Sale 1025 | American & European Art by Hindman Auctions

AMERICAN & EUROPEAN ART 10 MAY 2022

AMERICAN & EUROPEAN ART SALE 1025 10 May 2022 10am CT | Chicago Lots 1–114 P R E V I E W B Y A P P O I N T ME N T P RO P E R T Y P I C K U P H O U R S Monday - Friday | 9:00am – 4:00pm By appointment 312.280.1212 All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale. CONTENTS European Art | Lots 1-53 American Art | Lots 54-114 Artist Index Hindman Team Upcoming Auction Schedule Inquiries Conditions of Sale

4-49 50-90 91 92 93 94 96

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FRONT COVER Lot 10

DEN 1057930 FL AB3688 GA AU-C003121 IL 444.000521 OH 2019000131 MO STL 107286

P RO P E R T Y F RO M T H E T R U S T S A N D E S TAT E S O F An Estate, Pasadena, California R. Lawrence Dunworth, Palm Beach, Florida Jost Hermand, Madison, Wisconsin Carmen S. Holeman Trust, Indianapolis, Indiana Norma and David McIntyre, Los Angeles, California Miriam B. Swanson Trust, Chicago, Illinois P RO P E R T Y F RO M T H E C O L L E C T I O N S O F Marie Battaglini-Levy, Washington, DC Janice and Philip Beck, Winnetka, Illinois Brian Gerard Dekker, Lafayette, Indiana Anne Gurewich Gordon, Bethesda, Maryland Anne McIntyre, Los Angeles, California A Private Collection, Chicago, Illinois A Private Collection, Minneapolis, Minnesota G. Gordon Schulmeyer Richard D. Simmons, Alexandria, Virginia Celestia B. Smithgall, Atlanta and Gainesville, Georgia P RO P E R T Y S O L D T O B E N E F I T University of Wisconsin Foundation

O P P O S I TE Lot 13

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

AMERICAN & EUROPEAN ART

EUROPEAN ART LOTS 1 - 5 3

O P P O S I TE Lot 7

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Bernard Buffet

(French, 1928-1999) Scarabée, 1963 oil on canvasboard signed B. Buffet (upper center) 9 1/2 x 7 1/4 inches. The authenticity of this lot has been confirmed by the Galerie Maurice Garnier and is accompanied by a photocertificate. Provenance: Wally Findlay Galleries Acquired from the above by the present owner, October 24, 1964 $10,000 - 15,000

AMERICAN & EUROPEAN ART

Jacques Martin-Ferrières

(French, 1891-1972) Dahlias sur bouillotte en marbre, 1955 oil on canvas signed Martin Ferrières (lower left); dated (lower right) 13 x 16 1/4 inches. Property from the Carmen S. Holeman Trust, Indianapolis, Indiana This lot is accompanied by an attestation of inclusion in the archives of the artist, in order to be included in the Catalogue Raisonné of Jacques Martin-Ferrières being prepared by Anne-Marie Destrebecq-Martin. It is registered in Jacques Martin-Ferrières’ manuscript list as 148 FL. Provenance: The Artist Findlay Galleries, Palm Beach, Florida, December 1965, acquired from the Artist $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Lê Phổ

(French/Vietnamese, 1907–2001) Les Dahlias Blanches, 1974 oil on canvas signed Le Pho and with Chinese characters (lower right); titled and dated (stretcher) 45 3/4 x 32 inches. Property from the Estate of Celestia B. Smithgall, Atlanta and Gainesville, Georgia This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Le Pho, currently underway. Provenance: The Artist’s studio, Paris, 1974 Findlay Galleries, October 1984 Acquired from the above, October 1987 $60,000 - 80,000 8

AMERICAN & EUROPEAN ART

Lê Phổ

(French/Vietnamese, 1907–2001) Composition (Fleurs), 1970 oil on canvas signed Le Pho and with Chinese characters (lower right); titled (stretcher) 39 1/2 x 29 inches. This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Le Pho, currently underway. Provenance: The Artist’s studio, Paris, 1970 Findlay Galleries, January 1971 Acquired from the above, June 1971 $40,000 - 60,000

Lê Phổ

(French/Vietnamese, 1907–2001) Fleurs oil on canvas signed Le Pho and with Chinese characters (lower right) 18 1/4 x 10 3/4 inches. This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Le Pho, currently underway. Provenance: The Artist’s studio, Paris Findlay Galleries, September 1973 Acquired from the above, August 1974 $10,000 - 15,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Vũ Cao Đàm

(French/Vietnamese, 1908-2000) La Rencontre, 1969 oil on canvas signed Vu Cao Dam and with Chinese characters, dated, and titled (verso) 13 x 16 inches. This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Vũ Cao Đàm, currently underway. Provenance: The Artist’s studio, Paris Findlay Galleries, September 1969 Acquired from the above, June 19, 1971 $20,000 - 30,000

AMERICAN & EUROPEAN ART

Raoul Dufy

(French, 1877-1953) Bouquet d’Anémones et de Marguerites, c. 1942 gouache on paper signed Raoul Dufy (lower right); inscribed (verso) 19 x 24 inches. Fanny Guillon-Laffaille has kindly confirmed the authenticity of this work, which will be included in her forthcoming supplement to the catalogue raisonné of Watercolors, Gouaches and Pastels currently in preparation, as no. As-1763. Provenance: The Artist Carstairs Galleries, New York, acquired from the Artist Private Collection, acquired from the above Thence by descent $20,000 - 30,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Raoul Dufy

(French, 1877-1953) Marché à Nice, 1938 gouache and crayon on paper signed Raoul Dufy, dated, and inscribed Nice (lower center); inscribed (verso) 19 x 24 inches. Fanny Guillon-Laffaille has kindly confirmed the authenticity of this work, which will be included in her forthcoming supplement to the catalogue raisonné of Watercolors, Gouaches and Pastels currently in preparation, as no. As-1764. Provenance: The Artist Carstairs Galleries, New York, acquired from the Artist, c. 1939 Private Collection, acquired from the above Thence by descent $20,000 - 30,000

AMERICAN & EUROPEAN ART

Raoul Dufy

(French, 1877-1953) Château de Chambord, 1937 watercolor on paper signed Raoul Dufy and titled (lower center); titled and inscribed (verso) 18 x 24 1/2 inches. Fanny Guillon-Laffaille has kindly confirmed the authenticity of this work, which will be included in her forthcoming supplement to the catalogue raisonné of Watercolors, Gouaches and Pastels currently in preparation, as no. As-1762. Provenance: The Artist Carstairs Galleries, New York, acquired from the Artist, c. 1939 Private Collection, acquired from the above Thence by descent $20,000 - 30,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Pierre-Auguste Renoir

(French, 1841-1919) La Baie de Villefranche-sur-Mer, 1899 oil on canvas signed Renoir (lower left) 18 x 21 3/4 inches. Property from the Collection of Richard D. Simmons, Alexandria, Virginia This lot will be included in the forthcoming Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. It is also accompanied by a copy of a photo-certificate issued by François Daulte, dated July 24, 1984. Provenance: The Artist Galerie Durand-Ruel, Paris, acquired from the Artist, October 26, 1901 (stock no. 6753) Paul Cassirer, Berlin, acquired from the above, July 7, 1911 Marie Harriman Gallery, New York, acquired from the above Eddie Duchin, New York, acquired from the above, c. 1930 Private Collection, by descent from above, 1951 Robert H. Everitt, Madrid, by descent from above, as of 1980 Sold: Hôtel Président, Geneva, May 7, 1984, Lot 127 Daniel Varenne, Geneva, acquired at the above sale Island Weiss Gallery, New York Acquired from the above by the present owner, June 21, 2001 Exhibited: Paris, Galerie Durand-Ruel, Tableaux par A. Renoir, June 1902, no. 4 (as Villefranche) Dresden, Kunstsalon Ernst Arnold, Ausstellung von Gemälden französischer Künstler, September 5 - 30, 1902, no. 29 (as Blick auf Villa Franca) $400,000 - 600,000

AMERICAN & EUROPEAN ART

Renoir first traveled to the south of France in 1882, to visit fellow artist and friend Paul Cézanne in Aix-en-Provence. His discovery of the region and its surroundings – including further south towards the French Riviera – bathed in sunlight, had a strong impact on the artist’s palette, offering him a whole new range of luminous color tones. Renoir frequently returned to the area and began to make extended stays in 1898/99, partly to alleviate his rheumatoid arthritis, but also because the vibrant landscape presented an opportunity to further develop his integration of Classicism and Impressionism. The Arcadian views provided an infinite source of inspiration for the artist in his final years. In these later years, Renoir devoted himself increasingly to landscapes. Though he usually painted inside houses and their grounds, the artist often ventured out to the surrounding countryside. These informal landscapes offered Renoir the freedom to improvise and experiment outside the constraints of conventional notions of composition and finish. Speaking on the south of France more generally, and the feeling it evoked within him, Renoir reported that, “In this marvelous country, it seems as if misfortune cannot befall one; one is cosseted by the atmosphere” (Renoir, Hayward Gallery, London, 1985-86, p. 268). With its expressive brushstrokes and sparkling color, La Baie de Villefranche-sur-Mer, 1899, is suggestive of the artist’s feelings of the region. Directly to the east of Nice, in the Côte d’Azur, the town of Villefranche-sur-Mer is set at the foot of a natural amphitheater of hills. Renoir depicts the town and bay from a point somewhere to the southeast. The jut of land, occupied by an impressive white home, may be Pointe du Rubé, though the structure itself no longer seems to exist. The sun-washed view is woven loosely together with variegated brushstrokes to form a colorful pattern, in which the clustered dwellings are overwhelmed by the sweeping sky and exuberant, untamed vegetation. The warm tone and radiant light beautifully capture the lush, serene environment. The present view is an evocative example of Renoir’s landscapes of the French Riviera and demonstrates Renoir’s mastery at capturing the subtleties of natural light, a central tenet of Impressionism.

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Alfred Sisley

(French, 1839-1899) La Seine à Saint-Mammès, c. 1886-90 pastel on paper signed Sisley (lower right) 11 1/4 x 15 1/2 inches. Property from the Collection of Richard D. Simmons, Alexandria, Virginia Provenance: Galerie Durand Ruel, Paris (stock no. 6874, as Les Bords du Loing à Moret) Galerie Schmit, Paris Mme Dodanthun, 1964 Sold: Hôtel des ventes, Marseille, November 25, 1972 Private Collection, Marseille Galerie Daniel Malingue, Paris, Galerie Étienne Sassi, Vallauris et Galerie Hopkins-Thomas, Paris, by 1989 Sold: Hôtel des ventes, Saint-Germain-en-Laye, December 11, 1994, Lot 87 Private Collection Hollis Taggart Galleries, Washington, DC Acquired from the above by the present owner, May 1995 Exhibited: Paris, Galerie Schmit, Les Impressionistes et leurs précurseurs, May 17 - June 17, 1972, p. 90, no. 71, illus. (as Le Loing à Moret) Literature: Sylvie Brame and François Lorenceau, Alfred Sisley: catalogue critique des peintures et des pastels, Paris, 2021, pp. 390; 510, no. P 33 $50,000 - 70,000

AMERICAN & EUROPEAN ART

The son of English parents, Alfred Sisley grew up in Paris but was sent to London for business school to follow in his merchant father’s footsteps. However, Sisley spent more time studying Turner and Constable in the London museums. He eventually returned to Paris in 1861, where he entered the studio of Charles Gleyre and attended the Swiss Academy. He trained alongside Frédéric Bazille, Claude Monet, and Pierre-Auguste Renoir, meeting to discuss the Impressionist style at the Café Guerbois. In 1874, he displayed his work at the first independent Impressionist exhibition. Consequently, even though his style and color palette are more subdued than Monet and Renoir, Sisley is considered a founding member of Impressionism. Alfred Sisley’s La Seine à Saint-Mammès depicts a favorite Impressionist subject—the river Seine and the villages that border it. In 1880, Sisley and his family moved to Veneux-Nadon, where he commenced to paint numerous views of the bridges, riverbank, and quaysides of the surrounding villages. The area, with its gentle landscape and constantly shifting light, became his last home and a constant source of inspiration for his later work. Painted circa 1886-90, the present pastel is of the surrounding quay and buildings of the small town of Saint Mammès, situated at the confluence of the rivers Seine and Loing, just north of Moretsur-Loing. The subtle luminosity of the overcast day in La Seine à Saint-Mammès captures the ephemeral effects of light, water, and weather on the surrounding landscape. The soft tones of the pastel are counterbalanced by the strong horizontals of the sky, land, and village buildings, and further enlivened by the diagonals cut by the paths and river. Like Monet, “Sisley worked in all seasons and weathers along this beautiful and still unspoilt bank of the Seine. Its topography gave him new configurations of space in which far horizons combined with plunging views below; the horizontals of skyline, riverbank and receding path are overlaid by emphatic verticals and diagonals to produce densely structured surfaces…With more subtlety than before, he determines the exact relation of the sky to the silhouette of the land. He knows how to differentiate its planes, order its clouds, diminish or enlarge its scope to produce a harmony inseparable from the landscape below” (Richard Shone, Sisley, London, 1992, p. 135). With its nuanced luminosity, La Seine à Saint-Mammès is an outstanding example of Sisley’s dexterity with all mediums, including that of pastel.

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Henri de Toulouse-Lautrec

(French, 1864 - 1901) Femme au lit - Au petit lever (study for the lithograph for the eighth plate of “Elles” (Woman in Bed Greeted by her Mother)), 1896 lightly applied lithographic crayon, or gray crayon, or very soft graphite on cream Japanese translucent paper laid down on Japanese Kozo paper 17 x 20 inches. Property from the Collection of Janice and Philip Beck, Winnetka, Illinois Provenance: Emmanuel Tapié de Céleyran M. Chappe M. Knoedler & Co. Marcel Guiot, Paris Sold: Sotheby’s, London, May 6, 1959, Lot 59 Eric Estorick (spelled Estorich in Dortu), acquired from the above sale Thomas Agnew & Sons, Ltd., London Art Properties Incorporated (Jean-Paul Getty Collection), California, 1959-1971, acquired from the above J. Paul Getty Museum, Malibu, California, given to the Museum in 1971 Sold: Christie’s, London, July 1, 1980, Lot 106 Dr. Anton C.R. Dreesman, acquired at the above sale Sold: Christie’s, London, King Street, April 9, 2002, Lot 41 Colletti Gallery, Chicago Private Collection, acquired from the above by the present owner Exhibited: Paris, Museé de l’Orangerie, Toulouse-Lautrec cinquantenaire, May-Aug. 1951, no. 108 Literature: M.G. Dortu, Toulouse-Lautrec et son oeuvre, vol. VI, New York, 1971, pp. 754-755, no. D.4.280, illus. Burton B. Frederickson, Catalogue of the Paintings in the J. Paul Getty Museum, volume 1, Malibu, Calfornia, 1972, p. 108, no. 160, illus. (as Young Girl in Bed Greeted by Her Mother (Au petit lever)) $15,000 - 20,000

AMERICAN & EUROPEAN ART

From vaudeville performers and cabaret dancers to the “grandes cocottes,” Toulouse-Lautrec’s oeuvre candidly mirrors the entertainment world of Paris at the turn of the 20th century. The artist sought to portray the Belle Epoque society by chasing and conveying fleeting gestures and moments rather than solidifying his subjects into inert and uniform archetypes. This evocative character reveals the intrinsic drawing quality that imbues Toulouse-Lautrec’s work, notably through his expert use of line, especially within his favored mediums of lithography and painting. The present drawing, Femme au Lit – Au Petit Lever (study for the lithograph for the eighth plate of “Elles” (Woman in Bed Greeted by her Mother)), especially demonstrates Toulouse-Lautrec’s distinctive style and subject matter. It depicts Madame Juliette Baron and her daughter, Mademoiselle Popo. Baron ran a brothel on Rue des Moulins, where, between 1892 and 1895, Toulouse-Lautrec spent weeks at a time, in addition to other “maisons closes” located on Rue d’Amboise and Rue Joubert. A year later, in 1896, his successive stays among the prostitutes of Paris yielded the lithographic series Elles (comprising 10 plates, a frontispiece and a cover), a pictorial account of these spaces at the periphery of society. Toulouse-Lautrec’s gaze and renditions affirm no moral stand and offer a rather prosaic vision of prostitution, devoid of overt vice and eroticism. The women in Elles are shown in everyday situations, bathing, combing their hair, sleeping, or awakening, as in Femme au Lit – Au Petit Lever. These depictions align them with a somewhat universal vision of womanhood, also conveyed by the broad-meaning title Elles. Still, the subtle, decent, and ordinary character of Toulouse-Lautrec’s portrayals did not withstand the harsh judgment of bourgeois morality: of the 100 portfolios published by Gustave Pellet, only a few sold at the time, compelling him to break them up and sell prints individually. (See Wittrock, Wolfgang. Toulouse-Lautrec: the complete prints. London: for Sotheby’s Publications by P. Wilson Publishers; New York, USAL Distributed by Harper & Row Publishers, 1985 and Gotz, Adriani. Toulouse-Lautrec: the complete graphic works: a catalogue raisonne: the Gerstenberg Collection. London: Thames and Hudson, 1988 for more detailed information on the Elles series).

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Gustave Camille Gaston Cariot (French, 1872-1950) Le jardin de Périgny, Yonne, 1906 oil on canvas signed G. Cariot and dated (lower left) 29 x 36 1/4 inches.

Provenance: Private Collection, France Private Collection, acquired from the above Sold: Sotheby’s, New York, May 15, 2018, Lot 251 Acquired at the above sale by the present owner $60,000 - 80,000

AMERICAN & EUROPEAN ART

Gustave Camille Gaston Cariot (French, 1872-1950) Meules de foin, 1925 oil on canvas signed G. Cariot and dated (lower right) 23 1/2 x 32 inches.

Provenance: Sold: Ader Nordmann, Paris, April 10, 2019, Lot 33 Acquired at the above sale by the present owner $20,000 - 30,000

Paul-Émile Pissarro

(French, 1884-1972) Pommiers et genêts en fleurs oil on canvas signed Paulémile Pissarro (lower left); signed and titled (verso) 18 x 24 inches. Lélia Pissarro has kindly confirmed the authenticity of this work. Provenance: Sold: Matsart Auctioneers & Appraisers, Jerusalem, April 13, 2016, Lot 64 Sold: Matsart Auctioneers & Appraisers, Jerusalem, November 10, 2016, Lot 33 Acquired at the above sale by the present owner $7,000 - 9,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Paul-Émile Pissarro

(French, 1884-1972) La maison du père Olivier à Clécy oil on canvas signed Paulémile Pissarro (lower right) 15 1/4 x 21 3/4 inches. Lélia Pissarro has kindly confirmed the authenticity of this work. $4,000 - 6,000

Paul-Émile Pissarro

(French, 1884-1972) La Lavandière, 1928 oil on canvas signed Paulémile Pissarro and dated (lower left) 18 1/4 x 22 inches. Lélia Pissarro has kindly confirmed the authenticity of this work. Provenance: Sold: Éric Pillon Enchères, Versailles, June 30, 2019, Lot 98 Acquired at the above sale by the present owner $4,000 - 6,000

AMERICAN & EUROPEAN ART

Narcisse Guilbert

(French, 1878-1942) Le port en Normandie oil on canvas signed Guilbert (lower left) 21 1/4 x 28 3/4 inches. Provenance: Sold: Millon & Associés, March 21, 2018, Lot 67 Acquired at the above sale by the present owner $6,000 - 8,000

Albert Lebourg

(French, 1849-1928) Les bords de l’Allier à Pont-du-Château, Auvergne oil on canvas signed A. Lebourg and inscribed (lower left) 18 1/4 x 30 inches. Provenance: Sold: Christie’s, Paris, May 24, 2005, Lot 23 $5,000 - 7,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Henri Jean Guillaume Martin

(French, 1860-1943) Barques aux environs de Collioure, c. 1910 oil on panel signed Henri Martin (lower left) 14 3/4 x 18 1/4 inches. The authenticity of this work has been confirmed by the late Cyrille Martin. Provenance: Maison Toussaint, Paris Private Collection, France Sold: Sotheby’s, London, June 23, 2011, Lot 103 Private Collection, acquired at the above sale Sold: Sotheby’s, New York, May 15, 2018, Lot 386 Acquired at the above sale by the present owner $60,000 - 80,000

AMERICAN & EUROPEAN ART

Henri Jean Guillaume Martin (French, 1860-1943) Jeune femme nue oil on canvas signed Henri Martin (lower left) 51 1/2 x 32 inches.

The authenticity of this work has been confirmed by the late Cyrille Martin. Provenance: Galerie Brame et Lorenceau, Paris Private Collection, Italy Sold: Christie’s, London, June 26, 2001, Lot 186 Private Collection, acquired at the above sale Sold: Christie’s, New York, May 16, 2018, Lot 345 Acquired at the above sale by the present owner $70,000 - 90,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Frédérique Vallet-Bisson

(French, 1862-1949) The Red Ball Gown oil on canvas signed Frédérique Vallet (lower left) 76 1/2 x 36 1/2 inches. Provenance: Butterfield & Butterfield, San Francisco & Los Angeles, November 8, 1995, Lot 828 $4,000 - 6,000

AMERICAN & EUROPEAN ART

Jean Jacques Henner

(French, 1829-1905) Portrait of a Woman in Red oil on panel signed JJ Henner (upper left) 13 3/4 x 10 1/4 inches. Property from the Estate of Norma and David McIntyre, Los Angeles, California $3,000 - 5,000

Roger Muhl

(French, 1929-2008) L’Esterel le matin oil on canvas signed Muhl (lower center); titled and inscribed CD-92 (verso) 50 x 47 1/4 inches. Property from the Estate of R. Lawrence Dunworth, Palm Beach, Florida Provenance: A. B. Closson Co., Cincinnati, Ohio $6,000 - 8,000

Roger Muhl

(French, 1929-2008) Paysage d’Été oil on canvas signed Muhl (lower center) 20 3/4 x 19 1/2 inches. Property from the Estate of R. Lawrence Dunworth, Palm Beach, Florida $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Henri Hecht Maïk

(French, 1922–1993) Les Amoureux, 1971 oil on canvas signed Maïk and dated (lower right); signed, titled, and inscribed (verso) 6 1/2 x 8 3/4 inches. Provenance: Wally Findlay Galleries, Chicago $2,000 - 4,000

Jean Jansem

(French, 1920-2013) Les Bas Rouges oil on canvas signed Jansem (upper right) 13 3/4 x 9 1/2 inches. Provenance: Wally Findlay Galleries, Chicago Acquired from the above by the present owner, May 21, 1966 $2,000 - 4,000

AMERICAN & EUROPEAN ART

Paul Augustin Aïzpiri

(French, 1919-2016) Tête d’homme, 1959 oil on canvas signed Aïzpiri (lower right) 18 1/4 x 15 inches. Property from the Collection of Marie Battaglini-Levy, Washington, DC Provenance: Sold: Ader Normann, Paris, March 3, 2020, Lot 1 Acquired at the above sale by the present owner $5,000 - 7,000

Paul Augustin Aïzpiri

(French, 1919-2016) Le jeune clown oil on canvas signed Aïzpiri (lower right) 13 x 9 inches. Property from the Collection of Marie Battaglini-Levy, Washington, DC Provenance: Sold: Rémy Le Fur & Associés, Paris, July 3, 2020, Lot 95 Acquired at the above sale by the present owner $4,000 - 6,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Moise Kisling

(French/Polish, 1891-1953) Fleurs, 1928 oil on canvas signed Kisling (lower left) 25 1/2 x 21 1/4 inches. This lot will be included in Volume IV et Additifs aux Tomes I, II et III of the Moïse Kisling catalogue raisonné, currently being prepared by Marc Ottavi. It is accompanied by a photo-certificate issued by André Pacitti, dated June 10, 1966. Provenance: Wally Findlay Galleries, Chicago Acquired from the above by the present owner $70,000 - 90,000

AMERICAN & EUROPEAN ART

Albert André

(French, 1869-1954) La table de déjeuner devant la treille, c. 1930-1940 oil on canvas signed Albert André (lower right) 14 1/4 x 37 3/4 inches. Property from the Miriam B. Swanson Trust, Chicago, Illinois This lot will be included in the catalogue raisonné of the paintings by Albert André, currently in preparation by Béatrice Roche, Alain Girard, and Flavie Durand-Ruel. Provenance: Galleries Maurice Sternberg, Chicago Acquired from the above, December 1971 $6,000 - 8,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Victor Charreton

(French, 1864-1937) Verger en fleurs dans un village oil on canvas signed Victor Charreton (lower right) 29 x 36 1/4 inches. Literature: Robert and Bertrand Chatin, Victor Charreton: Catalogue raisonné, Paris, 2007, vol. 1, p. 502, no. 1040, illus. $8,000 - 10,000

AMERICAN & EUROPEAN ART

Marcel Mouly

(French, 1918-2008) Göteborg la nuit (Gothenburg at night), 1952 oil on canvas signed M. Mouly and dated (lower right); signed, dated, titled, and inscribed (verso) 19 3/4 x 39 1/2 inches. Property from the Collection of G. Gordon Schulmeyer Provenance: Sold: Bukowski, Stockholm, April 27-30, 2009, Lot 254 (as Goteburg Lanuit) $2,000 - 4,000

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Paul Klee

(German, 1879-1940) Genien, 1937 graphite on paper laid to folded cardboard signed Klee (upper left); dated and numbered T4 (lower left); titled (lower right); inscribed einf. Blatt (on the upper left of the folded half of the cardboard mount) [Please note that the protective cardboard was cut away and is now in the Paul Klee Foundation, Bern, Switzerland.] 12 3/4 x 19 inches. Provenance: Hermann and Margrit Rupf, Bern, Switzerland, until 1953 Galerie Rosengart, Lucerne, Switzerland (19531955) Leigh B. and Mary Block, Chicago, by 1955 Literature: Richard Verdi, “Musical Influences on the Art of Paul Klee,” Museum Studies, vol. 3, Chicago, 1968, pp. 93-94, fig. 11, illus. The Paul Klee Foundation (ed.), Paul Klee. Catalogue raisonné, Volume 7, 1934-38, Bern, 2004, p. 301, no. 7120, illus. $50,000 - 70,000

AMERICAN & EUROPEAN ART

Genien, 1937, reveals Paul Klee’s avid enthusiasm for mythology and folklore, as well as his search to translate the temporal qualities of music into visual form. As a child, Klee had been a musical prodigy, but gave up the violin to study art in Munich in 1898. There he became influenced by the Jugendstil’s ideas of higher spiritual realities beyond the visible world that he would develop into his own complex artistic theories. In his 1920 essay, “Creative Confession,” the artist compared the creation of a work of art to a journey through space and thereby time, concluding, “The pictorial work sprang from movement, it is itself fixed movement and it is grasped by movement (eye muscles).” (Paul Klee, “Schöpferische Konfession,” Tribüne der Kunst und Zeit, Berlin, 1920, pp. 34-35) Especially in the last decade of his life, Klee executed a series of paintings in which fragmentary linear patterns are combined with planar areas of multiple colors, to create structural rhythms. The present work is likely a preliminary study for Sextett der Genien, a pastel also made in 1937. The study reveals that the artist first planned the linear configuration of the design by combining and re-combining a few basic motifs. The subject of Genien, or genies in English, are known in folklore as shapeshifting supernatural creatures. At times described as malevolent, mischievous, or benevolent, genies could take on many forms, including the wind. The artist has appropriated this subject matter and composed it into his own distinctive artistic language. The calligraphic lines, both curved and straight, have a distinct sense of movement and energy that convey the shifting presence of the genies. The varied strokes transmit a lively tempo that leads the eye around the composition. The artist’s playful sense of humor can also be seen in the abstract faces of each fabled figure that peer out of the maze-like lines. The result is as unpredictable as it is ingenious and creates a powerful cadence to the magical scene. The present work was first held in the collection of Hermann and Margrit Rupf of Bern, Switzerland. The couple were early proponents of avant-garde art in Switzerland and generous patrons and advocates of contemporary artists. The Rupfs established the first major collection of Cubist and abstract art in Bern, alongside an important collection of contemporary Swiss art, which they bequeathed to the city’s Kunstmuseum in 1954. As a result of their collecting activities, the Rupfs became close friends with Paul and Lily Klee and after 1913 they regularly acquired works from the artist. They may very well have acquired Genien directly from Klee. The drawing was also formerly in the collection of Leigh B. and Mary Block, who purchased it from the Galerie Rosengart in Lucerne, Switzerland in 1955. The Blocks were life-long residents of Chicago and owned one of the prime private art collections in the United States, including Van Gogh’s Self-Portrait with Bandaged Ear, 1889 (Private Collection). In 1980, the couple donated funds to Northwestern University to establish what is now the Block Museum, an important institution in the art and cultural scene of Chicago. The provenance of this lively artwork highlights its importance within the artist’s oeuvre.

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Franz Sedlacek

(Austrian, 1891-1944) Landschaft mit Jäger, 1926 oil on board initialed FS and dated (lower left); signed, dated, titled, and inscribed Wien (verso) 26 x 21 1/2 inches. Property from the Estate of Jost Hermand, Madison, Wisconsin; Sold to Benefit the University of Wisconsin Foundation Provenance: The Artist’s family, Bad Gastein, Austria, c. 1930 Galerie Hasfurther, Vienna, 1978-85 Sold: Wiener Secession und Galerie Hassfurther, Vienna, May 26, 1979, Lot 247 Sold: Hassfurther Auktionen, Vienna, March 31, 1984, Lot 117 Acquired at the above by the present owner Exhibited: Linz, Oberösterreichisches Landesmuseum, Landesgalerie, Neo-Romanticism and New

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Objectivity in Upper Austria, Christmas exhibition of the Upper Austrian State Museum, 1929, cat. no. 57 Linz, Wolfgang-Gurlitt-Museum, Neue Galerie der Stadt, Franz Sedlacek, 1952, cat. no. 6 Galerie Hassfurther, Vienna, 1978 Vienna, Weiner Secession und Galerie Hassfurther, Austrian Art 1880-1945, 1979 Literature: Hermann Ubell, “Franz Sedlacek, the Neoromantic,” Bilderwoche der Tagespost, 27, November, 1932, p. 1f Elisabeth Hintner-Weinlich, The Painter and Graphic Artist Dr. Franz Sedlacek, PhD diss., Innsbruck, 1987, p. 226, no. 24 Elisabeth Hintner, Franz Sedlacek. Work and Life 1891-1945, 2. Vienna, 1990, p. 39, fig. 7 Gabriele Spindler and Andreas Strohhammer, Franz Sedlacek 1891-1945: Monografie mit Verzeichnis der Gemälde, Vienna, 2011, p. 163, WV 31, illus. $60,000 - 80,000

Peder Mørk Mønsted

(Danish, 1859-1941) Spring day with a horse carriage on the road near Jyllinge, 1921 oil on canvas signed PMønsted, dated, and inscribed Jyllinge (lower left) 27 3/4 x 41 inches. Provenance: Sold: Bruun Rasmussen, Copenhagen, March 5, 2018, Lot 3 Sold: Bruun Rasmussen, Copenhagen, February 26, 2019, Lot 54 Acquired at the above sale by the present owner $10,000 - 15,000

Peder Mørk Mønsted

(Danish, 1859-1941) Winter landscape with a milkman in Høje Taastrup, 1929 oil on canvas signed PMønsted, dated, and inscribed Høje Taastrup (lower right) 20 x 27 3/4 inches. Provenance: Sold: Bruun Rasmussen, Copenhagen, February 13, 2017, Lot 1 Acquired at the above sale by the present owner $10,000 - 15,000

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Peder Mørk Mønsted

(Danish, 1859-1941) Summer in Varenna, Italy, 1921 oil on canvas signed PMønsted, dated, and inscribed Varenna (lower right) 15 x 23 inches. Provenance: Georg Kleis Kunsthandel, Copenhagen (label verso) Sold: Bruun Rasmussen, Copenhagen, November 19, 2008, Lot 270 Private Collection, acquired circa 2016 $6,000 - 8,000

Peter Vilhelm Ilsted

(Danish, 1861–1933) Interior Fra Liselund, 1917 oil on canvas signed monogram and dated (lower right) 20 1/4 x 17 1/2 inches. Provenance: Pickwick Antiques, Montgomery, Alabama Acquired from the above, August 1998 $6,000 - 8,000

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Bruno Liljefors

(Swedish, 1860–1939) Red Grouse in the Snow, 1909 oil on canvas signed Bruno Liljefors and dated (lower left) 27 3/4 x 39 1/2 inches. Provenance: Sold: Bukowski’s, Stockholm, May 29, 2000, Lot 125 Sold: Christie’s, London, March 30, 2001, Lot 13 Acquired at the above sale by the present owner $40,000 - 60,000

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Grigory Gluckmann

(Russian, 1898–1973) November in Venice oil on board signed Gluckmann (lower right) 15 1/4 x 22 inches. Provenance: Dalzell Hatfield Galleries, Los Angeles, California (label verso) Sold: Sotheby’s, Chicago, April 11, 1999, Lot 139 Acquired at the above sale by the present owner $3,000 - 5,000

Leonid Osipovich Pasternak

(Ukrainian, 1862–1945) Portrait of Mikhael Itzhakovich Press, 1922 black chalk on paper signed Leonid Pasternak and inscribed in Russian (lower edge); dated November 12, 1922 (upper left) 10 3/4 x 8 1/4 inches. Property from the Collection of Anne Gurewich Gordon, Bethesda, Maryland $3,000 - 5,000

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Wright Barker

(British, 1864-1941) Startled, 1896 oil on canvas signed Wright Barker and dated (lower left) 38 1/2 x 56 1/2 inches. $5,000 - 7,000

John Collier

(British, 1850–1934) The Lute Player, 1884 oil on canvas signed John Collier and dated (lower left); titled (stretcher) 60 x 45 inches. Literature: (Possibly) W. H. Pollock, The Art of The Hon. John Collier, special edition of The Art Annual, 1914, p. 25 (dated 1885) $10,000 - 15,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

John Atkinson Grimshaw

(British, 1836-1893) A Scene of Act II of ‘Jane Shore’, 1876 oil on canvas signed Atkinson Grimshaw and dated (lower right) 24 x 36 inches. Provenance: Wilson Barrett Collection, England Thence by descent Sold: Bonhams, Knightsbridge, March 20, 2018, Lot 79 Acquired at the above sale by the present owner Exhibited: Leeds, England, Leeds City Art Galleries, Atkinson Grimshaw 1836-1893, October 13 - November 10, 1979, no. 67 (also travelled to Southampton Art Gallery, November 24 - December 29, 1979 and Liverpool Walker Art Gallery, January 12 - February 9, 1980) Harrogate, England, The Mercer Art Gallery, Atkinson Grimshaw, Painter of Moonlight, April 16 - September 4, 2011 (also travelled to London, Guildhall Art Gallery, September 19, 2011 - January 15, 2012) $30,000 - 50,000

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The present lot depicts a scene from Act II of Jane Shore. Written by W.G. Wills, the play was produced at the Leeds Amphitheatre in 1875 and 1876. The parts of Henry Shore and his errant wife Jane were played by Wilson Barrett and his wife Caroline Heath. The actress, as Jane Shore, is depicted in the painting on her return home after her affair with King Edward IV, only to find that her own child has perished in her absence. The Barretts were close friends of the Grimshaws, who introduced them to many other actors. The artist and his wife frequently entertained actors at their home in Leeds, Knostrop Hall. Around the mid-1870s, Grimshaw produced aesthetic interiors featuring fashionable women at home, similar to those of artists James Tissot and Lawrence AlmaTadema. His work also appeared in London exhibitions at the Agnew’s Bond Street gallery, which further enhanced his reputation. In 1878 Barrett became the actor manager of the newly opened Grand Theatre in Leeds. In a 1917 letter to her brother-in-law, the artist’s daughter Enid stated that the room set from the play had been recreated in the Barretts’ own home in Beech Grove, Leeds. However, it is not clear why Grimshaw painted it, with three of his own children recently dead from diphtheria. Perhaps the artist’s new interest in depicting richly appointed and elegantly furnished rooms, as well as the commission from Barrett, was an attraction. Barrett had the painting hung at the Grand Theatre for many years. Grimshaw favored experimenting with different light sources in both landscapes and interiors. Here, Jane Shore is lit by moonlight streaming through the stained glass windows, while the firelight outlines the figure of her husband and the maid. As in other paintings by the artist, the central figure is over-life size; perhaps to emphasize her importance in the scene. The result is a mysterious scene within an interior redolent of comfort and home, very much as the Grimshaws themselves tried to create in their manorial setting at Knostrop.

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Heywood Hardy

(British, 1842–1933) A Parting Lord, 1901 oil on canvas signed Heywood Hardy and dated (lower left) 31 1/4 x 24 inches. Property from the Estate of Celestia B. Smithgall, Atlanta and Gainesville, Georgia Provenance: Richard Green Gallery, London (label verso) $6,000 - 8,000

Daniel O’Neill

(Irish, 1920-1974) Homage to Gaston Debureau, 1945 oil on board signed D. O’Neill and dated (upper left); inscribed with title (verso) 14 x 9 3/4 inches. We are grateful to Karen Reihill for her kind assistance with the cataloguing of the present lot. Exhibited: Dublin, National Gallery of Art, Irish Exhibition of Living Art, August 21 - September 2, 1945, cat no. 95 $8,000 - 12,000 44

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Patrick Hennessey

(Irish, 1915-1980) Cathedrals oil on canvas with an image of a seated nude (verso) 24 x 18 inches. Literature: Time, March 10, 1947, p. 49, illus. Sean Kissane (ed.), Patrick Hennessy: De Profundis, Dublin, 2016, pp. 21-22 (reproduction from Time illustrated) $3,000 - 5,000

Gwen John

(Welsh, 1876-1939) Two Houses in a Landscape, late 1920s gouache and graphite on brown paper stamped Gwen John (lower left) 6 3/8 x 4 7/8 inches. Provenance: Estate of the Artist Davis & Langdale Company, New York Private Collection, New York $3,000 - 4,000

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Montague Dawson

(British, 1890–1973) Onward-The Norman Court oil on canvas signed Montague Dawson (lower left) 40 x 50 inches. Property from the Collection of James and Patrice Schoonmaker, Naples, Florida Provenance: Frost & Reed, Ltd., London Acquired from the above, November 11, 1963 Thence by descent to the present owner $50,000 - 70,000

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Montague Dawson

(British, 1890–1973) The Surrender oil on canvas signed Montague Dawson (lower left) 20 x 30 inches. Property from the Collection of James and Patrice Schoonmaker, Naples, Florida Provenance: Frost & Reed, Ltd., London Acquired from the above, October 16, 1963 Thence by descent to the present owner $40,000 - 60,000

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Montague Dawson

(British, 1890-1973) Downwind Breeze oil on canvas signed Montague Dawson (lower left) 24 1/3 x 36 inches. Provenance: Quester Gallery, Stonington, Connecticut (label verso) $30,000 - 50,000

AMERICAN & EUROPEAN ART

Montague Dawson

(British, 1890–1973) Foochow oil on canvasboard signed Montague Dawson (lower left); inscribed China Clippers (verso) 14 x 18 inches. Property from the Collection of James and Patrice Schoonmaker, Naples, Florida $20,000 - 30,000

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AMERICAN ART LOTS 5 4 - 1 1 4

O P P O S I TE Lot 58

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54 (American, 1823–1900) Winter in Switzerland, 1861 oil on canvas laid to board signed J.F. Cropsey and dated (lower left) 4 x 8 inches. Property of an Estate, Pasadena, California

Lot note: This work was likely part of a Four Seasons set, which was a very popular item offered by Cropsey. When the four paintings were to be placed a single frame, they would be about the 4 x 8 inches as the present painting. There are only two known sets of single frame examples that are still intact; most were disassembled and the individual paintings sold separately. Four Seasons sets normally included: “Summer in Italy,” “Spring in England,” “Autumn in America,” and “Winter in Switzerland.”

This lot was authenticated by the Newington-Cropsey Foundation and will be included in any future supplements to the Catalogue Raisonné of the artist.

$7,000 - 9,000

Jasper Francis Cropsey

(American, 1823–1900) Mountain Landscape (possibly White Mountains, New Hampshire) oil on paper laid to board signed J.F. Cropsey and indistinctly dated (lower left) 5 1/2 x 8 inches. Property of an Estate, Pasadena, California This lot was authenticated by the Newington-Cropsey Foundation and will be included in any future supplements to the Catalogue Raisonné of the artist. $7,000 - 9,000 52

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Jasper Francis Cropsey

(American, 1823-1900) The Old Mill, August 1847 oil on canvas signed J.F. Cropsey and dated Aug. 1847 (lower center) 16 x 22 3/4 inches. Provenance: (Probably) William S. Chanley, 1848 (as Mountain Stream and with dimensions «about 21 x 30 inches») Chapellier Galleries, New York Private Collection, Beloit, Wisconsin A.J. Kollar Fine Painting, Seattle, Washington, by 2005 Sold: Shannon’s Fine Art Auctioneers, Greenwich, Connecticut, October 20, 2005, Lot 29 Private Collection, Garden City, New York, acquired at the above sale Sold: Ford Art Auctions, Lewes, Delaware, May 26, 2019, Lot 39 Acquired at the above sale by the present owner Literature: William S. Talbot, Jasper F. Cropsey, 1823-1900, PhD dissertation, New York University, 1977, pp. 48-49; 338339, fig. 18, cat. no. 19, illus. (as Highland Streams) “Found in a Closet-W.T. Richards Tops Shannon’s Sale at $215,100,” Antiques and The Arts Weekly, November 11, 2005, p. 61 Kenneth W. Maddox, Anthony M. Speiser, Jasper Francis Cropsey: Catalogue Raisonné Volume I, 1842-1863, Hastings-on-Hudson, New York, 2013, p. 50, no. 96, illus. Lot note: This lot is the only known extant painting that Cropsey painted in Scotland, probably near Luss on the west bank of Loch Lemond, where he and his wife stayed for three weeks. The artist also executed two other paintings during his 1847 stay, View near Luss in the Highlands of Scotland, and Ruins of St. Anthony’s Chapel near Edinburgh, both commissioned by the American Art Union for $300. $30,000 - 50,000

Jasper Francis Cropsey

(American, 1823-1900) Landscape with Cottage and Wagon, 1875 watercolor on paper signed J.F. Cropsey and dated (lower left) 6 x 9 inches. This lot was authenticated by the Newington-Cropsey Foundation and will be included in any future supplements to the Catalogue Raisonné of the artist. Provenance: Sold: Cutler Bay Auctions, Cutler Bay, Florida, December 15, 2020, Lot 64 Acquired at the above sale by the present owner $2,000 - 4,000

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William Merritt Chase

(American, 1849-1916) A Road to the Sea (Shinnecock Bay), c. 1902 oil on canvas signed Wm. M. Chase (lower left) 12 1/4 x 18 inches. Property from the Collection of Richard D. Simmons, Alexandria, Virginia Provenance: Estate of the Artist Sold: American Art Galleries, New York, William Merritt Chase Sale, May 14 - 16, 1917, Lot 357 (as A Road to the Sea) M.H. Marlin, New Haven, Connecticut, acquired at the above sale Sold: Sotheby’s, New York, May 23, 1974, Lot 32 (as Shinnecock Bay) Private Collection, Binghamton, New York, 1974-77, acquired at the above sale Spanierman Gallery, New York, 1977 R.H. Love Galleries, Chicago Geist Collection, Chicago Private Collection, New England, 1989-1995 Hollis Taggart Gallery, Washington, DC Acquired from the above by the present owner, November 9, 1995 Exhibited: Philadelphia, Pennsylvania, McClees Gallery, Exhibition of Paintings: The Works of Mr. William M. Chase, March 1905, no. 7 (as A Road to the Sea) Boston, Vose Gallery, Exhibition of Paintings: The Latest Works of William M. Chase, December 1909, no. 7 (as A Road to the Sea) Huntington, New York, Heckscher Museum, The Students of William Merritt Chase/Shinnecock Group, September 28 November 11, 1973 (also traveled to the Parrish Art Museum, Southampton, New York, November 18 - December 30, 1973), p. 24, no. 48 Mobile, Alabama, The Fine Arts Museum of the South at Mobile, The Ripening of American Art: Duveneck & Chase, October 18 - November 25, 1979, pp. 51; 61, no. 35, illus. Greenvale, New York, Long Island University, C.W. Post Art Gallery, A Century of American Impressionism, January 30 February 28, 1982 (as Shinnecock Bay), illus. Southampton, New York, Tripoli Gallery, Water, August 15 September 9, 2013 Literature: Wilbur Peat, “Checklist of Known Work by William M. Chase,” addendum to exh. cat., Chase Centennial Exhibition, John Herron Art Museum, Indianapolis, Indiana, 1949 (as A Road to the Sea) Ronald G. Pisano, William Merritt Chase: Landscapes in Oil, New Haven, Connecticut, 2010, vol. 3, p. 133, no. L.276, illus. $150,000 - 250,000

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Executed in 1902, A Road to the Sea (Shinnecock Bay) is one of many depictions William Merritt Chase made of the sand roads of the Long Island region. In 1890, the artist was invited to Shinnecock by Mrs. William S. Hoyt, an amateur painter and early resident of the area intent on establishing a summer art school. The clear skies, shifting light, and soft air of the surrounding landscape convinced Chase to launch the Shinnecock Summer School of Art in 1891. He and his family would continue to spend summers in Shinnecock for the next 25 years, even after Chase retired from teaching classes in 1902. A popular teacher, Chase’s school was well-attended, with students including Joseph Stella, Charles Hawthorne, and Rockwell Kent. As he only taught classes two days a week, Chase had copious free time for his own painting, which he did predominantly outdoors and directly from nature, without preparatory sketches or drawings: “I carry a comfortable stool that can be closed up in a small space, and I never use an umbrella,” he remarked. “I want all the light I can get. When I have found the spot I like, I set up my easel, and paint the picture on the spot. I think that is the only way rightly to interpret nature” (as quoted in D. Scott Atkinson and Nicolai Cikovsky, Jr., William Merritt Chase: Summers at Shinnecock 1891-1902, Washington, D.C., 1987, p. 18) The present work effortlessly captures a Long Island summer day and the artist’s en plein air style at its best. Chase uses a horizontal format divided between two nearly equal registers of sky and scrub-covered dunes. The curving road invites the viewer into the scene and emphasizes the expansive, gently rolling vista that dips toward the sea. Two bristling bushes punctuate the foreground, with the dash of a bright red roof in the distance centered between them, adding depth and texture to the spontaneously depicted scene. Chase was especially fascinated with the movement of clouds over Shinnecock. Bravura brushstrokes describe the rushing cirrus and cumulus clouds in the windswept sky, rendered in soft grays, blues, and purples. Chase’s commitment to documenting the environment exactly as it was experienced was perhaps best summarized by Rockwell Kent, who observed: “[Chase] went to nature, stood before nature and painted it as his eyes beheld it.” (It’s Me O Lord, New York, 1955, p. 76) Chase retained A Road to the Sea (Shinnecock Bay) throughout his life and it was included in his 1917 estate sale. In the auction catalogue, the painting was described: “The real road to the sea is out through the gray-blue bay of the distance, but leading to it is a winding, sandy road, passing from the foreground around hillocks and bushes, through the wiry seashore grass, in the Peconic region of Long Island. Bits of color at the edge of the grass line in the middle distance, and the top of a sail, indicate the presence of people at the beach. Grayish, windy sky.” (The Paintings and Other Artistic Property Left by the Late William Merritt Chase, N.A., New York, 1917, n.p.) The painting was purchased by a “M.H. Marlin,” likely Mahlon Harry Marlin (1864-1949) of New Haven, Connecticut. Mahlon’s family owned the Marlin Firearms Company, a successful rifle manufactory that rivaled the Winchester brand. Marlin rifles were used by Annie Oakley and “Buffalo Bill” Cody in their Wild West Shows. Marlin had a significant interest in landscape painting and after retiring, created his own landscapes for the next 34 years.

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William Merritt Chase

(American, 1849-1916) Portrait of a Girl (Miss Willard), c. 1902 oil on canvas signed Chase (center left) 24 1/2 x 18 1/4 inches. Provenance: Goldfield Galleries, Los Angeles, California (label verso) Exhibited: (Possibly) New York, M. Knoelder & Co., William Merritt Chase, A Benefit Exhibition for the Parrish Art Museum, May 7 - June 5, 1976, no. 84, (as Portrait Study (oil sketch) and dated c. 1908) Literature: Ronald G. Pisano, William Merritt Chase: Portraits in Oil, New Haven, Connecticut, 2010, vol. 2, pp. 180-181, no. OP.352, illus. Lot note: According to Ronald G. Pisano’s catalogue raisonné on the artist, records show the verso of the present painting bore an inscription that read, “Painted before class, Miss Willard-student.” (the painting is now lined and the inscription no longer visible) The artwork is dated c. 1902, the final year Chase taught at his Shinnecock summer art school. It is characteristic of Chase’s many demonstration pieces. The original iteration of the portrait had the sitter posed wearing a hat, which at some unknown point was painted over, with hair added in its stead. $30,000 - 50,000

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Robert Henri

(American, 1865-1929) Girl in a Red Dress, 1928 oil on canvas signed Robert Henri and inscribed by another hand with the artist’s notebook number (verso) 28 x 20 inches. Property from the Collection of Anne McIntyre, Los Angeles, California Provenance: Hammer Galleries, New York (as Bridget in Red) Private Collection, acquired from the above, by 1993 Thence by descent to the present owner $200,000 - 300,000

A chief proponent of the Ashcan School, Robert Henri’s true artistic spirit is understood through his portraits. Images of individuals from all classes, ages, and nationalities, his portraits are principally concerned with capturing the essence of his sitters, who he called “my people.” The influence of his teacher Thomas Anschutz at the Pennsylvania Academy of Art, who he studied under in 1885, contributed substantially to the development of Henri’s art, particularly regarding his focus on social realism and urban life. Together with other fellow artists of the Ashcan School, including John Sloan, George Bellows, William Glackens, and Everett Shinn, Henri sought out immigrant subjects for his

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urban realist paintings and illustrations. Additionally, the artist’s eventual adoption of a plain background and limited palette of colors, using either a three-color palette base or pairs of complementary colors, further allowed him to reveal his subjects and present them as they really were, without artifice. Henri was also a teacher, widely admired for his theory and criticism. In 1907, he took a group of students to Haarlem in the Netherlands, where he taught a class and worked on his own paintings. The local population fascinated him, particularly the children. Likewise, he found inspiration in the work of the 16th century painter Frans Hals, who

used thick, visible brushwork to create expressive portraits. During his stay, Henri executed a series of informal portraits of two Dutch girls, painting so rapidly that he produced one to three portraits a day. Titled Cori in the artist’s notebook, the present portrait of Cori Peterson was executed during these sessions. The energetic, spontaneous brushwork reveals the artist’s admiration for Hals and the French Impressionists, as well his characteristic use of gestural brushstrokes, dramatic lighting, and a limited palette. Other portraits of Cori include Dutch Girl Laughing, Dallas Museum of Art, and Laughing Child, Whitney Museum of Art, New York. Henri described his merry model in several

Robert Henri

(American, 1865-1929) Cori, 1907 oil on canvas signed Robert Henri (lower right); inscribed by another hand with the artist’s name and his notebook number, as well as an erroneous title identifying the sitter as a boy (verso) 23 3/4 x 20 1/4 inches. Provenance: Macbeth Gallery, New York, 1915 $100,000 - 150,000

letters, stating, “One of my two models is a little white-headed, broad-faced, red-cheeked girl of about eight—always laughing.” In Cori, Henri records a more contemplative moment, with the young girl solemnly gazing ahead, her bright red cheeks and lips contrasting against the dark background and her white pinafore. The artist’s continued search for authentic subjects led him and his wife, Marjorie Organ, to visit Ireland, eventually discovering the fishing villages of Keel and Dooagh on Achill Island, a remote location off the western coast. They first visited in June 1913 and stayed until September. World War I and financial troubles intervened, and the couple was

unable to visit again until 1924. They subsequently purchased a cottage named Corrymore and visited every spring or summer for the next four years. It was here that Henri created some of his most memorable portraits of Irish children. Painted during his last stay, Girl in a Red Dress is a masterful example of his later works in Ireland, which focused primarily on color and form. Valerie Leeds explains, “Henri explored formal and abstract ideas of color and compositional harmonies in a virtual shorthand vocabulary. In these paintings, he used a more limited tonal range, with one or two foundation colors to build the composition.” (“The Portraits of Robert Henri” in My People: The Portraits of Robert Henri, p. 40) In the

present work, the artist builds his portrait primarily in shades of red and black, which create the perfect complement to the sitter’s blonde hair and light blue eyes. Animated, broad brushstrokes define the background and dramatically contrast with the girl’s beautifully rendered, rosy face. Girl in a Red Dress highlights Henri’s ability to paint the vitality and unique character of his sitters. It is a captivating example of the portraits for which he is best known.

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Charles Webster Hawthorne (American, 1872-1930) Portrait of a Young Man oil on canvas signed C. Hawthorne (lower left) 21 x 18 1/2 inches. $8,000 - 12,000

Alice Schille

(American, 1869-1955) Miss Betty oil on canvas inscribed Alice Schille by another hand (lower right) 30 1/2 x 26 1/2 inches. Provenance: Estate of Alice Schille (label verso) The Heritage Gallery, Columbus, Ohio Acquired from the above by the present owners, 1975 $4,000 - 6,000

AMERICAN & EUROPEAN ART

Edward Dufner

(American, 1872-1957) Dorthea oil on canvas signed Edward Dufner (upper left) 30 x 24 3/4 inches. Property from the Carmen S. Holeman Trust, Indianapolis, Indiana Provenance: Eckert Fine Art, North Adams, Massachusetts Acquired from the above by the present owner, March 1988 $3,000 - 5,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Charles Courtney Curran

(American, 1861-1942) Gathering Flowers, 1911 oil on canvas signed Charles C. Curran and dated (lower right) 20 x 16 inches. $6,000 - 8,000

AMERICAN & EUROPEAN ART

Walter Shirlaw

(American, 1838-1909) Sheep Shearers in the Bavarian Alps oil on canvas signed Walter Shirlaw (lower right) 50 x 83 1/2 inches. $20,000 - 30,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

67A

Harriet Whitney Frishmuth

Bessie Potter Vonnoh

(American, 1880-1980) Crest of the Wave, 1925 bronze with brown and verdigris patina inscribed HARRIET W. FRISHMUTH© 1925 (on the base), and stamped Gorham Co. Founders / Q F H L (along the base) Height 20 1/2 inches. Provenance: Pendragon Collection, Inc., Lebanon, Ohio Acquired from the above by the present owner, January 29, 1996 Literature: Janis Conner, Frank Hohmann, Leah Rosenblatt Lehmbeck, and Thayer Tolles, Captured Motion: The Sculpture of Harriet Whitney Frishmuth, A Catalogue of Works, New York, 2006, no. 1925:5, pp. 27, 48, 79-80, 85-86, 90-91, 97, 102-03, 277, another example illustrated, pp. 178-80, 250 $10,000 - 15,000

(American, 1872–1955) Water Lilies, modeled c. 1913 bronze inscribed Bessie Potter Vonnoh (on the base); stamped ROMAN BRONZE WORKS N.Y. (along the base) Height 28 1/2 inches. Provenance: Bette Bryant Galleries, Kansas City, Missouri Acquired from the above by the present owner, 1969 Literature: Brookgreen Gardens, Sculpture by Bessie Potter Vonnoh, Murrell’s Inlet, South Carolina, 1937, n.p. (another example illustrated) B.G. Proske, Brookgreen Gardens Sculpture, Murrell’s Inlet, South Carolina, 1943, pp. 83; 85 (another example referenced) Joel Conner, Janice Rosenkranz, Rediscoveries in American Sculpture: Studio Works, 1893-1939, Austin, Texas, 1989, pp. 165; 167; 168n13 (another example illustrated) Julie Aronson, Bessie Potter Vonnoh: Sculptor of Women, exhibition catalogue, Athens, Ohio, 2008, pp. 164-68 (another example illustrated) $20,000 - 30,000

AMERICAN & EUROPEAN ART

William Glackens

Flowers in a Goblet oil on canvasboard bears artist’s estate stamp and titled (verso) 16 x 13 inches. Provenance: Ira Glackens, the Artist’s son Kraushaar Galleries, New York (label verso) Acquired by the present owner, c. 1978 Exhibited: Columbus, Ohio, Columbus Gallery of Fine Arts, 1967 (label verso) $15,000 - 20,000

Louis Michel Eilshemius

(American, 1864-1941) Landscape, 1909 oil on paperboard signed Elshemus. (lower left); dated (lower right); inscribed (verso) 8 3/4 x 13 inches. Provenance: The Artist Margaret J. Buckner, gifted by the Artist, March 5, 1932 (inscription verso) $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Frederick Judd Waugh (American, 1861-1940) Sun on the Rocks oil on canvas laid to board signed Waugh (lower right) 20 x 30 inches.

Provenance: Sold: Freeman’s, Philadelphia, Pennsylvania, June 25, 2006, Lot 102 $4,000 - 6,000

Harrison Bird Brown

(American, 1831-1915) Wind and Surf oil on canvas signed HB Brown (lower left) 13 x 23 inches. Property from the Collection of Richard D. Simmons, Alexandria, Virginia Provenance: Acquired by the present owner, by 2001 $2,000 - 4,000

AMERICAN & EUROPEAN ART

Wilson Irvine

(American, 1869-1936) Autumn’s Opal oil on canvas signed Irvine (lower left); titled (stretcher) 24 x 27 inches. Provenance: Grand Central Art Galleries, New York (label verso) $4,000 - 6,000

Lovell Birge Harrison

(American, 1854-1929) Moonlight on The Hackensack oil on canvas signed Birge Harrison (lower left); titled (stretcher) 24 x 30 inches. $5,000 - 7,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Nellie Augusta Knopf

(American, 1875-1962) Trees and Surf, Pacific Coast, 1924 oil on canvas signed N.A. Knopf and dated (lower right) 29 3/4 x 30 1/4 inches. $2,000 - 4,000

Edward K. Williams

(American, 1870-1950) Cottage with Hollyhocks, 1922 oil on canvas signed Edward K. Williams and dated (lower left) 20 x 24 inches. Property from the Carmen S. Holeman Trust, Indianapolis, Indiana $3,000 - 5,000

AMERICAN & EUROPEAN ART

Antonio Pietro Martino

(American, 1902-1989) Houses Along a Road, 1929 oil on canvas signed A.P. Martino and dated (lower left) 20 1/4 x 24 1/4 inches. Provenance: Private Collection, Pennsylvania Sold: Freeman’s, Philadelphia, June 4, 2017, Lot 77 Acquired at the above sale by the present owner $4,000 - 6,000

Milton Avery

(American, 1885-1965) Bicyclists, 1931 gouache on paper signed Milton Avery (lower right) 12 x 18 inches. This lot is accompanied by a letter of opinion from the Milton and Sally Avery Arts Foundation, New York. Provenance: Charlotte Jackson Fine Art Gallery, Santa Fe, New Mexico $7,000 - 9,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Milton Avery

(American, 1885-1965) Slim Girl, c. 1945 ink and graphite on paper signed Milton Avery (lower right); titled and inscribed (verso) 16 3/4 x 13 3/4 inches. This lot is accompanied by a letter of opinion from the Milton and Sally Avery Arts Foundation, New York. Provenance: David Barnett Gallery, Milwaukee, Wisconsin Acquired from the above Thence by descent to the present owner $3,000 - 5,000

Robert Vickrey

(American, 1926-2011) Apparition oil on masonite signed Robert Vickrey (lower right) 25 1/2 x 38 1/2 inches. Property from a Private Collection, Minneapolis, Minnesota Provenance: The Artist ACA Galleries, New York Private Collection, acquired from the above, 1985 Sold: Christie’s, New York, September 28, 2010, Lot 259 Acquired at the above sale by the present owner Exhibited: New York, Salmagundi Club, American Watercolor Society, Annual watercolor & pastel exhibition, February 20 - March 22, 1984 (won Bronze Medal of Honor) $6,000 - 8,000

AMERICAN & EUROPEAN ART

Wolf Kahn

(American/German, 1927-2020) Dark Beaver Pond, 1996 oil on canvas signed W Kahn (lower left); titled and inscribed with artist’s inventory number 1996/112 36 x 52 inches. Provenance: The Artist Marianne Friedland Gallery, Naples, Florida, acquired from the Artist Private Collection, Oconomowoc, Wisconsin Thence by descent to the present owner $30,000 - 50,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Wolf Kahn

(American/German, 1927-2020) Pink Sky, 1991 oil on canvas signed W Kahn (lower center); titled and inscribed with artist’s inventory number 115-1991 (stretcher) 28 x 30 inches. Provenance: The Artist Marianne Friedland Gallery, Naples, Florida, acquired from the Artist Private Collection, Oconomowoc, Wisconsin Thence by descent to the present owner $20,000 - 30,000

AMERICAN & EUROPEAN ART

Wolf Kahn

(American/German, 1927-2020) Against a Dark Blue Sky II, 1998 oil on canvas signed W Kahn (lower center); titled and inscribed with artist’s inventory number 1998/6 (verso) 30 x 42 inches. $20,000 - 30,000

Wolf Kahn

(American/German, 1927-2020) Young Locust Trees, 1993 pastel on paper signed W Kahn (lower right) 8 x 10 inches. Provenance: The Artist Marianne Friedland Gallery, Naples, Florida, acquired from the Artist $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Wolf Kahn

(American/German, 1927-2020) Pacific Evening, 1992 oil on canvas signed W Kahn (lower left); titled and inscribed with artist’s inventory number 52-1992 (verso) 14 x 22 inches. Provenance: Marianne Friedland Gallery, Naples, Florida $10,000 - 15,000

Wolf Kahn

(American/German, 1927-2020) Orange Sunset, 1992 oil on canvas signed W Kahn (lower left and lower center); titled and inscribed with artist’s inventory number 51-1992 (verso) 16 x 22 inches. Provenance: Marianne Friedland Gallery, Naples, Florida $10,000 - 15,000

AMERICAN & EUROPEAN ART

Wolf Kahn

(American/German, 1927-2020) Untitled, 1993 oil on canvas signed W Kahn (lower left); inscribed with artist’s inventory number 691993 (verso) 24 x 28 inches. $10,000 - 15,000

Wolf Kahn

(American/German, 1927-2020) Grey and Yellow on the Horizon, 1993 oil on canvas signed W Kahn (lower left); inscribed with artist’s inventory number 701993 (verso) 16 x 28 inches. Provenance: The Artist Marianne Friedland Gallery, Naples, Florida, acquired from the Artist, 1993 $8,000 - 12,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

LeRoy Neiman

Frank Sinatra Duets II, 1993 oil on board signed LeRoy Neiman and dated (lower right) 40 x 40 1/4 inches. Provenance: ArtRev.com, Hollywood, Florida Acquired from the above by the present owner, January 12, 2015 $25,000 - 35,000

AMERICAN & EUROPEAN ART

LeRoy Neiman

(American, 1921–2012) The Carousel, 1958 oil on canvas signed LeRoy Neiman and dated (lower right) 16 x 44 inches.

Provenance: The Artist Private Collection, acquired from the Artist Thence by descent Sold: Leslie Hindman Auctioneers, Chicago, September 25, 2013, Lot 1194 Acquired at the above sale by the present owner $25,000 - 35,000

Marshall Maynard Fredericks (American, 1908-1998) Penitence bronze signed M. Fredericks (base edge) Height 7 1/2 inches. $2,000 - 4,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Hale Woodruff

(American, 1900-1980) Windblown Trees oil on canvas signed Hale Woodruff (lower left) 30 x 36 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana $30,000 - 50,000

AMERICAN & EUROPEAN ART

Hale Woodruff

(American, 1900-1980) Classical Landscape oil on canvas signed Hale Woodruff (lower right) 23 x 29 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana $10,000 - 15,000

Hale Woodruff

(American, 1900-1980) Untitled (Wooded Landscape) oil on canvas signed Hale Woodruff (lower right) 18 x 22 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana Provenance: Mrs. Lionel F. Artis, Indianapolis, Indiana $15,000 - 25,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Hale Woodruff

(American, 1900-1980) Le Pont Neuf oil on canvas signed Hale Woodruff (lower left); titled (stretcher) 13 x 16 1/4 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana $10,000 - 15,000

William Edouard Scott

(American, 1884-1964) Tangiers (a Triptych) oil on board signed Scott (lower left) 23 1/2 x 44 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana $5,000 - 7,000

AMERICAN & EUROPEAN ART

William Edouard Scott

(American, 1884-1964) Haitian Scene, 1952 oil on panel signed Scott and dated (lower left) 22 x 17 3/4 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana Provenance: Mrs. Lionel F. Artis, Indianapolis, Indiana $5,000 - 7,000

William Edouard Scott

(American, 1884-1964) Portrait of Mrs. Lionel Artis, 1923 oil on canvas signed Scott (lower right) 28 x 20 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana Provenance: Mrs. Lionel F. Artis, Indianapolis, Indiana $7,000 - 9,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

William Edouard Scott

(American, 1884-1964) Landscape with Shepherdess and Sheep oil on canvas signed W.E. Scott (lower right) 31 1/4 x 23 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana Provenance: Mr. & Mrs. Lionel F. Artis, Indianapolis, Indiana $7,000 - 9,000

William Edouard Scott

(American, 1884-1964) Couple Boating on a Country Lake oil on canvas signed W.E. Scott (lower left) 22 x 24 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana $5,000 - 7,000 82

AMERICAN & EUROPEAN ART

100

William Thompson Goss

(American, 1894-1960) Portrait, 1930 oil on canvas signed Will Goss and dated (lower left) 18 x 24 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana Exhibited: Washington, DC, National Gallery of Art, Exhibition of Paintings and Sculpture by American Negro Artists (label verso) $1,000 - 2,000

101

Fletcher Martin

(American, 1904-1979) Exit in Color, 1939 oil on canvas signed Fletcher Martin and dated (lower right); signed and dated (verso) 40 x 30 inches. $3,000 - 5,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

102

Herman Menzel

(American, 1904-1988) Untitled (Men in a Boat) oil on canvas 20 x 25 inches. Provenance: Kamp Gallery, Winnetka, Illinois (label verso) $6,000 - 8,000

103

Stephan Chizmarik

(American, 1898-1962) Tree Cutting oil on canvas signed S. Chizmarik (lower right) 24 x 20 inches. Provenance: R.H. Love Galleries, Chicago (label verso) $1,000 - 2,000 84

AMERICAN & EUROPEAN ART

104

Kenneth Shopen

(American, 1902-1967) Room in a “B” Hotel, 1945 watercolor on paper signed Kenneth Shopen, dated, and inscribed Biarritz (upper left) 14 x 10 inches. Provenance: R.H. Love Galleries, Chicago (label verso) $1,500 - 2,500

105

Harold Laurence Gregor

(American, b. 1929) Illinois Corncrib #28, 1974 oil and acrylic on canvas signed Harold Gregor, dated, and titled (verso) 43 1/2 x 67 inches. $3,000 - 5,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

106

Eric Sloane

(American, 1905-1985) Covered Bridge in Winter oil on board signed Sloane (lower right) 21 x 32 inches. $8,000 - 12,000

107

Eric Sloane

(American, 1905-1985) December Morning oil on board signed Sloane (lower right) 20 x 24 inches. $6,000 - 8,000

AMERICAN & EUROPEAN ART

108

Robert Riggs

(American, 1896-1970) Feeding Time tempera on board initialed R (lower right) 21 1/2 x 23 inches. Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico (label verso) $6,000 - 8,000

109

William Zorach

(American, 1887-1966) Head of a Young Girl, 1952 stone signed Zorach and dated (verso) Height 12 1/4 inches. $6,000 - 8,000

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

110

Marguerite Thompson Zorach (American, 1887–1968) Baby Girl (The Awakening), c. 1918 oil on canvas laid to board signed M. Zorach (lower right) 18 1/4 x 15 1/4 inches.

Provenance: Estate of the Artist Kraushaar Galleries, New York, acquired from the above Private Collection Sold: Doyle, New York, November 15, 2017, Lot 72 Acquired at the above sale by the present owner

Literature: Nancy Mowll Mathews, American Dreams: American Art to 1950 in the Williams College Museum of Art, New York, 2001, p. 130 Lot note: The present lot depicts the artist’s second child, one year old Dahlov, who was born in 1917. Her mother has depicted her here not as an innocent baby, but as a powerful presence, monumental and straining against the confines of the canvas. The artwork bears an original frame designed and carved by Dahlov’s father, William Zorach. Together, the painting and the frame is a testament to the artist couple’s combined creativity and a commemoration of love for their new daughter. $15,000 - 20,000

AMERICAN & EUROPEAN ART

111

David Bekker

(American/Polish, 1897-1955) The Cabalist oil on canvas signed D. Bekker and inscribed (upper right) 32 1/4 x 26 inches. Provenance: Gershon Fenster, Tulsa, Oklahoma Exhibited: Chicago, Art Institute of Chicago, The Fifty-Third Annual Exhibition of American Paintings & Sculpture, October 29 - December 10, 1942, no. 56 (awarded the Martin B. Cahn Prize) Literature: The Art Collection of Gershon Fenster, Tulsa, 1948. p. 7, illus. $4,000 - 6,000

112

David Bekker

(American/Polish, 1897-1955) At the Table, c. 1935 oil on paper laid to board signed D. Bekker (upper right) 12 1/2 x 16 1/2 inches. Provenance: Sold: Treadway/Toomey Auctions, Oak Park, Illinois, September 12, 2010, Lot 523 Acquired at the above sale by the present owner $2,000 - 4,000 F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

113

Georges Schreiber

(American/Belgian, 1904-1977) Bar Mitzvah, 1932 oil on canvas signed Schreiber and dated (lower right) 35 1/2 x 30 1/2 inches. Property from a Private Collection, Minneapolis, Minnesota Provenance: Sold: Doyle, New York, September 13, 2006, Lot 102 Acquired at the above sale by the present owner $4,000 - 6,000

114

Max Weber

(American, 1881-1961) Rabbi, 1950 oil on canvas signed Max Weber and dated (lower right) 40 x 30 inches. Provenance: M. Knoedler & Co., New York Joan and Lester Avnet Collection, New York (label verso) $15,000 - 25,000 90

AMERICAN & EUROPEAN ART

ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Aïzpiri, Paul Augustin . . . . . . . . . . . . . . . . 28, 29 André, Albert . . . . . . . . . . . . . . . . . . . . . . . . . 31 Avery, Milton . . . . . . . . . . . . . . . . . . . . . . 77, 78 Barker, Wright . . . . . . . . . . . . . . . . . . . . . . . . 43 Bekker, David . . . . . . . . . . . . . . . . . . . 111, 112 Brown, Harrison Bird . . . . . . . . . . . . . . . . . . . 71 Buffet, Bernard . . . . . . . . . . . . . . . . . . . . . . . . 1 Cariot, Gustave Camille Gaston . . . . . . . . 13, 14 Charreton, Victor . . . . . . . . . . . . . . . . . . . . . . 32 Chase, William Merritt . . . . . . . . . . . . . . . 58, 59 Chizmarik, Stephan . . . . . . . . . . . . . . . . . . . 103 Collier, John . . . . . . . . . . . . . . . . . . . . . . . . . 44 Cropsey, Jasper Francis . . . . . . . . . . . . . . 54-57 Curran, Charles Courtney . . . . . . . . . . . . . . . . 65 Dawson, Montague . . . . . . . . . . . . . . . . . 50-53 Dufner, Edward . . . . . . . . . . . . . . . . . . . . . . . 64 Dufy, Raoul . . . . . . . . . . . . . . . . . . . . . . . . . 7-9 Eilshemius, Louis Michel . . . . . . . . . . . . . . . . 69 Fredericks, Marshall Maynard . . . . . . . . . . . . . 90 Frishmuth, Harriet Whitney . . . . . . . . . . . . . . . 67 Glackens, William . . . . . . . . . . . . . . . . . . . . . 68 Gluckmann, Grigory . . . . . . . . . . . . . . . . . . . . 41 Goss, William Thompson . . . . . . . . . . . . . . . 100 Gregor, Harold Laurence . . . . . . . . . . . . . . . . 105 Grimshaw, John Atkinson . . . . . . . . . . . . . . . . 45 Guilbert, Narcisse . . . . . . . . . . . . . . . . . . . . . 18 Hardy, Heywood . . . . . . . . . . . . . . . . . . . . . . . 46 Harrison, Lovell Birge . . . . . . . . . . . . . . . . . . . 73 Hawthorne, Charles Webster. . . . . . . . . . . . . . 62 Henner, Jean Jacques . . . . . . . . . . . . . . . . . . 23 Hennessey, Patrick . . . . . . . . . . . . . . . . . . . . 48 Henri, Robert . . . . . . . . . . . . . . . . . . . . . 60, 61 Ilsted, Peter Vilhelm . . . . . . . . . . . . . . . . . . . 39 Irvine, Wilson. . . . . . . . . . . . . . . . . . . . . . . . . 72 Jansem, Jean . . . . . . . . . . . . . . . . . . . . . . . . 27 John, Gwen . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Kahn, Wolf . . . . . . . . . . . . . . . . . . . . . . . 80-87 Kisling, Moise . . . . . . . . . . . . . . . . . . . . . . . . 30 Klee, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Knopf, Nellie Augusta. . . . . . . . . . . . . . . . . . . 74 Le Pho. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-5 Lebourg, Albert . . . . . . . . . . . . . . . . . . . . . . . 19 Liljefors, Bruno . . . . . . . . . . . . . . . . . . . . . . . 40 Maïk, Henri Hecht . . . . . . . . . . . . . . . . . . . . . 26 Martin, Fletcher . . . . . . . . . . . . . . . . . . . . . . 101 Martin, Henri Jean Guillaume . . . . . . . . . . 20, 21 Martin-Ferrières, Jacques . . . . . . . . . . . . . . . . . 2 Martino, Antonio Pietro . . . . . . . . . . . . . . . . . 76 Menzel, Herman . . . . . . . . . . . . . . . . . . . . . 102 Mønsted, Peder Mørk . . . . . . . . . . . . . . . 36-38 Mouly, Marcel . . . . . . . . . . . . . . . . . . . . . . . . 33 Muhl, Roger . . . . . . . . . . . . . . . . . . . . . . 24, 25 Neiman, LeRoy . . . . . . . . . . . . . . . . . . . . 88, 89 O’Neill, Daniel . . . . . . . . . . . . . . . . . . . . . . . . 47 Pasternak, Leonid Osipovich . . . . . . . . . . . . . 42 Pissarro, Paul-Émile . . . . . . . . . . . . . . . . . 15-17 Renoir, Pierre-Auguste . . . . . . . . . . . . . . . . . . 10 Riggs, Robert . . . . . . . . . . . . . . . . . . . . . . . 108 Schille, Alice . . . . . . . . . . . . . . . . . . . . . . . . . 63 Schreiber, Georges . . . . . . . . . . . . . . . . . . . 113 Scott, William Edouard . . . . . . . . . . . . . . . 95-99 Sedlacek, Franz . . . . . . . . . . . . . . . . . . . . . . . 35 Shirlaw, Walter . . . . . . . . . . . . . . . . . . . . . . . 66 Shopen, Kenneth . . . . . . . . . . . . . . . . . . . . . 104 Sisley, Alfred . . . . . . . . . . . . . . . . . . . . . . . . . 11 Sloane, Eric . . . . . . . . . . . . . . . . . . . . 106, 107 Toulouse-Lautrec, Henri de . . . . . . . . . . . . . . . 12 Vallet-Bisson, Frédérique . . . . . . . . . . . . . . . . 22 Vickrey, Robert . . . . . . . . . . . . . . . . . . . . . . . 79 Vũ Cao Đàm . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Waugh, Frederick Judd . . . . . . . . . . . . . . . . . . 70 Weber, Max . . . . . . . . . . . . . . . . . . . . . . . . . 114 Williams, Edward K. . . . . . . . . . . . . . . . . . . . . 75 Woodruff, Hale . . . . . . . . . . . . . . . . . . . . 91-94 Zorach, Marguerite Thompson . . . . . . . . . . . 110 Zorach, William . . . . . . . . . . . . . . . . . . . . . . 109

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. 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.

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

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PAULINE ARCHAMBAULT SPECIALIST 513.871.1670 PAULINEARCHAMBAULT @HINDMANAUCTIONS.COM

ANGELA WHITAKER ASSOCIATE SPECIALIST

ALEXANDRIA DREAS ASSOCIATE SPECIALIST

ABBY CHAMBERS ASSOCIATE SPECIALIST

JULIANNA TANCREDI SENIOR RESEARCHER

CHRISTINA KIRIAKOS DEPARTMENT COORDINATOR

JOHN MARTINEZ DEPARTMENT COORDINATOR

312.280.1212 ANGELAWHITAKER @HINDMANAUCTIONS.COM

303.825.1855 ALEXANDRIADREAS @HINDMANAUCTIONS.COM

312.334.4234 ABBYCHAMBERS @HINDMANAUCTIONS.COM

312.334.4228 JULIANNATANCREDI @HINDMANAUCTIONS.COM

312.334.4216 CHRISTINAKIRIAKOS @HINDMANAUCTIONS.COM

312.600.6064 JOHNMARTINEZ @HINDMANAUCTIONS.COM

Estates, Appraisals & Business Development

ALYSSA D. QUINLAN EXECUTIVE VICE PRESIDENT, CHIEF BUSINESS DEVELOPMENT OFFICER 312.447.3272 ALYSSAQUINLAN @HINDMANAUCTIONS.COM

MOLLY E. GRON, J.D. VICE PRESIDENT, NATIONAL DIRECTOR, TRUSTS & ESTATES SENIOR DIRECTOR, CHICAGO 312.334.4235 MOLLYGRON @HINDMANAUCTIONS.COM

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

ATLANTA KRISTIN VAUGHN BUSINESS DEVELOPMENT SENIOR DIRECTOR 404.800.0192 ATLANTA@HINDMANAUCTIONS.COM

DETROIT PAM IACOBELLI BUSINESS DEVELOPMENT DIRECTOR 313.774.0900 DETROIT@HINDMANAUCTIONS.COM

SAN DIEGO KATIE GUILBAULT, G.G. BUSINESS DEVELOPMENT DIRECTOR 858.442.6104 SANDIEGO@HINDMANAUCTIONS.COM

CINCINNATI VAUGHN SMITH BUSINESS DEVELOPMENT MANAGER 513.666.4987 CINCINNATI@HINDMANAUCTIONS.COM

MILWAUKEE SARA MULLOY BUSINESS DEVELOPMENT DIRECTOR 414.220.9200 MILWAUKEE@HINDMANAUCTIONS.COM

SCOTTSDALE LOGAN BROWNING BUSINESS DEVELOPMENT DIRECTOR 480.546.5150 SCOTTSDALE@HINDMANAUCTIONS.COM

CLEVELAND CARRIE PINNEY BUSINESS DEVELOPMENT MANAGER 216.292.8300 CLEVELAND@HINDMANAUCTIONS.COM

NAPLES ELIZABETH RADER, PHD BUSINESS DEVELOPMENT DIRECTOR 239.643.4448 NAPLES@HINDMANAUCTIONS.COM

ST. LOUIS ANNA SHAVER BUSINESS DEVELOPMENT DIRECTOR 314.833.0833 STLOUIS@HINDMANAUCTIONS.COM

DENVER CHRISTINE BROSKI BUSINESS DEVELOPMENT MANAGER 303.825.1855 DENVER@HINDMANAUCTIONS.COM

MIAMI, PALM BEACH SARAH ROY BUSINESS DEVELOPMENT DIRECTOR 561.833.8053 PALMBEACH@HINDMANAUCTIONS.COM

WASHINGTON D.C. MAURA ROSS BUSINESS DEVELOPMENT DIRECTOR 202.853.1638 WASHINGTONDC@HINDMANAUCTIONS.COM

AMERICAN & EUROPEAN ART

GUSTAVE LOISEAU (FRENCH, 1865–1935) GELÉE BLANCHE AU VAUDREUIL (LA ROUTE DE LOUVIERS), 1904 SOLD FOR $118,750

SOLD PRICES ARE INCLUSIVE OF BUYER’S PREMIUM

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

Inquiries LEADERSHIP JAY FREDERICK KREHBIEL CO-CHAIR CHIEF EXECUTIVE OFFICER LESLIE HINDMAN CO-CHAIR WES COWAN VICE-CHAIR MARON HINDMAN VICE-CHAIR ALYSSA D. QUINLAN EXECUTIVE VICE PRESIDENT CHIEF BUSINESS DEVELOPMENT OFFICER ALYSSAQUINLAN @HINDMANAUCTIONS.COM JIM SHARP EXECUTIVE VICE PRESIDENT CHIEF OPERATING OFFICER JIMSHARP @HINDMANAUCTIONS.COM MOLLY MORSE LIMMER EXECUTIVE VICE PRESIDENT DEPUTY CHAIRMAN MOLLYLIMMER @HINDMANAUCTIONS.COM AUCTION OPERATIONS, CLIENT SERVICES MAGGIE PORTER MAGGIEPORTER @HINDMANAUCTIONS.COM AIMEE SCHNEIDER AIMEESCHNEIDER @HINDMANAUCTIONS.COM RITA SWANBERG RITASWANBERG @HINDMANAUCTIONS.COM DAWNIE KOMOTIOS DAWNIEKOMOTIOS @HINDMANAUCTIONS.COM NICOLE JOY NICOLE JOY @HINDMANAUCTION.COM FINANCE MARCO GUSELLA DIRECTOR MARCOGUSELLA @HINDMANAUCTIONS.COM ESTATES & BUSINESS DEVELOPMENT MIRANDA MAXFIELD BUSINESS DEVELOPMENT MANAGER MIRANDAMAXFIELD @HINDMANAUCTIONS.COM

LEAH VOGELPOHL SPECIALIST

MICHAEL SHAPIRO SENIOR ADVISOR MUSEUMS & PRIVATE COLLECTIONS

ANTIQUITIES & ANCIENT ART JACOB COLEY DIRECTOR, SPECIALIST JACOBCOLEY @HINDMANAUCTIONS.COM

BRIAR KOEHL OLEFERCHIK BUSINESS DEVELOPMENT, SENIOR ASSOCIATE MUSEUM SERVICES FINE ART JOSEPH STANFIELD VICE PRESIDENT, SENIOR SPECIALIST JOSEPHSTANFIELD @HINDMANAUCTIONS.COM ZACK WIRSUM DIRECTOR, SENIOR SPECIALIST, POST WAR & CONTEMPORARY ART ZACHARYWIRSUM @HINDMANAUCTIONS.COM MONICA BROWN DIRECTOR, SENIOR SPECIALIST, FINE PRINTS & MULTIPLES MONICABROWN @HINDMANAUCTIONS.COM

KATIE BENEDICT DEPARTMENT COORDINATOR

ELIZABETH KEITHLEY CATALOGUER MODERN DESIGN HUDSON BERRY DIRECTOR, SENIOR SPECIALIST HUDSONBERRY @HINDMANAUCTIONS.COM SABRINA GRANADOS ASSOCIATE SPECIALIST JOHN MARTINEZ DEPARTMENT COORDINATOR NATIVE AMERICAN, PREHISTORIC & TRIBAL ART DANICA FARNAND VICE PRESIDENT, SENIOR SPECIALIST DANICAFARNAND @HINDMANAUCTIONS.COM

PAULINE ARCHAMBAULT SPECIALIST

ERIN RUST SPECIALIST ERINRUST @HINDMANAUCTIONS.COM

ANGELA WHITAKER ASSOCIATE SPECIALIST

MADISON LIGHT ASSOCIATE CATALOGER

ABBY CHAMBERS ASSOCIATE SPECIALIST

BOOKS & MANUSCRIPTS GRETCHEN HAUSE VICE PRESIDENT, SENIOR SPECIALIST GRETCHENHAUSE @HINDMANAUCTIONS.COM

ALEXANDRIA DREAS ASSOCIATE SPECIALIST JULIANNA TANCREDI SENIOR RESEARCHER CHRISTINA KIRIAKOS DEPARTMENT COORDINATOR

KATIE HORSTMAN SENIOR SPECIALIST KATIEHORSTMAN @HINDMANAUCTIONS.COM

JOHN MARTINEZ DEPARTMENT COORDINATOR

DANIELLE LINN SPECIALIST

EUROPEAN FURNITURE & DECORATIVE ARTS CORBIN HORN VICE PRESIDENT, SENIOR SPECIALIST CORBINHORN @HINDMANAUCTIONS.COM

EMILY PAYNE SPECIALIST

NICK COOMBS SENIOR SPECIALIST NICKCOOMBS @HINDMANAUCTIONS.COM

KAYLAN GUNN ASSOCIATE SPECIALIST FRANCIS WAHLGREN SENIOR CONSULTANT LESLIE WINTER ASSOCIATE SPECIALIST

SAMANTHA SCHWARTZ BUSINESS DEVELOPMENT SENIOR ASSOCIATE, TRUSTS & ESTATES SAMANTHASCHWARTZ @HINDMANAUCTIONS.COM

DONNA TRIBBY SENIOR SPECIALIST

BENTON LUDGIN DEPARTMENT COORDINATOR

GENEVIEVE KING ASSOCIATE SPECIALIST

HANNAH UNGER BUSINESS DEVELOPMENT SENIOR ASSOCIATE, EAST HANNAHUNGER @HINDMANAUCTIONS.COM

ELIZABETH REED CATALOGUER

ASIAN ART ANNIE WU DIRECTOR, SENIOR SPECIALIST ANNIEWU @HINDMANAUCTIONS.COM

KATHRYN HODGE BUSINESS DEVELOPMENT ASSOCIATE, TRUSTS & ESTATES KATHRYNHODGE @HINDMANAUCTIONS.COM

DREW JEPSON DEPARTMENT COORDINATOR

APPRAISALS NNEKA DUNHAM MANAGER, APPRAISALS NNEKADUNHAM @HINDMANAPPRAISALS.COM

MUSEUM SERVICES CAROLINE MUJICA-PARODI DIRECTOR, MUSEUM SERVICES CAROLINEMUJICA @HINDMANAUCTIONS.COM

AMERICAN & EUROPEAN ART

NICHOLAS GORDON CATALOGUER

AMERICAN FURNITURE, FOLK & DECORATIVE ARTS BEN FISHER DIRECTOR, SENIOR SPECIALIST BENJAMINFISHER @HINDMANAUCTIONS.COM JENNIFER HOWE SENIOR SPECIALIST JENNIFERHOWE @HINDMANAUCTIONS.COM

FLORA ZHANG SPECIALIST FLORAZHANG @HINDMANAUCTIONS.COM MEGAN SADLER ASSOCIATE SPECIALIST MARIELLE EPSTEIN DEPARTMENT COORDINATOR

JEWELRY & WATCHES SALLY KLARR, G.G. DIRECTOR, SENIOR SPECIALIST SALLYKLARR @HINDMANAUCTIONS.COM KATIE HAMMOND GUILBAULT, G.G. BUSINESS DEVELOPMENT DIRECTOR, SAN DIEGO, SENIOR SPECIALIST, JEWELRY AND TIMEPIECES KATIEGUILBAULT @HINDMANAUCTIONS.COM SEAN JOHNSON SENIOR SPECIALIST, WATCHES SEANJOHNSON @HINDMANAUCTIONS.COM RUTH THUSTON, G.G. SENIOR SPECIALIST RUTHTHUSTON @HINDMANAUCTIONS.COM MARISA ACKERMAN, G.G. SPECIALIST MARISAACKERMAN @HINDMANAUCTIONS.COM KARINA HAMMER, G.G. SPECIALIST KARINAHAMMER @HINDMANAUCTIONS.COM APRIL MATTEINI, G.G. SPECIALIST APRILMATTENI @HINDMANAUCTIONS.COM MADELINE SCHROEDER CATALOGUER HANA THOMSON CATALOGUER GINA O’CONNOR DEPARTMENT COORDINATOR COUTURE & LUXURY ACCESSORIES TIMOTHY LONG DIRECTOR, SENIOR SPECIALIST TIMOTHYLONG @HINDMANAUCTIONS.COM MICHAEL HALL ASSOCIATE SPECIALIST MICHAELHALL @HINDMANAUCTIONS.COM MARIELLE EPSTEIN DEPARTMENT COORDINATOR SPORTS MEMORABILIA JAMES SMITH SPECIALIST JAMESSMITH @HINDMANAUCTIONS.COM BENTON LUDGIN DEPARTMENT COORDINATOR MARKETING ASHLEY GALLOWAY VICE PRESIDENT PHOTOGRAPHY ZOË BARE DIRECTOR OF PHOTOGRAPHY DAVID JACKSON PHOTOGRAPHY SUPERVISOR GABBY BOSHARA AVERY CAMPBELL* CARMEN COLOME CHAD FEIERSTONE LIM HWOANG TYLER LEIBY DEOGRACIAS LERMA AMELIA MOORE* LIBBY MOORE MIKE REINDERS BILL ROSS MADDIE SCARPONE FIONA SCHADE RACHEL SMITH DALLAS TOLENTINO * LEAD PHOTOGRAPHER FOR SALE 1025 4/8/22

Guide for Prospective Sellers and Buyers GUIDE FOR PROSPECTIVE SELLERS Evaluation of Property If you have property you wish to sell, please call our Consignment Department at 312.280.1212 to arrange for a consultation. At that time, you may make an appointment to bring your property or photographs, along with any other pertinent information, to Hindman LLC and we will be happy to provide you with complimentary estimates and advice. If you have a large collection, an appointment may be made to evaluate the property on-site. Fees for on-site visits may vary. Standard Commission Rates Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; and twenty-five percent (25%) of the hammer price on each lot sold for less than $5,001, with a minimum commission of $75 per lot sold. If your property fails to reach the reserve price agreed upon between you and Hindman LLC, you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price. Shipping Arrangements Hindman LLC can advise you as to how to have your property delivered to our galleries. Packing, shipping and insurance are payable by the seller. In certain instances, packing and shipping costs may be paid by Hindman LLC and deducted from the proceeds of the sale. We may recommend packers and shippers, but we are not responsible for their acts or omissions. Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances. Please contact our Estates and Appraisals Department at 312.334.4232 for further information.

GUIDE FOR PROSPECTIVE BUYERS 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. 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. 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. 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.

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 ........................................ $25 $500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $250 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,500 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Above > $200,000 .... 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 $300 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time. Updated 1/1 /22

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

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 96

AMERICAN & EUROPEAN ART

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, we charge twenty-five percent (25%) of the hammer price up to and including $400,000; twenty percent (20%) of any amount in excess of $400,001 up to and including $4,000,000; and twelve percent (12%) of any amount in excess of $4,000,001. 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 $10,000 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, 1338 West Lake Street, 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

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

and other protected species of wildlife is at your own risk, and you shall be 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

AMERICAN & EUROPEAN ART

null and void. 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.

F O R A D D I T I O N A L I M AG E S A N D L O T D E TA I L S V I S I T H I N D M A N A U C T I O N S . C O M

UPCOMING AUCTION

Post-War & Contemporary Art

CONTACT Joe Stanfield VP, Senior Specialist, Fine Art 312.280.1212 josephstanfield@hindmanauctions.com

May 11, 2022 Chicago | Live + Online Ed Clark (American, 1926–2019) Creat ion, 2006 Est imate: $150, 000 - 250, 000

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Sale 1025 | American & European Art

Articles inside

American Art | Lots 54-114

European Art | Lots 1-53

Artist Index

Conditions of Sale

Upcoming Auction Schedule