2024.4.24 Hindman Post War and Contemporary Art

POST WAR AND
CONTEMPORARY ART
APRIL 24, 2024 CHICAGO
POST WAR AND
CONTEMPORARY ART
SALE 1327
April 24, 2024 | Chicago
10:00am CT | Live
Lots 1-82
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CONTENTS
Post War and Contemporary Art | Lots 1-82 . . . . . . . . . . . . .4
Freeman’s | Hindman Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Artist Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Buyers Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Conditions of Sale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
All property must be paid for within seven days and picked
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© Hindman LLC 2024
COVER
Lot 13
DEN 0001957
FL AB3688
ABOVE IL 444.000521
Lot 75 OH 2019000131
PA AY00247
2 POST WAR AND CONTEMPORARY ART
POST WAR AND
CONTEMPORARY ART
LOTS 1-82
PROPERTY FROM THE TRUSTS AND ESTATES OF

HELENE CUMMINGS KARP, PALM BEACH, FLORIDA
RENEE AND SANDY BANK
PROPERTY FROM THE COLLECTIONS OF

A PRIVATE COLLECTION, ATLANTA, GEORGIA
A PRIVATE COLLECTION, CHICAGO, ILLINOIS & CHARLESTON, SOUTH CAROLINA
A PRIVATE COLLECTION IN NAPLES, FLORIDA
PRIVATE COLLECTION, NEW YORK
A PRIVATE COLLECTION, U.S.A.
A PRIVATE COLLECTION, VERO BEACH, FLORIDA
BARTON FAIST, CHICAGO, ILLINOIS
DAVID MANILOW
DEBRA AND HARRY SEIGLE, CHICAGO, ILLINOIS
DENTONS US LLP
DR. AND MRS. CONSTANTINE MAMOURIS, NEW YORK, NEW YORK
FERN & MANFRED STEINFELD, BOCA RATON, FLORIDA
HARVEY SCHAFFNER, CHICAGO, ILLINOIS
JANE BERGER, NAPLES, FLORIDA
RICHARD J. HANNA AND BYRON S. DUNHAM, CHICAGO AND SAVANNAH
SANDRA EU, NEW YORK, NEW YORK
PROPERTY SOLD TO BENEFIT:

DEACCESSIONED FROM THE BOCA RATON MUSEUM OF ART
TO BENEFIT THE ACQUISITIONS FUND
OPPOSITE
Lot 72
FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 3

1
Sheila Hicks
(American, b. 1934)
Untitled
cotton embroidery on linen
signed Shelia Hicks (verso)
18 x 15 inches.
$10,000 - 15,000

2
Peter Schuyff
(Dutch/American, b. 1958)
Seattle, 1986
acrylic on linen
signed Schuyff and dated (verso)
75 x 75 inches.
Property from the Collection of Sandra Eu, New York, New York
Provenance:
Pat Hearn Gallery, New York
Leo Castelli Gallery, New York
Literature:
Valerie Gladstone, Peter Schuyff’s New Math, ARTnews, New York,
New York, vol. 87, no. 3, March, 1988, pp. 159, illus.
$10,000 - 15,000

3
Kenneth Noland
(American, 1924-2010)
Rains, 1985 - 2002
painted monotype on paper
signed Noland, titled and dated (verso)
52 3/4 x 94 1/4 inches.
Provenance:
Gallery One, Toronto
Private Collection
$15,000 - 25,000

4
Albert Stadler
(American, 1923-2000)
Ellie, 1967
acrylic on canvas
signed Albert Stadler, titled and dated (verso)
42 x 22 inches.
$3,000 - 5,000

5
Jules Olitski
(Ukrainian/American, 1922-2007)
Mop Rider, 1969
acrylic on canvas
signed Jules�Olitski, titled and dated (verso)
79 x 21 inches.
Provenance:
Lawrence Rubin Gallery, New York
Hokin Gallery, Palm Beach
Sold: Christie’s, New York, September 23, 2005,
Lot 214
Private Collection
$50,000 - 70,000

6
Larry Poons
(American, b. 1937)
Untitled (15-A), 1976
acrylic on canvas
signed L. Poons, titled and dated (verso)
86 x 32 inches.
Provenance:
M. Knoedler & Co., Inc., New York
Irving Galleries, Palm Beach
Private Collection
$50,000 - 70,000

7
Lynne Drexler
(American, 1928-1999)
Raked Off, 1989
oil on canvas
signed Lynne Drexler, titled and dated (verso)
36 x 31 inches.
Property from a Private Collection, U.S.A.
Provenance:
The Artist
The Collection of Jerry Vis, Monhegan Island
Exhibited:
New York, New York, Meredith Ward Fine Art,
Lynne Drexler: The Monhegan Island Years,
Works from the Jerry Vis Collection, May 12 -
July 28, 2023 (cover illus.)
$20,000 - 30,000

8
Lynne Drexler
(American, 1928-1999)
Trunk Grass, 1980
oil on canvas
signed Lynne Drexler, titled and dated (verso)
30 x 36 inches.
Property from a Private Collection, U.S.A.
Provenance:
Elizabeth Moss Galleries, Portland/Falmouth, Maine
Exhibited:
New York, New York, Meredith Ward Fine Art, Lynne
Drexler: The Monhegan Island Years, Works from the
Jerry Vis Collection, May 12 - July 28, 2023, illus.
$20,000 - 30,000

9
Ed Paschke
(American, 1939-2004)
Calzatura, 1995
oil on linen
signed E. Paschke (lower right); signed, titled and
dated (verso)
24 x 36 Inches.
Provenance:
Maya Polsky Gallery, Chicago
Private Collection
$10,000 - 15,000

10 Lot Note:
Barbara Rossi A champion of clarity and unique graphic vision, Barbara Rossi’s
(American, 1940-2023) distinctive painterly formula rated her a key contributor and beloved
Words for the Water, 1977 artist within the Chicago Imagists. Within this band of creatives,
acrylic on masonite
signed Barbara Rossi, titled and dated (verso) which boasts other noted artists such as Christina Ramberg, Jim
36 x 48 inches. Nutt, Gladys Nilsson, and Karl Wirsum, existed an artistic current
where formal sensibilities were shared and reimagined. Some
Provenance: shared visual characteristics included an exploration of organic
Sold: Susanin’s Auctioneers, March 25, 2021, shapes, execution of sharp contours, choice of vivid color, and
Lot 6020
Private Collection calculated applications of paint. Imagism is also defined by its
content which is inherently figurative and whimsical. Out of these
Literature: shared proclivities, Rossi’s works are celebrated for their clarity
Dennis Adrian, Barbara�Rossi��Selected�Works,� of expression, where compositions are calculated and linework is
1967�1990, The Renaissance Society at The neatly defined. Extracting from the figure, Rossi paints inventive
University of Chicago, Chicago, Illinois, 1991,
pp. 12 anatomies and complicated structural interiors that cleverly reach
into the territory of abstraction. Words for the Water is a prominent
$20,000 - 40,000 painting that reflects the artist’s distinctive oeuvre. Here her fixation
on the reimagined figure contains weighted bodily shapes that twist
and circulate within a colored atmosphere.

11
Anton Henning
(German, b. 1964)
Interieur No. 78, 2000
oil on canvas
initialed AH and dated (lower right); titled (verso)
62 x 72 inches.
Property from the Collection of David Manilow
Provenance:
Entwistle, London
$10,000 - 15,000

12
Angel Otero
(Puerto Rican, b. 1981)
Missing Picture, 2009
silicone, spray paint and oil on canvas
signed Angel Otero, titled and dated (verso)
40 x 36 inches.
$10,000 - 15,000

A SLIVER OF KATZ’S WORLD
T
he subject of more than 200 solo exhibitions and international acclaim, the signature style of Alex
Katz (American, b. 1920) is a deliberately vibrant visual language between realism and abstraction,
ambivalence and intimacy. Coming of age alongside the titans of New York’s Abstract Expressionism
of the 1950s, Katz boldly favored flatness of color and form rather than gestural primacy and raw emotion.
His work is deceptively simple; his technique of painting wet on wet evokes a lustrous finish to his canvases,
defying two-dimensionality even in their flatness.
The bulk of Katz’s oeuvre can be divided into two categories: portraiture and landscape, and we are pleased
to offer you an excellent example of each in Ariel (2016-17) and Golden Field #1 (2001).
Part familiar figure and part otherworldly specter, Ariel is a quietly moody portrait of Ariel Vieth, a model and
frequent muse of Katz’s. Her back is turned to the viewer, the shock of brightness in her hair balancing out
the darkened background; you can somehow tell she is beautiful without even seeing her face. Ariel feels
like spotting a friend across the street, like the anticipation of wondering if she will turn around and see you,
too. Ariel is not the only recurring character in Katz’s work – in their 60–year marriage, Katz has painted over
250 portraits of his wife, Ada. “It’s a conceit in a way,” Katz said in an interview. “It’s like you can paint the
same river twice differently. I often paint in the same place. It’s like painting Ada over and over again—to
see if you can get something else out of the same subject matter.” (Quoted in Alex Katz is Cooler Than Ever,
Smithsonian Magazine, August 2009)
This repetition is also found in Golden Field #1, the first in a series of landscapes drenched in a buttery yellow
light. In both Golden Field #1 and Ariel, Katz is simply painting his environment, flash-in-the-pan moments he
captures in thick brushstrokes and meditatively stylized forms. In both works, Katz shares his world, either
in downtown New York City among the cultural avant-garde, or in the heart of nature at his home in coastal
Maine. In looking at his work, the viewer is transported and feels as though they too are in on it, that they are
someone who sees the specialness in otherwise normal moments, seeing beauty just as Katz can.
“Realist painting has to do with leaving out a lot of detail,” said Katz in an interview, “I think my painting can
be a little shocking in all that it leaves out. But what happens is that the mind fills in what’s missing. It’s about
being able to see something in a specific way. Painting is a way of making you see what I saw.” (Quoted in I
prefer Stan Getz to Sartre, The Irish Times, March 3, 2007)
13
Alex Katz
(American, b. 1927)
Ariel, 2016-17
oil on linen
signed Alex Katz and dated (verso)
66 x 48 inches.
The Private Collection of Debra and Harry Seigle, Chicago, Illinois
Provenance:
Richard Gray Gallery, Chicago
$300,000 - 500,000

14
Alex Katz
(American, b. 1927)
Golden Field #1, 2001
oil on canvas
signed Alex Katz and dated (verso)
48 x 60 inches.
The Private Collection of Debra and Harry Seigle,

Chicago, Illinois
Provenance:
Galerie Thaddaeus Ropac, Paris
Sold: Phillips, November 16, 2007, Lot 222
Pace Wildenstein, New York
Exhibited:
Paris, Galerie Thaddaeus Ropac, Alex Katz: Beach
Scenes and Landscapes, March 15 - April 15, 2002
$150,000 - 250,000

15 16
Stanley Boxer Simeon Braguin
(American, 1926-2000) (Ukrainian/American, 1907-1997)
Tendergrasses, 1972 Untitled (Abstract)
oil on linen acrylic on canvas
signed S. Boxer, titled and dated (verso) signed Simeon Braguin (verso)
8 1/4 x 74 inches. 20 x 26 inches.
Property from the Collection of Richard J. Hanna $2,000 - 4,000

and Byron S. Dunham, Chicago and Savannah
Provenance:
Hokin Gallery, Palm Beach
Purchased from the above by the present owner
in 1992
$6,000 - 8,000

15
16

17
Pat Lipsky
(American, b. 1941)
Immirem-Immimo, 1971
acrylic on canvas
signed Pat Lipsky, titled, inscribed and dated (verso)
77 x 104 inches.
Property from the Collection of Fern & Manfred

Steinfeld, Boca Raton, Florida.
Provenance:
The Collection of David R. Lipsky, 1976 (as Pink
Sunset)
André Emmerich Gallery, New York
$10,000 - 15,000

18
Donald Hamilton Fraser
(British, 1929-2009)
Landscape Composition IV, 1969
oil on canvas
signed Fraser, titled and dated (verso)
18 x 14 inches.
Provenance:
Gimpel Fils Gallery, London
Purchased directly from the above in 1969
Thence by descent to the present owner
Exhibited:
London, England, Gimpel Fils Gallery, May 20 -
June 21, 1969, no. 25
$2,000 - 4,000

19

20
19 20
Larry Zox Ronnie Landfield
(American, 1937-2006) (American, b. 1947)
Untitled, 1988 At First Light, 1985
acrylic on canvas acrylic on canvas
signed ZOX and dated (verso) signed Ronnie Landfield, titled and dated (verso)
73 3/4 x 47 1/2 inches. 53 x 78 inches.
Property from the Collection of Fern & Manfred Property from the Collection of Fern & Manfred
Steinfeld, Boca Raton, Florida. Steinfeld, Boca Raton, Florida.
Provenance: Provenance:
Jaffe Baker Gallery, Boca Raton Hokin Gallery, Palm Beach, Florida
$4,000 - 6,000 $6,000 - 8,000

21
Ronnie Landfield
(American, b. 1947)
Sizzle, 1985
acrylic on canvas
signed Ronnie Landfield, titled and dated (verso)
79 x 40 inches.

Provenance:
Jaffe Baker Gallery, Boca Raton, Florida
$4,000 - 6,000
22
Joseph Stefanelli
(American, 1921-2017)
August, 1957-58
oil on canvas
signed Stefanelli and dated (lower right); titled
and dated (verso)
64 1/2 x 79 inches.
Provenance:
Poindexter Gallery, New York
$4,000 - 6,000
23
Joseph Stefanelli
(American, 1921-2017)
Guanches Wealth, 1958-60
oil on canvas
signed Stefanelli and dated (lower center); titled
and dated (verso)
68 x 53 1/2 inches.
$4,000 - 6,000
21

22
23

24
Michael Goldberg
(American, 1924-2007)
Sad Street, 1958
oil on canvas
signed Goldberg, titled and dated (verso)
60 x 54 inches.
Provenance:
Poindexter Gallery, New York
$100,000 - 150,000

GOLDBERG’S GESTURAL ABSTRACTION
S
ad Street (1955) is an expansively abstract work, all thickly applied dynamism and expressive
brushwork, a brother to the Smithsonian’s Sardines and a testament to Michael Goldberg’s
(American, 1924-2007) vivacious talent. Goldberg’s gestural action paintings would come to be
known as the hallmark of his career as he left his mark on the Abstract Expressionist movement.
One of the final alumni of the New York School, Goldberg was born Sylvan Irwin Goldberg in the Bronx,
a precocious boy who sailed through his studies and finished high school at 14. He continued his
education at the City College and weekend classes at the Art Students League, skipping frequently to visit
Harlem’s jazz clubs. Jazz would become a lifelong passion for Goldberg and a formative influence on his
compositional approach.
With the Second World War came a near-universal interruption, and Goldberg enlisted in the army to serve
in North Africa and the China-Burma-India Theatre. He would become a master sergeant and decorated
veteran, receiving a Purple Heart and Bronze Star for his service before he was honorably discharged. The
awards were at the cost of his mobility: wounded three times in combat, his arm was partially paralyzed.
At the advice of the Veteran’s Association, he began to take stone carving and sculpting classes, which
would greatly assist in his rehabilitation and expose him to elements of collage that would later become an
integral part of his painting practice. During his recovery, Goldberg began to frequent Cedar Bar, running
into a cast of his contemporaries that included Jackson Pollock, Franz Kline, and Mark Rothko, whose
studio on the Bowery he would eventually take over.
His public debut came in 1951 with his inclusion in the Ninth Street Show, featured alongside Hans
Hofmann, Jackson Pollock, Willem de Kooning, Joan Mitchell, Helen Frankenthaler, and many others.
Two years later, his first solo exhibition opened at Tibor de Nagy Gallery. Unemployed and without a
bank account, Goldberg has recalled in interviews that, following years of struggle, after one of his
first collectors visited his studio and purchased $10,000 worth of work, Goldberg immediately went
to purchase an electric blanket and spent the weekend in bed with the cash tucked safely in his arm.
Recognition and appreciation for his work rolled in more steadily shortly after and would continue for the
rest of his storied career.
Larger-than-life, Goldberg has been memorialized frequently in his friend Frank O’Hara’s poetry as an
integral part of the culture of post-war New York--of the bustle, jazz, and artistic discourse that likewise
explode in cacophony from Sad Street.
Where is Mike Goldberg? I don’t know,

he may be in the Village far below
or lounging on Tenth Street with the gang
of early-morning painters (before noon)
as they discuss the geste or jest
of action painting, whether it’s Yang
or Yin and related to the sun or moon
Maybe he is living sketches of an ODE

ON SEX which I do not intend to write
in his abode or drinking bourbon in the light
df his be-placticked skylight. I will goad
him into Tibering and hope all’s for the best
(To Richard Miller, from The Collected Poems of Frank O’Hara, 1971, pp. 301)

25
25 26 27
Syd Solomon Syd Solomon Syd Solomon
(American, 1917-2004) (American, 1917-2004) (American, 1917-2004)
Coast Rise (Kazan’s Coast Rise), 1987 Red Boat On the Beach (Morning Surprise), 1990 Island Symbol, 1986
oil and acrylic on canvas acrylic on canvas oil and acrylic on canvas
signed Syd Solomon (upper right); signed, signed Syd Solomon (lower left); signed, titled signed Syd Solomon (upper right); signed,
titled and dated (verso) and dated (verso) titled and dated (verso)
42 x 38 inches. 42 x 36 inches. 48 x 36 inches.
Property from a Private Collection in Property from a Private Collection in Property from a Private Collection in
Naples, Florida Naples, Florida Naples, Florida
$4,000 - 6,000 Provenance: Provenance:

Harmon-Meek Gallery, Naples Harmon-Meek Gallery, Naples
$4,000 - 6,000 $4,000 - 6,000

26
27

28
Paul Jenkins
(American, 1923-2012)
Phenomena Denver Trail Marker, 1988
acrylic on canvas
signed Paul Jenkins (lower left); signed, titled
and dated (verso)
45 x 21 1/2 inches.
Property from the Collection of Richard J. Hanna

Provenance:
The Artist
in 1997
$15,000 - 25,000

29
Paul Jenkins
(American, 1923-2012)
Phenomena Devil’s Footsteps, 1968
watercolor on paper
signed Paul Jenkins (lower right); signed,
titled and dated (verso)
75 x 39 inches.
Provenance:
Martha Jackson Gallery
The Collection of Frederick Weisman
Private Collection, acquired from the
above in 1972
Literature:
Milton Rugoff, Famous Artists Annual 1: A
Treasury of Contemporary Art, Famous
Artists Schools, Inc., Westport,
Connecticut, 1978, pp. 30, illus.
$10,000 - 15,000

30
31

32
30 31 32
John Seery Jim Lutes Jean Dubuffet
(American, b. 1941) (American, b. 1955) (French, 1881-1985)
Blue Rhythm and Tomboy, 1989 Untitled (House with Arch), 1998 Trois Personnages, 1963
acrylic on canvas watercolor and ink on paper watercolor and gouache on paper
each signed John Seery, titled and dated (verso) signed Lutes (lower right) initialed J.D. and dated (lower right)
each: 20 x 16 inches. 29 x 54 inches. 7 7/8 x 10 inches.
Property from the Collection of Fern & Manfred The Private Collection of Debra and Harry Seigle, Provenance:
Steinfeld, Boca Raton, Florida. Chicago, Illinois Galerie Beyeler, Basel, Switzerland
The Pace Gallery, New York
Provenance: Provenance: Private Collection
Hokin Gallery, Inc., Palm Beach/Bay Harbor Zolla/Lieberman Gallery, Chicago
Islands Exhibited:
$3,000 - 5,000 Basel, Switzerland, Kunstmuseum Basel, June 6,
$3,000 - 5,000 1970 - August 2, 1970, no. 122
Niagara, New York, Niagara University, Buscaglia-
Castellani Art Gallery (label verso)
Literature:
Max Loreau, Catalogue des travaux de Jean
Dubuffet: L’Hourloupe I, Jean-Jacques Pauvert,
Paris, 1966, no. 105, EG. 44, illus.
$20,000 - 30,000

33
Antonio Saura
(Spanish, 1930-1998)
Dame, 1969
mixed media collage on paper
signed Saura (lower right)
27 1/2 x 19 3/4 inches.
Provenance:
Galerie Stadler, Paris
Private Collection
$6,000 - 8,000

34
Cleve Gray
(American, 1918-2004)
Seeing #3, 1989
acrylic on canvas
signed Gray, titled and dated (verso)
34 x 40 inches.
Property from the Collection of Richard J. Hanna and Byron S.

Dunham, Chicago and Savannah
Provenance:
The Artist
Purchased from the above by the present owner in 1997
$6,000 - 8,000

35
Suzanne McClelland
(American, b. 1959)
“baybel” 11496a, 1996
acrylic, charcoal, synthetic medium, dry pigment and enamel on canvas
signed Suzanne McClelland, titled and dated (verso)
60 x 52 inches.
Property from the Estate of Renee and Sandy Bank
Provenance:
Paul Kasmin Gallery, New York
$4,000 - 6,000

36
Stanley Boxer
(American 1926-2000)
Pummeledflit, 1983
oil on linen
signed S. Boxer, titled and dated (verso)
45 x 52 inches.
Provenance:
Private Collection
$5,000 - 7,000

37
Walter Darby Bannard
(American, 1934-2016)
Ledonia, 1992
acrylic on canvas
signed W.D. Bannard, titled and dated (verso)
44 x 57 inches.
Provenance:
Private Collection
Exhibited:
Miami, Florida, University of Miami, Lowe Art
Museum, Darby Bannard: Recent Paintings, April
14 - June 3, 2012
Literature:
Brett Sokol, Artistic Evolution, Miami Magazine,
University of Miami, Spring 2013, pp. 19, illus.
$4,000 - 6,000

38
(American, 1934-2016)
Lithia, 1993
acrylic on canvas
56 x 67 1/2 inches.
Provenance:
Private Collection
Exhibited:
Ft. Lauderdale, Florida, Ft. Lauderdale Museum
of Art, 37th Annual Hortt Memorial Competition
and Exhibition, September - October, 1995
$4,000 - 6,000

39
(American, 1934-2016)
Typhoon, 1987
acrylic on canvas
93 1/2 x 51 inches.
Provenance:
Ann Jaffe Gallery, Bar Harbor Islands, Florida
Private Collection
$6,000 - 8,000

40
Paul Rebeyrolle
(French, 1926-2005)
Untitled
oil on canvas
signed Rebeyrolle (lower left)
38 1/2 x 32 inches.
$6,000 - 8,000

41
Tom Uttech
(American, b. 1942)
Service Falls, Kapiskau River, 1985
oil on canvas
signed T. Uttech and dated (lower left); signed, titled
and dated (verso)
51 x 56 inches.
$15,000 - 25,000

42
Philip Curtis
(American, 1907-2000)
Holiday I, 1962
oil on panel
signed Philip C. Curtis (lower left) and dated
(lower right)
22 x 31 inches.
$5,000 - 7,000

43
Gertrude Abercrombie
(American, 1909-1977)
Giraffe and Moon with Volcano (Giraffe and Volcano
#2), 1951
oil on masonite
signed Abercrombie and dated (lower right)
5 x 7 inches.
We are grateful for the research conducted by Susan

Weininger, Professor Emerita, Roosevelt University.
Provenance:
The Artist
Mrs. Keeler, acquired directly from the Artist in 1951
$50,000 - 70,000

GIRAFFE AND MOON WITH VOLCANO
(GIRAFFE AND VOLCANO #2)
G
iraffe and Moon with Volcano (Giraffe and Volcano #2) depicts a giraffe reaching to touch a low-
hanging crescent moon in an austere landscape. The animal stands near an erupting volcano in
the left rear of the work and a small white stone in the right foreground. Abercrombie did many
paintings of giraffes, the earliest dating to ca. 1938, close to the beginning of her career; the latest dates to
1958. In between she did at least 16 paintings in which a giraffe, or on one occasion, two giraffes, are the
major subject (Two Giraffes [Giraffe Lovers], 1951, Private Collection). Sometimes a giraffe appears in the
background of a scene, such as the one in Search for Rest (1951, Dijkstra Collection), which resembles the
subject in Giraffe and Moon with Volcano. The largest of the paintings in which the giraffe is the main subject
is 6 x 8 inches and several are the very tiny images (1 ½ x 2 inches or smaller) that Abercrombie created to
be made into brooches. Although some of these cannot be located today, the popularity of this subject is
attested to by the wide variety of venues in which the artist sold them, including the Associated American
Artists in Chicago, Katharine Kuh Gallery, the Renaissance Society of the University of Chicago, and the South
Side (Hyde Park) outdoor Art Fair.
While the giraffe in the present artwork is very similar to other known images, in which the giraffe stretches to
meet the moon, with a leafless tree in the background, the volcano adds a new dimension to the composition.
Introducing such a volatile element is something Abercrombie did in other paintings, for example Owl and
Tornado (1956, formerly Maurer Collection) in which an owl in the foreground is juxtaposed with a dark,
looming tornado approaching in the background. The contrast between the animals (both serving as
Abercrombie’s alter egos) and the explosive and dangerous impending natural disaster creates a surrealism
often seen in the artist’s work. Abercrombie often invoked dreams to explain her paintings, and although
there are no specific references to tornadoes or volcanoes in her writings, interviews, or letters, these do
have a fantastic quality that is consistent with her other work.
Why giraffes? Abercrombie famously said, “It is always myself that I paint” and even in her still life paintings
and empty rooms, she is present. The repertoire of personal objects that recur in her paintings stand in for
the artist herself. It is possible that the tall, long-necked Abercrombie may have found in the giraffe another
stand in for herself. She adopted the owl and the cat, familiars of the witch, for compositions in which she
wanted to emphasize those roles; she might have chosen to identify also with the giraffe, a less familiar
creature but something of a unique outlier as she was herself. There are numerous self-portraits in which
her neck is elongated (for example, Self Portrait in White Beret, 1935, Private Collection; Self Portrait of My
Sister, 1941, Art Institute of Chicago; Self and Cat [Possums], 1953, formerly Maurer Collection). And in the
many images of Abercrombie in a room or a landscape, her neck also appears unnaturally long (for example,
A Game of Kings, 1947, location unknown; Strange Shadows [Shadows and Substance], 1950, Private
Collection; Search for Rest, 1951, Dijkstra Collection; Gertrude and Christine, 1951, Private Collection). The
moon, which Abercrombie also considered her personal property, is accessible to the long-necked giraffe by
virtue of its height, something the artist would have loved to do herself.
And, although it is difficult to say if Abercrombie was aware of this, her interest in giraffes coincided with
the widely publicized arrival of two African giraffes in New York enroute to the San Diego Zoo, where they
arrived in late 1938, around the same time Abercrombie began to paint these animals. This was an event of
some moment, as giraffes were a rarity in the United States at this time; reportedly there were only five of
the animals in the country in 1925. Although Abercrombie did not generally reference current events in her
work, the huge outpouring of publicity about the giraffes’ arrival may have stimulated her to inhabit this animal
as another alter ego. This image of the giraffe reaching for the moon attests to her ownership in a simple,
yet resonant way, and is typical of Abercrombie’s transformation of recognizable things of this world into
evocative, meaningful, and mysterious art.

A FINAL BOW?
W
hen you first come upon seeing this unusually formal and austere painting Practicing a Bow
by Julia Thecla your first inclination is to think it is not a surrealist piece, only a seemingly nice
beautiful gem-like work of a ballerina with a dreamy looking pink tutu on, posing in a port de
bras, in front of a mirror, maybe also how nice the technique is. As you look closer, something seems a
little off and unsettling, and then you realize this work is not totally enigmatic. On the left wall there can be
seen a photo of Robert Edelmann in naval uniform, a good friend of Thecla’s who was an Industrialist and
a philanthropist of the arts. It was early 1942: the United States had just entered World War II on Dec. 7,
1941, and Thecla was afraid for not only her friend’s life, who was then serving overseas, but what threat
and impact this major war would have on her and the world.
Thecla was very much into ballet, so much so that she was commissioned to design both sets and the
costumes for at least three performances. This painting’s ballerina could be one of her many dancer
friends (like Bernice Holmes or Mary Guggenheim), who we see standing on a checkered rug. The
pattern intentionally looks like a chess/checkerboard with symbols of clubs from playing cards on the
dark squares, and an orange ball sits on top of the rug. Thecla seems to be saying, like games we play,
there is always a loser, which heightens her expression of fear of what happens if we lose at the game of
a worldwide war, or we bet on it. Again, her pose here is a port de bras which means“ movement of the
arms” in the up position, which could symbolically say “our call to arms” to get in position to push back evil
(the enemy Hitler). If our side loses, that could be the destruction of the world, humanity, arts and culture,
including her big love, the ballet!
The painting seems to take more of a defeatist turn when you notice the ballerina’s “bare feet” which
could convey the message of possible humility and even surrender. Most all other works of Thecla’s
with a subject of ballerinas all have their dance shoes or toe shoes on. Thecla seems to bring her
warning message of doom home with her Ballerina literally taking a bow, “there may not be another
performance”...so, the curtain not only isn’t closing, “the curtain has been brought down” and laying
over on the large gold ornate mirror, where the point of the curtain is hanging down from the top of
the mirror’s frame, deliberately pointing to her back side (or her bottom) seen in the mirror, as her final
message of fear to the world...”the END is near!”
- Barton Faist
44
Julia Thecla
(American, 1896-1973)
Practicing a Bow, c. 1941-42
gouache, charcoal and pastel on board
signed Julia Thecla and dated (lower right)
20 x 17 inches.
Property from the Private Collection of Barton Faist, Chicago, Illinois
Provenance:
Albert Roullier Galleries, Chicago
Mrs. Dora B. Goodrich, Chicago
Acquired from the above by the present owner
Exhibited:
Chicago, Illinois, Albert Roullier Art Galleries, An Exhibition of Paintings and Drawings by Julia
Thecla, November 28 - December 13, 1941, no. 15
Chicago, Illinois, Findlay Galleries, The�Sixth�Annual�Women�Artists��Salon�of�Chicago, June, 1943
Springfield, Illinois, Illinois State Museum, Julia Thecla 1886-1973, November 11, 1984 - February 17,
1985; Chicago, Illinois, the State of Illinois Art Gallery, June 2 - July 25, 1986, no. 29
Chicago, Illinois, DePaul University Art Museum, Julia Thecla: Undiscovered Worlds, September 14,
2006 - November 22, 2007, no. 14
Literature:
Eleanor Jewett, Chicago Sunday Tribune, Chicago, Illinois, June 13, 1943, part 7, pp. 3
Maureen A. McKenna, Julia�Thecla�1886��1973, Illinois State Museum, Springfield, Illinois, 1984, pp.
10, fig. 10, illus. (as Practising a Bow)
Joanna Gardner-Hugget and Louise Lincoln, Julia Thecla: Undiscovered Worlds, DePaul Art Museum
Publications, Chicago, Illinois, 2006, pp. 32
$15,000 - 25,000

45
Gladys Nilsson
(American, b. 1940)
Relaxe, 2001
watercolor and gouache
signed Gladys�Nilsson, titled and dated (verso)
15 1/8 x 22 3/4 inches.
Property from the collection of Dentons US LLP
$6,000 - 8,000

46
Julio Larraz
(Cuban/American, b. 1944)
The Face of Power, 1995
oil on canvas
signed Larraz (upper right)
18 x 24 inches.
Provenance:
Gasiunasen Gallery, Palm Beach
Private Collection
$20,000 - 30,000

47
Richard Prince
(American, b. 1949)
Kristy, from The Entertainers, 1982
unique Ektachrome photograph on paper
30 x 45 inches.
Property from a Private Collection, New York
Provenance:
The Collection of Douglas Blair Turnbaugh
Edward Stella Art and Architecture, Los Angeles
Exhibited:
Los Angeles, California, Edward Stella Art and Architecture, Richard Prince: The Douglas Blair
Turnbaugh Collection (1977-1988), June 11 - July 30, 2016 (as Krystie, From the Entertainers
Series)
Literature:
Linda Cathcart, The�Heroic�Figure��Essays, The Contemporary Arts Museum, Houston, Texas,
1984, pp. 83 (another impression illus.)
Richard Prince, Richard Prince: The Entertainers, 1982 - 1983, Fulton Ryder, New York, 2023
(another impression illus.)
$20,000 - 30,000

48
Shepard Fairey
(American, b. 1970)
Uganda (Blanket), 2010
Rubylith stencil with collage
signed Shepard�Fairey and dated (lower right)
18 x 12 1/2 inches.
Property from a Private Collection, Chicago,

Illinois & Charleston, South Carolina
Provenance:
Deitch Projects, New York
$4,000 - 6,000

49
Enrico Baj
(Italian, 1924-2003)
Al Grand Hotel Duomo, 1966
acrylic, fabric, and passementerie collage
signed baj (lower right)
36 1/4 x 28 3/4 inches.
Property from the Estate of Helene Cummings

Karp, Palm Beach, Florida
Provenance:
Herstein, Chicago
B.C. Holland Gallery, Chicago
Literature:
Herbert Lust, Enrico Crispolti, Roberta
Baj, Enrico Baj dada impressionist: The
Catalogue raisonné for Baj’s Complete
Works, Guilio Bolaffi Publishing House, Turin,
1973, no. 1177, pp. 171, illus.
$20,000 - 30,000

50
Karel Appel
(Dutch, 1921-2006)
Never Happy, 1971
oil on canvas
signed Appel (lower right) and dated (lower left)
36 x 18 inches.
Property from a Private Collection, Vero Beach,

Florida.
Provenance:
Martha Jackson Gallery, New York
$40,000 - 60,000

51
Donald Baechler
(American, 1952-2022)
Untitled (Abstract Painting with Figure), 1986
gouache, gesso and collage on canvas
initialed DB, titled and dated (verso)
68 x 59 inches.
Provenance:
Acquired directly from the Artist by The Andy Warhol Foundation
for the Visual Arts, New York
Paul Kasmin Gallery, New York
$20,000 - 40,000

52
Jonathan Green
(American, b. 1955)
Enigma, 1987
oil on canvas
signed Jonathan Green and dated (lower right)
48 x 36 inches.
$10,000 - 15,000

53
Ed Clark Lot Note:
(American, 1926-2019) Over the course of the last several decades, Ed Clark has continually extended the
Standing Woman at the Chair, 1949-50 language of American abstraction through his experimentations with the material
oil on canvas properties of paint and the physicality of color–hallmarks of his revolutionary oeuvre.
signed Clark, titled and dated (verso) Produced in 1949-50, Standing Woman at the Chair serves as a salient example of
34 x 24 inches.
Clark’s fascination and commitment to the abstract form, which precludes his eventual
Provenance: exploration of abstraction fully devoid of figuration.
Acquired directly from the Artist by the
present owner in 2001 Through vibrant colors and bravura brushwork, Clark harnesses the essential elements
of the female figure and injects the subject with tangible soul. Moreover, Standing
$50,000 - 70,000
Woman at the Chair provides a manifestation of the brooding luminosity of hues and
the variety of texture, depth, and color gives the work a distinct energy so true to
Clark’s body of work.
Standing Woman at the Chair has never been seen in public and was acquired directly
from the artist.

54
Duilio (Dubè) Barnabè
(Italian, 1914-1961)
Figura seduta, fondo grigio (Sitting Figure, Grey
Background), 1950
oil on canvas
signed Barnabè and dated (upper right)
40 x 27 inches.
Provenance:
The Artist, Paris, c. 1959
Galatea Arte, Bologna
R.S. Johnson Fine Art, Chicago
$6,000 - 8,000

55
(Italian, 1914-1961)
Basilica (Cathedral no. 2)
oil on canvas
35 7/8 x 56 1/4 inches.
Provenance:
The Estate of the Artist
Francis Briest
$3,000 - 5,000

56
(Italian, 1914-1961)
Coupe de fruits sur une table, c. 1958
oil on canvas
signed Barnabè (lower right)
20 x 24 inches.
Provenance:
Oger & Blanchet, Paris
$3,000 - 5,000

57
Rowan Gillespie
(Irish, b. 1953)
Fragments of a Dream, 1979
aluminum
inscribed ROWAN
ROWAN, dated and numbered 4/9
17 1/4 x 8 x 8 inches.

$6,000 - 8,000

58
Rowan Gillespie
(Irish, b. 1953)
The Egg, 1979
unique aluminum sculpture
signed ROWAN, dated, and inscribed ‘individual
item’
34 x 8 x 8 inches.

$8,000 - 12,000

59
Boaz Vaadia
(American/Israeli, 1951-2017)
Milka, 1999
bronze and bluestone
inscribed VB and numbered A�P
11 x 9 x 6 1/2 inches.

$6,000 - 8,000

60
Sorel Etrog
(Canadian, 1933-2014)
Metamorphosis, c. 1962-63
bronze
inscribed ETROG and numbered 2�7
53 x 17 x 6 inches.

Provenance:
The Collection of Mrs. Henry Marcus
in 1979
$30,000 - 50,000

61
Louise Nevelson
(American, 1899-1988)
Untitled, 1982
mixed media collage
signed Louise Nevelson and dated (lower right)
32 x 20 inches.
Provenance:
Fay Gold Gallery, Atlanta
Private Collection
$10,000 - 15,000

62
Minoru Togashi
(Japanese, b. 1931)
Stairway to the Void, VII, 1978
marble with stone base
inscribed M. Togashi, titled and dated
24 x 25 x 5 inches.
Provenance:
Private Collection, acquired directly from the Artist
$3,000 - 5,000

63
Richard Howard Hunt
(American, 1935-2023)
Hybrid Muse, 1985
bronze
19 1/2 x 9 x 6 inches.
$7,000 - 9,000

64
Denis Mitchell
(British, 1912-1993)
Gunwalloe, 1975
bronze
inscribed DAM, titled, dated and numbered 1/7
29 x 35 x 10 inches.
Property from the Collection of Fern & Manfred Steinfeld, Boca Raton, Florida.
Provenance:
Alwin Gallery, London
Acquired from the above by the present owner in 1977
Literature:
Ex. Cat: Festival�Exhibition�of�Sculpture�by�Denis�Mitchell, Glynn Vivian Art Gallery
and Museum, Swansea, United Kingdom, 1979, another cast illus. (as Gunwallow)
$5,000 - 7,000

65
Albert Oehlen
(German, b. 1954)
Untitled, 2009
paper, ink and pencil on paper
signed A. Oehlen and dated (lower right)
11 x 8 inches.
Provenance:
Corbett vs. Dempsey, Chicago
David Nolan Gallery, New York
$10,000 - 15,000

66
Albert Oehlen
(German, b. 1954)
Untitled, 2008
mixed media on paper
signed A. Oehlen and dated (lower right)
11 3/4 x 12 inches.
Provenance:
Corbett vs. Dempsey, Chicago
Exhibited:
Chicago, Illinois, Corbett vs. Dempsey, A Vanguard with
Decorum, May 14 - June 27, 2009
The present lot was used as the album cover for Creep
Mission by David Grubbs, released in 2017.
$10,000 - 15,000

STEREO III
A
l Held’s (American, 1928 - 2005) masterful hard-edge abstraction and exactingly minimalist
approach is at its peak in Stereo III (1975), a work comprised of dizzyingly choreographed positive
and negative shapes in decisive yet delicate black linework, contrasted against a flatly applied
white background. Stereo III is from the heart of Held’s black and white period: from 1967-79, he reduced his
palette, challenging himself to intensify the clarity and structure of his work without decorative color. Other
works from this period have found homes in the collections of the Denver Art Museum (Black Nile II, 1971),
the Whitney Museum of American Art (South-Southwest, 1973), the Museum of Fine Arts, Boston (Jupiter V,
1974), and the Metropolitan Museum of Art (Mercury Zone III, 1975), among others.
Held was born in Brooklyn to Jewish Eastern-European immigrants, the youngest of three children. His strong
interest in art was encouraged by his mother, a talented seamstress and amateur artist herself. After leaving
high school, Held served two years in the Navy, enlisting a few months after the end of World War II to work on
submarines. Following his service, he used the GI Bill to continue his studies at the Art Students League, and
then on to Paris to study at the Académie de la Grande Chaumière. Though he left for Paris as a social realist
painter, towards the end of his studies the influences of Pollock and Mondrian began to appear in his work.
Upon his return to New York, Held worked various odd jobs – a stint at The Door Store, a porter at the Musem
of Modern Art, a construction worker on freeways, a small moving business – anything to keep his artistic
practice afloat. Held finally began to gain recognition towards the end of the 1950s; his first solo exhibition
in New York was held at the Poindexter Gallery in 1960. His career progressed rapidly from there with his first
retrospective exhibition at the Whitney Museum of American art in 1974. His first solo shows in London and
Paris followed in 1977, prominently featuring Stereo III at both Annely Juda Fine Art and at Galerie Roger
Galerie Roger d’Amécourt.
In using solely black and white, Held was able to explore dimensionality through interconnected forms and
vanishing points. Though his paintings are intensely detailed, Held shied away from exact designing or
preliminary drawing for his compositions, preferring instead to build directly onto the canvas for the entire
process, a kind of intrinsic geometry. When he returned to using color in the late 1970s, he found that the
reintroduction allowed him to further expand the architectural proportionality within his paintings.
A pioneer of hard-edge abstraction, Held’s death in 2005 left a fifty-year legacy of painting and a storied
career as one of the most ambitions artists of the twentieth century.
67
Al Held
(American, 1928-2005)
Stereo III, 1975
acrylic on canvas
signed Al Held and dated (verso)
72 x 60 inches.
Provenance:
Donald Morris Gallery Inc., Birmingham, Michigan
Private Collection
Literature:
Arts Magazine, Volume 51, No. 3, Art Digest Incorporated, New York, New York, November 1976, pp. 2, illus.
R.C. Kenedy, Paris: A Report, Art International, Volume 21, No. 4, J. Fitzsimmons, Lugano, Switzerland, July -
August 1977, pp. 57, illus.
Richard Armstrong, Al Held, Rizzoli, New York, 1991, no. 62, illus.
Exhibited:
New York, New York, André Emmerich Gallery, Al�Held��New�Paintings, November 13 - December 1, 1976
Zürich, Switzerland, Galerie André Emmerich, Al Held: Neue Bilder und Zeichnungen/Recent Paintings and
Drawings, January 15 - February 19, 1977
Paris, France, Galerie Roger d’Amecourt, Al Held, March, 1977
London, England, Annely Juda Fine Art, Al�Held��Paintings�and�Drawings, May 10 - June 25, 1977
Birmingham, Michigan, Donald Morris Gallery, Al�Held, November 5 - December 10, 1977
$80,000 - 120,000

68
George Rickey
(American, 1907-2002)
Quadrilateral Variations I, 1976
stainless steel
inscribed Rickey and dated
24 x 24 x 3 inches.

Provenance:
Elaine Baker Gallery, Boca Raton
in 2009
$30,000 - 50,000

69
William Conger
(American, b. 1937)
Compatriot, 2005
oil on canvas
signed W. Conger (lower left); signed, titled and
dated (verso)
60 x 60 inches.
The Private Collection of Debra and Harry Seigle,

Chicago, Illinois
$4,000 - 6,000

70

71
70 71
Nancy Graves Jules Olitski
(American, 1939-1995) (Ukrainian/American, 1922-2007)
LIMN, 1983 One Time Four, 1987
oil on canvas acrylic and enamel on Plexiglass
signed N. S. Graves, titled and dated (verso) signed Jules Olitski, titled and dated (verso)
66 x 44 inches. 49 x 49 inches.
Property from the Collection of Harvey $15,000 - 25,000

Schaffner, Chicago, Illinois
Provenance:
Gloria Luria Gallery, Bay Harbor Islands, Florida
M. Knoedler and Co., Inc., New York
$10,000 - 15,000

72
Pat Steir
(American, b. 1938)
Small Ghost Waterfall, 1993
oil on canvas
initialed PS and dated (verso)
59 x 59 inches.
Provenance:
Jaffe Baker Blau, Boca Raton (as Untitled)
Robert Miller Gallery, New York
$250,000 - 350,000

CREATING ATMOSPHERE:
PAT STEIR’S WATERFALLS
D
edicated to abstraction, artist Pat Steir (American, b. 1938) is nevertheless able to invoke a strong
sense of atmosphere in her paintings. This is the case in Small Ghost Waterfall (1993), a painting
from Steir’s most well-known series, Waterfalls, in which she uses a variety of mark-making
techniques emphasizing movement and chance and a connection between word and image to immerse the
viewer into the painting’s specific frame of mind.
Waterfall, streams of white, pale yellow, and olive drip over a dark blue ground, imprints from brushes
laden with paint. Flung yellow, white, and orange streak over the drips. The order of operations is mapped
throughout the painting’s surface. Like Jackson Pollack and other Abstract Expressionist painters, the
physicality and performance of the work is clear; however, unlike Pollack, the painting could only have been
made verticality, with the work hanging on the wall to face the effects of both artist and gravity.
In addition to Abstract Expressionism, Steir has been heavily influenced by both Chinese and Japanese art
as well as John Cage and his application of chance in his work. Steir first visited Japan in the early 1980s,
beginning a lifelong admiration for Japanese and Chinese art and culture. Particularly apparent in the case
of the Waterfalls series was her appreciation of the ink paintings and landscapes of the Chinese Tang (618-
907) and Song (960-1279) dynasties, especially the ink splash painters of the Tang dynasty, some of whom
experimented with creating compositions from ink first splashed by chance.[i] This preoccupation with chance
was likewise a foremost consideration of artist John Cage. As noted by Steir regarding her process:
The waterfall paintings are painted as though the waterfall is directly in front of the artist, chaotic but
confrontational. I’ve always admired John Cage; his whole system involved chaos. I’m trying desperately to
make chaos, but I make order. I try to make the chaos within the work; that’s why I depend on gravity to leave
a lot of space for accident. For chaos.[ii]
The painting makes manifest Steir’s applied elements of chaos through chance as well as her physical
movements at the time of making. Steir underlines her intentions through the additional connection between
word and image and the further associations of the work with poetic imagery. She usually tries to keep the
number of words her painting titles to not many more than two so that she can “picture the painting in my
mind’s eye when the title is spoken”.[iii] This link to her personal memory and its evocation is crucial to her
process. She notes “the poetry of the title is part of the picture for me, it’s absolutely the same thing.”[iv]
The poetry of Small Ghost Waterfall lends associations to the viewer despite the painting’s overall
abstraction. The cool tones—from the deep blues to the pale yellows to the subtle greens—
emphasize the ethereal quality of the work, while the streams of dripped paint evoke the sounds of torrents
of water, punctuated by frothy bursts at the top of the canvas from textured paintbrush impressions,
accompanied by the pattering of paint blotches further suggesting watery connotations. Steir uses her title
and the physicality of her work to envelop the viewer into the scene of Small Ghost Waterfall.
The square format of the painting prioritizes neither vertical nor horizontal space, situating the viewer directly
in the center of the work. Strong verticals from the drips are then interspersed with the horizontal lines of
paint whipped at the canvas, with the alternating lines of yellow and white creating a natural zig zag across the
length of the canvas, as the eye travels back and forth and then is redirected back to the top of the canvas
to the dark negative space of the navy ground, to begin anew. New details are to be discovered dancing
through the balanced composition—a variety of textures and colors—glistening drops of orange, surprising
and welcome swipes of pink near the top. The painting expertly enmeshes the viewer in the ghosts of Steir’s
prior activity, an imprint of her whirls and deliberate stamps of gravity-altered paint and poetic association to
continually recreate the atmosphere of rushing wine-dark waterfall.
Bibliography:
Waldman, Anne. “Gravity and Levity: stop start wait go: Pat Steir’s Poethics.” In Pat Steir. New York: Cheim & Read, 2007.
Waldman, Anne. “Interview: Pat Steir.” BOMB, April 1, 2003. https://bombmagazine.org/articles/2003/04/01/pat-steir/.

[i]
Anne, Waldman, “Gravity and Levity: stop start wait go: Pat Steir’s Poethics,” in Pat Steir (New York: Cheim & Read, 2007).
[ii]
Anne Waldman, “Interview: Pat Steir.” BOMB, April 1, 2003, https://bombmagazine.org/articles/2003/04/01/pat-steir/.
[iii]
Ibid.
[iv]
Ibid.

A PORTAL TO NEVELSON’S WORLD
I
n signature Nevelson fashion, Untitled (c. 1973-78) defies dimensional classification by transcending
space to occupy the realms of both painting and sculpture.
Sparkling with charisma under her heavy mink eyelashes, Louise Nevelson (American, 1899-1988) became
and remains one of the most important figures in twentieth-century American sculpture. Born Leah
Berliawsky in the Poltava Governorate of the Russian Empire (present-day Kyiv Oblast, Ukraine), Nevelson’s
family emigrated to Rockland, Maine, where her father eventually established a lumber business. Wood, a
prominent feature in Nevelson’s work, was a constant presence in their home. Nevelson was very close with
her mother, who suffered depression after their move, and would go to great lengths to dress herself and her
children up in flamboyant clothes that she felt would have been sophisticated in their homeland. Marrying
Charles Nevelson after high school satisfied her parents’ hope that she would end up in a wealthy family, and
though they eventually separated, their union allowed the couple to move to New York City where she was
able to study painting, drawing, singing, acting and dancing. She began to study full time at the Art Students
League in 1929 and traveled to Europe to learn from Hans Hoffman. Upon her return she met Diego Rivera
and worked as his assistant on his mural at Rockefeller Plaza while they allegedly had a brief affair, causing a
rift between her and Rivera’s wife, renowned artist Frida Kahlo.
Throughout the 1930s Nevelson experimented with painting, drawing, lithography, and etching, but her truest
love was sculpture. She won her first sculpture competition at the A.C.A. Galleries in New York in 1936, and
her first solo exhibition at Nierendorf Gallery followed a few years later. Despite her rapidly growing career,
Nevelson still struggled. As she explained in an interview:
After my first exhibition was over I destroyed all the work I’d done. What else could I do? I didn’t have
a nickel. I had no place to store it, I never sold anything, so what was I to do? ...I had no choice at that
time. I guess it was nearly forty years ago. I never would ask anyone for anything, so it was a struggle.
Anyway, I did destroy them. All I have are a few photos of the work. (Particular Passions: Talks with
Women Who Shaped Our Times, by Lynn Gilbert).
Nevelson began to work on massive wall installations using found pieces of wood in the 1950s; though much
of her production was destroyed, several of the surviving works are now owned by the Whitney Museum, the
Brooklyn Museum, and MoMA. The scraps of wood allowed her to collage together geometric grids that she
could then cover entirely in paint, studying the relationship of their shapes and crafting her own personal
mythology from architectural elements entrenched with the personal histories of others.
Nevelson solidified her long-overdue commercial and critical success by the late 1960s, with her first
retrospective at the Whitney Museum in 1967. She spent the following years constructing major works and
commissions, gigantic both in scale and in the recognition they brought. Nevelson referred to her immersive
sculptures as “environments” and she became most known for her wall-like collaged reliefs, of which
Untitled is an excellent example, made at the height of her artistic maturity. Uniformly coated in her hallmark
unmodulated black paint, the careful arrangement of each structural element and the shadows they create
serve as a portal into Nevelson’s world, extravagant and minimal all at once.
73
Louise Nevelson
(American, 1899-1988)
Untitled, c. 1973-78
black painted wood
80 x 48 x 5 1/4 inches.
Property from a Private Collection, Atlanta, Georgia
Provenance:
Locks Gallery, Philadelphia
Fay Gold Gallery, Atlanta
Acquired from the above by the present owner in 2000
Exhibited:
Philadelphia, Pennsylvania, Locks Gallery, Louise Nevelson: Sculpture
and Collages, October 1 - October 30, 1999, no. 10, illus.
Literature:
Judy Stein, Louise Nevelson: Collages, Locks Art Publications,
Philadelphia, Pennsylvania, 1997 (cover illus.)
$150,000 - 250,000

73A
Olga de Amaral
(Columbia, b. 1932)
Cesta Lunar 35, 1990
paint and gold leaf on fiber
signed Olga de Amaral, titled, dated and inscribed no. 599 (verso)
46 x 69 inches.
Property from the Collection of Jane Berger, Naples, Florida
Provenance:
Bellas Artes Gallery, Santa Fe
Literature:
Edward Lucie-Smith, Olga de Amaral: el manto de la memoria, Bogotá,
Zona Ediciones, 2000, pp. 74, 214
$80,000 - 120,000

OLGA DE AMARAL’S MOON BASKETS
O
lga de Amaral (née Olga Ceballos Velez, Colombian, b. 1932) works primarily with hand-spun wool,
cotton, and linen, supplementing the fibers with the addition of vibrant colors and precious metals
as she explores dimensional space. Rooted in geometric compositions, de Amaral combines the
practices of indigenous cultures with the gestural intuition of Abstract Expressionism, conjuring a spell to
transform traditional tapestry weaving into something part domestic craft and part otherworldly. We are
honored to offer Cesta Lunar 35 (1990), a sweeping, shimmering work comprised of paint and gold leaf
enmeshed in fibers, bright gold threads cascading down to a rich violet umber -- an excellent example of the
cosmic voyages taken in her Cesta Lunares (Moon Baskets) series.
Growing up in a in a large, religious family in suburban Bogotá, de Amaral first obtained a degree in
architecture before moving to the United States to study fiber art at the Cranbrook Academy of Art in
Michigan. As she described:
In Cranbrook, the textile workshop had eight looms placed against the windows: one of them, in the
corner, would be my home for a year. There, I lived my most intimate moments of solitude; there was
born my certainty about color; its strength; I felt as if I loved color as though it were something
tangible. I also learned to speak in color. I remember with nostalgia that experience in which souls
touched hands.
(Quoted in Olga de Amaral: The Mantle of Memory, Galerie Agnès Monplaisir, 2013)
After her schooling, de Amaral returned to Colombia and began to make decorative textiles on commission.
When her college sweetheart, Jim Amaral, returned from duty in the Philippines, they married and had
two children, while de Amaral continued to develop her craft. After founding and teaching at the textile
department at the University of Los Andes in Colombia, de Amaral and her family relocated to New York and
then traveled widely throughout South America, Europe, and Japan.
De Amaral was deeply moved by her travels, particularly her experiences with the Yanomami, a tribe native to
the Amazon rainforests between Venezuela and Brazil with a rich culture steeped in mythology.
I consider my Moon Baskets (Cestas Lunares) to be a clear example of thoughts woven into a
surface. They express feelings that arose when I saw the baskets made by the Yanomami (or
Yanomamo), a tribe in Venezuela known also as the Children of the Moon. I was fascinated by the
compact straw basketweave, the elemental enclosing shapes, the achiote-red patina, and, especially
by the large, scattered circular motifs with which they decorated their baskets and their bodies. This
simple act of adornment revealed to me the unity they perceived between themselves, their objects,
and their activities; the unity between their minds and the moon they revere. The plaiting I used to
build the Moon Baskets was meant to recall the elementary construction of their objects.
(Quoted in Olga de Amaral: The House of My Imagination, The Metropolitan Museum of Art, 2003)
A more personal cultural reverence can be found in de Amaral’s use of gold leaf in her textiles, playing
with light and reflection in ways that pay homage to the churches of her childhood: “Besides the spiritual
ingredient of going to mass, I was fascinated by the ornate interiors of churches, where candlelight refracts
from gilded altars and inlaid mirrors,” recalled Amaral in an interview. (Quoted in Jim and Olga de Amaral: Lives
Reflected in Art, The City Paper Bogotá, June 2017)
De Amaral’s works are full of contradictions. Championing the domesticity and tradition of weaving -- a
practice often devalued in high art -- through the opulent luxury of gold leaf, her forms are both structured
and malleable, each element its own vignette. With each strand, ideas of fine art and craft come to occupy the
same space, a goal shared by her contemporaries Magdalena Abakanowicz, Ruth Asawa, and Shelia Hicks.
Using an off-the-loom technique, her constructions are built upon woven structures with gesso, pigments,
and precious metals forming an inter-dimensional landscape. Her meditative and architectural process is
rewarded in expansive hybrids that read as both paintings and ceremonial shrouds, interweaving the past and
the present.

74
Harry Bertoia
(American, 1915-1978)
Untitled, c. 1950s
brass-coated steel
15 x 36 x 2 1/2 inches.

This work is recorded in the Harry Bertoia

catalogue raisonné under entry no. S.WI.98
We are grateful to the Harry Bertoia Foundation

for their assistance in cataloguing this work.
Provenance:
The Collection of the Artist
Purchased directly from the above by the
present owner in 1971
$50,000 - 70,000

75
Harry Bertoia
(American, 1915-1978)
Untitled, c. 1969
Beryllium copper on brass plate

This work is recorded in the Harry Bertoia

catalogue raisonné under entry no. SO.TO.409
We are grateful to the Harry Bertoia Foundation

for their assistance in cataloguing this work.
Provenance:
Knoll, Chicago
Purchased directly from the above by the
present owner in 1969
$40,000 - 60,000

76 77

78
76 77
78
Ilya Bolotowsky Vasa (Velizar Mihich) Vasa (Velizar Mihich)
(American/Russian, 1907-1982) (Yugoslavian, b. 1933)
(Yugoslavian, b. 1933)
Column #16, 1963 #2946, 1989
Untitled (Five Columns), 1972
acrylic on wood acrylic
laminated acrylic
signed Ilya Bolotowsky and dated inscribed Vasa, titled and dated
inscribed Vasa and dated
Height: 94 1/2 inches. 84 x 7 1/4 x 4 inches.
each: 23 1/4 x 3 3/4 x 2 1/4 inches.
The Private Collection of Debra and Harry Seigle, Property from the Collection of Fern &
Provenance:
Chicago, Illinois Manfred Steinfeld, Boca Raton, Florida.
Private Collection, acquired directly from the Artist
Provenance: $10,000 - 15,000
Sold: Sotheby’s New York, March 2, 2008, Lot
$3,000 - 5,000
223
$10,000 - 15,000

79

79 80
Enrique Santana Robert Swain
(Spanish, b. 1947) (American, b. 1940)
Dominion Center, 1987 Study for University of Buffalo Mural, 1982-85
oil on canvas acrylic on canvas
signed Santana and dated (lower left) 24 x 183 inches.
30 x 40 inches.
Provenance:
The Private Collection of Debra and Harry Seigle, Acquired directly from the Artist by the present
Chicago, Illinois owner in 1987
Provenance: $6,000 - 8,000

Ann Nathan Gallery, Chicago
$3,000 - 5,000
80

81
Charles Hinman
(American, b. 1932)
Transformer, 1981
oil on canvas
This lot is located in Palm Beach.
Deaccessioned from the Boca Raton Museum of Art to benefit the Acquisitions Fund
Provenance:
Gift of Dr. Robert and Deanna Harris Burger to the Boca Raton Museum of Art
$10,000 - 15,000

82
Simeon Braguin
(Ukrainian/American, 1907-1997)
Untitled, 1974
acrylic on canvas
signed Simeon Braguin and dated (verso)
55 x 60 inches.
$5,000 - 7,000

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Updated 1.30.24
Artist Index
Abercrombie, Gertrude. . . . . . . . . . . . . . . . . . . . . . . . 43 Larraz, Julio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Appel, Karel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Lipsky, Pat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Baechler, Donald . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Lutes, Jim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Baj, Enrico. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 McClelland, Suzanne . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Barnabè, Duilio (Dubè). . . . . . . . . . . . . . . . . . . . . 54-56 Mitchell, Denis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Bertoia, Harry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74, 75 Nevelson, Louise. . . . . . . . . . . . . . . . . . . . . . . . . . 61, 73
Bolotowsky, Ilya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Nilsson, Gladys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Boxer, Stanley. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15, 36 Noland, Kenneth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Braguin, Simeon. . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 82 Oehlen, Albert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65, 66
Clark, Ed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Olitski, Jules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5, 71
Conger, William. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Otero, Angel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Curtis, Philip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Paschke, Ed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Darby Bannard, Walter. . . . . . . . . . . . . . . . . . . . . 37-39 Poons, Larry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
de Amaral, Olga. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73A Prince, Richard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Drexler, Lynne. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 8 Rebeyrolle, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Dubuffet, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Rickey, George . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Etrog, Sorel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Rossi, Barbara. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Fairey, Shepard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Santana, Enrique. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Gillespie, Rowan. . . . . . . . . . . . . . . . . . . . . . . . . . . 57, 58 Saura, Antonio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Goldberg, Michael. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Schuyff, Peter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Graves, Nancy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Seery, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Gray, Cleve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Solomon Syd. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25-27
Green, Jonathan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Stadler, Albert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Hamilton Fraser, Donald . . . . . . . . . . . . . . . . . . . . . . . 18 Stefanelli, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . 22, 23
Held, Al. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Steir, Pat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Henning Anton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Swain, Robert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Hicks, Sheila. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Thecla, Julia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Hinman, Charles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Togashi, Minoru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Hunt, Richard Howard. . . . . . . . . . . . . . . . . . . . . . . . . . 63 Uttech, Tom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Jenkins, Paul. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28, 29 Vaadia, Boaz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Katz, Alex. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13, 14 Vasa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77, 78
Landfield, Ronnie. . . . . . . . . . . . . . . . . . . . . . . . . . 20, 21 Zox, Larry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Glossary of Terms
ADRIAEN JANSZ VAN OSTADE CIRCLE OF ADRIAEN JANSZ VAN OSTADE AFTER ADRIAEN JANSZ VAN OSTADE
This work, in our best opinion, is by the To our best judgment, a work by an unknown To our best judgment, a copy of a known work
named artist. but distinctive hand linked or associated with of the artist.
the artist but not definitively his pupil.
ATTRIBUTED TO ADRIAEN JANSZ VAN The term signed and/or dated and/or inscribed
OSTADE STYLE OF . . . FOLLOWER OF ADRIAEN means that, in our opinion, a signature and/or
To our best judgment, this work is likely to be JANSZ VAN OSTADE date and/or inscription are from the hand of
by the artist, but with less certainty as in the To our best judgment, a work by a painter the artist.
aforementioned category. emulating the artist’s style, contemporary or
nearly contemporary to the named artist. The term bears a signature and/or a date and/or
STUDIO OF ADRIAEN JANSZ VAN OSTADE an inscription means that, in our opinion, a
To our best judgment, this unsigned work may MANNER OF ADRIAEN JANSZ VAN OSTADE signature and/or date and/or inscription have
or may not have been created under the To our best judgment, a work in the style of been added by another hand.
direction of the artist. the artistand of a later period.
Dimensions are given height before width.

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Updated 1.30.24
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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 6. OUR BIDDING SERVICES
a knowledgeable representative before you bid on a lot to make sure that We offer the following bidding services as a convenience to our clients,
you accept the description and its condition. We recommend you hire a subject to these Conditions of Sale. We shall not be responsible for any error,
professional adviser if you are not familiar with how to address the nature omission, or failure, human or otherwise, in providing these services.
or condition of an object. Freeman’s | Hindman has several salerooms (a) Phone Bids: You must contact us at least twenty-four (24) hours prior to
throughout the country and the location of sales, or individual items may vary. the auction to arrange a phone bid. We will accept bids by telephone for lots
It is important to check our website and be aware of where each lot is located, only if our staff is available to take the bids. We agree that we may record
for both viewing and for shipping purposes. telephone bids.
(b) Internet Bids: You can bid in our live sales via our bidding platform or
4. ESTIMATES through third-party bidding sites.
Estimates of a lot account for the condition, rarity, quality, and provenance (c) Written Bids: You can find a Written Bid Form at the auction location,
of the object and are based upon prices realized for similar objects in or online at www.hindmanauctions.com. We must receive your completed
past auctions. Neither you nor anyone else may rely on our estimates as a Written Bid Form at least twenty-four (24) hours before the auction. We will
prediction or guarantee of the actual selling price of a lot or its value for any endeavor to execute written bids at the lowest possible price consistent with
other purpose. Estimates do not include the buyer’s premium, any applicable the reserve. If you make a written bid on a lot that does not have a reserve and
taxes, and any other applicable charges. 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
5. WITHDRAWAL first written bid we receive of those for identical amounts will be given priority
We may, in our sole discretion, withdraw a lot from auction at any time prior to over other bids.
or during the sale and shall have no liability to you for our decision to withdraw.
7. CREDIT CARD AUTHORIZATION HOLD
B. REGISTERING TO BID When you register to bid you may be asked to provide us with a valid credit
1. GENERAL card number. You authorize us to verify the validity of the credit card by
We reserve the right to reject any bid. By participating in the sale, you placing a temporary authorization hold on the card that will remain until it falls
represent and warrant that: off, usually within 2 to 7 days.
(a) The bidder and/or purchaser is not subject to trade sanctions, embargoes
or any other restriction on trade in the jurisdiction in which it does business as C. DURING THE AUCTION
well as under the laws and regulations of the United States, and is not owned 1. BIDDING IN THE AUCTION
(nor partly owned) or controlled by such sanctioned person(s) (collectively, (a) Live Auctions. We will appoint an individual auctioneer to administer a live
“Sanctioned Person(s)”); (b) Where you are acting as agent, your principal auction. The auctioneer may accept bids from (a) written bids left with us by
is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders;
Sanctioned Person(s); and and (d) Internet bidders, including bidders through third-party bidding sites.
(c) The bidder and/or purchaser undertakes that none of the purchase price Bidding generally starts below the low estimate and increases in steps, called
will be funded by any Sanctioned Person(s), nor will any party be involved in bid increments. The auctioneer will decide at his/her sole option where the
the transaction including financial institutions, freight forwarders or other bidding should start and the bid increments. Bid increments may vary from
forwarding agents or any other party be a Sanctioned Person(s) nor owned auction to auction. You shall comply with all laws and regulations in force that
(or partly owned) or controlled by a Sanctioned Person(s), unless such activity govern your bidding.
is authorized in writing by the government authority having jurisdiction over (b) Online Auctions. The auctioneer will accept bids from Internet bidders,
the transaction or in applicable law or regulation. including bidders through third-party bidding sites. Bidding generally starts
below the low estimate and increases in steps, called bid increments. The
2. NEW BIDDERS auctioneer will decide at his/her sole option where the bidding should start
New bidders must register at least twenty-four (24) hours before an auction and the bid increments. Bid increments may vary from auction to auction. You
and must provide us with documentation of their identity. shall comply with all laws and regulations in force that govern your bidding.
(a) Individuals must provide photo identification (driver’s license, non-driver (c) Timed Auctions. Bids may only be submitted on our website between
ID card, or passport) and, if not shown on the photo identification, proof of the dates and times specified in the lot’s description. Your bid is submitted

Conditions of Sale
once you place and confirm your bid amount. You agree that a bid is final once 3. MAKING PAYMENT
it is placed and that you may never amend or revoke your bid. You are fully (a) Immediately following the auction, you must pay the purchase price,
responsible for any errors you make in bidding. Bidding generally opens at consisting of the hammer price, plus the buyer’s premium, plus any applicable
or below the low estimate and increases in steps (bidding increments) to be duties and sales, use, or other applicable taxes. Payment is due no later than
determined in Freeman’s | Hindman sole discretion. by the end of the seventh (7th) calendar day following the date of the auction,
which we refer to as the due date.
2. AUCTIONEER’S DISCRETION (b) We will only accept payment from the registered successful bidder. Once
The auctioneer shall have absolute discretion to (a) admit a bidder into or issued, we cannot change the buyer’s name on an invoice or reissue the
remove a bidder from the saleroom or online auction; (b) accept or refuse invoice in a different name.
any bid; (c) change the order of the lots in the auction; (d) move the bidding (c) You must pay for lots in US dollars in one of the following ways:
backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or (i) Wire transfer.
combine any two or more lots; (g) reopen or continue the bidding even after (ii) Bank checks: You must make these payable to Freeman’s | Hindman,
the hammer has fallen; and (h) continue the bidding, determine the successful and we may impose other conditions. Once we have deposited your check,
bidder, cancel the sale of the lot, or reoffer and resell any lot in the event property cannot be released until five (5) business days have passed.
that there is an error or dispute related to bidding or the application of the (iii) Personal checks: You must make these payable to Freeman’s | Hindman,
reserve, whether during or after the auction. You must provide us with written and they must be drawn from US dollar accounts from a US bank. The property
notice within three (3) business days of the date of the auction if you believe will not be released until the check has cleared and the funds are received by
that the auctioneer has accepted the successful bid in error. The auctioneer us.
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 (iv) Credit card: Credit card payments may not exceed $25,000 and a
and resell the lot. The auctioneer’s decision in exercise of this discretion is convenience fee of 3% will be added to each credit card payment.
final. This paragraph does not in any way affect our ability to cancel the sale of (v) ACH Bank Transfer
a lot under other applicable provisions of these Conditions of Sale, including (d) You must quote your invoice number when making a payment. All
the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1). payments sent by post must be sent to Freeman’s | Hindman, 1550 West
Carroll Avenue, Chicago, IL 60607, ATTN: Client Accounting Department.
3. BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his/her sole option, bid on behalf of the seller up to 4. TRANSFERRING OWNERSHIP TO YOU
one bidding increment before the reserve by making either consecutive or You will not own the lot and title will not pass to you until we have received full
responsive bids. The auctioneer will not identify these as bids made on behalf payment in good funds of the purchase price, even in circumstances where
of the seller. If a lot is offered without reserve, the auctioneer will open the we have released the lot to you.
bidding at a set increment lower than the lot’s low estimate and will solicit
higher bids from that amount. If there are no bids on a lot, the auctioneer may 5. TRANSFERRING RISK TO YOU
deem the lot unsold. 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)
4. SUCCESSFUL BIDS AND INVOICES when you collect the lot; or (b) the end of the thirtieth (30th) day following the
Subject to paragraph C(2), the contract of sale between the seller and the date of the auction or, if earlier, the date the lot is taken into care by a third-
successful bidder is formed when the final bid is accepted and the auctioneer’s party warehouse.
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. 6. YOUR FAILURE TO PAY
While we send out invoices by mail and/or email after the auction, we shall not If you fail to pay us the purchase price in full in good funds by the due date, we
be responsible for telling you whether your bid was successful. You should will be entitled to do one or more of the following (as well as enforce any other
contact us immediately after the auction to find out the success of your bid rights and remedies we have by law) at our sole discretion:
in order to avoid having to pay storage charges. Please note that Freeman’s (a) We can charge interest from the due date at a rate of up to one and one-
| Hindman will not accept payments for purchased lots from any party other half percent (1.5%) per month on the unpaid amount due.
than the purchaser, unless otherwise agreed between the purchaser and (b) We can cancel the sale of the lot and sell the lot again, publicly or privately,
Freeman’s | Hindman prior to the sale. 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,
D. AFTER THE AUCTION expenses, losses, damages, and legal fees we incur due to the cancellation.
1. THE BUYER’S PREMIUM (c) We can pay the seller the amount due to them, in which case you
In addition to the hammer price, the successful bidder agrees to pay us a acknowledge and understand that we will have all the seller’s rights to pursue
buyer’s premium on the hammer price of each lot sold. On all lots except for you for such amount.
those in Coins, Medals & Banknotes; Sports Memorabilia; and Arms, Armor & (d) We can hold you legally responsible for the amount you owe us and bring
Militaria auctions we charge twenty-seven percent (27%) of the hammer price legal proceedings against you to recover the amount owed by you, plus other
up to and including $1,000,000; twenty-one percent (21%) of any amount in losses, interest, legal fees, and costs as allowed by law.
excess of $1,000,001 up to and including $4,000,000; and fifteen percent (e) We can reveal your identity and contact details to the seller.
(15%) of any amount in excess of $4,000,001. For all lots offered in Coins, (f) We can reject any bids made by or on behalf of you in future auctions or
Medals & Banknotes we charge a buyer’s premium of twenty-one percent require you to provide us with a deposit before accepting any bids.
(21%) of the hammer price. Sports Memorabilia; and Arms, Armor & Militaria (g) We can exercise all the rights and remedies of a person holding security
auctions we charge a buyer’s premium of twenty percent (20%) of the hammer over any property in our possession owned by you, whether by way of pledge,
price. If the bidder bids through a third-party platform, then the bidder agrees security interest, or in any other way as permitted by the law of the place
to pay us a surcharge equal to the fee levied by the third-party platform. The where such property is located. You will be deemed to have granted such
third-party platform fee is in addition to the buyer’s premium. security to us and we may retain such property as collateral security for your
obligations to us.
2. TAXES (h) We can take any other action we deem necessary or appropriate.
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 7. SHIPPING, COLLECTION, AND STORAGE
hammer price, the buyer’s premium, and/or any other charges related to the (a) You must collect purchased lots within thirty (30) days of the auction.
lot. A sales or use tax is dependent upon a number of factors, including, but We can assist in making shipping arrangements by suggesting art handlers,
not limited to, our volume of sale and the place of delivery of the lot, regardless packers, transporters, or experts, but you must arrange all transport and
of the nationality or citizenship of the successful bidder. The applicable sales shipping with them, and we are not responsible for their acts, failure to act, or
tax rate will be determined based upon the state, county, or locale to which neglect. Freeman’s | Hindman has several salerooms throughout the country
the lot will be shipped or where it is picked-up in person. We collect sales tax and the location of sales, or individual items may vary. It is important to check
in states where legally required. with our website and be aware of where each lot is located, for both viewing
and for shipping.
(b) If you do not collect any purchased lot within thirty (30) days following
the auction, we may, at our sole option, (i) charge you storage and insurance

Conditions of Sale
costs; (ii) move the lot to another Freeman’s | Hindman location or to a third- examined by a competent gunsmith who will test the weapon for its shoot
party warehouse, whereupon we will charge you transport costs, insurance ability and also to ensure that the caliber of the breech is, in fact, the caliber
costs, and administration fees for doing so, and you will be subject to the that it is thought to be.
third-party storage warehouse’s standard terms and responsible for paying (h) Collection and Shipping. Freeman’s | Hindman offers in-house, full-
its standard fees and costs; or (iii) sell the lot in any commercially reasonable service shipping. Shipping costs are provided with your finalized invoice
way we think appropriate. 24-48 hours after auction. For more information, contact cowansshipping@
(c) In accordance with applicable state law, if you have paid for the lot in full hindmanauctions.com. All pickups are by appointment only. To make an
but you do not collect the lot within the time specified by the law of the state appointment, please call 513-871-1670 or email cincinnati@hindmanauctions.
where the auction takes place, we may charge you state sales tax for the lot. com. There are special rules for the following buyers:
(d) Nothing in this paragraph is intended to limit our rights under paragraph i. California and New Jersey: Due to recent changes to California and New
D(6). Jersey laws, we require all firearms, whether modern or antique, be shipped to
a licensed FFL dealer.
8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES ii. New York: We require all firearms, whether modern or antique, be shipped
(a) The shipping of a lot is affected by United States export laws or the import to a licensed FFL. Curio and Relic licenses are not valid for this purpose.
laws of other countries. If you are outside the United States, then local laws iii. International: We will only ship a firearm to a United States address
may prevent you from importing a lot. You alone are responsible for seeking regardless of the weapon’s antique status. It is the responsibility of the
advice prior to bidding and meeting the requirements of any law or regulation buyer to organize the export of their firearms to their country of residence.
applying to the export or import of a lot. The buyer is separately responsible for the cost of export shipping and all
(b) Lots made of or including (regardless of the percentage) endangered shipping quotes provided by Freeman’s | Hindman are for domestic shipping
and other protected species of wildlife—such as, among other things, ivory, only.
tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of (i) Freeman’s | Hindman Class III License Policy. Freeman’s | Hindman in
coral, and Brazilian rosewood—may be subject to export controls in the US Cincinnati, Ohio is a recognized dealer in Class III items and is recognized
and import controls in other countries. You should check the relevant wildlife as a (63) NRA Firearms Dealer and will comply with all applicable regulations
laws and regulations before bidding on any lot containing wildlife material if regarding the sale of Class III firearms.
you plan to export the lot from the United States, import the lot into another (j) Buyer Responsibility. Buyers are expected to know their state’s laws and
country, or ship the lot between states. Your purchase of a lot containing regulations on machine guns prior to bidding. The following states currently
endangered and other protected species of wildlife is at your own risk, and do not allow individuals to own machine guns: California, Hawaii, Illinois, Iowa,
you shall be responsible for any scientific test or other reports required for Kansas, Maine, Michigan, Mississippi, New Jersey, New York, and Rhode
export from the United States or for shipment between states. We will not Island. For more details and an up-to-date list of states, please visit the
cancel your purchase and refund the purchase price if your lot may not be website for the Bureau of Alcohol, Tobacco, Firearms and Explosives at www.
exported, imported, or shipped between states, or if it is seized for any reason atf.gov. The buyer shall assume all transfer fees relating to the purchase of
by a government authority. It is your responsibility to determine and satisfy Class III weapons.
the requirements of any applicable laws or regulations relating to import, (k) Paperwork. The three forms required for the purchase of machine guns
export, and/or interstate shipping of a lot containing endangered and other will be supplied to the bidder/buyer by Freeman’s | Hindman. These forms are:
protected species of wildlife. 1) ATF Form #4 (and possibly ATF Form #5) 2) Fingerprint Card, and 3) ATF
form 5330.20 Certificate of Compliance. All buyers are expected to promptly
9. FEDERAL FIREARMS LICENSE HANDLING POLICY fill out paperwork and comply with all related laws and regulations.
(a) Freeman’s | Hindman complies with all federal, state, and local regulations
pertaining to the sale and transfer of firearms. We will allow no exception to E. WARRANTIES
the rules stated below. 1. SELLER’S WARRANTIES
(b) Buyer Responsibility. It is the sole responsibility of the buyer to know and For each lot, the seller gives a warranty that the seller (a) is the owner of the lot
comply with all state and local firearms regulations in the jurisdiction where or a joint owner of the lot acting with the permission of the other co-owners
the buyer resides or, if the seller is not the owner or a joint owner of the lot, has the permission
(c) Federal Law. All firearms not classified as antique under federal law will of the owner to sell the lot or the right to do so by law; and (b) has the right to
require compliance with the following agencies, as noted with asterisks in our transfer ownership of the lot to the buyer without any restrictions or claims
printed and online catalogues: by anyone else. If either of the above warranties are incorrect, the seller shall
* Indicates the weapon is regulated by Federal Firearms laws. not have to pay more than the purchase price (as defined in paragraph D(3)
** Indicates the weapon is regulated by Curio & Relic classification of the above) paid by you to us. The seller will not be responsible to you for any
Federal Firearm laws reason for loss of profits or business, expected savings, loss of opportunity
*** Indicates the weapon is regulated by the National Firearms Act of 1934. or interest, costs, damages, other damages, or expenses. The seller gives no
(d) Handguns. Non-Ohio resident buyers of handguns must pay for their warranty other than as set out above, and as far as the seller is allowed by
purchases before leaving the auction. All modern handguns must be law, all warranties from the seller to you, and all other obligations upon the
retained by an agent. All buyers must arrange with a local firearms dealer in seller that may be added to this agreement by law, are excluded. No employee
their resident state to provide Freeman’s | Hindman with a copy of the FFL or agent of Freeman’s | Hindman is authorized to make a representation
license holder to whom any modern handgun will be shipped. Upon receipt or provide other information, whether orally or in writing, that amends the
of the copy of this license, a purchase will be packaged and shipped (at the seller’s warranties or creates an additional warranty on behalf of the seller
buyer’s expense) to the appropriate FFL holder. This is a federal law and must with respect to a lot. Any such representation, other information, or additional
be complied with regardless of the buyer’s resident state. Please allow up warranty shall be null and void.
to four weeks for delivery. Transfers of modern handguns to Ohio residents
must take place at the location where the auction takes place. Ohio residents 2. OUR LIMITED AUTHENTICITY WARRANTY
may take possession of a modern handgun immediately after their purchase, Our limited authenticity warranty, which lasts for one (1) year from the date of
provided they successfully complete a NICS background check which can a live auction or three (3) months from an online only auction, is that the lots
occur on the auction premises or afterwards. in our sales are authentic as defined in paragraph H, below. You must notify
(e) Modern Long Guns. Both residents and non-residents of Ohio may take Freeman’s | Hindman regarding concerns of authenticity in writing within one
possession of modern long arms after payment, the filing of an ATF form (1) year of the date of a live auction or within three (3) months of the date of
4473, and completion of a NICS background check. In most cases, the NICS an online only auction. Following receipt of that written notification, subject to
process can be approved or denied on the same day. For further information the terms below, Freeman’s | Hindman will refund the purchase price paid by
regarding delays, you may contact the NICS information line at 304.625.2750 the client. The terms of this limited authenticity warranty are as follows:
or view the information on their website at: http://www.fbi.gov/program/nics/ (a) It will be honored for claims notified in writing within a period of one
index.htm (1) year from the date of a live auction or three (3) months from an online
(f) Antique Guns. Antique firearms are defined as those produced in 1898 only auction. After such time, we will not be obligated to honor the limited
or prior. Antique guns may be purchased and removed from the auction authenticity warranty.
premises on the day of sale by a resident or non-resident of Ohio. (b) It is given only for information shown in UPPERCASE type in the first line of
(g) Disclaimer. Neither Freeman’s | Hindman, their consignors, employees, the catalogue description (the Heading). It does not apply to any information
or agents warrant the safety, or the shoot ability of any firearm sold. All other than that in the Heading, even if it is shown in UPPERCASE type.
firearms in this catalog are sold as collector items. Buyers wishing to fire ANY (c) It does not apply to any Heading or part of a Heading that is qualified.
firearm purchased in this auction are strongly advised to have the weapon(s) “Qualified” means limited by a clarification in a lot’s catalogue description or

Conditions of Sale
by the use in a Heading of one of the terms listed in the definition of “qualified” or treatment to the gemstone. Reports from European gemological
provided in paragraph H, below. Qualified Headings are not covered at all by laboratories describe any improvement or treatment only if we request that
this limited authenticity warranty. they do so, but they do confirm when no improvement or treatment has been
(d) It applies to the Heading as amended by any saleroom notice. made. Because of differences in approach and technology, laboratories may
(e) It does not apply where scholarship has developed since the auction, not agree on whether a gemstone has been treated, the amount of treatment,
leading to a change in generally accepted opinion. Further, it does not apply if or whether that treatment is permanent. The gemological laboratories only
the Heading either matched the generally accepted opinion of experts at the report on the improvements or treatments known to them at the date they
date of the auction or drew attention to any conflict of opinion. make the report.
(f) It does not apply if the lot can only be shown not to be authentic by a (d) For jewelry sales, estimates are based on the information in any
scientific process that, on the date we published the catalogue, was not gemological report. If no report is available, assume that the gemstones may
available or generally accepted for use, was unreasonably expensive or have been treated or enhanced.
impractical, or was likely to have damaged the lot.
(g) Its benefit is only available to the original buyer shown on the invoice for 5. WATCHES AND CLOCKS
the lot, issued at the time of the sale, and only if, on the date of the notice (a) Almost all clocks and watches are repaired in their lifetime and may
of claim, the original buyer is the full owner of the lot and the lot is free from include parts that are not original. We do not give a warranty that any
any claim, interest, or restriction by anyone else. The benefit of this limited individual component part of any watch is authentic. Watchbands described
authenticity warranty may not be transferred by the original buyer to anyone as “associated” are not part of the original watch and may not be authentic.
else. Clocks may be sold without pendulums, weights, or keys.
(h) In order to make a claim under the limited authenticity warranty, you must (b) As collectors’ watches often have very fine and complex mechanisms,
(i) give us written notice of your claim within one (1) year of the date of a live you are responsible for any general service, change of battery, or further
auction or three (3) months from an online only auction ; (ii) at our option, pay repair work that may be necessary. We do not give a warranty that any watch
for and provide us with the written opinions of two recognized experts in is in good working order. Certificates are not available unless described in the
the field, mutually agreed upon by you and us, confirming that the lot is not catalogue.
authentic (we reserve the right to obtain additional opinions at our expense); (c) Most wristwatches have been opened to find out the type and quality of
and (iii) return the lot at your expense to the saleroom from which you bought movement. For that reason, wristwatches with water-resistant cases may not
it in the condition it was in at the time of sale. be waterproof, and we recommend you have them checked by a competent
(i) Your only right under this limited authenticity warranty is to cancel the sale watchmaker before use.
and receive a refund of the purchase price paid by you to us. We will not, under (d) Many of the watches offered for sale in this catalogue are pictured with
any circumstances, be required to pay you more than the purchase price, nor straps made of endangered or protected animal materials such as alligator or
will we be liable for any loss of profits or business, loss of opportunity or value, crocodile skin. When straps are shown for display purposes only and are not
expected savings or interest, costs, damages, other damages, or expenses. for sale. We may remove and retain the strap prior to shipment from the sale
(j) No employee or agent of Freeman’s | Hindman is authorized to make a site. Please check with the department for details on a lot with such a strap.
representation or provide additional information, whether orally or in writing,
that amends the limited authenticity warranty or creates an additional 6. YOUR WARRANTIES
warranty with respect to a lot. Any such representation, other information, or You warrant to us and the seller that (a) the funds you use for payment are
additional warranty shall be null and void. not connected with any criminal activity, including tax evasion, and neither
are you under investigation, nor have you been charged with or convicted
3. ADDITIONAL WARRANTY FOR BOOKS of money laundering, terrorist activities, or other crimes; (b) where you are
If the lot is a book, then we give an additional warranty to the original buyer bidding on behalf of another person, (i) you have conducted appropriate
shown on the invoice for the lot issued at the time of the sale in the following customer due diligence on the ultimate buyer(s) of the lot(s) in accordance
circumstances: with all applicable anti-money laundering and sanctions laws, you consent to
(a) We will refund the purchase price to the original buyer if we, in our sole us relying on this due diligence, you will retain for a period of not less than
discretion, are convinced that the book is defective in text or illustration, five (5) years the documentation evidencing the due diligence, and you will
subject to the following terms: make such documentation promptly available for immediate inspection by
(i) This additional warranty does not apply to (A) the absence of blanks, an independent third-party auditor upon our written request to do so; (ii) the
half titles, tissue guards, or advertisements; or damage in respect of arrangements between you and the ultimate buyer(s) in relation to the lot
bindings, stains, spotting, marginal tears, or other defects not affecting the or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not
completeness of the text or illustration; (B) drawings, autographs, letters or know, and have no reason to suspect, that the funds used for payment are
manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) connected with or the proceeds of any criminal activity, including tax evasion,
books not identified by title; (D) lots sold without a printed estimate; (E) books or that the ultimate buyer(s) are under investigation for, or have been charged
that are described in the catalog as sold not subject to return; or (F) defects with or convicted of, money laundering, terrorist activities, or other crimes.
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 F. OUR LIABILITY TO YOU
details of the defect within twenty-one (21) days of the date of the sale (a) We give no warranty in relation to any statement made, or information
and return the lot within twenty-one (21) days of the date of the sale to the given, by us or our representatives or employees about any lot other than as
saleroom at which you bought it in the same condition as at the time of sale. set out in the limited authenticity warranty or in the additional warranty for
(iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this books, and as far as we are allowed by law, all warranties and other terms that
additional warranty. (c) No employee or agent of Freeman’s | Hindman is may be added to this agreement by law are excluded. The seller’s warranties
authorized to make a representation or provide other information, whether contained in paragraph E(1) are their own, and we do not have any liability to
orally or in writing, that amends the additional warranty for books or creates you in relation to those warranties.
an additional warranty with respect to a lot. Any such representation, other (b) We are not responsible to you for any reason (whether for breaking this
information, or additional warranty shall be null and void. 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
4. JEWELRY other than as expressly set out in these Conditions of Sale.
(a) Colored gemstones (such as rubies, sapphires, and emeralds) may (c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE
have been treated to improve their appearance through methods such as OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH
heating and/or various clarity enhancements. These methods are considered REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE,
common by the international jewelry trade but may make a gemstone more DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY,
fragile and/or cause the gemstone to require special care over time. RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY,
(b) All types of gemstones may have been improved by some method. You LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL
may request a gemological report for any item that does not have a report LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH.
if the request is made to us at least three (3) weeks before the date of the (d) Our written and telephone bidding services, online bidding services, and
auction and you pay the fee for the report. condition reports are free services, and we are not responsible to you for any
(c) We do not obtain a gemological report for every gemstone sold in our error, omission, or failure of these services.
auctions. When we do get gemological reports from internationally accepted (e) We have no responsibility to any person other than a buyer in connection
gemological laboratories, such reports are described in the catalogue. with the purchase of any lot.
Reports from American gemological laboratories describe any improvement (f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found

Conditions of Sale
to be liable to you for any reason, we shall not have to pay more than the H. GLOSSARY
purchase price paid by you to us. We will not be responsible to you for any authentic: a genuine example, rather than a copy or forgery of (a) the work
reason for loss of profits or business, loss of opportunity or value, expected of a particular artist, author, or manufacturer, if the lot is described in the
savings or interest, costs, damages, or expenses. 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
G. OTHER TERMS work created during that period or culture; (c) a work of a particular origin or
1. OUR ABILITY TO CANCEL source, if the lot is described in the Heading as being of that origin or source;
In addition to the other rights of cancellation contained herein, we can cancel or (d) in the case of gems, a work that is made of a particular material, if the lot
a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) is described in the Heading as being made of that material.
we reasonably believe that completing the transaction is, or may be, unlawful; buyer’s premium: the charge the buyer pays us along with the hammer price.
or (iii) we reasonably believe that the sale places us or the seller under any catalogue description: the description of a lot in the catalogue for the
liability to anyone else or may damage our reputation. auction, as amended by any saleroom notice.
due date: has the meaning given to it in paragraph D(3)(a).
2. RECORDINGS estimate: the price range included in the catalogue or any saleroom notice
We may videotape and/or audio record proceedings at any auction. We within which we believe a lot may sell. Low estimate means the lower figure in
will keep any personal information confidential, except to the extent that the range, and high estimate means the higher figure. The mid estimate is the
disclosure is required by law. If you do not want to be videotaped, you may midpoint between the two.
decide to make a telephone or written bid or bid online instead. Unless we hammer price: the amount of the highest bid the auctioneer accepts for the
agree otherwise in writing, you may not videotape or record proceedings at sale of a lot.
any auction. Heading: has the meaning given to it in paragraph E(2).
limited authenticity warranty: the guarantee we give in paragraph E(2) that
3. COPYRIGHT a lot is authentic.
We own the copyright in all images, illustrations, and written material produced other damages: any special, consequential, incidental, or indirect damages of
by or for us relating to a lot, including the contents of our catalogues, unless any kind or any damages that fall within the meaning of “special,” “incidental,”
otherwise noted therein. You cannot use them without our prior written or “consequential” under local law.
permission. We make no representation and offer no guarantee that the buyer purchase price: has the meaning given to it in paragraph D(3)(a).
of a lot will gain any copyright or other reproduction rights. provenance: the ownership history of a lot.
qualified: has the meaning given to it in paragraph E(2), subject to the
4. ENFORCING THIS AGREEMENT following terms:
If a court finds that any part of this agreement is invalid, illegal, or impossible (a) “Cast from a model by” means, in our opinion, a work from the artist’s
to enforce, that part of the agreement will be treated as being deleted, and the model, originating in his circle and cast during his lifetime or shortly thereafter.
rest of this agreement will not be affected. (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
5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES closely related to his style.
You may not grant a security interest over or transfer your rights or (d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the
responsibilities under these terms unless we have given our written artist.
permission. This agreement will be binding on your successors or estate and (e) “In the manner of” means, in our opinion, a later imitation of the period, of
anyone who takes over your rights and responsibilities. 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.
6. PERSONAL INFORMATION reserve: the confidential amount below which we will not sell a lot.
We will hold and process your personal information in line with our privacy saleroom notice: a written notice posted next to the lot in the saleroom and
policy at www.hindmanauctions.com. on www.hindmanauctions.com, which is also read to prospective telephone
7. WAIVER bidders and provided to clients who have left commission bids, or an
No failure or delay to exercise any right or remedy contained herein shall announcement made by the auctioneer either at the beginning of the sale or
constitute a waiver of that or any other right or remedy, nor shall it prevent before a particular lot is auctioned.
or restrict the further exercise of that or any other right or remedy. No single UPPERCASE type: type having all capital letters.
or partial exercise of such right or remedy shall prevent or restrict the further warranty: a statement or representation in which the person making it
exercise of that or any other right or remedy. guarantees that the facts set out in it are correct.
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 New York. You and
we agree to try to settle the dispute by mediation submitted to JAMS, or its
successor, for mediation in Illinois. If the dispute is not settled by mediation
within sixty (60) days from the date when mediation is initiated, then the
dispute shall be submitted to JAMS, or its successor, for final and binding
arbitration in accordance with its Comprehensive Arbitration Rules and
Procedures or, if the dispute involves a non-US party, the JAMS International
Arbitration Rules. The seat of the arbitration shall be New York, 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.
Updated 1.30.24
1 0 0 POST WAR AND CONTEMPORARY ART
POST WAR AND CONTEMPORARY ART | APRIL 24, 2024
AUCTIONS & APPRAISALS SINCE 1805
PHILADELPHIA CHICAGO
NO. 13 27
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POST WAR AND

Friday, April 19 | 10-5pm

PROPERTY PICK UP HOURS

All lots in this catalogue with a lower estimate value of $1,500

To view the complete catalogue, sign up to bid, and read our

Download the Hindman App

PROPERTY FROM THE TRUSTS AND ESTATES OF

PROPERTY FROM THE COLLECTIONS OF

PROPERTY SOLD TO BENEFIT:

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 3

4 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 5

6 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 7

8 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 9

Property from a Private Collection, U.S.A.

10 POST WAR AND CONTEMPORARY ART

Property from a Private Collection, U.S.A.

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 11

12 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 13

Property from the Collection of David Manilow

14 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 15

The Private Collection of Debra and Harry Seigle, Chicago, Illinois

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 17

The Private Collection of Debra and Harry Seigle,

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 19

Property from the Collection of Richard J. Hanna $2,000 - 4,000

20 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 21

Property from the Collection of Fern & Manfred

22 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 23

24 POST WAR AND CONTEMPORARY ART

$4,000 - 6,000 $6,000 - 8,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 25

Property from the Collection of Fern & Manfred

26 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 27

28 POST WAR AND CONTEMPORARY ART

Where is Mike Goldberg? I don’t know,

Maybe he is living sketches of an ODE

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 29

$4,000 - 6,000 Provenance: Provenance:

$4,000 - 6,000 $4,000 - 6,000

30 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 31

Property from the Collection of Richard J. Hanna

32 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 33

34 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 35

36 POST WAR AND CONTEMPORARY ART

Property from the Collection of Richard J. Hanna and Byron S.

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 37

Property from the Estate of Renee and Sandy Bank

38 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 39

40 POST WAR AND CONTEMPORARY ART

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 41

42 POST WAR AND CONTEMPORARY ART