The Robert & Ruth Vogele Collection 25 April 2019

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AUCTION 25 APRIL 2019



E X H I B I T I O N  18  – 25 April 2019 10 am – 5 pm Monday – Friday 1440 W Hubbard St Chicago IL 60642 w r i g h t 20. c o m

The Robert & Ruth Vogele Collection AUCTION 25 APRIL 2019



Robert Vogele not only believed in design, he believed in people. His list of interests and love of creativity came from the human heart. What made him tick was leaning into the pulse of life and artistic imagination. dana arnett



leFt

Ruth and Robert Vogele

right

Robert with Ilya Bolotowsky in the artist’s stuido, 1977

below

Robert with Ron Gorchov, 1971

A Life of Design, Art & Collecting INTRODUCTION BY DANA ARNETT

A groundbreaking designer and business strategist, the late Robert Vogele is remembered as a global visionary who nurtured the creative potential of generations of Chicago designers. Vogele challenged designers to always think about design for the greater good of business, community and the world. A fellow AIGA medalist and friend of Paul Rand, Saul Bass and George Nelson, Robert was co-founder of the internationally recognized design consultancy, VSA Partners. He retired in 2002, and today the firm continues to thrive and serve many of the most respected companies in the world. Robert and his wife Ruth began collecting contemporary prints, sculptures and paintings more than fifty years ago. Avid collectors of mid-century modern art, furniture and folk art, their love for art evolved from a chance acquaintance, turned lifelong friendship, with Harry Bertoia. Their relationship was emblematic of how Robert and Ruth came to know and nurture many artists. Their joy of collecting was only surpassed by their desire to encourage artists to find their voice and explore their true calling. Ruth recalls, “It was common for Bob and I to spend vacation time in New York studios, New Mexican pueblos and the lesser-known artist enclaves of Appalachia. We never lost our passion for getting to know artists and learning more about their individual craft.” Together, the Vogeles devoted much of their lives to supporting the arts, including donating countless works to museums such as the Art Institute of Chicago, Chicago’s Museum of Contemporary Art, the Krannert Art Museum at the University of Illinois and the Milwaukee Art Museum, among others. Their collection is not only expansive it represents a unique view of the intersection of fine art and design.




100  M A X B I L L 1908–1994  7 Scarious portfolio 1967 | screenprint on paper | 15 ¾ h × 15 ¾ w in (40 × 40 cm) Signed, dated and numbered to lower edge of each sheet ‘69/100 Bill 1967’. This portfolio is number 69 from the edition of 100 published by Edizioni del Deposito, Genoa. Sold with the original invoice from Roy Boyd Gallery, Western Springs, Illinois.   $  3 ,000  –  5 ,000 p rov e na n c e

Acquired in 1976 from Roy Boyd Gallery, Western Springs, IL



101  R O N G O R C H O V b. 1930  Untitled

102  I B I B I O A R T I S T   Idiok Ekpo mask

1973 | watercolor and pencil on paper | 30  h × 22  w in (76 × 56 cm)

Nigeria, 20th Century | carved and painted wood | 11 ¼ h × 7 w × 5 ½ d in (29 × 18 × 14 cm)

Signed and dated to lower edge ‘Ron Gorchov 2-4-73’. Sold with the original

Sold with original invoice from Annamel African Art Gallery, Paris and stand.

invoice from the artist.  $  1 ,500 –  2 ,000

$  2 ,000  –  3 ,000

p rov e na n c e

p rov e na n c e

Acquired directly from the artist in 1978

Private Collection, Doular, Cameroon

Acquired in 1988 from Joseph Melloul, Annamel African Art Gallery, Paris


The Ekpo society, made up exclusively of men, hold most of the power amongst the Ibibio peoples. One way they communicate their power is through masked ceremonies. Idiok Ekpo masks embody evil spirits and serve as a reminder of how moral ugliness in life follows you after death. Through a disfigured face and deformities such as enlarged eyes, discoloration, a missing nose and raised bumps, these masks inspire both fear and respect. Idiok Ekpo’s counterpart, Mfon Ekpo, are beautiful masks meant to promote the virtue of morality. This example was likely made for local use and retains traces of blue pigment.


103  R O N G O R C H O V b. 1930  Untitled 1973 | watercolor and pencil on paper | 30  h × 22  w in (76 × 56 cm) Signed and dated to lower edge ‘Ron Gorchov 2-4-73’. Sold with the original invoice from the artist.  $  1 ,500 –  2 ,000 p rov e na n c e

Acquired directly from the artist in 1978


104  P E T E R V O U L K O S 1924–2002  Untitled Plate 1973 | wheel-thrown and glazed stoneware with porcelain pass-throughs 3 ½ d × 19 ½ dia in (9 × 50 cm) Iron oxide signature and date to verso ‘Voulkos 73’. Sold with the original invoice from John Henry, Miami. This work is registered under the Voulkos and Co. catalog number CR704.209-G.  $  5 ,000 –  7,000 p rov e na n c e

Acquired in 1984 from John Henry, Miami


105  L E G A A R T I S T   Bwami hip mask Democratic Republic of the Congo, 20th Century | carved wood, paint 8  h × 4  w × 1 × d in (20 × 10 × 4 cm) Sold with stand.  $  7 00  –  9 00


Although simple in form, Bwami masks represent complex aspects of everyday life including societal rank and ancestral history. The smooth surface and refined features express physical beauty which for the Lega people, is deeply connected to moral excellence. This example was likely made for export.


106  J O H N H E N R Y b. 1943  Maciachini Model 2 2008 | enameled aluminum | 23 ½ h × 13  w × 7  d in (60 × 33 × 18 cm) Incised signature and date to underside ‘John Henry 2008’. Impressed mark to underside ‘08-79 4/4’. This work is number 4 from the edition of 4. Sold with the original invoice from the artist.  $  3 ,000 –  5 ,000 p rov e na n c e

Acquired directly from the artist in 2008


107  B E T T Y P A R S O N S 1900–1982  Mantelope 1979 | painted pine and oak, metal | 29 ¼ h × 25 ¼ w × 4 ½ d in (74 × 64 × 11 cm) Signed, titled and dated to verso ‘Mantelope 1979 Betty Parsons’. Sold with the original invoice from Fairweather Hardin Gallery, Chicago.  $  1 ,000 –  1 ,500 p rov e na n c e

Acquired in 1981 from Fairweather Hardin Gallery, Chicago


108  G E O R G E R I C K E Y 1907–2002  Tetrahedron Down II 1972 | stainless steel | 19  h × 5  dia in (48 × 13 cm) Incised signature and date to base ‘Rickey 72’. Incised title to each element ‘Tetra’. This work is unique.  $  1 5,000 –  2 0,000 p rov e na n c e

Private Collection | Wright, Post War + Contemporary

Art, 4 June 2009, Lot 632 (purchased after sale)



109  J O H N H E N R Y b. 1943  Renaissance brooch 1997 | 14 karat gold | 2 ¾ h × 1  w × ½ d in (7 × 3 × 1 cm) Signed, dated and numbered to verso ‘John Henry 1997 4/20’. This work is number 4 from the edition of 20. Sold with the original invoice from T. Curtsnoc Fine Arts, Miami.  $  7 00 –  9 00 l i t e r at u r e

The Art of Fine Jewelry by John Henry, advertisement

p rov e na n c e

Acquired in 1997 from T. Curtsnoc Fine Arts, Miami


110  A R N A L D O P O M O D O R O b. 1926  Rhomboid 1977 | gold-plated bronze, bronze, lacquered wood | 12  h × 11 w × 7 d in (30 × 28 × 18 cm) Incised signature and number to base ‘Arnaldo Pomodoro 29/30’. This work is number 29 from the edition of 30. Sold with a copy of the invoice from Los Angeles Modern Auctions.  $  1 5,000 –  2 0,000 p rov e na n c e

Andrew Wirtz Gallery, San Francisco | Atlantic Richfield Company Art Collection | Los Angeles Modern Auctions, 13 December 2000, Lot 546a (purchased after sale)


111   C L A I R E Z E I S L E R 1903–1991  Untitled (necklace)

112  L Y N D A B E N G L I S b. 1941  Blue Pair

c. 1965 | cotton and linen thread | 15 ½ h × 8 ½ w in (39 × 22 cm)

1972 | pigmented beeswax with damar resin and gesso on masonite

This work was reviewed by Joan Binkley, the daughter of Claire Zeisler, at the time

36  h × 4 ½ w × 1 ¼ d in (91 × 11 × 3 cm)

it was acquired by the Vogeles. Sold with additional documentation from Friends

Signed, titled, and dated to verso ‘Lynda Benglis Blue Pair 1972’. Sold with

of Fiber Art International, Western Springs, Illinois. Work is displayed on suede

the original invoice and correspondence with the artist.  $  7,000 –  9 ,000

backing in a Pexiglas frame measuring: 20 h × 16 w inches.  $  2 ,000 –  3 ,000 p rov e na n c e

Collection of a former employee of Claire Zeisler

Friends of Fiber Art International, Western Springs, IL

l i t e r at u r e

3-Dimensional Painting, Museum of Contemporary Art,

Chicago exhibition catalog, pg. 30 exhibited

Lynda Benglis: Wax Paintings, 1972, Hansen-Fuller Gallery,

San Francisco Painting and Sculpture Today, 26 April – 4 June 1972, Indianapolis Museum of Art, Indianapolis 3-Dimensional Painting, 2 August – 9 November 1980, Museum of Contemporary Art, Chicago Selections from the Collection of Robert Vogele, 13 February – 20 March 1983, Swen Parson Gallery, Northern Illinois University, DeKalb, IL p rov e na n c e

Acquired directly from the artist in 1980



113  S A L A M P A S U A R T I S T

Kasangu (warrior) mask

Democratic Republic of the Congo, 20th Century | carved and painted wood 12  h × 6  w × 5  d in (30 × 15 × 13 cm) Sold with the original invoice from The Grayson Gallery, Chicago and stand.  $  7 00 –  9 00 p rov e na n c e

Collection of Herbert Baker, California | Acquired in 1988

from The Grayson Gallery, Chicago


The Salampasu peoples were known as a fierce warrior society and used Kasangu masks to signify hierarchical rank. Boys who had been initiated into warrior society rose through the ranks by gaining access to a variety of masks such as the present lot. When a warrior obtained a certain mask by completing various tasks, he assumed the esoteric knowledge associated with it and his position within society rose. This example was created for export.


114  C L A I R E Z E I S L E R 1903–1991  Untitled c. 1965 | rocks enclosed in handmade lace | 2 ½ h × 6  w × 7  d in (6 × 15 × 18 cm) This work was reviewed by Joan Binkley, the daughter of Claire Zeisler, at the time it was acquired by the Vogeles. Sold with additional documentation from Friends of Fiber Art International, Western Springs, Illinois.  $  2 ,000 –  3 ,000 p rov e na n c e

Collection of a former employee of Claire Zeisler | Friends of Fiber

Art International, Western Springs, IL


115  C H U C K C L O S E b. 1940  Self Portrait/Lincoln Center 2007 | screenprint on Somerset wove paper | 29 ¾ h × 24  w in (76 × 61 cm) Sheet measures: 38 h × 30.25 w inches. Signed, dated and numbered to lower edge ‘7/118 Chuck Close 2007’. This work is number 7 from the edition of 118 printed by Watanabe Press, New York and published by Lincoln Center, New York. Sold with original invoice from Jerald Melberg Gallery, Charlotte, North Carolina.  $  5 ,000 –  7,000 l i t e r at u r e

Art at Lincoln Center: The Public Art and List Print and Poster

Collections, Riley, ppg. 121, 205 p rov e na n c e

Acquired in 2007 from Jerald Melberg Gallery, Charlotte, NC


116  D A V I D S M I T H 1906–1965  Untitled 1956 | casein and ink on paper | 15 ½ h × 20 ¼ w in (39 × 51 cm) Signed and dated to top left ‘David Smith 11-19-56’.  $  3 0,000 –  5 0,000 p rov e na n c e

Acquired from Richard Gray Gallery, Chicago



117  M A R K T O B E Y 1890–1976  Flame of Colors (from the Homage to Tobey portfolio)

118  L Y N D A B E N G L I S b. 1941  Lagniappe I 1978 | cast pigmented paper, polypropylene

1974 | lithograph on Arches paper | 16 ½ h × 11 ¾ w in (42 × 30 cm)

47  h × 20 ½ w × 5 ¼ d in (119 × 52 × 13 cm)

Sheet measures: 25.5 h × 19.5 w inches. Signed and numbered to lower margin

Signed, dated and numbered to verso ‘Lynda Benglis 9/26 78’. This work is number

‘Tobey 137/150’. This work is number 137 from the edition of 150 printed by Mourlot,

9 from the edition of 26 unique works published by Paula Cooper Gallery, New York.

Paris and published by Transworld Art, Geneva. Sold with original invoice from

Sold with original invoice from Paula Cooper Gallery, New York.  $  5 ,000 –  7,000

Sotheby Parke Bernet, New York.  $  5 00 –  7 00 p rov e na n c e

Sotheby Parke Bernet, New York, 23 June 1976, Sale Number

3893, Lot 241 | Roy Boyd Gallery, Western Springs, IL

exhibited

Selections from the Collection of Robert Vogele, 13 February – 20 March

1983, Swen Parson Gallery, Northern Illinois University, DeKalb, IL p rov e na n c e

Purchased in 1979 from Paula Cooper Gallery, New York



above

Lot 119 photographed in the artist’s studio

right

Michael Goldberg photographed by Robert Vogele, 1977


Living with Vigor MICHAEL GOLDBERG & ROBERT VOGELE

Michael Goldberg conceived of art as a dialogue, not only between the

Robert Vogele met Michael Goldberg in the 1970s, and the two shared an instant

artist and his vision but also between the artwork and the viewer. His early

connection. Goldberg’s paintings were about the visual and sensory experience, and

paintings speak volumes, layering texture and images, swathes of paint

Vogele was a receptive and open-minded observer. Correspondence between the two

brushed, scraped and spread on the canvas, energetic marks that sound like

tells of a friendly relationship, with Goldberg eager to share his new work and Vogele

jazz and look like a busy New York street seen from above. In his later works,

planning the details for his next visit. In one letter from 1977, Vogele writes fondly

the architectural compositions start to show through; paint is applied with

of a trip to Goldberg’s studio and enclosed a portrait of the artist standing in front

no less vigor, but channeled with more supervision, transforming frenzied

of one of his new paintings. He jokes about the photo, saying that he has included

lines into muscular forms, bursting with conversation.

it, “…in case you want to send it to your Mother.” As a collector, Vogele valued the

Goldberg is often described as a second generation Abstract Expressionist; however the Bronx-born artist began carving out his place in the canon when he started painting in 1939 at the age of fifteen. At the age of seventeen, he began studying under Hans Hofmann until the outbreak of World War II in 1942 when he became a paratrooper in the United States Army and earned a purple heart for his service—an honor befitting of the man described by so many as immensely generous, gregarious and formidable. Upon returning to the states, Goldberg continued to study under Hofmann and participated in Leo Castelli’s groundbreaking Ninth Street Show in 1951. For a short time, Goldberg exhibited under the name Michael Stuart, a pseudonym he quickly dropped before his first solo show at Tibor de Nagy gallery in 1953. In the late 1950s,

relationships he made with the artists whose work he admired, and looking through his carefully kept records, one gets the feeling that that they are turning the pages of a scrapbook. Newspaper articles, exhibition catalogs, postcards, and snapshots reveal him as a friend and a patron, who thoughtfully followed Goldberg’s life and career even after his death in 2007. Of their relationship, Goldberg recalled that, “Underneath Bob Vogele’s unassuming character is a bubbling excitement and joy. He really cares deeply about visual experience, and I’ve always felt that the acquisition of works of art was entirely a secondary consideration. He has always responded to what I’ve considered ‘difficult’ works of mine, and I’ve found his taste and response a pleasure—I don’t see enough of him.”

as painting trends diverged and hard-edge minimalism began to rise, Goldberg

The present lot comes from the pivotal period of time when Abstract Expressionism

remained committed to his style and continued to paint gestural, abstract works.

was at its height—what Leo Castelli described as an “outburst of pride and strength”

For the next fifty years, he charted his own path, falling in and out of favor with critics

among American painters. Completed in 1954, it exhibits all the signatures

who seemed unsure of how to categorize him, all the while remaining steadfast to his

of Goldberg’s best paintings: fluid and expressive brushwork, engaging and dynamic

vision. In 2001, six years before his death from a heart attack, he affirmed, “Either you

abstraction, executed unhesitatingly on a grand scale.

find that you’re behind the times or ahead of them. It doesn’t matter. What matters is your own times.”


119  M I C H A E L G O L D B E R G 1924–2008  Untitled 1954 | oil on canvas | 57 ½ h × 67 ½ w in (146 × 171 cm) Signed and dated to verso ‘Goldberg 1954’. Sold with the original invoice from the artist.  $  2 00,000 –  3 00,000 p rov e na n c e

Acquired directly from the artist in 1984



Underneath Bob Vogele’s unassuming character is a bubbling excitement and joy. He really cares deeply about visual experience, and I’ve always felt that the acquisition of works of art was entirely a secondary consideration. He has always responded to what I’ve considered ‘difficult’ works of mine, and I’ve found his taste and response a pleasure – I don’t see enough of him. michael goldberg



120  M I C H A E L G O L D B E R G 1924–2008  Untitled 1953 | oil on canvas | 19  h × 17  w in (48 × 43 cm) Signed to lower left ‘Goldberg’. Sold with original invoice from Young Hoffman Gallery, Chicago.  $  2 0,000 –  3 0,000 p rov e na n c e

Acquired in 1978 from Young Hoffman Gallery, Chicago




121  M I C H A E L G O L D B E R G 1924–2008  Le Grotte Vecchie 1st Study 1981 | bronze powder, pastel chalk and Liquitex on canvas | 60  h × 48 w in (152 × 122 cm) Signed, titled and dated to verso ‘Goldberg 81 Le Grotte Vecchie 1st Study’. Sold with original invoice from the artist.  $  7,000 –  9 ,000 p rov e na n c e

Acquired directly from the artist in 1984

122  M I C H A E L G O L D B E R G 1924–2008  Untitled 1962 | oil on canvas | 8  h × 16  w in (20 × 41 cm) Signed and dated to verso ‘Goldberg 62’.  $  7,000 –  9 ,000 p rov e na n c e

Young Hoffman Gallery, Chicago


123  M I C H A E L G O L D B E R G 1924–2008  Untitled (Double Square) 1975 | handmade paper with burring, charcoal and watercolor 29 ½ h × 22  w in (75 × 56 cm) Signed and dated to lower edge ‘Goldberg 75’.  $  7 00 –  9 00


124  M I C H A E L G O L D B E R G 1924–2008  Untitled (Triangle) 1974 | handmade paper with burring, charcoal and watercolor 20 ¾ h × 15  w in (53 × 38 cm) Signed and dated to verso ‘Goldberg 74’.  $  7 00 –  9 00


125  M I C H A E L G O L D B E R G 1924–2008  Untitled 1976 | handmade paper with burring, charcoal and watercolor 25  h × 29 ½ w in (64 × 75 cm) Signed and dated to lower edge ‘Goldberg 76’.  $  7 00 –  9 00 p rov e na n c e

Acquired in 1976 directly from the artist



126  R O B E R T A D A M S 1917–1984  Untitled (Screen Form) 1962 | bronzed steel | 36 ¾ h × 20 ¾ w × 6  d in (93 × 53 × 15 cm) Impressed signature and date to base ‘Adams 1962’. Sold with original invoice from Gimpel Weitzenhoffer Gallery, New York.  $  1 0,000 –  1 5,000 p rov e na n c e

Acquired in 1975 from Gimpel Weitzenhoffer Gallery, New York




Robert has collected because he has made true friendships with the artists, and he has learned of their concerns as well as their associations with other artists. He is curious about their lives as well as their art. He, in fact, seems as though he’s some family member. ly n da b e n g l i s


127  M A R I L Y N L E N K O W S K Y b. 1947  Untitled

128  L Y N D A B E N G L I S b. 1941  Lagniappe I

c. 1978 | acrylic on masking tape | 32  h × 19  w in (81 × 48 cm)

1978 | cast pigmented paper, acrylic, sparkles, polypropylene

Sold with correspondence from John Doyle Gallery, Chicago.  $  3 00 –  5 00

49  h ×28 w × 14 d in (124 × 71 × 36 cm)

p rov e na n c e

Acquired in 1978 from John Doyle Gallery, Chicago

Signed and numbered to verso ‘Benglis 24/26’. This work is number 24 from the edition of 26 unique works published by Paula Cooper Gallery, New York. Sold with original invoice from Dart Gallery, Chicago.  $  3 ,000 –  5 ,000 p rov e na n c e

Acquired in 1979 from Dart Gallery, Chicago



129  J A C K B A R T H 1924–2008  Elevation on One and Four, Exchanges on Two and Three portfolio (four works) 1974 | etching on Rives BFK paper | 15 ½ h × 24 ½ w in (39 × 62 cm) Each sheet measures: 20.5 h × 28.5 w inches. Signed, titled, dated and numbered to each sheet ‘25/25 Barth 1974 Elevation on One and Four, Exchanges on Two and Three’. This complete portfolio of four works and two cover sheets is number 25 from the edition of 25 with 10 artist’s proofs, printed by Crown Point Press, Oakland and published by John Doyle Gallery, Chicago. Sold with the original invoice from John Doyle Gallery, Chicago.  $  7 00 –  9 00 p rov e na n c e

Acquired in 1977 from John Doyle Gallery, Chicago


130  A G U S T Í N I B A R R O L A b. 1930  Untitled 1999 | carved and painted pine | 17 ¼ h × 9 ¾ w × 3  d in (44 × 25 × 8 cm) Signed to lower edge ‘Ibarrola’. Signed and dated to verso ‘1999 Ibarrola’. Sold with a digital copy of the original invoice.  $  5 00 –  7 00 p rov e na n c e

Acquired directly from the artist in 2000


131   R O B E R T M O T H E R W E L L 1915–1991  Barcelona Elegy to the Spanish Republic 1991 | etching and aquatint on German etching paper | 21  h × 27 ½ w in (53 × 70 cm) Sheet measures: 26.75 h × 32.5 w inches. Numbered to lower right ‘24/50’ with embossed chop mark ‘Motherwell Estate’. This work is number 24 from the edition of 50 printed by Catherine Mosley, Greenwich and published by Dedalus Foundation, Inc., New York. Sold with original invoice from Jerald Melberg Gallery, Charlotte, North Carolina.  $  5 ,000 –  7,000 l i t e r at u r e

Engberg and Banach 533

p rov e na n c e

Acquired in 2003 from Jerald Melberg Gallery, Charlotte, NC


132  L Y N D A B E N G L I S b. 1941  First Snake Wall 1992 | glazed earthenware | 17  h × 17  w × 14  d in (43 × 43 × 36 cm) Signed and dated to underside ‘L Benglis 92’. Sold with the original correspondence from Tavelli Gallery, Aspen.  $  3 ,000 –  5 ,000 exhibited

Lynda Benglis: Ceramic Sculpture, 8 March – 15 April 1993,

Tavelli Gallery, Aspen p rov e na n c e

Acquired in 1993 from Tavelli Gallery, Aspen


133   E D U A R D O C H I L L I D A 1924–2002  exhibition poster 1983 | offset lithograph on paper | 34 ¾ h × 23 ½ w in (88 × 60 cm) Signed to lower right ‘Eduardo Chillida’. This poster was created for the exhibition Eduardo Chillida in 1982 at Tasende Gallery, La Jolla, California.  $  3 00 –  5 00


134  E D U A R D O C H I L L I D A 1924–2002   Design for Poster 1982 | ink and collage on handmade paper | 9  h × 6 ¾ w in (23 × 17 cm) Signed to lower right ‘Eduardo Chillida’. Sold with original invoice from Tasende Gallery, La Jolla, California and a certificate of authenticity from Eduardo Chillida.  $  1 5,000  –  2 0,000 exhibited

Eduardo Chillida, 1982, Tasende Gallery, La Jolla, CA

p rov e na n c e

Acquired in 1983 from Tasende Gallery, La Jolla, CA


135  L Y M A N K I P P 1929–2014  Oxtail 1978 | enameled steel | 10 ¼ h × 6  w × 4 ¼ d in (26 × 15 × 11 cm) Impressed signature and date to base ‘Kipp 1978 Oxtail’. Sold with original invoice from Construct Gallery, Chicago  $  1 ,000 –  1 ,500 p rov e na n c e

Acquired in 1978 from Construct Gallery, Chicago




Harry Bertoia was a special artist friend. I first met him in February of 1975 when he unveiled his model for the Standard Oil Building sculpture. I was able to talk to him at some length and he invited me to stop by his studio if I was ever in Bally, Pennsylvania. I made a point to stop and was never sorry. Harry died of cancer in November of 1978 but in that short period of time that I knew him I came to develop a deep respect for his integrity as an artist. We cherish the work we own by Harry and find our knowing him adds greatly to that appreciation. robert vogele


136  H A R R Y B E R T O I A 1915–1978  Untitled (Sonambient) c. 1975 | beryllium copper and brass | 28 ¼ h × 36 w × 5 ¼ d in (72 × 91 × 13 cm) This work features 343 rods in five rows. Sold with original drawing by the artist, correspondence with the artist and a certificate of authenticity from the Harry Bertoia Foundation.  $  7 0,000 –  9 0,000 exhibited

Selections from the Collection of Robert Vogele, 13 February –

20 March 1983, Swen Parson Gallery, Northern Illinois University, DeKalb, IL p rov e na n c e

Acquired directly from the artist in 1975




137   H A R R Y B E R T O I A 1915–1978  Untitled (Cloud Form) c. 1960 | melt-coated brass over steel | 44  h × 89  w × 7  d in (112 × 226 × 18 cm) Sold with original invoice, correspondence with the artist and a certificate of authenticity from the Harry Bertoia Foundation.  $  1 50,000 –  2 00,000 p rov e na n c e

Acquired in 1982 from Bertoia Studio, Bally, PA


138  H A R R Y B E R T O I A 1915–1978  Untitled (Bush Form) c. 1975 | welded copper and bronze with applied patina | 7 ½ h × 19  dia in (19 × 48 cm) Sold with a certificate of authenticity from Brigitta Bertoia and a certificate of authenticity from the Harry Bertoia Foundation.  $  7 0,000 –  9 0,000 p rov e na n c e

Acquired in 1982 from Bertoia Studio, Bally, PA



139  H A R R Y B E R T O I A 1915–1978  Monotype No. 42 (three works) c. 1950 | ink on rice paper | 9  h × 6 ½ w in (23 × 17 cm) Each sheet measures: 10.25 h × 7.5 w inches. Numbered to lower right of each work.   $  2 ,000 –  3 ,000 p rov e na n c e

Acquired in 1989 from Bertoia Studio, Bally, PA




140  H A R R Y B E R T O I A 1915–1978  Untitled (eleven miniature sculptures) c. 1958 | melt-coated brass over steel, welded bronze with applied patina, melt-coated brass over bronze | 2  h × 8 ½ w × 1 ¾ d in (5 × 22 × 4 cm) (largest) Sold with original invoice from Bertoia Studio, Bally and individual certificates of authenticity from the Harry Bertoia Foundation.  $  2 0,000 –  3 0,000 p rov e na n c e

Acquired in 1983 from Bertoia Studio, Bally, PA


141  H A R R Y B E R T O I A 1915–1978  brooch c. 1940 | sterling silver | 2 ¼ h × 1 ½ w × ¼ d in (6 × 4 × 1 cm) This brooch was made by Bertoia while he was studying and teaching at Cranbrook Academy of Art, from 1937 to 1943. Sold with a certificate of authenticity from the Harry Bertoia Foundation.  $  1 0,000 –  1 5,000 p rov e na n c e

Acquired in 1998 from Ray Leight, West Point, PA


142  H A R R Y B E R T O I A 1915–1978  Untitled (Monotype) c. 1950 | ink on rice paper | 9  h × 6 ½ w in (23 × 17 cm) Signed to lower edge ‘OB H.B’.  $  2 ,000 –  3 ,000 p rov e na n c e

Acquired in 1980 from Bertoia Studio, Bally, PA


143  H A R R Y B E R T O I A 1915–1978  Untitled (Early Welded Form) c. 1950 | melt-coated brass over steel | 13  h × 45  w × 2  d in (33 × 114 × 5 cm) Sold with original drawing by the artist, correspondence with the artist and a certificate of authenticity from the Harry Bertoia Foundation.  $  5 0,000 –  7 0,000 p rov e na n c e

Acquired directly from the artist in 1976



144  H A R R Y B E R T O I A 1915–1978  Untitled (Monotype) c. 1950 | ink on rice paper | 12  h × 16 ½ w in (30 × 42 cm) Signed to verso ‘HB’. Numbered to lower right ‘1654’.  $  2 ,000 –  3 ,000 p rov e na n c e

Acquired in 1980 from Bertoia Studio, Bally, PA



145  H A R R Y B E R T O I A 1915–1978  Untitled (Bush Form) c. 1965 | welded copper and bronze with applied patina | 11 ¾ h × 19  dia in (30 × 48 cm) Sold with original invoice from Allentown Art Museum, Allentown, Pennsylvania and a certificate of authenticity from the Harry Bertoia Foundation.  $  3 0,000 –  5 0,000 p rov e na n c e

Acquired in 1976 from the Allentown Art Museum, Allentown, PA



146  H A R R Y B E R T O I A 1915–1978  Untitled (Monotype) c. 1950 | ink on rice paper | 11  h × 24  w in (28 × 61 cm) Sheet measures: 13 h × 25 w inches.  $  2 ,000 –  3 ,000 p rov e na n c e

Acquired in 1980 from Bertoia Studio, Bally, PA

147  H A R R Y B E R T O I A 1915–1978  Untitled (Welded Form) c. 1958 | welded copper and bronze with applied patina 6 ¾ h × 3 ½ w × 2  d in (17 × 9 × 5 cm) Sold with a certificate of authenticity from the Harry Bertoia Foundation.  $  5 ,000 –  7,000



148  J A M E S R E I N E K I N G 1937–2018  Quadrant with 90° Displacement IV

149  J A M E S R E I N E K I N G 1937–2018  Quadrant with 90° Displacement III

1975 | collage on paper | 22  h × 29 ¾ w in (56 × 76 cm)

1975 | collage on paper | 21 ¾ h × 30  w in (55 × 76 cm)

Signed, titled and dated to lower edge ‘Quadrant with 90° Displacement IV

Signed, titled and dated to lower edge ‘Quadrant with 90° Displacement III

James Reineking 75’. Sold with original invoice from John Doyle Gallery, Chicago.

James Reineking 75’. Sold with original invoice from John Doyle Gallery, Chicago.

$  1 ,000 –  1 ,500

$  1 ,000 –  1 ,500

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Acquired in 1977 from John Doyle Gallery, Chicago

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Acquired in 1976 from John Doyle Gallery, Chicago


150  H E R B E R T B A Y E R 1900–1985  Yellow Mirage 1963 | Liquitex on paper | 21 ½ h × 12 ½ w in (55 × 32 cm) Sheet measures: 22.5 h × 15.75 w inches. Signed and dated to lower right ‘Bayer 1963/34’. Signed, titled and dated to verso ‘Bayer 1963/34 Yellow Mirage’. Sold with a digital copy of the original invoice from Patricia Moore Gallery, Aspen.  $  4 ,000 –  6 ,000 p rov e na n c e

Acquired in 1975 from Patricia Moore Gallery, Aspen


151  I L Y A B O L O T O W S K Y 1907–1981  Untitled (Column) 1963/1976 | painted wood | 18 ¼ h × 3 ¼ w × 3 ¼ d in (46 × 8 × 8 cm) Signed, titled and dated to underside ‘August 25 1975 New Version Column/63 Ilya Bolotowsky’. Sold with original invoice from Ilya Bolotowsky.  $  7,000 –  9 ,000 p rov e na n c e

Acquired directly from the artist in 1977




152  A F T E R P I E T M O N D R I A N

A Portfolio of Ten Paintings

1967 | screenprint on paper | 17  h × 17  w in (43 × 43 cm) Dated and numbered to frontispiece ‘140/150 1967’. This complete portfolio of ten works is number 140 from the edition of 150 printed by Sirocco Screenprints, Inc., New Haven and published by Ives-Stillman Inc., New Haven. Retains original slipcase and essay by Henry Holtzman.  $  7,000 –  9 ,000



1 5 3  A F T E R F E R N A N D L É G E R

Juane No. 10

154  T O M W A L D R O N b. 1953  maquette for Pitch

France, c. 1942/c. 1965 | hand-knotted wool | 56 ½ w × 88 l in (144 × 224 cm)

c. 1997 | corten steel | 6  h × 16  w × 12  d in (15 × 41 × 30 cm)

Woven signature to reverse ‘F. Léger’. Sold with original invoice from

This maquette is for the sculpture Pitch, which was installed in 1997

American Federal Savings & Loan, Des Moines, Iowa.  $  5 ,000 –  7,000

at Navy Pier, Chicago.  $  3 00 –  5 00

l i t e r at u r e

p rov e na n c e

Contemporary French Tapestries, Constantine, pg. 28

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American Federal Savings & Loan, Des Moines, IA,

27 October 1991, Lot 2402

Acquired in 1998 from Wood Street Gallery, Pittsburgh


Robert Vogele has for me, as well as for many of my colleagues, been a constant source of encouragement, a prudent and sober advisor, and always a friend. john henry



155  J O H N H E N R Y b. 1943  Untitled (For Ruth) 1987 | enameled aluminum | 7  h × 8  w × 7  d in (18 × 20 × 18 cm) Sold with original invoice from the artist.  $  7 00 –  9 00 p rov e na n c e

Acquired directly from the artist in 1987


1 5 6  R O N G O R C H O V b. 1930  Landfall Stretcher

158  R O N G O R C H O V b. 1930  Untitled

1978 | watercolor and etching on paper | 30  h × 22 ½ w in (76 × 57 cm)

1973 | watercolor and pencil on paper | 30  h × 22 ¼ w in (76 × 57 cm)

Signed and dated in plate ‘©Ron Gorchov 1978’. Signed, numbered and inscribed

Signed and dated to lower edge ‘Ron Gorchov 2-3-73’. Sold with original

to lower edge ‘7/12 WC for Bob Vogele Ron Gorchov’. This work is number

invoice from the artist.  $  1 ,500 –  2 ,000

7 of 12 unique variations published by Landfall Press, Chicago and hand-colored by the artist. Sold with original invoice from the artist.  $  3 00 –  5 00 p rov e na n c e

Acquired directly from the artist in 1978

1 5 7  R O N G O R C H O V b. 1930  Landfall Stretcher 1978 | watercolor and etching on paper | 30  h × 22 ½ w in (76 × 57 cm) Signed and dated in plate ‘©Ron Gorchov 1978’. Numbered and inscribed to lower edge ‘7/12 for Nancy Vogele’. This work is number 7 of 12 unique variations published by Landfall Press, Chicago and hand-colored by the artist. Sold with original invoice from the artist.  $  3 00 –  5 00 l i t e r at u r e

Ron Gorchov, Maruani Mercier Gallery, unpaginated, illustrates this work

p rov e na n c e

Acquired directly from the artist in 1978

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Acquired directly from the artist in 1978


159  R I C H A R D L I N D N E R 1901–1978  Fatal Stop 1968 | screenprint on canvas | 44  h × 96  w in (112 × 244 cm) Signed in plate ‘R Lindner’.  $  1 ,000 –  1 ,500



160  M A R I N O M A R I N I 1901–1980  Idea del cavaliere 1972 | lithograph on paper | 21 ¼ h × 16  w in (54 × 41 cm) Sheet measures: 27.75 h × 19.75 w inches. Signed and numbered to lower edge ‘H.C. 1/11 Marino’. This work is number 1 of 11 hors de commerce aside from the edition of an unknown size published by Société Internationale d’Art XXe Siècle, Paris.  $  3 00 –  5 00


161  L U D W I G M I E S V A N D E R R O H E   Barcelona chairs, pair Germany/USA, 1929/c. 1960 | Gerald R. Griffith | stainless steel, leather 30  w × 31  d × 30  h in (76 × 79 × 76 cm) These examples were made by Gerald R. Griffith in Chicago under the supervision of Mies van der Rohe. The Griffith chairs have extremely precise corners, and less reinforcement at the central cross than later production examples by Knoll.  $  3 ,000 –  5 ,000


162  H E R B E R T B A Y E R 1900–1985  study for Spiral and Elypse tapestry 1983/84 | acrylic on paper | 10 ½ h × 13  w in (27 × 33 cm) Signed, titled, dated and inscribed to lower edge ‘Bayer Tapestry for Arco Anchorage Executive Floor 1983/4 Spiral and Elypse Acrylic’.  $  3 ,000  –  5 ,000


163  H E R B E R T B A Y E R 1900–1985  study for Structure with Circle tapestry 1983 | acrylic on paper | 10 ½ h × 12 ¾ w in (27 × 32 cm) Signed, titled, dated and inscribed to lower edge ‘Bayer Tapestry for Arco Anchorage Executive Floor Bayer 1983 Structure with Circle’.  $  3 ,000  –  5 ,000 p rov e na n c e

Acquired from Patricia Moore Gallery, Aspen


164  R I C H A R D A N U S Z K I E W I C Z b. 1930  Annual Editions (four works) 1970–74 | screenprint on masonite and cardstock | 7  h × 7  w in (18 × 18 cm) Signed and dated to each work.  $  1 ,000 –  1 ,500 p rov e na n c e

Acquired directly from the artist


165  R O B E R T M A N G O L D b. 1930  Point Traveling Through Space at an Erratic Speed #9 1995 | enameled aluminum, aluminum | 86  h × 36  w × 36  d in (218 × 91 × 91 cm) Signed and dated to lower element ‘Mangold 1/95’.  $  3 ,000 –  5 ,000 l i t e r at u r e

Realities of Motion: The Sculpture of Robert Mangold, Woodward,

ppg. 38–39 illustrates series


166  J O H N H E N R Y b. 1943  Untitled (two works) c. 1970 | cast bronze | 6 ¾ h × 11  w × 4 ½ d in (17 × 28 × 11 cm) Additional work measures: 6.5 h × 8 w × 7 d inches.  $  3 ,000 –  5 ,000


167  A F T E R E L L S W O R T H K E L L Y   exhibition poster USA, 1980 | offset lithograph on paper | 36  h × 27 ¾ w in (91 × 70 cm) This poster was created for the traveling exhibition Ellsworth Kelly at Leo Castelli Gallery, BlumHelman Gallery and Castelli Uptown, New York in 1981.  $  2 00 –  3 00

168  M A X B I L L 1908–1994  Radiation of a Square 1970 | screenprint on paper | 27 ½ h × 19 ½ w in (70 × 50 cm) Signed, dated and numbered ‘Bill 70 31/200’. This work is number 31 from the edition of 200 printed by Edizioni de Deposito, Genoa. Sold with original invoice from New York Graphic Society, Greenwich.  $  5 00 –  7 00 p rov e na n c e

Acquired in 1975 from New York Graphic Society, Greenwich


169  L U D W I G M I E S V A N D E R R O H E   Barcelona table Germany/USA, 1928/c. 1960 | Gerald R. Griffith | stainless steel, glass

170  H E R B E R T B A Y E R 1900–1985  works from the Great Ideas of Western Man series (two sets)

38  w × 38  d × 17  h in (97 × 97 × 43 cm)

1965 | offset lithograph on paper | 16 ½ h × 22  w in (42 × 56 cm)

$  1 ,000 –  1 ,500

This lot includes two identical sets of fourteen works from the edition of an unknown size published by the Container Corporation of America; twenty-eight works total.  $  2 ,000 –  3 ,000


This lot is a collection of Herbert Bayer’s designs for the Great Ideas of Western Man advertisement series he created for the Container Corporation of America (CCA), of which he served as art director from 1945 to the 1970s. Founded by Walter Paepcke in Chicago in 1926, CCA began as a manufacturer of paper and packaging goods. By the late 1930s, CCA became influential for using progressive modernist design in their branding and created a transatlantic style through employing avant-garde European émigrés like Bayer, László Moholy-Nagy, György Kepes and Max Bill, among others. The Great Ideas of Western Man advertisements paired quotes from great 20th century thinkers with striking graphic designs. CCA was an early adopter of a contemporary advertisement language that went beyond simply selling a product and instead marketed values, taste and an overall lifestyle sensibility to its consumers.


171   J O H N H E N R Y b. 1943  Untitled 1978 | aluminum | 21 ½ h × 21 ½ w × 17  d in (55 × 55 × 43 cm) Incised signature and date to base ‘John Henry Feb 1978’.  $  2 ,000 –  3 ,000 p rov e na n c e

Acquired directly from the artist in 1978


172  S A M F R A N C I S 1923–1994  Firewood 1973 | screenprint on paper | 31 ½ h × 39 ½ w in (80 × 100 cm) Sheet measures: 32 h × 39.75 w inches. Signed and numbered to lower edge ‘36/50 Sam Francis’. This work is number 36 from the edition of 50 printed and published by Gemini G.E.L., Los Angeles.  $  1 ,500 –  2 ,000 p rov e na n c e

Acquired in 1975 from Gallery Moos, Toronto


173   L I N D A F L E M I N G b. 1945  Dimensional Gate maquette 1982 | painted wood, enameled steel | 18 ½ h × 12  w × 6  d in (47 × 30 × 15 cm) Sold with original invoice from Construct Gallery, Chicago.  $  3 00 –  5 00 p rov e na n c e

Acquired in 1983 from Construct Gallery, Chicago


1 7 4  J A M E S R O S A T I 1912–1988  Untitled

176  D O R O T H Y D E H N E R 1901–1994  Untitled (Three Figures)

1982 | acrylic and colored pencil on paper | 14 ½ h × 13 ½ w in (37 × 34 cm)

c. 1953 | watercolor and ink on paper | 22 ¾ h × 18 ¼ w in (58 × 46 cm)

Signed and dated to lower right ‘Rosati 82’. This work is double-sided.  $  3 00 –  5 00

Signed and dated to lower right ‘Dorothy Dehner c. 53’. Sold with the original invoice from Perimeter Gallery, Chicago.  $  7 00 –  9 00

1 7 5  S H I Z U K O Y O S H I K A W A b. 1934  Colour Shadow 1977 | screenprint on paper | 27 ½ h × 27 ½ w in (70 × 70 cm) Signed, dated and numbered in image ‘S No. 71d 14/30 Yoshikawa 1977’. This work is number 14 from the edition of 30. Sold with original invoice from Roy Boyd Gallery, Western Springs, Illinois  $  5 00 –  7 00 p rov e na n c e

Acquired in 1978 from Roy Boyd Gallery, Western Springs, IL

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Acquired in 1992 from Perimeter Gallery, Chicago


177   P H I L I P M O U L T H R O P   vessel USA, c. 1980 | ash leaf maple | 10  dia × 5 ¾ h in (25 × 15 cm) Incised signature to underside ‘PM Philip Moulthrop Ash leaf Maple Acer Negundo 617-010’.  $  1 ,000 –  1 ,500


178  R O B E R T M O T H E R W E L L 1915–1991  Calligraphic Study II 1976 | lift-ground etching and aquatint on handmade paper | 6  h × 8  w in (15 × 20 cm) Sheet measures: 22.5 h × 18 w inches. Signed and numbered to lower margin ‘Motherwell AP V/V’. This work is number 5 of 5 artist’s proofs aside from the edition of 30 printed by Catherine Mosley, Greenwich and published by the artist. Sold with original invoice from Jerald Melberg Gallery, Charlotte, North Carolina.  $  1 ,000 –  1 ,500 l i t e r at u r e

Engberg and Banach 195

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Acquired in 2007 from Jerald Melberg Gallery, Charlotte, NC


179  J A C K B A R T H 1924–2008  Place Setter No. 4

180  K U B A A R T I S T

1978 | oil paint, charcoal, conté and wood collage on paper

Democratic Republic of the Congo, 20th Century | carved and painted

60  h × 49 ½ w in (152 × 126 cm)

wood, formed copper, metal, shells | 17 ¼ h × 10  w × 5  d in (44 × 25 × 13 cm)

Signed and dated to verso of wood block ‘Barth 78’. Sold with the original

Sold with stand.  $  7 00 –  9 00

invoice from the artist.  $  1 ,000 –  1 ,500 p rov e na n c e

Acquired in 1979 directly from the artist

Pwoom-Itok mask


Pwoom-Itok masks such as the present lot would have represented older, wise men during boy’s initiation ceremonies. This example was likely created for export.


181  D E R R I È R E L E M I R O I R   No. 110 and No. 173 (two issues) France, 1958/1968 | lithograph on paper, printed paper | 15  h × 11  w in (38 × 28 cm) Lot includes issue no. 110 by Ellsworth Kelley containing seven color lithographs (two shown) and issue no. 173 by Alexander Calder containing eight color lithographs (two shown), published by Maeght Editeur, Paris.  $  3 00 –  5 00


182  C H A R L E S A N D R A Y E A M E S

RAR-1

USA, 1950/c. 1970 | Herman Miller | molded fiberglass, vinyl, enameled steel, birch, rubber | 25  w × 26  d × 27  h in (64 × 66 × 69 cm) Signed with paper manufacturer’s label to underside ‘Herman Miller Inc.’.  $  7 00 –  9 00 l i t e r at u r e

The Work of the Office of Charles and Ray Eames, Neuhart, Neuhart and

Eames, ppg. 138, 141 The Herman Miller Collection, manufacturer’s catalog, 1952, pg. 94


183  D A N T E B A N D I N I A N D T H E O D O R E W A D D E L L  7+ table lamp Italy, 1969 | Zanotta | stainless steel, plastic, glass 23  w × 10 ¾ d × 3 ¾ h in (58 × 27 × 10 cm) Cast manufacturer’s mark to underside ‘Theodore Waddell Brevettato Made in Italy’.  $  7 00 –  9 00


1 8 4  H A R L E Y D A V I D S O N   Eaglethon poster 1997 | offset lithograph on paper | 46 ½ h × 74 ¾ w in (118 × 190 cm)

185  C L A E S O L D E N B U R G b. 1929  Geometric Mouse, Scale-D “Home-made” (two examples, one shown)

This work is from an unknown edition size printed by The Pikes Peak

1971 | die-cut paper with stainless steel wire hinges and beads

Lithographing Company, Colorado Springs.  $  1 00 –  1 50

19 ½ h × 16 ½ w in (50 × 42 cm) Signed to paper tag on one work ‘CO’. Each work is from the unlimited and unnumbered edition of approximately 3,000 published by Gemini G.E.L., Los Angeles.

1 8 6  M I C H I K O I T A T A N I b. 1948  Untitled

$  1 ,000  –  1 ,500

1977 | graphite on paper | 12  h × 8 ½ w in (30 × 22 cm)

l i t e r at u r e

Signed and dated to verso ‘Michiko Itatani 77’.  $  5 00 –  7 00

A Catalogue Raisonné 1958–1996, Axsom and Platzker, ppg. 160–161

p rov e na n c e

N.A.M.E. Gallery, Chicago

Printed Stuff: Prints, Posters and Ephemera by Claes Oldenburg,


187  G E O R G E N E L S O N & A S S O C I A T E S  pedestal occasional table, model 5451 USA, 1954 | Herman Miller | laminate, enameled aluminum 17  dia × 22 ½ h in (43 × 57 cm) Signed with applied foil manufacturer’s label to underside ‘George Nelson Design Herman Miller Zeeland Michigan’.  $  3 00 –  5 00 l i t e r at u r e

George Nelson: Architect, Writer, Designer, Teacher,

von Vegesack and Eisenbrand, pg. 261 The Herman Miller Collection, manufacturer’s catalog, 1955, unpaginated


188  R I C H A R D A N U S Z K I E W I C Z b. 1930  Annual Editions (three works) 1977–79 | screenprint on masonite | 5 ½ h × 5 ½ w in (14 × 14 cm) Signed and dated to lower right of each work ‘Richard Anuszkiewicz’.  $  1 ,000 –  1 ,500

189  P A T D Y P O L D   Lady Liberty 7Up billboard USA, 1969 | offset lithograph on paper | 116  h × 245  w in (295 × 622 cm) Printed signature to edge of one sheet ‘Dypold’. Billboard is comprised of twelve sheets each measuring: 43 h × 58.5 w inches.   $  1 ,000 –  1 ,500


190  E L A I N E K R I M M E R B R A M S b. 1930  Interior 1966 | colored pencil and oil pastel on paper | 18  h × 23 ¾ w in (46 × 60 cm) Signed and dated to lower right ‘E/K Brams/66’.  $  2 00 –  3 00 p rov e na n c e

Acquired in 1974 from Devorah Sherman Gallery, Chicago


191  J O H N T O R R E A N O b. 1941  Polyhedral vase c. 1980 | iridized blue glass | 8  w × 11  d × 8  h in (20 × 28 × 20 cm) $  3 00 –  5 00


192  O S V A L D O S A L A S 1914–1992  Che

195  O S V A L D O S A L A S 1914–1992  Con Hemingway

1964/printed later | gelatin silver print | 16  h × 12  w in (41 × 30 cm)

1960/printed later | gelatin silver print | 12  h × 16  w in (30 × 41 cm)

Sheet measures: 20 h × 16 w inches. Signed, titled and dated to lower edge

Sheet measures: 16 h × 20 w inches. Signed, titled and dated to lower edge ‘Con

‘Che 1964 Roberto Salas’ with embossed stamp ‘Salas/Habana Cuba’.  $  7 00 –  9 00

Hemingway 1960 Osvaldo Salas’ with embossed stamp ‘Salas/Habana Cuba’. Inscribed to verso ‘Negative by Osvaldo Salas printed by Robert Salas Edition Cuba’.  $  7 00 –  9 00

193  O S V A L D O S A L A S 1914–1992  Fidel Castro in Central Park, New York 1955/printed later | gelatin silver print | 12  h × 16  w in (30 × 41 cm)

196  O S V A L D O S A L A S 1914–1992  Allie Reynolds and Ted Williams

Sheet measures: 16 h × 20 w inches. Signed, titled and dated to lower edge ‘New York

1953/printed later | gelatin silver print | 16  h × 12  w in (41 × 30 cm)

1955 Osvaldo Salas’ with embossed stamp ‘Salas/Habana Cuba’.  $  5 00 –  7 00

Sheet measures: 20 h × 16 w inches. Signed, titled and dated to lower edge ‘Allie Reynolds, Ted Williams 1953 Osvaldo Salas’ with embossed stamp ‘Salas/Habana Cuba’.  $  7 00 –  9 00

194  O S V A L D O S A L A S 1914–1992  Jackie Robinson 1955/printed later | gelatin silver print | 16  h × 12  w in (41 × 30 cm) Sheet measures: 20 h × 16 w inches. Signed, titled and dated to lower edge

197  O S V A L D O S A L A S 1914–1992  Con Hemingway

‘Jackie Robinson 1955 Osvaldo Salas’ with embossed stamp ‘Salas/Habana Cuba’.

1960/printed later | gelatin silver print | 12  h × 16  w in (30 × 41 cm)

$  7 00 –  9 00

Sheet measures: 16 h × 20 w inches. Signed, titled and dated to lower edge ‘Con Hemingway 1960 Osvaldo Salas’ with embossed stamp ‘Salas/Habana Cuba’. Inscribed to verso ‘Negative by Osvaldo Salas printed by Robert Salas Edition Cuba’.  $  7 00  –  9 00


198  L U D W I G M I E S V A N D E R R O H E

Model 242 chaise lounge

Germany/USA, c. 1927/1986 | Knoll International | leather, stainless steel 26  w × 72  d × 37  h in (66 × 183 × 94 cm) Signed with paper manufacturer’s label to underside ‘Knoll International 1986’.  $  7 00 –  9 00 l i t e r at u r e

Knoll: A Modernist Universe, Lutz, pg. 157


199  G E O R G E S R O U A U L T 1871–1958  Squelette from Les Fleurs du mal

200  H O P I   Koyemsi (Mudhead) mask

1926/1966 | aquatint on paper | 13 ¾ h × 10 ½ w in (35 × 27 cm)

USA, c. 1945 | cotton, leather, feathers | 16  h × 12  w × 7 ½ d in (41 × 30 × 419 cm)

Sheet measures: 17.5 h × 13.25 w inches. Signed and dated in plate ‘1926 G. Rouault’.

Sold a copy of the original invoice from The Indian Tree, Chicago and stand.

This work is from the edition of 425 printed by Jacquemin, Paris and published by Fequet

$  5 00 –  7 00

and Baudier, Paris. This print was part of the illustrations for Les Fleurs du mal by Charles Baudelaire. Sold with original invoice from Sotheby Parke Bernet, New York.  $  7 00 –  9 00 p rov e na n c e

3780, Lot 409

Sotheby Parke Bernet, New York, 25–26 July 1975, Sale Number

p rov e na n c e

Acquired in 1979 from The Indian Tree, Chicago


Kachinas are supernatural beings, central to the Hopi religion and Pueblo peoples, that visit villages and connect the living to the spiritual world. During ceremonies, Hopi men embody the spirits to bring about abundance and harmony with nature. Koyemsi, known as Mudhead, is a clown Kachina that drums, dances and plays games with the audience.


201  P A U L S O L D N E R 1921–2011  bowl c. 1975 | glazed earthenware | 3 ¼ h × 11 ½ dia in (8 × 29 cm) Impressed artist’s cipher to rim.  $  5 00 –  7 00 p rov e na n c e

Acquired in 2002 from Galerie Yoram Gil, West Hollywood


2 0 2  H A R R Y B E R T O I A 1915–1978  Sonambient Recordings, set of three

203  E D U A R D O C H I L L I D A 1924–2002  exhibition poster

1970, 1978 | record sleeve, vinyl | 12 ¼ w × 12 ¼ h in (31 × 31 cm)

1982 | offset lithograph on paper | 34 ½ h × 23 ½ w in (88 × 60 cm)

Signed to reverse of one record sleeve ‘Harry Bertoia’. Lot includes Bellissima

Signed to lower right ‘Eduardo Chillida’. This poster was created for the exhibition

Bellissima Bellissima / Nova (1970), Swift Sounds / Phosphorescence (1978)

Eduardo Chillida in 1982 at Tasende Gallery, La Jolla, California.  $  1 00 –  2 00

and Unfolding / Sounds Beyond (1978), all self-released by the artist under the record label Sonambient.  $  1 00 –  1 50


This impressive and uncommon mask is thought to have originated in the Bonduku region of Côte d’Ivoire. Its unique form suggests a hippopotamus’s head appearing just above the water’s surface and it bears remnants of ritual substances and wear, suggesting that it is both early and used locally.


2 0 4  B O N D U K U R E G I O N   mask

205  J O S E L U I S C U E V A S 1934–2017  Untitled (portfolio of eight works)

Côte d’Ivoire, Early 20th Century | carved and painted wood, rope

1999 | aquatint and etching on paper | 9 ¾ h × 8 ¼ w in (25 × 21 cm)

11  w × 12  d × 20  h in (28 × 30 × 51 cm)

Each sheet measures: 19.75 h × 13.5 w inches. Signed, dated and numbered to each sheet

Sold with a digital copy of a letter of expertise by William Fagg, Keeper

‘Jose Luis Cuevas 99 26/30’. This portfolio is number 26 from the edition of 30 published

of the Department of Ethnography at the British Museum from 1969-1974.

by Tiempo Extra Editores, Mexico City. Sold with a certificate of authenticity from Tiempo

$  1 ,000 –  1 ,500

Extra Editores.  $  1 ,000 –  1 ,500 p rov e na n c e

Acquired in 2000 from Tiempo Extra Editores, Mexico City


206  R E B E C C A B L U E S T O N E b. 1953  New Music #4 tapestry 1991 | hand-woven wool | 65 ½ w × 43 ½ l in (166 × 110 cm) Signed to verso ‘Rebecca Bluestone’. Sold with correspondence from the artist.  $  1 ,000 –  1 ,500 p rov e na n c e

Acquired in 1993 from New Mexico Museum of Art, Santa Fe


207  H A R R Y B E R T O I A

Bird chair and ottoman

USA, 1952/1980 | Knoll International | chrome-plated steel, upholstery, rubber 38  w × 36  d × 38  h in (97 × 91 × 97 cm) Ottoman measures: 24 w × 17 d × 15 h inches. Signed with paper manufacturer’s label to underside ‘Knoll International July 9 1980’.  $  7 00 –  9 00 l i t e r at u r e

Knoll Furniture: 1938–1960, Rouland and Rouland, ppg. 74–75


208  A R T I S T U N K N O W N   Untitled (two works) c. 1980 | enameled steel, enameled aluminum | 6  h × 12  w × 7  d in (15 × 30 × 18 cm) Additional work measures: 7 h × 8 w × 10 d inches. Signed to one example.  $  5 00 –  7 00


209  R I C H A R D A N U S Z K I E W I C Z b. 1930  Untitled (four works) 1975, 1987–88 | screenprint on masonite, screenprint on acrylic 5 ¼ h × 7 ½ w in (13 × 19 cm) Signed and dated to two works ‘Anuszkiewicz’.  $  5 00 –  7 00 p rov e na n c e

Acquired directly from the artist


210  T A P I R A P É P E O P L E S

Cara Grande mask

Brazil, c. 1975 | feathers, painted wood, rush, mother of pearl, cotton rope 43  h × 31  w × 4  d in (109 × 79 × 10 cm) Sold with original invoice from The Grayson Gallery, Chicago.  $  5 00 –  7 00 p rov e na n c e

Acquired in 1987 from The Grayson Gallery, Chicago


2 1 1  J O E L B A S S b. 1942  Untitled (one work from the Verticals portfolio) 1974 | etching on paper with lead collage | 15 ½ h × 24  w in (39 × 61 cm)

212  M I C H A E L N O L A N D b. 1958  Roadside Enigmas, Memorial for Topcat and The Starry Night (three works)

Signed, dated and numbered to lower edge ‘.008 lead (21) 1974 July 29th Joel

1994 | acrylic on paper | 15  h × 11  w in (38 × 28 cm)

Bass 18/25’. This work is number 18 from the edition of 25 printed by Crown

Signed, titled and dated to lower edge of each work ‘M. Noland 2-26-94

Point Press, Oakland and published by John Doyle Gallery, Chicago/Paris.

Memorial for Topcat,’ ‘M. Noland 10-94 The Starry Night,’ and ‘M. Noland

Sold with coversheet.  $  2 00 –  3 00

10-94 Roadside Enigmas’.  $  7 00 –  9 00


213  C H A R L E S A N D R A Y E A M E S

DCW

USA, 1945 | Evans Products/Herman Miller | birch plywood, rubber 19 ¼ w × 22  d × 29  h in (49 × 56 × 74 cm) Signed with decal manufacturer’s label to underside ‘Evans Products Company Molded Plywood Division Herman Miller Furniture Company Sole Distributor Designed by Charles Eames’.  $  5 00 –  7 00 l i t e r at u r e

The Work of the Office of Charles and Ray Eames, Neuhart, Neuhart

and Eames, ppg. 58–59, 72–73 The Herman Miller Collection, manufacturer’s catalog, 1948, pg. 62


214  R I C H A R D A N U S Z K I E W I C Z b. 1930   collection of twenty-two works 1963–95 | offset lithograph and screenprint on paper and cardstock 7 × h × 7 × w in (largest) Signed to sixteen works.  $  3 00  –  5 00 Provenance: Acquired directly from the artist


215  C H A R L E S A N D R A Y E A M E S

leg splint

216  J A N T Y N I E C b. 1960  Exorcisms

USA, 1943 | Evans Products | molded mahogany plywood

1988 | woodcut on rice paper | 20 ½ h × 20  w in (52 × 51 cm)

8  w × 4  d × 42  h in (20 × 10 × 107 cm)

Sheet measures: 34 h × 24.5 w inches. Signed, titled, dated and numbered to lower

Signed with printed manufacturer’s label to packaging ‘1 Splint Leg Plywood

margin ‘Jan A. Tyniec 3/6 Exorcisms 1988’. This work is number 3 from the edition of 6.

for Transportation Stock No: S2-1790 Manufactured by Evans Products Company

$  3 00 –  5 00

Molded Plywood Division Los Angeles California’. Sold with original packaging.  $  1 00 –  1 50 l i t e r at u r e

p rov e na n c e

Acquired in 1988 directly from the artist

Eames Design: The Work of the Office of Charles and Ray Eames,

Neuhart, Neuhart and Eames, ppg. 32–33 p rov e na n c e

Gift of Ray Eames to Elaine K. Sewell Jones | Los Angeles

Modern Auctions, Modern Art + Design, 23 May 2010, Lot 120C

217  A B O R I G I N A L

Wunda (shield)

Australia, Early 20th Century | carved and painted wood 4 ½ w × 1 ½ d × 25 ¼ h in (11 × 4 × 64 cm) Sold with the original correspondence from Taylor A. Dale Gallery, Santa Fe and acrylic stand.  $  5 00 –  7 00 p rov e na n c e

Collection of Colonel Karl F. Baldwin | Taylor A. Dale Gallery, Santa Fe


Wunda were used by the Aboriginals to protect against projectile weapons in battle. They were also used in ritual performances, where battle scenes would be reenacted. The zigzag design of the shield, here in the pandal pattern, is inspired by the ripples of water and sand. This work originates from the Kimberley region of Northwestern Australia.


218  C H R I S C A R T E R b. 1945  vase c. 2000 | glazed stoneware | 15 ¼ h × 12 ½ w × 4  d in (39 × 32 × 10 cm) Impressed artist’s cipher to underside. Sold with original invoice from Hart Gallery, London.  $  3 00 –  5 00 p rov e na n c e

Acquired in 2001 from Hart Gallery, London


2 1 9  A M A Z O N I A N   hairpin

221  A M A Z O N I A N

Brazil, 20th Century | feathers, reeds, cotton string

Brazil, c. 1970 | feathers, painted dried leather, cotton, reeds

5  w × 2 ¾ d × 20  h in (13 × 7 × 51 cm)

9 ½ w × 2  d × 17 ½ h in (24 × 5 × 44 cm)

$  3 00 –  5 00

$  3 00 –  5 00

2 2 0  P E T E R V O U L K O S 1924–2002  Untitled (lagniappe) c. 1975 | stoneware | 1  h × 2 ½ w × 1  d in (3 × 6 × 3 cm) Incised signature ‘PV’.  $  1 00 –  1 50

dorsal pendant


222  H A N S J . W E G N E R A N D B R U N O M A T H S S O N

dining set

Denmark/Sweden, 1937/1950/produced later | lacquered wood, rush 21 ½ w × 35 ½ d × 28 ½ h in (55 × 90 × 72 cm) Set is comprised of one Maria table by Karl Mathsson manufactured by Firma Karl Mathsson and eight Wishbone chairs, model CH24 by Hans J. Wegner and manufactured by Carl Hansen & Son. Table features four 26-inch leaves and can be arranged in a variety of configurations; table measures 35.5 w × 9 d × 28.5 h when folded completely.  $  3 ,000 –  5 ,000



223  M A R I N O M A R I N I 1901–1980  Plate III (from Marino from Goethe)

224  J O H N M . W H I T E b. 1937  Untitled (from the Landscape series)

1979 | etching and aquatint on velin Rives paper | 25  h × 19 ¼ w in (64 × 49 cm)

1974 | mixed media on paper | 23  h × 29  w in (58 × 74 cm)

Sheet measures: 35.5 h × 25 w inches. Signed and numbered to lower margin

Signed and dated to lower right ‘LA John White 74’.  $  5 00 –  7 00

‘V/L MM’. This work is number 5 from the edition of 50 numbered with Roman numerals aside from the edition of 125 printed by Labyrinth, Florence and published

p rov e na n c e

Acquired in 1977 from John Doyle

by ZWR, London.  $  3 00 –  5 00 225  O T H N I E L A . O O M I T T U K J R .

Walrus Spirit

USA, 2001 | carved and painted wood, plastic | 17 ¼ h × 8 ½ w × 4 d in (44 × 22 × 10 cm) Signed and dated to verso ‘Oomittuk 2001’.  $  1 ,000 –  1 ,500


226  R U T H D U C K W O R T H 1919–2009  vessel 1980 | glazed porcelain | 6 ½ h × 5 ½ w × 5  d in (17 × 14 × 13 cm) Glazed signature to underside ‘R’. Sold with original invoice from Exhibit A Gallery, Chicago.  $  3 00 –  5 00 p rov e na n c e

Acquired in 1980 from Exhibit A Gallery, Chicago


227  R . C . G O R M A N 1923–1984  Angelina II poster 1973 | offset lithograph on paper | 18  h × 14 ½ w in (46 × 37 cm) Sheet measures: 26.5 h × 23 w inches. Signed and inscribed to lower edge ‘From one Gorman to another Gorman. Love R.C.’.  $  2 00 –  3 00 p rov e na n c e

Acquired directly from the artist in 1973


228  H A R R Y B E R T O I A

Wide Diamond chair

USA, 1952 | Knoll International | chrome-plated steel, upholstery, rubber 45  w × 32  d × 28  h in (114 × 81 × 71 cm) $  3 00 –  5 00 l i t e r at u r e

Knoll: A Modernist Universe, Lutz, pg. 137 Knoll Furniture:

1938–1960, Rouland and Rouland, pg. 76


229  L U D W I G M I E S V A N D E R R O H E

Model 259 table

Germany/USA, 1927/c. 1980 | Knoll International | stainless steel, smoked glass 27 ½ dia × 20  h in (70 × 51 cm) $  3 00 –  5 00 l i t e r at u r e

Knoll: A Modernist Universe, Lutz, pg. 157


230  S T E V E S O R M A N b. 1948  Untitled 1996 | watercolor, charcoal, gel medium and gouache on handmade paper 10  h × 8  w in (25 × 20 cm) Signed to lower edge ‘Steve Sorman’.  $  5 00 –  7 00



231  P E T E R W O Y T U K b. 1958  Flying Corvo Brothers c. 1999 | steel, enameled steel, patinated steel Work is comprised of three sections consisting of many smaller elements; central section measures: 36 h × 45 w × 11 d inches, right section measures: 26.5 h × 18 w × 6 d inches and left section measures 20 h × 9 w × 6 d inches. Sold with a copy of the original invoice from Owings-Dewey Fine Art, Santa Fe.  $  1 ,000 –  1 ,500 p rov e na n c e

Acquired in 1999 from Owings-Dewey Fine Art, Santa Fe


232  E D U A R D O C H I L L I D A 1924–2002

233  E D U A R D O C H I L L I D A 1924–2002

poster for Chicago Sculpture International

exhibition posters, set of three

1985 | offset lithograph on paper | 39  h × 27  w in (99 × 69 cm)

1980 | screenprint on paper | 29 ½ h × 19 ½ w in (75 × 50 cm)

Printed signature to edge ‘Eduardo Chillida’. This poster was created

These posters were created for the exhibition Chillida, 27 November,

for the Chicago Sculpture International, 1985.  $  2 00 –  3 00

1980 – 15 January 1981, at Galerie Maeght, Paris.  $  2 00 –  3 00


234  T O S H I K O T A K A E Z U 1922–2011  dish c. 1990 | glazed stoneware | 2 ¼ h × 12 ½ dia in (6 × 32 cm) Impressed signature to underside ‘TT’. Sold with original invoice from the Racine Art Museum.  $  2 00 –  3 00 p rov e na n c e

Acquired in 2009 from the Racine Art Museum, Racine, WI


235  A D O L P H G O T T L I E B 1903–1974  Untitled (Burst)

237  H O P I

1972 | screenprint on paper | 24  h × 17 ¾ w in (61 × 45 cm)

USA, Early 20th Century | painted leather, wood, woven reed,

Sheet measures: 33.75 × 27.5 inches. Signed, dated, and numbered to lower edge ‘Adolph

and gourds, leather, feathers | 18  h × 16 ½ w × 10 ½ d in (46 × 42 × 27 cm)

Gottlieb 1972 90/150’. This work is number 90 from the edition of 150. Sold with original

Sold with stand and additional documentation.  $  7 00 –  9 00

invoice from March Gallery, Western Springs.  $  2 ,000 –  3 ,000 p rov e na n c e

Acquired in 1974 from March Gallery, Western Springs, IL

236  V A R I O U S A R T I S T S

five works for Landfall Press

1978 | lithograph on paper, lithograph and collage on paper 8 ½ h × 11  w in (22 × 28 cm) Lot includes two examples of Storefront/Project for Landfall Press by Christo and JeanneClaude, two examples of Landfall Press holiday greeting card by Philip Pearlstein, and one example of Tusche by Robert Weaver. Each work is from the edition of 300 published by Landfall Press, Chicago.   $  3 00 –  5 00

p rov e na n c e

Hototo mask

Acquired in 1984 from Martha Cusick, Munster, IN


Kachinas are supernatural beings, central to the Hopi religion and Pueblo peoples, that visit villages and connect the living to the spiritual world. During ceremonies, Hopi men embody the spirits to bring about abundance and harmony with nature. Hototo is the Kachina of food preparation.


238  C L A E S O L D E N B U R G b. 1929  Batcolumn fragment 1977 | steel, walnut | 3 ¼ h × 7 ½ w × 1 ½ d in (8 × 19 × 4 cm) Signed with impressed manufacturer’s mark to side ‘Oldenburg Batcolumn Lippincott Visit 2 77’. Lippincott’s, LLC fabricated the metal components for Claes Oldenburg’s monumental sculpture, Batcolumn located outside the Harold Washington Social Security Administration Building in Chicago. This fragment was procured during a visit to the Lippencott studio in 1977.  $  5 00 –  7 00


239  F R E D S T O N E H O U S E b. 1960   Untitled 1993 | acrylic on panel in artist-selected frame | 12  h × 14  w × 1  d in (30 × 36 × 3 cm) Signed and dated to verso ‘Fred Stonehouse 93’.  $  7 00  –  9 00


240  C L A E S O L D E N B U R G b. 1929  Balloons (from The Landfall Press 30th Anniversary portfolio) 2001–02 | lithograph on Rives Heavyweight paper | 16  h × 19  w in (41 × 48 cm) Sheet measures: 25.5 h × 28 w inches. Signed and numbered to lower edge ‘13/30 CO’. This work is number 13 from the edition of 30 published and printed by Landfall Press, Chicago.  $  7 00 –  9 00 p rov e na n c e

Acquired in 2002 from Landfall Press, Chicago


241  E E R O S A A R I N E N

dining set

USA, 1956/c. 1990 | Knoll International | laminate, enameled aluminum, molded fiberglass, upholstery | 47  dia × 28 ½ h in (119 × 72 cm) Set includes dining table and four dining chairs, model 151, each measuring: 26 × 24 × 32 h inches. Signed with decal manufacturer’s label to cushion of each chair ‘Knoll International’. Signed with applied manufacturer’s label to underside of table ‘Knoll Studio Eero Saarinen 1956’.  $  2 ,000 –  3 ,000 l i t e r at u r e

Knoll Furniture: 1938–1960, Rouland and Rouland, ppg. 63, 121–123



The very act of living requires creative decisions everyday. How we design our lives‌our personal vision‌ sets in motion a series of events ever-unfolding, ever-challenging, ever-changing. To design a life is to find what you believe in, what you aspire to be and what you want your legacy to be. It is proactive acts we intentionally use to define ourselves in relationships to others. A life in design. robert vogele


242  L I N D A H O W A R D b. 1934  Roundabout 1978 | balsa wood | 13  h × 16  w × 13 ¼ d in (33 × 41 × 34 cm) Sold with a digital copy of the original invoice from Construct Gallery, Chicago.  $  5 00 –  7 00 exhibited

Selections from the Collection of Robert Vogele, 13 February –

20 March 1983, Swen Parson Gallery, Northern Illinois University, DeKalb, IL p rov e na n c e

Acquired in 1978 from Construct Gallery, Chicago


243  C H R I S T O b. 1935  Wrapped Champagne Bottle (Project for Happy Anniversary) 2000 | lithograph with pencil, cloth, masking tape, plastic and string on paper 21 ½ h × 16 ½ w in (55 × 42 cm) Signed, titled, dated and numbered to upper edge ‘Wrapped Champagne Bottle (Project for Happy Anniversary) 13/30 Christo 2000’. This work is number 13 from the edition of 30 published and printed by Landfall Press, Chicago as part of The Landfall Press 30th Anniversary Portfolio. Sold with documentation from Landfall Press.  $  3 ,000 –  5 ,000 p rov e na n c e

Acquired in 2001 from Landfall Press, Chicago



244  A M A Z O N I A N

collection of artifacts

Brazil, 20th Century | feathers, rush, jute, cotton rope, seeds, beads, shells Lot is comprised of various feather artifacts including four headbands, two aprons, and multiple pieces of feather jewelry.  $  7 00 –  9 00


245  L U D W I G M I E S V A N D E R R O H E

Barcelona chairs, pair

Germany/USA, 1929/c. 1960 | Gerald R. Griffith | stainless steel, leather 30  w × 31  d × 30  h in (76 × 79 × 76 cm) $  3 ,000 –  5 ,000


246  A F T E R P A U L K L E E

Bleu-Rouge carpet

c. 1950 | hand-knotted wool | 72 w × 56.5 d inches Woven signature to verso ‘Klee’. Sold with original invoice from Susanin’s, Chicago.  $  7 00 –  9 00 p rov e na n c e

Susanin’s, Chicago, 9 May 2000, Lot 5007


247  V I C T O R S K R E B N E S K I b. 1929  Untitled

249  C . W . S M I T H

c. 1968 | gelatin silver print | 14  h × 14  w in (36 × 36 cm)

c. 1975 | gelatin silver print mounted on matboard | 19 ¾ h × 15 ½ w in (50 × 39 cm)

Sheet measures: 15.5 h × 19.5 w inches.  $  7 00 –  9 00

Sheet measures: 20.25 h × 16 w inches.  $  2 00 –  3 00

248  J A Y K I N G b. 1944  Untitled c. 1975 | gelatin silver print | 11 ¼ h × 7 ½ w in (29 × 19 cm) Sheet measures: 14 h × 11 w inches.  $  2 00 –  3 00

Untitled


250  H A N S B E L L M A N N

occasional table

Switzerland/USA, 1948 | Knoll Associates | laminate, lacquered wood, aluminum 23 ¾ dia × 20  h in (60 × 51 cm) $  1 ,000 –  1 ,500 l i t e r at u r e

Knoll: A Modernist Universe, Lutz, pg. 119 What Modern Was: Design

1935-1965, Eidelberg, ppg. 138–139


251  S T E V E S O R M A N b. 1948  Untitled

252  I S A M U N O G U C H I

1996 | oil, oil pastel, gel medium and gouache on handmade paper

USA/Japan, c. 2000 | Ozeki & Co., Ltd. | rice paper, bamboo, enameled metal

10  h × 8 ¼ w in (25 × 21 cm)

22 ½ dia × 77  h in (57 × 196 cm)

Signed and dated to verso ‘July 1, 1996 Steve Sorman 96518’.

Signed and stamped with manufacturer’s mark ‘Japan I. Noguchi’. This model

$  5 00 –  7 00

of shade is usually a pendant lamp but was likely custom-ordered as a floor lamp.

Akari Light Sculpture, model 32N

Sold with the original packaging.  $  5 00 –  7 00



253  S O L O M O N I S L A N D S

staff

20th Century | carved and stained wood | 3 ½ w × 2 ½ d × 34 ½ h in (9 × 6 × 88 cm) $  3 00 –  5 00

254  V L A D I M I R G E R M A N b. 1940  Untitled 1985 | oil on paper | 4 ½ h × 8  w in (11 × 20 cm) Signed and dated to verso ‘Vladimir German 85’.  $  5 00 –  7 00 p rov e na n c e

Acquired from The Grayson Gallery, Chicago


255  C A D D O A N M I S S I S S I P P I A N C U L T U R E   1200–1400 CE | earthenware | 5  dia × 7  h in (13 × 18 cm) $  2 00 –  3 00 p rov e na n c e

Acquired in 2009 from Art Chicago

seed jar


256  R I C K D I L L I N G H A M 1952–1994  Globe vessel 1976 | raku stoneware | 9 ½ h × 11  dia in (24 × 28 cm) Incised signature and date to underside ‘Dillingham 76-4’.  $  1 ,000 –  1 ,500


257  G Y Ö R G Y K E P E S 1906–2001  Elipse 1980 | oil and sand on canvas | 30  h × 30  w in (76 × 76 cm) Signed, titled and dated to verso ‘G. Kepes 1980 Elipse’.  $  3 ,000 –  5 ,000 p rov e na n c e

Art Collection

Saidenberg Gallery, New York | Atlantic Richfield Company


258  J O H N M A S S E Y b. 1931  Free Forms on White c. 1976 | hand-woven wool | 35  w × 63 ¾ l in (89 × 162 cm) Woven signature to lower right ‘J. Massey’. Sold with the original invoice from the artist.  $  1 ,000 –  1 ,500 p rov e na n c e

Acquired directly from the artist in 1976


2 5 9  M A N O L O P A Z b. 1957  Untitled

260  M A N O L O P A Z b. 1957  Untitled

2001 | granite, painted poplar | 53 ½ h × 12 ½ w × 10 ¼ d in (136 × 32 × 26 cm)

2001 | granite, painted poplar | 51 ¾ h × 16 ½ w × 10 ½ d in (131 × 42 × 27 cm)

Signed and dated ‘M. Paz 01’. Sold with a certificate of authenticity from Galería

Signed and dated to underside of stone element ‘M. Paz 01’. Sold with a certificate

Trinta, Santiago de Compostela, Spain. The pedestal for this work was created

of authenticity from Galería Trinta, Santiago de Compostela, Spain. The pedestal

by the artist.  $  2 ,000 –  3 ,000

for this work was created by the artist.  $  2 ,000 –  3 ,000

l i t e r at u r e

l i t e r at u r e

Manolo Paz Encuentros, Galería Trama, Madrid, 3 April – 10 May 2003,

Manolo Paz Encuentros, Galería Trama, Madrid, 3 April – 10 May 2003,

pl. 26 illustrates similar works

pl. 26 illustrates similar works

p rov e na n c e

p rov e na n c e

Acquired in 2001 from Galería Trinta, Santiago de Compostela, Spain

Acquired in 2002 from Galería Trinta, Santiago de Compostela, Spain


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“As Is”, “Where Is”. Except as expressly stated below, each Lot is sold “as is” “where is”,

country. Prospective buyers are advised that some countries prohibit the import of

with no representation or warranty of any kind from any party (including Wright

property made of or incorporating plant or animal material, such as coral, crocodile,

or the consignors of the Lots), express or implied, including warranties of erchantability,

ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective

fitness for a particular purpose and non-infringement. Because you are responsible

of age, percentage or value. Accordingly, prior to bidding, prospective buyers

for satisfying yourself as to condition or any other matter concerning each purchased

considering export of purchased lots should familiarize themselves with relevant export

Lot, you are advised to personally examine any Lot on which you intend to bid prior to

and import regulations of the countries concerned. It is solely the buyer’s responsibility

the auction and/or sale. As a courtesy, condition reports for any Lot are available from

to comply with these laws and to obtain any necessary export, import and endangered

Wright prior to the sale, but Wright assumes no responsibility for errors and omissions

species licenses or permits. Failure to obtain a license or permit or delay in so doing

contained in any such report, a Wright Catalog or other description of a Lot that may

will not justify the cancellation of the sale or any delay in making full payment for the

be available on the Wright website. Any statements made by Wright with respect to a

lot. As a courtesy to clients, Wright will advise clients who inquire about lots containing

Lot (whether in a condition report, a Wright Catalog or on the Wright website), whether

potentially regulated plant or animal material, but we do not accept liability for errors

orally or in writing, are intended as statements of opinion only, are not to be relied upon

or for failing to advise on lots containing protected or regulated species.

as statements of fact and do not constitute representations or warranties of any kind.

Delivery Buyer is solely responsible for collection of purchased Lots from Wright

Authorship Warranty Subject to the following terms and conditions, Wright warrants,

facilities, including making arrangements and paying all costs associated

for a period of two (2) years following the date of sale, the information presented in

with packing and delivery. We may, as a courtesy to the buyer, provide or arrange

a Wright Catalog with respect to Authorship of any Lot is true and correct, so long

packing, shipping or similar logistical services, or refer the buyer to third parties

as the name of the Author is set forth unqualifiedly in a heading in Bold type in the

who specialize in these services. Any such services referred, provided or arranged

applicable and most current Wright Catalog. The term “Author” or “Authorship” means

by us are at the buyer’s sole risk and expense, we assume no responsibility for any

the creator, designer, culture or source of origin of the property, as the case may be,

act or omission of any party in connection with any such service or reference, and

as specifically identified in Bold type in the applicable and most current Wright Catalog,

we make no representations or warranties regarding such parties or their services.

and shall not include any supplemental text or information included in any other

You expressly release Wright from any and all liability arising from your use of any

descriptions (whether or not in the Wright Catalog).

third-party website or services. Exclusions from and Conditions to the Authorship Warranty Notwithstanding, this Storage, Abandonment and Related Charges All purchased Lots not collected from

warranty is subject to the following:

Wright’s facilities by buyer or buyer’s authorized agents within thirty (30) days following the Sale Date will become subject to storage fees of not less than $ 5 per

i. The benefits of this warranty are only available to the original buyer of a Lot from

day. A late payment fee equal to 1.5 % per month may be assessed on any Buyer Costs

Wright, and not to any subsequent purchasers, transferees, successors, heirs,

remainingx unpaid thirty (30) days following the Sale Date. If a purchased Lot has not

beneficiaries or assigns of the original buyer. ii. This warranty shall not apply to any Lot

been collected from us within sixty (60) days after the Sale Date, and Wright has not

for which a Wright Catalog description states that there is a conflict of opinion among

consented to continue to store the Lot, the buyer will be deemed to have defaulted

specialists as to Authorship. iii. This warranty shall not apply to any Lot for which, at

under these Terms, and, in addition to any other remedies we may have at law or equity,

the time of sale, the statements regarding Authorship made by Wright conformed with

we shall be entitled to foreclose on the Security Interest by selling such Lots and using

the generally accepted opinion of scholars, specialists or other experts, despite the

the proceeds from such sale for any purpose (including payment of storage fees and

subsequent discovery of information that modifies such generally accepted opinions.

administrative expenses of handling such matter), without any further liability to the

iv. The buyer must provide written notice of any claim under this warranty to Wright

buyer. You agree that this remedy is reasonable in light of the costs Wright would have

(validated by no fewer than two (2) written opinions of experts whose principal line

to incur to continue to store and process purchased Lots after sale.

of business is the appraisal and authentication of art, antiquities, design objects or other valuable objects similar to the Lot) not later than thirty (30) days after becoming aware

Breach If a buyer fails to make timely payment as required in these Terms, or breaches

of the existence of such a claim, an in any event no later than two (2) years following

any other covenant, representation or warranty in this Agreement, we shall be entitled,

the date of sale, and must return the Lot subject to such claim to Wright in the same

in our discretion, to exercise any remedies legally available to us, including, but not

condition as at the time of the original sale. Wright reserves the right to appoint two

limited to, the following:

independent specialists to examine the Lot and evaluate the buyer’s claim prior to buyer’s receipt of any remedy pursuant to this warranty.

i. cancellation of the sale of the Lot to the non-paying buyer, including the sale of any other Lot to the same buyer (whether or not paid); ii. reselling the Lot, at public or

Buyer’s Only Remedy for Authorship Warranty Breach The buyer’s sole remedy,

private sale, with or without reserve; iii. retention of all amounts already paid by the

and Wright’s sole liability, under this warranty shall be the cancellation of the sale

buyer to Wright, which shall constitute a processing and restocking fee (which you

of the Lot in question, or (if the sale has already concluded) the refund of the purchase

acknowledge would be reasonable in light of the costs Wright would have to incur to

price originally paid by such buyer for the Lot in question (not including any late fees,

process your breach and attempt to re-auction or resell the Lot); iv. rejection of any

taxes, shipping, storage or other amounts paid to Wright in accordance with these

Bids by the buyer at future auctions; v. setting-off any amounts owed by Wright to the

Terms). Buyer hereby waives any and all other remedies at law or equity with respect

buyer in satisfaction of unpaid amounts; and/or  vi. taking any other action we deem

to breaches of this warranty.

necessary or appropriate under the circumstances. Limit of Liability In no event shall wright be liable to you or any third party for any Confession of Judgment If you default on payment of one or more Purchase Price Bids

consequential, exemplary, indirect, special, punitive, incidental or similar damages,

under this Agreement, you hereby authorize any attorney to appear in a court of record

whether foreseeable or unforeseeable, regardless of the cause of action on which

and confess judgment against you in favor of Wright for the payment of such Purchase

they are based, even if advised of the possibility of such damages occurring. With

Price Bids and all related Buyer Costs. Accordingly,the confession of judgment may

respect to any sale of a lot, in no event shall wright be liable to you or any third party

be without process and for any amount due on this Note including collection costs

for losses in excess of the purchase price paid by you to wright for such lot to which

and reasonable attorneys’ fees. This authorization is in addition to all other remedies

the claim relates.

available to Wright.


4  R E S C I S S I O N O R V O I D I N G O F S A L E B Y W R I G H T

Hammer Price means the price for a Lot established by the last bidder and acknowledged by the auctioneer before dropping the hammer or gavel or otherwise

If we become aware of an adverse claim of a third party relating to a Lot purchased

indicating the bidding on such Lot has closed. Lot means the personal property offered

by you, we may, in our discretion, rescind the sale. Upon notice of our election to

for sale by Wright, whether at a Wright Auction, Private Sale, Wright Now Sale or

rescind a sale, you will promptly return such Lot to us, at which time we will refund

otherwise. Passed Lot is a Lot which does not reach its reserve or otherwise fails to

to you the Hammer Price and Buyer’s Premium paid to us by you for such Lot.

sell at a Wright Auction. Private Sale is a non-public, discrete sale of a Lot (such Lot

This refund will represent your sole remedy against us and/or the consignor in case

typically not being exhibited by Wright). Purchase Price Bid means the bid submitted

of a rescission of sale under this paragraph, and you agree to waive all other remedies

by a Buyer for a Lot which is accepted as the Hammer Price, or in the case of Private

at law or equity with respect to the same. If you do not return such Lot to us in

Sales or Wright Now Sales, the price accepted by Wright for the sale of such Lot.

accordance with this paragraph, you agree to indemnify, defend and hold Wright, its officers, directors, employees, agents and their successors and assigns, harmless

Register to Bid or Registering to Bid means providing Wright with your complete,

from any damages, costs, liabilities or other losses (including attorney’s fees) arising

accurate contact information (including address, phone and email) and a current, valid

as a result of such third party claim.

credit card number (including security code), and (i) in the case of phone or absentee

5  C O P Y R I G H T N O T I C E

bidders, a properly completed Wright bid form and (ii) in the case of online bidders, registration with such authorized third-party online auctioneer service providers described on our website on the How to Bid page. Reserve has the meaning given

Wright and its licensors will retain ownership of our intellectual property rights,

in Section 1. Sale Date means, in the case of Wright Auctions, the date of the closing

including, without limitation, rights to the copyrights and trademarks and other images,

of bidding for a particular Lot and acceptance of the Purchase Price Bid for such Lot;

logos, text, graphics, icons, audio clips, video clips, digital downloads in, and the “look

in the case of all other sales by Wright, the date Wright agrees in writing to sell a Lot

and feel” of, the Wright website and each Wright Catalog. You may not obtain any

to a buyer.

rights of ownership, use, reproduction or any other therein by virtue of these Terms or purchasing a Lot. You may not use any of our trademarks or service marks in any way. 6  S E V E R A B I L I T Y If any provision of these Terms is held by any court to be invalid, illegal or unenforceable, the invalid/illegal/unenforceable aspect of such provision shall be disregarded and the remaining Terms enforced in accordance with the original document and in accordance with applicable law. 7  G O V E R N I N G L A W These Terms shall be governed by and interpreted in accordance with the law of the State of Illinois and, by Registering to Bid or Bidding in the Wright Auction (whether personally, by telephone or by agent), the you agree to submit to the exclusive jurisdiction of the state and federal courts located in Cook County, Illinois in connection with any matter related to these Terms, the Wright Auction or other sale of a Lot to you by Wright. 8  E X P E N S E S In addition to the foregoing, you agree to pay to Wright or Seller on demand the amount of all expenses paid or incurred by Wright and Seller, including attorneys’ fees and court costs paid or incurred by Wright or Seller in exercising or enforcing any of its rights hereunder or under applicable law, together with interest on all such amounts at 1.5 % per month (the “Enforcement Costs”) within thirty (30) days of the buyer’s receipt of Wright’s invoice for such Enforcement Costs. 9  D E F I N I T I O N S The following terms have the following meanings: Author and Authorship have the meanings given in Section 3. Bidding, Bid or place a Bid means a prospective buyer’s indication or offer of a price he or she will pay to purchase a Lot at a Wright Auction which conforms with the provisions of Section 1. Buyer Costs has the meaning given in Section 2. Buyer’s Premium means the following for any Lot: (i) 25 % of the Hammer Price (or part thereof) up to and including $ 100,000; (ii) 20 % of the Hammer Price (or part thereof) in excess of $ 100,000 up to and including $ 1,000,000; and (iii) 12 % of the Hammer Price (or part thereof) in excess of $ 1,000,000. An additional premium will be added to any successful bid accepted through a third-party site.

Security Interest has the meaning given in Section 2. Seller means the owner of a Lot offered for sale at a Wright Auction, Private Sale, Wright Now Sale or other sale administered by Wright. Terms has the meaning given in the Introduction to this Agreement. Wright Auction means the sale of Lots to the public through competitive bidding administered by Wright (including sales administered through a third-party Internet auctioneer authorized by Wright). Wright Catalog means the design catalogs published by Wright which features Lots available at particular Wright Auctions. Wright Now Sale is a sale of a Lot consigned to Wright by a third party, either posted on Wright’s website directly or solicited after a Lot fails to sell at auction.


C O N TA C T

RICHARD WRIGHT

TODD SIMEONE

President

Image Post-Producion & Social Media

312 521 7150

312 521 7158

rwright @ wright20.com

tsimeone @ wright20.com

KELLI LENOX

J A K E WAT T S

Director of Operations

Image Post-Producion

312 521 7161

312 563 0020

klenox @ wright20.com

jwatts @ wright20.com

MEGAN WHIPPEN

MASON KESSINGER

Senior Specialist, New York

Web Developer

212 585 0200

312 521 7166

mwhippen @ wright20.com

mkessinger @ wright20.com

PETER JEFFERSON

DEVIN EHRENFRIED

Senior Specialist

Photographer

312 521 7156

312 563 0020

pjefferson @ wright20.com

dehrenfried @ wright20.com

LU K E PA L M E R

E VA N S TO N E

Specialist

Photographer

312 235 4179

312 563 0020

lpalmer @ wright20.com

estone @ wright20.com

EMILIE SIMS

CHARLES MEADOWS

Director of Research & Content

Director of Property & Transport

312 235 4181

312 235 4177

esims @ wright20.com

cmeadows @ wright20.com

CLARE BLAINE

ALEXA DETOGNE

B I D D E PA RTM E N T

Editor & Chief Researcher

Client Services & Logistics

t  312 563 0020

312 235 4171

312 521 7159

f  312 235 4182

cblaine @ wright20.com

adetogne @ wright20.com

b i d @w r i g h t 20. c o m

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

DENIA GARCIA

CONDITION REPORTS

Client Services Associate

Art & Property Handler

t  312 563 0020

312 521 7151

312 563 0020

c o n d i t i o n @ w r i g h t 20. c o m

lgustafson @ wright20.com

dgarcia @ wright20.com

WRIGHT

E LY M A R I S

ANDREW REICHOLD

1440 W Hubbard St

Research & Client Services

Art & Property Handler

Chicago IL 60642

312 563 0020

312 563 0020

t  312 563 0020

emaris @ wright20.com

areichold @ wright20.com

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

IAN BARNARD

Art Director

Art & Property Handler

312 235 4185

312 563 0020

jmahanay @ wright20.com

ibarnard @ wright20.com

ELLEN WINSTON

JORDAN BROEKER

Graphic Designer

Art & Property Handler

312 563 0020

312 563 0020

ewinston @ wright20.com

jbroeker @ wright20.com

SEAN DILLER

MORGAN SIMS

Graphic Designer

Art & Property Handler

312 563 0020

312 563 0020

sdiller @ wright20.com

msims @ wright20.com

w r i g h t 20. c o m

JEAN MARTIN Client Accounts 312 521 7169 clientaccounts @ wright20.com

© 2019 Wright

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