Sue Fuller

(AMERICAN, 1914-2006)

Untitled string mounted on colored plexiglas 12 x 12 inches. $1,000-2,000

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31 Iván Navarro

(CHILEAN, B. 1972)

The Edge, 2007 light bulbs, aluminum door with mirrors and glass, and electrical fittings number 2 from the edition of 3 86 x 36 x 9 inches.

Provenance: Galerie Daniel Templon, Paris $30,000-50,000 31

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32 Charles Joseph Biederman (AMERICAN, 1906-2004)

Model #3, 1959-1967 painted aluminum inscribed Charles Biederman, titled and dated (verso) 23 3/4 x 11 3/4 inches. $8,000-12,000

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32 alternate view

33* Charles Hinman

(AMERICAN, B. 1932)

Climb, 1983 acrylic on shaped canvas signed Hinman, titled and dated (verso) 48 x 77 x 6 inches.

Property from the Collection of Harriet and Lawrence Singer, Miami, Florida Provenance: Galerie Ninety-Nine, Bay Harbor Islands, Florida $5,000-7,000

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35 Anne Ryan

(AMERICAN, 1889-1954)

Untitled, 1951 mixed media collage signed A Ryan (lower right); signed and dated (verso) 7 x 5 inches.

Provenance: Acquired directly from the artist by Jenny and Clement Greenberg, New York Thence by descent Sold: Christie’s New York, May 11, 2016, Lot 290 $5,000-7,000

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36 Miyoko Ito

(AMERICAN, 1918-1983)

Act I by Sea, c. 1955 oil on canvas 48 x 38 inches.

Provenance: Thomas McCormick Gallery, Chicago Exhibited: Chicago, Illinois, The Art Institute of Chicago, Fifty-Eighth Annual Exhibition

by Artists of Chicago and Vicinity, 1955 $6,000-8,000

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37 Conrad Marca-Relli

(AMERICAN, 1913-2000)

Colorado, 1982 collage and oil on canvas signed MARCA RELLI (lower right); signed, titled and dated (verso) 70 x 78 inches.

Property Sold to Benefit New College Foundation, Sarasota, Florida This work is registered with the Archivio Marca-Relli, Parma, as archive number MARE-6218 / © Archivio Marca-Relli, Parma $40,000-60,000

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38 Raoul Hague

(AMERICAN, 1904-1993)

Delhi, 1947 wood 52 x 13 x 13 3/4 inches.

Provenance: Hill Gallery, Birmingham. Michigan $4,000-6,000

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39 Carol Hepper

(AMERICAN, B. 1953)

Untitled, 1991 wood and steel 23 1/2 x 20 x 20 inches.

Provenance: Hill Gallery, Birmingham, Michigan $1,000-2,000

40 Carol Hepper

(AMERICAN, B. 1953)

Untitled wood and steel 50 x 50 inches. $2,000-4,000

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41 Mel Kendrick

(AMERICAN, B. 1949)

Osage Orange, 1986 osage wood 35 3/4 x 16 1/2 x 8 1/2 inches.

Provenance: Barbara Krakow Gallery, Boston, Massachusetts $6,000-8,000

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42 Richard Artschwager (AMERICAN, 1923-2013)

Splatter Chair, 1997 formica and polished aluminum on plywood 33 x 65 inches.

Provenance: Baumgartner Galleries, Inc., Washington DC Acquired from the above by the present owner in 1997 $50,000-70,000

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43 Richard Artschwager (AMERICAN, 1923-2013)

Untitled (crate SH-2), 1995 wood with metal bolts signed R. Artschwager, titled and dated 35 1/2 x 48 x 19 inches.

Provenance: Susanne Hilberry Gallery, Ferndale, Michigan $10,000-15,000

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44 Los Carpinteros (CUBAN, EST. 1992)

S/T (Construccion de paredes con reglas), 2000 watercolor on paper signed Los Carpinteros (lower right) 29 1/2 x 40 inches.

Provenance: Liebman Magnan Gallery, New York $10,000-15,000

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45 Rafael Barrios

(AMERICAN/VENEZUELAN, B. 1947)

Irradiacion de Gloria, 1997 painted metal signed Rafael Barrios, titled, dated and inscribed P/A Height: 24 1/4 inches. $4,000-6,000

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46 Georges Noël

(FRENCH, 1924-2010)

Untitled (NYC), 1975 mixed media on canvas signed Georges Noël and dated (verso) 50 x 50 inches.

Provenance: The Pace Gallery, New York $4,000-6,000

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47 Peter Wegner

(AMERICAN, B. 1963)

Carbon/Carbon/Carbon/Carbon, 1997 (diptych) oil on panel signed Peter Wegner, titled and dated (verso) 65 1/2 x 40 inches.

Provenance: Griffin Gallery, Los Angeles $6,000-8,000

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Shusaku Arakawa

Matt Keegan

Rodney Quiriconi

Living Room, 1969

Untitled

Untitled, 1966

screenprint signed, titled, dated and inscribed A.P. in marker 24 x 29 inches.

collaged c-prints 6 x 4 inches.

wood and mirrored glass panes signed Quiriconi and dated (verso) Height: 7 inches.

(JAPANESE/AMERICAN, 1936-2010)

(AMERICAN, B. 1976)

(AMERICAN, B. 1933)

$500-700 $1,500-2,000

$1,000-2,000

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51 Al Held

(AMERICAN, 1928-2005)

Untitled, 1975 graphite on paper signed Al Held and dated (verso) 27 x 40 inches.

Provenance: Marianne Friedland Gallery, Toronto $5,000-7,000

52* Theaster Gates

(AMERICAN, B. 1973)

Untitled partially glazed ceramic inscribed tg (underside) Height: 6 1/2 inches.

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Property from the Collection of Ms. Beverly Kirks, San Francisco, California $3,000-5,000

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53 Joel Shapiro

(AMERICAN, B. 1941)

Untitled (JS 457), 1981 charcoal on paper 22 1/2 x 30 inches. $8,000-12,000

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Adolph Gottlieb

ÖYVIND FAHLSTRÖM

(AMERICAN, 1903-1974)

Composition, 1947 ink on paper signed Adolph Gottlieb, inscribed and dated (upper left) 8 3/4 x 12 inches. $8,000-12,000

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Exhibited: Stockholm, Sweden, Moderna Museet, Öyvind Fahlström, October 13-December 9, 1979; Paris, France, Centre Georges Pompidou, January 23-March 3, 1980, Notes 2 (WC’S), 1970 No. 33, illustrated pg. 64 acrylic and ink on paper Rotterdam, Netherlands, Museum Boymans-van Beuningen, signed Oyvind Fahlstrom, Öyvind Fahlström, May 10-June 15, 1980 titled and dated (lower right) New York, New York, The Solomon R. Guggenheim Museum, 16 1/2 x 14 inches. Öyvind Fahlström, 1982, No. 30, illustrated pg. 74 Valencia, Spain, The Institut Valencià d’Art Modern, Provenance: Centre Julio González, Öyvind Fahlström, Sidney Janis Gallery, New York June 10-August 23, 1992, No. 35, illustrated pg. 100

$50,000-70,000 (SWEDISH, 1928-1976)

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Ray Yoshida

Ray Johnson

Amputated Species, 1974

Christophe de Menil Silhouette, c. 1979-87-88-90-91-92

(AMERICAN, 1930-2009)

acrylic on canvas titled (verso) 44 x 40 inches.

Provenance: Phyllis Kind Gallery, Chicago $20,000-40,000

(AMERICAN, 1927-1995)

collage on illustration board signed Ray Johnson, titled and dated (lower center); estate stamped (verso) 10 1/2 x 7 3/4 inches.

Provenance: Richard L. Feigen & Co., New York $20,000-30,000

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58 Karl Wirsum

(AMERICAN, B. 1939)

Hot Snot Paddle Ball Meets Flap Jack Sling Shot, 1980 acrylic on wood with string, felt and rubber ball Height: 13 inches.

Provenance: Phyllis Kind Gallery, Chicago Jean Albano Gallery, Chicago $10,000-15,000

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Wirsum Mask

Hanson Mask

59 Karl Wirsum and Phil Hanson (AMERICAN, B. 1939 AND B. 1943)

Wirsum Mask For Hanson Mask and Hanson Mask For Wirsum Mask, 1974 acrylic on papier mache Largest: 15 x 11 1/2 inches.

Provenance: Phyllis Kind Gallery, Chicago $10,000-15,000

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60 Karl Wirsum

(AMERICAN, B. 1939)

Mr. Newer Bluer, 2004 acrylic on panel 20 x 20 inches.

Provenance: Jean Albano Gallery, Chicago Acquire from the above by the present owner in 2005 Exhibited: Chicago, Illinois, Jean Albano Gallery, Hello Again Boom A Rang: Ten Years of Wirsum Art, September 10 - October 16, 2004, illustrated $10,000-15,000

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61 Barbara Rossi

(AMERICAN, B. 1940)

Armour Defeat, 1969-70 etching, aquatint, and embroidery on satin 13 1/2 x 10 1/2 inches. $2,000-4,000

62 Rainer Fetting

(GERMAN, B. 1949)

Red Head, 1985 oil on canvas signed Fetting, titled and dated (verso) 48 x 36 inches. $5,000-7,000

63 Naomi Fisher

(AMERICAN, B. 1976)

Untitled, 2005

61

ink and mixed media on paper signed Naomi Fisher and dated (lower right) 42 x 30 inches. $1,000-2,000

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Anne Chu

Anthony Goicolea

Leon Golub

Three Heads, 2000

Untitled Diptych from Related Series, c. 2007-10

Head of a Warrior, 1970

(AMERICAN, 1959-2016)

watercolor on paper 22 1/2 x 30 inches.

Provenance: Donald Young Gallery, Chicago $1,000-2,000

(AMERICAN/CUBAN, B. 1971)

graphite, ink and acrylic on Mylar and unique c-print made from negative drawing Each: 17 x 14 inches. $2,000-4,000

(AMERICAN, 1922-2004)

oil on canvas signed Golub (lower right); signed, inscribed, and dated (verso) 42 x 32 inches.

Provenance: B.C. Holland, Chicago $20,000-40,000

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67 Michael Ayrton

(BRITISH, 1921-1975)

Reflective Head II, 1971 bronze numbered 2/9 Height: 21 1/2 inches.

Provenance: R.S. Johnson-International Gallery, Chicago Exhibited: Chicago, Illinois, R.S. Johnson-International Gallery, Michael Ayrton: The Maze, Bronzes, Drawings, Etchings 1962-1972, Winter 1972, no. 40 $5,000-7,000

68 Michael Ayrton

(BRITISH, 1921-1975)

Web Cage Contingency, 1972 68

bronze and cord Height: 69 1/2 inches.

Property of a Private Collector, Chicago, Illinois $8,000-12,000

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69 Jim Dine

(AMERICAN, B. 1935)

Vermont (The Autumn), 1984 bronze edition 2/3 Height: 81 inches.

Provenance: Pace Gallery, New York Acquired from the above by the present owner in 1988 Exhibited: Cleveland, Ohio, Cleveland Center for Contemporary Art, Eight from the Eighties, January 26 - March 17, 1990 $30,000-45,000

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70 Manuel Neri

(AMERICAN, B. 1930)

Untitled Figure, 1997 bronze stamped Manuel Neri, AP, and dated Height: 22 inches.

Property from an Important Private Collection $3,000-5,000

71 Eduardo Kingman

(ECUADORIAN, 1913-1997)

Untitled, 1965

71

mixed media on board signed E. Kingman and dated (lower right) 35 1/4 x 25 1/2 inches. $5,000-7,000

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72* Viola Frey

(AMERICAN, 1933-2004)

California Garden Goose Girl, 1975 ceramic Height: 34 1/2 inches.

Property from the Collection of Mr. Gregg Pfister, Overland Park, Kansas This work is registered with the Artist’s Legacy Foundation under VF-3075CS and will be included in the forthcoming catalogue raisonné $6,000-8,000

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73 Cleve Gray

(AMERICAN, 1918-2004)

The Triumph of Galatea (After Domenichino), 1951 oil on canvas signed Gray and dated (lower left); titled (verso) 51 x 43 inches.

Provenance: Private Collection, Bedford, New York Abby M. Taylor Fine Art, Greenwich Taylor Graham, New York Exhibited: Washington D.C. The Corcoran Gallery of Art, Twenty-Third Biennial Exhibition of Contemporary American Oil Paintings, March 15 - May 3, 1953 $4,000-6,000

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74 Red Grooms

(AMERICAN, B. 1937)

Study for Strike Up the Band, 1998 latex on board signed Red and dated (lower right) 60 x 40 inches.

Provenance: Marlborough Gallery, New York $5,000-7,000

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75 Tony W. H. Wong

(CHINESE, 1948-2012)

Flam, 1985 oil on canvas signed T.W.H. Wong, titled and dated (verso) 65 x 72 inches.

Provenance: Janet Sternberg Gallery, San Francisco, California $10,000-15,000

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76 Francesca Dimattio (AMERICAN, B. 1981)

Untitled, 2007 mixed media on paper signed Francesca Dimattio and dated (verso) 12 x 9 inches. $2,000-4,000

77 Francesca Dimattio (AMERICAN, B. 1981)

Untitled, 2007 mixed media on paper signed Francesca Dimattio and dated (verso) 12 x 9 inches. $2,000-4,000

78 Alfred Leslie

(AMERICAN, B. 1927)

Afternoon Soaps/Study, 1983 charcoal and pencil on paper signed Alfred Leslie, titled and dated (lower left) 40 x 30 inches.

Provenance: Hill Gallery, Birmingham, Michigan $3,000-5,000 78

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79 Alfred Leslie

(AMERICAN, B. 1927)

The Artist in the Studio, 1979 charcoal and graphite on paper signed Alfred Leslie and dated (lower left) 79 1/2 x 60 inches.

Provenance: Allan Frumkin Gallery, Chicago Acquired from the above by the present owner in 1979 Exhibited: Washington D.C. National Portrait Gallery, American Portrait Drawings, May 1 - July 31, 1980 Santa Barbara, California, University Art Museum, University of California Santa Barbara, A Heritage Renewed: Representational Drawing Today, March 1 - April 17, 1983 Pepper Pike, Ohio, The Florence O’Donnell Wasmer Gallery of Ursuline College, Drawing: A Line of Departure, October 12 - December 15, 1985.

Literature: Mcardle, Lois, Portrait Drawing: A Practical Guide for Today’s Artists, 1984 (illustrated) $5,000-7,000

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80 Christopher Couch (BRITISH, B. 1946)

Figure at Table (Self-Portrait) oil on canvas 90 x 65 inches.

Provenance: Marlborough Fine Art, London $3,000-5,000

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81 George Segal

(AMERICAN, 1924-2000)

Blue Girl Behind Blue Door, 1977 painted plaster, wood and metal 96 x 53 x 23 inches.

Provenance: Riva Yares Gallery, Scottsdale, Arizona Exhibited: Tokyo, Japan, Contemporary Sculpture Center, George Segal; Seibu, Japan, The Seibu Museum of Modern Art; Toyama, Japan, The Museum of Modern Art; Kurashiki, Japan, Ohara Museum of Art; Osaka, Japan, The National Museum of Art, 1982 $100,000-150,000

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82 The Name of the Rose

Anish Kapoor

(BRITISH/INDIAN, B. 1954)

Untitled from 1,000 Names, 1984 polystyrene, plaster, cloth, gesso and raw pigment 27 1/2 x 27 1/2 x 33 inches.

Provenance: Barbara Gladstone Gallery, New York Acquired from the above by the present owner in 1985 Exhibited: New York, Barbara Gladstone Gallery, March 3 - 31, 1984 $150,000-250,000

“Rose is a rose is a rose is a rose.”– Gertrude Stein Over the past forty years, the Bombay-born British sculptor Sir Anish Kapoor has almost singlehandedly transformed the possibilities of his medium. Indeed, the artist ranks among the handful of key innovators who have taken sculpture from where modern giants in the field – such as Constantin Brancusi, Henry Moore and David Smith – had left it and has forged his ideas into various new, post-modern forms. These constructions (Kapoor, in true contemporary fashion and akin to, say, Richard Serra, now commands a team of assistants to fabricate his detailed plans) possess a unique aura as startling as it is original.

As such, Kapoor’s oeuvre ranges from intimate objects placed upon the floor or wall to monumental set pieces such as Cloud Gate (2006) installed in Millenium Park near the Art Institute of Chicago.

Kapoor’s media and concomitant visual effects are equally diverse. Often his surfaces are polished to a mirror-like finish, whereas in other instances Kapoor manipulates wax, Vaseline or similar gooey substances as though they were inchoate matter that seems to embody sheer chaos.

Shooting into the Corner (2008-09) typifies the latter mayhem: periodically, a pneumatic cannon propels red wax balls into the angle of a room where they explode in a bloody mess.

Between these two extremes of precision and indeterminacy stands the series which first made Kapoor’s name in the early 1980s. Taken overall, its individual sculptures had few if any contemporaneous counterparts in either their makeup or sheer vividness, which still leaves an indelible impression upon the viewer. The untitled red presence in the current auction is fashioned from an infrastructure composed with polystyrene, plaster and cloth that was then coated in gesso to which Kapoor applied a finish of raw powder pigment. Its typology is altogether characteristic of this ground-breaking group that bears the collective title, 1,000 Names. This phrase itself is an evocative designation suggesting myriad morphologies. One example after another from 1,000 Names fulfils this metamorphic promise. Untitled is no exception.

As Kapoor has explained, these sculptures are frequently simple, curvaceous shapes, monochromatic and brightly hued, using powder pigment to permeate their masses. Kapoor adds: “While making the pigment pieces, it occurred to me that they all form themselves out of each other.

So I decided to give them a generic title, “A Thousand Names”, implying infinity, a thousand being a symbolic number. The powder works sat on the floor or projected from the wall. The powder defines the surface of the floor and the objects appear to be partially submerged, like icebergs. That seems to fit inside the idea of something being partially there.” Untitled manifests all these features – to which should be added that the powder resonates with memories of the brilliant mounds of spice that Kapoor observed in Indian markets. The combination of a friable texture and intensest chroma creates a strange spatiality at once instantaneous and difficult to read in terms of surface versus depth.

At first glance, the sculpture probably suggests a rose. Yet look again. It unfolds with a vortexlike dynamism, not merely approaching the spectator’s gaze but also emerging from the wall like the bit of some strange drill. Other works in the series confirm this spiral forcefulness, which implies a hidden force behind it. What we see is seductive, a rosy bloom with inviting petals. What remains unseen though hinted, is more cryptic, even ominous. As a rose, Untitled holds a floral symbolism stretching back many millennia and as recent as Gertrude Stein’s insistence – see the epigraph, above, from her famous 1913 poem – that things are, well, just what they are. As a three-dimensional play in space, time, torque and blood-redness (other Kapoor titles, such as Blood Cinema, make the allusion explicit), Untitled becomes a haunting apparition that echoes with Kapoor’s ubiquitous penchant for sublime enigmas: “I’ve always been interested in the magical….

Truly mysterious implies that there is something else going on – it’s a matter of meaning.” This “rose” turns out to mean and imply much more than it presents at first sight.

David Anfam, author of the catalogue raisonné of Mark Rothko’s paintings and curator of Abstract Expressionism at the Royal Academy of Arts, London (2016-17).

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83 Richard Rezac

(AMERICAN, B. 1952)

Departure, 1983 cast hydrostone 8 x 12 x 7 1/2 inches.

Provenance: Susanne Hilberry Gallery, Ferndale, Michigan $3,000-5,000

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84* Peter DeCamp Haines (AMERICAN, B. 1942)

Two-Headed Gateway, 1983 bronze monogrammed, numbered VIII/XII and dated Height: 9 1/2 inches.

Property from the Collection of Ann and Paul Arenberg, St. Louis, Missouri Provenance: Nancy Singer, St. Louis, Missouri Acquired from the above in 1992 $1,000-2,000

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85* Mary Callery

(AMERICAN, 1903-1977)

Sketch for Acrobats, 1954 bronze Height: 10 inches.

Property from the Collection of Ann and Paul Arenberg, St. Louis, Missouri Provenance: Curt Valentin Gallery, New York Acquired from the above in 1955 $2,000-4,000

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86 Antoni Tapies

(SPANISH, 1923-2012)

Node, 2000 bronze inscribed Tapies and dated Height: 3 inches. $1,000-2,000

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87 Fletcher Benton

(AMERICAN, B. 1931)

Untitled, 1998 bronze inscribed Fletcher Benton and dated Height: 27 1/2 inches.

Property from an Important Private Collection $4,000-6,000

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88 Emile Gilioli

(FRENCH, 1911-1977)

Esprit, eau et sang, 1953 bronze inscribed Gilioli and numbered 2/6 Height: 21 1/4 inches. $5,000-7,000

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89* John Henry

(AMERICAN, B. 1943)

Untitled, 1979 aluminum inscribed John Henry and dated Height: 12 1/2 inches.

Property from the Collection of Ms. Beverly Kirks, San Francisco, California Provenance: Gifted by the artist to the present owner $1,000-2,000

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90 Philip King

(BRITISH, B. 1934)

Maquette for New Orleans, 1974 painted steel, in two parts 29 x 23 x 15 inches. $4,000-6,000 90

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91 Laylah Ali

(AMERICAN, B. 1963)

Untitled (superman), 2000 colored pencil and gouache on paper signed Laylah Ali and dated (verso) 7 x 5 inches.

Provenance: Miller Block Gallery, Boston, Massachusetts $2,000-4,000

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92 Jon Pylypchuk

(CANADIAN, B. 1972)

I will remember you with these oceans/ don’t let your face show, 2000 mixed media on panel 24 x 21 1/4 inches.

Provenance: Friedrich Petzel Gallery, New York $2,000-4,000

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93 Jon Pylypchuk

(CANADIAN, B. 1972)

shut up and stop blabbing about your fucking money/ it’s the only thing moderately interesting about me/ that’s not money it’s cigarette butts mixed media collage 19 1/2 x 35 1/2 inches. $2,000-3,000

94 Ted Harrison

(CANADIAN, 1926-2015)

Beautiful Day, 1989 acrylic on canvas signed Harrison (lower right); signed, titled and dated (verso) 48 x 36 inches. $4,000-6,000

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95

95

96

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Valerie Hegarty

James Surls

Kcho

Untitled, 2009

Take Our Time, 1987

Al Borde del Abismo, 2004

mixed media signed V Hegarty and dated (verso) 19 x 40 inches.

oak and vine 16 x 6 x 10 inches.

mixed media 40 x 40 x 10 1/2 inches.

Provenance: Butler Gallery, Houston, Texas

$4,000-6,000

(AMERICAN, B. 1967)

$2,000-4,000

(AMERICAN, B. 1943)

(CUBAN, B. 1970)

$5,000-7,000

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98 Therman Statom (AMERICAN, B. 1953)

Self Portrait of the of the Artist mixed media and glass 26 x 18 1/2 x 16 inches.

Provenance: Habatat Gallery, Chicago $2,000-4,000

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99

100

Tim Lokiec

Amy Sillman

Ice Cream Cone, 2005

Untitled, 2003

mixed media on paper signed Tim Lokiec, titled and dated (verso) 19 x 25 inches.

gouache, acrylic and graphite on paper initialed AS and dated (lower right) 22 1/3 x 30 inches.

$800-1,200

$3,000-5,000

(AMERICAN, B. 1977)

(AMERICAN, B. 1955)

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100

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101

102

101*

102*

Wolf Kahn

Wolf Kahn

Winter Sheds, 1974

Dr. Middleton’s Shed, 1973

pastel on paper signed W Kahn and dated (lower left) 10 3/4 x 13 1/2 inches.

Property from the Collection of Lynde B. Uihlein, Milwaukee, Wisconsin

pastel on paper signed W Kahn and dated (lower right) 9 1/2 x 12 inches.

Property from the Collection of Lynde B. Uihlein, Milwaukee, Wisconsin

Provenance: David Barnett Gallery, Milwaukee, Wisconsin Estate of Jane Bradley Pettit, Milwaukee Thence by descent to the present owner

Provenance: David Barnett Gallery, Milwaukee, Wisconsin Estate of Jane Bradley Pettit, Milwaukee Thence by descent to the present owner

$3,000-5,000

$3,000-5,000

(AMERICAN/GERMAN, B. 1927)

(AMERICAN/GERMAN, B. 1927)

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103

103*

104

105

Wolf Kahn

Wolf Kahn

Wolf Kahn

Dark Barn, 1975

Three Trees, c. 1977

Near Mt. Monadnock II, 1992

oil on canvas signed W Kahn (lower center); titled and dated (verso) 22 x 24 inches.

Property from the Collection of Lynde B. Uihlein, Milwaukee, Wisconsin

pastel on paper signed W Kahn (lower right) 14 x 18 inches.

(AMERICAN/GERMAN, B. 1927)

Provenance: Grace Borgenicht Gallery, New York Estate of Jane Bradley Pettit, Milwaukee Thence by descent to the present owner $30,000-50,000

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(AMERICAN/GERMAN, B. 1927)

$4,000-6,000

(AMERICAN/GERMAN, B. 1927)

oil on canvas signed W Kahn (lower center); titled and dated (verso) 28 x 34 inches.

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico $15,000-25,000

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106 Jim Dine

(AMERICAN, B. 1935)

The Red Axe, 1973 mixed media and collage on paper signed Jim Dine, titled and dated (lower right) 43 x 19 inches.

Provenance: Sonnabend Gallery, New York Makler Gallery, Philadelphia, Pennsylvania $10,000-15,000

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Donald Baechler

(AMERICAN, B. 1956)

Tulip Study, 2004 gouache on paper initialed DB and dated (lower left); signed Baechler and dated (verso) 14 x 11 inches.

Provenance: Baldwin Gallery, Aspen, Colorado $4,000-6,000

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108 Donald Sultan

(AMERICAN, B. 1951)

Black Tulip, 1983 charcoal on Momi Shiro rice paper initialed DS, titled and dated (lower left) 50 x 35 inches.

Provenance: Blum Helman Gallery New York Gallery of Graphic Arts Ltd., New York $8,000-12,000

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109 Donald Sultan

(AMERICAN, B. 1951)

Three Red Flowers, May 20, 1997, 1997 conté crayon on paper initialed DS, titled and dated (left edge) 43 3/4 x 40 3/4 inches. $8,000-12,000

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110

111

110

111

112

Joseph Raffael

Peter Tunney

Vitaly Komar & Alexander Melamid

Delphiniums and Roses, 1992

Rhino, 2016

Ancestral Portraits: Plateosaurus, 1980

watercolor on paper signed Raffael (lower right) 35 x 53 inches.

acrylic and collage on silkscreen signed Peter and dated (lower right) 32 x 40 inches.

oil on canvas 72 x 48 inches.

$8,000-12,000

$5,000-7,000

(AMERICAN, B. 1933)

(AMERICAN, B. 1961)

(RUSSIAN, B. 1943 AND B. 1945)

Provenance: Sold: Museum of Contemporary Art, Chicago, 4th Annual Benefit Auction, 1981 $30,000-50,000

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113 Giuseppe Gallo (ITALIAN, B. 1954)

Agnello di Pietra (Stone Lamb), 1989 oil and gouache on canvas signed Giuseppe Gallo and dated (verso) 86 x 74 1/2 inches.

Provenance: Feigen Incorporated, Chicago $5,000-7,000

114 Nicolas Africano

(AMERICAN, B. 1948)

Minnie, 1982 oil, acrylic and magna on canvas signed Nicolas Africano, titled and dated (verso) 20 x 16 inches.

Provenance: Holly Solomon Gallery, New York $2,000-3,000

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115 Rafael Coronel

(MEXICAN, B. 1932)

Niño oil on canvas signed Rafael Coronel (lower left) 23 1/4 x 29 1/2 inches. $8,000-12,000

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116 John Wilde

(AMERICAN, 1919-2006)

A Game of Targets: U.S. is at War with Japan Dec 7, 1941, #3 from Work Reconsidered Series II, 1985 oil on panel signed John Wilde, titled and dated (verso) 11 x 17 inches. $8,000-12,000

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117 Honore Sharrer

(AMERICAN, 1920-2009)

Poet in Swan Boat, 1988 oil on canvas signed Sharrer (upper right) 12 x 12 inches.

Provenance: Forum Gallery, New York $5,000-7,000

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118

118 Gertrude Abercrombie (AMERICAN, 1909-1977)

The Blue Whale, 1947 oil on board signed Abercrombie and dated (lower left) 8 x 10 inches.

Provenance: Robert and Jane Calvin, Chicago, Illinois Sold: Leslie Hindman Auctioneers, September 13, 2009, Lot 6 Literature: R. Storr, S. Weininger, R. Cozzelino & D. Livinston, Gertrude Abercrombie, New York, 2018, (illustrated, p. 267) $10,000-15,000

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119 Gertrude Abercrombie (AMERICAN, 1909-1977)

Coming Home, 1947 oil on board signed Abercrombie and dated (lower left) 19 1/2 x 26 1/2 inches.

Provenance: Acquired directly from the artist

by Henry and Mary Schultz, Chicago Private Collection, Cleveland, Ohio $30,000-50,000

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ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Abercrombie, Gertrude. . . . . . . . . . . . . 117, 118 Africano, Nicolas . . . . . . . . . . . . . . . . . . . . . 113 Ali, Laylah . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Arakawa, Susaku. . . . . . . . . . . . . . . . . . . . . . 47 Artschwager, Richard . . . . . . . . . . . . . . . . 41, 42 Ayrton, Michael . . . . . . . . . . . . . . . . . . . . 66, 67 Baechler, Donald . . . . . . . . . . . . . . . . . . . . . 106 Barrios, Rafael. . . . . . . . . . . . . . . . . . . . . . . . 44 Benton, Fletcher. . . . . . . . . . . . . . . . . . . . . . . 86 Bertoia, Harry . . . . . . . . . . . . . . . . . . . . . . . . . 5 Biederman, Charles Jospeh. . . . . . . . . . . . . . . 31 Bluhm, Norman . . . . . . . . . . . . . . . . . . . . . . . 16 Bruguera, Tania . . . . . . . . . . . . . . . . . . . . . . . 26 Burton, Richmond. . . . . . . . . . . . . . . . . . . . . 24 Callery, Mary . . . . . . . . . . . . . . . . . . . . . . . . . 84 Caro, Anthony. . . . . . . . . . . . . . . . . . . . . . . . . 4 Choucair, Saloua Raouda . . . . . . . . . . . . . . . . 33 Chu, Anne. . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Coronel, Rafael . . . . . . . . . . . . . . . . . . . . . . 114 Couch, Christopher. . . . . . . . . . . . . . . . . . . . . 79 Dehner, Dorothy. . . . . . . . . . . . . . . . . . . . . . . . 6 di Suvero, Mark. . . . . . . . . . . . . . . . . . . . . . . . 7 Dimattio, Francesca. . . . . . . . . . . . . . . . . 75, 76 Dine, Jim. . . . . . . . . . . . . . . . . . . . . . . . 68, 105 Ernst, Jimmy . . . . . . . . . . . . . . . . . . . . . . 11, 12 Fahlström, Öyvind. . . . . . . . . . . . . . . . . . . . . . 54 Fetting, Rainer. . . . . . . . . . . . . . . . . . . . . . . . 61 Fisher, Naomi. . . . . . . . . . . . . . . . . . . . . . . . . 62 Ford, George Onslow. . . . . . . . . . . . . . . . . . . . 25 Francis, Sam. . . . . . . . . . . . . . . . . . . . . . 20-22 Frey, Viola . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Fuller, Sue. . . . . . . . . . . . . . . . . . . . . . . . 29, 30 Gallo, Giuseppe. . . . . . . . . . . . . . . . . . . . . . 112 Gates, Theaster. . . . . . . . . . . . . . . . . . . . . . . 51 Gilioli, Emile. . . . . . . . . . . . . . . . . . . . . . . . . . 87 Goicolea, Anthony. . . . . . . . . . . . . . . . . . . . . . 64 Golub, Leon. . . . . . . . . . . . . . . . . . . . . . . . . . 65 Goodnough, Robert . . . . . . . . . . . . . . . . . . . . 14 Gottlieb, Adolph. . . . . . . . . . . . . . . . . . . . . . . 53 Gray, Cleve. . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Grooms, Red. . . . . . . . . . . . . . . . . . . . . . . . . 73 Hague, Raoul. . . . . . . . . . . . . . . . . . . . . . . . . 37 Haines, Peter DeCamp. . . . . . . . . . . . . . . . . . 83 Hanson, Phil . . . . . . . . . . . . . . . . . . . . . . . . . 58 Harrison, Ted. . . . . . . . . . . . . . . . . . . . . . . . . 93 Hayter, Stanley William. . . . . . . . . . . . . . . . . . 19 Hegarty, Valerie . . . . . . . . . . . . . . . . . . . . . . . 94 Held, Al. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Henry, John. . . . . . . . . . . . . . . . . . . . . . . . . . 88 Hepper, Carol. . . . . . . . . . . . . . . . . . . . . . 38, 39 Hepworth, Barbara. . . . . . . . . . . . . . . . . . . . . . 3 Hicks, Sheila. . . . . . . . . . . . . . . . . . . . . . 27, 28 Hinman, Charles . . . . . . . . . . . . . . . . . . . . . . 32 Hoffmann, Eduardo. . . . . . . . . . . . . . . . . . . . . 13 Hunt, Richard. . . . . . . . . . . . . . . . . . . . . . . . 1, 2 Ito, Miyoko. . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Jenkins, Paul. . . . . . . . . . . . . . . . . . . . . . 17, 18 Johnson, Ray. . . . . . . . . . . . . . . . . . . . . . . . . 56 Kahn, Wolf. . . . . . . . . . . . . . . . . . . . . . 100-104

98

POST WAR AND CONTEMPORARY ART

Kapoor, Anish. . . . . . . . . . . . . . . . . . . . . . . . . 81 Kcho. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Keegan, Matt. . . . . . . . . . . . . . . . . . . . . . . . . 48 Kendrick, Mel. . . . . . . . . . . . . . . . . . . . . . . . . 40 King, Philip . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Kingman, Eduardo . . . . . . . . . . . . . . . . . . . . . 70 Kline, Franz . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Komar & Melamid . . . . . . . . . . . . . . . . . . . . 111 Leslie, Alfred. . . . . . . . . . . . . . . . . . . 15, 77, 78 Lokiec, Tim . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Los Carpinteros. . . . . . . . . . . . . . . . . . . . . . . 43 Marca-Relli, Conrad . . . . . . . . . . . . . . . . . . . . 36 Neri, Manuel . . . . . . . . . . . . . . . . . . . . . . . . . 69 Noël, Georges . . . . . . . . . . . . . . . . . . . . . . . . 45 Pylypchuk, Jon. . . . . . . . . . . . . . . . . . . . . 91, 92 Quiriconi, Rodney. . . . . . . . . . . . . . . . . . . . . . 49 Raffael, Joseph . . . . . . . . . . . . . . . . . . . . . . 109 Rauschenberg, Robert . . . . . . . . . . . . . . . . . . 23 Resnick, Milton . . . . . . . . . . . . . . . . . . . . . 9, 10 Rezac, Richard. . . . . . . . . . . . . . . . . . . . . . . . 82 Rossi, Barbara. . . . . . . . . . . . . . . . . . . . . . . . 60 Ryan, Anne . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Segal, George . . . . . . . . . . . . . . . . . . . . . . . . 80 Shapiro, Joel. . . . . . . . . . . . . . . . . . . . . . . . . 52 Sharrer, Honore. . . . . . . . . . . . . . . . . . . . . . 116 Sillman, Amy . . . . . . . . . . . . . . . . . . . . . . . . . 99 Statom, Therman. . . . . . . . . . . . . . . . . . . . . . 97 Sultan, Donald. . . . . . . . . . . . . . . . . . . 107, 108 Surls, James. . . . . . . . . . . . . . . . . . . . . . . . . 95 Tapies, Antoni . . . . . . . . . . . . . . . . . . . . . . . . 85 Tunney, Peter. . . . . . . . . . . . . . . . . . . . . . . . 110 Wegner, Peter. . . . . . . . . . . . . . . . . . . . . . . . . 46 Wilde, John . . . . . . . . . . . . . . . . . . . . . . . . . 115 Wirsum, Karl . . . . . . . . . . . . . . . . . . . . . . 57-59 Wong, Tony W. H.. . . . . . . . . . . . . . . . . . . . . . 74 Yoshida, Ray . . . . . . . . . . . . . . . . . . . . . . . . . 55

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.

ALEX KATZ, (AMERICAN, B. 1927), JANUARY 7, 1993, COLOR AQUATINT TO BE OFFERED IN OUR UPCOMING PRINTS AND MULTIPLES AUCTION ON MAY 22.

U P C O M I N G AUC T I ON S C H E D U L E 657 | POST WAR AND CONTEMPORARY ART MAY 22 | CHICAGO

685 | FINE FURNITURE, DECORATIVE ARTS AND SILVER JULY 18 | ONLINE ONLY

658 | PRINTS AND MULTIPLES MAY 22 | CHICAGO

696 | ENTERTAINMENT AND TELEVISION MEMORABILIA JULY 31 | CHICAGO

656 | AMERICAN AND EUROPEAN ART MAY 23 | CHICAGO

687 | INTERIORS AUGUST 15 | ONLINE ONLY

679 | ESSENTIAL JEWELRY AND ARTISAN SILVER JEWELRY JUNE 4 | ONLINE ONLY

689 | ESSENTIAL JEWELRY AUGUST 20 | ONLINE ONLY

675 | ATLANTA INTERIORS JUNE 7 | ONLINE ONLY 670 | PALM BEACH COLLECTIONS JUNE 18 | ONLINE ONLY 669 | NUMISMATICS JUNE 20 | ONLINE ONLY 671 | LUXURY ACCESSORIES AND COUTURE JUNE 21 | ONLINE ONLY 672 | INTERIORS JUNE 27 | ONLINE ONLY 673 | ASIAN WORKS OF ART JUNE 28 | ONLINE ONLY 683 | FINE FURNITURE, DECORATIVE ARTS AND SILVER JULY 17 | CHICAGO

686 | SUMMER FINE ART SELECTIONS AUGUST 22 | ONLINE ONLY 691 | IMPORTANT JEWELRY AND TIMEPIECES SEPTEMBER 10 | CHICAGO 690 | SUMMER FASHION AND ACCESSORIES SEPTEMBER 11 | ONLINE ONLY 681 | ASIAN WORKS OF ART SEPTEMBER 23 | CHICAGO 692 | ASIAN WORKS OF ART SEPTEMBER 24 | ONLINE ONLY 693 | AMERICAN AND EUROPEAN ART SEPTEMBER 25 | CHICAGO 694 | POST WAR AND CONTEMPORARY ART 695 | PRINTS AND MULTIPLES SEPTEMBER 26 | CHICAGO V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

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AUCTION INQUIRIES FINE ART DEPARTMENT

Joseph Stanfield Director, Senior Specialist josephstanfield @hindmanauctions.com

Zack Wirsum Senior Specialist Post War and Contemporary Art zacharywirsum @hindmanauctions.com

Thomas Galbraith CEO thomasgalbraith@hindmanauctions.com 312.334.4205 Aimee Schneider Executive Assistant aimeeschneider@hindmanauctions.com 312.447.3264

FINANCE Christopher Reimann CFO christopherreimann@hindmanauctions. com 312.280.1212

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT Joan Wagner VP Midwest joanwagner@hindmanauctions.com 312.447.3289 Molly E. Gron, J.D. Senior Director, Business Development mollygron@hindmanauctions.com 312.334.4235 Katelyn Finn Business Development Director katelynfinn@hindmanauctions.com 312.447.3297 Katie Matusik Estates and Appraisals Manager katelynmatusik@hindmanauctions.com 312.334.4224 Vaughn Smith Senior Associate, Business Development vaughnsmith@hindmanauctions.com 312.334.4238 Miranda Luce Business Development Associate mirandaluce@hindmanauctions.com 312.334.4208

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

CONSIGNMENT DEPARTMENT Jim Sharp VP Expertise jimsharp@hindmanauctions.com Maggie Porter VP Sales Strategy maggieporteri@hindmanauctions.com

Tess Hall Senior Specialist American and European Art anastasiahall @hindmanauctions.com

Nate Brady Cataloguer nathanbrady @hindmanauctions.com 312.600.6064

Emily Catrice Cataloguer emilycatrice @hindmanauctions.com 312.334.4228

Fine Art

Asian Works of Art

Joseph Stanfield Director, Senior Specialist josephstanfield@hindmanauctions.com

Annie Wu Specialist anniewu@hindmanauctions.com

Zack Wirsum Senior Specialist zacharywirsum@hindmanauctions.com

Flora Zhang Cataloguer florazhang@hindmanauctions.com

Tess Hall Senior Specialist anastasiahall@hindmanauctions.com

Megan Sadler Account Executive megansadler@hindmanauctions.com 312.600.6066

Nate Brady Cataloguer nathanbrady@hindmanauctions.com Emily Catrice Cataloguer emilycatrice@hindmanauctions.com 312.334.4228 Mary Grace Bilby Account Executive marygracebilby@hindmanauctions.com 312.334.4216 Fine Furniture, Decorative Arts and Silver Corbin Horn Director, Senior Specialist corbinhorn@hindmanauctions.com Mike Intihar Senior Specialist mikeintihar@hindmanauctions.com Nick Coombs Specialist nickcoombs@hindmanauctions.com Genevieve King Cataloguer genevieveking@hindmanauctions.com Modern Design Hudson Berry Specialist hudsonberry@hindmanauctions.com Mike Intihar Senior Specialist mike@hindmanauctions.com Cassia Baker Manager, Client Accounts cassiabaker@hindmanauctions.com 312.447.3282 Fine Books and Manuscripts Gretchen Hause Director, Senior Specialist gretchenhause@hindmanauctions.com Maria Fernandez Account Executive mariafernandez@hindmanauctions.com 312.334.4236

Raluca Mondi Consignment Coordinator ralucamondi@hindmanauctions.com 312.447.3263 100 P O S T WA R A N D C O N T E M P O R A R Y A R T

Fine Jewelry and Timepieces Katie Guilbault, G.G. Director, Senior Specialist katieguilbault@hindmanauctions.com Jamie Henderson Specialist jamiehenderson@hindmanauctions.com Nicole Gunn, G.G. Specialist, Florida Region nicolegunn@hindmanauctions.com Marisa Ackerman, G.G. Specialist marisaackerman@hindmanauctions.com Sally Klarr, G.G. Specialist sallyklarr@hindmanauctions.com Hana Thomson Cataloguer hanathomson@hindmanauctions.com Madeline Schroeder Account Executive/Cataloguer madelineschroeder@hindmanauctions. com 312.334.4223 Briar Koehl Account Executive briarkoehl@hindmanauctions.com 312.600.6075 Luxury Accessories and Couture Timothy Long Director, Senior Specialist timothylong@hindmanauctions.com Dawn Butler Account Executive dawnbutler@hindmanauctions.com 312.447.3288 Arts of the American West Alexandria Dreas Consignment Manager alexandriadreas@hindmanauctions.com 303.825.1855 Interiors Gia Spezia, Director giaspezia@hindmanauctions.com 312.334.4219

Mary Grace Bilby Account Executive marygracebilby @hindmanauctions.com 312.334.4216

REGIONAL OFFICES Kathleen Brennan Account Executive kathleenbrennan@hindmanauctions.com 312.334.4234 Sabrina Granados Account Executive sabrinagranados@hindmanauctions.com 312.280.1212 Atlanta 668 Miami Circle NE Atlanta, Georgia 30324 404.800.0192 Denver 1024 Cherokee Street, Suite 200 Denver, Colorado 80204 303.825.1855 Milwaukee 414 East Mason Street Milwaukee, Wisconsin 53202 414.220.9200 Naples 850 6th Avenue South Naples, Florida 34102 239.643.4448 West Palm Beach 1608 South Dixie Highway West Palm Beach, Florida 33401 561.833.8053 Scottsdale 15475 North Greenway Hayden Loop Suite B17 Scottsdale, Arizona 85260 480.490.3175 St. Louis 32 North Brentwood Boulevard Clayton, Missouri 63105 314.833.0833 Kansas City Pam Kirkland pamkirkland@hindmanauctions.com 314.833.0833 Rockford, Illinois Janet Moore 815.399.3983 Ohio Macy Nyhart Hansen 513.560.3200 Washington, D.C. Maura Ross 561.676.3199 Mid Atlantic Roger Schrenk and Chris Fultz 703.217.3811 International Tina Fisher Grow 561.315.9100

GUIDE FOR PROSPECTIVE SELLERS Evaluation of Property If you have property you wish to sell, please call our Consignment Department at 312.280.1212 to arrange for a consultation. At that time, you may make an appointment to bring your property or photographs, along with any other pertinent information, to Hindman LLC and we will be happy to provide you with complimentary estimates and advice. If you have a large collection, an appointment may be made to evaluate the property on-site. Fees for on-site visits may vary.

Standard Commission Rates Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; and twenty percent (20%) of the hammer price on each lot sold for less than $5,001, with a minimum commission of $25 per lot sold. If your property fails to reach the reserve price agreed upon between you and Hindman LLC, you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price.

Shipping Arrangements Hindman LLC can advise you as to how to have your property delivered to our galleries. Packing, shipping and insurance are payable by the seller.

In certain instances, packing and shipping costs may be paid by Hindman LLC and deducted from the proceeds of the sale. We may recommend packers and shippers, but we are not responsible for their acts or omissions.

Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances. Please contact our Estates and Appraisals Department at 312.280.1212 for further information.

GUIDE FOR PROSPECTIVE BUYERS Conditions of Sale Hindman LLC encourages all prospective buyers to read the Conditions of Sale printed in this catalogue.

Exhibitions Hindman LLC recommends that all prospective buyers attend the pre-sale exhibition prior to the auction. Staff members are available at our pre-sale exhibitions to advise prospective buyers on particular objects or on any aspect of the bidding process.

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

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

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

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

The normal bidding increments are: $0 - $200 ........................................ $10 $200 - $500 ........................................ $25 $500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $200 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,000 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Over > $200,000 ...... Auctioneer’s Discretion

In-House Bidding Live bidding at Hindman LLC is by paddle only. Please register for a paddle at the entrance of the sales room. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

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

Absentee Bidding If you are unable to attend an auction, you may use the absentee bid form provided at the back of this catalogue. Hindman LLC will exercise written order bids and telephone bids at no additional charge. Lots will always be sold as inexpensively as is allowed other bids and reserves as are on our books or bids executed in competition from the audience.

Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law.

DRIVING DIRECTIONS/PARKING From the WEST: Take I-290 east. Take the Paulina Street/Ashland Boulevard exit 28B. Stay straight to go onto West Congress Parkway. Turn left onto South Paulina Street.

Take a slight right onto West Ogden Avenue. Turn right onto West Lake Street.

Building will be on the left side at 1338 West Lake Street.

From the NORTH/NORTHWEST: Take I-90/I-94 east toward Chicago. Take the Ogden Avenue exit 50A. Stay straight to go onto North Racine Avenue. Turn right onto West Lake Street.

Building will be on the right side at 1338 West Lake Street.

From the SOUTHWEST: Take I-55 north. Exit 292A I-90/I-94 W Wisconsin Follow I-90/I-94 W Wisconsin to the Lake Street exit 51A. Turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street.

From the SOUTH/SOUTHEAST: Take I-90/I-94 west Follow I-90/I-94 W via the exit on the left toward Chicago Loop. Take the Lake Street exit 51A and turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street.

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 101

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

BEFORE THE SALE Prospective buyers are strongly advised to personally examine any property in which they are interested before the auction takes place. Condition reports are usually available on request, on lots with a low estimate of $300 and above.

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

AT THE SALE Refusal of Admission Hindman LLC has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.

Registration before Bidding A prospective buyer must complete and sign a registration form and provide identification before bidding. We may require bank or other financial references.

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

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

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

102 P O S T WA R A N D C O N T E M P O R A R Y A R T

Reserves Some lots in the sale are subject to a reserve which is the confidential minimum price below which such lot will not be sold. The reserve will not exceed the low estimate of the lot. Reserves are agreed upon with consignors or, in the absence thereof, the absolute discretion of Hindman LLC. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. With respect to lots that are offered without reserve, unless there are already competing bids, the auctioneer, in his or her discretion, will generally open the bidding at half of the low estimate for the lot. In the absence of a bid at that level, the auctioneer may proceed backwards at his or her discretion until a bid is recognized, and then continue up from that amount.

Auctioneer’s Discretion The auctioneer has the right at his or her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he or she may decide, to withdraw any lot, and in the case of error or dispute, and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, our sale record is conclusive.

Successful Bid The highest bidder acknowledged by the auctioneer will be the purchaser.

In the case of a tie bid, the winning bidder will determined by the auctioneer at his or her sole discretion. In the event of a dispute between bidders, the auctioneer has final discretion to determine the successful bidder or to reoffer the lot in dispute. If any dispute arises after the sale, the Hindman LLC sale record shall be conclusive. Title passes upon the fall of the auctioneer’s hammer to the highest acknowledged bidder subject to the Conditions of Sale set forth herein, and the bidder assumes full risk and responsibility.

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

The buyer’s premium for purchases made via live online bidding is twenty-six (26%) of the hammer price up to and including $250,000; twenty-one percent (21%) of any amount in excess of $250,000 up to and including $3,000,000; and thirteen percent (13%) of any amount in excess of $3,000,000.

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

Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law.

Collecting Purchases Once Hindman LLC has received all funds due to us, the buyer shall collect purchased lots within seven (7) business days from the date of the sale.

Packing and Shipping If your bid is successful, we can provide you with a list of shippers. We will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. Property will not be released to the shipper without the buyer’s written consent and until payment has been made in full. Packing and handling of purchased lots by us is at the entire risk of the purchaser, and Hindman LLC will have no liability of any loss or damage to such items.

Non Payment If we do not receive payment in full, in good cleared funds, within seven (7) business days following the sale, we are entitled in our absolute discretion to exercise one or more of the following measures, in addition to any additional actions available to us by law: a.) to impose a late charge of one and a half percent (1.5%) per thirty (30) days of the total purchase price b.) to hold the defaulting buyer liable for the total amount due and to begin legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law c.) to cancel the sale d.) to resell the property publicly or privately with such terms as we find appropriate, to resell the property at public auction without reserve, and with the purchaser liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages. In addition, a defaulting purchaser will be deemed to have granted us a security interest in, and we may retain as collateral security for such purchaser’s obligations to us, any property in our possession owned by such purchaser. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or in the case of bank or cashier’s checks, we have confirmed their authenticity.

LIABILITY Condition Reports Hindman LLC is not responsible for the correctness of any statement of any kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lot. Neither the seller, ourselves, our officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, completeness, authorship, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind whatsoever is excluded by this paragraph. Items under $1,000 are collated upon request.

Purchased Lots If for any reason a purchased lot cannot be delivered in the same condition as at the time of sale, or should any purchased lot be stolen, mis-delivered or lost prior to delivery, Hindman LLC shall not be liable for any amount in excess of that paid by the purchaser.

Legal Ramifications The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of the jurisdiction in Illinois. If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

Discretion Any and all of the conditions may be waived or modified in the sole discretion of Hindman LLC.

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

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

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 103

UPCOMING AUCTIONS

SALE 658

PRINTS AND MULTIPLES Wednesday May 22 | 2PM CT Chicago | Live + Online SALE 656

AMERICAN AND EUROPEAN ART Thursday May 23 | 10AM CT Chicago | Live + Online INQUIRIES

hindmanauctions.com 1338 West Lake Street Chicago, Illinois 60607 312.280.1212

IMAGES TOP TO BOTTOM Sale 658 | Lot 49 Wayne Thiebaud, (American, b. 1920) Bow Ties, 1990, lithograph in colors on wove paper Sale 658 | Lot 2 Frank Stella, (American, b.1936) Agua Caliente from the Race Track, 1972 screenprint Sale 656 | Lot 58 Pablo Picasso, (Spanish, 1881-1974) Abstract Composition, 1920, gouache on paper Sale 656 | Lot 59 George Copeland Ault, (American, 1891-1948) Morning in Brooklyn, 1929, oil on canvas

BID FORM

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

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

NAME

The normal bidding increments are:

S ALE No . / NAM E

BUSINE S S N A ME

$0 – 200

$10

$200 – 500

$25

$500 – 1,000

BILLING A D D R E S S

$100

$2,000 – 5,000

$200

$5,000 – 10,000 CITY

STAT E

COUNT RY / ZI P

$1,000

$20,000 – 50,000

$2,000

$100,000 – 200,000 $200,000 +

P RIMARY P H O N E

S ECONDARY PHONE

EMAIL

FAX

DATE

(FOR HIN D MA N LC C )

$5,000 $10,000 AUCTIONEER’S DISCRETION

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

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

SIGNATU R E

$500

$10,000 – 20,000 $50,000 – 100,000

CONTAC T N A ME

$50

$1,000 – 2,000

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

25%

$250,001 – 3,000,000

20%

$3,000,001 +

12%

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

DATE

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

LO T D E S C R IPT I O N

AB SE N T E E BI D

PHONE BI D

BACK- UP BI D

USD ($) L I M I T EXC L. BUYER’S PREMIUM

PLEAS E C HEC K

FOR TELEPHONE B IDDER S ONLY

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How did you hear about Hindman?

Lot 57 | Ray Johnson (American, 1927-1995) Christophe de Menil Silhouette, c. 1979-87-88-90-91-92 collage on illustration board

POS TWAR AND C ONTEM POR ARY AR T 5 | 22 | 2019

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