Modern and Contemporary Art Part 1: New York #5262 October 28, 2015

MODERN & CONTEMPORARY ARTOCTOBER 28, 2015 ❘ NEW YORK

PART I: NEW YORK

Front Cover: AI WEIWEI Lot 69008

Inside Front Cover: ROBERT MOTHERWELL Lot 69018

This Page: VIK MUNIZ Lot 69010

Inside Back Cover: ROY LICHTENSTEIN Lot 69005

Back Cover: ANDY WARHOL Lot 69004

MEL RAMOS Lot 69028

38647

Heritage Signature® Auction #5262

Signature® Floor Session(Floor, Telephone, HERITAGELive!®, Internet, Fax, and Mail)

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Session 1Wednesday, October 28 • 7:00 PM ET • Lots 69001-69030

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Modern & Contemporary Art Part I: New YorkOctober 28, 2015 | New York

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WAYNE THIEBAUD Lot 69006

ED RUSCHA Lot 69011

MODERN & CONTEMPORARY ART

PART I: NEW YORK

10 To view full descriptions, enlargeable images and bid online, visit HA.com/5262

69001

TOM WESSELMANN (1931-2004)Open Ended Nude #176 (Variable Edition), 1989Pencil on rag board3-5/8 x 8-3/4 inches (9.1 x 22.4 cm)Signed, titled, and dated lower left: #176 Wesselmann 89

PROVENANCE:Alessandro Durini di Monza & Co., New York (label verso);Jason McCoy Inc., New York (label verso).

Estimate: $8,000-$12,000

“For many years, drawing, especially from the nude, was a desperate attempt to capture something significant of the beauty of the woman I was confronted with. It was always frustrating because the beauty of the woman is so elusive.”

—Tom Wesselmann

Part I: New York | Wednesday, October 28, 2015 | 7:00 PM ET 11


69002

TOM WESSELMANN (1931-2004)Study for Seascape Nude, 1965Pencil on paper6-5/8 x 7-5/8 inches (16.8 x 19.4 cm) (sight)Signed and dated lower right: Wesselmann 65

PROVENANCE:Martin Lawrence Galleries (label verso);Acquired by the present owner from the above.

Estimate: $15,000-$20,000

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Tom Wesselmann, Nude from 11 Pop Artists, Volume II, 1965. Collection of the Museum of Modern Art, New York.


69003

ANDY WARHOL (1928-1987)Endangered Species, 1983Ten screenprints in colors on Lenox Museum Board38 x 38 inches (96.5 x 96.5 cm)Number 103 from the edition of 150 plus 30 artist’s proofsEach signed and numbered in pencil with the publisher’s blindstamp on the reversePrinted by Rupert Jansen Smith, New York Published by Ronald Feldman Fine Arts, Inc., New York

LITERATURE:F. Feldman and J. Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, New York, 1997, pp. 130-131, nos. II.293-302 (illustrated in colors).

NOTE:This complete set of screenprints is accompanied by the original Ronald Feldman Fine Arts, Inc., cardboard portfolio box, with the ‘Andy Warhol Endangered Species © 1983’ original sticker attached on the front.

Estimate: $250,000-$350,000

After a conversation with long time environmental activists Ronald and Frayda Feldman,

Andy Warhol was commissioned by Ronald Feldman Fine Arts, Inc. in New York, to create a suite

of ten screenprints titled Endangered Species. Warhol immediately embraced the idea of portfolio

of “animals in makeup”. Employing the exotic color palette and the signature portrait style of his

human subjects, Warhol elevates this diverse selection of species from around the world to the

same celebrity status as his portrayals of Marilyn Monroe, Mao Zedong or Liz Taylor.


69004

ANDY WARHOL (1928-1987)$ (Quadrant), 1982Unique screenprint in colors on Lenox Museum Board39-1/2 x 32 inches (100.3 x 81.3 cm)Number 42 from the edition of 60 unique color variantsSigned and numbered in pencil lower center with the blindstamp of the printerPublished by Andy Warhol, New YorkPrinted by Rupert Jansen Smith, New York

LITERATURE:F. Feldman and J. Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, New York, 1997, pp. 127, nos. II.283 (illustrated in colors).

Estimate: $80,000-$120,000

“Being good in business is the most fascinating kind of art. Making money is art and working is art and business is the best art.”

—Andy Warhol


69005

ROY LICHTENSTEIN (1923-1997)Reflections on Crash (from Reflections series), 1990Lithograph, screenprint, and relief in colors, with metalized PVC collage with embossing on Somerset paper53-1/8 x 69 inches (134.9 x 175.3 cm)Artist proof 16 of 16, from the edition of 68 plus 16 artist’s proofsSigned, dated, and numbered in pencil in lower margin with the blindstamp of the publisherPublished by Tyler Graphics Ltd., Mount Kisco

PROVENANCE:Tyler Graphics, Inc., Mount Kisco, New York;Acquired by the present owner from the above.

LITERATURE:M. Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948-1993, New York, 1994, Catalog Reference 239.

Estimate: $100,000-$150,000

Lichtenstein began working on the

Reflections paintings in 1988 and began

working with Tyler Graphics on the seven

prints in this series in 1989. Innovative

in their execution, the Reflections series

combine lithography, screenprint and

relief with collage and embossing. In

Reflections on Crash Lichtenstein returns

to the bold imagery that he first used

in the 1960s, primarily by using an

intensified pop art palette of prime colors

(red, yellow and blue).

“A conscious decision to eliminate certain details and include selective bits of personal experiences or perceptual nuances, gives the painting more of a multi-dimension than when it is done directly as a visual recording. This results in a kind of abstraction... and thus avoids the pitfalls of mere decoration.”

—Wayne Thiebaud


69006

WAYNE THIEBAUD (b. 1920)Cosmetic Counter, 1991Color monotype on paper8-3/4 x 11-3/4 inches (22.2 x 29.8 cm)Signed and dated lower right

PROVENANCE:Campbell-Thiebaud Gallery, San Francisco, California (Inventory no. WT 96 21);Private collection, New York;Acquired by the present owner from the above.

Estimate: $40,000-$60,000


69007

ALEXANDER CALDER (1898-1976)Study for the Mechanical Mobile “Universe”, 1973Gouache on Canson & Montgolfier wove paper29 x 42-1/2 inches (73.7 x 108.0 cm)Signed and dated lower right: Calder 73

PROVENANCE:Sears Tower Metropolitan Club;Sale: Bunte Auction Services, Elgin, Illinois, September 30, 2007;Private collection, New Jersey.

NOTE:This work is registered with the Calder Foundation, New York, under the application number A23565.

Estimate: $40,000-$60,000

Alexander Calder, The Universe, Sears Tower Lobby, Chicago, IL.


69008 ■ ▲

AI WEIWEI (b. 1957)Surveillance Camera, 2010Marble14 x 15-1/2 x 7-1/2 inches (35.6 x 39.4 x 19.1 cm)This work is number 8 from a series of 14 unique works

PROVENANCE:Galerie Urs Meile, Lucerne;Private collection, United States.

NOTE:This lot is accompanied by a certificate of authenticity from Galerie Urs Meile, Beijing-Lucerne, signed by the artist and dated February 21, 2011.

Estimate: $400,000-$600,000

“That’s our life. Everbody is under some kind of surveillance camera. It’s not beautiful.”

—Ai Weiwei


Surveillance Camera (2010) is a reflection on contemporary China and on the role of art. The work exemplifies the methods, materials and concerns of Ai Weiwei (born in Beijing in 1957), one of the most rec-ognized artists of our time, throughout his increasingly successful career.

The sculpture is a clear example of Ai’s method: the combination of traditional Chi-nese modes of production, Duchampian appropriation and conceptual art princi-ples. The sculpture was hand-carved from a single block of white marble from a quarry near Beijing, which served Imperial China and was also used in Mao Tse Tung’s mau-soleum – a material of great importance in Chinese cultural history. Additionally, it was modeled on the cameras that were positioned by police outside Ai’s house – now accompanied by red lan-terns that the artist has hung. As is well known, Ai was placed under house arrest and surveillance by the Chinese police in November 2010. Modeling the sculpture on a surveillance camera illustrates the move from Duchamp’s earlier readymades to conceptual art, i.e., from the appropriation of pre-existing objects to a focus on ideas. In fact, the French artist is a clear reference in Ai’s work. See, for example, the refer-ence to Bicycle Wheel (1913) in the ongoing series Forever (2003-) – sculptures in which Ai removes the primary function of the Forever bicycles, mass-produced in Shanghai since 1940 but increasingly rare on the streets of the city, and makes them static.

The combination of contemporary concerns with traditional Chinese references is also evident in earlier works, including Coca Cola (1994), a Han Dynasty urn emblazoned with the soft drink logo (an idea to which Ai has returned repeatedly), and the famous performance Dropping a Han Dynasty Urn (1995), remembered in a black and white triptych. The photographs show Ai dropping a ceramic vase, which shat-ters on the floor at his feet. But while this performance was interpreted by art historian Charles Merewether as an iconoclastic act vis-à-vis Ai’s own cultural history (see Ai Weiwei: Works, Beijing 1993-2003, 2003), Surveillance Camera hints at a more constructive approach toward Chinese culture: one in which the artist not only questions its core values, but also campaigns for its improvement. The Beijing-based art historian Karen Smith writes that his “audacious affront to conservative traditionalists, little different to Mao’s own command to Red Guards to ‘smash bourgeois inclinations’ [prompts] questions of what culture is, and the power that regimes, history, cultural frameworks and ideologies exert in setting the parameters” [of our modes of behavior] (“Portrait of the Revolutionary as an Artist,” in Ai Weiwei Catalogue, 2008, p.14). For this reason, Surveillance Camera is akin to other recent works by the artist, such as Sunflower Seeds (2010), exposed at the Tate Modern in London, where Ai scattered millions of unique porcelain seeds hand-crafted by hundreds of artisans – a commentary on the transformation of communist China into a society of mass consumption and on what they have in common: the rejection of individuality.

But there is another type of articulation at play in this work: the critique of the Chinese political establish-ment is accompanied by the demand for subdued contemplation by the viewers. The sculpture’s seemingly accidental beauty, which emanates from its material, connotes yet again Ai’s Duchampian influence. The French artist not only highlighted the primacy of the artist in defining what is art, but also defied the assumption that art must be beautiful. At the same time, the sculpture fuses the timelessness of marble with a practice that is clearly politically engaged. This makes evident a recent shift in Ai’s practice. While his early works were only implicitly political, that has gradually changed since 2008. This shift is visible, for

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example, in Straight (2008-12), a work for which he straightened 150 tons of twisted steel rebar collected from destroyed schools at the site of the 2008 Sichuan earthquake (arguably due to their low construc-tion standards).

Finally, the use of marble also conveys the centrality of repetition within traditional Chinese craftsman-ship. This is clearly at odds with the most obvious subject of the sculpture: the constraints on Ai’s freedom. The result is a reflection on the role of the artist in “a communal society [in which] our behaviour is inalienably tied to the sense of group, be that ‘nation,’ ‘class,’ or [...] ‘enemy of the State’” (Weiwei quoted in ibid., p.13). More broadly, in what reveals the impact of Andy Warhol’s work in his practice, one could also argue that Ai is here turning the surveillance cameras toward the western viewers and hence stressing the importance of the latter in his practice. That is, the fact that Ai can use his own political surveillance as a subject matter is framed by a cultural context shared by East and West alike: the global competition for visibility. It turns out that mass culture is not only a force of homogeneity – it can also give an artist like Ai Weiwei a global voice.

—Mafalda Dâmaso

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69009

YUE MINJUN (b. 1962)Chinese Contemporary Warriors No. 6, 2005Bronze73 x 22 x 15 inches (185.4 x 55.9 x 38.1 cm)Number 13 from the edition of 25Incised in pinyin, numbered, and dated on the base

PROVENANCE:The artist;Private collection, Beijing and Private collection, London, acquired from the above.

EXHIBITED:Queens Museum of Art, New York, “Yue Minjun and the Symbolic Smile,” October 14, 2007-January 6, 2008 (another example exhibited).

LITERATURE:B. Feng, Reproduction Icons: Yue Minjun Works: 2004-2006, Shenzhen: He Xiangning Art Museum and Museum Collection Services Co., 2006, p. 99.

Estimate: $80,000-$120,000

“...whether it’s a big laugh, a restrained laugh, a crazy

laugh, a near-death laugh or simply laughter about our

society: laughter can be about anything. Laughter is the

moment when our mind refuses reason. When we are

puzzled by certain things, our mind simply doesn’t want

to struggle, perhaps we don’t know how to think therefore

we just want to forget. In Chinese tradition you can’t say

things directly. You have to show something else for the

real meaning. I wanted to show a happy smile and show

that behind it is something sad, and even dangerous.”

—Yue Minjun


69010

VIK MUNIZ (b. 1961)Standard Station, after Ed Ruscha (from Pictures of Cars), 2008Chromogenic mounted on aluminum51 x 95 inches (129.5 x 241.3 cm)Number 6 from the edition of 6 plus 4 artist’s proofs

PROVENANCE:Studio of the artist;Private collection, Los Angeles, California.

LITERATURE:P. Corrêa do Lago, ed., Vik Muniz Obra Completa, 1987-2009: Catálogo Raisonné, Rio de Janeiro, 2009, p. 613, illustrated in color;J. Carter Tutwiler, Ed Ruscha, Vik Muniz and the Car Culture and the Car Culture of Los Angeles, Los Angeles, 2011, pl. 41, illus.

Estimate: $50,000-$70,000

Muniz uses chocolate syrup, jam, cotton, caviar, dust and other media to emulate works by famous

artists. This process of drawing using non-art material and then photographing his work has been a

consistent theme in his career. In his photographic series Pictures of Cars, Muniz uses precisely cut

auto parts and associated thematic material to create a tongue in cheek depiction of Los Angeles car

culture. He reproduced five iconic Ed Ruscha paintings in the same hard-edge style as the originals.

His Standard Station, after Ed Ruscha is more closely identifiable to the original than his other work

and has a layered level of interest. By placing his work within the larger context of Los Angeles

popular culture, Muniz not only points to a similarity in style between himself and Ruscha, but also to

a similarity in methodology.

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Standard Station, 1996 (Eight-color serigraph)


69011

ED RUSCHA (b. 1937)Ghost Station, 2011Mixografía print on handmade paper20-7/8 x 39-7/8 inches (53.0 x 101.3 cm)Number 26 from the edition of 85Signed, dated, and numbered in pencilPublished by Mixografía, Los Angeles

PROVENANCE:Gagosian Gallery, Beverly Hills, California;Private collection, Beverly Hills, California;Private collection, New York.

Estimate: $25,000-$35,000

In Ghost Station Ed Ruscha collaborates with the printer and allows the technique and its process

guide the composition. The Mixografia® technique is a unique fine art printing process that allows for

the production of three-dimensional prints with texture and very fine surface detail. With this process,

the artist creates a model or “maquette” with any solid material or combination of materials on which

he or she incises, impresses, carves, collages or builds-up in relief the image to be reproduced. A

sequence of copy plates is then molded, one from another, resulting in a copper printing plate in

reverse. The edition is printed on moist handmade paper pulp. The paper and printing plate are

then forced through the press, simultaneously forming the dimensional character of the plate and

transferring the color, or as in the present example, the lack thereof.


69012

ANDY WARHOL (1928-1987)Avanti, 1962Graphite on paper18 x 24 inches (45.7 x 61.0 cm)Stamped with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., stamps and numbered ‘VF125.041’ on the reverse

PROVENANCE:The Estate of Andy Warhol, New York;The Andy Warhol Foundation for the Visual Arts, Inc., New York;Gagosian Gallery, New York;Private collection, New York.

EXHIBITED:Christophe Van de Weghe Fine Art, New York, “Andy Warhol: Works on Paper from the Early 60’s,” November 10-December 16, 2000 (label verso);Gagosian Gallery, New York, “Andy Warhol: Drawings and Related Works, 1951-1986,” February 13-March 22, 2003 (label verso).

LITERATURE:Christophe Van de Weghe Fine Art, Andy Warhol: Works on Paper from the Early 60’s, New York, 2002, no. 14, n.p.;Gagosian Gallery, Andy Warhol: Drawings and Related Works, 1951-1986, New York, 2003, p. 87, illustrated in color.

Estimate: $200,000-$300,000

In November of 1962, Harper’s Bazaar commissioned Andy Warhol to complete a four-page spread.

This section featured the artist’s car pictures. 1962 was a seminal year for Warhol in which he

completed his most important body of work and developed his Pop Art ideology. Warhol’s Avanti

Cars, Campbell’s Soup Cans, Dollar Bills and Marilyns were completed during this iconic period. The

sleek and modern Avanti was a symbol of American consumer culture. The car was mass produced

and assembled from prefabricated elements, which is at the heart of Warholian ideology. Although

not directly depicted in the Harper’s Bazaar spread, the present drawing was executed in the context

of this commission. Like other drawings in this series, such as Pontiac and Lincoln Continental, this

work stands as an independent and complete work.

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69013

ROY LICHTENSTEIN (1923-1997)Study for ‘Wall Explosion I’, 1965Pencil, colored pencil, and felt-tip pen on paper11-1/2 x 11-1/2 inches (29.2 x 29.2 cm)Signed lower right: R.Lichtenstein

PROVENANCE:Leo Castelli Gallery, New York (label verso);Gladstone Gallery, New York (label verso);Collection of Mrs. Helen Portugal.

EXHIBITED:Museum of Modern Art, New York, “The Drawings of Roy Lichtenstin,” March 15-June 2, 1987, Museum No. 1987.277 (loaned to the museum for 25 years) (label verso).

LITERATURE:B. Rose, Museum of Modern Art, The Drawings of Roy Lichtenstein, New York, 1987, p. 78, no. 60, illustrated in color;D. Waldman, Roy Lichtenstein, Drawings and Prints, Lausanne, 1970, p. 164, no. 65-12.

Estimate: $80,000-$120,000 Ro

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Roy Lichtenstein, Wall Explosion I, 1965. Porcelain Enamel on Steel, 80 x 84 inches (203.2 x 213.4 cm)


69014 ▲

ANDY WARHOL (1928-1987)Ingrid Bergman, circa 1983Pencil on wove paper31-3/4 x 23-1/2 inches (80.6 x 59.7 cm)Stamped with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., stamps and numbered ‘114.042’ in pencil on the reverse

NOTE:This lot is accompanied by a signed certificate of authenticity from The Andy Warhol Foundation for the Visual Arts, Inc., dated December 12, 2005.

Estimate: $35,000-$45,000

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Andy Warhol in front of Ingrid Bergman, The Nun, for which the present work was a study.


69015

VIK MUNIZ (b. 1961)Brigitte Bardot (Diamond Divas), 2004Cibachrome mounted on aluminum39-1/2 x 31-1/2 inches (100.3 x 80.0 cm)Number 7 from the edition of 10 plus 4 artist’s proofsSigned and dated on label affixed verso

PROVENANCE:Galleria Cardi, Milan;Christie’s, London, October 19, 2013, lot 283;Acquired by the present owner from the above.

EXHIBITED:Sâo Paulo, Centro Cultural do Brasil, “Vik Muniz: Divas e Monstros,” 2005 (another from the edition exhibited).Montova, Casa del Mantegna, “L’arte come amante. Da una collezione private contemporanea,” 2007.

LITERATURE:Centro Cultural do Brasil, Vik Muniz: Divas e Monstros, Sâo Paulo, 2005 (another from the edition illustrated);Casa del Mantegna, L’arte come amante. Da una collezione private contemporanea, Montova, 2007.

Estimate: $80,000-$100,000

Muniz’s portrait of Brigitte Bardot is from his Diamond Divas series of 2004. In this series, Muniz

depicts glamourous female film stars using thousands of brilliant-cut diamonds. In shaping the

immortal Bardot in such a lustrous medium, Muniz presents us with an awe-inspiring and elegant

marriage of subject and style.

“I don’t want to amaze you with my powers to fool you. I want to make you aware of how much you want to believe in the image-to be conscious of the measure of your own belief, rather than of my capacity to fool you.”

— Vik Muniz


69016 ▲

ANDY WARHOL (1928-1987)Lola Jacobson, 1980Silkscreen on canvas40 x 40 inches (101.6 x 101.6 cm)Stamped with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., stamps and numbered ‘PO050.075’ on the reverse

Estimate: $200,000-$250,000

“I’ll paint anybody. Anybody that asks me. I just try to make people look good.”

—Andy Warhol

Portraiture is a persistent theme throughout Warhol’s career. Warhol used a wide range of methods

to depict everyone from Liz Taylor to Marilyn Monroe, and Muhammed Ali to Mao Zedong. In 1971

Warhol began to make portraits of celebrities, dealers, collectors, and industrialists with his Polaroid

Big Shot camera. In his early Pop paintings, he screened multiple heads on a single canvas, but as

Warhol progressed he preferred to restrict the canvas to one face per panel. In the 70s and 80s

Warhol focused on commissioned society portraits, always in the same size and style. When asked

about his technique, Warhol said the individual portraits could be placed side by side become one

big Portrait of Society. Warhol became the most celebrated society portraitist of his era, the present

lot, Lola Jacobson, being a strong example.


69017

TOM WESSELMANN (1931-2004)Blonde Vivienne (Filled In), 1985/1995Alkyd oil on cut-out aluminum50 inches (127 cm) diameterSigned and dated on the reverse: Wesselmann, 95

PROVENANCE:Sidney Janis Gallery, New York;Michael Lord Gallery, Milwaukee, Wisconsin;Private collection, Northern California.

EXHIBITED:Gallery Camino Real, Boca Raton, Florida, “Tom Wesselmann,” 1995.

NOTE:Mr. Wesselmann started this work in 1985, but did not finish the piece until 1995. We would like to thank the Tom Wesselmann Estate for providing this information.

Estimate: $150,000-$200,000

“I don’t depict nudes from any sociological, cultural, or emotional intentions. My one intention is to always find new ways to make exciting paintings using the situation of the traditional nude.”

—Tom Wesselmann

In the early 1980s, Wesselmann became consumed by the idea of drawing in metal. He loved the concept of

taking a small sketch and enlarging it on the wall while still capturing the expressive qualities of the line. At the

time, there was no technology to accomplish this goal so he experimented with aluminum that could be cut by

hand. After making a series of metal drawings in black and white, Wesselmann hand painted iconic works like

Blonde Vivienne (Filled In) in his signature style and bold color palette. As he described, “When a nude was done

in black it was forcefully, a drawing. When the same steel drawing was done in color, it became a nude more

than a drawing. The subject matter, that is, became the more dominant element.” Determined to push the limits

of this medium even further, Wesselmann enlisted metal fabricators to invent laser-cutting technology to meet his

needs. Wesselmann eventually researched and developed a new artistic medium. In a 1985 interview with New

York Times he said, “I’ve just had the best year of my life.... I always work in a kind of near ecstasy, anyway, but

there’s really something about the new work that grabbed me.” Wesselmann’s metal drawings are considered

one of the most successful technical innovations in the art world (For more information, visit

http://tomwesselmannestate.org).


69018

ROBERT MOTHERWELL (1915-1991)Untitled (Ochre with Black Line), 1972-73/1974Acrylic and charcoal on canvas55-3/4 x 74 inches (141.6 x 188.0 cm)Signed and dated upper right: Motherwell / 73

PROVENANCE:The artist;Knoedler & Company, New York, acquired from the above, 1974;Acquired by the present owner from the above, 1974.

EXHIBITED:Tibor de Nagy Gallery, Houston, Texas (shown in early state);Laguna Gloria Art Museum, Austin, Texas, 1975.

LITERATURE:J. Flam, K. Rogers, and T. Clifford, Robert Motherwell Paintings and Collages, A Catalogue Raisonné, 1941-1991, New Haven: Yale University Press, 2012, no. P766, vol. 2, p. 379.

NOTE:An early, unsigned version of this work was begun in 1972 and shown at Motherwell’s 1974 exhibition at the Tibor de Nagy Gallery as Untitled (Ochre with Black Line). After the painting was returned to Motherwell in February 1974, he added heavy black paint over the original linear Open form before selling it to Knoedler & Company in June of the same year. The inscribed recto date of 1973 refers to the earlier state.

Estimate: $800,000-$1,200,000

Robert Motherwell – a writer, editor, and professor – was the youngest of the protagonists in the epic tale of the Abstract Expressionist movement in New York in the 1940s and 1950s, yet he would become one of its most eloquent theoreticians and create one of its most indelible archetypal compositions with his deeply moving and free-spirited Open series. Untitled (Ochre with Black Line) is a tour de force from this epic sequence. With many Opens in public collections, the offering of Untitled (Ochre with Black Line) is a special event.

In the winter of 1967, Motherwell was continuing to flesh out his Elegy to the Spanish Republic series, bold canvases of black ovoid and phallic shapes on a white ground which served as meditations on anguish and death. One afternoon, a chance occurrence in his New York studio suddenly changed the course of his artistic direction for the rest of his career. His biographer H.H. Arnason describes this watershed moment:

“Preparing a large vertical canvas, he painted the entire surface in yellow ochre and then left it for a while. In moving some other paintings, he leaned a small canvas from the Summertime in Italy series against the large one and discovered that he liked the spatial relationship of the small against the large rectangle. As a result, he outlined the small painting in charcoal on the larger ochre ground, the effect suggesting an opening or door. At first he intended to introduce some free figuration, either within the “door” or around it. Then he found the simple solution so satisfactory that for a time he did nothing further with it, and even signed it with his initials and dated it. After more study, he decided that he liked it better in reverse, with the small rectangle descending from the top. This was to be the final solution . . . and it became the first of the Open series” (H.H. Arnason, Robert Motherwell, New York, 1983, p. 70) (Open No. 1: In Yellow Ochre, Private collection).

From 1967 to 1974, the most productive period of his career, Motherwell worked tirelessly on these canvases of color fields with U-shaped rectangles, what he would officially name the Opens in their public debut at New York’s Marlborough-Gerson Gallery in 1969. The Opens differed dramatically from the preceding Elegies to the Spanish Republic: they centered around the concept of deconstruction, or employing lines to break apart a unified canvas, rather than building up a canvas from separate parts; they featured a wide range of colors, like yellow ochre, vermilion, orange, cadmium green, and ultramarine blue, rather than a limited palette of black and white; and they celebrated themes of openness, freedom, and possibility over anxiety, conflict, and despair. One of the possibilities of the Opens was their unlimited variation. Early Opens such as Open No. 17: In Ultramarine with Charcoal Line (fig. 1, Museum of Modern Art, New York), depict a solid acrylic color field punctuated by the outline of a rectangle, often drawn with charcoal, whose fourth side is the upper edge of the canvas. Other Opens, for example Open No. 37: In Orange with Charcoal Line (The Metropolitan Museum of Art, New York), feature three sides of the rectangle which are irregular in length or which extend only partially toward the upper canvas edge. Some Opens, such as Open No. 82: The Blue Easel (Denver Art Museum), fill in the rectangle with color or demarcate the field with bands of color. Open color fields range from smoothly painted and monochromatic to wildly gestural, with visible layers of under-paint. Later Opens surprise with blurred or bent rectangle sides (Open in Ochre, Museum of Fine Arts, Boston), multiple rectangles (Open No. 97: The Spanish House, Dedalus Foundation), and lines, smudges, or shapes outside of the central rectangle (Open No. 125: Jeannie, Bernard Jacobson Gallery, London).

One of the most striking of abstract art’s appearances is her nakedness, an art stripped bare.

—Robert Motherwell


Despite their intentional variety, the Opens share the concept of the canvas functioning simultaneously as “window” and “wall.” On the one hand, Motherwell nods to traditional representational painting by using the rectangle on a flat ground to suggest a “window onto the world beyond.” Indeed, many of the Open titles reference windows and walls – Mexican Window, The Spanish House, Ochre with Black Window, The Blue Wall, In Vermillion and Black with Sienna Window, Big Blue with Green Window, and The Garden Window – and he even wrote about the impact of this window-wall motif on his painting:

“And in real life, I would rather spend time looking at nature that has been modified by man – at parks or town squares and wall, say – than at raw nature or wilderness. The Open series was generated in part by these feelings. In Mexico, in the old days, they built the four walls of a house solid, without windows or doors, and later cut some windows and doors beautifully proportioned, out of the solid adobe wall. There is something in me that responds to the stark beauty of dividing a flat solid plane” (J. Flam et. al., Motherwell, New York, 1991, p. 9).

On the other hand, by underscoring the spatial ambiguity of the rectangle-window to the color field-wall – which one is foreground, and which one is background? – he asserts the very flatness of the canvas, a nod to modernist painting. The rectangle with an open edge may suggest movement beyond the canvas, but it is equally closed off, opening onto nothing but itself. The Opens thus offer complex dualities of surface-depth, inside-outside, illusion-abstraction, and expansion-confinement.

Educated at Stanford and Harvard universities, Motherwell drew upon a wide range of art historical and literary references for the Open series. Formally, the Opens recall two abstracted paintings by Henri Matisse from 1914, Porte-fenêtre à Collioure (Musée National d’Art

Moderne, Paris) and View of Notre Dame (fig. 2, Museum of Modern Art, New York), exhibited for the first time at MoMA in 1966, which spurred Motherwell to consider the relationship between the window and the wall and between the drawn line and the painted color field. Piet Mondrian’s grid paintings, which Motherwell critiqued in several essays, offered him examples of animated brushwork within the rectangle, and Joan Miró’s and Mark Rothko’s color field paintings, examples of the expressive, psychological power of broadly brushed color. Conceptually, in acknowledging the necessity of an open space or “void” (the color field) in order to animate a subject (the rectangle), the Opens borrowed from three major influences: Japanese Zen painting, where elegant black ink lines are applied intuitively to a white sheet of paper; the French Symbolist poet Stéphane Mallarmé, who described the random sprinkling of words – an open-ended poem – on the emptiness of the white page; and the German philosopher Martin Heidegger who, in his 1950 “The Origin of the Work of Art,” noted that spaciousness is a required condition for creation.

During the late 1960s and early ‘70s when Motherwell was exploring the Opens, it was Minimalism, championed by the likes of Donald Judd, Robert Morris, Ad Reinhardt, and Tony Smith, which dominated the New York art scene. Yet Motherwell rejected the hard-edged, mechanical, and impersonal formula of Minimalism in favor of an art form that welcomed spontaneity and discovery and evoked emotions. “[The Opens] are made empirically, with many brush strokes and often corrections,” he insisted, “not in relation to some pre-determined geometry of mathematical concept, but in terms of feelings. Despite their simplicity of iconography, . . . these paintings are filled with humanistic feeling and a certain tension between austerity and sensuality. In short, they have nothing to do with minimal art” (R. Motherwell, press release for “Robert Motherwell: Open Series, 1967-1969,” Marlborough-Gerson Gallery, May 13-June 7, 1969). Indeed, to encounter an Open, with its pulsing colors and dynamic brushwork, was to engage in a self-reflective experience, heightened

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by Motherwell’s insistence that the paintings be exhibited under low light so that “they become objectless and mysterious . . . not hard-edge paintings, but romantic ones – essences” (R. Motherwell to Ronald Alley, October 15, 1970).

In May of 1969, after months of preparation and deliberation, Motherwell was finally ready to exhibit the Opens publicly at his gallery, Malborough-Gerson. He involved himself in every aspect of the show, from selecting thirty-seven examples for the catalogue and fourteen for display in the gallery, conceiving of the name “Opens” for the series, and writing the press release. “Robert Motherwell: Open Series, 1967-1969” ran from May 13-June 7 and garnered uniformly rave reviews. Critic John Gruen commented, “The application of paint is always charged with an understated emotional force, and the works – in beautiful blues, yellows, oranges, etc. – make manifest a quiet and absorbing interplay of unending poetic space” (J. Flam et al., Robert Motherwell: A Catalogue Raisonné, 1941-1991, Volume I, New Haven, Connecticut, p. 137-38). The New York Times‘ Hilton Kramer wrote, “This sense of [art historical] continuity is, perhaps, the easiest thing to overlook in these new works, but I think it is fundamental to their conception. I can think of few exhibitions, in any case, that reaffirm the strengths of abstract painting to quite the same degree” (Ibid., p. 138). And Artforum‘s Rosalind Kraus concluded, “Like Miró’s art, Motherwell’s own has been a continuous investigation into the nature of signs – both examining and displaying their openness, their directness of address, and the way they can embody the conventions which are at the heart of painting” (Ibid., p. 138).

During the early 1970s, following this landmark exhibition, Motherwell delved into the Opens with a new intensity, despite, or perhaps because of, major life events. In February 1970, one of his closest friends, Mark Rothko, committed suicide. In 1971, Motherwell and fellow artist Helen Frankenthaler divorced, and in 1972, he married his fourth wife, the German photographer Renate Ponsold. This same year, he also happily broke ties with the Malborough-Gerson Gallery and adopted Lawrence Rubin as his dealer, showing first at his eponymous gallery and, beginning in 1974, at Knoedler & Company.

The present example, Motherwell’s extraordinary Untitled (Ochre with Black Line), which he began in 1972-3 and reworked in 1974, must be seen in light of these personal changes because it celebrates not merely the concept of openness, but the very action of change. Here, a velvety black rectangle floats upon a vibrant ochre field accented by “smudges” of black wash. Motherwell effects sensations of movement in multiple ways: by applying the yellow paint in broad swirling motions; by painting freehand the sides of the rectangle so that they undulate; and by adding vigorous grey-black brushwork – actively dripping in spots – around the rectangle, further enlivening it. Such formal details connote change, but, more interesting, the canvas literally metamorphosed over time: in early 1974, Motherwell exhibited the painting, which he had “completed” in 1973, as Untitled (Ochre with Black Line) at the Tibor de Nagy Gallery in Houston; when he received it back in his studio several months later, he filled in the original open, charcoal-line rectangle with thick black paint before selling it to Knoedler & Company, from whom the current owners purchased it that same year.

Untitled (Ochre with Black Line) also signifies change in that it is the dramatic culmination of a series of ochre canvases that Motherwell painted between 1972-73. Experimenting with one of his favorite colors, ochre, which reminded him of the hills of his native California, he first produced In Black and Tan (Collection of Ricardo Cisneros) and Ochre with Black Window (fig. 3, Cincinnati Art Museum), which revisit one of his early tropes of the solid black rectangle on a monochromatic field; next Yellow Wall (Private collection) and The Pale Wall (Private collection), which highlight a white rectangle, demarcated by shaky black lines, upon a yellow ground; and finally the quasi-representational Mexican Window (Collection of Mildred and Herbert Lee) and Untitled (Open Grey on Ochre), which transform rectangle edges into slatted window shutters. Like this preceding painting, Untitled (Ochre with Black Line) features a grey-black wash “dancing” around the rectangle. Yet more than any of the ochre works from this period, Untitled (Ochre with Black Line), in its particular combination of the solid black rectangle with the surrounding smudged brushwork and the pulsing yellow field, presents new dichotomies, not simply between inside-outside, but between opaque-luminous, flat-textural, dense-ethereal, structural-calligraphic, and concentrated-expansive.

Luscious, vibrating, and energizing, Untitled (Ochre with Black Line), like all the Opens, invites viewers to “make an imaginative leap inside the picture so that the space encloses them. . . . When they look at the Opens, they introspectively gaze inward at themselves. Although they are outside the work, they are immersed in it and consequently co-exist with the flux of energy that radiates both outwards and inwards. This state resembles the awareness of Zen in which one does not inhabit and enclose one’s being as a separate entity, rather one radiates a field of being” (R. Hobbs, “Motherwell’s Opens: Heidegger, Mallarme, and Zen,” in R. Delaney, Robert Motherwell: Open, London, 2009, p. 68).

Now it’s your turn to leap in and be opened.

—Mary Adair Dockery, Art Historian

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PROPERTY FROM AN IMPORTANT AMERICAN COLLECTION


69019

FRANZ KLINE (1910-1962)Seated WomanWatercolor on postcard6 x 4-3/4 inches (15.2 x 12.1 cm)

PROPERTY FROM A DISTINGUISHED NEW YORK COLLECTION

EXHIBITED:New York, Joanne Bent, n.d.

Estimate: $15,000-$25,000


69020

JOHN GRAHAM (1886-1961)Woman at the Window, circa 1925Oil on canvas28-1/8 x 20 inches (71.4 x 50.8 cm)Signed lower left: Graham


PROVENANCE:Dudensing Gallery, New York;Castellane Gallery, New York;Sotheby’s, New York, May 24, 1972, lot 101;Demotte Publications, New York;[With]DC Moore Gallery, New York;Menconi & Schoelkopf Fine Art, New York;Acquired by the present owner from the above.

Estimate: $100,000-$150,000

“Beauty cannot be foreseen. Beauty is the beautiful expanded to the verge of ugliness”

—John Graham


John D. Graham was a figure of immense influence in the early years of American Modernism, both as an artist and as a connoisseur. Though Graham himself was not an abstract painter, he certainly understood the significance of gesture and was a precursor to action painters of the future. Indeed, Graham is widely credited as a major influencer in the formation of Abstract Expressionism.

An eccentric of aristocratic bearing, John Graham cloaked many of the details of his early life in a colorful mythology of his own creation. There is considerable contradictory information surrounding the artist’s early years, but we know that he was born Ivan Dombrovski in Kiev. He served as a cavalry officer in the Czar’s army during World War I, escaped to Poland, and later to France, when the Bolsheviks seized power in 1917. In 1920, Graham arrived in New York and began his formal career as an artist.

In New York, Graham soon befriended Alexander Calder, Barnett Newman, and Adolph Gottlieb at the Art Students League. Together, with Arshile Gorky and Willem de Kooning, they constituted the most influential artists of the New York School. By 1942, Graham organized the “Exhibition of French and American Painters” at the McMillen Gallery, which showed, for the first time, Pablo Picasso, Georges Braque, and Henri Matisse alongside such unknowns as Jackson Pollock and de Kooning. It was also at this time that Graham, remaining a realist among the abstractionists, began painting neo-classical figurative works, which eventually evolved into his signature series.

As his early career unfolded throughout the 1920s, Graham explored a variety of styles. His work in this decade ranges from energetic, expressive Post-Impressionist still lifes to restrained, monochromatic studies inspired by Picasso. Among his variations on the same theme, Woman at the Window is one of the earliest known examples from the artist’s renowned and arguably most important series that he revisited throughout his life.

In the present work, Woman at the Window, Graham employs a background of rich black tones to frame a relaxed and composed nude woman as she sits in stark contrast to her surroundings. There is a sense of boldness and frankness in her nakedness. The sitter’s flat, unmodulated décolletage, arms, and face appear almost unfinished. Whether intentional or not, this effect serves to press the figure against the background, vivifying the interplay of dimensional space. These “unfinished” areas dually function to show his allegiance to drawing, whereby he probes the limits of form, its edge, where one color meets another.

Graham maintained his ties to Europe with frequent travel to Paris. By the 1930s, he had gained notoriety in New York art circles as an emissary of European Modernism, particularly Surrealism. At the same time, exhibitions of his work at the Zborowski Gallery in Paris enhanced his credibility and helped advance his artistic career in the United States. In addition to painting, Graham established himself as an art connoisseur and collector. Perhaps most significantly, he helped Vanity Fair editor Frank Crowninshield build his famed collection of African art, purchasing many pieces for him in Paris.

In 1937, Graham authored an influential Socratic dialogue entitled System and Dialectics in Art. Graham’s book, which expressed his preoccupation with symbolism and outward manifestations of a primitive subconscious, attracted the attention and admiration of Pollock and other artists who would soon be associated with Abstract Expressionism. Although Graham himself had already moved away from abstraction, never to return to it, he was close to Pollock (whom he introduced to Lee Krasner), Stuart Davis, Gorky, David Smith, and de Kooning, among many others. Graham’s influence as an opinion-maker and passionate advocate for avant-garde art peaked in 1942. In that year, he curated a noteworthy group show at the McMillen Gallery that placed works by Pollock (it was his first New York exhibition), de Kooning, and Krasner alongside works by Picasso and Matisse.

By the early 1940s, Graham had turned primarily to portraiture and self-portraiture, developing an idiosyncratic and allusive late style more connected to Old Masters like Nicolas Poussin and Raphael than to the Abstract Expressionists he counted among his friends. Graham’s late paintings are characterized by the crossed eyes and flat presentation of the figures and by symbolic surface embellishments drawn from astrology, alchemy, and the occult.

Graham died in London in 1961 after several restless years of travel and ill health. Today, his work can be found in numerous public collections, including the Whitney Museum of American Art, New York, and the Phillips Collection, Washington, D.C.


Detail of the Present Lot


69021

RICHARD DIEBENKORN (1922-1993)Seated Woman, 1961Crayon on paper17 x 12-3/8 inches (43.2 x 31.4 cm)Initialed and dated lower right: RD61


PROVENANCE:Greenberg Van Doren Gallery, New York;DC Moore Gallery, New York;Private collection, New York.

Estimate: $25,000-$35,000


69022

ARSHILE GORKY (1904-1948)Untitled (X on Brown Paper), circa 1933-34Pencil on brown paper19 x 25 inches (48.3 x 63.5 cm)


PROVENANCE:George Siegel;Martha Jackson Gallery, New York, September 14, 1959;Mr. and Mrs. A. L. Berliner, New York;M. Knoedler & Co., New York, February 2, 1974;Michael and Suzanne Vanderwoude, New York, December 13, 1976;Lori Bookstein Fine Art, New York (label verso);Menconi & Schoelkopf Fine Art, New York (label verso).

EXHIBITED:David Anderson Gallery, New York, “Arshile Gorky: Drawings: 1929-1934,” February 3-March 1, 1962;(Possibly) Detroit Institute of Art, Detroit, Michigan, May 1963;(Possibly) Galerie Anderson-Mayer, Paris, France, April 1964;J. Millard Tawes Fine Arts Center, University of Maryland Art Department and Art Gallery, Maryland, “The Drawings of Arshile Gorky,” March 20-April 27, 1969;Hathorn Gallery, Skidmore College, Saratoga Springs, New York, “The Drawings of Arshile Gorky,” October 21-November 9, 1969;M. Knoedler & Co., New York, “Arshile Gorky: Works of Paper,” January 9-February 1, 1975, exhibition checklist no. 9, as X on Brown Paper;(Possibly) M. Knoedler & Co., Inc., New York, “Works on Paper: Collages and Drawings by Arshile Gorky, Robert Motherwell and David Smith,” October 19-November 20, 1976, exhibition checklist.

LITERATURE:David Anderson Gallery, New York, Arshile Gorky: Drawings: 1929-1934, February 3-March 1, 1962, exhibition catalogue, n.p., illustrated in black and white as X on Brown Paper;J. Millard Tawes Fine Arts Center, University of Maryland Art Department and Art Gallery, The Drawings of Arshile Gorky, March 20-April 27, 1969, exhibition catalogue, no. 9, “Drawings, Sketches, and Gouaches” checklist, as X on Brown Paper;Hathorn Gallery, Skidmore College, Saratoga Springs, New York, The Drawings of Arshile Gorky, October 21-November 9, 1969, exhibition catalogue, no. 20, as X on Brown Paper.

NOTE:We wish to thank Melissa Kerr for her invaluable assistance in cataloguing this lot, which is numbered D0464 in the Arshile Gorky Foundation Archives.

Estimate: $100,000-$150,000

“Drawing is the basis of art. A bad painter cannot draw. But one who draws well can always paint … Drawing gives the artist the ability to control his line and hand. It develops in him the precision of line and touch. This is the path toward master work.”

—Arshile Gorky


During the early 1930s, Arshile Gorky, whose dreamlike modernist compositions laid the foundation for Abstract Expressionism, devoted himself almost exclusively to drawings. Some art historians explain this choice as purely economic: a poor immigrant from Armenia, Gorky for the past decade had cobbled together teaching jobs in New York City to sustain himself, and with the onset of the Great Depression, he could not afford paint and canvas. However, revisionist histories assert that Gorky was at heart a draftsman over a colorist. As a boy, he filled notebooks with nature sketches, and he obsessively copied Old Master drawings, preferring the medium because it was expressive and spontaneous. Gorky’s drawings from 1931-35 are the strongest and most influential from his career. Rooted in Cubism, metaphysical Surrealism, and biomorphic Surrealism, they “served as the incubator for his evolving plastic language” and evidenced his progression from representation to abstraction (B. Rose, “Arshile Gorky: The Genesis of a Master, in M. Spender and B. Rose, ed., Arshile Gorky and the Genesis of Abstraction: Drawings from the Early 1930s, New York, 1994, p. xiv).

Gorky’s drawings from this period also coincided with his mural work for various New Deal agencies. In order to supplement his teaching income, he joined the Public Works of Art Project (PWAP) in 1933. His 1934 Study for Mural (never realized because the PWAP disbanded that year) synthesized the imagery from his drawings, including Cubist standing figures, architectural elements and everyday objects assembled in otherworldly contexts, and interlocking organic abstractions born out of the unconscious. In 1935, the PWAP was replaced by the Federal Art Project (FAP), and under its director, his friend Holger Cahill, Gorky produced for the Newark Airport a ten-panel mural, whose machinist design borrowed from yet another group of drawings from the early 1930s. Indeed, the current lot, Untitled (X on Brown Paper), from 1933-34, is important as an amalgam of three major 1930s series that shaped his paintings and murals: Nighttime, Enigma, and Nostalgia; Khorkom; and Organization.

In both its title and iconography, Gorky’s Nighttime, Enigma, and Nostalgia series references Giorgio de Chirico’s metaphysical Surrealist paintings. Works like The Nostalgia of the Infinite (1912, Museum of Modern Art, New York) and The Enigma of Fatality (1914, Kunstmuseum, Basel) simulate dream worlds through eerie, theatrical landscapes with plunging perspectives, dark skies, and strange objects. The earliest works in the NEN series are more representational and appropriate motifs directly from de Chirico’s The Fatal Temple (1913, Philadelphia Museum of Art), including a classical bust with profile shadow, a flayed fish, and a “blackboard” with biomorphic shapes resembling a palette, a heart, or a pelvis (all surrogates for the artist himself). In later NEN works, Gorky abstracts these objects into interlocking organic shapes, and he plays with background shadows, variously employing diaper-patterning, fine cross-hatching, and thin washes. Untitled (X on Brown Paper) borrows from the NEN drawings its primary images and compositional structure: the central palette-like bulbous form, the pelvis-heart shape in the lower left corner, the hint of a classical bust silhouette in the curved lines on the right, the use of vertical lines to divide the space into “panels,” the hint of recessional space in the dark triangle along the lower edge, and the simulation of nighttime shadows through strong background passages of parallel and intersecting lines.

Gorky’s early 1930s drawing series Khorkom, named after his native village in Armenia, also informs Untitled (X on Brown Paper). These works exemplify Gorky’s shift to biomorphic Surrealism and his exploration of automatism in the seemingly unconscious application of line. His primary influence for the Khorkom drawings was André Masson, whose Surrealist paintings with flowing arabesques, hybrid avian creatures, and biomorphic forms Gorky studied obsessively in the magazine Cahiers d’art. Like the Khorkom works, Untitled (X on Brown Paper) transforms the palette shape into a bird with wings sprouting from its neck; accentuates the interplay of positive and negative space; and foregrounds whiplash curves, notably in the dark line emerging from a pod-like shape at the top of the composition, which sweeps beneath the palette-bird and culminates in a pigtail.

As early as 1933 and continuing until 1936, Gorky also experimented with relational geometric shapes, studies that culminated in both his masterful painting Organization (1933-36, National Gallery of Art, Washington, D.C.) and his 1936 mural for Newark Airport, Aviation: Evolution of Forms under Aerodynamic Limitations (all but two of ten panels now destroyed). Paying tribute to Fernand Léger’s machinist painting The City and Stuart Davis’ Egg Beater series, Gorky’s Organization studies abandon lyrical biomorphism in favor of crisply defined geometric “machine parts.” Overlapping shapes resembling gears, propellers, electrical plugs, pulleys, and wheels occupy a shallow space, creating a collage effect. A unifying element in many of these drawings is the straight line intersected by, or ending in, a small ball or ring. This motif forms the dominant “X” on the left of Untitled (X on Brown Paper), and Gorky further plays with this ball-and-line in the line running through the “eye” of the bird-palette and in the pincer-like lines topped by a circle over the “head” of the bird.

Untitled (X on Brown Paper) is significant not merely because early Gorky drawings of this caliber infrequently come up for auction, but also because it combines signature elements of his concurrent Surrealist and geometric series. Equally sensual and structured, it balances rich tonalities and pure negative space and natural and mechanical forms, inviting the viewer to enter this mysterious world. Holger Cahill best summed up Gorky’s brilliant drawings from this period: “Arshile Gorky has an extraordinary inventiveness and fertility in creating special arrangements both precise and harmonious, and he contributes to contemporary American Expression a note of intellectual fantasy which is very rare in the plastic art of this country” (H. Cahill in M. Spender, “Arshile Gorky: Themes for the Mural ‘1934,’” in M. Spender and B. Rose, ed., Arshile Gorky and the Genesis of Abstraction: Drawings from the Early 1930s, New York, 1994, p. ix).


“[Gorky’s] plunge into a private world of reverie, melancholy, and lyricism that produced the great works of his mature period is prefigured in this exquisite and uniquely coherent suite of drawings from the early thirties.”

— B. Rose, “Arshile Gorky: The Genesis of a Master,” in M. Spender and B. Rose, ed., Arshile Gorky and the Genesis of Abstraction: Drawings from the Early 1930s, New York, 1994, p. xviii

Detail of the Present Lot


69023

BOB THOMPSON (1937-1966)Untitled, 1960Oil on board11-7/8 x 9 inches (30.2 x 22.9 cm)


PROVENANCE:Vandewoude Tananbaum Gallery, New York;Jill Newhouse Gallery, New York.

Estimate: $25,000-$35,000


69024 ▲

ROBERT RAUSCHENBERG (1925-2008)Van Vleck Series VI, 1978Solvent transfer on fabric collaged to wooden panel with acrylic paint43 x 37 inches (109.2 x 94.0 cm)Signed, titled, and dated verso: Van Vleck Series VI / Rauschenberg 78

PROVENANCE:The artist;Private collection, acquired from the above;Sotheby’s, New York, May 13, 2009, lot 247;Private collection.

EXHIBITED:Montclair Art Museum, Montclair, New Jersey, “Robert Rauschenberg, Two Serial Works: The Van Vleck Series and The Chow Series,” January 13, 1980-March 3, 1980;The Newark Museum, Newark, New Jersey, “Robert Rauschenberg: Eight Paintings,” April 26, 1980-June 8, 1980;The Nelson-Atkins Museum of Art, Kansas City, Missouri; University of Iowa Museum of Art, Iowa City; Phoenix Art Museum, Phoenix, Arizona; The Utah Museum of Fine Art, Salt Lake City, Utah, “Robert Rauschenberg: The Van Vleck Series, I-VIII,” April 9, 1982-February 13, 1983;Olyvia Fine Art, London, “Sold Out: American Pop Art from the 1970’s and 1980’s,” October 22, 2010-November 20, 2010.

NOTE: This work is numbered 78.036 in the archives of the Robert Rauschenberg Foundation.

Estimate: $180,000-$240,000

Moving across the boundaries of Abstract Expressionism, Pop Art, and Conceptualism, Robert Rauschenberg pioneered techniques in almost every medium that he touched, including collage, assemblage, paintings, sculpture, prints, photography, dance, and choreography.

During the 1970s, for his series Spreads (1976-81), Rauschenberg returned to the transfer printing process that he had invented in the 1950s: using solvents and pressure (typically from a lithography press) to transfer images from magazines, newspapers, or photographs directly onto a support, such as fabric affixed to wood or foam-core panels. The word “spread” denotes a broad tract of land in West and perfectly captures the expansive format of Rauschenberg’s works, which could stretch across an entire room. For example, in Rodeo Palace (1976, Collection Norman and Lyn Lear, Los Angeles), he conjoined collaged panels and wooden doors to cover a 12 x 16’ wall. In Hiccups (1978, San Francisco Museum of Modern Art), he used solvent transfers with fabric and zippers on 9” paper sheets to fill a 62’ gallery space. Many of the Spreads feature photographs from Rauschenberg’s personal collection, and some, recalling his famous 1950s Combines, incorporate three-dimensional household objects. Almost all of the Spreads employ a grid-like structure of brightly hued collaged fabric. The sea blues, lawn greens, and hibiscus reds and yellows reflect colors of his home in Captiva, Florida. Indeed, critics have called the Spreads highly autobiographical in their evocative imagery and coloration.

One of the most unique Spreads that Rauschenberg created in 1978 was the Van Vleck Series, a composite family portrait. Commissioned by his Captiva neighbor Joseph Van Vleck, the series consists of eight 43 x 37” wooden panels with acrylic paint and solvent transfers on fabric. Each panel represents a different member of the Van Vleck family: Joseph, his third wife, Louise, and his six children from previous marriages. A Columbia-trained professor of sociology, Joseph was from the wealthy Van Vleck family of Montclair, New Jersey. His lavish country estate with Italianate villa and spectacular gardens is open to the public today. Dividing time between Montclair and Captiva, Joseph and Louise traveled widely, particularly in the Middle East and East Asia, where Joseph regularly lectured. A friend over cocktails, Rauschenberg no doubt knew of Van Vleck’s illustrious biography, but rather than depict him and his family in traditional portraits, he created collages with transfer images that hint at each person’s personality or history.

Rauschenberg originally designed the Van Vleck panels to hang together in a continuous Spread. Each portrait shares formal similarities, notably the repetition of purple and red fabric rectangles. However, each panel also has a distinct personality. The magic of the series its flexibility to function as a single work or as several individual portraits. As Rauschenberg described, “I thought of the commissioned series of collage paintings that I made for the Van Vleck family as a group of abstract portraits each with the family unification and restrictions, and each with the uniqueness and curiosity of the chosen individual in the choosing. The radical differences hopefully, and the blood calm as security, each subject would have to recognize his own likeness” (Robert Rauschenberg Foundation archives).

In Van Vleck Series VI, Rauschenberg selected transfer photographs typifying a person who loves nature and the man-made (especially the sea and architecture). Images from left to right include a sea urchin, white cranes beneath an X-ray, lily pads, scaffolding, fronds, the torso of a male bather, an aerial view of a staircase (red rectangle), a body of water behind a dam, and a textured surface. Rauschenberg organized the compositional space into a checkerboard, balancing the saturated colors of the central red, purple, and yellow-striped fabric swatches with the more faded colors of the nature images and with the almost white areas of “negative space.”

Art historian Leone Otis has written about Rauschenberg’s treatment of space, time, and place in the Van Vleck Series as a metaphor for “Einstein’s theory of relativity, which suggests an underlying unity of objects and events widely separated in time and space” (L. Otis, “The Van Vleck Series: Eight Portraits,” unpublished manuscript, Robert Rauschenberg Foundation archives). Rauschenberg used the construct of the checkerboard to play with the complexities of space: the faint transfer images show objects in three-dimensional space, the purple and red rectangles of fabric assert the two-dimensionality of the support panel, and the white negative spaces connote “etheric or undefined regions.” Furthermore, Rauschenberg’s transfer images for the Van Vleck Series often allude to art history, travel, and outer space, and, as such, the continuum of time and place. For example, Van Vleck II highlights photographs of a medieval stone lion and of a gondolier in Venice; Van Vleck VII, a photograph of a galaxy; and the current Van Vleck VI, photographs of scaffolding (perhaps for a rocket) and of a textured moon-like surface. In this fascinating series, Rauschenberg ultimately proposes that the entire Van Vleck family, as well as each person in the family, is a composite of multiple histories – past, present, and future.


69025 ■ ▲

SAM FRANCIS (1923-1994)Untitled, 1994Acrylic on canvas15 x 18 inches (38.1 x 45.7 cm)Dated in pencil on stretcher: 7-12-94Estate stamp verso

This work was painted in Santa Monica at West Channel Road studio.

PROVENANCE:Estate of the artist, California, 1994;Galleri Faurschou, Copenhagen, June 1996;Kaare Berntsen, Oslo;Private collection;Private collection, New York.

EXHIBITED:Los Angeles County Museum of Art, Los Angeles, California, “Sam Francis: The Last Works,” May 25-7 September 1995;Galleri Faurschou, Copenhagen, at Art Basel 28, Basel, “The Complete (152) Paintings from the Last Studio of Sam Francis,” June 11-18 1997;Galleri Faurschou, Copenhagen, “Sam Francis: The Last Works,” March 18-5 June 1999.

LITERATURE:Los Angeles County Museum of Art, Sam Francis: The Last Works, Los Angeles, 1995, exhibition brochure, illustrated in color;Galleri Faurschou, The Complete (152) Paintings from the Last Studio of Sam Francis, Copenhagen, at Art Basel 28, 1997, exhibition brochure, illustrated in color;Galleri Faurschou, Copenhagen, Sam Francis: The Last Works, 1999, exhibition catalogue, pp. 12-13, illus., and 64-65, illustrated in color.

NOTE:This work is included in the Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, published by the University of California Berkeley Press (UC Press: 2011) under the No. SFF.1704 and is also registered in the archives of the Sam Francis Foundation with the No. SFP94-20. This lot is accompanied with a Painting Documentation Sheet, inclusive of the image, dated September 3, 2013, provided by the Sam Francis Foundation.

Estimate: $60,000-$80,000

“What we want is to make something that fills utterly the sight and can’t be used to make life only bearable.”

—Sam Francis


69026

LEO GABIN (Established 2000)Gambling With (Flossy Dance), 2011Lacquer, spray paint, acrylic and silkscreen on canvas78-3/4 x 59 inches (200.0 x 149.9 cm)Signed, titled, and dated verso: Leo Gabin / 2011 / ‘Gambling With’

PROVENANCE:Elizabeth Dee, New York;Private collection, New York.

Estimate: $10,000-$15,000


69027

AMY SILLMAN (b. 1966)Blue Lady Surrounded by Ping, 2006Mixed media on paper29-1/8 x 49-3/8 inches (74.0 x 125.4 cm) (sheet)Initialed and dated in ink lower right: AS06

PROVENANCE:Sikkema Jenkins & Co., New York;Private collection, New York.

Estimate: $20,000-$30,000


69028

MEL RAMOS (b. 1935)A Sinister Figure Lurks in the Shadows, 1962Oil on canvas18-3/8 x 13-1/4 inches (46.7 x 33.7 cm)Signed, titled, and dated verso and on stretcher: 1962 “A Sinister Figure / Lurks in the Shadows” / By Mel Ramos

PROVENANCE:The artist;Acquired by the present owner from the above, 1960s.

Estimate: $80,000-$120,000

Since the early 60s California artist Mel Ramos has been fascinated with popular culture and mass media icons. Appropriating cartoons as the subject matter for his art, he quickly became the representative of all West Coast Pop. In his first mature body of work, Ramos painted a series of superheroes, including the most beloved and mysterious of all: Batman. Held in a private collection for many years, A Sinister Figure Lurks in the Shadows has been missing from public view until this time.

Ramos renders Batman with strong impasto and dramatic brushstrokes, indicating the impending action and sharp instincts of our hero. Immersing us into his fantastical world and placing our omnipotent hero against a fleshy, cream-colored background, Ramos brings Batman to life, ready for action.

Although he used images from popular culture, like other early Pop artists, Ramos also considered himself an Expressionist. He held a strong belief that the artist’s hand must be present in the finished product. With this in mind, he skillfully rendered the comic superheroes by mastering hyper-expressive gestures. His paintings combine the styles of the artists he most admired: the Abstract Expressionist style of Willem de Kooning with the colorful, thick strokes of Wayne Thiebaud. Ramos continually explored how high and low art intersected. He transformed popular figures such as these superheroes into his own hand-made, unique objects.

A lover of comic books, Ramos decided early in his career that he would paint the subjects he grew up with. In fact, in the early 60s, Ramos loved superheroes so much that he traded A Sinister Figure Lurks in the Shadows for even more comic books. The current owner, Bill Steinfelt has held onto the painting ever since. Mr. Steinfelt wasn’t aware of the tremendous value of his trade until earlier this year.

Detail from Detective Comics #32: Batman vs. the Vampire, source image for the present lot.


69029

WALTON FORD (b. 1960)Guilty Elephant, 1994Oil on panel63 x 46 inches (160.0 x 116.8 cm)Signed, titled, and dated on the reverse: Walton Ford, Guilty Elephant, 1994

PROVENANCE:Paul Kasmin Gallery, New York;Acquired by the present owner from the above.

Estimate: $50,000-$70,000

Walton Ford celebrates traditional history painting while simultaneously satirizing the oppressive

colonial narratives that these same paintings engender. Inspired by dozens of trips to the Natural

History Museum in New York, Walton Ford uses the visual language of John James Audubon

to critique humanity’s impact on the natural world. In Guilty Elephant, 1994 twisting vines and

meticulously-rendered foliage frame the composition. Through the foliate border, the viewer sees

an elephant with smoke billowing from its back, filling the composition with dark soot in an eerie

dreamlike haze. The presence of dark figures surrounding the elephant disrupts any notion of the

sublime. The viewer becomes a guilty participant in an unsettling scene that stands in dark contrast to

the natural order of things. As Ford describes, “What I’m doing…is building a sort of cultural history

of the way animals live in the human imagination.” (W. Ford quoted in C. Tomkins “Man as Beast,”

The New Yorker, New York, January 26, 2009).


69030

FRED TOMASELLI (b. 1956)Psychedelic Structure #2, 1997Collage, acrylic, and resin on wood panel24 x 24 inches (61.0 x 61.0 cm)Signed and dated verso: Fred Tomaselli / 1997

PROVENANCE:Jack Tilton Gallery, New York (label verso);Private collection, New York.

Estimate: $50,000-$70,000

“I’ve come to believe in the primacy of form – the notion of art seducing you through your senses, through your eyeballs.”

—Fred Tomaselli


End of Auction

MODERN & CONTEMPORARY ARTPART II: DALLAS | MORNING

NOVEMBER 14, 2015 | LIVE & ONLINE | HA.COM/5224

CAIO FONSECAPietrasanta Painting CO3.32Estimate: $10,000-$15,000

ANDY WARHOLCampbell’s Soup Box (Chicken Rice)Estimate: $150,000-$250,000

ALEXANDER CALDERBase-ballEstimate: $30,000-$40,000

SAM FRANCISUntitledEstimate: $30,000-$50,000

JOHN CHAMBERLAINUntitled (from the Foil series)Estimate: $30,000-$50,000

MODERN & CONTEMPORARY ARTPART II: DALLAS | MORNING


TOSHIMATSU IMAIUntitled (Eclissi)Estimate: $20,000-$30,000

TONY CRAGGOutlookEstimate: $80,000-$120,000

DIEGO RIVERAVelorioEstimate: $40,000-$60,000

VICTOR VASARELYXanorEstimate: $50,000-$70,000

JACQUES LIPCHITZMelancholyEstimate: $80,000-$100,000

DAMIEN HIRSTPharmaceuticalsEstimate: $25,000-$35,000

DAVID HOCKNEYSix Fairy Tales from the Brothers GrimmEstimate: $20,000-$30,000

ROBERT RAUCHENBERGRingerEstimate: $25,000-$30,000

MODERN & CONTEMPORARY ARTPART II: DALLAS | AFTERNOON


VARIOUS ARTISTSEight by Eight to Celebrate the Temporary ContemporaryEstimate: $20,000-$30,000

JASPER JOHNS0-9 (A Set of 10 Numerals)Estimate: $30,000-$50,000

ANDY WARHOLShoesEstimate: $70,000-$90,000

MODERN & CONTEMPORARY ARTPART II: DALLAS | AFTERNOON


ANDY WARHOLRebel without a CauseEstimate: $60,000-$80,000

ANDY WARHOLChanelEstimate: $60,000-$80,000

ANDY WARHOLThe Shadow (from Myths)Estimate: $50,000-$70,000

ANDY WARHOLUncle Sam (from Myths)Estimate: $30,000-$40,000

MAXFIELD PARRISHJason and His TeacherEstimate: $1,000,000-$1,500,000

AMERICAN ARTNOVEMBER 16, 2015 | NEW YORK | LIVE & ONLINE | HA.COM/5227

3500 Maple Avenue ❘ Dallas, Texas 75219-3941 Direct Client Service Line – Toll Free: 866-835-3243 ❘ Fax: 214-409-1425

Modern & Contemporary Art Auction #5262

Bid Live & Online at HA.com/5262

REV. 12-4-14

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Non-Internet bids (including but not limited to, podium, fax, phone and mail bids) may be submitted at any time and are treated similar to floor bids. These types of bids must be on-increment or at a half increment (called a cut bid). Any podium, fax, phone or mail bids that do not conform to a full or half increment will be rounded up or down to the nearest full or half increment and will be considered your high bid.Current Bid ..............................Bid Increment< $10 .............................................................. $1$10 - $49 ......................................................... $2$50 - $99 ......................................................... $5$100 - $199 ................................................... $10$200 - $499 ................................................... $20$500 - $999 ................................................... $50$1,000 - $1,999 ........................................... $100$2,000 - $4,999 ........................................... $200$5,000 - $9,999 ........................................... $500

Current Bid ..............................Bid Increment$10,000 - $19,999 .................................... $1,000$20,000 - $49,999 .................................... $2,000$50,000 - $99,999 .................................... $5,000$100,000 - $199,999 .............................. $10,000$200,000 - $499,999 .............................. $20,000$500,000 - $999,999 .............................. $50,000$1,000,000 - $4,999,999 ...................... $100,000$5,000,000 - $9,999,999 ...................... $250,000>= $10,000,000 .................................. $500,000

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Please print your bids.Bid in whole dollar amounts only.

1 Internet Simply go to www.HA.com, find the auction you are looking for and click “View Lots” or type your desired Lot # into the “Search” field. Every lot is listed with full descriptions and images. Enter your bid and click “Place Bid.” Proxy bidding ends one hour prior to the session start time. Live Proxy bidding continues through the session.

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or Heritage Auctions, Inc., or Heritage Numismatic Auctions, Inc., or Heritage Vintage Sports Auctions, Inc., or Currency Auctions of America, Inc., as identified with the applicable licensing information on the title page of the catalog or on the HA.com Internet site (the “Auctioneer”). The Auction is conducted under these Terms and Conditions of Auction and applicable state and local law. Announcements and corrections from the podium and those made through the Terms and Conditions of Auctions appearing on the Internet at HA.com supersede those in the printed catalog.

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The following chart governs current bidding increments (see HA.com/c/ref/web-tips.zx#guidelines-increments).

Current Bid ..............Bid Increment< $10.................................................$1$10 - $49 ......................................... $2$50 - $99 ......................................... $5$100 - $199 ................................... $10$200 - $499 ................................... $20$500 - $999 ................................... $50$1,000 - $1,999 ........................... $100$2,000 - $4,999 ........................... $200$5,000 - $9,999 ........................... $500

Current Bid ..............Bid Increment$10,000 - $19,999 ................... $1,000$20,000 - $49,999 ................... $2,000$50,000 - $99,999 ................... $5,000$100,000 - $199,999 ............ $10,000$200,000 - $499,999 ............ $20,000$500,000 - $999,999 ............ $50,000$1,000,000 - $4,999,999 .... $100,000$5,000,000 - $9,999,999 .... $250,000>= $10,000,000 .................. $500,000

12. If Auctioneer calls for a full increment, a bidder may request Auctioneer to accept a bid at half of the increment (“Cut Bid”) only once per lot. After offering a Cut Bid, bidders may continue to participate only at full increments. Off-increment bids may be accepted by the Auctioneer at Signature® Auctions and Grand Format Auctions. If the Auctioneer solicits bids other than the expected increment, these bids will not be considered Cut Bids.

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accordance with Article 2 of the Texas Business and Commercial Code. A “Minimum Bid” is an amount below which the lot will not sell. THE CONSIGNOR OF PROPERTY MAY PLACE WRITTEN ”Minimum Bids” ON HIS LOTS IN ADVANCE OF THE AUCTION; ON SUCH LOTS, IF

THE HAMMER PRICE DOES NOT MEET THE “Minimum Bid”, THE CONSIGNOR MAY PAY A REDUCED COMMISSION ON THOSE LOTS. ”Minimum Bids” are generally posted online several days prior to the Auction closing. For any successful bid placed by a consignor on his Property on the Auction floor, or by any means during the live session, or after the ”Minimum Bid” for an Auction have been posted, we will require the consignor to pay full Buyer’s Premium and Seller’s Commissions on such lot.

14. The highest qualified Bidder recognized by the Auctioneer shall be the Buyer. In the event of a tie bid, the earliest bid received or recognized wins. In the event of any dispute between any Bidders at an Auction, Auctioneer may at his sole discretion reoffer the lot. Auctioneer’s decision and declaration of the winning Bidder shall be final and binding upon all Bidders. Bids properly offered, whether by floor Bidder or other means of bidding, may on occasion be missed or go unrecognized; in such cases, the Auctioneer may declare the recognized bid accepted as the winning bid, regardless of whether a competing bid may have been higher. Auctioneer reserves the right after the hammer fall to accept bids and reopen bidding for bids placed through the Internet or otherwise.

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16. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids, or very nominal advances. If a lot bearing estimates fails to open for 40–60% of the low estimate, the Auctioneer may pass the item or may place a protective bid on behalf of the consignor.

17. Lots bearing bidding estimates shall open at Auctioneer’s discretion (generally 40%-60% of the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall pass as unsold.

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20. Auctioneer occasionally experiences Internet and/or Server service outages, and Auctioneer periodically schedules system downtime for maintenance and other purposes, during which Bidders cannot participate or place bids. If such outages occur, we may at our discretion extend bidding for the Auction. Bidders unable to place their Bids through the Internet are directed to contact Client Services at 877-HERITAGE (437-4824).

21. The Auctioneer, its affiliates, or their employees consign items to be sold in the Auction, and may bid on those lots or any other lots. Auctioneer or affiliates expressly reserve the right to modify any such bids at any time prior to the hammer based upon data made known to the Auctioneer or its affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors.

22. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.

Payment: 23. All sales are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier

checks, travelers checks, eChecks, and bank money orders, and are subject to all reporting requirements). All deliveries are subject to good funds; funds being received in Auctioneer’s account before delivery of the Purchases; and all payments are subject to a clearing period. Auctioneer reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten business day hold, and thirty days when drawn on an international bank. Clients with pre-arranged credit status may receive immediate credit for payments via eCheck, personal, or corporate checks. All others will be subject to a hold of 5 days, or more, for the funds to clear prior to releasing merchandise. (Ref. T&C item 7 Credit for additional information.) Payments can be made 24-48 hours post auction from the My Orders page of the HA.com website.

24. Payment is due upon closing of the Auction session, or upon presentment of an invoice. Auctioneer reserves the right to void an invoice if payment in full is not received within 7 days after the close of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) on the lot and any other damages pertaining to the lot or Auctioneer, at its option, may charge a twenty (20%) restock fee on the amount of the purchase and offset the restock fee against any monies paid to the Auctioneer or against any of the purchaser’s properties held by the Auctioneer.

25. Lots delivered to you, or your representative are subject to all applicable state and local taxes, unless appropriate permits are on file with Auctioneer. Bidder agrees to pay Auctioneer the actual amount of tax due in the event that sales tax is not properly collected due to: 1) an expired, inaccurate, or inappropriate tax certificate or declaration, 2) an incorrect interpretation of the applicable statute, 3) or any other reason. The appropriate form or certificate must be on file at and verified by Auctioneer five days prior to Auction, or tax must be paid; only if such form or certificate is received by Auctioneer within 4 days after the Auction can a refund of tax paid be made. Lots from different Auctions may not be aggregated for sales tax purposes.

26. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck and your financial institution denies this transfer from your bank account, or the payment cannot be completed using the selected funding source, you agree to complete payment using your credit card on file.

27. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance will bear interest at the highest rate permitted by law from the date of invoice until paid. Any invoice not paid when due will bear a three percent (3%) late fee on the invoice amount. If the Auctioneer refers any invoice to an attorney for collection, the buyer agrees to pay attorney’s fees, court costs, and other collection costs incurred by Auctioneer. If Auctioneer assigns collection to its in-house legal staff, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.

28. In the event a successful Bidder fails to pay any amounts due, Auctioneer reserves the right to sell the lot(s) securing the invoice to any underbidders in the Auction that the lot(s) appeared, or at subsequent private or public sale, or relist the lot(s) in a future auction conducted by Auctioneer. A defaulting Bidder agrees to pay for the reasonable costs of resale (including a 15% seller’s commission, if consigned to an auction conducted by Auctioneer). The defaulting Bidder is liable to pay any difference between his total original invoice for the lot(s), plus any applicable interest, and the net proceeds for the lot(s) if sold at private sale or the subsequent hammer price of the lot(s) less the 15% seller’s commissions, if sold at an Auctioneer’s auction.

29.Auctioneer reserves the right to require payment in full in good funds before delivery of the merchandise. 30. Auctioneer shall have a lien against the merchandise purchased by the buyer to secure payment of

the Auction invoice. Auctioneer is further granted a lien and the right to retain possession of any other property of the buyer then held by the Auctioneer or its affiliates to secure payment of any Auction invoice or any other amounts due the Auctioneer or affiliates from the buyer. With respect to these lien rights, Auctioneer shall have all the rights of a secured creditor under Article 9 of the Texas Uniform Commercial Code, including but not limited to the right of sale (including a 15% seller’s commission, if consigned to an auction conducted by Auctioneer). In

Terms and Conditions of Auctionaddition, with respect to payment of the Auction invoice(s), the buyer waives any and all rights of offset

he might otherwise have against the Auctioneer and the consignor of the merchandise included on the invoice. If a Bidder owes Auctioneer or its affiliates on any account, Auctioneer and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession..

31. Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility of the buyer to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.

Delivery; Shipping; and Handling Charges: 32. Buyer is liable for shipping, handling, registration, and renewal fees, if any. Please refer to Auctioneer’s

website HA.com/c/shipping.zx for the latest charges or call Auctioneer. Auctioneer is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs. Buyer agrees that Service and Handling charges related to shipping items which are not pre-paid may be charged to the credit card on file with Auctioneer.

33. Successful international Bidders shall provide written shipping instructions, including specified customs declarations, to the Auctioneer for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price together with its buyer’s premium and Auctioneer shall use the correct harmonized code for the lot. Domestic Buyers on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.

34. All shipping charges will be borne by the successful Bidder. On all domestic shipments, any risk of loss during shipment will be borne by Heritage until the shipping carrier’s confirmation of delivery to the address of record in Auctioneer’s file (carrier’s confirmation is conclusive to prove delivery to Bidder; if the client has a Signature release on file with the carrier, the package is considered delivered without Signature) or delivery by Heritage to Bidder’s selected third-party shipper. On all foreign shipments, any risk of loss during shipment will be borne by the Bidder following Auctioneer’s delivery to the Bidder’s designated common carrier or third-party shipper.

35. Due to the nature of some items sold, it shall be the responsibility for the successful Bidder to arrange pick-up and shipping through third-parties; as to such items Auctioneer shall have no liability. Failure to pick-up or arrange shipping in a timely fashion (within ten days) shall subject Lots to storage and moving charges, including a $100 administration fee plus $10 daily storage for larger items and $5.00 daily for smaller items (storage fee per item) after 35 days. In the event the Lot is not removed within ninety days, the Lot may be offered for sale to recover any past due storage or moving fees, including a 10% Seller’s Commission.

36A. The laws of various countries regulate the import or export of certain plant and animal properties, including (but not limited to) items made of (or including) ivory, whalebone, turtle shell, coral, crocodile, or other wildlife. Transport of such lots may require special licenses for export, import, or both. Bidder is responsible for: 1) obtaining all information on such restricted items for both export and import; 2) obtaining all such licenses and/or permits. Delay or failure to obtain any such license or permit does not relieve the buyer of timely compliance with standard payment terms. For further information, please contact Ron Brackemyre at 800- 872-6467 ext. 1312.

36B. California State law prohibits the importation of any product containing Python skin into the State of California, thus no lot containing Python skin will be shipped to or invoiced to a person or company in California.

36C. Auctioneer shall not be liable for any loss caused by or resulting from:a. Seizure or destruction under quarantine or Customs regulation, or confiscation by order of any

Government or public authority, or risks of contraband or illegal transportation of trade, orb. Breakage of statuary, marble, glassware, bric-a-brac, porcelains, jewelry, and similar fragile articles

37. Any request for shipping verification for undelivered packages must be made within 30 days of shipment by Auctioneer.

Cataloging, Warranties and Disclaimers: 38. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY

DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of the items or second opine contained in this Auction is for the sole purpose of identifying the items for those Bidders who do not have the opportunity to view the lots prior to bidding, and no description of items has been made part of the basis of the bargain or has created any express warranty that the goods would conform to any description made by Auctioneer. Color variations can be expected in any electronic or printed imaging, and are not grounds for the return of any lot. NOTE: Auctioneer, in specified auction venues, for example, Fine Art, may have express written warranties and you are referred to those specific terms and conditions. .

39. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have by virtue of consignment agreements on the date of auction and disclaims any warranty of title to the Property. Auctioneer disclaims any warranty of merchantability or fitness for any particular purposes. All images, descriptions, sales data, and archival records are the exclusive property of Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any other uses deemed appropriate.

40. Translations of foreign language documents may be provided as a convenience to interested parties. Auctioneer makes no representation as to the accuracy of those translations and will not be held responsible for errors in bidding arising from inaccuracies in translation.

41. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of or in connection with the sale of any Property by Auctioneer to Bidder. No third party may rely on any benefit of these Terms and Conditions and any rights, if any, established hereunder are personal to the Bidder and may not be assigned. Any statement made by the Auctioneer is an opinion and does not constitute a warranty or representation. No employee of Auctioneer may alter these Terms and Conditions, and, unless signed by a principal of Auctioneer, any such alteration is null and void.

42. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); such defects, in any event, shall not be a basis for any claim for return or reduction in purchase price.

Release: 43. In consideration of participation in the Auction and the placing of a bid, Bidder expressly releases

Auctioneer, its officers, directors and employees, its affiliates, and its outside experts that provide second opines, from any and all claims, cause of action, chose of action, whether at law or equity or any arbitration or mediation rights existing under the rules of any professional society or affiliation based upon the assigned description, or a derivative theory, breach of warranty express or implied, representation or other matter set forth within these Terms and Conditions of Auction or otherwise. In the event of a claim, Bidder agrees that such rights and privileges conferred therein are strictly construed as specifically declared herein; e.g., authenticity, typographical error, etc. and are the exclusive remedy. Bidder, by non-compliance to these express terms of a granted remedy, shall waive any claim against Auctioneer.

44. Notice: Some Property sold by Auctioneer are inherently dangerous e.g. firearms, cannons, and small items that may be swallowed or ingested or may have latent defects all of which may cause harm to a person. Purchaser accepts all risk of loss or damage from its purchase of these items and Auctioneer disclaims any liability whether under contract or tort for damages and losses, direct or inconsequential, and expressly disclaims any warranty as to safety or usage of any lot sold.

Dispute Resolution and Arbitration Provision: 45. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and

Conditions of Auction, and specifically agrees to the dispute resolution provided herein. Consumer disputes shall be resolved through court litigation which has an exclusive Dallas, Texas venue clause and jury waiver. Non-consumer dispute shall be determined in binding arbitration which arbitration replaces the right to go to court, including the right to a jury trial.

46. Auctioneer in no event shall be responsible for consequential damages, incidental damages, compensatory damages, or any other damages arising or claimed to be arising from the auction of any lot. In the event that Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title, or other transfer or condition issue is claimed, in such cases the sole remedy shall be limited to rescission of sale and refund of the amount paid by Bidder; in no case shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

47. In the event of an attribution error, Auctioneer may at its sole discretion, correct the error on the Internet, or, if discovered at a later date, to refund the buyer’s purchase price without further obligation.

48. Exclusive Dispute Resolution Process: All claims, disputes, or controversies in connection with, relating to and /or arising out of your Participation in the Auction or purchase of any lot, any interpretation of the Terms and Conditions of Sale or any amendments thereto, any description of any lot or condition report, any damage to any lot, any alleged verbal modification of any term of sale or condition report or description and/or any purported settlement whether asserted in contract, tort, under Federal or State statute or regulation or any claim made by you of a lot or your Participation in the auction involving the auction or a specific lot involving a warranty or representation of a consignor or other person or entity including Auctioneer { which claim you consent to be made a party} (collectively, “Claim”) shall be exclusively heard by, and the claimant (or respondent as the case may be) and Heritage each consent to the Claim being presented in a confidential binding arbitration before a single arbitrator administrated by and conducted under the rules of, the American Arbitration Association. The locale for all such arbitrations shall be Dallas, Texas. The arbitrator’s award may be enforced in any court of competent jurisdiction. If a Claim involves a consumer, exclusive subject matter jurisdiction for the Claim is in the State District Courts of Dallas County, Texas and the consumer consents to subject matter and in personam jurisdiction; further CONSUMER EXPRESSLY WAIVES ANY RIGHT TO TRIAL BY JURY. A consumer may elect arbitration as specified above. Any claim involving the purchase or sale of numismatic or related items may be submitted through binding PNG arbitration. Any Claim must be brought within two (2) years of the alleged breach, default or misrepresentation or the Claim is waived. Exemplary or punitive damages are not permitted and are waived. A Claim is not subject to class certification. Nothing herein shall be construed to extend the time of return or conditions and restrictions for return. This Agreement and any Claim shall be determined and construed under Texas law. The prevailing party (a party that is awarded substantial and material relief on its damage claim based on damages sought vs. awarded or the successful defense of a Claim based on damages sought vs. awarded) may be awarded its reasonable attorneys’ fees and costs.

49. No claims of any kind can be considered after the settlements have been made with the consignors. Any dispute after the settlement date is strictly between the Bidder and consignor without involvement or responsibility of the Auctioneer.

50. In consideration of their participation in or application for the Auction, a person or entity (whether the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) agrees that all disputes in any way relating to, arising under, connected with, or incidental to these Terms and Conditions and purchases, or default in payment thereof, shall be arbitrated pursuant to the arbitration provision. In the event that any matter including actions to compel arbitration, construe the agreement, actions in aid or arbitration or otherwise needs to be litigated, such litigation shall be exclusively in the Courts of the State of Texas, in Dallas County, Texas, and if necessary the corresponding appellate courts. For such actions, the successful Bidder, purchaser, or Auction participant also expressly submits himself to the personal jurisdiction of the State of Texas.

51. These Terms & Conditions provide specific remedies for occurrences in the auction and delivery process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that any claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided in these Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot.

Miscellaneous: 52. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, inhibit

bidding on a consigned item to enter into a private sale agreement for said item, or to utilize the Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, Auctioneer reserves the right to charge Bidder the applicable Buyer’s Premium and consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.

53. Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by Heritage in the future. In conformity with “do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. Heritage may from time to time contact Bidder concerning sale, purchase, and auction opportunities available through Heritage and its affiliates and subsidiaries.

54. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Terms and Conditions of Auction by these additional rules and shall be construed to give force and effect to the rules in their entirety.

State Notices: Notice as to an Auction in California. Auctioneer has in compliance with Title 2.95 of the California Civil Code as amended October 11, 1993 Sec. 1812.600, posted with the California Secretary of State its bonds for it and its employees, and the auction is being conducted in compliance with Sec. 2338 of the Commercial Code and Sec. 535 of the Penal Code. Notice as to an Auction in New York City. These Terms and Conditions of Sale are designed to conform to the applicable sections of the New York City Department of Consumer Affairs Rules and Regulations as Amended. This sale is a Public Auction Sale conducted by Heritage Auctioneers & Galleries, Inc. # 41513036. The New York City licensed auctioneers are: Sam Foose, #095260; Kathleen Guzman, #0762165; Nicholas Dawes, #1304724; Ed Beardsley, #1183220; Scott Peterson, #1306933; Andrea Voss, #1320558, who will conduct the Sale on behalf of itself and Heritage Numismatic Auctions, Inc. (for Coins) and Currency Auctions of America, Inc. (for currency). All lots are subject to: the consignor’s rights to bid thereon in accord with these Terms and Conditions of Sale, consignor’s option to receive advances on their consignments, and Auctioneer, in its sole discretion, may offer limited extended financing to registered bidders, in accord with Auctioneer’s internal credit standards. A registered bidder may inquire whether a lot is subject to an advance or a reserve. Auctioneer has made advances to various consignors in this sale. On lots bearing an estimate, the term refers to a value range placed on an item by the Auctioneer in its sole opinion but the final price is determined by the bidders. Notice as to an Auction in Texas. In compliance with TDLR rule 67.100(c)(1), notice is hereby provided that this auction is covered by a Recovery Fund administered by the Texas Department of Licensing and Regulation, P.O. Box 12157, Austin, Texas 78711 (512) 463-6599. Any complaints may be directed to the same address.Notice as to an Auction in Ohio: Auction firm and Auctioneer are licensed by the Dept. of Agriculture, and either the licensee is bonded in favor of the state or an aggrieved person may initiate a claim against the auction recovery fund created in Section 4707.25 of the Revised Code as a result of the licensee’s actions, whichever is applicable.

Rev.6-15-2015

Terms and Conditions of Auction

Rev.8-14-2014

Additional Terms & Conditions: FINE & DECORATIVE ARTS AUCTIONS

FINE AND DECORATIVE ARTS TERM A: LIMITED WARRANTY: Auctioneer warrants authorship, period or culture of each lot sold in this catalog as set out in the BOLD-face type heading in the catalog description of the lot, with the following exclusions. This warranty does not apply to:

i. authorship of any paintings, drawings or sculpture created prior to 1870, unless the lot is determined to be a counterfeit which has a value at the date of the claim for rescission which is materially less than the purchase price paid for the lot; or

ii. any catalog description where it was specifically mentioned that there is a conflict of specialist opinion on the authorship of a lot; or

iii. authorship which on the date of sale was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist or craftsman, his students, school, workshop or followers; or

iv. the identification of periods or dates of execution which may be proven inaccurate by means of scientific processes not generally accepted for use until after publication of the catalog, or which were unreasonably expensive or impractical to use at the time of publication of the catalog.

The term counterfeit is defined as a modern fake or forgery, made less than fifty years ago with the intent to deceive. The authenticity of signatures, monograms, initials or other similar indications of authorship is expressly excluded as a controlling factor in determining whether a work is a counterfeit under the meaning of these Terms and Conditions of Auction.

FINE AND DECORATIVE ARTS TERM B: GLOSSARY OF TERMS: Terms used in this catalog have the following meanings. Please note that all statements in this catalog, excluding those in BOLD-face type, regarding authorship, attribution, origin, date, age, provenance and condition are statements of opinion and are not treated as a statement of fact.

1. THOMAS MORAN In our opinion, the work is by the artist.2. ATTRIBUTED TO THOMAS MORAN In our opinion, the work is of the period of the artist which may be whole or in part the

work of the artist.3. STUDIO, (CIRCLE OR WORKSHOP) OF THOMAS MORAN In our opinion, the work is of the period and closely relates to his style.4. SCHOOL OF THOMAS MORAN In our opinion, the work is by a pupil or a follower of the artist.5. MANNER OF THOMAS MORAN In our opinion, the work is in the style of the artist and is of a later period.6. AFTER THOMAS MORAN In our opinion, this work is a copy of the artist.7. ASCRIBED TO THOMAS MORAN In our opinion, this work is not by the artist, however, previous scholarship has noted this to be a

work by the artist. 8. SIGNED (OR DATED) The work has a signature (or date) which is in our opinion is genuine.9. BEARS SIGNATURE (OR DATE) The work has a signature (or date) which in our opinion is not authentic.

FINE AND DECORATIVE ARTS TERM C: PRESENTMENT: The warranty as to authorship is provided for a period of one (1) year from the date of the auction and is only for the benefit of the original purchaser of record and is not transferable.

FINE AND DECORATIVE ARTS TERM D: The Auction is not on approval. Under extremely limited circumstances (e.g. gross cataloging error), not including attributions in BOLD-face type, which are addressed in Term F below, a purchaser who did not bid from the floor may request Auctioneer to evaluate voiding a sale; such request must be made in writing detailing the alleged gross error, and submission of the lot to Auctioneer must be pre-approved by Auctioneer. A bidder must notify the appropriate department head (check the inside front cover of the catalog or our website for a listing of department heads) in writing of the purchaser’s request within three (3) days of the non-floor bidder’s receipt of the lot. Any lot that is to be evaluated for return must be received in our offices within 40 days after Auction. AFTER THAT 40-DAY PERIOD, NO LOT MAY BE RETURNED FOR ANY REASON. Lots returned must be in the same condition as when sold and must include any Certificate of Authenticity. No lots purchased by floor bidders (including those bidders acting as agents for others) may be returned. Late remittance for purchases may be considered just cause to revoke all return privileges.

FINE AND DECORATIVE ARTS TERM E: The catalog descriptions are provided for identification purposes only. Bidders who intend to challenge a BOLD-face provision in the description of a lot must notify Auctioneer in writing within forty (40) days of the Auction’s conclusion. In the event Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title or the BOLD-face section of description is incorrect, or other transfer or condition issue is claimed, Auctioneer’s liability shall be limited to rescission of sale and refund of purchase price. In no case shall Auctioneer’s maximum liability exceed the successful bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed from the close of the Auction, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

FINE AND DECORATIVE ARTS TERM F: Any claim as to authorship, provenance, authenticity, or other matter under the remedies provided in the Fine Arts Terms and Conditions or otherwise must be first transmitted to Auctioneer by credible and definitive evidence within the applicable claim period. Auctioneer, in processing the written claim, may require the Purchaser to obtain the written opinion of two recognized experts in the field who are mutually accepted by Auctioneer and Purchaser. Upon receipt of the two opinions, Auctioneer shall determine whether to rescind the sale. The Purchaser’s claim must be presented in accord with the remedies provided herein and is subject to the limitations and restrictions provided (including within the described time limitations). Regardless of Purchaser’s submissions there is no assurance after such presentment that Auctioneer will validate the claim. Authentication is not an exact science and contrary opinions may not be recognized by Auctioneer. Even if Auctioneer agrees with the contrary opinion of such authentication and provides a remedy within these Terms and Conditions or otherwise, our liability for reimbursement for bidder’s third party opines shall not exceed $500. The right of rescission, return, or any other remedy provided in these Terms and Conditions, or any other applicable law, does not extend to authorship of any lot which at the date of Auction was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist, his students, school, workshop or followers. Purchaser by placing a bid expressly waives any claim or damage based on such subsequent information as described herein. It is specifically understood that any refund agreed to by the Auctioneer would be limited to the purchase price.

FINE AND DECORATIVE ARTS TERM G: Provenance and authenticity, excluding attributions in BOLD-face type, are guaranteed by neither the consignor nor Auctioneer. While every effort is made to determine provenance and authenticity, it is the responsibility of the Bidder to arrive at their own conclusion prior to bidding.

FINE AND DECORATIVE ARTS TERM H: On the fall of Auctioneer’s hammer, Buyers of Fine Arts and Decorative Arts lots assumes full risk and responsibility for lot, including shipment by common carrier or third-party shipper, and must provide their own insurance coverage for shipments.

FINE AND DECORATIVE ARTS TERM I: Auctioneer complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A purchaser is required to provide appropriate documents and the payment of associated fees, if any. Purchaser is responsible for providing a shipping address that is suitable for the receipt of a firearm.

FINE AND DECORATIVE ARTS TERM J: Right of Inspection and Return on Certain Lots. Framed Lots estimated at $1000 or less shall not be unframed for inspection and may not be returned based on condition and are sold “AS IS”.

Further to paragraph 36A in the Terms and Conditions of Auction, please note that items containing ivory may not be shipped internationally or in some cases, domestically. By placing a bid the bidder acknowledges that he is aware of the restriction and takes responsibility in obtaining and paying for any license or permits relevant to the delivery of the product. Heritage Auctions does not accept liability for errors or for failure to mark lots containing protected or regulated species.

Heritage Auctions strongly encourages in-person inspection of lots by the Bidder. While Heritage is not obligated to provide a condition report of each lot, Bidders may feel free to contact the department for a Condition Report, and Heritage will attempt to furnish one, but shall not be liable for failing to do so. Condition is often detailed online, but is not included in our catalogues. The Bidder should review online descriptions, as the descriptions supersede catalog descriptions and any condition reports otherwise provided. Heritage condition statements whether appearing in the catalog, online, or at a person’s request are based on a visual inspection and are for guidance only and should not be relied upon as statements of fact, and do not constitute a representation, warranty, or assumption of liability by Heritage. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. All lots offered regardless of a condition report are sold “AS IS”.

For wiring instructions call the Credit department at 877-HERITAGE (437-4824) or e-mail: [email protected]

New York State Auctions OnlyNotice as to an Auction in New York City. These Terms and Conditions of Sale are designed to conform to the applicable sections of the New York City Department of Consumer Affairs Rules and Regulations as Amended. This sale is a Public Auction Sale conducted by Heritage Auctioneers & Galleries, Inc. #1364738. The New York City licensed auctioneers are: Samuel Foose 0952360; Robert Korver 1096338; Kathleen Guzman 0762165; Michael J. Sadler 1304630; Scott Peterson 1306933; Andrea Voss 1320558; Nicholas Dawes 1304724; Ed Beardsley 1183220; Bob Merrill 1473403; Paul Minshull 2001161; Fiona Elias 2001163; Brian Nalley 2001162; Jennifer Marsh 2009623; Alissa Ford 2009565, who will conduct the Sale on behalf of itself and Heritage Auctioneers & Galleries, Inc. All lots are subject to: the consignor’s rights to bid thereon in accord with these Terms and Conditions of Sale, consignor’s option to receive advances on their consignments, and Auctioneer, in its sole discretion, may offer limited extended financing to registered bidders, in accord with Auctioneer’s internal credit standards or receive a guaranty. See below Symbol Key relating to any symbols following a lot number. A registered bidder may also inquire whether a lot is subject to an advance or a reserve. On lots bearing an estimate, the term refers to a value range placed on an item by the Auctioneer in its sole opinion but the final price is determined by the bidders.

■ Irrevocable BidsA party has provided Heritage with an irrevocable bid on this lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder. If the irrevocable bidder is the successful bidder, he or she will be required to pay the full Buyer’s Premium and will not be otherwise compensated.

▲ GuaranteeThe seller has been guaranteed a minimum price by a third party. Any third parties providing a guarantee benefit financially if a guaranteed lot is sold successfully.

Rev 9-25-2015

SYMBOL KEY

How to Ship Your Purchases

Shippers that Heritage has used are listed below. However, you are not obligated to choose from the following and may provide Heritage with information of your preferred shipper.

Navis Pack & Ship The Packing & Moving Center Craters & Freighters 11009 Shady Trail 2040 E. Arkansas Lane, Ste #222 2220 Merritt Drive, Suite 200 Dallas, TX 75229 Arlington, TX 76014 Garland, TX 75041 Ph: 972-870-1212 Ph: 817-795-1999 Ph: 972-840-8147 Fax: 214-409-9001 Fax: 214-409-9000 Fax: 214-780-5674 [email protected] [email protected] [email protected]

• It is the Third Party Shipper’s responsibility to pack (or crate) and ship (or freight) your purchase to you. Please make all payment arrangements for shipping with your Shipper of choice.

• Any questions concerning Third Party Shipping can be addressed through our Client Services Department at 1-866-835-3243.

• Successful bidders are advised that pick-up or shipping arrangements should be made within ten (10) days of the auction or they may be subject to storage fees as stated in Heritage’s Terms & Conditions of Auction, item 35.

Agent Shipping Release Authorization form

Heritage Auction Galleries requires “Third Party Shipping” for certain items in this auction not picked up in person by the buyer. It shall be the responsibility of the successful bidder to arrange pick up and shipping through a third party; as to such items auctioneer shall have no liability.

Steps to follow:

1. Select a shipping company from the list below or a company of your choosing which will remain on file and in effect until you advise otherwise in writing.

2. Complete, sign, and return an Agent Shipping Release Authorization form to Heritage (this form will automatically be emailed to you along with your winning bid(s) notice or may be obtained by calling Client Services at 866-835-3243). The completed form may be faxed to 214-409-1425.

3. Heritage Auctions’ shipping department will coordinate with the shipping company you have selected to pick up your purchases.

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NOTICE of CITES COMPLIANCE; When purchasing items made from protected species.Any property made of or incorporating endangered or protected species or wildlife may have import and export restrictions established by the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES). These items are not available to ship Internationally or in some cases, domestically. By placing a bid the bidder acknowledges that he is aware of the restriction and takes responsibility in obtaining and paying for any license or permits relevant to delivery of the product. Lots containing potentially regulated wildlife material are noted in the description as a convenience to our clients. Heritage Auctions does not accept liability for errors or for failure to mark lots containing protected or regulated species.

38186

THE ART OF JUDITH LEIBER

LUXURY ACCESSORIESOctober 9 | Dallas | Live & Online

Inquiries:

Diane D’Amato

212-486-3518 | [email protected]

Heritage is proud to present this amazing collection of Judith Leiber minaudieres.

This auction will contain 500 lots of Leiber’s most recognizable designs.

mailto:[email protected]

VINTAGE MOVIE POSTER AUCTION

King Kong (RKO, 1933). Three Sheet (40.25" X 79") Style B.Realized: $388,375 | November 2012

EVERY YEAR HERITAGE AUCTIONS HOLDS THREE SIGNATURE® VINTAGE MOVIE POSTER AUCTIONS

CONSIGN YOUR VALUABLE POSTER COLLECTION NOW.

Additionally, be sure to check out our weekly Sunday Internet Movie Poster Auctions all year long.

To view lots and bid online visit HA.com/MoviePosters.

35583

London After Midnight (MGM, 1927). One Sheet (27" X 41").Realized: $478,000 | November 2014

The All-Time Highest Auction Price Realized for any Movie Poster!

Inquiries: 877.437.4824

GREY SMITH | Director, Movie Poster Auctions ext 1367 | [email protected]

30329

QUALIFIED APPRAISALSBY QUAL IF IED APPRA ISERS

For Your Fine Art, Jewelry, Wine and Collectibles

Inquiries: 877-HERITAGE (437-4824)

Meredith Meuwly, ISA CAPP

ext. 1631

[email protected]

USPAP Compliant Reports for Estates & Insurance

Competitive Rates

Short Turnaround Times

Access to Over 75 Specialists

Confidential Consultations

Inquiries: 877.437.4824

GREY SMITH | Director, Movie Poster Auctions ext 1367 | [email protected]

Department Specialists For the extensions below, please dial 877-HERITAGE (437-4824)

Comics & Comic ArtHA.com/ComicsEd Jaster, Ext. 1288 • [email protected] Lon Allen, Ext. 1261 • [email protected] Sandoval, Ext. 1377 • [email protected]

Todd Hignite, Ext. 1790 • [email protected]

Animation ArtJim Lentz, Ext. 1991 • [email protected]

Entertainment & Music MemorabiliaHA.com/Entertainment

Margaret Barrett, Ext. 1912 • [email protected] **Garry Shrum, Ext. 1585 • [email protected] Harmeyer, Ext. 1956 • [email protected] Hickey, Ext. 1264 • [email protected]

Vintage Guitars & Musical InstrumentsHA.com/GuitarMike Gutierrez, Ext. 1183 • [email protected] Evans, Ext. 1201 • [email protected]

Fine ArtAmerican Indian ArtHA.com/AmericanIndianDelia E. Sullivan, Ext. 1343 • [email protected]

American & European ArtHA.com/FineArtEd Jaster, Ext. 1288 • [email protected] Aviva Lehmann, Ext. 1519 • [email protected] *Ariana Hartsock, Ext. 1283 • [email protected] Ford, Ext. 1926 • [email protected] ***Marianne Berardi, Ph.D., Ext. 1506 • [email protected]

Decorative ArtsHA.com/DecorativeKaren Rigdon, Ext. 1723 • [email protected] Mani, Ext. 1677 • [email protected] **

20th & 21st Century DesignHA.com/DesignKatie Nartonis, Ext. 1704 • [email protected] **Karen Rigdon, Ext. 1723 • [email protected]

Illustration ArtHA.com/IllustrationEd Jaster, Ext. 1288 • [email protected]

Todd Hignite, Ext. 1790 • [email protected]

Tiffany, Lalique & Art GlassHA.com/DesignNicholas Dawes, Ext. 1605 • [email protected] *

Modern & Contemporary ArtHA.com/ModernFrank Hettig, Ext. 1157 • [email protected] Sherratt, Ext. 1505 • [email protected] ***Leon Benrimon, Ext. 1799 • [email protected] *

PhotographsHA.com/PhotographsEd Jaster, Ext. 1288 • [email protected] Russell, Ext. 1231 • [email protected] *

Fine Silver & Objects of VertuHA.com/SilverKaren Rigdon, Ext. 1723 • [email protected]

Texas Art HA.com/TexasArtAtlee Phillips, Ext. 1786 • [email protected]

Handbags & Luxury AccessoriesHA.com/LuxuryDiane D'Amato, Ext. 1901 • [email protected] *

Max Brownawell, Ext. 1693 • [email protected] *

Barbara Conn, Ext. 1336 • [email protected]

HistoricalAmericana & PoliticalHA.com/HistoricalTom Slater, Ext. 1441 • [email protected] Ackerman, Ext. 1736 • [email protected] Michael Riley, Ext. 1467 • [email protected] John Hickey, Ext. 1264 • [email protected]

Arms & Armor HA.com/ArmsArmor

David Carde, Ext. 1881 • [email protected]

Cliff Chappell, Ext. 1887 • [email protected] ***

Jason Watson, Ext. 1630 • [email protected]

Automobilia HA.com/Automobilia

Nicholas Dawes, Ext. 1605 • [email protected] *

Civil War & MilitariaHA.com/CivilWar

David Carde, Ext. 1881 • [email protected]

Historical ManuscriptsHA.com/Manuscripts

Sandra Palomino, Ext. 1107 • [email protected] *

Bryan Booher, Ext. 1845 • [email protected]

JudaicaHA.com/Judaica

Erin Patzewitsch, Ext. 1575 • [email protected]

Rare BooksHA.com/Books

James Gannon, Ext. 1609 • [email protected]

Lloyd Currey, Ext. 1885 • [email protected] *

Space ExplorationHA.com/Space

Michael Riley, Ext. 1467 • [email protected]

John Hickey, Ext. 1264 • [email protected]

TexanaHA.com/Texana

Sandra Palomino, Ext. 1107 • [email protected] *

Bryan Booher, Ext. 1845 • [email protected]

Domain Names & Intellectual PropertyHA.com/IP

Aron Meystedt, Ext. 1362 • [email protected]

JewelryHA.com/Jewelry

Jill Burgum, Ext. 1697 • [email protected]

Peggy Gottlieb, Ext. 1847 • [email protected] **

Luxury Real EstateHA.com/LuxuryRealEstate

Nate Schar, Ext. 1457 • [email protected]

Marina Medina, Ext. 1976 • [email protected]

9-8-2015

TimepiecesHA.com/Timepieces

Jim Wolf, Ext. 1659 • [email protected] Fossner, Ext. 1208 • [email protected] *

WineHA.com/Wine

Frank Martell, Ext. 1753 • [email protected] **Amanda Crawford, Ext 1821 • [email protected] **

ServicesAppraisal ServicesHA.com/Appraisals

Meredith Meuwly, Ext. 1631• [email protected]

CareersHA.com/Careers

Charity AuctionsKristen Schultz, Ext. 1775 • [email protected]

Corporate & Institutional Collections/VenturesMeredith Meuwly, Ext. 1631 • [email protected]

Credit DepartmentMarti Korver, Ext. 1248 • [email protected]

Media & Public RelationsNoah Fleisher, Ext. 1143 • [email protected]

Museum ServicesMeredith Meuwly, Ext. 1631 • [email protected]

Special CollectionsNicholas Dawes, Ext. 1605 • [email protected] *

Trusts & EstatesHA.com/Estates

Mark Prendergast, Ext. 1632 • [email protected]

Carolyn Mani, Ext. 1677 • [email protected] **

Michelle Castro, Ext. 1824 • [email protected]

Elyse Luray, Ext. 1369 • [email protected] *

LocationsDallas (World Headquarters)214.528.3500 • 877-HERITAGE (437-4824) 3500 Maple Ave. • Dallas, TX 75219

Dallas (Fine & Decorative Arts – Design District Annex) 214.528.3500 • 877-HERITAGE (437-4824) 1518 Slocum St. • Dallas, TX 75207

New York 212.486.3500 445 Park Avenue • New York, NY 10022

Beverly Hills 310.492.86009478 W. Olympic Blvd. Beverly Hills, CA 90212

San Francisco877-HERITAGE (437-4824) 478 Jackson Street San Francisco, CA 94111

DALLAS | NEW YORK | BEVERLY HILLS | SAN FRANCISCO | CHICAGO | PARIS | GENEVA | AMSTERDAM | HONG KONG

Corporate OfficersR. Steven Ivy, CEO & Co-ChairmanJames L. Halperin, Co-ChairmanGregory J. Rohan, President *Paul Minshull, Chief Operating OfficerTodd Imhof, Executive Vice PresidentKathleen Guzman, Managing Director-New York

* Primary office location: New York** Primary office location: Beverly Hills*** Primary office location: San Francisco

Vintage Movie PostersHA.com/MoviePosters

Grey Smith, Ext. 1367 • [email protected] Carteron, Ext. 1551 • [email protected]

Nature & ScienceHA.com/NatureAndScience

Jim Walker, Ext. 1869 • [email protected] Fong/Walker, Ext. 1870 • [email protected] Kissick, Ext. 1995 • [email protected]

NumismaticsCoins – United StatesHA.com/Coins

David Mayfield, Ext. 1277 • [email protected]

Win Callender, Ext. 1415 • [email protected]

Chris Dykstra, Ext. 1380 • [email protected]

Mark Feld, Ext. 1321 • [email protected]

Sam Foose, Ext. 1227 • [email protected]

Jim Jelinski, Ext. 1257 • [email protected]

Bob Marino, Ext. 1374 • [email protected]

Brian Mayfield, Ext. 1668 • [email protected] ***

Harry Metrano, Ext. 1809 • [email protected] **

Sarah Miller, Ext. 1597 • [email protected] *

Al Pinkall, Ext. 1835 • [email protected]

Mike Sadler, Ext. 1332 • [email protected]

LeeAnn Sparkman, Ext. 1326 • [email protected]

Rare CurrencyHA.com/Currency

Allen Mincho, Ext. 1327 • [email protected]

Len Glazer, Ext. 1390 • [email protected]

Dustin Johnston, Ext. 1302 • [email protected]

Michael Moczalla, Ext. 1481 • [email protected]

Jason Friedman, Ext. 1582 • [email protected]

Carl Becker, Ext. 1748 • [email protected]

World & Ancient CoinsHA.com/WorldCoins

Cristiano Bierrenbach, Ext. 1661 • [email protected] Warren Tucker, Ext. 1287 • [email protected] Michaels, Ext. 1606 • [email protected] **Matt Orsini, Ext. 1523 • [email protected] Peplinski, Ext. 1959 • [email protected] Spiegel, Ext. 1524 • [email protected]

Sports CollectiblesHA.com/Sports

Chris Ivy, Ext. 1319 • [email protected]

Calvin Arnold, Ext. 1341 • [email protected] **

Peter Calderon, Ext. 1789 • [email protected]

Tony Giese, Ext. 1997 • [email protected]

Derek Grady, Ext. 1975 • [email protected]

Mike Gutierrez, Ext. 1183 • [email protected]

Lee Iskowitz, Ext. 1601 • [email protected] *

Mark Jordan, Ext. 1187 • [email protected]

Chris Nerat, Ext. 1615 • [email protected]

Rob Rosen, Ext. 1767 • [email protected]

Jonathan Scheier, Ext. 1314 • [email protected]

HA.com/Consign • Consignment Hotline 877-HERITAGE (437-4824) • All dates and auctions subject to change after press time. Go to HA.com for updates.

Auctioneer licenses: TX: Paul R. Minshull #16591. CA Bond: Paul R. Minshull #LSM0605473; Heritage Auctioneers & Galleries, Inc.: CA-Bond #RSB2005644. FL: Paul R. Minshull #AU4563; Heritage Numismatic Auctions, Inc.: FL AB665. NY: Paul R. Minshull #DCA-2001161; Heritage Auctioneers & Galleries, Inc.: New York City #41513036 and NYC Second Hand Dealers License #1364739. BP 12-25%; see HA.com.

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HERITAGE INTERNET-ONLY AUCTIONS with Live SessionsComics – 6PM CT SundaysMovie Posters - 6PM CT SundaysSports - 10PM CT Sundays (Extended Bidding)U.S. Coins - 7PM CT Sundays & TuesdaysCurrency – 7PM CT TuesdaysLuxury Accessories - 9PM CT Tuesdays

Timepieces & Jewelry – 8PM CT TuesdaysNature & Science - 10PM CT ThursdaysRare Books & Autographs – 8PM CT ThursdaysWorld Coins - 8PM CT ThursdaysWine - 10PM CT 2nd ThursdaysMonthly World Coins - 8PM CT final Sundays

Numismatic Auctions Location Auction Dates Consignment Deadline

U.S. Currency Dallas October 21-24, 2015 Closed

U.S. Coins, Gardner Collection, Part IV New York October 27, 2015 Closed

U.S. Coins New York October 29-30, 2015 ClosedU.S. Coins (Houston Money Show) Houston December 3-4, 2015 October 20, 2015World Coins Hong Kong December 10-12, 2015 October 19, 2015World Currency Hong Kong December 11-12, 2015 October 20, 2015World & Ancient Coins (NYINC) New York January 3-4, 2016 November 13, 2015U.S. Coins (FUN) Tampa January 6-8, 2016 November 23, 2015U.S. & World Currency (FUN) Tampa January 6-12, 2016 November 16, 2015Fine & Decorative Arts Auctions Location Auction Dates Consignment Deadline

Nature & Science Dallas October 4, 2015 Closed

20th & 21st Century Design Dallas October 10, 2015 Closed

Illustration Art New York October 14, 2015 Closed

Nature & Science New York October 15, 2015 Closed

American Art New York November 16, 2015 Closed

American Indian Art Dallas November 6, 2015 Closed

Texas Art Dallas November 7, 2015 Closed

Photographs Dallas November 14, 2015 Closed

Modern & Contemporary Art Dallas November 13, 2015 Closed

Fine Silver & Objects Of Vertu Dallas November 12, 2015 Closed

Tiffany, Lalique & Art Glass Dallas November 23, 2015 Closed

European Art Dallas December 9, 2015 October 2, 2015

Nature & Science Dallas January 31, 2016 November 17, 2015

Fine & Decorative Arts including Estates Dallas February 20, 2016 December 14, 2015

20th & 21st Century Design Dallas March 29, 2016 January 19, 2016

Fine Silver & Objects Of Vertu Dallas April 14, 2016 February 11, 2016

Illustration Art Dallas April 22, 2016 February 15, 2016

Photographs Dallas April 30, 2016 February 22,2016

American Art Dallas May 7, 2016 February 29, 2016

American Indian Art Dallas May 20, 2016 March 15, 2016

Texas Art Dallas May 21, 2016 March 14, 2016

Memorabilia & Collectibles Auctions Location Auction Dates Consignment Deadline

Entertainment & Music New York September 19-20, 2015 Closed

Guitars & Musical Instruments Dallas October 24, 2015 ClosedAnimation Art Dallas October 30, 2015 ClosedSports Dallas November 5-7, 2015 ClosedComics & Original Comic Art Beverly Hills November 19-20, 2015 October 6, 2015

Vintage Movie Posters Dallas November 21-22, 2015 September 29, 2015

Animation Art Dallas December 14, 2015 October 30, 2015Stallone - The Auction Los Angeles December 18-20, 2015 ClosedComics & Original Comic Art Dallas February 18-20, 2016 January 5, 2016

Entertainment & Music Dallas February 20, 2016 December 11, 2015

Sports New York February 20, 2016 December 30, 2015

Historical Collectibles Auctions Location Auction Dates Consignment Deadline

Americana & Political - The Merrill C. Berman Collection, III Dallas September 26, 2015 Closed

Arms & Armor - The Gary Robertson Collection Dallas October 25, 2015 Closed

Historical Manuscripts New York November 4, 2015 Closed

Rare Books New York November 4, 2015 ClosedSpace Exploration Dallas November 6, 2015 Closed

Americana & Political Dallas November 7, 2015 ClosedCivil War & Militaria Dallas December 11, 2015 October 20, 2015Arms & Armor Dallas December 13, 2015 October 22, 2015Americana & Political Dallas February 27, 2016 December 30, 2015Texana Dallas March 12, 2016 January 20, 2016

Rare Books New York April 6, 2016 February 15, 2016Historical Manuscripts Dallas Spring 2016 February 15, 2016

Luxury Lifestyle Auctions Location Auction Dates Consignment Deadline

Luxury Accessories Beverly Hills September 28-29, 2015 Closed

Fine Jewelry Beverly Hills September 28-29, 2015 Closed

Luxury Real Estate New Hampshire October 6, 2015 Closed

Timepieces New York October 29, 2015 Closed

Fine & Rare Wine Beverly Hills December 4-5, 2015 November 2, 2015

Fine Jewelry Dallas December 7-8, 2015 October 6, 2015

Luxury Accessories Dallas December 7-8, 2015 October 6, 2015

Luxury Real Estate TBD Winter 2015 October 15, 2015

Timepieces Dallas Spring 2016 February 15, 2016

Domain Names Location Auction Dates Consignment Deadline

Domain Names Dallas August 2016 July 15, 2016

INDEX

CALDER, ALEXANDER 69007

DIEBENKORN, RICHARD 69021

FORD, WALTON 69029

FRANCIS, SAM 69025

GABIN, LEO 69026

GORKY, ARSHILE 69022

GRAHAM, JOHN 69020

KLINE, FRANZ 69019

LICHTENSTEIN, ROY 69005, 69013

MINJUN, YUE 69009

MOTHERWELL, ROBERT 69018

MUNIZ, VIK 69010, 69015

RAMOS, MEL 69028

RAUSCHENBERG, ROBERT 69024

RUSCHA, ED 69011

SILLMAN, AMY 69027

THIEBAUD, WAYNE 69006

THOMPSON, BOB 69023

TOMASELLI, FRED 69030

WARHOL, ANDY 69003, 69004, 69012 69014, 69016

WEIWEI, AI 69008

WESSELMANN, TOM 69001, 69002, 69017

Modern and Contemporary Art Part 1: New York #5262 October 28, 2015

Art & Photos

Transcript of Modern and Contemporary Art Part 1: New York #5262 October 28, 2015