May 2 Modern & Contemporary Art Auction Afternoon Session #5258

MODERN & CONTEMPORARY ART
MAY 2, 2016 ❘ NEW YORK
AFTERNOON SESSION

Front Cover: PETRA CORTRIGHT, Lot 69078 (Detail)
Inside Front Cover: MARTIN KIPPENBERGER, Lot 69084 (Detail)
Inside Back Cover: FERNANDO BOTERO, Lot 69023 (Detail)
Back Cover: WASSILY KANDINSKY, Lot 69012

39983
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Auction #5258
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Floor Sessions 1-2
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2 E. 79th Street • New York, NY 10075
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Session 1 – AFTERNOON
Monday, May 2 • 2:00 PM ET • Lots 69001-69115
Session 2 – EVENING
Monday, May 2 • 7:00 PM ET • Lots 69200-69231
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May 2, 2016 | New York
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Modern & Contemporary Art
Afternoon Session

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STERLING RUBY Lot 69080
MODERN & CONTEMPORARY ART
AFTERNOON SESSION

6 To view full descriptions, enlargeable images and bid online, visit HA.com/5258
69001
André Lhote (1885-1962)
Paysage de la Drôme en hiver
Gouache on paper laid on canvas
20 x 27 inches (50.8 x 68.6 cm)
Signed with the artist’s stamp lower right: A Lhote
PROVENANCE:
Soufer Gallery, New York, 1980s;
Makassar-France, Paris;
Private collection, Great Neck, New York.
NOTE:
Dominique Bermann-Martin has kindly confirmed the authenticity of this lot,
which will be included in her forthcoming catalogue raisonné of the artist’s work.
Estimate: $8,000-$12,000

Afternoon Session, Auction #5258 | Monday, May 2, 2016 | 2:00 PM ET 7
69002 ●
Louis Valtat (1869-1952)
Scene de port, 1923
Oil on canvas
10-1/2 x 13-1/2 inches (26.7 x 34.3 cm)
Signed lower right: L. Valtat
PROVENANCE:
Sotheby’s London, July 1, 1987, lot 221;
Private collection.
Estimate: $25,000-$35,000

69003 ●
Louis Valtat (1869-1952)
Anémones et marguerites au vase bleu, 1933
Oil on canvas
21-3/4 x 18-1/8 inches (55.1 x 46 cm)
Signed lower right: L. Valtat
PROVENANCE:
Collection Modern Art Foundation, Vaduz, Genève;
Sotheby’s London, December 4, 1985, lot 233;
Private collection.
EXHIBITED:
Palais des Beaux-arts, Charleroi, “Autour du Fauvisme,” n.d. (label verso).
LITERATURE:
L. Valtat, Catalogue de l’oeuvre peint: 1869-1952, Tome 1, Neuchâtel,
1977, p. 323, no. 2901, illus.
Estimate: $40,000-$60,000

69004 ●
Ernst Ludwig Kirchner (1880-1938)
Mann mit Engel und Akt (Man with Angel and Nude), circa 1936,
and Sitzender Frauenakt (Sitting Nude), circa 1911, (double-sided work)
Brush and India ink over pencil on paper
17 x 12-1/2 inches (43.2 x 31.8 cm) (sight)
Signed upper left: E L Kirchner
PROPERTY FROM THE COLLECTION OF DORACE M. FICHTENBAUM,
DALLAS, TEXAS
NOTE:
This work is registered in the Ernst Ludwig Kirchner Archives, Wichtrach/Bern.
Estimate: $6,000-$8,000

69005
George Grosz (1893-1959)
Untitled, 1937
Ink on paper
19-3/4 x 15-1/2 inches (50.2 x 39.4 cm) (sheet)
Signed and dated lower right: Grosz / 37
Inscribed lower left: To Bernard & Becky X-mas 37 from George
PROVENANCE:
Collection of Bernard and Rebecca Reis, New York, gift from the artist;
Collection of Barbara Poe Levee, Los Angeles, California, by descent;
Private collection, Denver, Colorado, by descent.
Estimate: $7,000-$9,000

69006
Untitled (Policeman and Prostitutes), 1932
Ink and gouache on paper
Signed and dated lower right: Grosz / 1932
PROVENANCE:
Collection of Bernard and Rebecca Reis, New York;
Estimate: $50,000-$70,000

69007
Untitled (Old Man and Woman), 1944
Ink and gouache on paper
23-3/4 x 18 inches (60.3 x 45.7 cm) (sight)
Signed, dated, and inscribed lower right:
1944 / To Barbara & Jim to remember - Much love George Grosz
PROVENANCE:
Estimate: $50,000-$70,000

69008
Salvador Dalí (1904-1989)
Portrait, 1958
Brush and India ink on paper
38-1/4 x 29-1/4 inches (97.2 x 74.3 cm) (sight)
Signed lower center: Dalí
PROVENANCE:
Christie’s, New York, December 1, 1983, lot 120;
Private collection, Spain, acquired from the above, 1983;
Private collection, California.
NOTE:
In a letter dated August 2, 1983, Robert Descharnes confirmed the
authenticity of this lot.
We want to thank Mr. Bruce Hochman OS from the Salvador Dali Gallery,
San Juan Capistrano to confirm the authenticity of this lot.
Estimate: $70,000-$90,000

69009
Salvador Dalí (1904-1989)
View of Toledo, 1957
Ink on Strathmore paper
Signed and dated lower left: Dalí / 1957
PROVENANCE:
NOTE:
We want to thank Mr. Bruce Hochman OS from the Salvador Dali Gallery,
San Juan Capistrano to confirm the authenticity of this lot.
Estimate: $70,000-$90,000

69010
Bernard Buffet (1928-1999)
Delphinium bleus, 1965
Oil on canvas
39-3/8 x 31-7/8 inches (100.1 x 81 cm)
Signed and dated lower center: Bernard Buffet 65
PROVENANCE:
Private collection, New York;
Matsart Auctioneers & Appraisers, June 30, 2014, lot 148;
Private collection.
NOTE:
This lot is accompanied by a certificate of authenticity signed by
Maurice Garnier, September 18, 1999.
Estimate: $80,000-$120,000

69011
Marc Chagall (1887-1985)
Le peintre à la palette, 1983
Tempera on masonite
18-1/8 x 15 inches (46 x 38.1 cm)
Signed lower right: Marc / Chagall
PROVENANCE:
Private collection;
Matsart Auctioneers & Appraisers, February 19, 2013, lot 73;
Private collection.
NOTE:
This lot is accompanied by a certificate of authenticity by Comite Chagall,
Paris signed by Jean-Louis Prat, dated April 17, 1996, numbered 96588.
Estimate: $180,000-$240,000

69012
Wassily Kandinsky (1866-1944)
Untitled (Composition lyrique), 1922
Watercolor and India ink on paper
Signed and dated lower left: K / 22
PROVENANCE:
Richard G. Leahy, Chestnut Hill, Massachusetts;
E.V. Thaw, New York;
Galerie Krugier, Geneva, 1968;
Galerie Tarica, Paris;
Galerie Jacques Benador, Geneva, 1979;
Christie’s London, April 3, 1979, lot 127;
Leonard Hutton Galleries, New York;
Sotheby’s London, July 1, 1987, lot 471;
Private collection.
EXHIBITED:
Galerie Nierendorf, Berlin, 1923;
Musée Rath, Geneva, “L’Art du XXe siècle: Collections genevoises,” June 28-September 23, 1973;
Leonard Hutton Galleries, New York, “Jawlensky & Major German Expressionists,” October 17, 1980-January 1981 (label verso).
LITERATURE:
Musée Rath, L’Art du XXe siècle: Collections genevoises, Geneva, 1973, no. 55, illus.;
Leonard Hutton Galleries, Jawlensky & Major German Expressionists, New York, 1980, p. 39, no. 17, illus.;
V. Endicott Barnett, Kandinsky Watercolors: Catalogue Raisonné, 1922-1944, Volume 2, Ithaca, New York, 1994, p. 43, no. 586, illus.
Estimate: $400,000-$600,000
Wassily Kandinsky’s Untitled (Composition Lyrique) from 1922 signals a major turning point in his development of an abstract pictorial language,
namely his adoption of strong geometric forms toward the end of his Russian period (1915-21) and beginning of his Bauhaus period (1922-1933).
Untitled (Composition Lyrique) also demonstrates his extraordinary handling of watercolor as an expressive medium. Indeed, this particular
watercolor exemplifies what Kandinsky defined in his 1911 book, On the Spiritual in Art, as a complex “Composition,” where internal feelings
were systematically explored over a period of time through numerous studies - to be differentiated from the “Impression,” an art form based on
recognizable nature, and the “Improvisation,” one born impulsively out of the unconscious.
Kandinsky was a brilliant theoretician and teacher as much as a painter, and his magnum opus, On the Spiritual in Art, written during his early period
in Munich (1898-1914), laid the foundation for his revolutionary nonobjective art. In Part I, Kandinsky describes a new spiritual art for the era, one
deriving from the distinctive inner vision of the artist and sharing fundamentals with other art forms, such as music, dance, and theater. Influenced
by Symbolism, Cubism, and Fauvism, Kandinsky lists various prophets for this spiritual art, including the playwright Maurice Maeterlinck, composers
Richard Wagner and Claude-Achille Debussy, and painters Pablo Picasso and Henri Matisse. Part II is devoted to Kandinsky’s specific theories on
color and form. Colors have a superficial physical effect (e.g., lemon yellow hurts the eye) and a psychological or spiritual effect (e.g., warm red
can conjure up painful memories, or blue, heavenly associations). Color cannot exist independently of form, and certain forms accentuate certain
qualities of colors (e.g., a triangle sharpens the sensation of yellow, whereas a circle deepens the sensation of blue). Forms can either delineate
representational objects or stand alone as abstract entities. In a modern age of uncertainty, it is the goal of the artist to juxtapose colors and forms
stemming from a unique “internal necessity,” or “vibration of the soul.” Paradoxically, only then can a harmonious composition emerge.
Kandinsky’s formation of the avant-garde Der Blaue Reiter (The Blue Rider) with Franz Marc in Munich gave him a public context in which to
promote this spiritual art. The Blue Rider held its first exhibition at Thannhauser’s Galleries in 1911 and featured works by members Kandinsky, Marc,
Alexej von Jawlensky, Marianne von Werefkin, August Macke, and Gabriele Münter, as well as by international artists like Robert Delaunay, Henri
Rousseau, and Burliuk, who were pushing traditional art boundaries. In this show, Kandinsky debuted his new paintings, astounding in their formal
complexity, where each canvas was a kaleidoscope of fragmented, overlapping, and colliding planes, colors, and shapes. Over the next four years,
Kandinsky tested his theories from On the Spiritual in Art through Impressions, Improvisations, and Compositions. While some of these paintings
maintain representational references - animals, figures, riders, boats, water, mountains, and buildings - they evince full abstraction by 1914.
With the outbreak of World War I in 1914, Kandinsky was forced to return to his native Russia, and his affiliation there with avant-garde schools
and artists increasingly infused his expressionist abstract art with a hard-edged geometry. At the beginning of this seven-year period in Moscow,
Kandinsky married Nina de Andreevsky, the young, delightful daughter of a Russian general, and immersed himself in writing and teaching at
state institutions. In 1918, following the Russian Revolution, the painter-architect Vladimir Tatlin invited Kandinsky to become a member of the
Department of Visual Arts of the People’s Commissariat of Enlightenment, where he soon headed a studio, as well as the theater and film sections
of the Free State Art Schools. By 1920, he had founded and was directing the Institute of Artistic Culture (INKhUK). In these various leadership
positions, Kandinsky advocated for an integration of the arts, encouraging students to analyze objectively the shared elements among painting,
sculpture, architecture, music, dance, theater, and literature, and their effects on the psyche.

While teaching, Kandinsky also met influential artist-colleagues, especially Kasimir Malevich and
Alexander Rodchenko. Like Kandinsky, Malevich advanced a nonobjective art stemming from the artist’s
interior vision, yet his “Suprematist” vocabulary, which elevated the circle and the square, was purely
geometric. Rodchenko’s post-War “Constructivist” paintings also emphasized a geometric aesthetic,
but one that was materialistic and utilitarian rather than spiritual and autonomous. By 1921, Kandinsky’s
paintings evidenced a newfound appreciation for geometry inspired by these movements. Delineated
shapes — sometimes drawn with a compass or ruler — emerge, notably circles, points, disks, rings,
crescents, triangles, quadrilaterals, and linear groupings. Where his exuberant Blaue Reiter compositions
celebrated overlapping, blurred-edged forms with modulated color and swirling brushwork, Kandinsky
now began to employ negative space to differentiate geometric shapes, which appear to float in a galaxy.
From Malevich, Kandinsky borrowed “diagonality” as a way to orient his compositions and effect the
sensation of movement; shapes and colors often appear to disperse from a nucleus or axis and are either
activated or calmed depending on their relationship to other shapes and colors. Despite this increasing
geometrization of his compositions, Kandinsky still maintained his belief in the subjective power of the
artist, which manifested in his works as atmospheric, modulated colors and freely drawn contour lines.
Ultimately, it was his failure to join the Communist party and fully embrace the prevailing Constructivist
ideals of the art academies - which forbid subjectivity and expression - that compelled Kandinsky to leave
Russia for a teaching post at the Bauhaus in Weimar in 1922.
Kandinsky’s German friend from his days at the Free State Art Schools, Walter Gropius invited him to
join the faculty of the Bauhaus, which he had organized in 1919 as an art school where students applied
theories of visual elements to both fine arts and design. Bauhaus professors, including Lyonel Feininger,
Adolf Meyer, and Paul Klee, offered preliminary courses on form and led workshops in various crafts,
such as furniture, weaving, stained glass, and typography. Widely respected as a theorist and abstract
painter, Kandinsky taught his “theory of correspondences” - the physical and psychological effects
of colors and forms and their interrelationships - and became master of the mural workshop. In this
collaborative learning environment, he embraced the Bauhaus ethic of art in the service of functional
design for a modern society. Simultaneously, his own artwork from 1922-23 reflected the Constructivist-
like geometric aesthetic of the Bauhaus. For example, his Small Worlds lithograph portfolio and his major
painting Composition VIII (1923, The Solomon R. Guggenheim Museum, New York) exhibited new
geometric shapes — checkerboards, grids, parallel bars, criss-crossing lines, and needlelike diagonals -
which he combined with some irregular shapes and gestural passages of stippling, mottling, and loosely
applied paint.
During his Russian and early Bauhaus periods, Kandinksy painted numerous watercolors, both as studies
for paintings and as independent works like the present lot, Untitled (Composition Lyrique). Here, he
exhibits his masterful ability to create a geometric “universe” with translucent watercolors and India
ink. True to precepts outlined in On the Spiritual in Art, Untitled (Composition Lyrique) presents a
“symphonic” balance of complementary forms, colors and textures all deriving from the artist’s inner
vision. Against the negative space of the cream paper, a cosmos of shapes appears to drift outward
from a small pale grey “sun” in the approximate center of the composition. At the same time, Kandinsky
simulates inward thrusting motion with a diagonal “needle” on the left, striped “golf tee” along the
bottom, “mountain peaks” in the lower right, and two “arrows” in the upper right. Kandinsky highlights
Suprematist, Constructivist and Bauhaus shapes and patterns, including the needle, circles, criss-crossing
lines, checkerboard, and “horn” on the left, and, on the right, the colored and mottled rectangles,
arrows, and semi-circles. Not succumbing to a machinist geometry, however, he accents freely-drawn
and irregular forms - the whiplash curve bordering the left side, the biomorphic forms of the yellow- and
blue-haloed “planets,” and the imprecise edges of the rectangles - as well as painterly effects - the blurred
auras around the planets and various stippled and cross-hatched passages. In addition, Kandinsky vaguely
references the landscape elements of his earliest Munich paintings, such as the pink and blue-yellow
mountain peaks in the lower right and the “buildings” atop the stippled rectangle and the tail of the horn.
His predominantly pale blue, red, and yellow colors, however, reference a more muted Bauhaus palette
rather than the bright palette of his Munich paintings; in the present lot, these soft colors intentionally
contrast with the pulsing, dark passages of India ink. Untitled (Composition Lyrique) reveals an expansive
cosmos of expressive geometric forms. The directional sweep of these forms - from the rectangle in
the lower right through the whiplash curve on the left and finally through the upper planets - creates a
circularity that urges the viewer to look inward at this personal world, a perfect metaphor for Kandinsky’s
very instruction for making art.

69013
Fernand Léger (1881-1955)
Composition, 1925
Watercolor on paper
14 x 10-3/4 inches (35.6 x 27.3 cm) (sheet)
Initialed and dated lower right: F.L. / 25
PROVENANCE:
Humberto Gómez Osorio, Bogota and Madrid;
Private collection, Madrid, acquired from the above, circa 1992;
Private collection.
NOTE:
This work has been authenticated by Georges Bauquier, July 15, 1985.
This lot is accompanied by a certificate of authenticity by Irus Hansma,
dated January 20, 2014, and will be included in her forthcoming catalogue
raisonné of the works on paper of Fernand Léger.
Estimate: $150,000-$250,000

69014
Max Ernst (1891-1976)
Ohne Titel, 1949
Pen and ink and collage on paper
10-3/4 x 8 inches (27.3 x 20.3 cm) (sight)
Signed in pencil lower right: Max Ernst
PROVENANCE:
Simone Breton-Collinet, Paris;
Private collection.
LITERATURE:
Werner Spies, Sigrid & Günter Metken, Max Ernst, Oeuvre-Katalog, Werke 1939-1953,
Cologne, 1987, p. 246, no. 2775.
Estimate: $6,000-$8,000

69015
Max Ernst (1891-1976)
Untitled (Queen), 1964
Glass, in two parts
23 x 10 x 10 inches (58.4 x 25.4 x 25.4 cm)
Ed. 2/3
Signed, dated, and numbered along the base
PROVENANCE:
Collection of Bernard an Rebecca Reis, New York;
In 1963, Max Ernst collaborated with the Murano glass studio Fucina
degli Angeli to produce several series of glass multiples. The studio
had been revived by Ernst’s ex-wife and friend Peggy Guggenheim,
who enlisted other artists such as Arp, Picasso and Cocteau to
produce works there as well. Cocteau coined name for the foundry,
which means, “Forge of the Angels”. Egidio Constantini said of his
collaboration with Max Ernst: “The works that I made with Max Ernst
are among the most wonderful that the Fucina has produced”.
Estimate: $20,000-$30,000
69016 No Lot

69017
William Baziotes (1912-1963)
The Boudoir, 1944
Oil on canvas
35 x 50 inches (88.9 x 127 cm)
Signed lower right: Baziotes
Titled verso: The Boudoir
PROVENANCE:
The artist;
Art of This Century, New York, acquired from the above;
EXHIBITED:
Art of This Century, New York, “Paintings and Drawings by William Baziotes,” October 3-21, 1944;
Los Angeles County Museum of Art, Los Angeles, California, “New York School: The First
Generation, Paintings of the 1940’s and 1950’s,” June 16-August 1, 1965;
Solomon R. Guggenheim Museum, New York, “Peggy Guggenheim’s Other Legacy,” March 6-May
3, 1987;
Peggy Guggenheim Collection, Venice, “William Baziotes: Paintings and Drawings, 1934-1962,”
September 5, 2004-January 9, 2005.
LITERATURE:
Maurice Tuchman, New York School: The First Generation, Paintings of the 1940’s and 1950’s, Los
Angeles County Museum of Art, Los Angeles, 1965, p. 57, cat. no.1, illus.;
Melvin Lader, Peggy Guggenheim’s Other Legacy, Guggenheim, New York, 1987, p. 6, no. 6, illus.;
Michael Preble, William Baziotes: Paintings and Drawings, 1934-1962, Skira Editore, Milan, 2004, p.
43, fig. 6, illustrated in color, and referenced p. 42.
Estimate: $40,000-$60,000

69018
Robert Motherwell (1915-1991)
Pierrot’s Hat, 1943
Watercolor, gouache, pasted papers, pasted glass button, and ink on
paperboard
19-3/4 x 14-1/8 inches (50.2 x 35.9 cm)
Signed and dated in pencil lower center: Motherwell 43
Signed, dated, and inscribed verso: Robert Motherwell / NYC / 6-IV-43
PROVENANCE:
Mr. and Mrs. Pierre Chareau, circa 1944;
Dollie Chareau, 1950, by descent;
Private collection, 1967.
EXHIBITED:
Samuel M. Kootz Gallery, New York, October 1949;
New Gallery, Bennington College, Vermont, 1959, cat. no. 5, listed as
Collage;
Museum of Modern Art, New York (and elsewhere) “Robert Motherwell,”
September 1965, cat. no. 2;
LITERATURE:
Arnason, H. H., “On Robert Motherwell and His Early Work,” Art
International 10, no. 1, January 20, 1966, p. 23, illus. p., 25 (fig. 4), referred
to in text and in illustration as Collage;
Wescher, Herta, translated by Robert E. Wolf, Collage, Harry N. Abrams,
New York, 1968, pp. 300-301;
Pleynet, Marcelin, “La Méthode de Robert Motherwell,”Tel Quel 71, no.
73, Autumn 1977, p. 189, as Collage;
Arnason, H. H., Robert Motherwell, Harry N. Abrams, New York, 1982, p.
19, pl. 8, illustrated in color;
Mattison, Robert Saltonstall, “The Art of Robert Motherwell during the
1940s,” Ph.D. dissertation, Princeton University, 1985, pp. 97-101, illus.
n.p. (fig. 59, as Untitled);
Pleynet, Marcelin, “La Méthode de Robert Motherwell,” in Les Etats-Unis
de la peinture, Editions du Seuil, Paris, 1986, p. 71, as Collage;
Mattison, Robert Saltonstall, Robert Motherwell: The Formative Years,
Studies in the Fine Arts: The Avant-Garde 56, UMI Research Press, Ann
Arbor, Michigan, 1987, p. 80, illus. p. 84 (fig. 24, as Untitled);
Gildbert, Gregory Mark, “The Alternate Aesthetic: Robert Motherwell’s
Early Collages and the Formative Years of Abstract Expressionism,” Ph.D.
dissertation, State University of New Jersey, Rutgers, 1998, pp. 38-39, 93-
94, illus. p. 518 (fig. 3).
Flam, Jack, Katy Rogers and Tim Clifford, Robert Motherwell Paintings and
Collages: A Catalogue Raisonné, 1941-1999, Volume III, Yale University
Press, New Haven and London, 2012, p. 2, no. C1, illustrated in color.
Estimate: $20,000-$30,000

69019
Francisco Zúñiga (1912-1998)
Victoria sentada, 1963
Bronze with brown patina
8-3/4 x 8-1/2 x 7 inches (22.2 x 21.6 x 17.8 cm)
Ed. V/VI
Signed, dated, and numbered along the base
PROVENANCE:
Collection of the artist;
Dr. Jerome Franklin, Beverly Hills, California.
LITERATURE:
Francisco Zúñiga: Catálogo razonado volúmen I, escultura 1923-1993, Mexico City,
Albedrío & Fundación Zúñiga Laborde, 1999, no. 381, p. 249, another cast illustrated.
Estimate: $10,000-$15,000

69020 ●
Rafael Coronel (b. 1932)
Dialogo III
Oil on canvas
31-1/4 x 39-1/4 inches (79.4 x 99.7 cm)
Signed lower right: R. Coronel
Titled and inscribed on stretcher: “Dialogo III” RCA
PROVENANCE:
Terry K. Watanabe;
TKW Charitable Trust, Las Vegas, Nevada, donated from the above.
Estimate: $15,000-$20,000

69021
José Clemente Orozco (1883-1949)
Untitled (Guerreros Aztecas), circa 1945
Gouache and mixed media on paper laid on paper
11-3/8 x 15-3/4 inches (28.9 x 40 cm)
Signed lower right: J.C. Orozco
PROVENANCE:
Estate of Jose Iturbi and Marion Seabury;
Bonhams, Los Angeles, California, June 2, 2008, lot 238;
Private collection.
NOTE:
This work was presented to José Iturbi by the Mexico City Symphony in October 1948,
and it is inscribed and signed by the musicians on the backboard.
Estimate: $25,000-$35,000

69022
Fernando Botero (b. 1932)
Santa Rosa’s Mystic Dream, 1961
Oil on canvas
14 x 12 inches (35.6 x 30.5 cm)
Signed, titled, and dated verso: Santa Rosa’s / Mystic / Dream / Botero / 61
PROVENANCE:
Private collection, Chicago, Illinois;
Private collection, Texas, acquired from the above, mid-1960s.
NOTE:
We wish to thank Mr. Gary Nader for confirming the authenticity of this painting on behalf of the artist.
Estimate: $20,000-$30,000

69023
Fernando Botero (b. 1932)
Woman in the Kitchen, 1981
Watercolor on paper
63 x 43-1/2 inches (160 x 110.5 cm)
Signed and dated lower right: Botero 81
PROVENANCE:
Byron Lopez Salazar Inversiones, Galería El Museo, Bogota, Colombia;
Christie’s New York, 1984;
Private collection;
Heritage Auctions, Dallas, Texas, May 11, 2005, lot 23591;
Private collection, acquired from the above.
NOTE:
This lot is accompanied by a photo certificate signed by the artist, dated
1992.
Estimate: $150,000-$200,000

69024 ●
Giò Pomodoro (1930-2002)
Moon, 1964
Bronze with gold patina
9-1/4 x 9-1/2 x 2-1/2 inches (23.5 x 24.1 x 6.4 cm) on a 1 inch (2.54 cm)
high base
Ed. 5/6
Signed, dated, and numbered on the base
PROVENANCE:
Estimate: $15,000-$20,000
69025 No Lot

69026
Andy Warhol (1928-1987)
Untitled (Car), 1962
Unique screenprint on paper
18 x 24 inches (45.7 x 61 cm)
Stamped by the Estate of Andy Warhol and numbered ‘126.001’ on the
reverse
PROVENANCE:
Estate of Andy Warhol;
The Andy Warhol Foundation for the Visual Arts, Inc., New York;
Gagosian Gallery, New York;
Private collection, acquired from the above, 1998.
EXHIBITED:
Gagosian Gallery, New York, “Andy Warhol Drawings and Related Works:
1951-1986,” February 13-March 22, 2003.
Estimate: $50,000-$70,000

69027
Untitled (Imperial Car Detail), 1962
Pencil on paper
18 x 24 inches (45.7 x 61 cm)
PROVENANCE:
Estate of Andy Warhol;
EXHIBITED:
Christophe Van de Weghe Fine Art, New York, “Andy Warhol: Works on
Paper from the Early 60’s,” November 10-December 16, 2000;
Neue Nationalgalerie, Berlin, “Andy Warhol Retrospective,” October 2,
2001-January 6, 2002;
[The above exhibition also travelled to]Tate Modern, London, February
7-April 1, 2002, and the Museum of Contemporary Art, Los Angeles, May
25-August 18, 2002;
Gagosian Gallery, New York, “Andy Warhol Drawings and Related Works:
1951-1986,” February 13-March 22, 2003.
LITERATURE:
Christophe Van de Weghe Fine Art, Andy Warhol: Works on Paper from
the Early 60’s, New York, exhibition catalogue, 2000, cat. no. 15, n.p.,
illus.;
Gagosian Gallery, Andy Warhol Drawings and Related Works: 1951-1986,
New York, 2003, p. 87, illus.
Estimate: $120,000-$180,000

69028
Avanti, 1962
Graphite on paper
18 x 24 inches (45.7 x 61 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;
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: $100,000-$200,000

69029
Keith Haring (1958-1990)
Untitled (Light Bulb)
Chalk on black paper
11-1/2 x 14-1/2 inches (29.2 x 36.8 cm)
PROVENANCE:
Estimate: $6,000-$8,000
Keith Haring (1958 – 1990) moved to New York City in 1978. There he blossomed into a full-fledged artist with a bold, singular style for
which he is still remembered. During his years in New York, Haring first experimented with drawing in the NYC subway system. Haring saw
the urban underground as an ideal environment for creating art for a cross-section of humanity. Appropriating the square advertising kiosks
as his canvases, Haring made large, lively works that transcended the typical gallery or museum setting. His cheerful images of UFO’s, dogs,
mermaids, human figures and other animated characters appeal to all walks of life.
This small light-bulb fragment was first created by Haring directly on the wall of a subway station and was
later torn from it’s location, hence the asymmetrical nature of the work. It is a quintessential subway-style
drawing that reflects the way Haring’s subway drawings were actually made and how they connect to their
audiences as public art.
“I have been drawing since I was four years old. I learned to draw from my father, who would entertain me
by inventing cartoon animals. Although he never pursued an artistic career, he encouraged me to continue
drawing throughout my school years. Drawing became a way of commanding respect and communicating
with people. When I was eighteen, my work, which had been primarily cartoon-oriented, became
increasingly abstract and concerned with spontaneous action. I became interested in Eastern Calligraphy
and the art of the Gesture. When I moved to New York City at the age of twenty, I started to experiment
with drawing on paper that was so large that I had to stand inside the drawing. Although my work was still
“Abstract” at this time, I became aware of the vast differences in people’s responses to the work. Different
people saw different things in the drawings. I remember most clearly an afternoon of drawing in a studio
that large doors that opened onto Twenty-second Street. All kinds of people would stop and look at the huge
drawing and many were eager to comment on their feelings toward it. This was the first time I realized how many people could enjoy art if they
were given the chance. These were not the people I saw in the museums or in the galleries but a cross section of humanity that cut across all
boundaries. This group of different people living and working together in harmony has always been my prime attraction to New York.”
-Keith Haring (this excerpt is from an essay originally published in Art in Transit: Subway Drawings by Keith Haring, 1984)
PhotoCredit:ElinorVernhes

69030
Keith Haring (1958-1990)
Untitled, 1985
Marker on book cover
9 x 8-1/2 inches (22.9 x 21.6 cm)
Signed and dated lower center: K. Haring ‘85
Dedicated upper left: For George
PROVENANCE:
Private collection.
EXHIBITED:
Sotheby’s S/2, New York, “Keith Haring: Shine On,” March-April 2012, cat. no. 30, pp. 76-77.
Estimate: $10,000-$15,000

69031
Mel Ramos (b. 1935)
Eric Heiden, 1981
Watercolor on paper
25-1/2 x 17-1/2 inches (64.8 x 44.5 cm) (image)
Signed and dated in pencil lower right: Mel Ramos 81
PROVENANCE:
Private collection.
Estimate: $4,000-$6,000

69032
Mel Ramos (b. 1935)
Memnon: Ode to Moe, 1980
Watercolor on Arches paper
18 x 25 inches
(45.7 x 63.5 cm) (image)
Signed and dated in pencil
lower right: Mel Ramos 80
PROVENANCE:
ACME ART, San Francisco,
California (label verso);
Louis K. Meisel Gallery, New
York (label verso);
Malinda Wyatt Gallery,
Venice, California (label
verso);
Private collection.
Estimate: $4,000-$6,000
69033
Mel Ramos (b. 1935)
Roma: Ode to Moe, 1982
Watercolor on paper
18 x 25-1/2 inches
(45.7 x 64.8 cm) (image)
Signed and dated in pencil
lower center: Mel Ramos 82
PROVENANCE:
ACME ART, San Francisco,
California (label verso);
Private collection.
Estimate: $4,000-$6,000

69034
Bob Thompson (1937-1966)
Untitled, circa 1960s
Pastel and gouache on paper
6-5/8 x 5-1/2 inches (17 x 14 cm) (image)
Estimate: $2,000-$4,000

69035
Robert Colescott (1925-2009)
Le Sport, 1978
Watercolor and pencil on Arches paper
22-1/4 x 30 inches (56.5 x 76.2 cm) (sheet)
Signed and dated lower right: R. Colescott 78
PROVENANCE:
The artist;
John Berggruen Gallery, San Francisco, California (label verso);
Private collection, San Francisco, California, acquired from the above, 1979.
EXHIBITED:
San Francisco Museum of Art, n.d. (label verso).
Estimate: $18,000-$22,000

69036
Larry Rivers (1925-2002)
Dancer in an Abstract Field: Fred Twisting II, 1988
Oil on canvas mounted on sculpted foamcore
39-1/4 x 43-1/4 x 2-1/2 inches (99.7 x 109.9 x 6.4 cm)
Signed and dated lower right: Larry Rivers ‘87
PROVENANCE:
Marlborough Gallery, New York, 1988 (label verso);
Private collection.
Estimate: $20,000-$30,000

69037
Alexander Calder (1898-1976)
Car, Lion, Horse, and Bicycle, 1973
Gouache on paper
Initialed and dated lower right: CA 73
PROVENANCE:
Professional Interiors & Art, Art Auction, Phoenix, Arizona,
November 9, 1985, lot 14;
NOTE:
This work is registered in the archives of the Calder Foundation, New York.
Estimate: $40,000-$60,000

69038
Roy Dean De Forest (1930-2007)
Untitled #3, 1983
Pastel and pencil on paper
29 x 41 inches
(73.7 x 104.1 cm) (sight)
Signed and dated center right:
Roy De Forest 1983
PROVENANCE:
Fuller Goldeen Gallery, San
Francisco, California (label verso);
Private collection.
Estimate: $5,000-$7,000
69039
Enrico Baj (1924-2003)
Composition, 1991
Oil and mixed media on
canvasboard
15-3/4 x 19-3/4 inches
(40 x 50.2 cm)
PROVENANCE:
Marisa Del Re Gallery, Inc., New
York (label verso);
Sotheby’s New York, March 9,
2009, lot 50;
Private collection.
Estimate: $8,000-$12,000

69040
William T. Wiley (b. 1937)
Untitled
Watercolor, ink, and pencil on paper
30 x 22-1/4 inches (76.2 x 56.5 cm)
PROVENANCE:
Property from the collection of Dr. Sidney and Mr. George Perutz
Estimate: $3,000-$5,000
69041
William T. Wiley (b. 1937)
Mirror Sweat and Colored Dirt, 1987
Watercolor, ink, and pencil on paper
22-1/4 x 30-1/8 inches
(56.5 x 76.5 cm)
PROVENANCE:
L.A. Louver Inc., Venice, California (label verso);
Property from the collection of Dr. Sidney and Mr. George Perutz (acquired
from the above).
EXHIBITED:
L.A. Louver Inc., Venice, California, “William Wiley: What is Not Drawing?,”
December 5-1987-January 2, 1988.
Estimate: $3,000-$5,000

69042 ●
Francesco Clemente (b. 1952)
Self Portrait, circa 1982
Watercolor on paper
12-5/8 x 12-5/8 inches (32 x 32 cm) (sheet)
Signed in pencil on the reverse: Francesco Clemente
PROVENANCE:
Christie’s London, Contemporary Art: The Property of the Eric Clapton
Collection, May 29, 1997, lot 135;
Terry K. Watanabe;
TKW Charitable Trust, Las Vegas, Nevada, donated from the above.
Estimate: $8,000-$12,000
69043
George Condo (b. 1957)
D. Bowes, circa 1985
Watercolor on paper
13 x 8-1/2 inches (33 x 21.6 cm) (sheet)
Signed in pencil and titled in watercolor along lower edge:
D. Bowes / Condo
PROVENANCE:
Rene Ricard, New York;
NOTE:
This is a portrait of the artist David Bowes
and part of Condo’s “Parisian Notebook.”
Estimate: $4,000-$6,000

69044 ●
George Condo (b. 1957)
Untitled, 1985
Pastel on paper
17 x 12 inches (43.2 x 30.5 cm) (sheet)
Signed and inscribed upper right: Condo 8509
PROVENANCE:
Galerie Bruno Bischofberger, Zürich, Switzerland (label verso);
Private collection.
Estimate: $4,000-$6,000

69045
Raymond Pettibon (b. 1957)
Cagney, Bogie, Brando, and Dean (We Killed Mineo), 1986
Ink on paper
Signed and dated in ink verso: Raymond Pettibon / 86
PROVENANCE:
Estimate: $8,000-$12,000

69046
Jim Shaw (b. 1952)
I’m at Art Center..., from the Dream Drawings series, 1994-95
Pencil on paper
PROVENANCE:
The artist;
Collection of Pamela Burton and Richard Hertz, Santa Monica, California,
acquired directly from the above.
LITERATURE:
Jim Shaw: Dreams, Smart Art Press, Santa Monica, California, 1995, n.p., illus.
Estimate: $3,000-$5,000

69047 ●
Vik Muniz (b. 1961)
Teddy Bear, from Pictures of Wire, 1995
Wire construction
12 x 8-1/2 inches (30.5 x 21.6 cm)
PROVENANCE:
The artist;
Private collection, California, acquired directly from the above, October 2000.
Estimate: $6,000-$8,000

Photo Credit: Richard Greenhouse
A Selection of Works from
The Estate of Anita Reiner
Anita Reiner continued a long tradition of support for contemporary art, one that was especially
compelling here in the United States. Anita is best remembered as a collector, but she was also
an advisor, an educator, and a patron. And in all of these roles, she was first and foremost a
passionate advocate for the new. A woman with boundless energy and enthusiasm, she had a
formidable eye and a finger directly on the pulse of what was good, valuable and important, in
the growing field of contemporary art.
According to Renée Reiner, Anita’s youngest child: “Anita purchased her first piece of art in
1967. It came from Leo Castelli and cost $540. (She asked for, and received, a 10% discount off
of the $600 price.) It was Andy Warhol’s black-on-black Self-Portrait. Other artists that became
part of Anita’s early collection included Larry Bell, Robert Rauschenberg, Jim Dine, John Salt,
Don Eddy, Claes Oldenburg, Duane Hansen, Kenneth Noland and Ralph Golings….Anita was
an avid collector of contemporary art for close to 50 years. She was smart, focused and intense
about this pursuit. And, at the same time, she was also fast. Mom would walk into a gallery,
move through once quickly, and home in on ‘best in show’ before I could park the car and join
her inside.”
Through Anita’s fierce passion for collecting, combined with her intellect, tenacity, and
adventurous spirit, she built a remarkable art collection. We hope that you will be inspired by
our offerings from the Estate of Anita Reiner, and equally inspired by the passion and intelligence
that brought these works together.

69048
Martin Kippenberger (1953-1997)
Untitled I/III (Rosa), 1994
Dyed wood
35-1/2 x 27-3/4 inches (90.2 x 70.5 cm)
Signed, titled, and dated verso: I/III / Kippenberger 94
PROPERTY FROM THE ESTATE OF ANITA REINER
PROVENANCE:
Galeria de Juana Aizpuru, Madrid;
Anita Reiner, acquired from the above, 2009;
Estate of the above, 2013.
EXHIBITED:
Galeria Juana de Aizpuru, Madrid, “Martin Kippenberger,”
December 1994 - January 1995.
Estimate: $60,000-$80,000

69049
Miquel Barceló (b. 1957)
Melon, 1985
Collage on paper
22-3/8 x 30-1/4 inches (56.8 x 76.8 cm)
Signed lower right and dated lower left: 1.85 / Barceló
PROVENANCE:
Castelli Graphics, Inc., New York;
Estimate: $25,000-$35,000

69050
Douglas Gordon (b. 1966)
always and forever (for sibila), 2001
Dye coupler print
24 x 20 inches (61 x 50.8 cm)
Ed. 9/13
Signed on label affixed to verso: Douglas Gordon
PROVENANCE:
Sean Kelly Gallery, New York (label verso);
Estimate: $8,000-$12,000

69051
Shirin Neshat (b. 1957)
Seeking Martyrdom, 1995
Gelatin silver print with hand coloring and black ink
46 x 31-1/2 inches (116.8 x 80 cm)
Ed. 2/3
Signed, titled, and numbered verso: “Seeking Martyrdom” 2/3 Shirin
Neshat
PROVENANCE:
The artist;
LITERATURE:
Shirin Neshat, Women of Allah, Vancouver: ArtSpeak Gallery, 1997, p. 23
(another example illustrated).
NOTE:
The Persian poem in the portrait is from the Women of Allah series:
O, martyrs, you are above in the skies
and I have remained on earth
Brothers, I am ashamed, faceless
You, guardians of the nights
Who has robbed me of my white horse?
Who has robbed me of my dreams and hopes?
One day, I’ll find that white horse
I will ride and seek martyrdom
I will ride and seek God’s house
Estimate: $30,000-$40,000

69052
Elinor Carucci (b. 1971)
Orange Peels, 1999
Dye coupler
15-5/8 x 22-1/2 inches (39.7 x 57.2 cm) (image)
Ed. 8/15
Signed, titled, dated, and numbered in ink on the reverse
PROVENANCE:
Ricco/Maresca Gallery, New York (label verso);
Private collection.
Estimate: $4,000-$6,000

69053
Lucas Samaras (b. 1936)
Panorama, 1986
Unique Polacolor II photograph collage
9-1/2 x 33-7/8 inches (24.1 x 86 cm) (image)
10-3/4 x 35 inches (27.3 x 88.9 cm) (overall)
Signed and dated in pencil on the reverse: Samaras / 1/10/86
PROVENANCE:
Pace MacGill Gallery, New York (label verso);
Property from the collection of Dr. Sidney and
Mr. George Perutz (acquired from the above).
EXHIBITED:
The Denver Art Museum, Denver, Colorado, “Lucas Samaras: Objects and Subjects, 1969-1986,”
May 1988-November 1989 (label verso).
Estimate: $10,000-$15,000

69054
Liz Nielsen (b. 1975)
Composition: Rooster Flower, 2012
Unique Chromogenic Photogram
44 x 36 inches (111.8 x 91.4 cm)
Signed on the reverse of frame: Liz Nielsen
PROVENANCE:
Benrimon Contemporary, New York;
Estimate: $3,000-$5,000

69055 ●
Vik Muniz (b. 1961)
Barry Le Va, 1969, from Pictures of Dust, 2000
Dye destruction
40 x 40 inches (101.6 x 101.6 cm)
Ed. 1/10
Signed and dated on gallery label affixed verso
PROVENANCE:
Brent Sikkema Gallery, New York (label verso);
Heritage Auctions, May 30, 2015, Dallas, Texas, lot 70285;
Private collection.
Estimate: $5,000-$7,000

69056 ●
Dorothea Tanning (1910-2012)
Delegates, 1975
Watercolor on paper
Signed in pencil lower right: Dorothea Tanning
PROVENANCE:
Hooks-Epstein Galleries, Houston, Texas;
Private collection, Houston, Texas, acquired from the above, 1991.
EXHIBITED:
Feingarten Galleries, Los Angeles, California, “Dorothea Tanning,”
April 3-May 31, 1987;
Hooks-Epstein Galleries, Inc., Houston, Texas, “A Surrealist
Miscellany,” June 1991 (label verso).
NOTE:
We would like to thank the Dorothea Tanning Foundation for
assisting with our catalog.
Estimate: $4,000-$6,000
69057 ●
Lee Mullican (1919-1998)
Spirit Head (Taos), 1983
Oil on canvas
30 x 24 inches (76.2 x 61 cm)
Signed, titled, and dated verso: “Spirit Head” / Lee Mullican / 10-
83 / Taos
PROVENANCE:
New Gallery/Thom Andriola, Houston, Texas;
Estimate: $3,000-$5,000

69058
Conrad Marca-Relli (1913-2000)
Untitled
Oil on canvas
13-3/4 x 11-3/4 inches (35.1 x 29.8 cm)
Signed lower left: Conrad Marca-Relli
PROVENANCE:
Marisa del Re Gallery, Inc., New York (label verso);
Private collection.
NOTE:
This work is registered with the Archivio Marca-Relli, Parma,
as archive number MARE-6070 / © Archivio Marca-Relli, Parma.
Estimate: $20,000-$30,000

69059 ●
Lynda Benglis (b. 1941)
Lagniappe II, 1979
Pigmented cast paper sculpture with
iridescent polystyrene film
41 x 13 x 8 inches (104.1 x 33 x 20.3 cm)
Ed. 16/16
Signed, dated, and numbered in ink on the interior
PROPERTY FROM A MIDWESTERN INSTITUTION
Estimate: $3,000-$5,000

69060 ●
Sam Gilliam (b. 1933)
Untitled, 1971
Mixed media on handmade wove paper
35-1/2 x 26 inches (90.2 x 66 cm)
Signed and dated in pencil upper left: Sam Gilliam / ‘71
PROVENANCE:
Linda Farris Gallery, Seattle, Washington;
Estimate: $10,000-$15,000

69061 ●
Ed Moses (b. 1926)
Bo-Dog, 1989-97
Mixed media on vellum
42 x 30 inches (106.7 x 76.2 cm)
Signed and dated lower right: EMs 89-97
PROVENANCE:
L.A. Louver, Venice, California (label verso);
Barbara Davis Gallery, Houston, Texas (label verso);
Estimate: $6,000-$8,000
69062
Charles Arthur Arnoldi (b. 1946)
Untitled, 1985
Branches, acrylic, modeling paste
26 x 43 inches (66 x 109.2 cm)
Signed and dated verso: Arnoldi 1985
PROVENANCE:
ACME ART, San Francisco, California (label verso);
Private collection.
Estimate: $7,000-$9,000
Lot 69062
Lot 69061

69063 ●
Paul Jenkins (1923-2012)
Phenomena St. Croix Green Flash, 1977
Acrylic on canvas
54 x 38 inches (137.2 x 96.5 cm)
Signed lower right: Paul Jenkins
Signed, titled, and dated on the overlap:
Paul Jenkins Phenomena St. Croix Green Flash - Anatomy of a Cloud 1977
PROVENANCE:
Gimpel & Weitzenhoffer Ltd., New York (label verso);
Diane Gilson Gallery, Seattle, Washington;
Private collection, Renton, Washington, acquired from the above, 1977.
Estimate: $20,000-$30,000

69064
Al Loving (1935-2005)
Home #44, 2003
Acrylic on rag paper collage
14-1/4 x 14-1/4 inches (36.2 x 36.2 cm)
PROVENANCE:
Peg Alston Fine Arts, New York;
Estimate: $1,000-$2,000
69065
Al Loving (1935-2005)
Home #42, 2003
Acrylic on rag paper collage
14-1/4 x 14-1/4 inches (36.2 x 36.2 cm)
PROVENANCE:
Estimate: $1,000-$2,000

69066 ●
Al Held (1928-2005)
Particular Paradox 15, 2000
Watercolor on archival paper wrapped over panel
16 x 24 inches (40.6 x 61 cm)
Initialed, titled, and dated in watercolor verso: AH 2000 / P.P. 15
PROVENANCE:
Pillsbury and Peters Fine Art, Dallas, Texas (label verso);
Estimate: $5,000-$7,000

69067 ●
Tadashi Sato (1923-2005)
Untitled, 1959
Acrylic on paper
24-1/4 x 30-1/2 inches (61.6 x 77.5 cm)
(sight)
Signed and dated lower right: Tadashi Sato
1959
PROVENANCE:
Willard Gallery, New York (n.d.);
Private Collection, New York.
Estimate: $1,000-$2,000
69068
Thomas Scheibitz (b. 1968)
Untitled (T37), 1998
Tempera and pencil on paper
Signed and dated on the reverse: Scheibitz 1998
PROVENANCE:
Bonakdar Jancou Gallery, New York (label verso);
Private collection, San Francisco, California.
Estimate: $1,000-$1,500


69069
Josh Smith (b. 1976)
Untitled (two works), 2005
Oil on canvas
20 x 15-3/4 inches (50.8 x 40 cm) (each)
Each signed and dated verso: Josh Smith / 2005
PROVENANCE:
Jonathan Viner Gallery, London
Private Collection, California.
Estimate: $6,000-$8,000

69070
Tom Alan Lieber (b. 1949)
Resolution, 1985
Acrylic on canvas
80 x 90 inches (203.2 x 228.6 cm)
Signed, titled, and dated verso: Resolution / 1985 /
Tom Lieber
PROVENANCE:
The artist;
John Berggruen Gallery, San Francisco, California
(label verso);
Private collection, San Francisco, California, acquired
from the above, 1985.
NOTE:
This work is on display in our San Francisco gallery.
The buyer should arrange shipping from our San
Francisco office.
Estimate: $3,000-$5,000
69071 ●
Ida Rittenberg Kohlmeyer (1912-1997)
Semiotic 86-6, 1986
Acrylic on canvas
50-1/2 x 49-1/2 inches (128.3 x 125.7 cm)
Signed and dated lower left: Kohlmeyer 1986
PROVENANCE:
Moody Gallery, Houston, Texas (label verso);
Private collection, acquired from the above, June
1986.
Estimate: $10,000-$15,000

69072 ●
Jonathan Lasker (b. 1948)
Styles of Perception, 1992
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed and dated verso: - J. Lasker / 1992
PROPERTY FROM THE COLLECTION OF
DORACE M. FICHTENBAUM, DALLAS, TEXAS
PROVENANCE:
Sperone Westwater Gallery, New York (label verso).
Estimate: $10,000-$15,000

69073
Qiu Zhijie (b. 1969)
Untitled (white scroll #3)
Ink on paper mounted on scroll
With four seals of the artist
PROVENANCE:
Private collection, New York (acquired directly from the artist).
Estimate: $6,000-$8,000

69074
Gu Wenda (b. 1955)
Untitled (Pseudo Characters)
Ink on paper
45-1/2 x 30 inches (115.6 x 76.2 cm)
PROVENANCE:
Private collection, New York (acquired directly from the artist).
Estimate: $10,000-$15,000

69075
Ingrid Calame (b. 1965)
Working Drawing #41, 1999
Colored pencil on mylar
30 x 30 inches (76.2 x 76.2 cm)
Signed, titled, and dated along lower edge: #41 Working Drawing / Ingrid Calame 1999
PROVENANCE:
Kenneth L. Freed Collection, Boston, Massachusetts (label verso);
James Cohan Gallery, New York;
Estimate: $4,000-$6,000

69076 ●
Grear Patterson (b. 1988)
Two Legs and a Dress, 2014
Acrylic on canvas
60 x 96 inches (152.4 x 243.8 cm)
Titled on the overlap: two legs arm a dress
PROVENANCE:
Bill Brady Gallery, Kansas City, Missouri;
Private collection, California, acquired from the above.
Estimate: $6,000-$8,000

69077
Pae White (b. 1963)
Web Sampler #97, 2001
Spider web on colored paper
20-1/2 x 14-1/2 inches (52.1 x 36.8 cm)
Signed in ink on gallery label affixed verso: Pae White
PROVENANCE:
Galerie Neugerriemschneider, Berlin (label verso);
Private collection.
Estimate: $4,000-$6,000

69078 ●
Petra Cortright (b. 1986)
11th Hour Jackass, 2014
Digital painting on aluminum
36 x 48 inches (91.4 x 121.9 cm)
Signed verso: Cortright
PROVENANCE:
Steve Turner Contemporary, Los Angeles, California (label verso);
Private collection, New York, acquired from the above.
Estimate: $15,000-$25,000

69079 ●
Lesley Vance (b. 1977)
Poppies, Roses, 2006
Oil on canvas
39 x 37 inches (99.1 x 94 cm)
Signed and dated verso: Lesley Vance / 2006
PROVENANCE:
David Kordansky Gallery, Los Angeles, California;
Private collection, California, acquired from the above, February 2006.
Estimate: $20,000-$30,000

69080
Sterling Ruby (b. 1972)
Transcompositional (White Dress), 2006
Nail polish and collage on marbleized paper and fluorescent poster board
19 x 17-1/4 inches (48.3 x 43.9 cm)
PROVENANCE:
Xavier Hufkens, Brussels
Estimate: $10,000-$15,000

69081
Artie Vierkant (b. 1986)
Image Object Friday 30 March 2012 7:10PM, 2012
UV print on Sintra board
55 x 16 inches (139.7 x 40.6 cm)
PROVENANCE:
The artist;
Estimate: $12,000-$18,000

69082
Daniel Turner (b. 1983)
Untitled (5150), 2011
Bitumen emulsion, vinyl, and wood
16-1/2 x 13 x 1-1/2 inches (41.9 x 33 x 3.8 cm)
Signed, titled, and dated verso: Daniel Turner Untitled 5150 1-7-11
PROVENANCE:
Journal Gallery, New York
Estimate: $8,000-$12,000

69083 ●
Mimmo Paladino (b. 1948)
Vento orfico, 1985
Oil and mixed media on wood
58-3/4 x 35-1/2 x 5 inches (149.2 x 90.2 x 12.7 cm)
Signed, titled, and dated verso: Vento / M. Paladino / 1985 / Orfico
PROPERTY FROM THE COLLECTION OF DORACE M. FICHTENBAUM, DALLAS, TEXAS
PROVENANCE:
Eugene Binder Gallery, Dallas, Texas, (label verso).
EXHIBITED:
Eugene Binder Gallery, Dallas, Texas, 1986.
Estimate: $7,000-$9,000

69084
Louise Nevelson (1899-1988)
Volcanic Magic XV, 1985
Wood, metal, and paper collage
41 x 33 x 5 inches (104.1 x 83.8 x 12.7 cm)
Signed and dated lower right: Nevelson - 85
PROVENANCE:
Hokin Gallery, Palm Beach, Florida (label verso);
The Pace Gallery, New York (label verso);
Private collection.
Estimate: $10,000-$15,000

69085 ●
Alan Rath (b. 1959)
Vanity III, 1993
Wood, aluminum, custom electronic, mirror
31 x 40 x 17 inches (78.7 x 101.6 x 43.2 cm)
Estimate: $3,000-$5,000
69086 ●
Alan Rath (b. 1959)
She Guitar, 1996
Aluminum, custom electronics, speakers
56 x 33 x 7 inches (142.2 x 83.8 x 17.8 cm)
Signed, titled, and dated: “She Guitar” 1996
Estimate: $3,000-$5,000

69087 ●
Dennis Adams (b. 1948)
Komatik Trophy, 1974
Acrylic and yarn on wood
6 x 87 x 30 inches (15.2 x 221 x 76.2 cm)
Signed and inscribed underneath: Dennis Adams #87.8
PROPERTY FROM A MIDWESTERN INSTITUTION
EXHIBITED:
Carl Solway Gallery, Cincinnati, Ohio, n.d.
Estimate: $2,000-$3,000

69088
Kris Martin (b. 1972)
Self Portrait, 2008
Two found metal health balls, painted wood shelf
31 x 3 x 8 inches (78.7 x 7.6 x 20.3 cm)
PROVENANCE:
Marc Foxx Gallery, Los Angeles
Private collection.
Estimate: $5,000-$7,000

69089
Rob Wynne (b. 1950)
Alias, 2008
Poured and mirrored glass in six parts
24 x 39 inches (61 x 99.1 cm)
Signed and dated on the reverse: Rob Wynne / 2008
PROVENANCE:
Raphael Castoriano Gallery, New York;
Private collection.
Estimate: $7,000-$10,000


69090 ●
Al Hansen (1927-1995)
Ear Wax Goddesses and Manhattan Views (two works), 1975; 1994
Ear wax on paper; cut-out subway map on blue paper
16-1/2 x 11-1/2 inches (41.9 x 29.2 cm)
25-1/4 x 19-1/2 ubcges (64.1 x 49.5 cm)
One signed, titled, and dated in pencil along lower edge: Ear Wax Goddesses Al Hansen 1975
One signed and dated lower right, and titled in pencil lower left: Manhattan Views Al Hansen 1994
PROPERTY FROM THE COLLECTION OF DORACE M. FICHTENBAUM, DALLAS, TEXAS
EXHIBITED:
Gracie Mansion, New York, “Al Hansen: In Search of the Goddess,” September 9-October 17, 1998,
no. AH90(Ear Wax Goddesses) and AH99(Manhattan Views) (labels verso).
Estimate: $1,000-$1,500

69091 ●
Al Hansen (1927-1995)
Untitled (Photofloods, Spools)
Cigarettes and mixed media in wooden drawer
15 x 12 x 6 inches (38.1 x 30.5 x 15.2 cm)
Inscribed in ink on label: Photofloods / Spools
Estimate: $3,000-$5,000
69092 ●
Al Hansen (1927-1995)
Untitled, circa 1990
Hershey wrappers and foil on wood
13 x 11-1/8 inches (33 x 28.3 cm)
EXHIBITED:
Gracie Mansion, New York, “Al Hansen: In Search of the Goddess,”
September 9-October 17, 1998, no. AH139 (label verso).
Estimate: $3,000-$5,000

69093 ●
Kiki Smith (b. 1954)
Untitled (Placenta/Ovaries), 1990
Mixed media with Gampi paper, papier-maché and indigo
87 x 30 inches (221 x 76.2 cm)
Signed and dated in pencil lower right: Kiki Smith 1990
PROPERTY FROM THE COLLECTION OF DORACE M. FICHTENBAUM,
DALLAS, TEXAS
PROVENANCE:
Greg Kucera Gallery, Seattle, Washington;
Private collection, acquired from the above, 1997;
Sotheby’s New York, May 19, 1999, lot 139;
Private collection, Dallas, Texas.
NOTE:
This work is unique.
Estimate: $10,000-$15,000

69094 ●
José Bedia (b. 1959)
Idea común, 1997
Acrylic on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed lower right: Bedia
PROVENANCE:
Galería OMR, Mexico City (label verso);
Galeria Ramis Barquet, New York;
Hooks-Epstein Galleries, Houston, Texas;
Private collection, Houston, Texas, acquired from
the above, 2000.
Estimate: $5,000-$7,000
69095
Sorel Etrog (1933-2014)
Study for Jester, 1962-64
Bronze
22-1/2 x 5 x 2-1/2 inches (57.2 x 12.7 x 6.4 cm)
Ed. 7/7
Signed and numbered on the base: Etrog 7/7
Estimate: $6,000-$8,000

69096
Ricardo Roque Carpani (1930-1997)
Untitled, 1966
Oil on canvas
51 x 38 inches (129.5 x 96.5 cm)
Signed and dated lower right: Carpani / 66
PROVENANCE:
Private Latin American Art collection, Pennsylvania;
Acquired by the present owners from the estate of the above, 2005.
Estimate: $8,000-$12,000

69097
Kim Dorland (b. 1974)
Front Steps, 2007
Oil, acrylic, and spray paint on canvas
24 x 30 inches (61 x 76.2 cm)
Signed, titled, dated, and inscribed
verso: KDorland / “Front Steps” /
oil acrylic + spraypaint / on canvas /
2007
PROVENANCE:
Galleria Giovanni Bonelli
Acquire from the above by the present
owner, 2007.
Estimate:: $6,000-$8,000
69098
Matthias Meyer (b. 1969)
Restaurant, 2006
Oil on canvas
23-1/2 x 31-1/2 inches (59.7 x 80 cm)
Signed, titled, and dated verso: 17-
2006 / Restaurant / Matthias Meyer
PROVENANCE:
Galerie Andreas Binder, Munich;
Private collection.
Estimate: $4,000-$6,000

69099
Paul Wonner (1920-2008)
Studio Door, 1964
Oil on board
11-3/4 x 9-3/4 inches (29.8 x 24.8 cm)
Signed lower left: Paul Wonner
EXHIBITED:
Felix Landau Gallery, Los Angeles, California (label verso).
PROVENANCE:
Collection of the artist;
Helen Frances Hille (Baughman), cousin of the artist, acquired from the above;
By descent to the present owner.
Estimate: $3,000-$5,000

69100
Kim Dorland (b. 1974)
Walking Couple, 2007
Oil, acrylic, and spray paint on canvas over panel
48 x 60 inches (121.9 x 152.4 cm)
Signed, titled, dated, and inscribed verso:
KDorland / “Walking Couple” / oil, spray paint + acrylic / on canvas / 2007
PROVENANCE:
Galleria Giovanni Bonelli
Acquired from the above by the present owner, 2007.
Estimate: $8,000-$12,000

69101
Valerie Hegarty (b. 1967)
George Washington with Branches, 2008
Canvas, paint, branches, glue and paper
27 x 16 x 7 inches (68.6 x 40.6 x 17.8 cm)
PROVENANCE:
Guild & Greyshkul, New York;
Estimate: $4,000-$6,000

69102
Billy Childish (b. 1959)
The Drinker, 1998
Oil on canvas
35-7/8 x 24 inches (91.2 x 61 cm)
PROVENANCE:
The artist;
Private collection, London, acquired from the above.
Estimate: $6,000-$8,000

69103
Katherine Bernhardt (b. 1975)
Modern Girl, 2001
Acrylic on canvas
48 x 36 inches (121.9 x 91.4 cm)
Signed, titled, and dated on the overlap: Katherine Bernhardt 2001.
“Modern Girl”
PROVENANCE:
Modern Culture at the Gershwin Hotel, New York;
Private collection, acquired from the above (n.d);
Rago Auctions, November 5, 2015; lot 879;
Estimate: $6,000-$8,000
69104 ●
Elling Reitan (b. 1949)
Reclining Madonna, 2014
Oil on canvas
39-1/4 x 33-1/4 inches (99.7 x 84.5 cm)
Signed lower right: Elling Reitan
Signed, titled, and dated verso: “Reclining Madonna” / Elling Reitan /
2014
PROVENANCE:
Ashok Jain Gallery, New York;
Estimate: $4,000-$6,000

69105 ●
Lu Peng (b. 1967)
Untitled, 2007
Watercolor and hand-dyed rice paper
24-1/4 x 36 inches (61.6 x 91.4 cm) (image)
PROVENANCE:
New Gallery/Thom Andriola, Houston, Texas;
Estimate: $10,000-$15,000

69106 ●
Damian Loeb (b. 1970)
D-UL-AE, 1999
Oil on linen
20 x 20 inches (50.8 x 50.8 cm)
Signed, titled, and dated verso: “D-UL-AE” / Damian Loeb / 3/99
NOTE:
In 1999, the artist donated this work to “Two by Two for Aids and
Art,” an auction sponsored by amfAR and the Dallas Museum of
Art. Dorace Fichtenbaum acquired the painting at this event.
Estimate: $2,000-$3,000
69107
Richard Yarde (1939-2012)
Dancing at the Savoy, 2004
Watercolor on wove paper
Signed and dated in lower margin: R. Yarde ‘04
PROVENANCE:
Estimate: $1,000-$2,000

69108
Barnaby Furnas (b. 1973)
Bad Back (Cyclops) II, June 2008
Acrylic and colored pencil on burned vellum on panel
22 x 14 inches (55.9 x 35.6 cm)
Signed on the overlap, and further signed, titled, and dated in ink verso:
Barnaby Furnas / Bad Back (Cyclops) II / June 2008 / NYC
PROVENANCE:
Phillips, New York, November 16, 2012, lot 230;
Private collection.
Estimate: $10,000-$15,000

69109
Komar & Melamid
Bergan Point Brass Foundry (triptych), 1988
Oil and brass leaf on canvas, in three panels
121 x 181 inches (307.3 x 459.7 cm) (overall)
PROVENANCE:
Ronald Feldman Gallery, New York (label verso);
Private collection, Texas.
Estimate: $20,000-$30,000


69110
Paul P. (b. 1977)
Untitled (two works), 2004; 2005
Watercolor on paper
Signed and dated verso
PROVENANCE:
Angstrom Gallery, Dallas, Texas (label verso);
Gallery Side 2, Tokyo (label verso);
Private collection.
Estimate: $2,000-$3,000


69111
Paul P. (b. 1977)
Untitled (two works), 2003
Colored pencil on paper; pencil on paper
Each signed and dated verso
PROVENANCE:
Rhona Hoffman Gallery, Chicago, Illinois (label verso);
Angstrom Gallery, Dallas, Texas (label verso);
Private collection.
Estimate: $2,000-$3,000

69112
Damien Hirst (b. 1965)
Skull Spin Painting
Acrylic on paper
13 x 13 inches (33 x 33 cm)
Signed in ink and studio stamped verso
PROVENANCE:
Private collection, London.
Estimate: $3,000-$5,000
69113
Skull Spin Painting
Acrylic on paper
13 x 13 inches (33 x 33 cm)
Signed in ink and studio stamped verso
PROVENANCE:
Estimate: $3,000-$5,000

69114
Gun Spin Painting
Acrylic on paper
13 x 18 inches (33 x 45.7 cm)
Signed in ink and studio
stamped verso
PROVENANCE:
Private collection, Texas.
Estimate: $3,000-$5,000
69115
Gun Spin Painting
Acrylic on paper
13 x 18 inches (33 x 45.7 cm)
Signed in ink and studio
stamped verso
PROVENANCE:
Estimate: $3,000-$5,000
End Afternoon Session

INDEX
ACHEFF, WILLIAM 68028
ADAMS, CHARLES PARTRIDGE 68053
ADAMS, KENNETH MILLER 68002
ALBRIGHT, ADAM EMORY 68099
ALLEN, DOUGLAS 68026
ARY, HENRY 68071
BARTHÉ, RICHMOND 68128
BELL, CECIL CROSLEY 68120
BENRIMO, THOMAS DUNCAN 68115
BENTON, THOMAS HART 68121, 68122,
68125,68126, 68127, 68133, 68134
BIERSTADT, ALBERT 68060, 68061
BIRCH, THOMAS 68069
BLACK, LAVERNE NELSON 68005
BLACKWOOD, SUSAN 68030
BLAKELOCK, RALPH ALBERT 68077, 68079,
68080, 68081
BLUMENSCHEIN, ERNEST LEONARD 68008,
68013
BOTKE, JESSIE ARMS 68048
BRANDT, REX 68056
BRAUN, MAURICE 68046, 68049, 68050
BROWN, BENJAMIN CHAMBERS 68043, 68044
BROWN, GRAFTON TYLER 68058
BROWNE, GEORGE ELMER 68104
BUFF, CONRAD 68038, 68039
BURLIUK, DAVID 68102
CARLSEN, EMIL 68109
CARLSON, KEN 68025
CASILEAR, JOHN WILLIAM 68068
CATLETT, ELIZABETH 68117
COLMAN, SAMUEL 68084, 68085
COOPER, COLIN CAMPBELL 68083
CORNWELL, DEAN 68150, 68151, 68152
CRAWFORD, RALSTON 68139
CROPSEY, JASPER FRANCIS 68070, 68082
DALLIN, CYRUS EDWIN 68017
DAVIS, STAN 68020
DICKINSON, EDWIN WALTER 68131, 68132
ELLIS, FREMONT F. 68009, 68010, 68012
EVERGOOD, PHILIP 68119
FISHER, ALVAN T. 68075
GAMBLE, JOHN MARSHALL 68047
GASPARD, LEON 68004
GRUE, FREDERIK EBBESEN 68027
HARRISON, ALEXANDER 68093
HASSAM, CHILDE 68108
HIBBARD, ALDRO THOMPSON 68098
HIGGINS, VICTOR 68006, 68007
HILL, THOMAS 68059
HOUSER, ALLAN C. 68032
HULINGS, CLARK 68031
HURD, PETER 68003
INNESS, GEORGE 68078
JACKSON, HARRY 68022
JOHNSON, CLARENCE R. 68101
JOHNSON, EASTMAN 68074
JOHNSON, LESTER F. 68114
JOULLIN, AMÉDÉE 68016

KELPE, PAUL 68138
KENT, ROCKWELL 68123, 68124
KUHN, BOB 68024
LAMBDIN, GEORGE COCHRAN 68094
LAWSON, ERNEST 68110, 68111
LEIGH, WILLIAM ROBINSON 68015
LEYENDECKER, JOSEPH CHRISTIAN 68145
LIPCHITZ, JACQUES 68116, 68118
LUKS, GEORGE BENJAMIN 68076
MARSH, REGINALD 68113
MAYHEW, RICHARD 68129, 68130
MCCARTHY, FRANK 68021, 68023
MEEKER, JOSEPH RUSLING 68066
MELL, ED 68033
MORAN, EDWARD 68062, 68063, 68064
NEIMAN, LEROY 68155, 68156, 68157,
68158, 68159
NORDFELDT, BROR JULIUS OLSSON 68001
PARRISH, MAXFIELD 68142, 68144
PHILLIPS, COLES 68149
PRINS, BENJAMIN 68148
PUSHMAN, HOVSEP 68086, 68087
REEDY, LEONARD HOWARD 68018
RICHARDSON, MARY CURTIS 68029
ROCKWELL, NORMAN 68143, 68146, 68147
RUSSELL, CHARLES MARION 68014
SANDZÉN, BIRGER 68040, 68041, 68042
SAYRE, FRED GRAYSON 68035
SCHAEFFER, MEAD 68153
SCHOFIELD, WALTER ELMER 68103
SCHWARTZ, WILLIAM S. 68140, 68141
SCHWIERING, CONRAD 68034
SHAPLEIGH, FRANK HENRY 68065
SHEETS, MILLARD 68054, 68055, 68057
SLOANE, ERIC 68097
SOMMER, WILLIAM 68105, 68106, 68107
SONNTAG, WILLIAM LOUIS 68072, 68073
SOTTER, GEORGE WILLIAM 68096
STELLA, JOSEPH 68136
VEDDER, ELIHU 68088, 68089, 68090, 68091, 68092
VON HASSLER, CARL 68011
WACHTEL, MARION KAVANAUGH 68045
WALDEN, LIONEL 68051
WENZELL, ALBERT BECK 68154
WHITE, ORRIN 68036, 68037
WIEGHORST, OLAF 68019
WIGGINS, GUY CARLETON 68112
WILLIAMS, EDWARD K. 68100
WILLIAMSON, JOHN 68067
WOOD, ROBERT WILLIAM 68052
WOODBURY, CHARLES HERBERT 68095
ZORACH, MARGUERITE THOMPSON 68135,
68137

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expected increment, these bids will not be considered Cut Bids.
Conducting the Auction:
13. Notice of the consignor’s liberty to place bids on his lots in the Auction is hereby made in
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.
15. Auctioneer reserves the right to refuse to honor any bid or to limit the amount of any bid, in its sole
discretion. A bid is considered not made in “Good Faith” when made by an insolvent or irresponsible
person, a person under the age of eighteen, or is not supported by satisfactory credit, collectibles
references, or otherwise. Regardless of the disclosure of his identity, any bid by a consignor or his
agent on a lot consigned by him is deemed to be made in “Good Faith.” Any person apparently
appearing on the OFAC list is not eligible to bid.
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.
18. All items are to be purchased per lot as numerically indicated and no lots will be broken. Auctioneer
reserves the right to withdraw, prior to the close, any lots from the Auction.
19. Auctioneer reserves the right to rescind the sale in the event of nonpayment, breach of a warranty,
disputed ownership, auctioneer’s clerical error or omission in exercising bids and reserves, or for
any other reason and in Auctioneer’s sole discretion. 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) and any other damages or expenses pertaining to the lot.
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.Auctioneerreservestherighttorequirepaymentinfullingoodfundsbeforedeliveryofthemerchandise.
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

May 2 Modern & Contemporary Art Auction Afternoon Session #5258

May 2 Modern & Contemporary Art Auction Afternoon Session #5258

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