Heritage Auctions Modern & Contemporary Art Signature Auction, Novemebr 30, 2017, Sale #5315

MODERN & CONTEMPORARY ART
NOVEMBER 30, 2017 | BEVERLY HILLS

Front Cover: Lot 69065 (Hanson)
Inside Front Cover: Lot 69029 (Tanguy, detail)
Inside Back Cover: Lot 69015 (Thiebaud)
Back Cover: Lot 69026 (Botero)

45299
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Modern & Contemporary Art
November 30, 2017 | Beverly Hills
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lot 69061 (Goldstein)
Modern & Contemporary Art

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69001
George Grosz (1893-1959)
Reclining Nude with Sun Hat, Cape Cod, 1939
Watercolor on paper
15-5/8 x 22-3/4 inches (39.7 x 57.8 cm)
With the signature stamp lower right
With the George Grosz Estate stamp and number 1-64-1 on the reverse
PROVENANCE:
The artist’s studio, Douglaston, Long Island, New York, 1939;
George Grosz Estate, 1959;
Richard A. Cohn, New York, 1980;
Soufer Gallery, New York, 1983;
Collection of Martin Medak, California, 1983;
Harcourts Gallery, San Francisco, California (label verso);
Private Collection, Los Angeles.
NOTE:
We wish to thank Ralph Jentsch for his assistance in cataloguing this work, which will be included in the forthcoming catalogue raisonné of works on
paper by George Grosz. A photo-certiﬁcate accompanies this lot.
Estimate: $5,000-$7,000

Auction #5315 | Thursday, November 30, 2017 | 11:00 AM PT 11
69002
Le Pho (1907-2001)
Composition, 1969
Oil on canvas
23-3/4 x 29 inches (60.3 x 73.7 cm)
Signed in Vietnamese and English lower left: Le Pho
PROVENANCE:
The artist;
Wally Findlay Galleries, Chicago (#30734);
Private collection, Illinois, 1969.
NOTE:
This lot will be included in the Le Pho catalogue raisonné being prepared by the Findlay Institute and is accompanied by a certiﬁcate of authenticity.
Estimate: $15,000-$25,000

69003
Francisco Zúñiga (1912-1998)
Rosa Sentada, 1978
Charcoal on paper
19 x 25 inches (48.3 x 63.5 cm)
Signed and dated lower right: Zuniga / 1978
NOTE:
We are grateful to Mr. Ariel Zúñiga for conﬁrming the authenticity of this work, which will be included in the forthcoming Volume V of the Catalogue
Raisonné of the artist.
Estimate: $4,000-$6,000

69004
Francisco Zúñiga (1912-1998)
Silvia con rebozo, 1978
Charcoal and pastel on Ingres Fabriano
19-3/4 x 27-5/8 inches (50.2 x 70.2 cm)
Signed and dated lower left: Zuniga / 1978
NOTE:
We are grateful to Mr. Ariel Zúñiga for conﬁrming the authenticity of this work, which will be included in the forthcoming Volume V of the Catalogue
Raisonné of the artist.
Estimate: $4,000-$6,000

69005
Alfredo Ramos Martínez (1871-1946)
Untitled (Portrait of a Man)
Charcoal and pastel on paper
18 x 21-3/4 inches (45.7 x 55.2 cm)
Signed lower right: Ramos Martinez
PROVENANCE:
Private collection, Texas.
Estimate: $5,000-$7,000

69006
Rafael Coronel (b. 1932)
Dos Figuras/ Alfredo de la Carpa
Acrylic on canvas
40 x 50 inches (101.6 x 127 cm)
Signed lower left: Rafael Coronel
Titled on the reverse of the stretcher: Alfredo de la Carpa
PROVENANCE:
Christie’s New York, November 20, 1991, lot 186;
Private collection, Texas, acquired from the above.
Estimate: $40,000-$50,000

69007
Pablo Picasso (1881-1973)
Scène de Tauromachie, 1962
Ink, wash, and chalk on paper
13 x 20-1/4 inches (33.0 x 51.4 cm)
Signed, dated and inscribed lower left: Pablo Picasso /
12.12.62 / Pour Janine et Francis Crémieux, leur ami
PROVENANCE:
Francis and Janine Crémieux;
Sotheby’s New York, April 14, 1983, lot 175;
Private collection, New York, acquired from the above.
NOTE:
We wish to thank Claude Picasso for confirming the
authenticity of this work, which is accompanied by his
photo-certificate dated November 17, 2010.
Estimate: $100,000-$150,000
Scène de Tauromachie is an ink drawing on paper
that depicts a bullfighting scene, a reoccurring
subject in Pablo Picasso’s work specifically after
the mid-1950s. The work, executed on December
12, 1962 while Picasso was living in the South
of France, depicts a bull charging a picador and
matador across the center of the page and Carmen
printed just above in capital letters. Picasso drew
inspiration from Carmen, a fictional woman from
Prosper Mérimée’s 1845 novella that was adapted
into an opera of the same name by Georges Bizet.
Carmen personified the themes of sex, love, and
tragedy found consistently throughout his work.
Picasso was born on October 25, 1881 in Málaga,
Spain. It was here that he developed his interest
in bullfighting and the ceremonious victory
of man over beast. Throughout his career, he
often portrayed himself as a bull or the mythical
Minotaur. “If all the ways I have been along were
marked on a map and joined up with a line, it
might represent a Minotaur.”

69008
Gen Paul (1895-1975)
Riders
Oil on canvas
23-1/2 x 29 inches (59.7 x 73.7 cm)
Signed lower left: Gen Paul
PROVENANCE:
Mrs. Anita Evans Seits;
Boca Raton Museum of Art, Boca Raton, Florida, gift from the above, 1991, and subsequently de-accessioned in 2011 (label verso);
Private collection, Beverly Hills, California.
EXHIBITED:
Boca Raton Museum of Art- The Art School, “A Peaceable Kingdom: Humans, Animals, and Symbolism in Art,” October 2009.
Estimate: $8,000-$12,000

69009
Claude Venard (1913-1999)
Le repas du pianiste
Oil on canvas
39-1/2 x 39-1/2 inches (100.3 x 100.3 cm)
Signed lower left: C. Venard
THE PROPERTY OF A GENTLEMAN
PROVENANCE:
Private collection, Los Angeles.
NOTE:
Alain Vercel has conﬁrmed the authenticity of this work, which is accompanied by his photo-certiﬁcate.
Estimate: $5,000-$7,000

69010
Pablo Picasso (1881-1973)
Pot et compotier avec fruits, 1919
Pencil on paper
13-7/8 x 10 inches (35.2 x 25.4 cm)
Signed lower right: Picasso
PROVENANCE:
Ladislas Segy, Paris and New York;
Buchholz Gallery (Curt Valentin), New York;
Parke Bernet Galleries, New York, December 10-11, 1947, lot 7;
Private collection, acquired by the family of the owner at the above sale;
Sotheby’s New York, May 11, 1988, lot 153;
Private collection;
Christie’s New York, May 5, 2004, lot 110.
LITERATURE:
C. Zervos, Pablo Picasso, Paris, 1949, vol. 3, p. 94, no. 27, illustrated;
The Picasso Project, ed., Picasso’s Paintings, Watercolors, Drawings, and Sculpture from Cubism to
Neoclassicism 1917-1919, San Francisco, 1995, p. 169, no. 19-006, illustrated.
Estimate: $80,000-$120,000
Art washes away from the soul the dust
of everyday life.
Pablo Picasso

69011
Bernard Buffet (1928-1999)
Fleurs, 1959
Mixed media on paper laid on canvas and pasted on a second canvas
25-1/2 x 19-3/4 inches (64.8 x 50.2 cm)
Signed and dated lower right: Bernard Buffet 59
PROVENANCE:
Private collection, New York.
NOTE:
This work is listed in the archives of the Galerie Maurice Garnier and is
accompanied by a photo-certificate of authenticity, signed by Céline Lévy
and Ida Garnier and dated September 27, 2017.
Estimate: $40,000-$60,000
Throughout Bernard Buffet’s career, he painted an array of subjects in a gloomy style. From flowers
and clowns to crucifixion and war violence, Buffet’s paintings and drawings encompassed thick,
black lines and spike forms that emphasized his dark subjects. A figurative painter living in in France,
he rose to fame in the 1940s and 1950s and had his first solo show in 1947. That year, the Musée
National d’Art Moderne, located in the Centre Pompidou in Paris purchased one of his still-life works
for their permanent collection. In 1948, at the young age of twenty, Buffet was awarded the Prix de la
Critique. A decade later, he was featured in The New York Times Magazine article “France’s Fabulous
Young Five” alongside Brigitte Bardot, Roger Vadim, Yves Saint Laurent and Francoise Sagan.
The following year in 1959, the same year he was profiled in The New Yorker, he produced the
present lot, Fleurs. Muddy and flat in color, Fleurs is equally as somber as his portraits. It consumes
the viewer and leaves them fascinated with the lonely world in which it exists.
Painting...we do not talk about it, we do
not analyze it, we feel it.
Bernard Buffet

69012
Joaquín Clausell (1866-1935)
Las peñas de Santa Clara, 1920
Oil on canvas
39-1/2 x 59-1/4 inches (100.3 x 150.5 cm)
PROVENANCE:
Casa Guillermo, Mexico City;
Eduardo Villaseñor, Mexico City;
By descent through the Villaseñor family;
Sotheby’s New York, May 17, 1995, lot 22.
EXHIBITED:
Secretaría de Educación Pública, Palacio de Bellas Artes, Mexico City,
“Joaquin Clausell, la exposición general de su obra,” April-May 1945, no.
137.
LITERATURE:
Xavier Moyssén, Joaquin Clausell: Una Introducción al estudio de su obra,
Mexico City, 1992, p. 109, no. 21, illustrated.
Estimate: $100,000-$120,000

69013
Gregory Kondos (b. 1923)
Untitled (Point Joe), 1992
Oil on canvas
36 x 48 inches (91.4 x 121.9 cm)
Signed and dated lower right: G Kondos 1992
PROVENANCE:
The artist;
Private Collection, California, present owner, acquired from the above.
NOTE:
This work depicts the famous Pebble Beach, California, landmark, Point Joe, as well
as the cottage seen in the Marlon Brando and Karl Malden ﬁlm One Eyed Jacks. The
rolling fairways and bunkers seen in the foreground and background are of the Monterey
Peninsula Country Club.
Estimate: $30,000-$50,000

69014
Paul Wonner (1920-2008)
Terrace with Spray Bottle and Garden Gloves (2nd Version), 1996
Acrylic on canvas
60 x 54 inches (152.4 x 137.2 cm)
Signed lower center: Paul Wonner
Signed, titled, dated, and inscribed on the reverse of the stretcher:
Paul Wonner / “Terrace with Spray / Bottle and Garden / Gloves (2nd Version)” / Acrylic 1996
PROVENANCE:
John Berggruen Gallery, San Francisco, California;
Private collection, Fort Worth, Texas.
EXHIBITED:
John Berggruen Gallery, “Paul Wonner, Recent Work,” San Francisco, California, 1998 (Cat. No. 6).
Estimate: $20,000-$30,000

69015
Wayne Thiebaud (b. 1920)
Three Cake Slices, 2008
Watercolor and brush with black ink on paper
11-1/4 x 9-1/8 inches (28.6 x 23.2 cm)
Signed and dated upper left: Thiebaud 2008
PROVENANCE:
The artist;
Paul Thiebaud Gallery, San Francisco, California;
Estate of Gregory Martin Shatkin, San Rafael, California, acquired from the above in 2013.
Estimate: $100,000-$150,000
Cakes, they are glorious, they are like toys.
Wayne Thiebaud
Indicative of Wayne Thiebaud’s dedication to repetition and confection, Three Cake Slices depicts three slices of cake
that are identical in shape yet varying in ﬂavor. Hues of blue reveal textures and light, a technique the artist called
halation to describe the juxtaposition of warm and cool colors to create a vibration off the canvas. In a New Yorker
article from the April 29, 1991 issue, Adam Gopnick wrote that these complimentary colors “give to his pictures
not just a sense of the shiver of light in a particular space but also the sense that the scene has the interior life and
unnatural emphases of something recalled from memory.” Thiebaud was also able to create this unique nostalgia
through the inspired inspiration he found in foods that “every American child has been brought up on.”

69016
Ken Price (1935-2012)
Lizard Cup, 1971
Acrylic on board
25-1/2 x 36 inches (64.8 x 91.4 cm)
Signed, titled, and dated in lower margin: “Lizard Cup” Price ‘71
PROVENANCE:
James Corcoran Gallery, Los Angeles, 1989.
Estimate: $10,000-$15,000

69017
Caro Niederer (b. 1963)
Nymphéas in the Garden of Giverny, 2005
Oil on canvas
59 x 82 inches (149.9 x 208.3 cm)
Signed and dated on the reverse: Caro Niederer / 2005
PROVENANCE:
Hauser & Wirth, Zurich;
Private collection, Florida, acquired from the above in 2005.
Estimate: $8,000-$12,000

69018
Shahzia Sikander (b. 1969)
Land Escape 10, 2006
Acrylic on archival vinyl over digital printing
37-1/2 x 60-1/2 inches (95.3 x 153.7 cm)
PROVENANCE:
Brent Sikkema, New York (label verso);
Estimate: $8,000-$12,000

69019
Jean Léon Jansem (1920-2013)
Untitled (Seated Girl)
Oil on canvas
51-1/2 x 32 inches (130.8 x 81.3 cm)
Signed lower right: Jansem
Estimate: $8,000-$10,000

69020
Jean Léon Jansem (1920-2013)
Danseuse de dos
Oil on canvas
39-1/2 x 32 inches (100.3 x 81.3 cm)
Signed upper right: Jansem
PROVENANCE:
The artist;
Wally Findlay Galleries, Chicago, acquired from the above in 1970 (label verso);
Private collection, Geneva, Illinois, acquired from the above in 1972;
By descent to the present owner.
Estimate: $10,000-$15,000

69021
Angel Botello (1913-1986)
Dancers, circa 1960
Oil and mixed media on board
36 x 15-1/2 inches (91.4 x 39.4 cm)
Signed lower center: Botello
PROVENANCE:
Galeria Botello, San Juan, Puerto Rico;
Mr. and Mrs. Arthur Blane, purchased from the above in 1992;
NOTE:
This lot is accompanied by a certiﬁcate of authenticity from
Galeria Botello dated March 30, 1992.
Estimate: $12,000-$18,000

69022
Angel Botello (1913-1986)
Juan, circa 1965
Oil on Masonite
16 x 14 inches (40.6 x 35.6 cm)
Signed lower right: Botello
PROVENANCE:
Galeria Botello, San Juan, Puerto Rico;
Mr. and Mrs. Arthur Blane, purchased from the above in 1992;
NOTE:
This lot is accompanied by a certiﬁcate of authenticity from Galeria Botello dated March 30, 1992.
Estimate: $10,000-$15,000

69023
Larry Rivers (1925-2002)
Seated Figures, circa 1957
Mixed media with collage on paper
13-5/8 x 11 inches (34.6 x 27.9 cm)
PROPERTY FROM THE COLLECTION OF MARY ANN AND HENRY GANS
PROVENANCE:
Mr. and Mrs. Guy Weill, New York;
UJA-Federation of New York, gift from the above;
Sotheby Parke Bernet New York, June 1, 1977, lot 24;
Acquired by the present owner from the above.
Estimate: $6,000-$8,000

69024
Karel Appel (1921-2006)
Cyclops
Oil on canvas
39-1/2 x 32 inches (100.3 x 81.3 cm)
Signed lower right: Appel
Signed on the reverse: Appel
PROVENANCE:
Old and Modern Masters Inc., Miami Beach, Florida;
Private collection, Montreal, Canada.
Estimate: $60,000-$80,000
To paint is to destroy what
preceded. I never try to make a
painting, but a chunk of life.
Karel Appel

69025
Cy Twombly (American, 1928-2011)
Portrait of Henry Heymann, 1956
Oil and graphite on canvas
45 x 33 inches (114.3 x 83.8 cm)
PROVENANCE:
The artist;
Henry Heymann, present owner, acquired from the above in 1956.
EXHIBITED:
Washington and Lee University, Lexington City, Virginia, 2017.
NOTE:
This work is accompanied by a letter to Henry Heymann from the artist.
Estimate: $100,000-$150,000
The story of Cy Twombly and Henry Heymann starts
in 1955 in Lexington, Virginia. A young art teacher at
Southern Seminary Women’s College, Twombly had
studied at the Black Mountain School alongside Robert
Rauschenberg and was poised to become an prominent
painter in Leo Castelli’s stable. Heymann was a bright
Washington and Lee University undergraduate destined
for Yale Drama School, a career launch as the set
designer for the fledgling Santa Fe Opera, and the set
manager for Igor Stravinsky and Robert Craft’s opera
troupe on tour through Europe.
The bond between Twombly and Heymann was
instantaneous, inevitable, and lasted for years. Both men
grew up in insular Southern communities. Twombly’s
father, an athletic coach at Washington and Lee, had
his family live near the campus in Lexington, Virginia.
Heymann, the beloved only child of a New Orleans
mercantile family, attended the Isadore Newman School
and apprenticed with artist George Dureau before
heading off to Virginia. Both men were encouraged by
their families to pursue artistic careers beyond Lexington
and New Orleans. New York City was an obvious
destination. Twombly had established his name there.
Heymann aspired to do the same.
This portrait, with sensitive facial details such as an
expressive mouth and soulful eyes that engage the viewer,
leaves no doubt about Twombly’s mastery of naturalistic
drawing. Beyond the face, the sitter’s body deconstructs
from classically modeled form in the torso to exuberant
and gestural marks at the extremities. While the portrait
certainly looks like young Henry Heymann, the painting
is actually about Twombly’s brush on the canvas.
Possible precedents for this portrait are notable. Willem
de Kooning’s portrait of his wife, Elaine de Kooning, (c.
1940) and Arshile Gorky’s portrait of this mother (c. 1942)
famously explore the tension between the creation of
a life-like rendering and the existential act of making a
mark on paper or canvas. Like Gorky and de Kooning
before him, Twombly used the face and body of an
intimate as a starting point for his own exploration of the
act of painting.
Executed in 1956, this portrait sits at a pivotal moment
in Twombly’s personal life, as well as in his artistic
evolution. The following year, Twombly married Italian
Baroness Tatiana Franchetti and moved to Rome, where
he fully developed his signature sgraffito style. Included
with this lot is a 1958 letter in Twombly’s distinctive hand
to Heymann in New Orleans:
Dear Henry, How are you and what are you doing? I’m
in the hospital a few weeks so have no need for a fun
letter. I hope you are at Yale and doing many things. Do
write me and send your address. Tell me of Glen, etc. I
have a show here the first of next month. Have been in
Rome a year with a large flat overlooking the Coliseum.
Want to go to Greece this summer. Do you think you
might come over? Will not likely go to the States in Sept.
Fondly, Cy
Indeed, Heymann did visit Twombly at the flat in Rome
several times and kept this portrait dear until its auction
offering now.

Fernando Botero
Un Abogado
For over six decades, the genius talent agent and TV and film producer Jack Rollins jumpstarted and
nurtured the careers of some of America’s finest comedians, including Woody Allen, Dick Cavett, and David
Letterman. A native ofBrooklyn, “King of Comedy” Rollins graduated from the City College of New York
before serving as a decoder of communications in India during World War II. Here, his commanding officer,
the actor Melvyn Douglas, enlisted Rollins’ help in staging performances at the China-Burma-India Theater;
after the war, Douglas introduced Rollins to professional contacts on Broadway, where he organized shows
during the late 1940s. In 1951, Rollins established a small talent agency in Manhattan, and his first project
was helping Harry Belafonte, a short-order cook in the Village, recast himself as a pop star and actor. In the
late 1950s, the improvisational comedy pair Mike Nichols and Elaine May hired Rollins as a manager, and
he transformed them into “Nichols and May,” Grammy Award-winning artists. With his partner Charles H.
Joffe, Rollins “discovered” Woody Allen in the early 1960s, encouraging him to broaden his repertoire from
writing to stand-up comedy and directing, and later producing many of his movies. Rollins also served as an
executive producer of TV’s The Dick Cavett Show from 1970-72 and Late Night with David Letterman from
1982-92, garnering ten nominations for a Primetime Emmy Award. Rollins debuted his role as a film producer
with Arthur in 1981, and he went on to shape the movie careers of comedy legends Billy Crystal and Robin
Williams. “A pioneer in the field of personal management, Rollins was one of the first to [identify] what, he
believed [was] they key to a personal manager’s success- getting ‘personally involved... otherwise there’s just
no point in doing it.’”
-B. Borns, “Jack Rollins,” page 129
An artist is attracted to certain kinds of form without
knowing why. You adopt a position intuitively, only
later do you attempt to rationalize or event justify it.
Fernando Botero

Jack Rollins with Princess Margaret
Jack Rollins with Woody Allen
Jack Rollins with Ronald Reagan Jack Rollins with daughter Hillary in front of this lot
Jack Rollins with Robin Williams t

69026
Fernando Botero (b. 1932)
Un Abogado, 1967
Oil on canvas
35-1/2 x 34-1/4 inches (90.2 x 87.0 cm)
Signed and dated lower right: Botero 67
Signed, titled, and dated on the reverse: “Un Abogado” / Botero 67
PROVENANCE:
The artist;
From the estate of Jack Rollins, New York, acquired from the above in 1968.
Estimate: $200,000-$300,000
“All the elements of my work as a painter and
sculptor spring from the same spirit: namely, from my
passion for volumes.”
Un Abogado is of the artist’s signature style
known as Boterismo, a term given to the signature,
voluptuous figures in his work. Both flat and full of
volume, the people depicted in Fernando Botero’s
paintings and sculptures have a whimsical air and
distinctive greatness. “Many people know me as
the painter of the ‘fat ladies,’ and it doesn’t disturb
me,” he said in a recent interview, although he
has insisted that he paints the ‘sensuality of form’.
Executed in 1967, Un Abogado (A Lawyer) stands
smoking a cigarette, his posture suggesting that he is
deep in thought, guarded perhaps. His figure takes
up a majority of the canvas, leaving it up to the
viewer to image the setting of the piece.
Born in Medellín in 1932, Botero was influenced by
the sculptural forms found in Catholic churches in
his home city, as well as the Italian Quattrocento
artists he encountered in his travels. For decades,
he has expressed his facetiousness through his
depictions of priests, nude bathers and families as
well as his recognizable replications of art history’s
most famous works. Mona Lisa, Age Twelve recasts
Leonardo da Vinci’s subject in an enthusiastic,
imaginative world.
Fernando Botero has had more than 200 solo
exhibitions and remains in the permanent collections
of notable institutions around the world including
The Museum of Modern Art, New York; The
Metropolitan Museum of Art, New York, Museo
Nacional Centro de Arte Reina Sofia, Madrid, Spain;
and the Setagaya Art Museum, Tokyo, Japan. He was
included in the Venice Biennale in 1958 and 1992.

69027
Igor Mitoraj (1944-2014)
Untitled
Bronze
70-1/2 x 54 x 51 inches (179.1 x 137.2 x 129.5 cm)
PROPERTY FROM A DISTINGUISHED NEW YORK COLLECTION
PROVENANCE:
The artist;
NOTE:
This sculpture is located in Quogue, New York, and it is being offered in situ. The buyer will be responsible for making deinstallation and
shipping arrangements from this location.
Estimate: $30,000-$50,000

69028
Auguste Herbin (1882-1960)
Composition, Couple portant béret et mantille, circa 1917
Oil on canvas
17 x 21-1/2 inches (43.2 x 54.6 cm)
Signed lower left: Herbin
PROVENANCE:
Galerie Françoise Tournié, Paris (label verso);
Galerie Simone Heller, Paris (stamp verso).
NOTE:
Geneviève Claisse has kindly conﬁrmed the authenticity of this work,
which will be included in her forthcoming catalogue raisonné under no. 1366.
Estimate: $100,000-$150,000

69029
Yves Tanguy (1900-1955)
Untitled, 1936
Gouache on card
2-7/8 x 7-5/8 inches (7.3 x 19.4 cm)
Signed and dated lower right: Yves Tanguy 36
PROVENANCE:
Mrs. Grace Marshall, New York, 1973;
Private collection, Mesquite, Texas.
LITERATURE:
Y. Tanguy and K. Sage Tanguy, Yves Tanguy: A
Summary of his Works, Pierre Matisse Gallery, New
York, 1963, cat. no. 188, p. 99, illustrated.
Estimate: $50,000-$70,000
The painting develops before my eyes, unfolding
its surprises as it progresses.
Yves Tanguy

By the later 1930s, around the time he painted this
elegant and haunting scene of a desolate landscape
littered with peculiar shapes, Yves Tanguy was
widely regarded as the prototypical Surrealist. He
was a sociable eccentric who ate spiders as a party
trick, loved wittiness, was a close friend of poet
Andre Breton, was preoccupied with dreams and the
unconscious as the source for his art, and adopted
the use of automatism (drawing and painting forms
directly from his mind without the mediation of
preliminary studies). Notably, Carl Jung used a canvas
by Tanguy to illustrate his theory of the collective
unconscious.
Despite these similarities with his Surrealist
compatriots, however, Tanguy stood apart from
them in significant ways that made his painting
representative of the purist strain of the movement. He
was the only great Surrealist to be entirely self-taught,
which allowed him to be unburdened by academic
baggage. He also came relatively late to painting, with
an absolutely compulsive, driven passion, after the
life-changing experience of seeing Giorgio di Chirico’s
Child’s Skull in a Paris gallery window.
Tanguy was best known for the imagery that
characterizes the present work: misshapen rocks and
molten surfaces that teeter just on the edge between
realism and fantasy. What set Tanguy’s work apart
from the work of other Surrealists was the naturalistic
precision with which he described his imaginary
forms within their dream-derived landscapes. These
he rendered with an exactitude usually reserved for
meticulous description of detail in the physical world.
Tanguy imagined and depicted the unconscious as
an actual place. Some writers have gone so far as
to speculate that his bizarre rock formations were
most likely inspired by the terrain of Brittany, where
his mother lived. Tanguy reflected: “I cannot, nor,
consequently, want to try to give a definition, even
a simple one, to what I paint. If I did try, I would risk
very much closing myself in a definition that would
late become like a prison for me.”

69030
Sergio Romiti (1928-2000)
Stireria and Nello Spazio (two works), 1958
Oil on canvas (each)
22 x 29-1/2 inches (55.9 x 74.9 cm) and 28 x 37-1/4 inches (71.1 x 94.6 cm)
Each signed lower right: Romiti
PROVENANCE:
XXIX Biennale Internazionale d’Arte di Venezia, October 10, 1958 (label verso);
Alex and Anne Lowenthal, Pittsburgh, Pennsylvania, acquired from the above in 1958;
LITERATURE:
Catalogue for XXIX Biennale Internazionale d’Arte di Venezia, 1958, page 118.
Estimate: $5,000-$7,000
“My home is not a museum,” says Alexander
Lowenthal, emphatically. “The closets are full of art
and we change what we have here all the time, but it’s
really not a museum.” While the Lowenthal apartment
may not be a gallery, it is a showplace offering a look
at many cultures and numerous centuries of art that
many museums would, in fact, envy.
The living room is a perfect example of Lowenthal
eclecticism. The table is Sherington, the chairs either
1780 Florentine or Chippendale. The coffee table is
made from a 20th century Vietnamese piece, inlaid
with egg shells and covered with layers of shellac. A
similar piece hangs over the mantle. About the room
are Ming bronzes, 17th century vases, a Leger, some
pre-Columbian figures, and 2,000-year old Roman
glass. There are busts from northern India and rare
sculpture from Thailand’s Authia period, circa 800
A.D. The laps are made from 18th century French
candlesticks, the floor lamp from a ceremonial horn
acquired in Nepal. “And every one’s a story,” explains
Anne Lowenthal. “Each piece represents a part of
the world that we’ve touched.” And after decades of
collecting, the Lowenthals have touched the entire
globe.
Alexander Lowenthal acquired his interest in art while
at Yale, but began to collect after attending his first
Carnegie International in 1921. “Little by little I got
to know artists’ work from all over the world. All the
great contemporary art was at the Carnegie. I bought
more as I learned more. Then I started to go to the
auctions and other shows, and we bought in our
travels. I always try to buy the oldest thing I can and
the newest. But I especially go for the new. It’s in my
nature.”
Anne Lowenthal, a Pittsburgh graduate and one-time
instructor at the University, began her interest in art
through the work she did with the Toledo Museum
of Art. Her interest was galvanized after a 1929 tour
through the museums of Europe.
Since their marriage in 1935, the Lowenthals have
gone to Europe nearly every year, many times
completely around the world. “We’re not world-class
collectors,” explains Anne Lowenthal. “But we know
what quality is.”
Great museums concur. The Lowenthals have given
their art to Harvard University’s Fogg Museum, The
Metropolitan Museum of Art, the National Gallery in
Washington D.C., The Israel Museum, the Carnegie
Museum, and more.
The Lowenthals, grateful to see parts of their
collection housed throughout the world, enjoy the
international correspondence that collecting and
donating cause. “It’s more than collecting pieces or
donating them,” says Anne Lowenthal. “It’s important
to us because this leads to a global vision.”
Tim Ziaukas
Published in Pitt Magazine, 1983

69031
Alfredo Chighine (1914-1974)
Visione del Lago, 1957
Oil on canvas
39 x 32 inches (99.1 x 81.3 cm)
Titled and dated on the reverse: 7-57 / Visione del Lago
PROVENANCE:
Pittsburgh International Exhibition, Carnegie Institute, Pittsburgh, Pennsylvania, 1958 (label verso);
Alex and Anne Lowenthal, Pittsburgh, Pennsylvania, acquired from the above in 1958;
EXHIBITED:
Carnegie Museum, Pittsburgh, Pennsylvania, 1958 (Cat. No. 90);
Allegheny College Museum, Meadville, Pennsylvania, 1961 (Cat. No. 5).
LITERATURE:
Columbia University, Painting in Post-War Italy (1945-1957), New York, illustration #19;
Quadrum: International Magazine of Modern Art, Issue 3, page 18; Issue 5, page 78.
Estimate: $7,000-$9,000
Mr. and Mrs. Alexander Lowenthal

69032
Ilya Bolotowsky (1907-1981)
Blue Diamond, 1977
Acrylic on canvas
68-1/4 x 68-1/4 inches (173.4 x 173.4 cm)
Signed and dated lower left: Ilya Bolotowsky / 77
PROPERTY FROM A CORPORATE COLLECTION, UPSTATE NEW YORK
Estimate: $20,000-$30,000

69033
Saliba Douaihy (1915-1994)
Untitled (Purple)
Oil on canvas
32 x 26 inches (81.3 x 66.0 cm)
Signed lower right: Y. Douaihy
PROVENANCE:
The artist;
Private collection, acquired from the above;
NOTE:
The father of the current owner was friends with the artist and grew up in the same village.
Estimate: $25,000-$35,000

69034
Louise Nevelson (1899-1988)
The Forgotten City, study, 1956
Pencil on paper
20 x 26 inches (50.8 x 66.0 cm)
Signed, titled, and dated lower right: “The Forgotten City” / Louise Nevelson ‘56
PROVENANCE:
David Herbert Gallery, New York (label verso).
NOTE:
We wish to thank Maria Nevelson of the Louise Nevelson Foundation for providing
the information that this drawing is related to Nevelson’s 1955 sculpture The Forgotten City.
Estimate: $3,000-$5,000

69035
Yoshio Sekine (1922-1988)
No. 369, 1974
Oil on canvas
16-1/4 x 21 inches (41.3 x 53.3 cm)
Signed in Japanese and English, titled, and dated on the reverse: No. 369 / ‘74 / Yoshio Sekine
PROVENANCE:
Franell Gallery, Tokyo (label verso);
Collection of Fred M. Levin, Chicago;
Leslie Hindman Auctioneers Chicago, August 19, 2015, lot 826;
Private collection, Pennsylvania.
Estimate: $5,000-$7,000

69036
Leon Polk Smith (1906-1996)
Untitled (Collage), 1970
Pencil and acrylic with collage
29-3/8 x 22 inches (74.6 x 55.9 cm)
Signed and dated lower right: Leon Polk Smith ‘70
PROVENANCE:
The artist;
Private collection, New York, acquired from the above;
Private Collection, Tampa, Florida, acquired from the above.
Estimate: $3,000-$5,000

69037
Leon Polk Smith (1906-1996)
Vertical Black (Triangle), 1989
Oil on canvas
28 x 31-1/2 inches (71.1 x 80.0 cm)
Signed, titled, dated, and inscribed on the reverse: © Leon Polk Smith / Vertical Black 1989 / (Triangle) 28” each side
PROVENANCE:
The artist;
Private collection, New York, acquired from the above;
Private collection, Tampa, Florida, acquired from the above.
Estimate: $12,000-$18,000

69038
Gunther Gerzso (1915-2000)
Strata III, 1953
Oil on canvas
16 x 39-1/2 inches (40.6 x 100.3 cm)
Signed and dated lower right: Gerzso / 53
Signed and dated on the reverse: Gerzso / Dic. 53
PROVENANCE:
Galeria de Arte Mexicano, Mexico (label verso);
Private collection, Dallas;
EXHIBITED:
Dallas Museum of Art, Dallas, Texas, “Dallas Collects,” 1959-1960 (label verso).
Estimate: $70,000-$90,000

A painting is like a screen on which a world of emotional
anxieties are projected. I don’t produce happy art; it’s
more philosophical. I’m more of a sad man.
Gunther Gerzso

69039
Robert Natkin (1930-2010)
Untitled (from the Apollo series), 1977
Acrylic on board
31 x 70 inches (78.7 x 177.8 cm)
Signed and dated lower center: Robert Natkin 1977
Estimate: $6,000-$9,000

69040
Yvaral (Jean-Pierre Vasarely) (1934-2002)
Structure Ambigue Cristal, 1972
Oil on canvas
43 x 63 inches (109.2 x 160.0 cm)
Signed lower center: Yvaral
Signed, titled, dated, and inscribed on the reverse: Yvaral / “Structure Ambigue Cristal” / O-V no. 3 / 1972 / Yvaral / No. 1144
Estimate: $10,000-$15,000

69041
Larry Bell (b. 1939)
Untitled, 1978
Aluminum and silicon monoxide on paper
32-5/8 x 24 inches (82.9 x 61.0 cm)
Signed and dated lower right: L Bell ‘78 X
Estimate: $4,000-$6,000
69042
Larry Bell (b. 1939)
MELBK 89, 1985
Aluminum and silicon monoxide on paper
29-1/2 x 24 inches (74.9 x 61.0 cm)
Signed and dated lower center: L Bell 85
Signed, titled, dated, and inscribed verso: MELBK 89 / 5/85 / L Bell ‘85
Estimate: $4,000-$6,000

69043
Vasa Velizar Mihich (b. 1933)
Parallelogram #2354, 1984
Laminated cast acrylic
68 x 24 x 14 inches (172.7 x 61.0 x 35.6 cm)
Incised with the artist’s signature, title, and date on the reverse:
#2354 Vasa 84
NOTE:
We wish to thank the Vasa Studio for assistance in cataloging this
work.
Estimate: $3,000-$5,000

69044
Sir Anthony Caro (1924-2013)
Floor Piece B 124, 1975
Rusted and varnished steel
31 x 60 x 24 inches (78.7 x 152.4 x 61.0 cm)
PROPERTY FROM THE COLLECTION OF
MAURICE AND SUZANNE VANDERWOUDE, NEW YORK
LITERATURE:
J. Schilling, Anthony Caro—Versuch Einer Bestimmung: Table and Related Sculptures, 1966-1978,
exhibition catalogue, Kunstverein, Braunschweig, 1979, pp. 11-18, 1979, no. 214.
D. Blume, Anthony Caro, Catalogue Raisonné, Volume I (Table and Related Sculptures 1966-
1978), Cologne, 1981, p. 214, no. 259, illustrated.
NOTE:
We wish to thank Barford Sculptures for assistance in cataloging this work.
Estimate: $60,000-$80,000

Rules exist to be broken, particularly artistic
ones. At the beginning of the Sixties we
were trying to find ways to establish
our grammar. Now we can write fuller
sentences.
Sir Anthony Caro

69046
Miguel Angel Pareja (1908-1984)
Formas, 1951
Oil on board
15-3/4 x 12 inches (40.0 x 30.5 cm)
Signed and dated lower right: Pareja 51
PROVENANCE:
Private collection, Texas.
Estimate: $5,000-$7,000
69047
Friedel Dzubas (1915-1994)
Untitled, 1960
Acrylic on canvas
20 x 19 inches (50.8 x 48.3 cm)
Signed and dated lower left: Friedel Dzubas / 60
Signed and dated on the reverse: Dzubas / 60
Estimate: $5,000-$7,000
69045 - no lot

69048
Ida Rittenberg Kohlmeyer (1912-1997)
Untitled (from the Cluster series), 1975
Mixed media on canvas, laid on a second canvas
46 x 63 inches (116.8 x 160.0 cm)
Signed and dated lower right: Kohlmeyer 1975
PROVENANCE:
David Findlay Gallery, New York (label verso).
Estimate: $10,000-$15,000

69049
Gu Wenda (b. 1955)
Untitled (Pseudo Character)
Ink on paper
44-3/4 x 29 inches (113.7 x 73.7 cm)
Signed in Chinese with two seals of the artist
Estimate: $5,000-$7,000

69050
Qiu Zhijie (b. 1969)
Untitled (Large White Scroll), circa 1995
Ink on paper mounted on scroll
127 x 38 inches (322.6 x 96.5 cm)
With ﬁve seals of the artist
PROVENANCE:
Estimate: $6,000-$8,000

69051
Paul Jenkins (1923-2012)
Phenomena Blue Rules the Day, 1975
Acrylic on canvas
77 x 101 inches (195.6 x 256.5 cm)
Signed lower left: Paul Jenkins
Signed, titled, and dated on the reverse: Paul Jenkins Phenomena Blue Rules the Day 1975
Estimate: $25,000-$35,000

69052
Paul Jenkins (1923-2012)
Phenomena Outside Isfafan, 1973
Acrylic on canvas
44 x 85 inches (111.8 x 215.9 cm)
Signed lower right: Paul Jenkins
PROVENANCE:
Gimpel and Weitzenhoffer, New York;
Dr. and Mrs. Herold Joseph, St. Louis, Missouri;
Shaindy Fenton, Inc., Fort Worth, Texas;
Private collection, Southﬁeld, Michigan, acquired from the above.
EXHIBITED:
Gimpel and Weitzenhoffer, New York, 1973.
Estimate: $20,000-$30,000
I try to paint like a crapshooter throwing dice, utilizing
past experience and my knowledge of the odds. It’s a big
gamble, and that’s why I love it.
Paul Jenkins

69053
Luis Cruz Azaceta (b. 1942)
Man Carrying a Ladder, 1989
Acrylic on canvas
86-1/2 x 60 inches (219.7 x 152.4 cm)
Signed lower left: Azaceta
Signed, titled, dated, and inscribed on the reverse: Luis Cruz Azaceta / Jan -1989- #1 / -New York City- / “Man
Carrying a Ladder” / Acrylic / 86 x 60” / 2 panels
PROVENANCE:
Sotheby’s New York, May 30, 2002, lot 150;
Private collection, Scottsdale, Arizona.
Estimate: $10,000-$15,000

69054
Liu Kuo-sung (b. 1932)
Moon’s Change of Identity #4, 1969
Ink and watercolor with collage on paper
35-1/2 x 23-1/2 inches (90.2 x 59.7 cm)
Signed in Chinese and stamped center recto
Signed, titled, dated, and inscribed verso: Moon’s Change of Identity No. 4 / 1969 35 1/2 x 23 1/2” / by Liu, Kuo-sung
Estimate: $30,000-$50,000

69055
David Hammons (b. 1943)
Untitled
Enamel on board
36 x 36 inches (91.4 x 91.4 cm)
Signed lower right: Hammons
Estimate: $30,000-$50,000
I feel that my art relates to my total environment –my being
a black, political, and social human being. Although I am
involved with communicated with others, I believe that my
art itself is really my statement. For me it has to be.
David Hammons

69056
Mel Bochner (b. 1940)
Torque, 1984
Oil on canvas
101 x 83 inches (256.5 x 210.8 cm)
Signed, titled, dated, and inscribed on the reverse: Torque / oil on sized / canvas / 101” x 83” / 1984 / Mel Bochner
PROVENANCE:
From the collection of a Fortune 500 Company.
EXHIBITED:
Sonnabend Gallery, New York, 1985.
NOTE:
We wish to thank Mr. Bochner for conﬁrming the authenticity of this work.
Estimate: $15,000-$20,000

69057
Ray Johnson (1927-1994)
Vines, 1958
Mixed media with collage on board
11 x 7-1/2 inches (27.9 x 19.1 cm)
Signed lower right: Ray Johnson
PROVENANCE:
David Herbert Gallery, New York (label verso).
Estimate: $4,000-$6,000

69058
Dustin Yellin (b. 1975)
Letter to Artaud and Texas, 2013
Sharpie, resin, and glass
17-3/4 x 17-1/8 x 3-1/2 inches (45.1 x 43.5 x 8.9 cm)
PROVENANCE:
The artist;
2014 Whitney Art Party Auction, Whitney Museum of American Art, New York;
Private collection, Georgia, acquired from the above.
NOTE:
A photocopy of the 2014 Whitney Art Party Auction Donation
Form signed by Dustin Yellin accompanies this lot.
Estimate: $15,000-$25,000
I could never even
entertain the notion that
it’s an option to not be
an artist.
Dustin Yellin

69059
Nicolas Deshayes (b. 1983)
Untitled (two works), 2013
Vacuum formed plastic on anodized aluminum in aluminum frame (each)
78-3/8 x 31-1/2 x 2 inches (199.0 x 80.0 x 5.1 cm) (each)
Signed and dated on the reverse: Nicholas Deshayes 2013
PROVENANCE:
Jonathan Viner Gallery, London;
Estimate: $3,000-$5,000

69060
Stefan Brüggemann (b. 1975)
Certain (Puddle Painting 4), 2013
Aluminum paint and spray paint on canvas
63 x 45-1/2 inches (160.0 x 115.6 cm)
Signed, titled, and dated on the reverse: 2013 Brüggemann / Certain
PROVENANCE:
Jonathan Viner Gallery, London;
Estimate: $30,000-$50,000

69061
Jack Goldstein (1945-2003)
Untitled, 1989
Acrylic on canvas
48 x 60 inches (121.9 x 152.4 x 10.2 cm)
PROVENANCE:
The artist;
Private Collection, Chicago, acquired from the above.
EXHIBITED:
Dart Gallery, Chicago (label verso);
Marlborough Gallery, New York (label verso).
Estimate: $40,000-$60,000
Dangerous objects are a glamorous place to be.
Jack Goldstein

69062
Jason Martin (b. 1970)
Boboli, 2003
Oil on aluminum
79 x 79-1/2 inches (200.7 x 201.9 cm)
Signed, titled, dated, and inscribed on the reverse: Jason Martin / 2003 / ‘Boboli’ / Oil on / aluminum / 2m x 2m
PROVENANCE:
Galerie Thaddaeus Ropac, Paris (label verso);
Private collection, Colorado, acquired from the above in 2003.
LITERATURE:
Andrew Renton and Norman Rosenthal, Jason Martin, Milan, 2004, p. 41, illustrated.
Estimate: $25,000-$35,000

69063
Eddie Martinez (b. 1977)
United States, 2014
Acrylic, pastel, and oil stick on paper
12-3/4 x 9-3/8 inches (32.4 x 23.8 cm)
Signed, titled, and dated lower left: Martinez 2014 United States
PROVENANCE:
Timothy Taylor Gallery, London (label verso);
Estimate: $3,000-$5,000

69064
Eddie Martinez (b. 1977)
Untitled, 2013
Wood, cardboard, plaster, foam, metal, plastic, paint, and epoxy
10-1/2 x 14-1/4 x 8-1/8 inches (26.7 x 36.2 x 20.6 cm)
Initialed and dated on the underside: EM 13
PROVENANCE:
Timothy Taylor Gallery, London;
Estimate: $4,000-$6,000

69065
Duane Hanson (1925-1996)
Baby in Carriage, 1983
Polyvinyl, polychromed in oil, mixed media and accessories
34-1/2 x 22 x 36 inches (87.6 x 55.9 x 91.4 cm)
PROVENANCE:
Helander Gallery, Palm Beach, Florida;
Private collection, Los Angeles, acquired from the above in 1988.
EXHIBITED:
Hokin Gallery, Bay Harbor Islands, Florida, 1983.
Estimate: $80,000-$120,000
“My images don’t get near what you see in real life.
The world is so remarkable and astonishing and
surprising that you don’t need to exaggerate. What
exists out-there is just mind-boggling.”
Shocking yet sincere, the Baby in Carriage lays asleep
in an umbrella stroller. He wears a baggy sweatshirt
and sweatpants in the same light blue hue, the
sweatshirt inscribed with John 8:7: “He that is without
sin among you, let him first cast the first stone.” A
large blue bag dangles from the handles, decorated
with yellow flowers in a gingham print and “My Baby’s
Things” written in a chunky, white outlined font.
Unlike Women with Child in Stroller, a work from 1985
that depicts a mother and her child, Baby in Carriage
stands alone. Yet, it is one of Hanson’s most intimate
works as it was made after his son, Duane Hanson Jr.
Duane Hanson began creating life-size, hyperrealistic
sculptures in the 1960s, beginning with graphic scenes
of police brutality. He eventually turned his attention
to the middle class, capturing the averageness of
American culture in the spirit of Norman Rockwell.
“The subject matter that I like best deals with the
familiar lower and middle class American types of
today,” Hanson explained. While he perfected the
human skin by casting live models and then recreating
them in synthetic resin, he went farther than skin-
deep to expose the suffering and exhaustion of the
working class. From tourists to blue-collar workers and
housewives, Hanson shed an honest light on economic
classes and confronted gallery and museum goers with
reality. “My art is not about fooling people. It’s the
human attitudes I’m after-fatigue, a bit of frustration,
rejection. To me, there is a kind of beauty in all this.”
Hanson was born in Alexandria, Minnesota in 1925
and died in Boca Raton, Florida in 1996. His work
has been exhibited internationally at institutions and
galleries such as the Whitney Museum of American
Art, New York; Louisiana Museum of Modern Art,
Denmark; Serpentine Gallery, London; Aperture
Foundation, New York; Corcoran Gallery of Art,
Washington, D.C.; Daimaru Museum of Art, Tokyo;
Gagosian Gallery, New York and Paris.
Realism is best suited to convey the frightening
idiosyncrasies of our time.
Duane Hanson

69066
Richard Prince (b. 1949)
Untitled (Girlfriend) from Cowboys and Girlfriends, 1992
Ektacolor photograph
23 x 16 inches (58.4 x 40.6 cm)
P.P. 3/3 (aside from an edition of 26)
PROVENANCE:
Patrick Painter Editions, Hong Kong (label verso).
Estimate: $4,000-$6,000

69067
Richard Prince (b. 1949)
Untitled (Boy with Clown) from Sunset Series, 1981
Dye Coupler on Kodak paper
6-3/8 x 9-1/2 inches (16.2 x 24.1 cm) (image)
8 x 10 inches (20.3 x 25.4 cm) (sheet)
Ed. 2/10
Signed, numbered, and dated in pencil in lower right
Estimate: $15,000-$25,000

Four Foot Companion is of KAWS’s signature style, a
soft skull and crossbones with X-ed-out eyes and a
cartoonish body. “I was interested in that image ‘cause
it was limitless in terms of translation: anywhere, in
any country, it’s still a skull. You can’t really get more
universal than that. But a skull is usually associated with
death, so I tried to make it as friendly and approachable
as possible.” KAWS’s first toy, also called Companion,
was released in 1999 as a thank you from Japanese
clothing company, realmadHECTIC. KAWS had painted
the brand’s new store, and in return, they offered to
produce his first edition. It was then that KAWS decided
that he would “take down” the most iconic cartoon,
Mickey Mouse, whose characteristics are prevalent
throughout the artist’s work.
A majority of KAWS’s work is familiar to its viewer as
it draws inspiration from recognizable pop culture
characters such as Pinocchio, The Simpsons and
SpongeBob. The relatability combined with the slight
disruptions he makes to alter his characters’ personalities,
has made his work skyrocket in popularity. The
consistency and repetition found in KAWS’s work
also draws similarities to Pop Art and artists such as
Andy Warhol and Keith Haring. KAWS was born Brian
Donnelly in 1974. He grew up in New Jersey and was
influenced by skateboarding culture in New York City.
On the weekends, he took the PATH to the Brooklyn
Banks and Tompkins Square Park to skateboard. While
studying at the School of Visual Arts in the early ‘90s,
a friend and fellow artist, Barry McGee showed him
how to open bus stop advertisements. KAWS would
take them out, bring them back to his studio to tag and
then return them to their place. It was here that the
public first saw his skull with crossbones and crossed
out eyes. “I did not know much about writing, I just
knew that I liked to write my name everywhere I could
in my neighborhood. At that time I knew nothing about
the world of graff that was happening in New York. I
just knew the few names I saw around my area. Later
on, around ‘91, I started getting into bombing on a more
serious level, trying to cover large areas of Jersey and
Manhattan, especially East Village and SoHo.”
Keith Haring, for me, was a pivotal influence,
because he was somebody involved in the art
world, that wasn’t removed or out of reach. With
his ‘Pop Shop’ he made patches and T-shirts and
sold them as well as large-scale paintings and
sculptures. I thought that it was great there was
somebody doing these two things simultaneously. It
almost seems like a natural thing these days to be
an artist and make products.
KAWS

69068
KAWS (b. 1974)
Companion (Grey), 2007
Painted cast vinyl
50 x 22 x 14 inches (127 x 55.9 x 35.6 cm)
Ed. 100
Stamped to the underside of the right foot: ©KAWS..07
Stamped to the underside of the left foot: Medicom Toy / 2007 /
Made in China
Produced by Medicom Toy, Japan
PROVENANCE:
Toy One Company, Hong Kong;
Private collection, Asia;
Private collection;
Christie’s Hong Kong, March 23, 2017, lot 27;
Private collection, California.
NOTE:
This work is accompanied by a hologram certiﬁcate from
Medicom Toy.
Estimate: $15,000-$25,000
69069
KAWS (b. 1974)
Companion (Brown), 2007
Painted cast vinyl
50 x 22 x 14 inches (127 x 55.9 x 35.6 cm)
Ed. 100
Stamped to the underside of the right foot: ©KAWS..07
Stamped to the underside of the left foot: Medicom Toy / 2007 /
Made in China
Produced by Medicom Toy, Japan
PROVENANCE:
Toy One Company, Hong Kong;
Private collection, Asia;
Private collection;
Christie’s Hong Kong, March 23, 2017, lot 27;
NOTE:
This work is accompanied by a hologram certiﬁcate from Medicom Toy.
Estimate: $15,000-$25,000

69070
Karen Kilimnik (b. 1955)
Is He Gay?, 1988
Crayon and pastel on paper
34 x 23 inches (86.4 x 58.4 cm)
Signed verso: Karen Kilimnik
PROVENANCE:
Estimate: $8,000-$12,000

69071
Raymond Pettibon (b. 1957)
Untitled
Ink on paper
28-1/2 x 41 inches (72.4 x 104.1 cm) (image)
Signed lower left: Raymond Pettibon
Estimate: $6,000-$8,000

69072
Katsura Funakoshi (b. 1951)
Mirror Reﬂecting Figures, 1989
Charcoal and pencil on paper
75-1/2 x 35 inches (191.8 x 88.9 cm)
Initialed and dated lower right: KF / 89
PROVENANCE:
Arnold Herstand & Co., New York.
Estimate: $6,000-$8,000

69073
Lalla Essaydi (b. 1956)
Les Demmes Du Maroc #22B, 2006
Dye coupler mounted to aluminum
58 x 47 inches (147.3 x 119.4 cm)
A.P. (aside from an edition of 10)
Signed on label afﬁxed to the reverse: Lalla Essaydi
PROVENANCE:
The artist;
Edwynn Houk Gallery, New York (label verso).
Estimate: $6,000-$8,000

69074
Gottfried Helnwein (b. 1948)
Boulevard of Broken Dreams, James Dean, 2005
Oil and acrylic on canvas
79-1/2 x 55 inches (201.9 x 139.7 cm)
Signed, dated, and inscribed on the reverse: Los Angeles / 2005 / G. Helnwein / 2005
PROVENANCE:
The artist;
William Kaper, Jr., Illinois, commissioned from the above in 2005.
This lot is accompanied by a letter from the artist to Mr. William Kaper discussing the details of the painting’s commission.
Estimate: $80,000-$100,000

69075
Guangyi Wang (b. 1957)
Great Criticism- MTV, 2005
Acrylic on canvas
27-1/2 x 23-1/2 inches (69.9 x 59.7 cm)
Signed and dated on the reverse: 2005 Wang Guangyi
PROVENANCE:
Estimate: $15,000-$20,000

69076
Robert Longo (b. 1953)
Study for “Corporate Wars: Walls of Inﬂuence”, 1982
Pencil on paper
7-3/8 x 10 inches (18.7 x 25.4 cm)
Signed and dated lower right: Robert Longo 82
Signed on verso under a typewritten note: Robert
PROVENANCE:
Private collection, California;
Private collection, New Jersey, by descent from the above.
NOTE:
We wish to thank the Robert Longo Studio for assistance in cataloging this work.
Estimate: $4,000-$6,000

69077
William Anastasi (b. 1933)
Untitled (Subway drawing), 1984
Pencil on paper
7-1/2 x 11 inches (19.1 x 27.9 cm)
Signed and dated lower right: William Anastasi 1984
PROVENANCE:
Private collection;
Estimate: $5,000-$7,000

69078
John Baeder (b. 1938)
Epicure Diner, Long Island City, NY, 1976
Watercolor on paper
22-1/4 x 29-1/2 inches (56.6 x 74.9 cm)
Signed lower right: Baeder 76
Signed, titled, and dated verso: John Baeder May 1976 / Epicure Diner, Long Island City, NY / Hunters Point Ave
PROVENANCE:
OK Harris Works of Art, New York (label verso);
Estimate: $12,000-$18,000

69079
Ron Kleemann (b. 1937)
Tonyontecarlo, 2004
Oil on canvas
22 x 26 inches (55.9 x 66.0 cm)
PROVENANCE:
Louis K. Meisel Gallery, New York (label verso).
Estimate: $10,000-$15,000

69080
Weng Fen (Weng Peijun) (b. 1961)
Staring at the Lake No. 1, 2004
Dye coupler
49-1/2 x 61-1/2 inches (125.7 x 156.2 cm) (sight)
Signed, dated, and numbered ‘1/10’ in ink in lower margin
PROVENANCE:
Rico/Maresca Gallery, New York;
Estimate: $5,000-$7,000

69081
Candida Höfer (b. 1944)
British Library London II, 1994
Dye coupler
15 x 22-3/4 inches (38.1 x 57.8 cm)
Signed, titled, dated, and numbered ‘2/6’ in pencil verso
PROVENANCE:
Estimate: $7,000-$9,000

69082
Afrika (Sergei Bugaev) (b. 1966)
Soviet Banner No. 4
Embroidery on velour
50 x 66 inches (127 x 167.6 cm)
PROVENANCE:
Christie’s London, November 26, 2008, lot 473;
Private collection, Oklahoma City, Oklahoma, acquired from the above.
EXHIBITED:
Baltimore, University of Maryland, Baltimore County Fine Arts Gallery, “Layers: Contemporary Collage from St. Petersburg,”
November 3, 1995- February 7, 1996.
Estimate: $3,000-$5,000

69083
Rivane Neuenschwander (b. 1967)
Conversations 10, 2002
Dye coupler, laminated and mounted to aluminum
26 x 40 inches (66.0 x 101.6 cm)
Ed. 1/6
PROVENANCE:
Stephen Friedman Gallery, London (label verso).
Estimate: $5,000-$7,000

69084
Donald Lipski (b. 1947)
Untitled (Saxophone)
Brass and wax
27 x 5 x 18-1/4 inches (68.6 x 12.7 x 46.4 cm)
Estimate: $2,000-$3,000

69085
Dustin Yellin (b. 1975)
Verona Street Girls Club, 2008
Ink, resin, and acrylic
11-7/8 x 35-1/2 x 2-7/8 inches (30.2 x 90.2 x 7.3 cm)
Incised with the artist’s signature and date on the reverse: Yellin 08
Estimate: $10,000-$15,000

69086
Richard Jackson (b. 1939)
Dick’s Luck Sucks
Metal, glass, and neon with wooden pedestal
23 x 33 x 6 inches (58.4 x 83.8 x 15.2 cm)
Ed. AP
PROVENANCE:
The artist;
Private collection, California, acquired from the above;
Heritage Auctions Dallas, May 31, 2014, lot 72272;
NOTE:
This work is accompanied by a preliminary drawing by the artist.
Estimate: $8,000-$12,000

69087
Richard Jackson (b. 1939)
Black Big Pig
Metal, glass, and neon with wooden pedestal
15 x 13 x 8 inches (38.1 x 33.0 x 20.3 cm)
Ed. AP
PROVENANCE:
The artist;
Private collection, California, acquired from the above,
Heritage Auctions Dallas, May 31, 2014, lot 72271;
Estimate: $5,000-$7,000
End of Auction

Afrika (Sergei Bugaev)..........................................................69082
Anastasi, William ................................................................69077
Appel, Karel .........................................................................69024
Arman, Armand P. ...............................................................69045
Azaceta, Luis Cruz ..............................................................69053
Baeder, John .......................................................................69078
Bell, Larry ................................................................69041, 69042
Bochner, Mel ......................................................................69056
Bolotowsky, Ilya ...................................................................69032
Botello, Angel .........................................................69021, 69022
Botero, Fernando ...............................................................69026
Brüggemann, Stefan ..........................................................69060
Buffet, Bernard ....................................................................69011
Caro, Sir Anthony ................................................................69044
Chighine, Alfredo ................................................................69031
Clausell, Joaquín .................................................................69012
Coronel, Rafael ...................................................................69006
Deshayes, Nicolas ..............................................................69059
Douaihy, Saliba ....................................................................69033
Dzubas, Friedel ...................................................................69047
Essaydi, Lalla ......................................................................69073
Funakoshi, Katsura .............................................................69072
Gerzso, Gunther ..................................................................69038
Goldstein, Jack ....................................................................69061
Grosz, George .....................................................................69001
Gu, Wenda .........................................................................69049
Hammons, David ................................................................69055
Hanson, Duane ....................................................................69065
Helnwein, Gottfried .............................................................69074
Herbin, Auguste ..................................................................69028
Höfer, Candida ...................................................................69081
Jackson, Richard .....................................................69086, 69087
Jansem, Jean Léon ..................................................69019, 69020
Jenkins, Paul ............................................................69051, 69052
Johnson, Ray .......................................................................69057
KAWS .....................................................................69068, 69069
Kilimnik, Karen ....................................................................69070
Kleemann, Ron ...................................................................69079
Kohlmeyer, Ida Rittenberg ..................................................69048
Kondos, Gregory ................................................................69013
KuoSung, Liu ......................................................................69054
Lipski, Donald .....................................................................69084
Longo, Robert ....................................................................69076
Martin, Jason ......................................................................69062
Martinez, Eddie ......................................................69063, 69064
Mihich, Vasa Velizar ............................................................69043
Mitoraj, Igor ........................................................................69027
Natkin, Robert .....................................................................69039
Neuenschwander, Rivane ...................................................69083
Nevelson, Louise .................................................................69034
Niederer, Caro ....................................................................69017
Pareja, Miguel Angel ...........................................................69046
Paul, Gen .............................................................................69008
Pettibon, Raymond ............................................................69071
Pho, Le ................................................................................69002
Picasso, Pablo ..........................................................69007, 69010
Price, Ken ............................................................................69016
Prince, Richard .......................................................69066, 69067
Qiu, Zhijie ..........................................................................69050
Ramos Martínez, Alfredo .....................................................69005
Rivers, Larry .........................................................................69023
Romiti, Sergio ......................................................................69030
Sekine, Yoshio .....................................................................69035
Sikander, Shahzia ................................................................69018
Smith, Leon Polk .....................................................69036, 69037
Tanguy, Yves ........................................................................69029
Thiebaud, Wayne ...............................................................69015
Twombly, Cy ........................................................................69025
Venard, Claude ....................................................................69009
Wang, Guangyi ...................................................................69075
Weng Fen Weng Peijun ......................................................69080
Wonner, Paul .......................................................................69014
Yellin, Dustin ...........................................................69058, 69085
Yvaral (JeanPierre Vasarely)..................................................69040
Zúñiga, Francisco ....................................................69003, 69004
Index

Auctioneer and Auction:
1. his Auction is presented by Heritage Auctions, a d/b/a/ of Heritage Auctioneers & Galleries, Inc., or
Heritage Auctions, Inc., or Heritage Numismatic Auctions, Inc., or Heritage Vintage Sports Auctions,
Inc., Currency Auctions of America, Inc., Heritage Auctions (HK) Limited, or Heritage Auctions –
Europe Cooperatief U.A. as identiied with the applicable licensing information on the title page of the
catalog or on the HA.com Internet site (the “Auctioneer”). he 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.
Buyer’s Premium:
2. All bids are subject to a Buyer’s Premium which is in addition to the placed successful bid:
• Fiteen percent (15%) on Domain Names & Intellectual Property Auction lots;
• Nineteen and one-half percent (19.5%) on Comic and Movie Poster Auction lots;
• Twenty percent (20%) on Currency, Sports Collectibles, US Coin, and World & Ancient Coin Auction lots;
• Twenty-two percent (22%) on Wine Auction lots;
• For lots in all other categories not listed above, the Buyer’s Premium per lot is twenty-ive percent (25%) on
the irst $250,000, plus twenty percent (20%) of any amount between $250,000 and $2,500,000, plus twelve
percent (12%) of any amount over $2,500,000.
• Minimum Buyer’s Premium per lot is $19, except for Sports Collectibles lots wherein the Buyer’s Premium
is $14 per lot.
Auction Venues:
3. he following Auctions are conducted solely on the Internet: Heritage Weekly Internet Auctions (Coin,
Currency, Comics, Rare Books, Jewelry & Watches, Guitars & Musical Instruments, and Vintage Movie
Posters); Heritage Monthly Internet Auctions (Sports, World Coins and Rare Wine). Signature® Auctions
and Grand Format Auctions accept bids from the Internet, telephone, fax, or mail irst, followed by a loor
bidding session; HeritageLive! and real- time telephone bidding are available to registered clients during
these auctions.
Bidders:
4. Any person participating or registering for the Auction agrees to be bound by and accepts these Terms and
Conditions of Auction (“Bidder(s)”).
5. All Bidders must meet Auctioneer’s qualiications to bid. Any Bidder who is not a client in good standing
of the Auctioneer may be disqualiied at Auctioneer’s sole option and will not be awarded lots. Such
determination may be made by Auctioneer in its sole and unlimited discretion, at any time prior to, during,
or even ater the close of the Auction. Auctioneer reserves the right to exclude any person from the auction.
6. If an entity places a bid, then the person executing the bid on behalf of the entity agrees to personally
guarantee payment for any successful bid.
Credit:
7. In order to place bids, Bidders who have not established credit with the Auctioneer must either furnish
satisfactory credit information (including two collectibles-related business references) or supply valid
credit card information along with a social security number, well in advance of the Auction. Bids placed
through our Interactive Internet program will only be accepted from pre-registered Bidders. Bidders
who are not members of HA.com or ailiates should preregister at least 48 hours before the start of the
irst session (exclusive of holidays or weekends) to allow adequate time to contact references. Credit will
be granted at the discretion of Auctioneer. Additionally Bidders who have not previously established
credit or who wish to bid in excess of their established credit history may be required to provide their
social security number or the last four digits thereof so a credit check may be performed prior to
Auctioneer’s acceptance of a bid. Check writing privileges and immediate delivery of merchandise may
also be determined by pre-approval of credit based on a combination of criteria: HA.com history, related
industry references, bank veriication, a credit bureau report and/or a personal guarantee for a corporate
or partnership entity in advance of the auction venue.
Bidding Options:
8. Bids in Signature®
Auctions or Grand Format Auctions may be placed as set forth in the printed catalog
section entitled “Choose your bidding method.” For auctions held solely on the Internet, see the alternatives
on HA.com. Review at http://www.ha.com/c/ref/web-tips.zx#biddingTutorial.
9. Presentment of Bids: Non-Internet bids (including but not limited to podium, fax, phone and mail bids) are
treated similar to loor bids in that they 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 this revised amount will be considered your high bid.
10. Auctioneer’s Execution of Certain Bids. Auctioneer cannot be responsible for your errors in bidding,
so carefully check that every bid is entered correctly. When identical mail or FAX bids are submitted,
preference is given to the irst received. To ensure the greatest accuracy, your written bids should be
entered on the standard printed bid sheet and be received at Auctioneer’s place of business at least two
business days before the Auction start. Auctioneer is not responsible for executing mail bids or FAX bids
received on or ater the day the irst lot is sold, nor Internet bids submitted ater the published closing time;
nor is Auctioneer responsible for proper execution of bids submitted by telephone, mail, FAX, e-mail,
Internet, or in person once the Auction begins. Bids placed electronically via the internet may not be
withdrawn until your written request is received and acknowledged by Auctioneer (FAX: 214-409-1425);
such requests must state the reason, and may constitute grounds for withdrawal of bidding privileges. Lots
won by mail Bidders will not be delivered at the Auction unless prearranged.
11. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest amount you
may bid on a particular lot. Bids greater than one increment over the current bid can be any whole dollar
amount. It is possible under several circumstances for winning bids to be between increments, sometimes
only $1 above the previous increment. Please see: “How can I lose by less than an increment?” on our
website. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted.
he 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 ................. $25,000
$1,000,000 - $1,999,999........... $50,000
$2,000,000 - $9,999,999......... $100,000
>= $10,000,000........................ $200,000
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. Ater ofering a Cut Bid, bidders may continue to participate
only at full increments. Of-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.
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 loor, or by any means during the live session, or ater
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. he highest qualiied 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 reofer the lot. Auctioneer’s decision and declaration
of the winning Bidder shall be inal and binding upon all Bidders. Bids properly ofered, whether by
loor 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 ater the hammer fall to accept bids
and reopen bidding for bids placed through the Internet or otherwise. Regardless that bids are made
on a Property, Auctioneer reserves the right to withdraw the Properties, or any part of the Properties,
from the Auction at any time prior to the opening of any lot containing such Properties for sale by the
auctioneer (crier), or in the case of Internet-only auctions when the bid opens for either live bidding
online or the beginning of the extended period, if any
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. he 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. he Auctioneer, its ailiates, or their employees consign items to be sold in the Auction, and may bid on
those lots or any other lots. Auctioneer or ailiates 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 ailiates. he
Auctioneer may extend advances, guarantees, or loans to certain consignors.
22. he Auctioneer has the right to sell certain unsold items ater 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 ater 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. Alternatively, Auctioneer at its sole option, may charge a
twenty (20%) fee based on the amount of the purchase. In either case the Auctioneer may ofset amount
of its claim against any monies owing to the Bidder or secure its claim against any of the Bidder’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 ile 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 certiicate or declaration, 2) an incorrect interpretation of the applicable statute, 3)
or any other reason. he appropriate form or certiicate must be on ile at and veriied by Auctioneer
ive days prior to Auction, or tax must be paid; only if such form or certiicate is received by Auctioneer
within 4 days ater the Auction can a refund of tax paid be made. Lots from diferent 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 inancial
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 ile.
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 staf, 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). he defaulting Bidder is liable to pay any diference 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 ailiates to secure payment of any Auction
invoice or any other amounts due the Auctioneer or ailiates 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 addition, with respect to payment of the
Auction invoice(s), the buyer waives any and all rights of ofset he might otherwise have against the
Auctioneer and the consignor of the merchandise included on the invoice. If a Bidder owes Auctioneer
or its ailiates on any account, Auctioneer and its ailiates shall have the right to ofset 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.
Terms and Conditions of Auction

Heritage Auctions Modern & Contemporary Art Signature Auction, Novemebr 30, 2017, Sale #5315

Heritage Auctions Modern & Contemporary Art Signature Auction, Novemebr 30, 2017, Sale #5315

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Heritage Auctions Modern & Contemporary Art Signature Auction, Novemebr 30, 2017, Sale #5315