WORKS ON PAPER LOTS 380 – 466

Opposite: Lot 441 Jane Peterson (American, 1876–1965), Palm Beach

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380 Attributed to Cornelis van Spaendock (Dutch, 1756-1840) Still Life: Bouquet of Flowers in a Vase on a Ledge watercolor on paper signed C. Van Spaendock (lower left) 14 3/4 x 11 1/4 inches.

Provenance: Sold: Sotheby’s, London, July 8, 2015, lot 194 Acquired by present owner at the above sale $7,000-9,000 381 Gerke Henkes (Dutch, 1844-1927) Seated Woman watercolor on paper signed G Henkes (middle left) 23 x 15 1/4 inches. $600-800

382 Willem van den Berg (Dutch, 1886-1970) Young Girl ink on paper signed Willem van den Berg (lower right) 9 x 4 1/2 inches. $500-700 382A Constant Troyon (French, 1810-1865) Woman with Child and Livestock charcoal on paper signed C. Troyon (lower left) 20 x 16 inches. $800-1,200

383 Willem van den Berg (Dutch, 1886-1970) Man in Chair graphite on paper initialed WD and inscribed (lower left) 9 x 11 inches. $500-700 384 John Faulkner (Irish, 1835-1894) After a Heavy Blow watercolor on paper signed John Faulkner and titled (lower left) 18 1/2 x 38 1/4 inches. $800-1,200

385 George Grosz (German, 1893-1959) Portrait of a Man ink on paper estate stamped (lower right) 6 x 4 inches. $2,000-4,000

386 George Grosz (German, 1893-1959) Man Brushing Teeth ink on paper signed Grosz (lower right) 20 x 15 inches. $8,000-12,000 387 Giuseppe Ferrari (Italian, 1840-1905) Woman with Lion watercolor on paper signed Ferrari (lower right) 23 x 18 inches. $3,000-5,000 388 René Gruau (Italian, 1909-2004) Le Bord Noir gouache on paper signed G (lower left) 8 1/2 x 12 inches. $4,000-6,000

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389* Frederick Daniel Hardy (British, 1826-1911) Family at Home oil on paper laid to board signed Hardy (lower left) 7 3/4 x 10 inches. Property from the Collection of Michael Burny, Los Angeles, California $700-900

390* William Russell Flint (Scottish, 1880–1969) Lounging Nude conte crayon on paper signed W. Russell Flint (lower right) 7 1/2 x 11 inches. Property from the Collection of Ellen Byington, Chicago, Illinois

Provenance: Findlay Galleries, Chicago (label on verso) $2,000-3,000 391* William Russell Flint (Scottish, 1880–1969) Nude with Skirt conte crayon on paper signed W. Russell Flint (lower right) 14 x 8 3/4 inches. Property from the Collection of Ellen Byington, Chicago, Illinois

Provenance: Findlay Galleries, Chicago (label on verso) $2,000-3,000

392* After Edward Burne-Jones (British, 1833-1898) Head of a Lady, 1889 graphite on paper signed E. Burne-Jones and dated (lower left) 12 1/2 x 8 3/4 inches. Property from the Estate of Denise Selz, Chicago, Illinois $2,000-4,000 393 Frank Dadd (British, 1874-1949) Bringing Home the Christmas Tree, 1912 pen, ink and gouache on paper signed Frank Dadd and dated (lower left) 10 1/2 x 14 1/2 inches. $600-800

394 Frank Dadd (British, 1874-1949) The Yule Log, 1910 pen, ink and gouache on paper signed Frank Dadd and dated (lower left) 10 1/2 x 14 1/2 inches. $600-800 395 Frank Dadd (British, 1874-1949) Oh! Here’s a Jolly Christmas, 1903 pen, ink and gouache on paper initialed FD and dated (lower left) 10 1/2 x 14 1/2 inches. $600-800

396 Frank Dadd (British, 1874-1949) Ah! Happy Years!, 1903 pen, ink and gouache on paper initialed FD and dated (lower left) 10 1/2 x 14 1/2 inches. $600-800

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397 Pierre Antoine Baudouin (French, 1723-1769) Jeune femme assise dans un parc gouache on paper laid to board signed Baudouin (lower left) 13 x 18 inches. $6,000-8,000 398 Jean-Baptiste Deshays (French, 1729-1765) Noah Leading the Animals into the Ark oil on paper laid to canvas 13 x 18 inches.

Provenance: Sold: Sotheby’s London, New Bond Street , July 8, 2015, lot 137 Acquired by the present owner at the above sale $10,000-15,000

399 Rosa Bonheur (French, 1822-1899) Male Figure Study pencil on paper signed Rosa Bonheur (lower left) 17 1/5 x 8 3/4 inches. $600-800 400 Attributed to Paul Gauguin (French, 1848-1903) Self Portrait Study (double-sided Six Heads Study on verso) ink on paper signed Gauguin (lower right) 7 1/2 x 4 inches.

Provenance: Kunsthaus Lempertz, Neumarkt 3, Cologne, 1979 Acquired by the present owner from the above $4,000-6,000 401 Attributed to Aristide Maillol (French, 1861-1944) Nude Study charcoal on paper monogrammed (lower right) 15 1/4 x 10 3/8 inches.

Provenance: Michael Parkin Fine Art Ltd., London, 1973 Acquired by the present owner from the above $2,000-3,000 402 José Frappa (French, 1854-1904) Marriage for Money and Marriage for Love (a pair of works) watercolors on paper each signed José Frappa (lower left) Each: 5 1/2 x 7 1/2 inches. $1,500-2,500

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403 Jehan Georges Vibert (French, 1840-1902) Butterfly Catcher ink on paper signed J.G. Vibert (lower right) 8 x 10 inches. $700-900

404 Jules Pascin (French, 1885-1930) Untitled pencil on paper signed Pascin (lower left) 10 x 7 3/4 inches. $600-800 405 Jules Pascin (French, 1885–1930) Deux Filles, c. 1928 conte crayon on paper 19 x 11 1/8 inches. $800-1,200

406 Alphonse LaLauze (French, 1872-1936) Le Soldat, 1916 gouache on paper signed Alph. LaLauze and dated (lower left) 13 3/4 x 8 1/2 inches. Property from a Private Collection, Ocala, Florida $600-800 407 Paul Signac (French, 1863-1935) The Three Turks, 1907 watercolor on paper signed P. Signac (lower right) 7 x 11 3/4 inches.

Provenance: Private Collection, Ursala Debski, Evanston, IL Signature Galleries, Steger, Illinois, 1973 Acquired by the present owner from the above

Exhibited: PSC Christopher Art Gallery, Hidden Treasures, 2000 $8,000-12,000 408 Eugene Galien-Laloue (French, 1854-1941) Paris gouache on paper signed Lievin (lower left) 18 1/2 x 14 1/4 inches.

Note: Jacques Lievin is a pseudonym the artist used after a soldier he met during the Franco-Prussian war. $2,000-4,000

409 Pierre-Eugène Montézin (French, 1874-1946) Bords de la Seine a Veneux les Sablons, 1925 oil on paper laid down on canvas signed Montézin (lower right) 16 3/4 x 30 inches. $5,000-7,000

410* Raoul Dufy (French, 1877-1953) Champ de courses, Deauville, 1930 (a pair of works) graphite on paper each signed R. Dufy, titled and dated (verso) Each: 4 x 5 1/4 inches. Property from the Estate of Rita Dee Hassenfeld, Palm Beach, Florida

Each drawing bears a stamp from Jacques Mathey and is annotated “Mathey certifies the authenticity, Paris, 1949” $1,000-2,000

411 Jean Chaleyé (French, 1878-1960) Le Vase Vert oil on paper 18 1/16 x 14 15/16 inches. $600-800 412 Jean Dufy (French, 1888-1964) Paysage du Sud pencil on paper signed Jean Dufy (lower right) 24 x 16 inches. $1,000-2,000

413 Jean Lurçat (French, 1891-1973) Modern Still Life, 1931 gouache on paper signed Lurçat and dated (lower right) 9 x 11 1/2 inches.

Provenance: Baker Furniture Company, Grand Rapids, Michigan (label on verso) $2,500-3,500

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414 Jacques Lipchitz (French, 1891-1973) Untitled, c. 1945 gouache on paper signed (upper right) 9 1/2 x 12 1/4 inches. Baker Furniture Company, Grand Rapids, Michigan San Francisco Museum of Art $1,500-2,500

415 Jacques Lipchitz (French, 1891-1973) Untitled, c. 1945 gouache on paper signed Lipchitz (upper right) 14 x 10 1/2 inches.

Provenance: Baker Furniture Company, Grand Rapids, Michigan San Francisco Museum of Art $2,000-3,000 416 George Rouault (French, 1871-1958) Head of a Man (from Les Fleurs du Mal) grisaille on paper wrapped around cardboard 2 1/2 x 3 1/4 inches. This is one of a series of paintings commissioned by Ambroise Vollard to be reproduced in actual size as illustrations for the projected book Les Fleurs du Mal.

Provenance: The collection of Lucien Vollard, until 1946 The collection of David Borowitz Main Street Gallery, Chicago, 1960 Purchased from the above by the present owner $5,000-7,000

417 417* Marc Chagall (French/Russian, 1887-1985) L’ arche portée à par David a Jérusalem, 1955-56 gouache, India ink and pencil on paper

signed Marc Chagall (lower right); titled and inscribed (verso) 19 1/2 x 12 1/4 inches. Property from the Estate of Rita Dee Hassenfeld, Palm Beach, Florida

The authenticity of the work was confirmed by the Comite Marc Chagall, Jean-Louis Prat, Paris, 22 January 2016. The work is accompanied by photo-certificate number 2015090. $60,000-80,000

418 André Dunoyer de Segonzac (French, 1884-1974) Floral Still Life watercolor on paper signed A Dunoyer de Segonzac (lower right) 22 x 30 inches. $3,000-5,000 419 Marcel Gromaire (French, 1892–1971) Three Landscapes (a group of three works) pen and ink on paper each signed Gromaire and dated Each: 9 3/4 x 12 3/4 inches.

Provenance: R. S. Johnson Fine Art, Chicago (label on verso) $1,500-2,500 420 Arthur Fillon (French, 1900-1974) Corbeille de Pommes (Basket of Apples), c. 1950 oil on paper mounted on canvas signed Fillon (lower right) 9 1/2 x 14 inches. $400-600

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The Ballet Russe de Monte Carlo was founded in 1937 as a continuation of the legacy of the Serge Diaghilev’s Ballet Russe (1909-1929), one of the most influential ballet companies of the 20th Century. Sergei Denham served as the artistic director of the Ballet Russe de Monte Carlo from 1937-1978. As with its predecessor, Denham’s ballet company collaborated with many prominent artists for set and costume designs. Among these important artists were Henri Matisse, Salvador Dali, Christian Berard, Eugene Berman and Bernard Lamotte.

The expressive color and fluid draftsmanship of Henri Matisse’s art lent itself naturally to the rhythm and movement of dance, and, in 1919, Diaghilev invited him to design the Ballet Russe production of Le chant du rossignol. Almost twenty years later, in 1937, Matisse was again invited to design the backdrop and costumes for the Ballet Russe de Monte Carlo’s production of Rouge et noir. Choreographed by Leonide Massine, the ballet’s score was a dramatic allegory based on Dmitri Shostakovich’s First Symphony.

Inspired during a studio visit by Matisse’s mural mockups for The Barnes Foundation’s The Dance, Massine envisioned Rouge et noir as a vast mural in motion. The set design consisted of a space dominated by two arches, and the dancers wore white costumes with bold slashes of color that held allegorical significance: white for man and woman, yellow for wickedness, blue for nature, red for materialism and black for violence.

Matisse created mockups for the set and costumes by combining painted cut paper shapes and painstakingly adjusting them until perfect. He even went so far as to pin cutout shapes directly to the costumed ballerina, to see how they would interact while in motion. The costume design for Rose reveals Matisse’s working method, with red wave-like forms strategically placed to enhance the dancer’s graceful body. According to the dance historian Grace Robert in her book The Borzoi Book of Ballets, the combined effect of the set and costumes were “extraordinarily effective scenically…The groups formed and came apart, making wonderful blocks of color like an abstract painting set in motion.”

At times in the company’s history, Denham sought funding through the sale of designs by the prominent artists who collaborated with the Ballet Russe de Monte Carlo. Leslie Hindman Auctioneers is pleased to offer several examples, including Matisse’s Rose costume design, as well as works by on behalf of the descendants of Sergei Denham.

Sergei Denham and his wife, Valentina

421* Henri Matisse (French, 1869-1954) Costume Design for the Ballet Russe de Monte Carlo production of Rouge et Noir, 1938 (a double-sided drawing) pencil, ink and watercolor on paper signed Henri Matisse and inscribed (lower right); Ballet Russe de Monte Carlo stamp (lower left) 10 1/2 x 8 1/4 inches. Property from the Estate of Sergei Denham, New York, New York

Note: Rose is one of five variations of the same design. The design for the back of the costume is visible on verso.

$15,000-25,000

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422* Bernard Lamotte (French, 1903-1983) Ballet Figure Study for the Ballet Russe de Monte Carlo ink on paper embossed Bernard Lamotte (upper right) 22 x 17 1/2 inches. Property from the Estate of Sergei Denham, New York, New York

Note: This work is accompanied by a Lamotte print dedicated to Sergei from the artist. $600-800 423* Bernard Lamotte (French, 1903-1983) Set Design for the Ballet Russe de Monte Carlo production of The Mikado gouache on paper signed Bernard Lamotte (lower right) 19 3/4 x 29 1/2 inches. Property from the Estate of Sergei Denham, New York, New York $1,500-2,500 424* Eugene Berman (American/Russian, 1899–1972) Set Design for the Ballet Russe de Monte Carlo, 1937 ink and wash on paper signed EB and dated (lower right) 9 1/2 x 12 1/2 inches. Property from the Estate of Sergei Denham, New York, New York $400-600 425* Eugene Berman (American/ Russian, 1899-1972) Costume Design for Danses Concertantes Ballet Russe de Monte Carlo, 1944 gouache on paper signed EB and dated (upper center) 12 1/4 x 11 3/4 inches. Property from the Estate of Sergei Denham, New York, New York $700-900

426* Attributed to Christian Bérard (French, 1902-1949) Costume Designs for the Ballet Russe de Monte Carlo production of The Seventh Symphony (a group of four works) watercolor and inks on paper first inscribed illegibly (upper right) Each: 10 3/4 x 8 inches. Property from the Estate of Sergei Denham, New York, New York $1,500-2,500 427* Attributed to Christian Bérard (French, 1902-1949) Costume Design for the Ballet Russe de Monte Carlo ink and watercolor on paper inscribed illegibly (lower left) 10 1/2 x 7 inches. Property from the Estate of Sergei Denham, New York, New York $600-800 428* Attributed to Christian Bérard (French, 1902-1949) Costume Design for the Ballet Russe de Monte Carlo production of The Seventh Symphony gouache on paper inscribed illegibly (upper left) 14 1/4 x 11 inches. Property from the Estate of Sergei Denham, New York, New York $600-800

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429* Achille Perelli (American, 1822–1891) Nature Morte: Mallard, 1877 watercolor on paper signed A. Perelli N.O. and dated (right center) 23 1/2 x 13 1/2 inches. Property from the Collection of Neil Cox, Edgerton, Wisconsin $5,000-7,000 430* Achille Perelli (American, 1822–1891) Nature Morte: Blue WingTeal, 1877 watercolor on paper signed A. Perelli N.O. and dated (lower left) 23 1/2 x 13 1/2 inches. Property from the Collection of Neil Cox, Edgerton, Wisconsin $5,000-7,000 431 Winslow Homer (American, 1836-1910) Untitled (Man Walking to Church) graphite on paper inscribed drawn by Skeets (verso) 5 x 2 3/4 inches.

Proveance: By descent in the family of the artist to the present owner $8,000-12,000

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432 Robert Henri (American, 1865-1929) Self Portrait with Woman, 1916 crayon on paper estate stamped and dated 11 x 8 inches.

Provenance: Mr. and Mrs. Staurt P. Feld Sold: The Thirteen Collection: televised auction of art and antiques, New York, 1983, lot 62 Acquired by the present owner at above sale $500-700 433 Robert Henri (American, 1865-1929) Nude Seated watercolor on paper 11 x 17 inches.

Provenance: Sold: Christie’s, New York “East”, December 4, 1992, lot 362 Acquired by present owner at the above sale $700-900

434 Arthur Bowen Davies (American, 1862-1928) Draped Model pastel on paper signed Arthur B. Davies 13 1/2 x 9 3/4 inches. $500-700 435 Albert Krehbiel (American, 1873-1945) Three Figures watercolor on paper signed Krehbiel (lower right) 20 x 14 inches. $800-1,200

436 Reginald Marsh (American, 1898-1954) Portrait of a Lady ink on paper signed Marsh 45 (lower right) 6 3/4 x 4 3/4 inches. $800-1,200

437 Joseph Bolegard (American, 20th Century) Woman in Repose watercolor and gouache signed J Bolegard (lower right) 14 3/4 x 18 1/4 inches. $1,000-2,000

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438 William Gropper (American, 1897-1977) Female Resting gouache on paper signed Cooper 18 x 13 inches. Provenance: Aquired through Christies American and European Paintings sale #7369 on December 2, 1992, lot 366. $500-700 439 Isabel Bishop (American, 1902-1988) Man in Overcoat ink on paper signed Isabel Bishop (lower left) 4 3/4 x 3 inches. Provenance: Collection of the artist Midtown Galleries, New York Signature Galleries, Chicago, 1976 Acquired from the above by the present owner

Exhibited: Chicago, Drawings of Isabel Bishop, RH Love Galleries, 1976 $200-400 440* Jon Whitcomb (American, 1906-1988) Lady with a Green Hat gouache on paper signed Jon Whitcomb (lower right) 11 3/4 x 10 1/4 inches. Property from the Estate of Robert Stolz, St. Louis, Missouri

Lot Note: This was an illustration for the May 1948 issue of Cosmopolitan magazine. $500-700 441 Jane Peterson (American, 1876–1965) Palm Beach gouache on paper signed Jane Peterson (lower left); titled (verso) 17 7/8 x 23 7/8 inches.

Provenance: Galleries Maurice Sternberg, Chicago (label on verso) $10,000-15,000

442 Moses Soyer (American, 1899-1974) Two Nudes sepia and charcoal on paper signed M Soyer 19 x 12 inches. $600-800

443 Raphael Soyer (American, 1899-1987) Nude Study charcoal on paper signed Raphael Soyer (lower right) 10 x 14 inches. $200-400 444* Henry Hensche (American, 1901-1992) Nude Study graphite on paper signed Henry Hensche (lower right) 6 3/4 x 11 3/4 inches. Property from the Collection of Edith Scala Hampson, Chicago, Illinois $400-600

445 Mary Faulconer (American, b. 1912) Ginger Beer and Spring Flowers in White Cup (a pair of works) tempera on paper each signed Faulconer (lower right) Largest: 14 x 10 inches.

Provenance: Bodley Gallery, New York (label on verso) $600-800 446 John Hulse (American, 20th Century) Château de Ternes watercolor on paper signed Hulse (lower right) 39 x 26 inches. $2,000-4,000

447 Marion Kavanagh Wachtelpre (American, 1870-1954) Mountainous Landscape watercolor on paper signed Marion Kavanagh (lower left) 14 1/2 x 20 3/8 inches. Property from a Private Collection, Battle Creek, Michigan

Provenance: Virgina Borden Milbank of Los Angeles, California By descent to the present owner $8,000-12,000

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This suite of 18 World War I watercolor studies for the Fourth Liberty Loan Poster Program is a major discovery. The group exposes an important influence on the work of the celebrated American painter, Walter Ufer, specifically a deep-seated patriotism fueled by nativist attacks on the loyalty of German-born Americans during WWI.

At the onset of American involvement in WWI in April of 1917, thousands of German-born Americans, like Walter and Mary Ufer, became subjects of suspicion. By 1918, Ufer’s career was firmly established, best known for his depictions of New Mexico, which poignantly captured the plight of the American Indian. However, despite his success, his candidacy as an associate in the National Academy of Design, whose longstanding mission was to harbor such figure-heads, was aborted, and the couple’s mail was censored by the government, presumably due to the couple’s German ancestry and Ufer’s pre-war adulation of Germany.

Walter and Mary countered with numerous patriotic efforts. Throughout 1917, they served America through their work with the American Red Cross, aiding Dr. J. W. Bergman in nursing victims devastated by the Spanish Influenza Epidemic; they purchased war bonds and donated paintings to auction and other fund raising efforts; Walter, at 42, registered for the draft, and, in 1918, joined other members of the Taos Society of Artists in creating large-scale 50 x 70 inch range fighters for indoor rifle training. Mary gave patriotic readings, notably Return from the Front, and created a library for the United War Work campaign.

In April 1918, Walter Ufer, having taken significant steps to prove his loyalty, was able to relieve some of his frustrations when he was approached by the Treasury Department to submit studies for a series of posters created for the Fourth Liberty Loan Program. Instructions from the department indicated the posters should reflect “the spirit of grim determination to win the war.” The directive stated that the posters “should be full of action,” while discouraging “grewsomeness [sic]” because it “is sickening and depressing rather than stimulating.” These posters were to “appeal to Americans of foreign birth,” “with a child” and “to farmers.” Besides posters referring to the Army, they were looking for posters “that emphasize the Navy and Aerial service.” R. W. Emerson, Chief of the Division of Publications, announced that the sketches should illustrate some point in connection with this Liberty Loan program, the slogan of which is “Lend the Way They Fight - Buy Bonds to Your Upmost.” Ufer had not witnessed the war first hand. His studies for the Fourth Liberty Loan posters actually found their initial inspiration a year earlier, from a letter written by his brother-in-law, Ditlev Frederiksen. One of the artist’s greatest fears was that he would be considered a “slacker” by Ditlev when it came to his involvement in WWI. In a letter dated March 14, 1917, Ditlev admonishes Ufer for not being “on the firing line, painting war terrors…”; the artist had the public’s attention, yet chose Taos as his subject. Ditlev goes on to suggest a menu of mostly graphic subjects Walter could paint. Scenes are described in vivid detail, such as “a dual in the air,” with “smoke effects, fire effects… the air so clear that you can see miles away down to the ground.” “His first bomb” showing “a new recruit on the firing line…showing surprise and fear”; “Three nights out, 50 miles of mud,” depicting “soldiers faces all played out and yet determined after a long trip”; or “What the Germans have left,” featuring “a Sunday morning in France with nothing but black, black, black, war widows going to early morning mass.” He suggests “a few – not too many absolute horrors, bowels hanging out, a man walking with his own bleeding arm on the shoulder, like a gun, severed, or hanging by a few shreds, and then, by contrast, a few barracks scenes showing rest, repose and jollification.” He saved the letter, and Ditlev’s graphic descriptions inspired Walter’s work a year later with paint and brush.

The 18 sketches in the present lot measure approximately 2 1/4 x 3 1/2; they are mounted on nine sheets measuring 5 x 7 inches. Titles, Ufer’s signature, “Chicago,” and, per Emerson’s request, a request to buy savings stamps or bonds of the Forth Liberty Loan are found in pencil on the lower margin of each watercolor.

In the 18 sketches, Ufer created an explosion of colors and shapes, illustrating the horrible atrocities of war, as though the artist had born witness himself on the front line. Most impressive are Slice the Hun when it hurts with your quarters, Your Gas is not Wanted, and Where it Hurts. Ditlev’s ruined cities are reflected in Remember! Your Boys are Over there; his sweeping skyline, fighter plane and billowing “smoke effects” in For Freedom of the Seas; and prostrate bodies in They Gave Their Life.” Ufer’s own sentiments regarding patriotic participation are reflected in Slackers! Are you One of Them? A casual observer would assume these sketches to be the reflections of a war-weary veteran who had witnessed the atrocities of WWI first-hand.

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The sketches were sent to R.W. Emerson, who, according to a letter dated May 27, 1918 from Ufer, “marked” two sketches he selected as the basis for the poster designs. Of the sketches in the present lot, three in fact have additional markings: They Gave Their Life is marked with a capital “A”; For Freedom of the Sea is marked “XX”; a third, Money in War Saves Life, showing a high hill with numerous tall crosses, is marked “X.” On September 16, Walter Ufer shipped two posters to New York City entitled Money in War Saves Life That These Dead Shall Not Have Died and For the Safety of our Boys. Ufer was soon informed that the posters, having been accepted by the committee, were to be exhibited “in as prominent a window as possible” on Fifth Avenue. The German-born American was thrilled to finally be able to express publically his patriotism.

*an expanded essay of the above has been prepared by Dr. Dean A. Porter, Director Emeritus, Snit Museum of Art, University of Notre Dame. [It is available to interested parties]

448* Walter Ufer (American, 1876–1936) Studies for the Fourth Liberty Loan Poster Program (a suite of 18 watercolor sketches on 9 sketchbook pages) watercolor and graphite on paper each signed Walter Ufer and inscribed Each: 5 x 7 inches. Property from the Collection of Pamela G. Johnson, Kansas City, Missouri $4,000-6,000

Literature: Dr. Dean A. Porter. Walter Ufer: Rise, Fall, Resurrection. Oklahoma City: National Cowboy and Western Heritage Museum, 2014

Stephen L. Good. “Ufer: Munich to Taos, 1913— 1918,” in Laura M. Bickerstaff’s Pioneer Artists of Taos. Denver: Old West Printing Company, 1983, 113-173

Ufer Papers, University of Notre Dame, gift of Stephen L. Good

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449* Albert W. Hampson (American, 1911-1990) Kissing the Best Man (Study for Saturday Evening Post), c. 1937 mixed media on illustration board 24 1/2 x 20 inches. Property from the Collection of Edith Scala Hampson, Chicago, Illinois

Provenance: Collection of the Artist Thence by decent to the present owner

Lot note: This work was a study for a 1937 Saturday Evening Post cover and is accompanied by a copy of the final cover version. $1,000-2,000 450* Albert W. Hampson (American, 1911-1990) Sink the Navy (Study for Saturday Evening Post), c. 1935 watercolor and graphite on illustration board 17 3/4 x 16 3/4 inches. Property from the Collection of Edith Scala Hampson, Chicago, Illinois

Provenance: Collection of the Artist Thence by decent to the present owner

Lot note: This work was a study for a 1935 Saturday Evening Post cover and is accompanied by a copy of the final cover version. $600-800 451* Albert W. Hampson (American, 1911-1990) Lunchtime at the Grocery (Study for Saturday Evening Post), c. 1940 color pencil on paper signed Albert W Hampson (lower right) 24 x 18 3/4 inches. Property from the Collection of Edith Scala Hampson, Chicago, Illinois

Ref: Cover of The Saturday Evening Post, August 31, 1940

Provenance: Collection of the Artist Thence by decent to the present owner

$800-1,200 452* Frank Boggs (American, 1855-1926) Pont-Audemar-La-Place, 1921 watercolor on paper signed Frank Boggs and dated (lower right) 12 1/2 x 17 1/2 inches. Property from the Estate of Denise Selz, Chicago, Illinois $800-1,200

453* Lois Mailou Jones (American, 1905-1998) Harbor Scene gouache on paper signed Lois Mailou Jones (lower right) 18 x 23 inches. Property from the Estate of Marjorie J. Hagstrom, Kansas City, Missouri $4,000-6,000

454 William Edouard Scott (American, 1884–1964) Barney Bono Merchants, 1932 pastel on paper signed W. E. Scott and dated (lower left) 11 1/4 x 18 inches. $300-500 455 Saul Raskin (American, 1878-1966) Landscape watercolor on paper signed Saul Raskin (lower left) 24 x 20 inches. $800-1,200

456 George Josimovich (American, 1894-1986) Steel Mills - South Chicago watercolor on paper signed Josimovich (lower right) 14 x 20 inches.

Provenance: Robert Henry Adams Fine Art, Chicago $500-700 457 Helen Beccard (American, 1903-1994) City Rooftops (triptych) crayon, pencil, and ink on paper signed Helen Beccard Niles (lower right) 14 x 27 inches. $1,000-2,000

458 William Schwartz (American/Russian, 1896-1977) The Paper Mill watercolor on paper signed William Schwartz (lower right) 22 x 30 inches. $2,000-4,000

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459 Lawrence Blazey (American, 1902-1999) Off the Main Line, 1941 watercolor on paper mounted on artist’s board signed Blazey and dated (lower left) 14 1/2 x 21 1/4 inches.

Provenance: Robert Henry Adams Fine Art, Chicago

Exhibited: Seventeenth Annual Ohio Water Color Society Exhibition, October 1941- June 1942, no. 2 $600-800 460 Peter Helck (American, 1893-1988) ...and multiplies uses of Steel, 1929 ink and wash on illustration board signed Helck and dated (lower right) 13 1/2 x 13 1/2 inches. $600-800

461 George Copeland Ault (American, 1891–1948) Cityscape, 1937 gouache on paper initialed G. C. A. and dated (verso) 10 7/8 x 7 1/8 inches. $3,000-5,000 462 Francis Chapin (American, 1899-1965) By the Siding watercolor on paper signed F Chapin (lower right) 18 1/4 x 13 1/2 inches. $400-600

463 Everett Shinn (American, 1876-1953) The Awakening, 1910 pastel on paper laid to board signed E Shinn and dated (lower left) 10 1/4 x 15 1/4 inches.

Provenance: Christies, New York “East”, November 20, 1990, lot 321 Acquired by the present owner at the above sale $3,000-5,000

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464 Everett Shinn (American, 1876-1953) Circus, 1947 gouache on paper signed Everett Shinn and dated (lower left) 7 x 8 inches. $2,000-4,000 465 Gifford Beal (American, 1879-1956) Setting up the Tents watercolor, gouache and pencil on paper titled (verso) 12 1/2 x 18 3/4 inches.

Provenance: Kraushaar Galleries, New York Acquired from the above by the present owner $8,000-12,000 466* Henry Koehler (American, b. 1927) Group of Jockeys and A Race, 1982 charcoal and oil on paper laid to canvas each signed Henry Koehler (lower rectos); signed, titled and dated (versos) Each: 18 x 23 inches. Property from the Estate of Ann T. Downey, Palm Beach, Florida $4,000-6,000