Sale 1296 | A Lasting Legacy: The Estate of Michael Mennello

A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO FEBRUARY 21, 2024

A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO SALE 1296 February 21, 2024 | Palm Beach | Live + Online Session I: Fine Art 10:00 am ET | Lots 1–93 Session II: Furniture & Decorative Arts 2:00 pm ET | Lots 94–224 HIGHLIGHTS PREVIEW Auction Room and Galleries 1608 South Dixie Highway, West Palm Beach, FL 33401 palmbeach@hindmanauctions.com Friday Saturday Sunday Monday Tuesday

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CONTENTS Session I: Fine Art | Lots 1–93 Session II: Furniture & Decorative Arts | Lots 94–224 Artist Index Upcoming Auction Schedule Freeman’s | Hindman Team Buyers Guide Conditions of Sale

4 74 140 141 142 143 144

All lots in this catalogue with a lower estimate value of $1,500 and above are searched against the Art Loss Register database.

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OPPOSITE Lot 128 Detail

DEN 0001957 FL AB3688 IL 444.000521 OH 2019000131 PA AY002247

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A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO

A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO “We have reached thousands of people with the understanding of what art really means, and what it brings to your life. That is our legacy: that we promoted the arts, we loved the arts, and nurtured an ingredient that is needed in our soul.”

–Michael Mennello You would be hard pressed to find someone who meant more to the art community of Orlando or Florida as a whole than Michael Mennello. His passion for fine art was legendary and rivaled only by his eagerness to share this passion with as many people as possible.

Born in 1933 in Princeton, NJ, Mr. Mennello had a successful career that saw him go from administrative assistant to one of the business leaders of Orlando, which he called home for the final 45 years of his life. Even as his career took him from New York to Miami to the Bahamas and finally to the Greater Orlando area, the one constant was an unbridled passion and support of the arts.

Mr. Mennello, along with his beloved wife, the Honorable Marilyn Logsdon Mennello, began collecting in earnest in the late 1970s, first being drawn to the Old Masters and French Impressionism, before developing a taste for Florida folk artist Earl Cunningham in the 1980s. The collection and preservation of Cunningham’s works became the first great mission for the Mennellos, who sent their collection on a traveling exhibition of more than 30 museums across the country, donating several pieces along the way to hang in the hallowed galleries of The Metropolitan Museum of Art in New York and the Smithsonian American Art Museum in Washington, D.C., among others.

The Mennellos would repeat this process for several underappreciated artists for the rest of their lives, culminating in the founding of the Mennello Museum of American Art in 1998. Building that museum with his wife, Marilyn, was among the greatest pleasures of his life. The museum’s collection mirrors the Mennellos’ own, featuring not only a large selection of works by Cunningham and other folk artists, but an extraordinary collection of American artists including George Bellows.

But passion was not all that he contributed to the art world. As a man with keen vision and an eye for the best of the best, Mr. Mennello was appointed a member of the Board of Visitors of the American Wing of the Metropolitan Museum of Art, and was a member of the American Art Forum of the Smithsonian American Art Museum and the prestigious Bryant Fellows of the Metropolitan Museum of Art. Offered here are the fruits of that keen eye. Mr. Mennello was exceedingly proud of his collection of art, furniture, and decorative objects, and, as the pages of this catalogue will attest, for good reason. A relentless supporter of local Florida artists, Mr. Mennello avidly collected works by Michele Byrne, Paul Scarborough, and Duncan McClellan, all of whom are offered here along with several other regional artists. These works skillfully blended into his vast collection of American art which included works by Theodore Earl Butler, Richard Edward Miller, John Sloan, and Joseph Raphael, who are represented in this catalogue as well. This incredible collection of fine art, paired with exquisite antiques and delicate glass sculptures, results in one of the more enviable collections in Florida. It would give Mr. Mennello a great deal of joy to know that these cherished pieces will find their way to new homes where they can be appreciated and loved by kindred spirits.

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A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO

SESSION I FINE ART Lots 1–93

O PPOS I T E Lot 41

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1

Paul Madeline

(French, 1863-1920) L’île à bois, marée basse, Kermouster oil on canvas signed P. Madeline (lower left); titled on label, stamped with artist’s signature and with Atelier Paul Madeline/ Hotel Rameau (on the reverse) 21 1/4 x 22 1/2 inches. $3,000 - 5,000

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Robert Antoine Pinchon

(French, 1886-1943) La Seine aux environs de Vernon oil on canvas signed Robert A. Pinchon (lower left); titled (on the stretcher) 21 1/4 x 25 1/2 inches. $4,000 - 6,000

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Victor Charreton

(French, 1864-1937) Impression de neige oil on board signed Victor Charreton (lower left) 23 1/2 x 29 inches.

This lot will be included in Volume III of the Catalogue Raisonné of Victor Charreton’s works currently in preparation by the Association des Amis de Victor Charreton. $8,000 - 12,000

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André Wilder

(French, 1871-1965) The Bridge of Poissy, 1923 oil on canvas signed A. Wilder and dated (lower right) 25 1/2 x 32 inches. $700 - 900

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Heinrich Pechstein

(German, 1902-1965) Fishing Boats, 1946 oil on canvas signed and dated H. Pechstein 46 (lower left) 16 1/2 x 18 1/2 inches. $800 - 1,200

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Élisée Maclet

(French, 1881-1962) Plage aux environs de Dieppe, 1920 oil on board signed Maclet (lower left) 18 x 22 inches.

Provenance: Collection of F. Coitel Galerie Thiebaut, New York Exhibited: Paris, Peintres du XXeme Siècle, Retrospective Maclet, February 16 - March 7, 1960, no. 41 $2,000 - 3,000

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Max Kuehne

(American, 1880-1968) Yacht Club Landing - Race Time, 1913 oil on panel stamped Kuehne (lower right) 15 x 16 inches.

Provenance: Hirschl & Adler Galleries, Inc., New York Dennis Hare Fine Art, Atlanta $4,000 - 6,000

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After Guercino

The Samian Sybil oil on canvas 46 x 38 3/4 inches. $2,000 - 3,000

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John Sanderson-Wells

(British, 1872-1955) The Letter oil on canvasboard signed J S Sanderson-Wells (lower right) 12 x 10 inches. $800 - 1,200 10

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Charles Meer Webb

(British, 1830-1895) A Tribute to Vermeer, 1889 oil on canvas signed C.M. Webb and dated (lower right) 12 3/4 x 9 3/4 inches. $800 - 1,200

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Karl Anderson

(American, 1874-1956) Melissa as a Child oil on canvas laid to panel 16 x 13 inches.

Provenance: Grand Central Art Galleries, Inc., New York $1,000 - 2,000 FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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John Henry Dolph

(American, 1835-1903) Marketplace, Antwerp oil on canvas signed JHDolph (lower left) 24 x 18 1/4 inches. $2,000 - 3,000

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Clark Crum

(American, 1861-1895) Girl Feeding the Lambs oil on canvas signed C. Crum (lower right, under thick varnish) 16 x 22 inches.

Provenance: Sold: Burchard Galleries, St. Petersburg, Florida, September 24, 2017, Lot 1195 $2,000 - 3,000

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Mauritz Frederick Hendrick de Haas (American/Dutch, 1832-1895) Orange Sky oil on canvas bears artist’s estate stamp (lower right) 10 1/2 x 15 inches.

Provenance: Sold: Shannon’s Fine Art Auctioneers, Milford, Connecticut, April 28, 2005, Lot 50 $2,500 - 3,500

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Antonio Cirino

(American, 1889-1983) Fall Landscape oil on canvas signed A.Cirino (lower left) 20 x 24 inches.

Provenance: Sold: Burchard Galleries, St. Petersburg, Florida, April 19, 2015, Lot 1200 (as Autumnal Village Scene with Figure) Exhibited: New York, Salmagundi Club, 1946 $3,000 - 5,000

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Emile Sabouraud

(French, 1900-1996) Lendemain de fête oil on canvas signed Sabouraud (lower left); titled and signed (on the stretcher) 32 x 25 3/4 inches. $1,000 - 1,500

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Isabelle Rouault

(French,1910-2004) Self Portrait oil on canvas signed Isabelle Rouault (lower right) 21 3/4 x 18 1/8 inches.

Exhibited: Washington, DC, National Museum of Women in the Arts, Isabelle Rouault, June 19 - October 14, 1990 St. Petersburg, Florida, Museum of Fine Arts, Isabelle Rouault, March 10 - April 21, 1991 Literature: Isabelle Rouault 1990, Maitland Art Centre and Polk Museum of Art, Florida, 1990, cover illus. $600 - 800

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Pauline Palmer

(American, 1867-1938) Portuguese Family oil on canvas signed Pauline Palmer (lower right) 25 x 30 1/4 inches.

Provenance: The Artist Gift to Mary Louise Dearsley (Artist’s first cousin) Thence by descent through the family Sold: Leslie Hindman Auctioneers, Chicago, September 19, 2005, Lot 125 Acquired at the above sale by the present owner $3,000 - 5,000

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Lloyd Moylan

(American, 1893-1963) Woman in Blue and Lavender, 1923 oil on canvas laid to board signed Lloyd Moylan and dated (lower left); with a partial sketch on the reverse 15 3/4 x 13 3/4 inches.

Provenance: Sold: Burgeault-Horan, Portsmouth, New Hampshire, October 26, 2013, Lot 736 $1,000 - 1,500

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David Burliuk

(Ukrainian, 1882-1967) Abstraction, 1910 oil on canvasboard signed Burliuk and dated (lower left) 15 7/8 x 9 7/8 inches.

Provenance: Sold: Shannon’s Fine Art Auctioneers, Milford, Connecticut, October 21, 2004, Lot 43 $20,000 - 30,000

One of the most exuberant figures of the Russian avant-garde, David Burliuk came from a large creative family of artists and poets. Born in Ukraine in 1882 (then a part of the Russian Empire), he attended art schools in Kazan and Odessa, and then continued to study at the Academy of Fine Arts in Munich and Paris’s École des Beaux-Arts. Burliuk’s artistic practice spanned painting, poetry, drawing, and engraving and was devoted to the pursuit of the modern. He and his Futurist compatriots challenged audiences to question the accepted ideals of aesthetics and beauty in the hope of developing a new and more forward-thinking world.

In 1910, Burliuk was enrolled in the Moscow Academy of Fine Art, and it was here that he began to participate in exhibitions and collectives that questioned the conventional standards of beauty in fine art. The same year, the young artist also exhibited with the influential “Jack of Diamonds” group. Their first exhibition, held in December 1910, included works by French Cubists Albert Gleizes, Henri Le Fauconnier, and André Lhote, as well as Wassily Kandinsky and Alexey von Jawlensky. It was also during this time that Burliuk collaborated with a group of artists and poets, including Vladimir Mayakovsky, Benedict Livshits, and Velimir Khlebnikov, to form a literary and artistic group known as Gileia (after the Greek name for Scythian lands at the mouth of the Dnipro River). Originally founded on the principles of Filippo Tomasso Marinetti’s “Manifesto of Futurism,” the group rapidly transformed into the Cubo-Futurists, which amalgamated artistic elements found in Italian Futurism and French Analytical Cubism. Abstraction, 1910, dates from this developmentally significant period for Burliuk. Its fractal composition, delineated with thickly applied paint and pared down to the essentials of line, surface, color, and texture, seems to unify elements of Cubism and Futurism and reveals the bold experimentation of the young artist.

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David Burliuk

(Ukrainian, 1882-1967) The Sower oil on canvasboard signed Burliuk (lower center) 12 x 16 inches.

Provenance: Sold: Shannon’s Fine Art Auctioneers, Milford, Connecticut, October 21, 2004, Lot 44 $8,000 - 12,000

continued from pg. 16 Burliuk continued to actively promote Russian Futurism in Europe, participating in Munich’s Der Blaue Reiter (1911, 1912) and exhibited at Der Sturm gallery in Berlin (1913) and at the Parisian Salon des Independants (1914). His articles “A Slap in the Face of Public Taste” (1912) and “Die ‘Wilden’ Russlands,” in the Der Blaue Reiter almanac (1912) brought the iconoclastic ideas of the Russian Futurists to the attention of a wider circle of Western artists and critics. However, the turmoil of World War I led to his departure to Japan via Siberia with his wife and two sons. Eventually the family moved to New York City in 1922 and then to Hampton Bays, Long Island in 1939. Here, the artist embedded himself with a group of pioneering artists that shared his politically progressive views, including Nicolai Cikovsky and the brothers Moses and Raphael Soyer. They became known as the Hampton Bays Art Group, as the Russian émigrés created a bohemian paradise of artistic progression and political discourse while making the most of the landscapes in their art.

In the 1930s and 1940s, Burliuk developed his own kind of socialist realism that depicts thick-set, round-faced figures that appear rooted in the earth.

These works celebrate the vitality of ordinary people and their daily life. Naturally, one of his favorite artists was Vincent Van Gogh, with his highly expressive brushwork, bold colors, and depictions of rugged peasants. After a 1949-1950 trip to Europe, Burliuk’s admiration for Van Gogh came to the fore and inspired him to create a series of works dedicated to the Dutch artist. It is likely that The Sower was made after this trip to Europe as an homage to Van Gogh’s own rendition, painted in 1888 (Van Gogh Museum, Amsterdam). This work perfectly embodies the ethos of Burliuk who once stated: “Let your eyes rest upon the surfaces of my pictures…I throw pigments with brushes, with a palette knife, smear them on my fingers, and splash the colors from the tubes…Visual topography is the appreciation of paintings from the characteristics of their surfaces…In my works you will find every kind of surface one is able to imagine or meet in the labyrinths of life.” The artist died in Hamptons Bay in 1967 at the age of 85.

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Pauline Palmer

(American, 1867-1938) Along the Path (The Garden) oil on canvas signed Pauline Palmer (lower right) 32 x 26 1/4 inches.

Provenance: The Art Institute of Chicago, 1938 Private Collection Sold: Leslie Hindman Auctioneers, Chicago, May 15, 2005, Lot 249 Acquired at the above sale by the present owner $8,000 - 12,000

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Pauline Palmer

(American, 1867-1938) Country Scene with Cottage oil on canvas signed Pauline Palmer (lower right) 20 x 24 inches.

Provenance: Sheridan Art Galleries, Chicago Sold: Leslie Hindman Auctioneers, Chicago, December 12, 2007, Lot 302 Acquired at the above sale by the present owner $4,000 - 6,000

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Pauline Palmer

(American, 1867-1938) Landscape oil on canvas signed Pauline Palmer (lower right) 20 x 24 inches.

Provenance: The Artist Gift to Mary Louise Dearsley (Artist’s first cousin) Thence by descent through the family Sold: Leslie Hindman Auctioneers, Chicago, September 19, 2005, Lot 126 Acquired at the above sale by the present owner $3,000 - 5,000

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Lawton S. Parker

(American, 1868-1954) Sylvia, c. 1910 oil on canvas signed Lawton Parker (lower right) 32 1/4 x 25 3/4 inches.

Provenance: Graham Gallery, New York Goldfield Galleries, Los Angeles Private Collection, Arizona and California Debra Force Fine Art, New York Acquired from the above by the present owner, 2016 Exhibited: Evanston, Illinois, Henry Kitchell Webster residence, June 27 - July 1911 Chicago, Art Institute of Chicago, Paintings by Lawton Parker, March 5 - 27, 1912, no. 12, illus.

New London, Connecticut, The Lyman Allyn Museum, The Art Colony at Old Lyme 1900-1935, February 5 - March 13, 1966, no. 82, p. 38 (loaned by Larry Parker) Washington, DC, Adams Davidson Galleries, Four Decades of American Impressionism: 1880-1920, May 30 - July 6, 1985 Los Angeles, California, Goldfield Galleries, American Impressionists in Giverny New York, Berry Hill Galleries, The Giverny Luminists: Frieseke, Miller, and their Circle, November 29, 1995 - January 27, 1996, no. 21, p. 42 San Diego, San Diego Museum of Art, Monet’s Followers: American Impressionists in Giverny, June 27 - August 30, 1998 Literature: Harriet Monroe, “Lawton Parker’s Paintings on Exhibition; De Monvel’s Decoration Panel Arrives,” Chicago Tribune, July 16, 1911, p. A9 H. Effa Webster, “Parker Paintings Catch Glint of Summer: Sunshiny Canvases Now at the Art Institute,” Chicago Examiner, March 7, 1912, p. 7 George Breed Zug, “The Art of Lawton Parker,” The International Studio, vol. LVII, no. 226, December 1915 The Arts Guild Galleries, An Illustrated Annual of Works by American Artists & Craft Workers, Chicago, 1916, p. 22, illus. $30,000 - 50,000

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Like many painters of his generation, Lawton Parker was lured to the American art colony outside of Claude Monet’s home in Giverny. He joined the second generation of American painters drawn to the small French village in 1903 and became a part of the resident assemblage of Impressionists called the Giverny Group. It was in this picturesque setting that Parker painted Sylvia, c. 1910. A brilliant American painting imbued with then revolutionary French elements of quick, loose brushstrokes, a vivid color palette, and acute attention to light and shadow, Sylvia is a remarkable example of American Impressionism.

Born in Fairfield, Michigan in 1868, Parker first studied at the Chicago Art Institute and in 1889 went to Paris, where he enrolled at the Académie Julian with William Bouguereau, Robert Fleury, and later with James Abbott McNeill Whistler. He then traveled to New York and attended the Art Students League as a student of William Merritt Chase and Henry Siddons Mowbray, and then returned to Paris for training in mural painting. In 1897, Parker enrolled at the École des Beaux Arts with Jean Léon Gérôme. He had intermittent teaching positions including the St. Louis School of Fine Arts in 1892 and the Chicago Fine Arts Academy. In Paris, he ran the Parker Academy, his own school of painting, from circa 19001903. Once the artist arrived in Giverny, he became close friends with Guy Rose, Frederick Carl Frieseke, and Richard Miller, who were also in residence there, and eventually they exhibited together in New York City, sometimes referring to themselves as The Luminists.

In 1913, Parker was awarded the gold medal from the Société des Artistes Français for his painting, La Paresse (Florence Griswold Museum, Old Lyme, Connecticut), the highest award available to a foreigner by the annual Paris Salon.

Originally Parker focused on portrait paintings executed in a solid Academic manner, but working closely with his friend and neighbor Frieseke, he transitioned to painting the female figure in various garden settings. According to Dr. William H. Gerdts, it is possible that Parker explored the theme even earlier than Frieseke. Dr. Gerdts writes of Parker: “he tackled plein air in earnest in his water gardens at Giverny; he began studying the full outdoor light on things: how foliage and dresses and naked human flesh look against the light, down the light, across the light.” (American Impressionism, New York, 1984, p. 270) By the time he painted Sylvia, the artist had fully developed his characteristic style of depicting his subjects, often female nudes posing in gardens, in various angles of shifting sunlight.

Parker spent the summer of 1911 in Chicago, where a large exhibition of his work was held at his friend Henry Kitchell Webster’s home in Evanston, just north of the city. In her July 16th Chicago Tribune review of the show, critic Harriet Monroe was effusive in her praise, which included 22 paintings by the artist: “Most of the pictures are studies of women out of doors in Giverny gardens or verandas or beside pools, lit by dappled sunlight… painted last summer, others the summer before, when Mr. Parker first fell in with Richard Miller, Frederick Frieseke, and other Americans of the plein air school who use the little French village as their summer headquarters… Never did [a] painter effect a more complete revolution in style, nor with happier results. Giverny taught Mr. Parker to throw away the heavy and somber secondary tones…The result is a series of fresh, clear, finely inspired pictures…” Monroe also singled out Sylvia for admiration, stating that the painting was “… especially remarkable for [its] flower-like grace, and for the iridescent quality of the flesh painting.” The following year, Sylvia was also included in a solo exhibition on the artist at the Art Institute of Chicago. In a review, the critic Monroe said of the group of paintings that, “...sunshine and shadows seem to ripple and shimmer like a running brook; flesh and draperies take the sunlight in spots of gold and melt into the blue and green of shadowed leaves.” With its brilliant light, dense and lush landscape, and intense color, Syliva is certainly among Parker’s best and most beautiful works.

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An unusually large work for Joseph Raphael, Children of the Artist, c. 1920-24, captures the unique individuality of the three girls, likely his youngest daughters, Johanna (Joky) with blue eyes and brown hair, at left, and the middle sisters, Elizabeth (Liesbeth) and Marie-Jeanne (Dany), at the right. Their white dresses appear to shimmer in the sun, as they gaze out at the viewer inquisitively underneath the short brims of their stylish cloche hats. The surrounding garden in which the children stand is described in brilliant hues of blue, yellow, and red, applied with lively, broad brushstrokes that dance across the canvas. The dynamic surface and clear, high key colors reveal the artist as a foremost exponent of pure French Impressionism.

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Joseph Raphael

(American, 1869-1950) Children of the Artist, c. 1920-24 oil on canvas signed Joe Raphael (lower left); titled and inscribed (on the stretcher) 57 3/4 x 59 1/4 inches.

The present lot is #P-316 in the Joseph Raphael Catalogue Raisonné (unpublished), compiled by Dr. Phyllis Hattis.

Provenance: Albert M. Bender, San Francisco, California, prior to 1926 Ex. coll. California Palace of the Legion of Honor, San Francisco, California, gift from the above $40,000 - 60,000

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A native of San Francisco, Raphael found his calling as an artist in his early twenties after enrolling at the California School of Design (now the San Francisco Art Institute), where he studied under Arthur Mathews and Douglas Tilden. Like many of his artist peers, his formative decades abroad began at the Académie Julian in Paris in 1903 under Jean-Paul Laurens. It was here that he fell in with several American artists including William Clapp, who was later associated with the Society of Six, a group of artists who sought to create a modernist style that was uniquely about California.

Beginning in the early 1910s, Raphael split his time between Paris and the artist colony of Laren, Holland, where he met and married Johanna Jongkindt in 1912. The couple subsequently moved to a cottage in Uccle, a suburb of Brussels.

It was in Uccle that the artist found his signature style. According to art historian William Gerdts, Raphael’s methodology changed radically after his move to Uccle: “He began to paint colorful outdoor scenes, sometimes including figures and often set in fields of flowers and vividly rendered gardens. Raphael applied paint in large dabs, creating decorative Post-Impressionist tapestries.

Frequently he flattened space and simplified forms, utilizing structural concepts related to the art of Paul Cézanne. At the same time, his tendencies also involved pointillist brushwork inspired by the art of Georges Seurat. His approach related to the heightened colorism, simplification, and decorative patterning of Paul Gauguin and van Gogh; the latter was the Post-Impressionist with whom he shared the greatest affinity.” (W.H. Gerdts, Joseph Raphael (1869-1950): An Artistic Journey, New York, Spanierman Gallery, 2003, p. 20) Raphael’s children, his garden, and home were frequent subjects during these years, usually depicted with expressive, thick brushstrokes loaded with bright colors, as exemplified by Children of the Artist. This vibrant style earned the artist the silver medal at the 1915 Panama Pacific International Exposition, where six of his canvases were displayed. Although Raphael lived and worked in Europe for many years, he maintained close ties with the San Francisco art community.

This was in part due to the patronage of Albert M. Bender (1866-1941), his loyal art dealer and a great patron of the arts, particularly in the first quarter of the 20th century. Bender owned Children of the Artist prior to 1926, and of the multitude of Raphael works he owned and later sold, this painting remained in his personal collection for many years. It can easily be understood why, given the dazzling color, impressive scale, and exuberant movement of the artwork. This is the artist at the height of his powers—as William Clapp wrote: “In my opinion Raphael is the greatest artist California has produced, in fact he is close to being the greatest Impressionist that the whole nation has produced.”

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Bruce Crane

(American, 1857-1937) Landscape with Tree and Stone Wall oil on canvas laid to masonite signed BRUCE CRANE (lower right) 25 1/2 x 32 inches. $2,000 - 4,000

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George Ames Aldrich

(American, 1872-1941) View of a Harbor, 1927 oil on masonite signed, dated, and dedicated To Freda / with Best Wishes / G. Ames Aldrich 1927 (lower right) 24 x 20 inches.

Provenance: Sold: Burchard Galleries, St. Petersburg, Florida, October 21, 2018, Lot 1178 (as Harbor Dockside Scene with Figure) $1,000 - 2,000

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American School, 19th/20th Century The Vegetable Garden oil on canvas 16 x 20 inches. $1,000 - 1,500

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Kamesuke Hiraga

(Japanese, 1890-1971) Fishermen, 1929 oil on panel signed K. Hiraga, dated, and inscribed Douarnenez (lower left) 18 1/4 x 21 3/4 inches.

Provenance: Sold: Burchard Galleries, St. Petersburg, Florida, February 23, 2014, Lot 1072 $1,500 - 2,000

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Allen Tucker

(American, 1866-1939) Rockport oil on canvas signed Allen Tucker (lower right); inscribed with title and R.30 (on the stretcher) 25 x 34 inches.

Provenance: The Artist The Art Students’ League, New York, 1939 Milch Galleries, New York, 1967 Austin Menaker, Williston Park, New York, acquired from the above D. Wigmore Fine Art., New York Acquired from the above by the present owner Exhibited: New York, Whitney Museum of American Art, The Allen Tucker Memorial Exhibition, December 6, 1939 - January 3, 1940 New York, Milch Galleries, The Allen Tucker Centennial Exhibition, March 29 - April 16, 1966 $8,000 - 12,000

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Allen Tucker

(American, 1866-1939) Early Evening Light, Catskill Mountain, 1924 oil on canvas signed Allen Tucker and dated (lower center) 24 x 20 inches.

Provenance: D. Wigmore Fine Art, New York $4,000 - 6,000

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Michele Cascella

(American/Italian, 1892-1989) Flower Field in an Abruzzi Farmyard oil on canvas signed Michele Cascella (lower left) 29 x 39 inches.

Provenance: Galerie Juarez, Inc., Los Angeles $4,000 - 6,000

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William Zorach

(American, 1887-1966) Kneeling Nude bronze inscribed © Zorach and stamped MODERN.ART. FDRY.N.Y. (top of base) Height: 37 1/2 inches.

We are grateful to Jonathan Zorach for his kind assistance in cataloging this lot.

Provenance: Sold: Christie’s, New York, November 30, 1995, Lot 98 $20,000 - 40,000

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Raymond Perry Rodgers Neilson

(American, 1881-1964) Woman with Sunhat oil on canvas signed Raymond P.R. Neilson (upper left) 76 1/2 x 38 1/4 inches.

Provenance: Lucien Lefevre-Foinet, Paris Property from an Atlanta Estate Sold: Christie’s, New York, February 24-25, 2015, Lot 130 $6,000 - 8,000 FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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Morgan Russell

(American, 1886-1953) Jesus au desert secouru par l’ange (or The Visitation) oil on canvas signed Morgan Russell (lower left); titled (on the reverse) 28 x 21 1/4 inches. $3,000 - 5,000

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Morgan Russell

(American, 1886-1953) Sketch for ‘La femme adultère,’ 1943 oil on canvas laid to panel signed Morgan Russell, dated, and inscribed Sketch and Rome (on the reverse) 9 1/4 x 13 3/4 inches. $1,500 - 2,500

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Morgan Russell

(American, 1886-1953) Piscine No. 1, 1933 oil on canvas 29 x 36 inches.

Provenance: Sold: Christie’s East, New York, October 28, 1980, Lot 221 (as dated, titled, and inscribed Roma on the reverse) $3,000 - 5,000

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Samuel George Phillips

Pauline Palmer

(American, 1890-1965) Lady Liberty oil on canvas signed S. George Phillips. (lower left) 92 x 60 inches. $5,000 - 7,000

(American, 1867-1938) Cigarette Girl oil on masonite 32 x 28 inches Provenance: The Artist Gift to Mary Louise Dearsley (Artist’s first cousin) Thence by descent through the family Sold: Leslie Hindman Auctioneers, Chicago, September 18, 2005, Lot 123 Acquired at the above sale by the present owner $4,000 - 6,000

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41

Richard Edward Miller

(American, 1875-1943) The Necklace (La femme au collier), c. 1913 oil on canvas 36 x 29 inches.

Provenance: Sold: Bayeux Auction House, Bayeux, France, July 14, 1991, Lot 42 Estate of John F. Norwood, St. Louis, Missouri Sold: Leslie Hindman Auctioneers, Chicago, September 25, 2015, Lot 245 Acquired at the above sale by the present owner Exhibited: New York, The Jordan-Volpe Gallery, A Bright Oasis: The Paintings of Richard E. Miller, April 25 - June 6, 1997 Literature: Marie Louise Kane, A Bright Oasis: The Paintings of Richard E. Miller, 1997, no. 30, pl.

30, pp. 113; 130, illus. $150,000 - 250,000

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Recognized as one of the leading members of the American art colony in Giverny, France, Richard Edward Miller garnered widespread acclaim for his depictions of female figures in sunlit interiors.

Originally from St. Louis, Missouri, Miller traveled to Paris in 1899 where he enrolled at the Académie Julian. He remained in Paris and found success through regular exhibitions at the Paris Salon, as well as numerous locations abroad, including the Pan-American Exposition in Buffalo, New York and the Venice Biennale. By 1907, the artist was summering in Giverny, where his association with fellow American artists, including Frederick Carl Frieseke, Guy Rose, and Louis Ritman, lightened his palette and his aesthetic became distinguished by an emphasis on pattern, line, and bold color contrasts.

Miller spent the summers of 1912 and 1913 in St. Jean du Doigt, a small coastal town in Brittany, France. Given its stylistic similarity to other paintings from this time, it may be surmised that The Necklace (La Femme au Collier) was painted during one of these trips. Marie Louise Kane writes, “A series of women-in-interiors painted around 1913…are among Miller’s most inventive works. By placing his figures indoors in front of windows overlooking gardens, as he increasingly did, Miller could combine the play of natural light with complex patterns created by man-made objects, like shutters, blinds, wicker chairs, striped and tiered fabrics, and French doors…Using the same model, costume, setting, accessories and palette, Miller painted three closely-related versions of the same theme…The degree to which Miller succeeded in establishing a quiet, meditative mood amidst the profusion of pattern and color in these paintings is another measure of his skill.” (Mary Louise Kane, A Bright Oasis, The Paintings of Richard Edward Miller, New York, 1997, p. 41) In The Necklace (La Femme au Collier), patterns dominate. The play of the wicker armchair’s diamond design contrasts against the woman’s striped dress and the fabric draped on a table, which in turn alternates against the horizontal blinds and vertical balcony railing. Quick, short brushstrokes delineate these varying lines and are juxtaposed against the smooth application of paint that describes the woman’s face, décolletage, and hands. The sitter appears tranquil as she contemplates a length of green beads, unaware of the riot of pattern and color within her chamber and outside her window in the garden. The cool palette of green and purple, a favorite of the artist’s, likewise produces a sense of calm, and further distinguishes the interior from the sunlit garden. With its strong sense of design and color contrast, this work exemplifies Miller’s belief that “art’s mission is not literary, the telling of a story, but decorative, the conveying of a pleasant optical sensation.” (cited in Michael David Zellman, editor, American Art Analog, New York, 1986, p. 764)

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42

Roy Cleveland Nuse

(American, 1885-1975) Three Boys at the Sheephole oil on canvas 36 x 30 inches.

Provenance: The Artist By descent to his son, Jean Paul Nuse By descent from the above to his son, Gene Nuse, Missouri Sold: Freeman’s, Philadelphia, June 27, 2004, Lot 193 Private Collection, New Jersey, acquired at the above sale Sold: Freeman’s, Philadelphia, December 6, 2015, Lot 125 $25,000 - 35,000

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Born in Springfield, Ohio in 1885, Roy Cleveland Nuse was encouraged at the age of 20 to enroll at the Cincinnati Art Academy, where he worked under Frank Duveneck. Nuse then studied with New Hope School teacher Daniel Garber at the Pennsylvania Academy of Fine Arts (PAFA) from 1915-18 while teaching part-time at the Beachwood School. During this period, he moved his family to rural Bucks County, Pennsylvania, where he lived and painted for almost 60 years, working in a plein-air, impressionist style. He, with his artist wife, Ellen Guthrie Nuse, had six children that were often the subjects of some of his best paintings, especially in outdoor, rural, farm settings. In 1925, Nuse was offered a teaching position at PAFA, where he taught until 1954, after which he taught privately at his home. Although Nuse lived in Bucks County most of his life, he avoided becoming a part of the New Hope School, despite knowing many of the artists in the group, as he preferred to keep to himself and his family.

Three Boys at the Sheephole belongs to a series of canvases that depict Nuse’s children in the woods, and which the artist referred to as “boys in the glen.” His six children were favorite models and subjects, who he often staged in the Rushland Valley, near the Neshaminy and Mill Creeks. According to Robin Nuse, the artist’s granddaughter, the two figures on the left of the painting were posed for by the artist’s son Paul, with the remaining figure on the right his other son, Oliver. The “boys in the glen” series follows a long academic tradition that places a group of figures (in this case children), unclothed as nymphs, walking, or sitting near shimmering pools of water or in woodland tableaux. Additionally, although Nuse used his own children as models, he paints them almost anonymously, portraying them as innocents in a storybook setting, almost as if they are a fairy tale brought to life. The suggestion of mythological creatures gamboling in an idyllic landscape is heightened by the artist’s use of dappled sunlight and shimmering colors, as well as carefully placed compositional elements, such as the overarching branches and curving rocks. The tranquil vision, with its private, intimate setting, creates a sense of pure and innocent beauty and unsullied youth.

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Salvatore Scarpitta

(American, 1887-1948) Daphne, Foresta, and Kaspar, 1915 bronze with dark-brown patina inscribed Cartaino Scarpitta 1915 NY and with the names of the sitters Daphne, Foresta, Kaspar, and stamped Roman Bronze Works N-Y- (on the reverse) Height: 26 inches.

Provenance: Sold: Sotheby’s, New York, March 23, 2005, Lot 99 $4,000 - 6,000

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The present painting by Theodore Earl Butler depicts a luminous sunset over the beach of Veulesles-Roses, a small commune in the Seine-Maritime department in the Normandy region in northern France. Long meaningful to Butler, paintings of the region allowed a unique opportunity to examine his artistic development as he entered his post-impressionist period.

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Theodore Earl Butler

(American, 1861-1936) Coucher de soleil à Veules-les-Roses, 1909 oil on canvas signed T.E. Butler and dated (lower right) 31 1/2 x 31 1/2 inches.

This painting will be included in the forthcoming catalogue raisonné being compiled by Patrick Bertrand.

Provenance: The Artist Jimmy Butler, the Artist’s son Private Collection, by descent Sold: Hôtel des ventes de Monte-Carlo, Nice, France, July 18, 2012, Lot 10 Richard Green, London Exhibited: Paris, Bernheim Jeune & Co., December 13 - 18, 1909 (eight paintings exhibited bearing the same title, nos. 30-37) $20,000 - 30,000

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Veules-les-Roses was a charming coastal village that held significant allure for artists in the late 19th and early 20th centuries due to its picturesque landscapes and quaint seaside settings.

It was during this time that numerous artists, including Claude Monet, discovered the serene beauty of this coastal gem and immortalized its essence on canvas. However, before 1900, most of Butler’s landscapes depict the region surrounding Giverny, a picturesque town northwest of Paris. An American artist hailing from Columbus, Ohio, Butler first journeyed to Giverny in 1888 to join the American impressionist community that had settled in the village to be within Claude Monet’s orbit. While there, Butler met Suzanne Hoschedé, Monet’s stepdaughter, who he would marry in 1892. Suzanne unfortunately died of a lingering illness in 1899, leaving behind Theodore and their two children, Jimmy, and Lilly. After a brief visit to America, the artist returned to France with his children and began to look beyond the rolling fields and bucolic gardens of Giverny for new inspiration.

Butler first visited the coast of Normandy in the summer of 1904. He traveled there with fellow artist Philip Leslie Hale and his family to Quiberville, a small resort village along the northern French coast. Butler continued to make annual summer visits to the area with his family to paint scenes of the seashore and its environs, often renting a house in Veules-les-Roses with Guy Rose, an American painter, and his wife Ethel. He would continue to explore the region, visiting multiple locations in the summer of 1906, including Tréport, Dieppe, Trépied, Honfleur, as well as Veules-lesRoses, the location of the present canvas.

In many of the artworks that he produced along the Normandy coast, Butler took advantage of the effects of sunlight and atmosphere and used color as he saw fit to better express himself dynamically. At Veules-les-Roses, the artist spent time at the Chalet Rouge, where he created a series of paintings capturing the essence of the area’s landscapes. The Chalet Rouge, with its elevated vantage point, offered a stunning view of the coastline and it was from here that Butler executed Coucher de soleil à Veules-les-Roses, 1909. In the painting, the flags that circle the beach cabin are stirred by the wind and introduce a lively aspect to the scene. Their movement against the backdrop of the sunset generates a striking visual contrast that encapsulates a fleeting moment where nature’s forces converge and interact. The sparkling sea, which dominates much of the composition, is depicted with energetic, yet elegantly discrete brushstrokes of green, yellow, and pink laid against a wash of blues and purples. Despite the square format of the painting, a verticality is created by the glowing pink sun set high in the upper register of the sky. Its rays cast a golden path through the center of the water to the small patch of beach along the lower edge. Staccato white paint strokes abstractly indicate the waves as they break along the sandy shore. With its energy-charged brushwork, vivid and highly saturated color, and boldly executed composition, Coucher de soleil à Veules-les-Roses stands as an exemplary illustration of Butler’s best post-impressionist work.

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Theodore Earl Butler

(American, 1861-1936) East River, 1899 oil on canvas signed T.E. Butler (lower right) 39 1/2 x 29 1/2 inches.

This painting will be included in the forthcoming catalogue raisonné being compiled by Patrick Bertrand.

Provenance: Estate of the Artist Jimmy Butler, the Artist’s son Spanierman Gallery, New York Maxwell Galleries, San Francisco Mr. J. Greenzaid, Washington, DC, by 1982 By descent through the family McCarty Gallery, Chestnut Hill, Pennsylvania Debra Force Fine Art, New York Acquired from the above by the present owner, 2015 Exhibited: (possibly) New York, Durand-Ruel Galleries, March 1900 San Francisco, California, Maxwell Galleries, Theodore Earl Butler: American Impressionist, June 16 - July 15, 1972, p. 13, illus.

Memphis, Tennessee, The Dixon Gallery and Gardens, An International Episode: Millet, Monet, and their North American Counterparts, November 21 - December 23, 1982, no. 68, p. 202, illus. (also traveled to Evanston, Illinois, Terra Museum of American Art, January 8 February 13, 1983 and Worcester, Massachusetts, Worcester Art Museum, March 3 - April 30, 1983) New York, Debra Force Fine Art, Ocean, Rivers, and Pools, Fall 2015 Literature: William H. Gerdts, Impressionist New York, New York, 1994, no. 123, p. 156, illus. $30,000 - 50,000

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In the fall of 1899, Theodore Butler left France for New York with his children, Lilly and Jimmy, and his sister-in-law, Marthe Hoschedé. His wife, Suzanne Hoschedé, who was also Claude Monet’s stepdaughter, had died earlier the same year. Butler had settled in Giverny in the 1880s along with other American expatriate artists who were drawn

by Monet’s influence, but he left for the United States to be closer to his family after Suzanne’s death. The drastic change between the bucolic landscape of Giverny and the dramatic hustle and bustle of New York clearly inspired the artist. Butler lived in New York before leaving for Europe, and the city changed greatly in the intervening time. He was only to stay for six months, but during that time he produced some of his most acclaimed artworks, including East River, 1899.

In the present painting, Butler depicts a southwest view of the lower Manhattan skyline, possibly from the Brooklyn Bridge or Fulton Street Ferry Landing. The tall building in the center of the composition is most likely the American Surety Building (1896, extant) with the steeple of Trinity Church (1839-46, extant) immediately to the left. Other identifiable buildings include the Commercial Cable Building (1897-1950s) and Manhattan Life Insurance Building (1894-circa 1964). On the far left is the St. Paul Building (1898-1958), with the American Tract Society Building (1894-96, extant) on the right side of the composition.

Although composed of iridescent blues, pinks, and purples that masterfully convey the cold, moist air, East River also shows the harbor as a busy center of industry. The lower half of the large canvas depicts a lone sailing ship and numerous tugboats and ferries steamboats coming in and out of the docks of the East River, with the cityscape towering above. The line of steamboats divides the composition in half, with their rolling smoke clouds floating up to soften the angular grid of the Manhattan skyscrapers. Butler used a variety of brushwork, with smoother strokes for the water, smoke, and clouds, and stronger, diagonal strokes for the ships, harbor, and skyline. The effect dissolves all shapes in space uniformly, creating a filmy, chromatic atmosphere that shimmers and flickers across the luminous canvas. It offers the viewer an incredible rendering of the East River, a poetic homage to its industrialization.

East River was possibly included in a March 1900 exhibition at the New York location of Galerie Durand-Ruel, along with works by the artist’s father-in-law, Monet. Three paintings in the exhibition were titled East River and at least one bore the title Brooklyn Bridge. These views of New York were done in Butler’s particular combination of impressionist colors and brushwork with post-impressionist abstract, flattened forms and patterning. More accustomed to Monet’s brand of impressionism, critics’ responses to Butler’s work were mixed. However, the uniqueness of his imagery did not go unnoticed. In a letter to his friend, the artist Philip Leslie Hale, Butler stated that “Papa Durand-Ruel bought one of my New York pictures. That sounds quite simple but means a lot to me.” Likewise, a critic of the International Studio emphasized that the artist “goes to the extreme of vividness” and shows an “intensely penetrating vision” (“American Studio Talk,” International Studio, 10, no. 37 (March 1900), p. IV). In the present work, Butler captures the classic essence of New York, a city that restlessly vibrates with life.

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Johann Berthelsen

(American, 1883-1972) View of Trinity Church, Manhattan, New York, late 1940s oil on canvasboard signed Johann Berthelsen (lower right) 10 x 8 inches.

We would like to thank Lee Berthelsen of the Johann Berthelsen Conservancy for his kind assistance with cataloging this lot. $2,000 - 4,000

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Arduino Iaricci

(American, 1888-1967) Parade on Fifth Avenue oil on canvas signed A. Iaricci (lower right) 28 x 17 1/8 inches. $800 - 1,200

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Tom Sadler

(American, b. 1917) Afternoon on the Avenue, 1917 (after Childe Hassam) oil on canvas signed T.W. Sadler and inscribed after Childe Hassam (lower left); signed, titled, and inscribed (on the stretcher) 40 x 32 inches. $600 - 800

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Michele Byrne

(American, b. 1959) Veterans’ Day Parade oil on canvas signed Michele Byrne (lower right); signed and titled (on the stretcher) 30 x 24 inches. $600 - 800

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Laurence A. Campbell

(American, b. 1939) Autumn Sunlight, Rittenhouse Square, Philadelphia oil on canvas signed Laurence A Campbell (lower right) 48 x 36 inches.

Provenance: Acquired directly from the Artist by the present owner $25,000 - 35,000

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Laurence A. Campbell

(American, b. 1939) Winter on Wall Street from Trinity Church, 1987 oil on canvas signed L. Campbell (lower left); signed, dated, and titled (on the reverse) 30 x 24 inches.

Provenance: Private Collection, Cherry Hill, New Jersey Sold: Heritage Auctions, Dallas, November 12, 2016, Lot 68073 $15,000 - 25,000

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52

Michele Byrne

(American, b. 1959) Midtown Flags oil on canvas signed Michele Byrne (lower right) 30 x 24 inches. $600 - 800

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Michele Byrne

(American, b. 1959) Christmas in the City, 2015 oil on canvas signed Michele Byrne (lower left); signed, dated, and titled (on the stretcher) 30 x 24 inches. $600 - 800 46

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Laurence A. Campbell

(American, b. 1939) Independence Hall, Winter oil on canvas signed Lawrence Campbell (lower left); titled (on the stretcher) 24 x 20 inches.

Provenance: Acquired directly from the Artist by the present owner $10,000 - 15,000

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Guy Carleton Wiggins

(American, 1883-1962) Silver and Gold at the Plaza, 1961 oil on canvas signed Guy Wiggins NA (lower right); signed, dated, and titled (on the reverse) 28 x 42 inches.

This lot is accompanied by a letter of authentication from Noel Wiggins. We would like to thank Noel Wiggins for his kind assistance in cataloguing this lot. $30,000 - 50,000

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Laurence A. Campbell

(American, b. 1939) Winter in the City, Lower Broadway, New York oil on canvas signed Lawrence A. Campbell (lower left); signed and titled (on the stretcher) 20 x 24 inches.

Provenance: Acquired directly from the artist by the present owner $10,000 - 15,000

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Laurence A. Campbell

(American, b. 1939) Study in Blue, Park Row, New York City oil on canvas signed Laurence A. Campbell (lower left); signed, titled, and dedicated (on the reverse) 8 x 10 inches.

Provenance: Acquired directly from the artist by the present owner $4,000 - 6,000

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58

John French Sloan

(American, 1871-1951) Copyist at the Metropolitan Museum, 1908 etching signed in pencil (lower right) 7 1/4 x 8 3/4 inches.

Provenance: Kiechel Fine Art, Lincoln, Nebraska $1,000 - 1,500

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Leopold Widliczka

(American, b. 1870) New York Skyline oil on canvas signed L. Widliczka (lower left) 32 x 33 inches.

Provenance: Sold: James D. Julia Auctioneers, Fairfield, Maine, August 24, 2005, Lot 52 $2,000 - 4,000

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Henry Ernest Schnakenberg

(American, 1892-1970) The Avenue (Fifth Avenue, New York) oil on canvas signed H. E. Schnakenberg (lower right) 36 x 30 inches.

Provenance: Sold: Barridoff Auctions, Portland, Maine, April 24, 2013, Lot 33 Exhibited: New York, Whitney Studio Club, November 7 - 28, 1921, no. 3 New York, Wanamaker’s, May 1923 Literature: New York World, November 13, 1921 $3,000 - 5,000

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Richard Hayley Lever

(American, 1876-1958) Battleship on the Hudson oil on panel signed Hayley Lever (lower left) 12 x 16 inches.

Provenance: The Artist Estate of the above Bernard Black Gallery, New York, acquired from the above Sold: Christie’s, New York, March 7, 2008, Lot 94 $4,000 - 6,000

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62

Donald de Lue

(American, 1897-1988) Jupiter as the Bull bronze with brown patina signed De Lue, dated SC. 1931 and © 1986, numbered 2/15, and stamped with the TX monogram for the Tallix Foundry in Beacon, New York (rear of base) Height: 23 1/4 inches.

Provenance: Sold: Sotheby’s, New York, October 10, 2007, Lot 197 Literature: D. Roger Howlett, The Sculpture of Donald DeLue: Gods, Prophets and Heroes, Boston, 1990, pp. 22-24; 26 (another cast illustrated) $10,000 - 15,000

With a career spanning sixty years, the artist Donald De Lue is considered one of 20th century America’s greatest monumental sculptors in the Realist style. Born in 1897 in Boston, at the age of 12 he apprenticed with Boston sculptor Richard Recchia, and later studied with Bela Pratt at the Museum of Fine Arts, Boston, as well as Robert Baker. After World War I, De Lue spent five years in France, where he worked for several sculptors, including Alfredo Pena. It was under these sculptors’ influence that he learned to sculpt the human body accurately and from memory and began to break away from literal interpretations of his subjects. After he returned to the United States, the artist served from 1923-1938 as chief assistant to the portrait sculptor Bryant Baker in New York City. With Baker, he honed his skills and became known as a “sculptor’s sculptor” for his mastery of anatomy. By the late 1930’s, De Lue had developed his mature style, and his own career began to flourish.

“His sculpture demonstrates artistic links to both Greco-Roman and late Renaissance sculptors,” writes Jonathan L. Fairbanks, Emeritus Curator of American Figurative Sculpture Catalogue, Museum of Fine Arts, Boston. “He emulated the exuberant gestures and energetic composition such as those found at Pergamum. The mature Michelangelo especially inspired De Lue to compose his figures with mannerist proportions, emphasized with highly articulated musculature. However, by combining these older influences with the ideas and techniques acquired during his stay in Europe… De Lue developed his own synthesis. As he admitted, ‘Although my work is traditional, it is a tradition of my own’.”

The artist first won recognition in 1938 as runner-up in a competition for the Federal Trade Commission Building in Washington, DC. Several government commissions followed, the first of which were reliefs for the Philadelphia courthouse, completed in 1940. In the next almost fifty years, De Lue probably executed more monumental commissions than anyone else of his generation. Most notable are his works Spirit of American Youth Rising from the Waves for the Omaha Beach Memorial in France and Rocket Thrower for the 1964 World’s Fair in Flushing Meadows, New York. He was also an accomplished medalist and a member of the National Sculpture Society.

De Lue’s use of classical mythology and the personification of spiritual ideas is represented in the present group of four sculptures, which also spans the artist’s lengthy career. Jupiter as the Bull draws on Greek mythology and presents the bull as an animal of supernatural strength that exuberantly cavorts through space. With Victory, Freedom with Wings, the artist “…imbues “his Nike with American attributes. The Greek goddess of victory was not invested with attributes of either freedom or liberty, yet De Lue has his Nike breaking the manacles of slavery and wearing the cap of liberty. This design was conceived as a monument to the battle of Corregador to be erected at Manila in the Philippines” (D. Roger Howlett, Donald De Lue; Gods, Prophets, and Heroes” 1990, p. 65). Hand of God represents a theme De Lue returned to many times, that of the story of creation. Here, Michelangelo’s influence is felt through the artist’s exploration of contrapposto and the figura serpentina in his figure of Adam being held alone in the hand of the creator. The upward motion of the powerfully modeled Joy of Life embodies the limitless spirit of vigorous youth. Together, the group characterizes De Lue’s desire to “give dignity to the man, not make a hero of De Lue.”

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Donald de Lue

(American, 1897-1988) Hand of God bronze with verdigris patina signed D.DELue, dated Sc 1967 and © 1986, numbered 2/12, and stamped with the TX monogram for the Tallix Foundry in Beacon, New York (edge of base) Height: 36 1/2 inches.

Literature: D. Roger Howlett, The Sculpture of Donald De Lue: Gods, Prophets, and Heroes, Boston, 1990, pp. 53; 68; 90; 184185 (another cast illustrated) $15,000 - 20,000

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64

Donald de Lue

(American, 1897-1988) Joy of Life bronze with brown patina signed D.DeLue, dated SC. 1981 and © 1987, numbered 11/12, and stamped with the TX monogram for the Tallix Foundry in Beacon, New York (top of base) Height: 30 1/2 inches.

Literature: D. Roger Howlett, The Sculpture of Donald De Lue: Gods, Prophets, and Heroes, Boston, 1990, pp. 177-179 (another cast illustrated) $8,000 - 12,000

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Donald de Lue

(American, 1897-1988) Victory, Freedom with Wings, 1948 bronze with dark brown patina signed De Lue, dated sc. 1931 and © 1986, numbered 3/12, and stamped with the TX monogram for the Tallix Foundry in Beacon, New York (lower edge of the bronze) Height: 31 1/2 inches.

Literature: D. Roger Howlett, The Sculpture of Donald De Lue: Gods, Prophets, and Heroes, Boston, 1990, pp. 6263; 67 (another cast illustrated) $8,000 - 12,000

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John French Sloan

John French Sloan

This work is recorded as #106 in the Sloan archives on deposit at the Delaware Art Museum.

This work is recorded as #119 in the Sloan archives on deposit at the Delaware Art Museum.

Provenance: Estate of the Artist Kraushaar Galleries, New York Acquired from the above by the present owner

Provenance: Estate of the Artist Kraushaar Galleries, New York Acquired from the above by the present owner

Literature: Rowland Elzea, John Sloan’s Oil Paintings: A Catalogue Raisonné, vol. I, Cranbury, New Jersey 1991, no. 325, p. 156, illus.

Exhibited: Cleveland, Ohio, The Cleveland Museum of Art, Reckoning with Winslow Homer: His Late Paintings and their Influence, September 19 - November 18, 1990, no. 21 (also traveled to Columbus, Ohio, Columbus Museum of Art, December 16, 1990 - February 10, 1991; Washington, DC, Corcoran Gallery of Art, March 16 - May 12, 1991) New York, Berry-Hill Galleries, Natural Forces: Landscapes by Bellows, Henri and Sloan, May 13 - June 27, 1992

(American, 1871-1951) Black Rocks and Ledges, 1915 oil on canvas inscribed G.S. (on reverse) 26 x 32 inches.

$25,000 - 35,000

(American, 1871-1951) Fassett’s Cove, 1915 oil on canvas inscribed G ‘5 (on edge) 26 x 32 inches.

Literature: Bruce Robertson, Reckoning with Winslow Homer: His Late Paintings and their Influence, Cleveland, 1990, no. 109, pp. 141-142; 144, illus.

Rowland Elzea, John Sloan’s Oil Paintings: A Catalogue Raisonné, vol. I, Cranbury, New Jersey 1991, no. 338, p. 160 $25,000 - 35,000

In the summer of 1914, John French Sloan began to vacation in Gloucester, Massachusetts, returning there for the next four years. Gloucester, on Cape Ann, had long attracted American painters, including Fitz Hugh Lane, Winslow Homer, Childe Hassam, Maurice Prendergast, Stuart Davis, and Edward Hopper. All were lured by the scenic hills, misty moors, and rock-bound beaches. Although he was an Ashcan artist who resolutely painted almost entirely urban subjects, by 1914 Sloan began to create a series of paintings devoted to the rocky coasts and churning water of the Massachusetts coast, devoid of any human figures. Both painted in 1915, Black Rocks and Ledges and Fassett’s Cove are two prime examples of these forays into pure landscape by the artist. To compose these works, Sloan stood at the water’s edge and looked downward and outward, concentrating exclusively on form and content. The new direction from his typical subject matter excited the interest of his friends. In the late summer of 1915, Robert Henri, a fellow Aschan artist, wrote to Sloan to say that he had heard “great landscapes are being done in the Sloan shop…I sh’d like to see the pictures” (Henri to Sloan, August 3, 1915, Sloan papers, Delaware Art Museum).

The present two artworks particularly reveal the influence the 1913 Armory Show had on the artist. The New York exhibition featured nearly 1,300 works of art from both American and European artists, including the most recent works by the Parisian avant-garde. The strong brushstrokes reveal the influence of van Gogh, the color to both Vincent van Gogh and Paul Gaugin, and the weighted forms to Paul Cézanne. In his 1939 art educational publication, Gist of Art, Sloan recalled the Armory Show: “I consciously began to be aware of the technique of art: the use of graphic devices to represent plastic form. While I have made no abstract pictures, I have absorbed a great deal from the work of the ultra-moderns” (Sloan, p. 15). It is in the Gloucester landscapes that the artist began to consider formal issues, such as using color as an independent entity rather than simply using it as part of an object or person. He also contemplated how to depict mass in a two-dimensional pictorial surface, rather than seeing the canvas as a screen on which to project scenes. “He began to consider the classical concerns of balance, symmetry, dynamism, as primary elements in a picture instead of accidental benefits accruing from having seen his subject precisely” (Bruce Robertson, Reckoning with Winslow Homer: His Late Paintings and their Influence, Cleveland, 1990, p. 143).

While these landscapes are indebted to what Sloan saw at the Armory Show, they also resonate with the work of George Bellows and Winslow Homer.

The color harmonies and palette of both Sloan’s and Bellow’s landscapes are often identical and their compositions from 1915 through 1917 are strikingly similar. Fassett’s Cove anticipated Bellow’s The Fisherman, 1917 (Amon Carter Museum of American Art, Fort Worth, Texas) with its use of a vertical mass of rock on the left and smaller rocks to the right, to attain a sense of the land as a solid anchor against the eroding waves. In Black Rocks and Ledges, Sloan used Homer’s compositional device of the diagonal wedge of rock extending into the water, with the energy coming from the pure color contrasts of the ocher and black rocks against the blue of the water and sky. Together, these two landscapes reveal the artist’s newfound knowledge, “that landscape could be a magnificent source of exciting subject matter” (Grant Holcomb, John Sloan: The Gloucester Years, Springfield, Mass., 1980, pp. 10, 14).

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John R. Grabach

(American, 1886-1981) Vegetable Market, New York oil on canvas laid to panel signed John R. Grabach (lower right) 14 x 18 inches. $800 - 1,200

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Philip Reisman

(American, 1904-1992) Cooper’s Shop, 1951 oil on masonite signed P. Reissman and dated (lower right) 18 1/2 x 24 1/2 inches. $2,000 - 3,000

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Morton Künstler

(American, b. 1931) The Giant Leap for Mankind, 1977 oil on masonite signed MKünstler and dated (lower right) 15 3/4 x 19 inches.

Provenance: Sold: Heritage Auctions, Dallas, November 16, 2015, Lot 68180 $3,000 - 5,000

70A

Morton Künstler

(American, b. 1931) Betsy Ross, “The Stars and Stripes are Born,” 1977 oil on masonite signed MKünstler and dated (lower left) 19 3/4 x 20 3/4 inches.

Provenance: Sold: Heritage Auctions, Dallas, November 16, 2015, Lot 68176 $3,000 - 5,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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71

Hansen Mulford

(American, 20th/21st Century) Marshland oil on canvas signed Hansen Mulford (lower right) 40 x 84 inches. $2,000 - 3,000

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Charles A. Watson

(American, 1857-1923) A Creek in a Snowy Landscape oil on canvas signed Charles A. Watson (lower right) 21 x 30 inches. $1,000 - 1,500

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American School, 20th Century Sunny Winter Day oil on canvas 18 x 24 inches. $1,500 - 2,000

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Kevin McNamara

(American, b. 1963) Winter Interior, 2006 oil on canvas signed Kevin McNamara and dated (lower right) 36 x 42 1/4 inches. $1,000 - 1,500

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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George Waller Parker

(American, 1888-1957) Winter Landscape, 1924 oil on canvas signed George Waller Parker and dated (lower right) 23 3/4 x 28 3/4 inches. $800 - 1,200

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Nicholas Kilmer

(American, b. 1941) Virginia’s Garden, 1987 oil on canvas signed Kilmer and dated (lower left); signed and titled (on the reverse) 50 x 48 inches. $1,000 - 1,500

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Kevin McNamara

(American, b. 1963) Orange Grove, Geneva, Florida, 2012 oil on canvas signed Kevin McNamara (lower right); signed, dated, and titled (on the stretcher) 36 x 48 inches. $1,000 - 1,500

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Kevin McNamara

(American, b. 1963) Boats at St. Augustine, Florida oil on canvas signed Kevin McNamara (lower left); signed and titled (on canvas margin) 37 x 40 inches. $1,000 - 1,500

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Kevin McNamara

(American, b. 1963) Boats off the St. John’s River oil on canvas signed Kevin McNamara (lower right); titled (on the frame) 22 x 26 inches. $800 - 1,200

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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Lawrence Lebduska

(American, 1894-1966) Antelopes Drinking, 1947 oil on masonite signed Lebduska and dated (lower left) 23 3/4 x 30 inches.

Provenance: D. Wigmore Fine Art, New York $7,000 - 9,000

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Laurence Lebduska

(American, 1894-1966) The Indians (Cowboys and Indians), 1963 oil on masonite signed Lebduska and dated 6-63 (lower left) 27 x 31 3/4 inches.

Provenance: Estate of Mrs. Harry N. Abrams Sold: Phillips de Pury & Co., New York, April 7, 2010, Lot 231 $7,000 - 10,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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Laurence Lebduska

(American, 1894-1966) Horses at the Water Hole oil on masonite 21 x 25 inches.

Provenance: The Artist Estate of Mrs. Harry N. Abrams, acquired directly from the Artist, 1949 Sold: Phillips De Pury & Co., New York, April 7, 2010, Lot 226 $6,000 - 8,000

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Laurence Lebduska (American, 1894-1966) Nativity, 1956 oil on canvas 30 x 25 inches.

Provenance: Estate of Mrs. Harry N. Abrams Sold: Phillips de Pury & Co., New York, April 7, 2010, Lot 232 (part lot) $3,000 - 5,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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Laurence Ledbuska

(American, 1894-1966) Still Life with Vase of Flowers, 1956 oil on canvas signed Lebduska and dated (lower left) 12 x 10 inches.

Provenance: The Artist Estate of Mrs. Harry N. Abrams, acquired directly from the Artist Sold: Phillips de Pury & Co., New York, April 7, 2010, Lot 232 (part lot) $800 - 1,200

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Eugene Edward Speicher

(American, 1883-1962) Spring Bouquet oil on canvas signed Eugene Speicher (lower right) 22 x 19 inches.

Exhibited: Orlando, Florida, Orlando Museum of Art, Up Close - American StillLife Painting, July 3 - October 3, 1993 Winter Park, Florida, Cornell Fine Arts Museum, The Independents: The Ashcan School & Their Circle, March 9 - May 5, 1996 $800 - 1,200

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Henry Mark

(American, 20th Century) Untitled (six works) ink and gouache on paper one initialed and dated HM/ 49 (lower left), three others initialed in the composition the smallest: 6 1/4 x 7 1/4 inches; the largest: 9 1/8 x 13 inches. $3,000 - 5,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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After Jean Cocteau

(French, 1889 - 1963) Bacchus, 1963 tapestry signed Jean Cocteau, dated, and marked MVB * for Moulin de Vauboyen à Bièvres (lower right); bears label with Carton de Jean Cocteau / Tissé par A. Chaulet & Aubsson / Avignon à Aubusson / Le Centre Artistique et Culturel / Moulin de Vauboyen Bièvres (S. & O.) / Carton n° 2 / Tapisserie N° 1/6 52 1/4 x 35 inches. $1,500 - 2,500

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Cecil Jay

(American/British, 1884-1954) The Harlequin oil on canvas signed Cecily Jay (lower right) 16 x 10 3/4 inches. $4,000 - 6,000

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Paul Scarborough

(American, b. 1961) Land of the Free, Number One, 2015 acrylic on canvas signed Paul T. Scarborough (lower left) 48 x 48 inches.

Provenance: The Artist Acquired directly from the Artist by the present owner $600 - 800

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Paul Scarborough

(American, b. 1961) Land of the Free, Number Two, 2015 acrylic on canvas signed Paul T. Scarborough (lower left) 48 x 48 inches.

Provenance: The Artist Acquired directly from the Artist by the present owner $600 - 800

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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Jacques Villon

(French, 1875-1963) Abstraction de l’Effort, c. 1950 and Les Pigonnier Normand, 1953 (a pair of prints) lithographs each signed in pencil Largest: 11 3/4 x 19 inches. $1,000 - 2,000

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Robert Rauschenberg

(American, 1925-2008) Self Portrait (for Dwan poster), 1965 offset lithograph signed in pencil (lower right) 23 x 25 inches. $800 - 1,200

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Robert Rauschenberg

(American, 1925-2008) Sling-shots Lit #4, 1985 5-color lithograph, screenprint and assemblage with a sailcloth, Mylar, a wooden lightbox, a fluorescent light fixture, aluminum, a moveable window shade system, and Plexiglas bars signed and numbered 5/25 on label 85 x 39 inches.

Provenance: Private Collection, Palm Beach area, Florida Sold: Burchard Galleries, St. Petersburg, Florida, September 24, 2017, Lot 1132 $10,000 - 15,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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SESSION II FURNITURE & DECORATIVE ARTS Lots 94–224

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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94

A Bösendorfer Model 200 Grand Piano

Vienna, 1981 finished in black lacquer; serial number 35852-6234, with associated bench.

Height 40 x width 60 x depth 72 inches. $10,000 - 20,000

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A Lalique Cactus Center Table Designed Circa 1951 engraved LALIQUE to base.

Height 28 1/2 x diameter 60 inches. $20,000 - 40,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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Duncan McClellan

(American, b. 1955) Woods Vase carved glass signed in etch on base Height 24 3/4 inches. $1,000 - 2,000

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Duncan McClellan

(American, b. 1955) Woods Vase carved glass signed in etch on base Height 25 inches. $1,000 - 2,000

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Duncan McClellan

(American, b. 1955) Feather Vase carved glass signed in etch on base Height 24 1/2 inches. $1,000 - 2,000

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A Tiffany and Co. Silver Humidor

New York, NY, 1928 a custom commission; the case with etched and applied decoration on eight feet, the interior lined with cedar wood, fitted as a humidor.

Marked 21237-9967 / Special Hand Work / Sterling 9251000 on underside 134 ozt 12 dwt gross Height 4 x width 11 1/2 x depth 6 3/4 inches. $8,000 - 12,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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100

A Baccarat Cut and Etched Glass Twelve-Light Chandelier

Late 19th/Early 20th Century Approximate height 48 x diameter 36 inches. $4,000 - 6,000

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101

A Murano Glass Lattice Mirror 20th Century 40 x 32 inches. $1,000 - 1,500

102

A Pair of Empire Style Gilt Bronze Candelabra Late 19th/Early 20th Century Height 33 inches. $1,000 - 2,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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103

103

A Pair of Empire Style Giltwood Curule-Form Tabourets

19th/20th Century Height 21 x width 21 x depth 21 1/2 inches. $2,000 - 4,000 104

A Meissen Porcelain Bolognese Dog 20th Century marked to base with crossed swords in underglaze blue, further impressed 78685 and incised 1070.

Height 9 inches.

104

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$800 - 1,200

105

A Louis XV Style Gilt Bronze Mounted Malachite Bureau Plat Early 20th Century Height 31 x width 59 x depth 33 inches. $20,000 - 30,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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108

A Gardner Painted and Gilt Porcelain Tureen

A Louis XV Style Carved Giltwood Settee

A Gilt Metal Mounted Baccarat Japonisme Glass Vase

$1,000 - 1,500

$1,000 - 1,500

Russia, 19th Century the cover and body painted with a crest reading SIS QUI VIDERIS. Height 10 1/4 x width 14 1/4 inches.

Early 20th Century with four loose cushions.

Height 49 1/2 x width 65 x depth 29 inches.

20th Century stamped Baccarat to underside of base.

Height 11 3/4 x width 7 3/4 inches.

Provenance: Present Estate Mrs. Lou Duncan, Washington, D.C., circa 1970 Estate of Joseph E. Davies, American Ambassador to the Soviet Union Russian Imperial Family Gift to the Austrian Ambassador to Russia, 1st Quarter 19th Century $6,000 - 8,000

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A Massive Gilt Bronze and Baccarat Cut Glass Chandelier from Hôtel Claridge, Paris

Circa 1870 by repute, one of four chandeliers removed from the hotel during a 1970s renovation.

Height 132 inches. $20,000 - 30,000 FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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110

Two Lalique Cygnes Figural Centerpieces 20th Century comprising two frosted glass swans on a mirrored plateau.

Larger swan, height 9 1/2 x length 12 inches. $4,000 - 6,000 111

A Set of Four Baccarat Glass Hurricane Lamps 110

Late 20th Century each stamped Baccarat to underside of base Height 21 1/2 inches. $2,000 - 4,000

111

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112

A Tiffany and Co. Silver Footed Centerpiece Bowl

New York, NY, Circa 1890 marked Sterling 925-1000 to underside 54 ozt 16 dwt Height 9 x width 11 5/8 inches. $1,500 - 2,500

113

A Tiffany and Co. Silver Chafing Dish

J.C. Moore and Son, New York, 1854-1869 marked Tiffany and Co 550 Broadway English Sterling 925-1000 [marks for J.C. Moore and Sons] / 397 / 5885.

Overall, height 9 1/2 x width 12 1/4 inches.

57 ozt weighable silver $1,000 - 2,000

114

A Pair of Tiffany and Co. Silver Five-Light Candelabra

New York, NY, First Half 20th Century stamped Tiffany & Co. Makers / Sterling Silver 925-1000 on underside.

218 ozt 4 dwt gross Height 23 x width 19 inches. $8,000 - 12,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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115

An Tiffany and Co. Silver Footed Basket

New York, Second Half 20th Century the top handle hinged; monogrammed at both ends of basket interior. marked Tiffany and Co. Makers / Sterling Silver on underside 29 ozt 2 dwt Height 5 x width 12 3/4 x depth 9 inches. $800 - 1,200

116

A Pair of Tiffany and Co. Silver Compotes

New York, NY, 20th Century marked Tiffany and Co. Makers / Sterling 9251000 on underside 26 ozt 10 dwt gross Height 3 3/4 x width 7 5/8 inches. $800 - 1,200

117

A Tiffany and Co. Silver Water Pitcher

New York, NY, Second Half 20th Century marked Tiffany and Company Makers / SterlingSilver 925-1000 on underside 28 ozt 12 dwt Height 8 1/4 inches. $800 - 1,200

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119

A Group of Four Tiffany and Co. Silver Table Articles

A Tiffany and Co. Silver and Enamel Table Garniture

$1,000 - 1,500

$1,000 - 1,500

New York, NY, First Half 20th Century comprising a rectangular dish, a reticulated footed round dish, and a pair of shell-form dishes. each marked Tiffany and Company Makers / Sterling on underside 38 ozt 4 dwt gross Height of first 1 5/8 x width 11 3/16 x depth 6 3/5 inches.

New York, NY, Mid 20th Century comprising two low candlesticks and a serving bowl, having navy blue enameled ball-form supports, all monogrammed W. each marked Sterling 925-1000 on underside 52 ozt 16 dwt Height of bowl 6 x diameter 12 1/4 inches.

119

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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120

120

121

A Set of Four Louis XVI Style Gilt Bronze Five-Light Sconces

A Louis XV Style Gilt Bronze Mounted Parquetry Bureau Plat

$2,000 - 4,000

$1,500 - 2,500

Early 20th Century Height 39 x width 11 x depth 7 1/2 inches.

Early 20th Century Height 32 x width 80 x depth 46 inches.

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A Louis XV Style Gilt Bronze Clock Garniture

Retailed by Tiffany and Co., Late 19th Century the works stamped Made in France; the dial marked Tiffany & Co. Height of clock, 29 inches; height of candelabra, 25 inches. $1,500 - 2,500 123

A Pair of Louis XVI Style Giltwood Fauteuils Late 19th Century Height 44 x width 28 x depth 28 inches. $800 - 1,200 122

123

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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124

A Louis XVI Style Gilt Bronze Cartel Clock Late 19th/Early 20th Century Height 25 1/2 x width 9 3/4 inches. $800 - 1,200 125

A French Gilt Bronze and Rouge Marble Clock and Garniture Late 19th/Early 20th Century signed Selsi / Paris on enamel dial and on back plate.

Height of clock 16 inches. $800 - 1,200

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126

A German Carved Walnut and Marquetry Tall Case Clock

Attributed to Lorenz Furtwangler, Second Half 19th Century Height 95 x width 24 x depth 13 inches. $1,000 - 2,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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127

A Marble Bust of Venus of Capua 20th Century on a polished marble base Height overall 24 1/ 2 inches. $800 - 1,200 128

An Italian Parcel Gilt Center Table with Pietra Dura Top

20th Century Height 35 x width 57 1/2 x depth 29 1/2 inches. $3,000 - 4,000

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128

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129

Pietro Bazzanti

(Italian, 1842-1881) Florence alabaster Signed P. Bazzanti and titled (on base) Height 36 1/2 inches. $3,000 - 5,000 130

A Daum Pâte de Verre Roses Vase

20th Century signed in etch Daum France 128; together with fitted box.

Height 12 3/4 inches. $800 - 1,200

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130

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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131

131

132

133

A Pair of Italian Grain-Painted Carved Wood Greyhounds

Attributed to Antonio Bottinelli

Paul Lemoyne

$1,000 - 2,000

Provenance: Ex. coll. Haggerty Museum of Art, Marquette University, Michigan Sold: Leslie Hindman Auctioneers, Chicago, April 27, 2008, Lot 410 Acquired at the above sale by the present owner.

20th Century Height 35 x width 21 x depth 14 inches. $1,500 - 2,500

(Italian, 19th Century) Faunina carved marble Inscribed Faunina on base, unsigned Height 20 inches.

(French, 1784-1873) Lion Tamer with Two Lions bronze with light-brown patina Signed on the base Height 23 x width 26 x depth 13 inches.

$1,500 - 2,000

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133

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134

A Daum Pâte de Verre Songe Sculpture

Designed by Sylvie Mangaud Lasseigne signed SML Daum France and numbered 262/375; together with original certificate and fitted box.

Height 11 x width 12 inches. $2,000 - 4,000 135

After Émile Louis Picault

(French, 1833-1915) Honor Patria bronze with brown patina inscribed E. PICAULT (on base) Height: 32 3/4 inches.

Provenance: Sold: Leslie Hindman Auctioneers, Chicago, October 17, 2018, Lot 199 $1,500 - 2,000

135 FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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136

A Louis XV Style Gilt Bronze SixteenLight Chandelier 19th Century Approximate height 36 x diameter 22 inches. $1,000 - 2,000 137

A Set of Four Louis XVI Style Gilt Bronze Five-Light Sconces

Early 20th Century Height 39 x width 11 x depth 7 1/2 inches. $2,000 - 4,000

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137

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Thomas Whalen

(Scottish, 1903-1975) Mother and Child marble Signed on lower side Height 29 1/2 inches. $1,000 - 1,500 139

A Set of Four Louis XVI Style Gilt Bronze Five-Light Sconces Early 20th Century Height 39 x width 11 x depth 7 1/2 inches. $2,000 - 4,000 140

A Pair of Louis XV Style Gilt Bronze Chenets and Fender 20th Century Height overall, 15 inches x width 66 1/2 inches. $800 - 1,200 138

139

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141

A Georgian Style Cut Glass Ten-Light Chandelier 20th Century Approximate height 26 inches. $1,000 - 1,500 142

A Pair of Louis XV Style Gilt and Patinated Bronze Chenets

20th Century Height 17 3/4 x width 12 x depth 25 1/2 inches. $800 - 1,200

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A Georgian Style Cut Glass Ten-Light Chandelier 20th Century Approximate height 26 inches. $1,000 - 1,500 144

A Group of Three Buccellati Silver Swan Baskets

20th century comprising a large basket and two smaller examples, all with silver bodies and glass eyes. each marked BUCCELLATI / STERLING / ITALY on underside 60 ozt 18 dwt gross Height of larger example 9 1/4 x width 6 3/4 x depth 11 1/2 inches. $2,000 - 4,000

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144

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 0 1

145

A Louis XV Style Gilt Bronze Sixteen-Light Chandelier 19th Century Approximate height 36 x diameter 22 inches. $1,000 - 2,000 146

Two Buccellati Silver Picture Frames

20th century each marked BUCCELLATI / STERLING / ITALY on underside Height of larger example 11 x width 9 inches. $800 - 1,200

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147

A Georg Jensen Silver Four-Piece Tea and Coffee Service

Copenhagen, Circa 1925 in the Blossom pattern, comprising a teapot and cover, coffee pot and cover, sugar bowl and cover, and milk jug; all but the sugar engraved Anna Harvey Kresge / 1926 on foot. each marked Sterling and with Jensen stamp for 1915-1930 on underside 49 ozt 2 dwt gross Height of coffee pot 7 5/8 inches. $3,000 - 5,000 148

A Georg Jensen Silver Footed Centerpiece Bowl Copenhagen, Second Half 20th Century In the Louvre pattern marked ‘Sterling’ and with Jensen stamp for post-1945 26 ozt 14 dwt Height 6 7/8 inches x diameter 8 inches.

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$1,200 - 1,800 149

A Cartier Silver Footed Centerpiece Bowl 20th Century marked Cartier / Hand Made Sterling on body 25 ozt 14 dwt Height 4 1/2 x legth 11 5/8 x width 7 1/2 inches. $1,000 - 2,000

149

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 0 3

150

A Cartier Maison du Prince Porcelain Dinner Service

Limoges, Last Quarter 20th Century all with claret and gilt marks for CARTIER on underside; comprising: 12 chargers 12 dinner plates 12 salad plates 12 side plates 11 teacups and 12 saucers Diameter of charger, 11 3/4 inches.

59 items total. $6,000 - 8,000

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A Set of Twelve Baccarat Neptune Champagne Flutes 20th Century each stamped BACCARAT on underside.

Height 9 inches. $1,000 - 1,500 152

A Baccarat Monaco Glassware Service 20th Century each stamped BACCARAT on underside, comprising: 17 large double old fashioned/ice tumblers 12 double old-fashioned 12 juice glasses Height of largest, 4 3/8 inches.

41 items total. $800 - 1,200 151

152

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153

154

A Set of Twelve Daum Pâte de Verre and Colorless Glass Roses Champagne Flutes

A Herend Queen Victoria Porcelain Dinner Service

Late 20th Century each signed Daum France on underside, with original fitted boxes.

Height 11 3/4 inches. $3,000 - 5,000

20th Century each with blue handpainted Herend mark and further numbering in iron red underfoot, comprising: 28 dinner plates 12 large rim soup bowls 28 dessert plates 16 side plates 11 cereal bowls 16 footed cream soup bowls and 16 saucers 12 flat teacups and 12 saucers 16 footed teacups and 15 saucers 10 bread plates 1 coffee pot and cover 1 two-handled tureen with cover and stand 1 sugar bowl and cover 1 milk jug 1 sauceboat and stand 1 oval serving platter 1 round vegetable bowl 1 square vegetable bowl 1 triangular vegetable bowl 1 two-handled oval serving tray 1 two-handled circular tray 1 two-handled circular serving dish with applied handles 1 bud vase; Dinner plate, diameter 10 1/4 inches.

207 items total. $5,000 - 7,000

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A Herend Yellow Dynasty Siang Jaune Porcelain Dinner Service

Late 20th Century all with printed blue Herend mark and additional handpainted numbering, comprising: 16 dinner plates 19 dessert plates 16 side plates 10 teacups and 10 saucers; Diameter of dinner plate 10 inches.

71 items total. $2,000 - 4,000 156

A Raynaud Nyon Service for Eight

Limoges, France, Late 20th Century each with printed green maker’s marks underfoot, comprising: 8 dinner plates 8 salad/dessert plates 8 side plates 8 teacups and 8 saucers Dinner plate, diameter 10 3/4 inches.

40 items total.

155

$1,000 - 1,500 157

A Lynn Chase Porcelain Jaguar Jungle Dinner Service 20th Century each signed on underside; comprising: 12 chargers 12 dinner plates 12 soup bowls 12 salad plates 12 bread and butter plates 12 cups and saucers A lozenge-shaped dish Diameter of chargers, 12 inches.

85 items total. $2,000 - 4,000

156

157

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158

A Buccellati Grande Imperiale Silver Flatware Service Italy, 20th Century in the Grande Imperiale pattern, comprising: 22 dinner knives 22 dinner forks 12 luncheon knives 12 luncheon/dessert forks 12 salad forks 22 fish forks 12 cocktail forks 10 serving spoons 12 tablespoons 22 dessert spoons 22 butter spreaders; 180 items total. each marked Buccellati / Italy / Sterling to handle 308 ozt 26 dwt gross Length of dinner knife, 9 1/2 inches. $10,000 - 15,000

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159

An Assembled Tiffany and Co. Audubon Silver Flatware Service

New York, NY, 20th Century comprising: 12 dinner forks 12 luncheon forks 12 four-tine salad forks 12 tablespoons 12 teaspoons 12 seafood cocktail forks 12 dinner knives with steel blades 12 luncheon knives with steel blades; 96 items total. most pieces marked TIFFANY STERLING, the teaspoons further marked for John C. Moore II, the dinner knives marked 925 on haft, the luncheon knives apparently unmarked 142 ozt 6 dwt weighable $8,000 - 12,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 0 9

160

An Assembled Tiffany and Co. Chrysanthemum Silver Flatware Service

New York, NY, 20th century comprising: 12 dinner forks 12 luncheon forks 12 salad forks 12 cocktail forks 12 teaspoons 12 tablespoons 12 coffee spoons 12 dinner knives, with replaced blades 12 luncheon knives, with replaced blades 12 butter spreaders 2 vegetable spoons 2 cold meat forks 1 ladle; 89 items total. most pieces marked TIFFANY AND CO. STERLING, the knives with replaced blades, apparently unmarked 182 ozt 8 dwt weighable $10,000 - 15,000

161

A Tiffany and Co. Olympian Silver Flatware Service

New York, NY, 20th Century tcomprising: 8 dinner forks 8 luncheon forks 8 four-tine salad forks 8 dinner knives, steel blades 8 oval bowl dessert spoons 8 round bowl soup spoons 8 teaspoons 8 demitasse spoons 8 butter spreaders; 72 items total. most pieces marked Tiffany and Co. / Sterling, the knives marked Sterling on shaft 126 ozt 16 dwt weighable $6,000 - 8,000

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162

A Tiffany and Co. Olympian Silver Flatware Service

New York, NY, 20th Century comprising: 12 luncheon forks 12 three-tine salad forks 12 luncheon knives with silver-plate blades 12 teaspoons 1 vegetable spoon 1 cold meat fork 1 ladle 1 cake server with steel blade each marked Sterling and with various marks for Tiffany and Co.; together with a group of Tiffany and Co. silver flatware, of various patterns, comprising: 1 oyster server 2 serving forks, in two patterns 1 master butter knife 1 dinner fork 6 teaspoons each marked for Tiffany and Co. / Sterling, with various date letter marks 63 items total.

95 ozt 16 dwt weighable $4,000 - 6,000

163

An American Silver-Gilt Flatware Service

Reed and Barton, Taunton, MA, 20th Century in the Francis I pattern; comprising: 12 dinner forks 12 luncheon forks 12 salad forks 12 oval soup spoons 12 teaspoons 12 coffee spoons 12 butter spreaders 12 dinner knives, steel blades 12 luncheon knives, steel blades; 108 items total. each marked Sterling to handle 130 ozt 4 dwt weighable Length of dinner knife 9 3/4 inches. $4,000 - 6,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 1 1

164

An American Silver Flatware Service Towle Silversmiths, Newburyport, MA, 20th Century In Rambler Rose pattern, comprising: 12 dinner forks 20 salad forks 12 dinner knives, with stainless steel blades 8 oval bowl soup spoons 12 round bowl soup spoons 11 teaspoons 12 butter spreaders 3 vegetable spoons 1 carving knife, with stainless steel blade 1 potato spoon 1 cold meat fork 1 ladle 1 sugar shell 1 master butter knife 1 lemon fork; 97 items total. each marked Sterling 100 ozt 13 dwt weighable $2,000 - 3,000

165

An Assembled American Silver Flatware Service

Kirk-Stieff, Baltimore, MD, 20th Century comprising: 8 dinner forks 8 salad forks 11 cocktail forks 4 soup spoons 30 teaspoons 9 fruit spoons 8 dinner knives 3 flat butter spreaders 2 oversize salad serving spoons, one gilt 1 tomato server 1 serving spoon 1 two-prong carving fork 2 oversized salad serving forks 1 sugar shell 1 pair of sugar tongs 1 master butter knife 1 lettuce serving fork 1 cake server 2 lemon forks 1 olive fork 2 pickle forks 2 mustard spoons 1 sauce ladle 1 salt spoon 1 large berry spoon 2 berry spoons 1 small bonbon spoon 1 luncheon fork 1 luncheon knife 108 items total. various marks for Kirk-Stieff / Sterling 116 ozt 10 dwt weighable $1,500 - 2,500

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166

166

167

A Set of Twelve American Silver Chargers

A Set of Twelve American Silver Goblets

$4,000 - 6,000

$1,500 - 2,500

International Silver Company, Meriden, CT, 20th Century each marked Sterling 197 ozt 14 dwt gross Diameter 11 inches.

Gorham Mfg. Co., Providence, RI, 20th Century marked Sterling / 272 to underside 70 ozt gross Height 6 1/2 inches.

167

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168

Dale Chihuly

(American, b. 1941) A Tomato Red Macchia with Blue Diva Lip Wrap, 2000 glass signed and dated ‘Chihuly ‘00’ on base Height 26 1/2 x width 38 1/4 inches. $10,000 - 15,000

1 1 4 A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO

169

Dale Chihuly

(American, b. 1941) Two-Piece Persian Glass Set in Amethyst with Green Lip glass numbered oo995 Larger component, width 12 inches. $3,000 - 5,000

170

Dale Chihuly

(American, b. 1941) Two-Piece Persian Glass Set in Parrot Green with Red Lip numbered pp01 Larger component, width 12 1/2 inches. $3,000 - 5,000

171

Dale Chihuly

(American, b. 1941) Bel Fiore glass signed Chihuly Width 13 inches. $2,000 - 4,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 1 5

172

173

172

173

174

Duncan McClellan

Duncan McClellan

Duncan McClellan

(American, b. 1955) Peacock Vase carved glass Height 23 3/4 inches. $1,000 - 2,000

(American, b. 1955) Dragonfly Vase carved glass signed in etch on base Height 24 1/2 inches.

(American, b. 1955) Two Men a Morphis Vases carved glass Height of taller, 21 inches. $1,500 - 2,500

$1,000 - 2,000

174

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175

A Pair of Steuben Aurene Glass Vases Early 20th Century one example signed Steuben.

Height 9 3/4 inches. $1,000 - 2,000 176

A Tiffany Blue Favrile Glass Bowl, A Lundberg Studios Vase and A Pink and Colorless Glass Bowl

20th/21st Century Tiffany Favrile bowl, early 20th century, signed 5110 m / L. C. Tiffany Inc. / Favrile on underside; Lundberg vase signed, dated 2009, and numbered 030403 on underside.

Height of largest, 8 inches.

(3 items total)

175

$1,000 - 1,500 177

An Émille Gallé Cameo Glass Vase Early 20th Century signed Gallé in cameo.

Height 12 1/2 inches. $800 - 1,200 178

A Le Verre Francais Vase

Retailed by Ovington Bros., New York, Circa 1925 signed Le Verre Francais / France / Ovington New York in cameo.

Height 10 x width 10 1/4 inches. $1,000 - 2,000

176

177

178

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179 180

179

A Daum Pâte de Verre Roses Vase 20th Century signed in etch Daum France 286 Height 11 1/2 inches. $2,000 - 4,000 180

A Daum Pâte de Verre and Bronze Sculpture, Le désir hyperrationnel Designed bty Salvador Dali, 20th Century signed Daum France / S Dali and numbered 271/300 on base.

Height 16 inches. $1,000 - 2,000 181

A Daum Pâte de Verre and Bronze Sculpture, Debris d’une automobile donnant naissance a un cheval aveugle mordant un telephone

Designed by Salvador Dali, 20th century signed Daum France / Dali and numbered 633/850; together with a Daum certificate of authenticity.

Height 15 3/4 x width 17 1/4 x depth 5 inches. $800 - 1,200 181

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182

A Daum Pâte de Verre Taureau Sculpture

Designed by Claude L’hoste, 20th Century signed Daum France / L’Hoste and numbered 98/150.

Height 11 inches. $1,000 - 2,000

183

A Daum Pâte de Verre La Miss Ostrich Sculpture

Designed by Sylvie Mangaud Lasseigne, 20th Century signed SML / Daum France and numbered 165/375; together with fitted box.

Height 22 1/2 inches. $800 - 1,200

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184

184

185

A Set of Lalique Les Quatres Saisons Figures and a Group of Other Lalique Figures

A Pair of Lalique Zelia Panther Sculptures

20th Century comprising L’Automne, L’Hiver, L’Eté and Le Printemps, and five nude figures; each signed Lalique.

Height of Les Quatres Saisons, 7 3/4 inches.

(9 items total)

Second Half 20th Century Length 14 1/2 inches. $1,000 - 2,000

$1,000 - 2,000

185

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186

A Gilt Metal and Iridescent Glass Floor Lamp Possibly Loetz, Early 20th Century Height overall 61 inches. $1,500 - 2,500 187

A Pairpoint Puffy Boudoir Lamp on Bronze Base

20th Century the frosted shade reverse-painted with butterflies and flowers; signed ‘The Pairpoint Corp’rn / Patented July 9 1907’ on interior rim; base apparently unsigned.

Height 14 1/2 inches. $1,000 - 1,500

186

187

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188

A Charles Lotton Multiflora Art Glass Table Lamp 20th/21st Century the base with hammered metal mounts.

Height 18 1/2 inches. $1,500 - 2,500 189

A Leaded Glass and Bronze Table Lamp

20th/21st Century Height of base 31 x diameter 12 inches.

The shade height 13 1/4 x diameter 18 1/4 inches. $1,500 - 2,500

188

189 1 2 2 A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO

190

Dino Rosin

(Italian, b. 1948) Turtle chalcedony glass etch signed along base 10 1/2 x 19 1/2 x 19 inches. $1,500 - 2,500 191

A Cybis Grey Bisque Porcelain African Elephant Figure Late 20th Century Marked #32 on underside of body Height 17 x width 28 inches.

Note: This elephant figure, along with an identical figure, were commissioned by the consignor. The additional figure was presented as a gift of appreciation to President Ronald Reagan.

190

$4,000 - 6,000

191

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192

Maurice Roger Marx

(French, b. 1872) Singe pensif, 1908 bronze with brown patina inscribed Marx and dated (left side of base) Height: 26 1/2 inches. $2,000 - 3,000 193

A Pair of Patinated Bronze Elephants

20th Century Height of taller 47 x width 45 x depth 14 inches. $2,000 - 3,000

192

193

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194

William Schaaf

(American, b. 1944) Chinese Rainbow, 2007 bronze with verdigris patina Edition 7/8 Height 17 1/2 x width 21 1/2 x depth 7 inches. $1,000 - 1,500

195

William Schaaf

(American, b. 1944) Tantra Gurl bronze with brown patina Signed on underside Height 14 x width 28 1/4 x depth 16 inches. $1,000 - 1,500

196

A FAO Schwarz Life Size Wilbur Piggy Bank 21st Century modeled as Wilbur from the E. B. White book Charlotte’s Web, with a leather collar and bronze medallion inscribed Some Pig, crafted from recycled aluminum and acrylic paint. Signed and dated on interior FAO Schwartz / 12/06 Hog Bank #6 Garrett Buc.....? LA. VC PA. Appears to be #6 of a limited edition originally retailed by FAO Schwarz.

Height overall 31 x width 59 x depth 19 inches. $1,000 - 2,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 2 5

197

197

198

A Grosjean and Woodward for Tiffany and Co. Coin Silver Three-Piece Coffee Service

A Japanese Silver Five-Piece Tea and Coffee Service

New York, NY, Circa 1860 comprising a coffee pot, creamer, and covered sugar each marked Tiffany & Co / 2705 / G & W / Gold and Silversmiths 65 ozt 16 dwt gross Height of coffee pot 10 inches.

(3 pieces total)

Asahi Shoten, Tokyo, 20th Century comprising a coffee pot, teapot, creamer, covered sugar, and waste bowl. each marked Sterling / 950 and stamped with maker’s mark 93 ozt 8 dwt gross Height of coffee pot 11 inches. $2,000 - 3,000

$3,000 - 5,000

198

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199

199

200

An American Silver Repoussé Seven-Piece Tea and Coffee Service

An American Silver Repoussé Three-Piece Coffee Service

Late 19th/Early 20th Century comprising a coffee pot, teapot, waste bowl, covered sugar bowl, creamer, hot water kettle on stand and double-handled tray. each marked Sterling to underside 324 ozt 20 dwt gross Width of tray over handles 28 1/4 inches; height of kettle on stand 14 inches.

Early 20th Century comprising a coffee pot, creamer and covered sugar bowl and cover each marked Sterling underfoot 55 ozt 18 dwt gross Height of coffee pot 10 1/2 inches. $1,000 - 2,000

$5,000 - 7,000

200

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201

An American Silver Five-Piece Tea and Coffee Service Reed and Barton, Taunton, MA, 20th Century in the Francis I pattern, comprising a coffee pot, teapot, creamer, and covered sugar bowl and waste bowl with vermeil interior. each marked Sterling 121 ozt 10 dwt gross Height of teapot 10 1/2 inches. $8,000 - 12,000

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202

203

202

An English Silver Six-Egg Cruet and Footed Silver and Cobalt Glass Basket

Including John and Henry Lias, London, 1839 the egg cruet and cups, marks for John and Henry Lias, London, 1839, the cups having gold vermeil interiors; the footed basket, marks for London, 1909.

Height 9 1/2 x diameter 9 inches.

Total weighable 47 ozt 10 dwt (2 pieces) $1,000 - 1,500 203

A Thai Silver Presentation Centerpiece

20th Century the interior with silver gilt wash; the base engraved with presentation inscription reading The Ngow Hock Co. presented to CAPTAIN Frandsen M.L. Bintang 55 ozt 10 dwt Height 12 1/4 x width 10 inches. $1,500 - 2,500 204

A Pair of Chinese Tessellated Hardstone Urns

20th Century each inset overall with carved turquoise matrix and dyed Howlite stones.

Height 28 inches x width 12 x depth 5 1/4 inches. $1,500 - 2,500

204 FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 2 9

205

205

Silvio Vigliaturo

(Italian, b. 1949) Untitled Glass, cast in sections, epoxy glue Height 86 1/2 inches x width 19 inches. $1,500 - 2,500 206

Silvio Vigliaturo

(Italian, b. 1949) Totem Blown glass Height approx. 96 inches. $1,500 - 2,500

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206

207

A Belle Epoque Stained and Leaded Glass Window in Four Parts France, Late 19th/Early 20th Century all four components of the window now mounted in later gilt metal frames.

Each larger window 68 x 23 3/4 inches. $1,000 - 2,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 3 1

208

208

James Vilona

(American, b. 1955) A Pair of Bronze Side Chairs After a Design by Frank Gehry bronze both chairs signed, numbered 8/100 and 15/100.

Larger, height 50 x width 19 1/4 depth 24 inches. $2,000 - 3,000 209

James Vilona

(American, b. 1955) A Gilt Bronze and Glass Low Table After a Design by Frank Gehry bronze, glass applied signature, numbered 1/100 Height 18 1/2 x width 28 x depth 28 inches.

209

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$1,000 - 1,500

210

James Vilona

(American, b. 1955) A Bronze Side Chair After a Design by Frank Gehry bronze signed and numbered 1/100 on reverse Height 51 x 19 1/2 x depth 22 1/2 inches $1,000 - 2,000 211

James Vilona

(American, b. 1955) Two Glass Top Tables After a Design by Frank Gehry bronze, glass signed and numbered 8/100 Height 17 1/2 x diameter 35 1/2 inches. $1,500 - 2,500

210

211

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212

212

A Gilded Wrought Iron Railing Attributed to Edgar Brandt

20th Century modeled with birds on branches.

Height 46 1/2 x width 150 x depth 1 1/2 inches. $10,000 - 15,000

213

213

A Gilded Wrought Iron Railing Attributed to Edgar Brandt 20th Century modeled with birds on branches.

Height 38 x width 99 x depth 39 1/4 inches. $6,000 - 8,000 214

A Pair of Gilded Wrought Iron Demilune Transom Decorations 20th Century with added bird elements attributed to Edgar Brandt.

Height 11 3/4 x width 25 inches. $800 - 1,200

214

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215

A Pair of French Cerused Oak Doors with Gilt Bronze Fixtures

Early 20th Century the reverse with a cross-bar locking system.

Each, height 118 x width 30 1/2 x depth 2 inches. $1,000 - 1,500 FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 3 5

216

Tim Lewis

(American, b. 1952) Guardian Angels sandstone signed on lower edge 14 1/2 x 21 inches. $1,000 - 1,500

217

Tim Lewis

(American, b. 1952) Garden of Eden sandstone signed on reverse 20 x 22 1/2 inches. $1,000 - 1,500

218

Tim Lewis

(American, b. 1952) Noah’s Ark sandstone signed on reverse 13 x 15 inches. $1,000 - 1,500

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219

A Sarouk Wool Rug

20th Century 20 feet 3 inches x 10 feet 5 inches. $2,000 - 4,000

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 3 7

220

220

A Kazvin Wool Rug

20th Century 15 feet 7 inches x 12 feet 3 inches. $2,000 - 4,000 221

A Northwest Iranian Wool Rug 20th Century 20 feet 9 inches x 11 feet 7 inches. $1,500 - 2,500 221 1 3 8 A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO

222

223

222

A Persian Najafabad Wool Rug 20th Century 7 feet 10 inches x 4 feet 9 inches. $1,000 - 2,000 223

A Kirman Wool Rug

20th Century 18 feet 5 inches x 13 feet 8 inches. $2,000 - 4,000 224

A Kirman Wool Rug

First Half 20th Century 12 feet 6 inches x 9 inches 8 inches. $2,000 - 4,000 224

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 3 9

Artist Index ARTIST NAME

LOT

19th/20th Century (American School). . . 29 20th Century (American School). . . . . . . . 73 Aldrich, George Ames . . . . . . . . . . . . . . . . . . 28 Anderson, Karl. . . . . . . . . . . . . . . . . . . . . . . . . . 11 Berthelsen, Johann. . . . . . . . . . . . . . . . . . . . . 46 Burliuk, David. . . . . . . . . . . . . . . . . . . . . . . 20, 21 Butler, Theodore Earl,. . . . . . . . . . . . . . . 44, 45 Byrne, Michele. . . . . . . . . . . . . . . . . . . 49, 52, 53 Campbell, Laurence A.. . . 50, 51, 54, 56, 57 Cascella, Michele. . . . . . . . . . . . . . . . . . . . . . . 33 Charreton, Victor. . . . . . . . . . . . . . . . . . . . . . . . 3 Cirino, Antonio. . . . . . . . . . . . . . . . . . . . . . . . . . 15 Cocteau, Jean (After). . . . . . . . . . . . . . . . . . . 87 Crane, Bruce . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Crum, Clark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 de Haas, Mauritz Frederick Hendrick. . . . 14 de Lue, Donald . . . . . . . . . . . . . . . . . . . . . 62-65 Dolph, John Henry. . . . . . . . . . . . . . . . . . . . . . 12 Grabach, John R.. . . . . . . . . . . . . . . . . . . . . . . 68 Guercino (After) . . . . . . . . . . . . . . . . . . . . . . . . . 8 Hiraga, Kamesuke. . . . . . . . . . . . . . . . . . . . . . 30 Iaricci, Arduino . . . . . . . . . . . . . . . . . . . . . . . . . 47 Jay, Cecil. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Kilmer, Nicholas . . . . . . . . . . . . . . . . . . . . . . . . 76 Kuehne, Max. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Künstler, Morton. . . . . . . . . . . . . . . . . . . 70, 70A Lebduska, Laurence. . . . . . . . . . . . . . . . 80-84 Lever, Richard Hayley. . . . . . . . . . . . . . . . . . . 61 Maclet, Élisée . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Madeline, Paul. . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Mark, Henry. . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 McNamara, Kevin. . . . . . . . . . . . . . . . 74, 77-79 Miller, Richard Edward . . . . . . . . . . . . . . . . . . 41 Moylan, Lloyd. . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Mulford, Hansen. . . . . . . . . . . . . . . . . . . . . . . . 71 Neilson, Raymond Perry Rodgers. . . . . . . 35 Nuse, Roy Cleveland. . . . . . . . . . . . . . . . . . . . 42 Palmer, Pauline . . . . . . . . . . . . . . 18, 22-24, 40 Parker, George Waller. . . . . . . . . . . . . . . . . . . 75 Parker, Lawton S.. . . . . . . . . . . . . . . . . . . . . . . 25 Pechstein, Heinrich. . . . . . . . . . . . . . . . . . . . . . 5 Phillips, Samuel George . . . . . . . . . . . . . . . . 39 Pinchon, Robert Antoine. . . . . . . . . . . . . . . . . 2 Raphael, Joseph. . . . . . . . . . . . . . . . . . . . . . . . 26 Rauschenberg, Robert. . . . . . . . . . . . . . 92, 93 Reisman, Philip . . . . . . . . . . . . . . . . . . . . . . . . . 69 Rouault, Isabelle. . . . . . . . . . . . . . . . . . . . . . . . 17

Russell, Morgan . . . . . . . . . . . . . . . . . . . . 36-38 Sabouraud, Emile. . . . . . . . . . . . . . . . . . . . . . . 16 Sadler, Tom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Sanderson-Wells, John. . . . . . . . . . . . . . . . . . 9 Scarborough, Paul. . . . . . . . . . . . . . . . . . 89, 90 Scarpitta, Salvatore. . . . . . . . . . . . . . . . . . . . . 43 Schnakenberg, Henry Ernest . . . . . . . . . . . 60 Sloan, John French. . . . . . . . . . . . . . 58, 66, 67 Speicher, Eugene Edward. . . . . . . . . . . . . . . 85 Tucker, Allen. . . . . . . . . . . . . . . . . . . . . . . . 31, 32 Villon, Jacques. . . . . . . . . . . . . . . . . . . . . . . . . 91 Watson, Charles A. . . . . . . . . . . . . . . . . . . . . . 72 Webb, Charles Meer. . . . . . . . . . . . . . . . . . . . 10 Widliczka, Leopold. . . . . . . . . . . . . . . . . . . . . . 59 Wiggins, Guy Carleton. . . . . . . . . . . . . . . . . . 55 Wilder, André . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Zorach, William. . . . . . . . . . . . . . . . . . . . . . . . . 34

Glossary of Terms ADRIAEN JANSZ VAN OSTADE This work, in our best opinion, is by the named artist.

ATTRIBUTED TO ADRIAEN JANSZ VAN OSTADE To our best judgment, this work is likely to be by the artist, but with less certainty as in the aforementioned category.

STUDIO OF ADRIAEN JANSZ VAN OSTADE To our best judgment, this unsigned work may or may not have been created under the direction of the artist.

CIRCLE OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work by an unknown but distinctive hand linked or associated with the artist but not definitively his pupil.

STYLE OF . . .

FOLLOWER OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work by a painter emulating the artist’s style, contemporary or nearly contemporary to the named artist.

MANNER OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work in the style of the artistand of a later period.

1 4 0 A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO

AFTER ADRIAEN JANSZ VAN OSTADE To our best judgment, a copy of a known work of the artist.

The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist.

The term bears a signature and/or a date and/or an inscription means that, in our opinion, a signature and/or date and/or inscription have been added by another hand.

Dimensions are given height before width.

Chuang Che (Chinese, b. 1934) Landscape #35, 1987 Estimate: $15,000 - 25,000 To be offered March 7 in Finders Keepers

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EUROPEAN FURNITURE AND DECORATIVE ARTS FEBRUARY 8 | CHICAGO | LIVE + ONLINE

AMERICAN HISTORICAL EPHEMERA AND PHOTOGRAPHY, FEATURING AFRICAN AMERICANA FEBRUARY 27 | CINCINNATI | LIVE + ONLINE

THE DESIRE FOR PERFECTION: A NEW YORK COLLECTION OF 20TH CENTURY DESIGN FEBRUARY 8 | PHILADELPHIA | LIVE + ONLINE ART AND DESIGN FEBRUARY 8 | PHILADELPHIA | LIVE + ONLINE LITHICS FEBRUARY 13 | CHICAGO | LIVE + ONLINE ARMS, ARMOR & MILITARIA FEBRUARY 16 | CINCINNATI | TIMED ONLINE

WHAT DO YOU SEE? THE COLLECTION OF SIDNEY ROTHBERG, PART I FEBRUARY 27 | PHILADELPHIA | LIVE + ONLINE WHAT DO YOU SEE? THE COLLECTION OF SIDNEY ROTHBERG, PART II FEBRUARY 28 | PHILADELPHIA | LIVE + ONLINE A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO, PART II MARCH 1 | PALM BEACH | TIMED ONLINE

FINDERS KEEPERS MARCH 7 | CHICAGO | LIVE + ONLINE SPRING FASHION AND ACCESSORIES MARCH 12 | CHICAGO | TIMED ONLINE THE DR. DONALD F. MOYLAN COLLECTION OF AMERICAN FURNITURE, FOLK AND DECORATIVE ARTS, PART II MARCH 14 | CINCINNATI | LIVE + ONLINE AMERICAN FURNITURE, FOLK AND DECORATIVE ARTS MARCH 15 | CINCINNATI | LIVE + ONLINE CHINESE AND HIMALAYAN WORKS OF ART MARCH 26 | CHICAGO | LIVE + ONLINE JAPANESE AND KOREAN WORKS OF ART MARCH 27 | CHICAGO | LIVE + ONLINE PALM BEACH TREASURES MARCH 29 | PALM BEACH | ONLINE

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 4 1

Fine Art | Furniture and Decorative Arts

MADALINA LAZEN ASSOCIATE VICE PRESIDENT, HEAD OF DEPARTMENT, EUROPEAN ART

DONNA TRIBBY ASSOCIATE VICE PRESIDENT, SENIOR SPECIALIST, FURNITURE & DECORATIVE ARTS

561.833.8053 MADALINELAZEN @HINDMANAUCTIONS.COM

561.833.8053 DONNATRIBBY@ HINDMANAUCTIONS.COM

BEN FISHER MANAGING DIRECTOR, DECORATIVE ARTS 312.447.3270 BENFISHER @HINDMANAUCTIONS.COM

Leadership

ALYSSA D. QUINLAN CHIEF EXECUTIVE OFFICER 312.447.3272 ALYSSAQUINLAN @HINDMANAUCTIONS.COM

ALASDAIR NICHOL DEPUTY CHAIRMAN, HEAD OF FINE ART

MOLLY MORSE LIMMER EXECUTIVE VICE PRESIDENT, DEPUTY CHAIRMAN

267.414.1211 ANICHOL@ FREEMANSAUCTION.COM

312.447.3275 MOLLYLIMMER @HINDMANAUCTIONS.COM

PAULINE ARCHAMBAULT ASSOCIATE VICE PRESIDENT, SENIOR SPECIALIST, FINE ART

JULIANNA TANCREDI ASSOCIATE VICE PRESIDENT, SENIOR RESEARCHER, FINE ART

513.871.1670 PAULINEARCHAMBAULT @HINDMANAUCTIONS.COM

312.334.4228 JULIANNATANCREDI @HINDMANAUCTIONS.COM

Trusts, Estates & Private Clients

Appraisals

MOLLY E. GRON, J.D. MANAGING DIRECTOR 312.334.4235 MOLLYGRON @HINDMANAUCTIONS.COM

TIM LUKE, CAI, BAS, MPPA, ISA-AM MANAGING DIRECTOR 561.833.8053 TIMLUKE @HINDMANAPPRAISALS.COM

Offices ATLANTA KRISTIN VAUGHN SENIOR VICE PRESIDENT 404.800.0192 KRISTINVAUGHN @HINDMANAUCTIONS.COM CHICAGO MIRANDA MAXFIELD 312.334.4208 MIRANDAMAXFIELD @HINDMANAUCTIONS.COM CINCINNATI VAUGHN H. SMITH 513.666.4987 VAUGHNSMITH @HINDMANAUCTIONS.COM CLEVELAND CARRIE PINNEY 216.292.8300 CARRIEPINNEY @HINDMANAUCTIONS.COM

DENVER MARON HINDMAN 303.825.1855 MARONHINDMAN @HINDMANAUCTIONS.COM

NAPLES ALLISON DURIAN 239.643.4448 ALLISONDURIAN @HINDMANAUCTIONS.COM

DETROIT PAM IACOBELLI 313.774.0900 PAMELAIACOBELLI @HINDMANAUCTIONS.COM

NEW YORK CAROLINE BAKER SMITH 212.243.3000 CAROLINEBAKERSMITH @HINDMANAUCTIONS.COM

MIAMI ELIZABETH RADER, PHD 239.643.4448 ELIZABETHRADER @HINDMANAUCTIONS.COM

PALM BEACH ELIZABETH MARSHMAN 561.621.8461 ELIZABETHMARSHMAN @HINDMANAUCTIONS.COM

MILWAUKEE SARA MULLOY 414.220.9200 SARAMULLOY @HINDMANAUCTIONS.COM

PHILADELPHIA ABBY CLOUSER 215.563.9275 CLIENTSERVICES@ FREEMANSAUCTION.COM

1 4 2 A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO

RICHMOND COLIN CLARKE VICE PRESIDENT 434.409.4549 CCLARKE@ FREEMANSAUCTION.COM

SAN DIEGO KATIE GUILBAULT, G.G. SENIOR VICE PRESIDENT 858.442.6104 KATIEGUILBAULT @HINDMANAUCTIONS.COM SCOTTSDALE LOGAN BROWNING 480.546.5150 LOGANBROWNING @HINDMANAUCTIONS.COM ST. LOUIS ANNA SHAVER 314.833.0833 ANNASHAVER @HINDMANAUCTIONS.COM WASHINGTON, D.C. MAURA ROSS SENIOR VICE PRESIDENT 202.853.1638 MAURAROSS @HINDMANAUCTIONS.COM Updated 1.24.24

Guide for Prospective Sellers and Buyers GUIDE FOR PROSPECTIVE SELLERS

GUIDE FOR PROSPECTIVE BUYERS

Evaluation of Property Hindman is pleased to provide complimentary auction estimates for items you’re considering consigning. You are welcome to submit items electronically (consign@hindmanauctions.com) or to contact any of our offices directly.

Conditions of Sale All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.

Our specialists are eager to help you learn more about your collection and current auction sale estimates.

Viewing Auction Items It is highly recommended that all prospective bidders either view the sale via our online catalogue or contact Hindman LLC for further images or to schedule an appointment to view objects in person.

To begin an estimate, our specialists will need: • At least 3 photos • Detailed description • Details on signatures or marks

Estimates Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision.

Shipping Arrangements Buyers assume full responsibility for the packing and shipping of lots won at auction. Our Recommended Shippers offer a wide variety of local, domestic, and international shipping options.

Condition Reports We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

In the interest of our clients, Hindman requires a written authorization from the buyer in order to release property to anyone other than the purchaser of record (including but not limited to our recommended shippers). You may submit the Shipping Release Form via fax to 312.280.1211 or email to shipping@hindmanauctions.com

Appraisals Our exceptional team of specialists regularly appraises property by analyzing market trends and conducting comprehensive research.

Specialists evaluate thousands of objects each year for auction, allowing them to closely monitor the nuances of the current market.

Professional appraisals are prepared for estate tax, gift tax, charitable contribution, insurance and for equitable distribution purposes.

• Estate Tax • Gift Tax • Charitable Contribution • Insurance • Appraisals for Corporate Valuation Needs Our trust and estates department recognizes that each client and appraisal situation is unique and often involves multiple asset categories and residences. Fees for appraisals are determined by the number of specialists, hours involved and the necessary travel and expenses. Our competitive fees are negotiated based upon the express needs of each client and are competitive within the marketplace.

Please contact our Appraisals Department (appraisals@ hindmanauctions.com) for more information.

Estate Services Estate settlement is a meticulous and multi-faceted process. Hindman provides executors, fiduciaries and beneficiaries throughout the country with confidential and customized appraisals and disposition services.

All appraisals are prepared fully in accordance with USPAP guidelines and meet all current requirements set forth by the IRS. We recognize that each client and appraisal situation is unique and often involves multiple asset categories and residences. Our Trusts and Estates department offers services that are tailored to meet our clients’ timelines and specifications.

Our specialists offer complimentary walk-through services with the goal of providing an accurate representation of each items’ value based on the current auction market. A detailed proposal outlining the manner in which a sale will be conducted from the initial value assessment to removal of the property and settlement is provided to all parties involved.

Please contact our Estate Services (inquiries@hindmanauctions.com) team for more information.

Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

Bidding Increments Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction.

The standard bidding increments are: $0 – 500 $500 – 1000 $1000 – 2,000 $2,000 – 5,000 $5,000 – 10,000 $10,000 – 20,000 $20,000 – 50,000 $50,000 – 100,000 $100,000 – 200,000 $200,000 +

$25 $50 $100 $250 $500 $1,000 $2,500 $5,000 $10,000 AT AUCTIONEER’S DISCRETION

In-House Bidding Our auctions are free and open to the public with no obligation for attendees to bid.

Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

Live Bid Online Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com.

Absentee Bidding If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.

Telephone Bidding You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue.

Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $500 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.

Updated 1.13.23 FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 4 3

Conditions of Sale These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction.

A. BEFORE THE AUCTION 1. LOT DESCRIPTIONS AND WARRANTIES Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance— are our opinion and shall not to be relied upon by you as a statement of fact.

Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot.

2. CONDITION The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report.

3. VIEWING LOTS We offer pre-auction viewings, either scheduled or by appointment, that are free of charge.

If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping purposes.

4. ESTIMATES Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose.

Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges.

5. WITHDRAWAL We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID 1. GENERAL We reserve the right to reject any bid. By participating in the sale, you represent and warrant that: (a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and (c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation.

2. NEW BIDDERS New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity. (a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s 1 4 4 A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO

name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.

3. RETURNING BIDDERS If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction.

4. BIDDING FOR ANOTHER PERSON If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal.

5. BIDDING IN THE SALEROOM If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction.

6. OUR BIDDING SERVICES We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services. (a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids. (b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites. (c) Written Bids: You can find a Written Bid Form at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve.

If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.

7. CREDIT CARD AUTHORIZATION HOLD When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a temporary authorization hold on the card that will remain until it falls off, usually within 2 to 7 days.

C. DURING THE AUCTION 1. BIDDING IN THE AUCTION (a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders, including bidders through third-party bidding sites.

Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (b) Online Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (c) Timed Auctions. Bids may only be submitted on our website between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.

2. AUCTIONEER’S DISCRETION The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).

3. BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller.

If a lot is offered without reserve, the auctioneer will open the bidding at a set increment lower than the lot’s low estimate and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.

4. SUCCESSFUL BIDS AND INVOICES Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges. Please note that Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Hindman prior to the sale.

D. AFTER THE AUCTION 1. THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots except for those in Coins, Medals & Banknotes; Sports Memorabilia; and Arms, Armor & Militaria auctions we charge twenty-seven percent (27%) of the hammer price up to and including $1,000,000; twenty-one percent (21%) of any amount in excess of $1,000,001 up to and including $5,000,000; and fifteen percent (15%) of any amount in excess of $5,000,001. For all lots offered in Coins, Medals & Banknotes we charge a buyer’s premium of twenty-one percent (21%) of the hammer price. Sports Memorabilia; and Arms, Armor & Militaria auctions we charge a buyer’s premium of twenty percent (20%) of the hammer price.

If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium.

2. TAXES The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required.

3. MAKING PAYMENT (a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date. (b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name. (c) You must pay for lots in US dollars in one of the following ways: (i) Wire transfer. (ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed. (iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us.

(iv) Credit card: Credit card payments may not exceed $25,000 and a convenience fee of 3% will be added to each credit card payment. (v) ACH Bank Transfer (d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1550 West Carroll Avenue, Chicago, IL 60607, ATTN: Client Accounting Department.

4. TRANSFERRING OWNERSHIP TO YOU You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you.

5. TRANSFERRING RISK TO YOU Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse.

6. YOUR FAILURE TO PAY If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion: (a) We can charge interest from the due date at a rate of up to one and one-half percent (1.5%) per month on the unpaid amount due. (b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation. (c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount. (d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law. (e) We can reveal your identity and contact details to the seller. (f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids. (g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us. (h) We can take any other action we deem necessary or appropriate.

7. SHIPPING, COLLECTION, AND STORAGE (a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect.

Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping. (b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate. (c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot. (d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES (a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot. (b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 4 5

responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

E. WARRANTIES 1. SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

2. OUR LIMITED AUTHENTICITY WARRANTY Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows: (a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction.

After such time, we will not be obligated to honor the limited authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type. (c) It does not apply to any Heading or part of a Heading that is qualified.

“Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty. (d) It applies to the Heading as amended by any saleroom notice. (e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion. (f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot. (g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else. (h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses. (j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

1 4 6 A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO

3. ADDITIONAL WARRANTY FOR BOOKS If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances: (a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms: (i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale. (ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale. (iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

4. JEWELRY (a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time. (b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report. (c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent.

The gemological laboratories only report on the improvements or treatments known to them at the date they make the report. (d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced.

5. WATCHES AND CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use. (d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site.

Please check with the department for details on a lot with such a strap.

6. YOUR WARRANTIES You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money

laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties. (b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale. (c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH. (d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services. (e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3. COPYRIGHT We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights.

4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6. PERSONAL INFORMATION We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.

7. WAIVER No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English.

The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute.

The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. due date: has the meaning given to it in paragraph D(3)(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic. other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law. purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms: (a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter. (b) “Attributed to” means, in our opinion, a work probably by the artist. (c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style. (d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist. (e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work. (f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned.

UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Updated 1.1.24

FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 1 4 7

A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO, PART II March 1 Palm Beach | Timed Online

Duncan McClellan (American, b 1955) Charger on Stand Estimate: $800 - 1,200

A LASTING LEGACY: THE ESTATE OF MICHAEL MENNELLO | FEBRUARY 21, 2024

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