Sale 908 | Prints and Multiples

PRINTS & MULTIPLES 29 SEPTEMBER 2021

PRINTS & MULTIPLES SALE 908 29 September 2021 10am CT | Chicago Lots 1–199 P R E V I E W B Y A P P O I N T ME N T O N LY P RO P E R T Y P I C K U P H O U R S Monday–Friday | 9:00am–4:30pm By appointment only.

312.280.1212 All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale.

CONTENTS Prints & Multiples | Lots 1– 199 1– 121 Artist Index 122 Hindman Team 124 Inquiries 125 Conditions of Sale 127

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, and sign up to bid, visit hindmanauctions.com or on the Hindman App. Download the Hindman App for iOS and Android

FRONT COVER Lot 58

DEN 1057930 FL AB3688 GA AU-C003121 IL 444.000521 OH 2019000131 MO STL 102646 © Hindman LLC 2021

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PRINTS & A NM D UM L TUILPTLI EP SL E S

P RO P E R T Y F RO M T H E T R U S T S A N D E S TAT E S O F Richard Altermann, Santa Fe, New Mexico Professor Ethan D. Alyea, Jr., Bloomington, Indiana Julia W. Bishop, East Lansing, Michigan Timothy E. Burton, Brookfield, Wisconsin A Denver Business and Community Leader, Denver, Colorado Terrence J. Dimoff, Milwaukee, Wisconsin R. Lawrence Dunworth, Palm Beach, Florida Ryna Jean Grossman, Scottsdale, Arizona The Hirschfield Estate, Santa Barbara, California The Joshua B. Kind Trust, Downers Grove, Illinois A Jupiter Island Estate, Hobe Sound, Florida 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 Marianella Aliaga, Denver, Colorado William R. Colson, Chicago, Illinois Lynne Galvin, Ocala, Florida The JFM Foundation, Denver, Colorado The Madison Museum of Contemporary Art Gayle Gordon Nering, Naples, Florida A Private Collection A Private Collection, Chevy Chase, Maryland A Private Collection, Chicago, Illinois A Private Collection of a Gentleman, Chicago, Illinois A Private Collector, St. Louis, Missouri Hilary Schneider, Chicago, Illinois Scott H. Lang and JoAnn Seagren, Chicago, Illinois Claire and Sergey Sidorov, Geneva, Switzerland Mr. Curtis Smith, Memphis, Tennessee Mr. Matthew O’Donnell, Chicago, Illinois Niels Olsen, Evanston, Illinois Margaret Werchek, Naples, Florida Ginny L. Williams, Denver, Colorado P RO P E R T Y S O L D T O B E N E F I T The Care of Collections and The Mary Silver Fund for Acquisitions, The Palm Springs Art Museum, Palm Springs, California The School Sisters of Notre Dame

O P P O S I TE Lot 33

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CONTEMPORARY PRINTS LOTS 1– 6 7

O P P O S I TE Lot 24

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Louise Nevelson

Louise Nevelson

(American, 1899 – 1988) Dawnscape, 1975 cast paper relief signed, dated, and numbered 25/75 in pencil 24 × 27 inches.

Provenance: Pace Editions, New York Richard Gray, Chicago Van Straaten Gallery, Chicago $3,000 – 5,000

(American, 1899 – 1988) Night Tree, 1972 embossed lead mounted on paper signed, titled, and inscribed ‘A.P. ’ in pencil 23 1/2 × 15 inches.

Property of the Hirschfield Estate, Santa Barbara, California Provenance: Pace Editions, New York $2,000 – 4,000

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Louise Nevelson

(American, 1899 – 1988) Morning Haze, 1978 cast paper relief, diptych signed, dated, and numbered 93/125 in pencil 33 3/4 × 45 3/8 inches. $5,000 – 7,000

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Bridget Riley

(British, b. 1931) Untitled, 1971 screenprint signed, dated, and numbered 27/75 in pencil 38 × 11 inches. $4,000 – 6,000

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*5

Frank Stella

(American, b. 1936) Del Mar (from Race Track Series), 1972 screenprint signed, dated, and numbered 27/75 in pencil 15 × 75 inches.

Property from the Estate of R. Lawrence Dunworth, Palm Beach, Florida Literature: Richard Axsom 73 Gemini G.E.L. 377 $3,000 – 5,000

*6

*7

Josef Albers

Frank Stella

(German/American, 1888 – 1976) SP-II, 1967 screenprint initialled, titled, dated and numbered 93/125 in pencil 19 1/2 × 19 1/2 inches.

(American, b. 1936) Calnagor (from Imaginary Places II), 1996 color etching with aquatint and relief on handmade TGL paper signed, dated, and numbered 18/34 in pencil 26 × 26 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana

Property From the Estate of Richard Altermann, Santa Fe, New Mexico

$1,500 – 2,500

Provenance: Gallery Keoki, Olympic Valley Altermann Galleries, Santa Fe $2,000 – 4,000

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Frank Stella

(American. b. 1936) Swoonaire (from Imaginary Places), 1994 etching, aquatint, relief, screenprint and lithograph in colors on TGL handmade paper signed, dated, and inscribed P.P.I. in pencil 42 × 52 1/2 inches.

Property From the Estate of Richard Altermann, Santa Fe, New Mexico $8,000 – 12,000

*9

Frank Stella

(American, b. 1936) Inaccessible Island Rail (from Exotic Bird Series), 1977 offset lithograph and screenprint in colors signed, dated, and numbered 43/50 in pencil 32 1/4 × 42 1/2 inches.

Property from the Collection of Scott H. Lang and JoAnn Seagren, Chicago, Illinois $6,000 – 8,000

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Richard Tuttle

(American, b. 1941) Other, 2009 hand formed pigmented paper pulp on handmade wooden brackets signed, dated, titled, and numbered 5/10 in marker 25 × 54 × 3 3/8 inches. $6,000 – 8,000

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THE CORITA KENT COLLECTION: A SALE TO BENEFIT THE SCHOOL SISTERS OF NOTRE DAME The bold screenprints of Corita Kent (1918–1986) visualized some of the most socially and politically turbulent times of the twentieth century. Using words and images culled from consumer culture, popular music, literature, and spiritual sources, Kent, as an artist and educator, advocated for just causes and became increasingly political throughout her career. She used neon colors and text ranging from Pop Art, The Beatles, poetry, and psalms to slogans and advertisements. With this work, she denounced assassinations and the Vietnam War while supporting the Civil Rights Movement and various political campaigns. These works and the 32 years that Kent spent in the religious order defined Kent’s enduring artistic persona as the “Painting Nun.” Kent was born in Iowa in 1918 as Frances Elizabeth Kent. After she joined the order of the Immaculate Heart of Mary in Los Angeles at the age of 18, she took on the name Sister Mary Corita. She completed her undergraduate studies at the order-run Immaculate Heart College, later teaching art at the college for 22 years and eventually becoming the department head. While teaching, she finished her master’s studies at the University of Southern California and began screenprinting in 1951, her most employed medium. One reason that she appreciated serigraphy was that it allowed her work to be widely accessible. Her work became more politically engaged during the 1960s, and she reached international success. Among the press and attention she received, often with headlines gleefully reveling in her occupation as a nun, was Time’s Woman of the Year in 1966 and the cover of Newsweek on December 25, 1967 (“Sister Corita. The Nun: Going Modern”).

In 1967, she sought dispensation from her vows and left the religious order following a sabbatical brought on by exhaustion. She moved across the country to Boston but left on good terms, even leaving her remaining collection of works and copyright to the order following her death. In Boston, Kent worked on some of her largest and subsequently well-known commissions, while also battling cancer in 1974 and 1977. In 1971, she took a commission from the Boston Gas Company to paint an enormous gas tank visible from the Boston interstate. This work, of six stripes of color on a white background, was then the largest copyrighted artwork in the world. Kent returned to the use of six colored stripes in 1985, when creating a limited-edition postage stamp on love for the United States Postal Service, adding the words “Love is hard work”. The stamp proved very popular, but Kent protested the unveiling when she was told it would occur on the set of the TV show, “Love Boat,” a romantic comedy premised on new couples becoming romantically involved on every cruise. Hollywood love wasn’t what she had in mind; rather, she had envisioned the stamp unveiled at the United Nations as a symbol of universal love—the kind that she had advocated for throughout her career. Kent passed away in 1986 in the wake of another bout with cancer. Her artistic style, dubbed “Hiroshima haiku” by journalist Linell Smith, as it combined “childlike calligraphy with deadly images,” galvanized the public and remains a spirited part of socio-political discourse today.

-Smith, Linell. “The Painting Nun and the signs of our times.” The Evening Sun, May 1, 1985.

Baltimore.

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Corita Kent

(American, 1918 – 1986) Rainbow Swash (maquette for the Boston Gas Tank), 1971 acrylic and paper on plaster signature incised and painted, stamped ‘copyright 1971 Boston Gas Company’ 2 1/2 × 3 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $1,500 – 2,500

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Corita Kent

(American, 1918 – 1986) I Give Up, Wet & Wild, IF (a group of three prints) screenprints each signed in pencil largest: 30 1/2 × 22 1/2 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $2,000 – 4,000

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Corita Kent

(American, 1918 – 1986) Vietnam, Phil and Dan, Why Do You Not Think of Him (a group of three prints) screenprints each signed in pencil largest: 22 × 34 1/2 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $2,000 – 4,000

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Corita Kent

(American, 1918 – 1986) The Cry That Will Be Heard, I Am Alive, and Tiger (a group of three prints) screenprints each signed in pencil largest: 22 1/2 × 33 1/4 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $2,000 – 4,000

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Corita Kent

(American, 1918 – 1986) That Man Loves and There is No Object So Soft (a pair of prints) screenprints each signed in pencil largest: 19 1/4 × 22 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $1,500 – 2,500

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Corita Kent

(American, 1918 – 1986) Love at the End, I’m Glad I Can Feel Pain, and My People (a group of three prints) screenprints each signed in pencil largest: 14 × 35 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $2,000 – 4,000

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Corita Kent

(American, 1918 – 1986) You Shoot at Yourself, America, and Help or Something (a pair of prints) screenprints each signed in pencil largest: 22 1/2 × 34 1/2 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $1,500 – 2,500

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Corita Kent

(American, 1918 – 1986) The Sea Queen and Christy (a pair of prints) screenprints each signed in pencil largest: 19 1/4 × 22 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $1,500 – 2,500 16

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Corita Kent

(American, 1918 – 1986) He Repeated the Letters, Here, and Perhaps We Could Endure (a group of three prints) screenprints each signed in pencil largest: 22 1/4 × 34 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $2,000 – 4,000

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Corita Kent

(American, 1918 – 1986) Love Your Brother, Green Fingers, and A Passion for the Possible (a group of three prints) screenprints each signed in pencil each: 22 1/2 × 11 1/2 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $2,000 – 4,000

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Corita Kent

(American, 1918 – 1986) With Love to the Everyday Miracle, Q Elephant’s Q, and The Lake of Beauty (a group of three prints) screenprints each signed in pencil largest: 22 1/4 × 32 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $2,000 – 4,000

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Corita Kent

(American, 1918 – 1986) Handle With Care and No Right to the Fruits (a pair of prints) screenprints each signed in pencil largest: 22 × 33 1/2 inches.

Property from The School Sisters of Notre Dame, being sold to benefit the organization Provenance: Gift from the artist to the School Sisters of Notre Dame $1,500 – 2,500 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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*23

Alan Ruppersberg

(American, b. 1944) Why is Everything the Same? screenprint on canvas 21 1/4 × 13 inches.

Property from the Collection of Marianella Aliaga, Denver, Colorado $2,000 – 4,000

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Ed Ruscha

(American, b. 1937) Main Street (from Harvey Gantt Portfolio), 1990 lithograph signed, dated, and numbered 123/250 in pencil 8 1/4 × 10 1/4 inches.

Property belonging to the JFM Foundation Collection, Denver, Colorado Literature: Gemini G.E.L. 1453 $3,000 – 5,000

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Wayne Thiebaud

(American, b. 1920) Half Cakes (from Seven Still Lifes and a Silver Landscape), 1971 screenprint signed, dated, and numbered 23/50 in pencil 18 × 16 1/4 inches.

Published by Parasol Press, Ltd., New York $5,000 – 7,000

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Richard Diebenkorn

(American, 1922 – 1993) Untitled (from Harvey Gantt Portfolio), 1990 2-color lithograph signed, dated, and numbered 47/250 in pencil 13 × 15 3/4 inches.

Property belonging to the JFM Foundation Collection, Denver, Colorado Literature: Gemini G.E.L. 1452 $800 – 1,200

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Willem de Kooning

(American/Dutch, 1904 – 1997) Untitled (Dunce Hat), 1966 lithograph 24 × 20 1/2 inches.

Printed at Hollander Workshop, bearing their blindstamp $2,000 – 4,000

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*28

Tom Wesselmann

(American, 1931 – 2004) Lulu, 1982 lithograph on Japon signed, dated, and numbered XXIV/XXV in pencil 16 1/2 × 25 inches.

Property from the Collection of William R. Colson, Chicago, Illinois $4,000 – 6,000

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*29

Alex Katz

(American, b.1927) Night: William Dunas Dance Suite 1 – 4 Pamela (set of four prints), 1983 lithograph each signed and numbered in pencil from the edition of 100 and 125 each: 25 × 31 1/4 inches.

Property from the Collection of Claire and Sergey Sidorov, Geneva, Switzerland $8,000 – 12,000

*30

Julian Opie

(British, b. 1958) Six prints from 26 Portraits, 2006 lithographs unsigned, numbered 178/250 on the colophon (copy provided) largest: 15 × 9 1/8 inches.

Property from the Collection of Claire and Sergey Sidorov, Geneva, Switzerland $4,000 – 6,000

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Andy Warhol

(American, 1928 – 1987) Edward Kennedy, 1980 screenprint with diamond dust on Lenox Museum Board signed and numbered 34/300 in pencil 40 × 32 inches.

Property from a Private Collection, Chevy Chase, Maryland Published to raise funds for the Edward Kennedy primary campaign for president.

Literature: Feldman & Schellmann II.240 $7,000 – 9,000

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Andy Warhol

(American, 1928 – 1987) Queen Ntombi Twala of Swaziland (from Reigning Queens), 1985 unique color screenprint on Lenox Museum Board signed and numbered TP 3/30 in pencil 39 3/8 × 31 1/2 inches.

Property from the Collection of Marianella Aliaga, Denver, Colorado Literature: Feldman & Schellmann IIB.346-349 $10,000 – 15,000

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Andy Warhol

(American, 1928 – 1987) John Wayne (from Cowboys and Indians), 1986 screenprint signed and numbered 211/250 in pencil 36 × 36 inches.

Property from the Estate of Timothy E. Burton, Brookfield, Wisconsin Literature: Feldman & Schellmann II.377 $40,000 – 60,000

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Jasper Johns

(American, b. 1930) Untitled (from Harvey Gantt Portfolio), 1990 3-color lithograph signed, dated, and numbered 34/200 in pencil 10 1/2 × 8 inches.

Property belonging to the JFM Foundation Collection, Denver, Colorado Literature: Gemini G.E.L. 1456 $1,500 – 2,500

*35

Sam Francis

(American, 1923 – 1994) Ariel’s Ring, 1972 8-color screenprint signed and numbered 80/80 in pencil 41 × 50 inches.

Property from the Estate of Ryna Jean Grossman, Scottsdale, Arizona Literature: Gemini G.E.L. 494 $1,000 – 2,000

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Jim Dine

(American, b. 1935) Dutch Hearts, 1970 lithograph with collage signed and numbered 55/85 in pencil 16 3/4 × 20 inches. $2,000 – 4,000

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Richard Serra

(American, b. 1938) F*** Helms (from Harvey Gantt Portfolio), 1990 1-color screenprint with embossing signed, dated, and numbered 32/250 in pencil 14 × 15 inches.

Property belonging to the JFM Foundation Collection, Denver, Colorado Literature: Gemini G.E.L. 1454 $1,500 – 2,500

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Robert Rauschenberg

(American, 1925 – 2008) Spackle (from Harvey Gantt Portfolio), 1990 3-color lithograph signed, dated, and numbered 42/250 in pencil 5 3/4 × 4 1/2 inches.

Property belonging to the JFM Foundation Collection, Denver, Colorado Literature: Gemini G.E.L. 1449 $700 – 900

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Robert Rauschenberg

(American, 1925 – 2008) Teapots from Studies for Chinese Summerhall, 1983 c-print signed and inscribed “USF X/XXX” in marker 26 1/2 × 27 inches.

Property from a Jupiter Island Estate, Hobe Sound, Florida $800 – 1,200

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Claes Oldenburg

(American, b. 1929) Butt for Gantt (from Harvey Gantt Portfolio), 1990 3-color lithograph with embossing initialled and numbered 241/250 in pencil 19 × 18 inches.

Property belonging to the JFM Foundation Collection, Denver, Colorado Literature: Gemini G.E.L. 1451 $800 – 1,200

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Robert Motherwell

(American, 1915 – 1991) Summer Trident (from Harvey Gantt Portfolio), 1990 color lithograph with chine collé to BFK Rives initialled and numbered 49/200 in pencil 8 × 10 inches.

Property belonging to the JFM Foundation Collection, Denver, Colorado Literature: Engberg & Banach 505 $1,000 – 2,000

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Robert Motherwell

(American, 1915 – 1991) Yellow Flight, 1986 aquatint, lift-ground etching and aquatint on Georges Duchêne Hawthorne of Larroque handmade paper signed and inscribed AP I/ VIII in pencil, with artist’s blindstamp 9 1/2 × 23 1/4 inches.

Literature: Engberg & Banach 387 Provenance: Jerald Melberg Gallery, Charlotte, North Carolina $4,000 – 6,000

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Jennifer Bartlett

(American, b. 1941) Shadow (black and white set after aquatint), 1984 etching printed on four sheets each panel 29 3/4 × 22 inches.

Literature: Orlando Museum 12 Exhibited: Whitney Museum of American Art: “Contemporary Prints: The Working Process” January 18 – March 30, 1985 $2,000 – 4,000

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William T. Wiley

William T. Wiley

Published by Crown Point Press

Published by Crown Point Press

$1,000 – 2,000

$1,000 – 2,000

(American, b. 1937) Line Fever, 1978 soft ground etching signed, dated, and numbered 21/25 in pencil 28 × 22 inches.

(American, b. 1937) O.T.P.A.G. Fishing, 1978 soft ground etching signed, dated, and inscribed A/P in pencil 22 × 28 inches.

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William T. Wiley

(American, b. 1937) Thank You Chicago (Hide), 1972 lithograph signed, dated, and numbered 34/65 in pencil 31 × 45 inches. $1,000 – 2,000

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William T. Wiley

(American, b. 1937) Erie Cafe, 1976 lithograph signed, dated, and numbered 5/10 in pencil 17 1/2 × 14 inches. $1,500 – 2,500

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William T. Wiley

(American, b. 1937) Spooky on the Line, 1979 lithograph signed, dated and inscribed ‘trial proof’ in pencil 29 3/4 × 22 1/8 inches.

Property from a Private Collection, Chicago, Illinois $1,500 – 2,500

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William T. Wiley

(American, b. 1937) Now Here’s that Blame Treaty, 1983 aquatint with soft ground etching and burnishing signed, dated, and inscribed ‘A.P. 5’ in pencil 44 × 35 1/2 inches.

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William T. Wiley

Published by Crown Point Press

(American, b. 1937) Monoprint (Self Portrait in a Dunce Cap/ Mr. Unnatural), 1976 monoprint signed and dated in pencil 15 × 9 inches.

$2,000 – 4,000

$2,000 – 4,000

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William T. Wiley

(American, b. 1937) Rhoom for Error #31, 1983 monoprint with soft ground etching signed, dated, and inscribed 31 A.P. in pencil 20 3/4 × 28 3/4 inches.

Published by Crown Point Press $2,000 – 4,000

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Larry Rivers

(American, 1923 – 2002) Fred and Ginger (Red Dip), 1999 lithograph on foam core signed, dated, and numbered 14/53 in marker 34 1/4 × 29 1/2 × 3 inches.

Property from a Private Collection Provenance: Marianne Friedland Gallery, Naples, Florida $3,000 – 5,000

53

Christo

(American, 20th/21st Century) Wrapped Roses, 1968 mixed media signed, dated, and numbered 41/100 in marker 12 × 6 1/2 inches. $3,000 – 5,000

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Ian Davenport

(British, b. 1966) Staggered Lines (a pair of works), 2011 unique color etchings signed, dated, and numbered 1/1 in pencil each: 30 1/2 × 22 7/8 inches. $2,000 – 4,000

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Ed Paschke

(American, 1939 – 2004) Viseon, 1984 lithograph signed, titled, dated, and numbered 50/100 in pencil 27 × 27 inches. $800 – 1,200

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*56

Karl Wirsum

(American, 1939 – 2021) What’s the Confusion, 1974 screenprint signed, titled, and inscribed ‘A/P’ in pencil 38 × 30 inches.

Property from the Collection of Niels Olsen, Evanston, Illinois $1,500 – 2,500

*57

Karl Wirsum

(American, 1939 – 2021) Remind Me to Call Off the Dogs, 1974 screenprint signed, titled, and inscribed ‘A/P’ in pencil 25 1/4 × 21 inches.

Property from the Collection of Niels Olsen, Evanston, Illinois $1,500 – 2,500

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Kerry James Marshall

(American, b. 1955) Me, 2012 linocut signed, titled, dated, and numbered 1/5 in pencil 12 × 10 inches.

Property from a Private Collection, Chicago, Illinois $40,000 – 60,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

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Alvin Loving

(American, 1935 – 2005) Life and Continued Growth, 1994 monoprint with hand painting and collage 10 × 10 inches. $1,000 – 2,000

*60

*61

Louise Bourgeois

Louise Bourgeois

Property from the Collection of Marianella Aliaga, Denver, Colorado

Property from the Ginny L. Williams Collection, Denver, Colorado

$2,000 – 4,000

Lot Notes: Bourgeois created prints as Christmas gifts for a circle of friends. The image presented here was printed on fabric as well as paper for the year 2001.

(American/French, 1911 – 2010) Untitled, no. 3 of 12 (Attempt at Meeting; Hair) (from Anatomy) etching initialed and inscribed ‘SPI 2’ in pencil 7 1/4 × 4 inches.

(American/French, 1911 – 2010) The Smile, 2001 lithograph on fabric embroidered initial lower right, inscribed and numbered 31/40 in pen 11 3/4 × 9 3/8 inches.

$2,000 – 4,000 40

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Rufino Tamayo

(Mexican, 1899 – 1991) Mujer con los brazos en alto, 1976 mixografia print signed and numbered VII/XXXV in white pencil 29 3/4 × 22 1/2 inches.

Provenance: Wolf Schulz Gallery, San Francisco, California $2,000 – 4,000

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*63

Yozo Hamaguchi

(Japanese, 1919 – 2000) A group of four prints (Fourteen Cherries; Clover Seeds; Pomegranate and Knife; Black Cherry), 1966 mezzotint each signed in pencil largest: 20 1/4 × 9 3/4 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $3,000 – 5,000 42

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Esteban Vincente

(Spanish/American, 1903 – 2001) A mis Soledades voy, de mis soledades vengo, 1999 10 color screenprints on textured wove paper with complete text and linen portfolio case signed in pencil and numbered 53/100 in pencil each: 18 x 14 3/4 inches.

Property from a Private Collection, New York $3,000 – 5,000

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*65

Krishna Reddy

(Indian, 1925 – 2018) Three Graces, 1958 etching signed, inscribed E/A, and titled in pencil 9 1/2 × 19 1/4 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $2,000 – 4,000

*66

Krishna Reddy

(Indian, 1925 – 2018) Germination, 1961 etching signed, inscribed E/A, and titled in pencil 12 × 17 1/2 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $700 – 900

*67

Krishna Reddy

(Indian, 1925 – 2018) Three Figures, 1967 etching signed and numbered 15/75 in pencil 13 1/2 × 17 1/4 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $800 – 1,200

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

45

46

P R I N T S A N D M U LT I P L E S

MODERN PRINTS LOTS 6 8 – 1 5 4

O P P O S I TE Lot 142

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

47

*68

Henry Moore

(British, 1898 – 1986) Reclining Figure, 1948 screenprint on linen from the edition of 30, signed and dated 70 × 100 inches.

Property from the Collection of Gayle Gordon Nering, Naples, Florida Provenance: Collection of Martin Gordon Martin Gordon was the founder and publisher of Gordon’s Print Price Annual and a co-founder of the International Fine Print Dealer’s Association. $8,000 – 12,000 *69

Graham Sutherland

(British, 1903 – 1980) Pelican, 1953 lithograph signed and numbered 17/65 in pencil 17 1/4 × 17 1/2 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $800 – 1,200

48

P R I N T S A N D M U LT I P L E S

70

Alexander Calder

(American, 1898–1976) Noble Cavalier color lithograph signed and numbered 121/150 in pencil 15 × 11 inches. $400 – 600

71

Alexander Calder

(American, 1898 – 1976) Triangle et Quadrilatère lithograph signed and numbered 70/75 in pencil 14 1/2 × 11 inches.

Property from a Private Collection, Chicago, Illinois $1,000 – 2,000

72

Alexander Calder

(American, 1898 – 1976) Composition VII; Three Pyramids (A pair of prints) color lithographs each signed and numbered 44/100 in pencil each: 20 1/2 x 28 1/4 inches. $4,000 – 6,000

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

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73

Salvador Dali

(Spanish, 1904–1989) Petites Nus (from Apollonaire) (a group of 7 prints from the portfolio of 8) etchings each signed and numbered 93/95 in pencil largest: 7 × 3 1/2 inches.

Literature: Field 72 – 4 $2,000 – 4,000

50

P R I N T S A N D M U LT I P L E S

74

Salvador Dali

(Spanish, 1904 – 1989) Memories of Surrealism (complete set of twelve including original portfolio box), 1971 photolithographs with etching on Arches paper each signed and numbered A 21/175 in pencil each 20 3/4 × 16 3/8 inches.

Literature: Field 71 – 15 $10,000 – 15,000

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

51

75

Victor Vasarely

(French/Hungarian, 1906 – 1997) Granat negatif, 1967 painted wood edition IX 15 × 14 1/4 inches. $5,000 – 7,000 76

Victor Vasarely

(French/Hungarian, 1906 – 1997) Planetary Folklore Participations No. 1, 1969 metal, plastic, and paper edition of 100 20 × 20 inches. $2,000 – 4,000

77

Joan Miró

(Spanish, 1893 – 1983) Les essencies de la terra, 1968 lithograph with hand-coloring on Japon nacré signed in pencil 16 × 10 inches.

Literature: Mourlot 579 $5,000 – 7,000

52

P R I N T S A N D M U LT I P L E S

*78

Joan Miro

(Spanish, 1893 – 1983) Dormir sous la lune, 1969 etching signed and numbered 43/75 in pencil 28 × 39 inches.

Property from the Collection of William R. Colson, Chicago, Illinois Literature: Dupin 495 $5,000 – 7,000

79

Fernand Leger

(French, 1881 – 1955) Still Life, 1951 lithograph signed and numbered 28/50 in pencil 5 × 7 1/4 inches. $1,000 – 2,000

80

Jacques Villon

(French, 1875 – 1963) La Tasse de Thé,after “Le goûter”

by Jean Metzinger, 1929 aquatint signed Jacques Villon, signed Metzinger, and numbered 112/200 in pencil 18 1/2 × 17 1/4 inches.

Property from a Private Collection, Chicago, Illinois $1,000 – 1,500

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

53

81

Max Ernst

(German, 1891–1976) Un Poème dans chaque livre (from Un Poème dans chaque livre), 1956 lithograph signed and numbered 33/40 in pencil 5 × 5 1/2 inches. $2,000 – 3,000

82

Georges Braque

83

(French, 1882 – 1963) Le coq (Frontispiece for Mods and Movements in Art, Vol VII, No. 27 – 28), 1952 lithograph signed and numbered 60/80 in pencil 12 × 7 1/2 inches.

George Braque

$1,000 – 2,000

$3,000 – 5,000

54

P R I N T S A N D M U LT I P L E S

(French, 1882–1963) Helios II, 1946 lithograph signed and numbered 7/22 in pencil 12 1/2 × 10 1/4 inches.

*84

Jean Dubuffet

(French, 1901 – 1985) Chat furieux, 1953 lithograph signed, titled, dated, and numbered 14/20 in pencil 11 × 15 3/4 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $3,000 – 5,000

85

Marc Chagall

(French/Russian, 1887 – 1985) Nocturne à Vence, 1963 color lithograph signed and numbered 38/40 in pencil 12 1/2 × 9 1/2 inches.

Literature: Mourlot 400 $4,000 – 6,000

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

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86

Marc Chagall

(French/Russian, 1887 – 1985) Romeo et Juliet, 1964 lithograph signed and numbered 166/200 in pencil 25 × 39 1/2 inches.

Provenance: Findlay Galleries, Chicago $15,000 – 25,000

56

P R I N T S A N D M U LT I P L E S

87

Pablo Picasso

(Spanish, 1881 – 1973) Plantes Tropicales, 1949 lithograph signed and numbered 8/50 in pencil 25 × 18 1/2 inches.

Literature: Bloch 611 Provenance: Allstate Art Inc, New York $3,000 – 5,000

88

Pablo Picasso

(Spanish, 1881 – 1973) La fenêtre de l’atelier à la Californie, 1959 color aquatint on Rives BFK signed and numbered 286/300 in red pencil 15 3/4 × 12 3/4 inches.

Property from the Estate of a Denver Business and Community Leader, Denver, Colorado Published by Atelier Crommelynck, Paris and bearing their blindstamp Literature: Maeght 2102 $3,000 – 5,000

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

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*89

After Pablo Picasso

(Spanish, 1881 – 1973) A group of three prints from Portraits Imaginaires, 1969 lithographs each annotated ‘A’ and numbered 47/250 in pencil, from the American edition 22 × 17 inches.

Property from the Collection of Mr. Curtis Smith, Memphis, Tennessee $4,000 – 6,000

58

P R I N T S A N D M U LT I P L E S

90

Pablo Picasso

(Spanish, 1881 – 1973) Scene Bacchique au Minotaure (from La Suite Vollard), 1933 etching signed in pencil from the edition of 260 (total edition size was 310) 11 3/4 × 14 1/2 inches.

Property from a Private Collector, St. Louis, Missouri Literature: Bloch 192 $20,000 – 30,000

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

59

91

Pablo Picasso

(Spanish, 1881 – 1973) Hibou marron noir (A.R. 123), 1951 white earthenware, painted in colors and glazed inscribed Edition Picasso and Madoura with the Edition Picasso and Madoura Plein Feu stamps verso, from the edition of 300 height: 11 3/4 inches.

Literature: Ramié 123 $8,000 – 12,000

*92

Pablo Picasso

(Spanish, 1881–1973) Nature morte à la cuillère (A.R. 165), 1952 terre de faïence dish inscribed E101 and numbered 193/200 with the Empreinte Originale de Picasso and Madoura stamps verso width: 13 inches.

Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Literature: Ramié 165 Provenance: Madoura, Vallauris, France, May 1997 Acquired from the above by the present owner $4,000 – 6,000

60

P R I N T S A N D M U LT I P L E S

*93

Pablo Picasso

(Spanish, 1881–1973) Poisson fond blanc (A.R. 168), 1952 white earthenware ceramic plate with coloured engobe and glaze inscribed I.114 and numbered 190/200 with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 16 3/4 inches.

Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Literature: Ramié 168 Provenance: Madoura, Vallauris, France, August 1997 Acquired from the above by the present owner $6,000 – 8,000

94

Pablo Picasso

(Spanish, 1881 – 1973) Chouette Visage de Femme (A.R. 144), 1952 white earthenware vase, partially engraved, with colored engobe and glaze inscribed Edition Picasso and Madura and numbered 282/300 with the Empreinte Originale de Picasso and Madoura stamps, verso height: 11 3/4 inches.

Literature: Ramié 144 $10,000 – 15,000

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

61

95

Pablo Picasso

(Spanish, 1881 – 1973) Mains au poisson (A.R. 214), 1953 red earthenware partially glazed and painted incised I.117 and numbered 189/250 with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 11 3/4 inches.

Literature: Ramié 214 $7,000 – 9,000

62

P R I N T S A N D M U LT I P L E S

*96

Pablo Picasso

(Spanish, 1881–1973) Mains au Poisson (A.R. 215), 1953 terracotta plate with coloured engobe and glaze inscribed Madoura I.118 and numbered 144/250 with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 13 inches.

Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Literature: Ramié 215 Provenance: Madoura, Vallauris, France, July 1997 Acquired from the above by the present owner $7,000 – 9,000

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

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97

Pablo Picasso

(Spanish, 1881 – 1973) Poisson Bleu (A.R. 180), 1953 white earthenware ceramic plate painted in colors and partially glazed inscribed I.101 and numbered 164/200 with the Empreinte Originale de Picasso and Madoura stamps verso 12 3/4 × 15 1/2 inches.

Literature: Ramié 180 $8,000 – 12,000

98

99

Pablo Picasso

Pablo Picasso

(Spanish, 1881 – 1973) Visage de Faune (A.R. 282), 1955 red earthenware inscribed Z.123 and numbered 88/150 with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 9 1/2 inches.

Literature: Ramié 282 $5,000 – 7,000

64

P R I N T S A N D M U LT I P L E S

(Spanish, 1881 – 1973) Profil de taureau (A.R. 315), 1956 glazed white earthenware plaque from the edition of 450, with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 9 3/4 inches.

Literature: Ramié 315 $3,000 – 5,000

*100

Pablo Picasso

(Spanish, 1881–1973) Visage de Faune Tourmenté (A.R. 320), 1956 terre de faïence plate, painted in colors and partially glazed inscribed F. 210 and numbered 146/200 with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 16 3/4 inches.

Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Literature: Ramié 320 Provenance: Madoura, Vallauris, France, April 1997 Acquired from the above by the present owner $5,000 – 7,000

101

*102

Pablo Picasso

Pablo Picasso

(Spanish, 1881 – 1973) Tete au masque (A.R. 363), 1956 white earthenware dish, verso with coloured engobe and glaze incised B.100 and numbered 13/100 with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 11 3/4 inches.

Literature: Ramié 363 $8,000 – 12,000

(Spanish, 1881–1973) Tête (A.R. 372), 1956 terre de faïence plaque partially engraved, with colored engobe and glaze inscribed J. 173 and numbered 106/200 with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 12 1/2 inches.

Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Literature: Ramié 372 Provenance: Madoura, Vallauris, France, June 1997 Acquired from the above by the present owner $5,000 – 7,000

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

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*103

Pablo Picasso

(Spanish, 1881–1973) Hibou aux ailes déployées (A.R. 397), 1957 terracotta plate, partially engraved, with black engobe inscribed N. 109 Edition Picasso and numbered 57/200 with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 17 1/2 inches.

Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Literature: Ramié 397 Provenance: Madoura, Vallauris, France, September 1997 Acquired from the above by the present owner $7,000 – 9,000

66

P R I N T S A N D M U LT I P L E S

*104

Pablo Picasso

(Spanish, 1881–1973) Hibou noir perché (A.R. 398), 1957 terracotta plate, partially engraved, with black engobe incised N.104 and 53/100 with the Empreinte Originale de Picasso and Madoura stamps verso diameter: 17 inches.

Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Literature: Ramié 398 Provenance: Madoura, Vallauris, France, October 1997 Acquired from the above by the present owner $10,000 – 15,000

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

67

105

Pablo Picasso

(Spanish, 1881 – 1973) Petit Soleil (A.R. 547), 1968 partially glazed and engraved terracotta plaque incised J.245 and Madura, numbered 88/200 with the Empreinte Originale de Picasso and Madoura stamps verso 4 × 6 1/4 × 1 inches.

Literature: Ramié 547

106

Pablo Picasso

$1,500 – 2,500

(Spanish, 1881 – 1973) Oiseau no. 96 (A.R. 488), 1963 white earthenware ceramic plate with coloured engobe and glaze inscribed ‘edition Picasso’ and ‘Madoura’, numbered 64/150 diameter: 10 inches.

Literature: Ramié 488 Provenance: Harcourts Gallery, San Francisco $2,000 – 4,000

107

Pablo Picasso

(Spanish, 1881 – 1973) Visage (A.R. 449), 1960 unglazed ceramic inscribed T.121 and numbered 5/100 with the Empreinte Originale de Picasso and Madoura stamps, verso diameter: 10 1/2 inches.

Literature: Ramié 449

108

Pablo Picasso

(Spanish, 1881 – 1973) Visage no. 202 (A.R. 495), 1963 white earthenware with engobe and enamel under glaze inscribed No. 202, Edition Picasso, Madoura, and numbered 284/500 verso diameter: 10 inches.

$3,000 – 5,000 Literature: Ramié 495 $8,000 – 12,000 68

P R I N T S A N D M U LT I P L E S

*109

Pablo Picasso

(Spanish, 1881 – 1973) Service Visage Noir (the complete set comprising one dish and 12 plates, (A.R. 35 – 47), 1948 ceramic largest: 16 1/2 inches.

Property from the Collection of Gayle Gordon Nering, Naples, Florida Literature: Ramié 35 – 47 Provenance: Collection of Martin Gordon Martin Gordon was the founder and publisher of Gordon’s Print Price Annual and a co-founder of the International Fine Print Dealer’s Association. $50,000 – 70,000

VIEW V I ET W H ET H CE O MCPOLME PT LE E C TE A TC AA L TOAGLUOEG U A TE HA ITN H D IMNADNMAAUNCATUI O CN T ISO. N CS O .MC O M

69

110

Gustave Baumann

(American/German, 1881–1971) Salt Creek color woodlock print signed and titled in pencil 9 3/8 × 11 1/4 inches. $3,000 – 5,000

111

Gustave Baumann

(American/German, 1881–1971) Tulips, 1930 color woodcut with aluminum leaf signed, titled, and numbered 25/120 in pencil 12 1/2 × 12 1/2 inches. $10,000 – 15,000

*112

Fairfield Porter

(American, 1907–1975) Ocean II, 1974 lithograph signed and numbered 21/70 in pencil 20 × 25 1/4 inches.

Property from the Collection of Hilary Schneider, Chicago, Illinois Provenance: G.W. Einstein Company, New York $1,500 – 2,500

70

P R I N T S A N D M U LT I P L E S

*113

Thomas Hart Benton (American, 1889 – 1975) Island Hay, 1946 lithograph signed in pencil 9 3/4 × 12 1/2 inches.

Property from the Joshua B. Kind Trust, Downers Grove, Illinois $800 – 1,200

114

Grant Wood

(American, 1891 – 1942) Approaching Storm lithograph signed in pencil 12 × 9 inches. $1,500 – 2,500

*115

Samella Lewis

(American, b. 1924) 20th Century Prophets, 1968 woodcut on newsprint signed, titled, dated, and numbered 13/35 11 3/4 × 5 1/2 inches.

Property from the Collection of Helena Szepe, Tampa, Florida $2,000 – 4,000

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

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*116

Gerald Leslie Brockhurst

(British, 1890 – 1978) Adolescence (Kathleen Nancy Woodward), 1932 etching signed in pencil 14 1/2 × 10 1/2 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $10,000 – 15,000

72

P R I N T S A N D M U LT I P L E S

117

Martin Lewis

(American, 1881 – 1962) Arch, Midnight, 1930 etching signed in pencil (lower right) 8 × 11 1/2 inches. $6,000 – 8,000

*118

Gerald Leslie Brockhurst

(British, 1890 – 1978) Untitled (Head of an Old Woman) etching signed in pencil 6 1/2 × 4 1/2 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $500 – 700

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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*120

Maurice Réalier-Dumas (French, 1860 – 1928) Napoléon, 1895 lithograph 22 3/8 × 17 1/4 inches.

*119

Auguste Jean-Baptiste Roubille (French, 1872 – 1955) Le Rire lithograph 29 1/2 × 21 1/2 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Literature: Cate and Hitchings 133, Fig. 59

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

$400 – 600

$400 – 600

At an 1896 exhibition in Reims, the American publication Century Magazine conducted a contest for the best depiction of events in Napoleon’s life.

Among the twenty-one losing entries was this image, as well as a work by Lautrec. The winner was a work by the French artist Lucien Marie François Metivet.

*121

Paul Berthon

(French, 1872 – 1909) Salon des Cent, Janvier, 1896 lithograph 22 1/2 × 14 5/8 inches.

Property from Palm Springs Art Museum, Palm Springs, California.

Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $400 – 600 74

P R I N T S A N D M U LT I P L E S

*122

*123

Jules Chéret

Jules Chéret

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Literature: Broido 170

Literature: Broido 1028

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

$2,000 – 4,000

$2,000 – 4,000

This is one of the many posters Chéret designed to promote this concert ball on the Champs-Élysées.

Here is a typical “Chérette,” who is alluring, haughty, and delightfully bemused. This cigarette paper company also commissioned works from Alphonse Mucha.

(French, 1836 – 1932) Alcazar d’Eté / Revue fin de siècle, 1890 lithograph 45 1/2 × 31 3/8 inches.

(French, 1836 – 1932) Job, 1895 lithograph 45 3/4 × 32 3/4 inches.

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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*124

*125

Jules Chéret

Jules Chéret

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Literature: Broido 174

Literature: Broido 471

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

$1,000 – 2,000

$1,000 – 2,000

(French, 1836 – 1932) Lidia Alcazar d’ete, 1895 lithograph 47 × 31 3/4 inches.

This was used as a stock poster by the star actress Lidia. She had the name of the theater changed as her schedule of engagements required.

(French, 1836 – 1932) Musée Grévin, 1892 lithograph 45 1/2 × 32 inches.

Final proofs of this poster included lettering. There are two versions: one announced the performance of John Hewelt’s puppet show, Les Fantoches, and the other announced a Fête des artists. Both shows were at the wax museum Musée Grévin. In this poster the curtsying “Chérette” invites passersby to an “optical theater of luminous pantomimes,” part of a new entertainment invented by the science teacher Émile Reynaud. His innovation featured a primitive projector that cast images from colored celluloid onto a sheet and is said to have foreshadowed the invention of moving pictures.

Special Chéret touches in this work are the lively Pierrots and harlequins and the delicate overlays of color.

76

P R I N T S A N D M U LT I P L E S

*126

*127

Jules Chéret

Jules Chéret

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Literature: Broido 238

Literature: Broido 947

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

$1,000 – 2,000

$1,000 – 2,000

Announced here is the pantomime-ballet starting Félicia Mallet.

Chéret produced many posters for this lamp oil, all featuring pretty “Chérettes” bathed in warm light.

(French, 1836 – 1932) Nouveau Théâtre / Scaramouche, 1891 lithograph 46 1/2 × 31 3/4 inches.

(French, 1836 – 1932) Saxoléine, 1893 lithograph 47 × 33 3/4 inches.

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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*128

*129

Jules Chéret

Jules Chéret

(French, 1836 – 1932) Folies Bergère / La Loie Fuller, 1893 lithograph 47 1/4 × 32 1/4 inches.

(French, 1836 – 1932) Halle aux Chapeaux, 1892 lithograph 46 1/2 × 32 1/4 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Literature: Broido 125

Literature: Broido 830

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

$2,000 – 4,000

$800 – 1,200

Catching the light, movement, and fantasy of Loie Fuller’s spellbinding color and dance show, this poster for the performer’s 1893 debut is regarded as one of Chéret’s finest. It is also the most successful of the many posters produced by a wide variety of artists to promote Fuller’s engagements.

Elegant and inexpensive headwear for women, men, and children could be found at this Parisian hat store.

78

P R I N T S A N D M U LT I P L E S

*131

Eugène Grasset

(French, 1841 – 1917) Georges Richard Cycles & Automobiles, 1899 lithograph 40 × 56 1/2 inches.

Property from Palm Springs Art Museum, Palm Springs, California.

Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Weill 41 Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $1,000 – 2,000

*130

The four-leaf clover was the brand symbol of Georges Richard Bicycles.

Grasset has integrated it gracefully, in what is considered one of his most beautiful works. His subject’s pensive pose and the stylized pattern on her dress are typical touches.

Georges de Feure (French, 1868 – 1943) A Jeanne d’Arc, 1896 lithograph 92 × 32 3/4 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Roger-Marx 130 Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $400 – 600

De Feure (whose real name was Georges Joseph Van Sluyters) was a highly respected Art Nouveau designer. His zest for a variety of media - including Limoges porcelain, architectural interiors, stained glass, theater sets, furniture, clothing, and paint comes through in nearly all of his poster designs.

This poster was designed for a department store named for the legendary saint.

*132

P. H. Lobel

(French, 19th century) 31eme Exposition d’Ensemble, Salon des Cent, 1897 lithograph 21 3/4 × 14 5/8 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $200 – 400

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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*134

Alphonse Mucha

(Czech, 1860 – 1939) Gismonda, 1894 lithograph 81 1/2 × 27 1/2 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Wagner 67 Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $5,000 – 7,000

*133

Alphonse Mucha

(Czech, 1860 – 1939) Bières de la Meuse, 1897 lithograph 55 1/4 × 35 1/4 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Rennert and Weill 27 Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $4,000 – 6,000

In her hair this merry beer drinker wears some of the flowers and grasses used in the brewing of beer, including barley stalks, green hops, and the large field poppies indigenous to northeastern France. This is a classic and extremely popular Art Nouveau design, featuring a woman of idealized beauty set among motifs associated with femininity: elements from nature, arch and circle shapes, and winding, wayward hair interwoven with plants.

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This is Mucha’s first poster, and the story of its creation is something of a fairy tale. on Christmas Day 1894, the printer Lemercier received a rush order from the Théâtre de la Renaissance; the theater required a poster advertising Sara Bernhardt’s revival of the play Gismonda by New Year’s Day. With much of the staff away for the holiday, the desperate printer used the only artist available Mucha, who until then had worked as a book illustrator. When the poster appeared, it became an instant sensation. For Mucha, it meant the beginning of a stellar career, as well as a life-long friendship with Bernhardt and a sixyear (rather draconian) contract with the printer Champenois.

*135

Alphonse Mucha

(Czech, 1860 – 1939) La Dame aux camélias, 1896 lithograph 79 1/2 × 27 1/2 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Wagner 70 Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $3,000 – 5,000

Mucha’s dreamy pastels and subtle glitter, as well as his innovative use of the larger-than-life format, made this poster a tremendous splash. It shows the actress Sarah Bernhardt in the play La Dame aux camélias (known as Camille in English) by Alexandre Dumas fils. Mucha designed contemporary costumes for Bernhardt’s production of this historic play, and they set notable fashion trends in Paris when the production ran.

*136

Alphonse Mucha

(Czech, 1860 – 1939) En l’Honneur de Sarah Bernhardt, 1896 lithograph 24 1/2 × 16 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Bridges CP7a Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $1,000 – 2,000

Mucha created this poster fora special issue of the journal La Plume. The issue was dedicated to Sarah Bernhardt, and included an article commemorating her extremely successful performance in the role of La Princesse Lointaine.

Mucha shows her in this role, wearing the extraordinary tiara of lilies which he had designed as part of her costume.

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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*137

Alphonse Mucha

(Czech, 1860 – 1939) Les Fleurs (l’œillet, le lys, la rose, l’iris) color lithographs 40 × 16 1/4 inches (each).

Literature: Henderson & Dvorák P9-P12; Rennert & Weill 4 Property from the Collection of Lynne Galvin, Ocala, Florida $6,000 – 8,000

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*138

Henri de Toulouse-Lautrec (French, 1864 – 1901) La Revue blanche, 1895 lithograph 48 1/2 × 34 3/4 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Adriani (G) 130 III; Delteil 355 II; Adhémar 115 II; Adriani 108 III; Wittrock P 16 C

Lautrec created this poster to advertise the periodical La Revue Blanche, founded by his friends Thadée and Misia Natanson, renowned in Lautrec’s circle for their progressive ideas.

Misia was a strong and individualistic character, and Lautrec evidently captured her well, since this image was used on the cover of the 1980 definitive biography of her.

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $5,000 – 7,000

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

83

139

Henri de Toulouse-Lautrec

(French, 1864–1901) Bruant au Mirliton (Second State), 1893 color lithograph 31 1/2 × 22 3/4 inches.

Literature: Adriani (G) 57; Delteil 349 II; Adhémar 71; Adriani 15 II B; Wittrock P 10 A $8,000 – 12,000

*140

Henri de Toulouse-Lautrec (French, 1864 – 1901) D’ébauche, 1896 lithograph 9 × 11 1/2 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Adriana (G) 187 III; Delteil 178 II; Adhémar 212; Adriani 191 II; Wittrock 167 II Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $8,000 – 12,000

This is the cover of a catalog of original lithographic posters, published by the poster dealer Arnould.

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*141

Henri de Toulouse-Lautrec (French, 1864 – 1901) Divan Japonais, 1893 lithograph 30 3/4 x 43 1/4 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Adriani (G) 8; Delteil 341; Adhémar 11; Adriani 9; Wittrock P 11 Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $10,000 – 15,000

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

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*142

Henri de Toulouse-Lautrec

(French, 1864 – 1901) Aristide Bruant, Dans son Cabaret, 1893 lithograph 52 1/4 × 37 inches.

Property from Palm Springs Art Museum, Palm Springs, California. Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Literature: Adriani (G) 12 I; Adhémar 15 I; Adriani 14 I; Wittrock P 9 A Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California $10,000 – 15,000 86

P R I N T S A N D M U LT I P L E S

*143

Théophile Alexandre Steinlen

(French, 1859 – 1923) La Traite des blanches (uncensored), 1899 lithograph 74 × 46 inches.

Property from Palm Springs Art Museum, Palm Spring`s, California.

Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

Steinlen made two versions of this poster, and this one is extremely rare. After the censor viewed it, he required that the bare bosom be covered. The poster advertises the novel White Slavery, which was serialized in Le Journal. Three women, victims of a white slaver, show varying reactions to their predicament: sorrowful resignation, bitter invective, and acquiescence to corruption.

$3,000 – 5,000

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

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*144

*145

Théophile Alexandre Steinlen

Manuel Robbe

Property from Palm Springs Art Museum, Palm Springs, California.

Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Property from Palm Springs Art Museum, Palm Springs, California.

Sold to Support the Care of Collections and the Mary Silver Fund for Acquisitions

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

Provenance: Mary and Louis Silver French Art Poster Collection Bequest of Mary Silver, Palm Springs, California

$800 – 1,200

$1,000 – 2,000

This is the most popular of all Steinlen images, and was used in England in advertisements for Nestle’s Swiss Milk. Shown here is Steinlen’s daughter Colette and three of the many cats that shared their Montmartre home. While most of Steinlen’s oeuvre was devoted to expressing his socialist ideals in harrowing studies of France’s poor, the artist’s posters are full of bright, sentimental, and loving images like this one.

The influence of the Japanese print is especially notable in this advertisement for a lamp oil. This is considered the best of the handful of posters produced by Robbe.

(French, 1859 – 1923) Lait pur stérilisé de la Vingeanne, 1894 lithograph 51 1/2 × 37 inches.

88

P R I N T S A N D M U LT I P L E S

(French, 1872 – 1936) L’Eclatante, 1895 lithograph 41 1/4 × 35 inches.

147

Camille Pissarro

(Danish/French, 1830–1903) Vachère au bord de l’eau and Les Faneuses etchings largest: 7 3/4 × 5 1/4 inches. $1,000 – 2,000

146

Gustav Klimt

(Austrian, 1862 – 1918) Nuda Veritas(from Das Werk von Gustav Klimt) collotype 14 1/2 × 4 1/4 inches.

Property from the Private Collection of a Gentleman, Chicago, Illinois

*148

$1,000 – 2,000

Pierre Bonnard

(French, 1867 – 1947) Le Graveur, c. 1930 etching 7 3/4 × 4 3/4 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $1,000 – 2,000

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

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149

Léonard Tsuguharu Foujita

(French/Japanese, 1886 –1968) Untitled etching signed and numbered 87/100 in pencil 13 3/4 × 17 3/4 inches. $1,500 – 2,500

150

Mary Cassatt

(American, 1844 – 1926) Reine and Margot Seated on a Sofa (No. 2), ca. 1902 drypoint signed in pencil 17 x 12 7/8 inches.

Property from a Private Collection, Chicago, Illinois Literature: Breeskin 177 Provenance: R.S. Johnson International Gallery, Chicago $8,000 – 12,000

90

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151

Pierre-Auguste Renoir

(French, 1841–1919 Le Fleuve Scamandre, (1re Planche), ca. 1900 etching stamped 8 3/4 × 6 3/4 inches.

Provenance: Bellette Hofmann Fine Art, New York $1,000 – 2,000

152

Pierre-Auguste Renoir (French, 1841–1919) La danse a la campagne, ca. 1890 etching stamped 8 1/2 × 5 1/4 inches. $3,000 – 5,000

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

91

*153

Pierre-Auguste Renoir (French, 1841 – 1919) Le chapeau épinglé, 1897 lithograph stamped 23 3/4 × 19 1/4 inches.

Property from the Collection of Mr. Matthew O’Donnell, Chicago, Illinois $5,000 – 7,000

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154

Pierre-Auguste Renoir

(French, 1841–1919) Au Moulin de la Galette, c. 1895 – 1905 pastel counterproof on Japan paper signed with counterproof monogram (lower left) 18 5/8 × 24 inches.

Provenance: Ambroise Vollard, Paris Henri M. Petiet, Paris, after 1939 Thence by descent through the family Marc Rosen Fine Art, Ltd. and Adelson Galleries, New York, by 2005 Exhibited: New York, Adelson Galleries, Renoir: The Pastel Counterproofs, November 1 – December 23, 2005, no. 1, pp. 18 – 19, illus.

At the behest of Parisian art dealer Ambroise Vollard, from 1895 to 1905 French lithographer Auguste Clot created a series of counterproofs after pastels by Pierre-Auguste Rodin. To create the artworks, Clot applied a damp sheet of tissue-thin Japan paper over a pastel drawing and pulled the two sheets through a lithographic press. This created a mirror image softer in tone than the original pastels, but which retain their ethereal qualities. The original pastel, c. 1875 – 76, of the present lot is in the National Museum, Belgrade, Serbia (illustrated in Denis Rouart,The Unknown Degas and Renoir in the National Museum of Belgrade, New York, 1964, pp. 98 – 9).

Renoir gave Vollard his blessing to make the counterproofs; however, the dealer kept them hidden on expectations of a rising art market. After Vollard’s death in 1939, the collection was acquired

by Henri Petiet, a Parisian print dealer and collector. The counterproofs descended through the Petiet family after his death in the early 1980s. Marc Rosen, a New York dealer, discovered the counterproofs in early 2004 when the heirs asked him to review the estate. In 2005, 34 of the re-discovered counterproofs were exhibited for the first time in a century in Renoir: The Pastel Counterproofs, held at Adelson Galleries in New York, in conjunction with Marc Rosen.

$30,000 – 50,000

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

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94

P R I N T S A N D M U LT I P L E S

OLD MASTER PRINTS LOTS 15 5 – 1 8 5

O P P O S I TE Lot 185

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

95

*155

Albrecht Dürer

(German, 1471 – 1528) A group of five prints from The Life of the Virgin wood engravings 11 3/4 × 8 1/4 inches. (each) Property from the Madison Museum of Contemporary Art Provenance: Grant’s Art Gallery, Chicago April 25, 1946 Collection of Dr. Rudolph Langer Gift from the above to the Museum of Contemporary Art, Madison $3,000 – 5,000

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*156

Maerten van Heemskerck

(Dutch, 1498 – 1574) A group of five prints (Descent from the Cross; The Raising of Tabitha, c. 1550; Untitled (A Saint’s Blessing); Untitled (Benediction); Untitled (Saint in a Crowd), c. 1540) etchings largest: 8 1/4 × 10 3/4 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $2,000 – 4,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

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*157

After Pieter Bruegel the Elder

by Pieter van der Heyden

(Flemish, born ca. 1525–1569) Saint James and the Magician Hermogenes, 1565 engraving 8 1/2 × 11 5/8 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $3,000 – 4,000

*158

*159

After Pieter Bruegel the Elder

Cornelis Cort after Girolama Muziano

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana

$7,000 – 9,000

$1,500 – 2,500

(Flemish, born ca. 1525 –1569) A pair of prints (The Last Judgement; Fortitude) engravings 8 3/4 × 11 1/2 inches.

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P R I N T S A N D M U LT I P L E S

(Dutch, 1533 – 1578) Mary Magdalene penitent in the wilderness, 1573 engraving 19 1/4 × 13 3/4 inches.

*160

Harman Janszoon Muller after Maarten van Heemskerck (Dutch, 1540 – 1617) Presentation in the Temple (from The Eight Beatitudes) engraving 8 1/4 × 9 3/4 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $700 – 900

*161

Jan van de Velde II

(Dutch, c. 1593 – 1641) A group of five prints (The Brewery by a Frozen Canal; The Repast Under the Tent; The Village Gateway; Untitled (Archway Over the Road); Untitled (View of a Walled Town)) etchings largest: 6 × 11 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $3,000 – 5,000

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

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*162

Claude Lorrain

(French, 1600 – 1682) A group of four prints (Berger et bergere conversant; L’Apparition; Le Fuite en Egypte; Les trois chevres) etchings largest: 7 5/8 × 10 1/4 inches.

Property from the Madison Museum of Contemporary Art Provenance: Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest of Rudolph and Louise Langer to the Madison Museum of Contemporary Art $800 – 1,200

100 P R I N T S A N D M U LT I P L E S

*163

Adriaen Jansz van Ostade (Dutch, 1610 – 1685) The Kermess Under the Great Tree etching 4 3/4 × 8 3/4 inches.

Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana $1,000 – 2,000

*164

*165

Rembrandt Harmenszoon van Rijn

Rembrandt Harmenszoon van Rijn

Property from the Collection of Margaret Werchek, Naples, Florida

Property from the Madison Museum of Contemporary Art

Literature: Hind 50; Bartsch 349

Literature: Hind 128; Bartsch 279

Provenance: Atlas Galleries, Chicago

Provenance: Kende Galleries, New York, November 3, 1951 Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest of Rudolph and Louise Langer to the Madison Museum of Contemporary Art

(Dutch, 1606 – 1669) Rembrandt’s Mother with Hand on Chest: Small Bust, 1631 etching 3 1/4 × 2 1/2 inches.

$2,000 – 4,000

(Dutch, 1606 – 1669) Jan Uytenbogaert, Preacher of the Remonstrants, 1635 etching 9 × 7 5/16 inches.

$1,000 – 2,000

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

*166

Rembrandt Harmenszoon van Rijn

(Dutch, 1606 – 1669) Christ Driving the Money Changers from the Temple, 1635 etching 5 1/4 × 6 3/8 inches.

*167

Rembrandt Harmenszoon van Rijn

(Dutch, 1606 – 1669) Saint Jerome Kneeling in Prayer, Looking Down, 1635 etching 4 3/4 × 3 3/8 inches.

Property from the Madison Museum of Contemporary Art Literature: Hind 126; Bartsch 69

Property from the Estate of Julia W. Bishop, East Lansing, Michigan

Provenance: Kende Galleries, New York, November 3, 1951 Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest of Rudolph and Louise Langer to the Madison Museum of Contemporary Art

Literature: Hind 140; Bartsch 102 $1,500 – 2,500

$2,000 – 4,000

168

Rembrandt Harmenszoon van Rijn (Dutch, 1606 – 1669) Self Portrait with Saskia etching 3 7/8 × 3 1/2 inches.

Literature: Hind 144; Bartsch 365 Provenance: Hilligoss Galleries, Chicago $4,000 – 6,000

102 P R I N T S A N D M U LT I P L E S

*169

Rembrandt Harmenszoon van Rijn

(Dutch, 1606 – 1669) Christ and the Women of Samaria: An Arched Print, 1657 etching and drypoint 4 3/4 × 6 inches.

Property from the Madison Museum of Contemporary Art Literature: Hind 294; Bartsch 70 Provenance: Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest of Rudolph and Louise Langer to the Madison Museum of Contemporary Art $1,000 – 2,000

*170

Rembrandt Harmenszoon van Rijn (Dutch, 1606 – 1669) The Death of the Virgin, 1639 etching 15 1/2 × 12 3/8 inches.

Property from the Madison Museum of Contemporary Art Literature: Hind 161; Bartsch 99 Provenance: Ex-coll. Burr W. Jones Collection of Janet Ela, Madison, Wisconsin Gift from the above to the Madison Museum of Contemporary Art $2,000 – 4,000

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

*172

Rembrandt Harmenszoon van Rijn

(Dutch, 1606 – 1669) The Angel Departing from the Family Tobias, 1641 etching 4 × 6 inches.

*171

Rembrandt Harmenszoon van Rijn

(Dutch, 1606 – 1669) Old Man Shading His Eyes with his Hand, 1639 etching 2 1/4 × 2 1/2 inches.

Property from the Madison Museum of Contemporary Art

Property from the Madison Museum of Contemporary Art

Provenance: Kende Galleries, November 3, 1941 Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest of Rudolph and Louise Langer to the Madison Museum of Contemporary Art

Literature: Hind 169; Bartsch 259 Provenance: Plaza Gallery, August 19, 1942 Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest of Rudolph and Louise Langer to the Madison Museum of Contemporary Art

Literature: Hind 185; Bartsch 43

$1,000 – 2,000

$2,000 – 4,000

*173

Rembrandt Harmenszoon van Rijn (Dutch, 1606 – 1669) Abraham and Isaac, 1645 etching 6 1/4 × 5 1/8 inches.

Property from the Madison Museum of Contemporary Art Literature: Hind 214; Bartsch 34 Provenance: Kende Galleries, November 3, 1951 Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest of Rudolph and Louise Langer to the Madison Museum of Contemporary Art $800 – 1,200 104 P R I N T S A N D M U LT I P L E S

174

Rembrandt Harmenszoon van Rijn (Dutch, 1606 –1669) Christ Preaching (La Petite Tombe) etching 6 × 8 inches.

Literature: Hind 256; Bartsch 67 $7,000 – 9,000

*175

Rembrandt Harmenszoon van Rijn (Dutch, 1606 – 1669) David in Prayer etching 5 1/2 × 3 9/16 inches.

Property from the Madison Museum of Contemporary Art Literature: Hind 258; Bartsch 41 Provenance: Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest of Rudolph and Louise Langer to the Madison Museum of Contemporary Art $800 – 1,200

*176

Rembrandt Harmenszoon van Rijn

(Dutch, 1606 – 1669) The Virgin and Child with the Cat: and Joseph at the Window, 1654 etching 3 1/2 × 5 3/4 inches.

Property from the Madison Museum of Contemporary Art Literature: Hind 275; Bartsch 63 Provenance: Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest of Rudolph and Louise Langer to the Madison Museum of Contemporary Art $1,500 – 2,500

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 105

*177

Giovanni Battista Piranesi

(Italian, 1720 – 1778) Pianta di Roma e del Campo Marzo etching 53 × 32 3/4 inches.

Property from the Madison Museum of Contemporary Art Provenance: Ferdinand Roten Galleries, Inc., Baltimore $1,500 – 2,500

*178

Giovanni Battista Piranesi

(Italian, 1720 – 1778) Veduta della Basilica, e Piazza de S. Pietro in Vaticano etching 15 3/4 × 21 1/8 inches.

Property from the Madison Museum of Contemporary Art Provenance: The Estate of Janet Ela, Madison, Wisconsin Gift of the above to the Madison Museum of Contemporary Art $800 – 1,200

106 P R I N T S A N D M U LT I P L E S

*179

Giovanni Battista Piranesi

(Italian, 1720 – 1778) Rovine della Terme Antoniane (Baths of Caracalla: Bird’s Eye View), (from Vedute di Roma), 1765 etching 16 1/2 × 27 1/4 inches.

Property from the Madison Museum of Contemporary Art Literature: Hind 76 Provenance: Ostrander Gallery Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest from the above to the Madison Museum of Contemporary Art $1,000 – 2,000

*180

Giovanni Battista Piranesi

(Italian, 1720 – 1778) Avanzi Del Tempio del Dio Canopo nella Villa Adriana in Tivoli (from Vedute di Roma), 1768 etching 18 × 23 inches.

Property from the Madison Museum of Contemporary Art Literature: Hind 85 Provenance: Ostrander Gallery Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest from the above to the Madison Museum of Contemporary Art $1,000 – 2,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 107

*181

Giovanni Battista Piranesi

(Italian, 1720 – 1778) Vue interieure du Temple de Neptune (from Views of Paestum), 1778 etching 19 1/8 × 27 inches.

Property from the Madison Museum of Contemporary Art Provenance: Collection of John Hasbrouck Van Vleck, Madison, Wisconsin Gift from the above to Dr. Rudolph Langer, Madison, Wisconsin, August 1949 Bequest from the above to the Madison Museum of Contemporary Art $1,000 – 2,000

*182

Giovanni Battista Piranesi

(Italian, 1720 – 1778) Veduta del Sepolcro Caio Cestio (View of the Tomb of Caius Cestius), 1755 etching 21 1/2 × 15 1/4 inches.

Property from the Madison Museum of Contemporary Art Provenance: Collection of Dr. Richard Hartshorne, Madison, Wisconsin Gift from the above to the Madison Museum of Contemporary Art $800 – 1,200

108 P R I N T S A N D M U LT I P L E S

*183

Giovanni Battista Piranesi

(Italian, 1720 – 1778) Rovine del Sisto, o sia Della Gran Sala delle Terme Antoniniane (Ruins of the Xystus, the central hall of the Antonine Baths) etching 16 3/4 × 26 inches.

Property from the Madison Museum of Contemporary Art $800 – 1,200

*184

Giovanni Battista Piranesi

(Italian, 1720 – 1778) Veduta della Facciata della Basilica di S. Croce in Gerusalemme (from Vedute di Roma) etching 15 3/4 × 24 inches.

Property from the Madison Museum of Contemporary Art Provenance: Collection of Dr. Rudolph Langer, Madison, Wisconsin Gift from the above to the Museum of Contemporary Art Madison $800 – 1,200

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 109

*185

Giovanni Battista Piranesi

(Italian, 1720 – 1778) Carceri d’Invenzione (the complete set of 16), 1761 etchings with engraving 21 1/2 × 16 3/8 inches (each).

Property from the Madison Museum of Contemporary Art Literature: Hind 1 – 16 Provenance: Weyhe Gallery, New York Collection of Dr. Rudolph Langer, Madison, Wisconsin Bequest from the above to the Madison Museum of Contemporary Art $20,000 – 30,000

THE INFLUENCE OF PIRANESI’S CARCERI D’INVENZIONE The Venetian artist and architect Giovanni Battista Piranesi (1720-1778) published two editions of his series of imaginary prisons, Carceri d’Invenzione (Prisons of Invention). The first set of etchings with engraving was published as a group of 14 between 1749 and 1750. Hindman is pleased to offer a set of the second edition which Piranesi published in 1761 after significantly reworking each plate and introducing two more plates for a total of 16 (Lot 185).

Belonging to the artistic genre of the capriccio or architectural fantasy, the Carceri became an enduring influence for art history, particularly in the twentieth century. Piranesi’s scenes within the Carceri are foreboding. The architectural spaces are unnaturally high, with diminutive figures emphasizing the scale. Background features seem to recess with no discernable pattern that is nonetheless stable and believable.i The source of light in each is unseen, but backlit from a high diagonal. Different architectural elements are juxtaposed—arches, bridges, obelisks, etc.—in both vertical and horizontal compositions that lead the eye up multi-level structures, inclusive of cranes, gallows, and chains.ii The second edition of 1761 presented here includes much more shading, emphasizing the dark, ominous environment.

The beginning plates of the series, including the title page, are more lit or else take place outdoors, where it is easier to see terrible punishments or other unsavory aspects of the prisons, as in the second plate prominently displaying a man being tortured on a rack. As the series progresses through the plates, the palette becomes darker as the scenes are shifted to more interior views, such as in the eighth plate, The Staircase with Trophies, where it is so dark that it is no longer possible to make out individual facial expressions. To create these bold effects, Piranesi drew upon Venetian artistic traditions, particularly his background developing stage sets, such as for dramatic contemporary operas, and capricci.

A capriccio is an artistic genre of invention for invention’s sake—architectural fantasies, pastiches of seemingly unrelated themes, “a dreamlike vision arising out of the free play of the imagination. iii These prints were designed to strongly engage the viewer’s attention and were meant to be studied closely, which, due to the capricci’s tendency to “confound the savviest of interpreters,” served as a particularly bold illustration of the artist’s skill.iv For example, in the more-heavily shaded version of the 1761 Carceri, the great variation of mark-making throughout the series emphasizes Piranesi’s printmaking ability in addition to his knowledge of architecture: lines varying in length, width, and direction, areas of stippling, and patterns of short, squiggly lines are deployed throughout. The heavy shading obscures figures and details within the deepest recessions of shadow, but the variation of line is so skillful that, even in areas of black, it is possible to define different forms and textures, allowing the viewer the game of teasing out figures and details only after close examination. In some, even Piranesi’s signature is hidden under a laying of heavy etching. This mixture of fantasy and skill would influence many future printmakers, such as Goya in the eighteenth and nineteenth centuries, but Piranesi’s legacy can be particularly seen in twentieth-century printmakers, such as MC Escher, Dalí, Picasso, and others.

The Carceri’s influence on MC Escher is well-documented. In 1935, Escher hung several prints by Piranesi up in his studio in Château-d’Oex, Switzerland.v Similarly, Giorgio di Chirico not only examined Piranesi’s works, but also his writings as sources of inspiration.vi Recently, in October 2020, the National Museum—Architecture in Norway hosted an exhibition titled “Piranesi and the modern age,” in honor of the 300th year anniversary of Piranesi’s birth in 1720, further examining his influence on such diverse subjects as the science fiction genre and Walt Disney.vii Unsurprisingly, Piranesi is also considered a major precursor of Surrealism, so much so that Alfred H. Barr, Jr., the first director of the Museum of Modern Art in New York, included three prints of Piranesi’s, all from the Carceri, in the 1936 exhibition Fantastic art, dada, surrealism.viii One of the impressions from the first edition was loaned by the Weyhe Gallery, New York, where Hindman’s set of the Carceri can also be traced.ix Dali was unequivocally directly inspired by the Carceri.

In his personal collection, he had 12 prints from a facsimile version of the Carceri that the Club International de Bibliophilie of Monaco published in 1961; these prints remain permanently on display at the Dalí Theatre-Museum in Dalí’s hometown of Figueres, Spain.x The Carceri highlights Piranesi’s inventiveness, architectural knowledge, and artistic ability through its presentation of architectural fantasy meant to be closely examined and admired by the viewer. These impressive capricci strongly influenced later artists, especially in the twentieth century. This influence is seen literally in the work of Escher and Dali and are considered one of the major contributors to the foundation of Surrealism. This artistic genre of using elements of pastiche and invention to emphasize an artist’s mastery of material and artistic creation has remained central to the art historical canon as well as printmaking as a medium.

Please consult our website for the list of works cited in this essay. i Sarah Vowles, Piranesi drawings: visions of antiquity (London: British Museum, 2020), 9. Piranesi was so skillful at realistically exaggerating architectural perspective that when visited Rome, Goethe, after studying Piranesi’s etchings, thought its monuments smaller than expected and thus disappointing. ii Ibid., 68. iii Peter Parshall, “Giovanni Domenico Tiepolo: The Pastiche as Capriccio.” Print Quarterly Vol. 28, No. 3 (September, 2011): 327. iv Ibid. v Erik Kersten, ed., “Giovanni Battista Piranesi.” Escher in Het Paleis, November 14, 2020, accessed August 17, 2020. vi Bart Verschaffel, “The trophy figure in the work of Giorgio De Chirico (and Piranesi),” The Journal of Architecture 15 no. 3, 351. vii “Piranesi and the modern age,” National Museum—Architecture, accessed August 17, 2021, https://www.nasjonalmuseet.no/en/stories/explorethe-collection/piranesi-and-the-modern-age/. viii Alfred H. Barr, Jr., Fantastic art, dada, surrealism (New York: MOMA, 1936), 203-204. ix Ibid. x “Carceri d’Invenzione, Les Prisons Imaginaires de Gian-Battista Piranesi. 12 prints of the facsimilie edition published by the Club International de Bibliophilie de Monaco el 1961,” Fundació Gala - Salvador Dalí, acessed August 16, 2021.

110 P R I N T S A N D M U LT I P L E S

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 111

112 P R I N T S A N D M U LT I P L E S

PHOTOGRAPHS LOTS 18 6 – 1 9 9

O P P O S I TE Lot 199

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 113

186

Ruth Bernhard

(American, 1905 – 2006) Perspective II, 1967 gelatin silver print signed, dated, and titled in pencil and bearing artist stamp (mount verso) and signed in pencil (mount recto) 7 7/8 × 13 3/8 inches.

Property from the Private Collection of a Gentleman, Chicago, Illinois Provenance: Peter Fetterman, Santa Monica $1,500 – 2,500

114 P R I N T S A N D M U LT I P L E S

187

188

Aaron Siskind

Aaron Siskind

(American, 1903 – 1991) Terracotta 10, 1960 gelatin silver print signed, titled, and dated in ink (recto); signed, titled, and dated in pencil (verso) 12 × 9 1/2 inches.

(American, 1903 – 1991) Mexico, 1955 gelatin silver print signed in pencil (mount recto); signed, titled, and dated in ink (mount verso) 10 1/2 × 13 1/2 inches. $800 – 1,200

$800 – 1,200

189

Aaron Siskind

(American, 1903 – 1991) Chicago, 1952 gelatin silver print signed in pencil (mount recto); signed, titled, and dated in ink (mount verso) 10 1/2 × 13 1/2 inches. $800 – 1,200

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 115

190

Aaron Siskind

(American, 1903 – 1991) Coatzacoalcos 22, 1973 gelatin silver print signed, titled, and dated in ink (recto) 9 3/4 × 9 1/2 inches. $800 – 1,200

191

Max Yavno

(American, 1911 – 1985) Two Chinese, San Francisco, 1947 (printed c. 1970s) gelatin silver print signed on mount 20 × 16 inches.

Literature: The Photography of Max Yavno, University of California Press, 1981 (plate 35) Provenance: Personal Collection of Max Yavno Jan Kesner Gallery, Los Angeles $1,000 – 2,000

116 P R I N T S A N D M U LT I P L E S

192

Irving Penn

(American, 1917 – 2009) Yves Saint Laurent, Braque Inspired Fashion, Katoucha Niane, Paris, 1988 pigment prints signed and dated (verso) largest: 18 × 14 inches.

Published in US Vogue, Glorius Couture as Art, April 1988 $6,000 – 8,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 117

193

Irving Penn

(American, 1917 – 2009) Benedetta Barzini, Vogue, 1965 gelatin silver print bearing Condé Nast copyright stamp, verso 16 3/4 × 13 7/8 inches. $1,000 – 2,000

118 P R I N T S A N D M U LT I P L E S

194

Peter Beard

(American, 1938 – 2020) Untitled (together with two I.C.P. publications) gelatin silver print signed and inscribed in ink 14 × 11 inches. $2,000 – 4,000

195 No Lot

196

Jock Sturges

(American, b. 1947) A pair of works (Fanny, Montalivet, France, 1997; Marine, The Last Summer #2, Montalivet, France, 1987) gelatin silver print one is signed, titled, dated, and numbered 14/40 in pencil verso 18 1/2 × 14 3/4 and 21 1/2 × 17 3/4 inches. $1,500– 2,500 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 119

*197

Tom Baril

(American, b. 1952) Buddha, 2005 silver gelatin print signed, dated, and inscribed ‘AP’ (verso) 59 1/2 × 48 inches.

Property from the Collection of Marianella Aliaga, Denver, Colorado $3,000 – 5,000

198

Craigie Horsfield

(American, b. 1949) The Tree at the Edge of the World, Sabmar, La Dahesa, El Hierro, March, 2002 – 2004 unique dryprint credited, titled, and dated on gallery label (frame verso) 40 1/2 x 51 inches.

Provenance: Baldwin Gallery, Aspen, Colorado $5,000 – 7,000

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199

Dawoud Bey

(American, b. 1953) A Boy in Front of the Lowe’s 125th Street Movie Theatre,1976 (printed 2012) gelatin silver print; printed later signed, dated, and inscribed A/P in pencil verso 12 × 8 inches.

Property from a Private Collection, Chicago, Illinois $3,000 – 5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 121

GLOSSARY OF TERMS

ARTIST INDEX ARTIST NAME

LOT

Albers, Josef . . . . . . . . . . . . . . . . . . . 6 Baril, Tom . . . . . . . . . . . . . . . . . . . 197 Bartlett, Jennifer . . . . . . . . . . . . . . . 43 Baumann , Gustave . . . . . . . . 110 – 111 Beard, Peter . . . . . . . . . . . . . . . . . 194 Benton, Thomas Hart . . . . . . . . . . 113 Berthon, Paul . . . . . . . . . . . . . . . . 121 Bey, Dawoud . . . . . . . . . . . . . . . . . 199 Bonnard, Pierre . . . . . . . . . . . . . . . 148 Bourgeois, Louise . . . . . . . . . . . 60 – 61 Braque, Georges . . . . . . . . . . . . 82-83 Brockhurst, Gerald Leslie . . . . 116, 118 Bruegel the Elder, Pieter (after, by Pieter van der Heyden). . . . . . . . . . . . . . . 157 Bruegel the Elder, Pieter (after) . . . . 158 Calder, Alexander. . . . . . . . . . . . 70-72 Cassatt, Mary . . . . . . . . . . . . . . . . 150 Chagall, Marc . . . . . . . . . . . . . . 85 – 86 Chéret, Jules . . . . . . . . . . . . . 122 – 129 Christo . . . . . . . . . . . . . . . . . . . . . . 53 Cort, Cornelis (after Girolama Muziano). . . . . . . . . . . . . . . . . . . . 159 Dali, Salvador . . . . . . . . . . . . . . 73 – 74 Davenport, Ian . . . . . . . . . . . . . . . . 54 de Feure, Georges . . . . . . . . . . . . . 130 de Kooning, Willem. . . . . . . . . . . . . . 27 de Toulouse-Lautrec, Henri . . . 138 – 142 Diebenkorn, Richard. . . . . . . . . . . . . 26 Dine, Jim . . . . . . . . . . . . . . . . . . . . 36 Dubuffet, Jean. . . . . . . . . . . . . . . . . 84 Dürer, Albrecht . . . . . . . . . . . . . . . 155 Ernst, Max . . . . . . . . . . . . . . . . . . . 81 Foujita, Léonard Tsuguharu . . . . . . 149 Francis, Sam . . . . . . . . . . . . . . . . . . 35 Grasset, Eugène . . . . . . . . . . . . . . 131 Hamaguchi, Yozo . . . . . . . . . . . . . . . 63 Horsfield, Craigie. . . . . . . . . . . . . . 198 Johns, Jasper. . . . . . . . . . . . . . . . . . 34 Katz, Alex . . . . . . . . . . . . . . . . . . . . 29 Kent, Corita . . . . . . . . . . . . . . . 11 – 22 Klimt, Gustav. . . . . . . . . . . . . . . . . 146 Leger, Fernand . . . . . . . . . . . . . . . . 79 Lewis, Martin . . . . . . . . . . . . . . . . 117 Lewis, Samella . . . . . . . . . . . . . . . 115 Lobel, P. H.. . . . . . . . . . . . . . . . . . . 132 Lorrain, Claude . . . . . . . . . . . . . . . 162 Loving, Alvin . . . . . . . . . . . . . . . . . . 59 Marshall, Kerry James . . . . . . . . . . . 58 Miro, Joan . . . . . . . . . . . . . . . . . 77 – 78 Moore, Henry . . . . . . . . . . . . . . . . . 68 Motherwell, Robert . . . . . . . . . . 41 – 42 Mucha, Alphonse . . . . . . . . . . 133 – 137 Muller, Harman Janszoon (after Maarten van Heemskerck). . . . . . . . . . . . . . 160 Muziano, Girolama (after, by Cornelis Cort). . . . . . . . . . . . . . . . . . . . . . . 159 Nevelson, Louise. . . . . . . . . . . . . . 1 – 3 Oldenburg, Claes . . . . . . . . . . . . . . . 40 Opie, Julian. . . . . . . . . . . . . . . . . . . 30 Paschke, Ed. . . . . . . . . . . . . . . . . . . 55 Penn, Irving . . . . . . . . . . . . . . 192 – 193 Picasso, Pablo (after). . . . . . . . . . . . 89 Picasso, Pablo. . . . . . . 87 – 88, 90 – 109 Piranesi, Giovanni Battista . . . 177 – 185 Pissarro, Camille . . . . . . . . . . . . . . 147 Porter, Fairfield. . . . . . . . . . . . . . . . 112 Rauschenberg, Robert . . . . . . . . 38 – 39

122 P R I N T S A N D M U LT I P L E S

ARTIST NAME

LOT

Réalier-Dumas, Maurice . . . . . . . . . 120 Reddy. Krishna. . . . . . . . . . . . . . 65 – 67 Renoir, Pierre-Auguste . . . . . . 151 – 154 Riley, Bridget . . . . . . . . . . . . . . . . . . . 4 Rivers, Larry . . . . . . . . . . . . . . . . . . 52 Robbe, Manuel . . . . . . . . . . . . . . . 145 Roubille, Auguste Jean-Baptiste. . . . 119 Ruppersberg, Alan . . . . . . . . . . . . . . 23 Ruscha, Ed . . . . . . . . . . . . . . . . . . . 24 Ruth Bernhard . . . . . . . . . . . . . . . . 186 Serra, Richard . . . . . . . . . . . . . . . . . 37 Siskind, Aaron . . . . . . . . . . . . 187 – 190 Steinlen, Théophile Alexandre. 143-144 Stella, Frank . . . . . . . . . . . . . . . 5, 7 – 9 Sturges, Jock . . . . . . . . . . . . . . . . 196 Sutherland, Graham . . . . . . . . . . . . 69 Tamayo, Rufino . . . . . . . . . . . . . . . . 62 Thiebaud, Wayne . . . . . . . . . . . . . . . 25 Tuttle, Richard . . . . . . . . . . . . . . . . . 10 van de Velde II, Jan . . . . . . . . . . . . 161 van der Heyden, Pieter (after Pieter Bruegel the Elder) . . . . . . . . . . . . . 157 van Heemskerck, Maerten . . . . . . . 156 van Ostade, Adriaen Jansz . . . . . . . 163 van Rijn, Rembrandt Harmenszoon . . . . . . . . . . . . 164 – 176 Vasarely, Victor . . . . . . . . . . . . . 75 – 76 Villon, Jacques . . . . . . . . . . . . . . . . 80 Vincente, Esteban . . . . . . . . . . . . . . 64 Warhol, Andy . . . . . . . . . . . . . . . 31 – 33 Wesselmann, Tom . . . . . . . . . . . . . . 28 Wiley, William T. . . . . . . . . . . . . . 44 – 51 Wirsum, Karl . . . . . . . . . . . . . . . 56 – 57 Wood, Grant . . . . . . . . . . . . . . . . . 114 Yavno, Max . . . . . . . . . . . . . . . . . . 191

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.

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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 123

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ERIN RUST SPECIALIST ERINRUST @HINDMANAUCTIONS.COM

MICHAEL HALL CATALOGUER MICHAELHALL @HINDMANAUCTIONS.COM

MADISON LIGHT ASSOCIATE CATALOGER

MARIELLE EPSTEIN DEPARTMENT COORDINATOR

BOOKS & MANUSCRIPTS GRETCHEN HAUSE VICE PRESIDENT, SENIOR SPECIALIST GRETCHENHAUSE @HINDMANAUCTIONS.COM

SPORTS MEMORABILIA JAMES SMITH SPECIALIST JAMESSMITH @HINDMANAUCTIONS.COM

KATIE HORSTMAN SENIOR SPECIALIST KATIEHORSTMAN @HINDMANAUCTIONS.COM DANIELLE LINN SPECIALIST EMILY PAYNE SPECIALIST KAYLAN GUNN ASSOCIATE SPECIALIST LESLIE WINTER ASSOCIATE SPECIALIST FRANCIS WAHLGREN SENIOR CONSULTANT PATRICIA TENCH SENIOR CATALOGUER BENTON LUDGIN DEPARTMENT COORDINATOR

BENTON LUDGIN DEPARTMENT COORDINATOR MARKETING ASHLEY GALLOWAY VICE PRESIDENT PHOTOGRAPHY ZOË BARE DIRECTOR OF PHOTOGRAPHY DAVID JACKSON PHOTOGRAPHY SUPERVISOR MIKE REINDERS CARMEN COLOME AMELIA MOORE BILL ROSS CONOR CROOKHAM LIBBY MOORE JEREMY RAFTER RACHEL SMITH AVERY CAMPBELL 9/1

ASIAN ART ANNIE WU DIRECTOR, SENIOR SPECIALIST ANNIEWU @HINDMANAUCTIONS.COM FLORA ZHANG ASSOCIATE SPECIALIST FLORAZHANG @HINDMANAUCTIONS.COM MEGAN SADLER CATALOGUER

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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-five percent (25%) of the hammer price on each lot sold for less than $5,001, with a minimum commission of $75 per lot sold. If your property fails to reach the reserve price agreed upon between you and Hindman LLC, you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price.

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 312.334.4232 for further 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:

$0 - $500 ........................................ $25

$500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $250 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,500 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Above > $200,000 .... At Auctioneer’s Discretion

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 $300 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.

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

Updated 8/13

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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.

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

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

B. REGISTERING TO BID

1. NEW BIDDERS New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity. (a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.

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

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

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

5. OUR BIDDING SERVICES We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services. (a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids. (b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites. (c) Written Bids: You can find a Written Bid Form in the back of our catalogues, at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.

6. CREDIT CARD AUTHORIZATION HOLD When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a $100 authorization hold on the card that will remain until it falls off, usually within 48 hours.

C. DURING THE AUCTION

1. BIDDING IN THE AUCTION (a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/ her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (b) Online-only Auctions. Bids may only be submitted on our website or through third-party bidding sites between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.

2. AUCTIONEER’S DISCRETION The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction.

You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).

3. BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at approximately fifty percent (50%) of the lot’s low estimate; where necessary, will lower the asking bid until a bid is received; and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.

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4. SUCCESSFUL BIDS AND INVOICES Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid.

While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges.

D. AFTER THE AUCTION

1. THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots, we charge twenty-five percent (25%) of the hammer price up to and including $400,000; twenty percent (20%) of any amount in excess of $400,001 up to and including $4,000,000; and twelve percent (12%) of any amount in excess of $4,000,001. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium.

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

3. MAKING PAYMENT (a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date. (b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name. (c) You must pay for lots in US dollars in one of the following ways: (i) Wire transfer. (ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed. (iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us. (d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department.

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

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

6. YOUR FAILURE TO PAY If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion: (a) We can charge interest from the due date at a rate of up to one and onehalf percent (1.5%) per month on the unpaid amount due. (b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation. (c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount. (d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law.

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(e) We can reveal your identity and contact details to the seller. (f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids. (g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us. (h) We can take any other action we deem necessary or appropriate.

7. SHIPPING, COLLECTION, AND STORAGE (a) You must collect purchased lots within thirty (30) days of the auction.

We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. (b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate. (c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot. (d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES (a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot. (b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

E. WARRANTIES

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

Any such representation, other information, or additional warranty shall be null and void.

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.

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 129

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

G. OTHER TERMS

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

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

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

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

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

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

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

8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy, or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), you and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in

130 P R I N T S A N D M U LT I P L E S

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 8/13

Upcoming Auction Sale 909 American and European Art 27 September | Chicago | 10am CT Inquiries Joe Stanfield VP, Senior Specialist, Fine Art 312.280.1212 josephstanfield@hindmanauctions.com

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