Sale 788 | American and European Art

A M E R I CAN AND E U RO P EAN ART 9 | 30 | 2020

AMER ICAN AN D EURO PEAN ART Wednesday September 30 | Chicago 10AM CT | Live + Online

AUCTION WEDNESDAY SEPTEMBER 30 | 10AM CT LOTS 1-134 P RO P E R T Y P I C K U P H O U R S MONDAY – FRIDAY | 9:00AM – 4:30PM

Photography Zoë Bare Jordyn Cox Bill Ross Brodie Sturm

Cover Lot 93 | Gaston Lachaise (French, 1882–1935) Pudeur (Draped Figure, Standing Woman), 1915-1917 Inside Front Cover Lot 54 | Daniel Garber (American, 1880-1958) Barrett’s Nook, late 1910’s

Lots marked with an asterisk (*) are tax exempt as permitted by law.

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CO N T E N T S AUCTION 788 | LIVE + ONLINE WEDNESDAY SEPTEMBER 30 | 10AM CT AMERICAN ART

LOTS 1-83

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EUROPEAN ART

LOTS 84-134

70

ARTIST INDEX

107

AUCTION INQUIRIES

110

CONDITIONS OF SALE

111

TELEPHONE / ABSENTEE BID FORM

116

Lot 20 | Neil Welliver (American, 1929-2005) From Zeke, 1974

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 A CORPORATE ART COLLECTION NORENE GOLDSTEIN, CHICAGO, ILLINOIS MR. AND MRS. PETER IANELLO, WINNETKA, ILLINOIS MACMURRAY COLLEGE, JACKSONVILLE, ILLINOIS OFFICERS’ CHRISTIAN FELLOWSHIP, MANNS CHOICE, PENNSYLVANIA HARRY PETERSON, LANTANA, FLORIDA A PRIVATE COLLECTION A PRIVATE COLLECTION, NORTH CONWAY, NEW HAMPSHIRE A PRIVATE COLLECTION, SOLD TO BENEFIT THE ANN & ROBERT H. LURIE CHILDREN’S HOSPITAL OF CHICAGO WILLIAM DENT REICHMANN, BARRINGTON HILLS, ILLINOIS CATHERINE MADDEN TURNER, ZIONSVILLE, INDIANA

P RO P E R T Y F RO M T H E E S TAT E S A N D T R U S T S O F JOAN CONWAY CRANCER, ST. LOUIS, MISSOURI NANCY HOLMES, CEDAR RAPIDS, IOWA MARY PATRICIA REYNOLDS, BOWLING GREEN, KENTUCKY BILLIE ROSS, CHICAGO, ILLINOIS

Opposite Lot 4 | Dale Nichols (American, 1904-1995) Chicago, 1934

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The Estate of Joan Conway Crancer Born into an artist’s world, Joan Conway Crancer spent her entire life surrounded by art and those who created it. The only daughter of legendary St. Louis artist Fred Conway, Joan grew up watching him paint and came to appreciate art in all its forms, and the people who create it. She graduated from Webster Groves High School and attended Washington University in St. Louis, where her father taught painting for more than forty years.

While not a painter herself, Joan’s education and deep appreciation for fine art allowed her to become a serious art collector. With the encouragement of her husband, the two began touring Europe together to build their collection, often hand-carrying purchases home on the plane.

Over the years, Joan honed her curatorial skills, spreading the growing collection throughout the family home. In 2000, the couple designed and built a new home to highlight the collection, featuring gallery-style public spaces with high ceilings and professional lighting. She took pride in the collection and often hosted tours for visiting groups from art museums around the country.

The Crancers became actively involved with the Saint Louis Art Museum, where Joan served for many years as a Museum Trustee and a member of its Acquisitions Committee. Always generous to the Museum, the couple were members of its Beaux Arts Council and were the honorees for the Council’s 1999 Award Dinner. They also endowed a Museum gallery, which is named for Alice and Fred Conway, Joan’s parents. Joan remained an Honorary Trustee of the Museum for the rest of her life.

Hindman is delighted at the opportunity to work with the Crancer family to present this collection of fine art along with other fine property from the Estate that will be offered for sale in the following auctions this fall: American and European Art, Post War and Contemporary Art, Prints and Multiples, Modern Design, Fine Furniture and Decorative Arts, Fine Art and Design Selections, Antiquities, Japanese and Korean Works of Art, and Important Jewelry.

Highlights from the collection include archetypal sculptures by Alexander Calder, Barbara Hepworth, Gaston Lachaise, Ibram Lassaw, Henry Moore, Louise Nevelson and John Storrs; elegant prints and works on paper by George Ault, Paul Klee, Emil Nolde, David Smith, Joseph Stella and Henri de Toulouse-Lautrec as well as a stunning and versatile array of Fred Conway paintings and drawings.

Opposite Lot 14 | John Bradley Storrs (American, 1885-1956) Relief of Female Head, 1925

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AMERICAN ART LOTS 1-83

Opposite Lot 16 | Howard Cook (American, 1901-1980) Wall St. #2

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*1

Joseph Stella

(AMERICAN, 1877-1946)

Two Magenta Waterlilies, c. 1930 silverpoint and watercolor 14 x 11 inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: The artist Sergio Stella, the artist’s nephew By descent through the family Richard York Gallery, New York Acquired directly from the above, 1999 Exhibited: New York, Richard York Gallery, Passion and Reverence: Joseph Stella and the Natural World, April 29-June 30, 1998, no. 40 $3,000-$5,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

*2

*3

Joseph Stella

Joseph Stella

Cherry Branch with Two Roses, 1919

Bird of Paradise, 1911

silverpoint and crayon on paper signed Joseph Stella (lower right) 14 x 10 inches.

silverpoint and colored pencil on paper signed Joseph Stella and dated (lower right) 14 ½ x 10 inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri

Provenance: The artist John Berggruen Gallery, San Francisco, California Acquired directly from the above, 1982

Provenance: The artist Sergio Stella, the artist’s nephew Robert Schoelkopf Gallery, New York Private Collection, until 2001 Menconi & Schoelkopf Fine Art, LLC, New York Acquired directly from the above, 2001

(AMERICAN, 1877-1946)

$3,000-$5,000

(AMERICAN, 1877-1946)

$3,000-$5,000

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4

Dale Nichols

(AMERICAN, 1904-1995)

Chicago, 1934 oil on canvas signed Dale Nichols and dated (lower right) 24 x 30 ¼ inches.

Provenance: Mrs. Edwin N. Johnson, Beaumont, Texas, by 1946 Private Collection, Naperville, Illinois Private Collection, Princeton, New Jersey, acquired directly from the above, 1981 Private Collection, Chicago, acquired directly from the above, 2013 $40,000-$60,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

Dale Nichols Chicago, 1934, stands as an early, experimental example of Dale Nichols’ artwork. According to the Curator of Bone Creek Museum of Agrarian Art, which holds an extensive collection of the artist’s work, Chicago is unusual for its urban setting, as Nichols is best known for his bucolic scenes of countryside red barns (Amanda Mobley Guenther, July 16, 2020). The painting is accompanied by a handwritten letter on Nichols’ personalized stationery, from the artist to a Mrs. Edwin N. Johnson. The letter is dated November 24, 1946 and in it Nichols testifies that Chicago is one of the very few paintings he executed “on the spot.” He was taken to the location by the illustrator Benjamin Stahl (1910-1987), and Nichols goes on to say in the letter that “The picture does not show the rather tough little boys that crowded about us while we worked.”

Written 14 years after the artwork was painted, the artist cannot recall the exact location of the scene (“on the north side somewhere”). However, Chicago likely depicts an area in the Bucktown neighborhood.

Possibly painted on the 1800 block of North Marshfield Avenue, St. Mary of the Angels Roman Catholic Church can be partially viewed from its location at 1850 North Hermitage Avenue. The two houses depicted in the painting still stand, but the view of the church through the stretch of green grass is blocked by two recently built condominiums. The artist would have to have stood facing slightly northwest for the angle and view of the church. Although Nichols simplified the ornate architectural details of the church, the two square towers and the rounded, vertical extension of the center portion of the front façade remain distinct. Both the dome and center portion of the front façade have been remodeled over the years, including brickwork that replaced the rounded extension.

Chicago captures the particular architectural vernacular of the city’s neighborhood. Wooden houses like the one on the composition’s right were once common in Chicago. These were gradually replaced with dwellings such as the two-flat brick building on the left. The steep, elevated front steps of both homes speak to the Midwest’s deep winter snows and the city’s residents’ ingenuity to squeeze ever more living space in a small footprint. The building structures, with their rectangular blocks of windows and walls, and triangular roofs, reveal Nichols’ method of arranging geometric shapes to produce a formal composition. The artist also believed in using a single light source, typically the sun. Strong, dark shadows are cast by the branches of the tree and different elements of both houses.

When transforming his geometric blocks into “realistic” objects, Nichols tried to paint them abstractly, in a way that expressed their inner reality. Although Chicago is at face value a painting of a city block, the structures and shadows convey a brooding, hard-bitten atmosphere populated by unseen residents.

The artist’s nascent language is crystallizing into the formal elements for which he was later to become famous. The same year Chicago was produced, Nichols created his most famed painting, End of the Hunt (Metropolitan Museum of Art, New York), which became the basis for all his future works.

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*5

Grant Wood

(AMERICAN, 1891-1942)

Decorative Landscape with Crocuses, 1912 oil on canvas laid to board signed Grant Wood and dated (lower right) 15 x 34 inches.

Property from the Estate of Nancy Holmes, Cedar Rapids, Iowa This lot will be included in Joseph S. Czestochowski’s forthcoming catalogue raisonné of the artist’s work by International Arts® at www.catrais.org.

Provenance: Charles Calvin Loomis and Kate L. Terry Loomis, Cedar Rapids, Iowa G. Stewart Holmes, Cedar Rapids, Iowa James T. Holmes, son of the above, Cedar Rapids, Iowa Exhibited: Cedar Rapids, Iowa, Cedar Rapids Art Association, Public Art Gallery, An Exhibition of Paintings and Sculpture by Mrs. Charles Dieman, Marvin D. Cone, and Grant Wood, April 14-28, 1920, no. 32, An Overmantel Decoration (Possibly) New York, Whitney Museum of American Art, Grant Wood: American Gothic and Other Fables, March 2-June 10, 2018, pp. 94-95, 203, pl. 8, illus.

Literature: Hazel E. Brown, Grant Wood and Marvin Cone: Artists of an Era, Ames, Iowa, 1972, p. 10 James M. Dennis, Grant Wood: A study in American art and culture, New York, 1975, pp.

21, 23, fig. 6. $30,000-$50,000

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AMERICAN ART

Grant Wood Painted in 1912 by a young Grant Wood, Decorative Landscape with Crocuses was created as a fireplace overmantel for the home of Charles and Kate Loomis of Cedar Rapids, Iowa. Charles Loomis and his brother ran a major construction company in the community. Wood embraced this tradition, creating works such as Fanciful Depiction of the Roundhouse (1920), Phantasy of Spring (1921), and Overmantel Decoration (1930). These artworks were similar to his panoramic stage backdrops for community theater performances, which he produced well into the early 1930s.

In 1909, between his junior and senior high school years, Wood traveled to Minneapolis to enroll in summer classes offered by The Handicraft Guild of Minneapolis, Minnesota. Director and Instructor Ernest A. Batchelder taught the School of Design and Crafts’ Summer Session. It was during this time that Wood further immersed himself in the ideals of the American Arts & Crafts Movement, as a disciple under Batchelder. Batchelder was an important advocate of the English Arts and Crafts style and taught on the principles of decoration rather than imitation, tenets Wood readily absorbed.

Wood later co-founded the Loomwood Craft Shop with Kate Loomis in Cedar Rapids, Iowa in 1911 and the shop stayed in operation into 1913. Likely as part of his work at the shop, Wood executed the present artwork. In Grant Wood and Marvin Cone: Artists of an Era, the author Hazel E. Brown states that Wood helped Kate Loomis, a Cedar Rapids resident, “...decorate her home, and over her mantel in an oak frame he placed his first signed painting—jack-in-the-pulpits in tree roots.” (H. Brown, Grant Wood and Marvin Cone: Artists of an Era, Ames, Iowa, The University of Iowa Press, 1972, p. 10) Despite the confusion of flower names, a label on the verso of the present artwork further attests to this being one of Wood’s first signed paintings.

In fact, the flowers depicted are likely neither crocuses nor jack-in-the-pulpits, but instead may be prairie trilliums. Native to the Midwestern states, prairie trilliums are shade-loving flowers that emerge in the spring, usually in woodlands. Wood was familiar with the flora and fauna of his native landscape and had ample opportunity to observe the flowers, which are characterized by each having three maroon petals and three green leaves perched atop a thick stem.

The young artist shows the flowers in the bare forest earth, protected by an arching stretch of leafless branches that extend from trees to the left and right of the composition. Beyond the trees and flowers, a vista opens of patterned, curved hills. The curve of the painted branches and hills is echoed by the physical curve of the oak frame’s upper molding. The repetition of form, use of pattern, and simple composition attest to Batchelder’s teachings, which Wood had so recently learned. The artist would maintain these principles throughout his career, and the present painting is an early precursor to his later iconic work.

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*6

Grant Wood

(AMERICAN, 1891-1942)

Reflections, Ville d’Avray, 1920 oil on canvas board signed Grant Wood and dated (lower left) 15 x 13 inches.

Property from the Estate of Nancy Holmes, Cedar Rapids, Iowa This lot will be included in Joseph S. Czestochowski’s forthcoming catalogue raisonné of the artist’s work by International Arts® at www.catrais.org.

Provenance: G. Stewart Holmes, Cedar Rapids, Iowa James T. Holmes, son of the above, Cedar Rapids, Iowa Exhibited: Cedar Rapids, Iowa, Cedar Rapids Art Association, Public Library Art Gallery, Paintings of Paris by Grant Wood and Marvin D. Cone, November 10-20, 1920, no. 12 (possibly) $15,000-$25,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

Grant Wood Reflections, Ville d’Avray stands as an early work by an artistically evolving Grant Wood. Prior to developing the unique style that gave rise to such iconic works as American Gothic, Wood primarily worked in an impressionistic manner. The young Wood was part of a generation that received training when impressionism was the dominant method of painting. After studying at various Midwestern art schools, including the Art Institute of Chicago, Wood and his friend Marvin Cone traveled to France in the summer of 1920, in order to continue their studies. It was during this trip that the present artwork was created.

The pair of young artists settled in Paris, but traveled to the various suburbs surrounding the city, including Versailles and Ville d’Avray. The artist Jean-Baptiste-Camille Corot, a progenitor of impressionism, was a former resident of Ville d’Avray. Corot’s home included a pond that Wood painted several times, including the present artwork and Ville d’Avray, Paris, 1920 (Cedar Rapids Museum of Art). The two paintings were exhibited upon the artists’ return from Paris in Paintings of Paris by Grant Wood and Marvin D. Cone, Public Library Art Gallery, Cedar Rapids Art Association, Cedar Rapids, Iowa, November 10-20, 1920. Cone executed a companion piece to Wood’s, titled Reflections, Corot’s Pond, (Cedar Rapids Museum of Art, Iowa), completed on the same June to August trip. It was on this same trip that Wood also introduced Cone to Winnifred Swift, and the two were married in 1921.

According to Cone’s diary from the trip, Wood primarily worked outdoors, typically over the course of a few hours. The paintings were small for ease of transport and stylistically loose. However, Wood’s meticulous temperament prevented him from fully embracing the spontaneity of impressionism. Structure and form reigned supreme for the artist, with light and color of secondary importance. This emphasis on structure can be seen in Relfections, Ville d’Avray. Strong horizontal brushstrokes delineate the reflections in the pond and divides the water and grassy bank. The close-cropped tree branches in the upper foreground partially block the distant shore with its red-roofed building, creating a sense of circumscribed privacy. It is only the free, short brushstrokes that relate the painting to impressionism and carry it closely towards abstraction. The almost decorative quality in the present work hints at the later mature style for which Wood is best known.

According to Joseph S. Czestochowski, this painting of Corot’s Pond is not the same as Cook’s Pond in Cedar Rapids, Iowa, which Darrell Garwood frequently referred to as “Corot’s Pond” in his book, Artist in Iowa, A Life of Grant Wood (New York, 1944, p. 53).

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*7

Marvin Cone

(AMERICAN, 1891-1964)

Interval (Cloud Painting), 1934 oil on canvas signed Marvin Cone (lower left) 28 x 32 inches.

Property from the Estate of Nancy Holmes, Cedar Rapids, Iowa This lot will be included as no. 1934.002 in Joseph S. Czestochowski’s forthcoming catalogue raisonné of the artist’s work to be published by International Arts® at www.catrais.org.

Provenance: The artist G. Stewart Holmes, acquired directly from the above, Cedar Rapids, Iowa James T. Holmes, son of the above, Cedar Rapids, Iowa Exhibited: Cedar Rapids, Iowa, Cedar Rapids Art Association, Exhibition of Paintings by Marvin Cone, March 18, 1934, no. 20 Cedar Rapids, Iowa, Cedar Rapids Art Association, Exhibition of Paintings by Marvin Cone, 1949, no. 21 (as Cloud Painting) Literature: “In Tune with the Times,” The Perfect Home, November 1938, p. 5, illus.

Joseph S. Czestochowski, Marvin D. Cone: Art as Self-Portrait, Cedar Rapids, Iowa, Cedar Rapids Museum of Art, 1990, no.

298, pp. 102, 186, 232, illus. $60,000-$80,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

Marvin Cone A native of Cedar Rapids, Iowa, the Midwestern landscape provided Marvin Cone a wealth of source material. While often grouped with Regional artists of the 1920s and 1930s, especially as he was close friends with Grant Wood, Cone did not consider himself a Regionalist. Cone’s art was not an effort to record surrounding daily life, but a blend of his values and imagination and their relationship to his unique experiences. The artist painted for himself, creating pictures that represented his own inner being. As stated by Joseph Czestochowski, “Each of Cone’s works reflects an individual moment in time and space, fixing the artist’s identity within a universal context of inevitable change.” (Joseph Czestochowski, Marvin D. Cone and Grant Wood: an American Tradition, Cedar Rapids, Iowa, Cedar Rapids Museum of Art, 1989, p. 10) From 1930 to 1937, Cone focused his gaze on the unique terrain of rural Iowa. Executed in 1934, Interval epitomizes his work from this period. The painting reveals Cone’s stylized method of breaking down landscapes into layers of component parts and using color rich with light. The composition, dominated by towering cumulus clouds, is given depth through a complex layering of forms, emphasized by the scattered smaller clouds in front of the larger cloudbank and the hazy striations of cirrus clouds above and below. The rolling hills are divided into distinct bands that recede into the background. The colors overall are subtle and evocative in their suggestion of light, which seems to emit outwardly from the heaped clouds. Two birds soar together in the lower left of the composition, accentuating the wild freedom of the expansive landscape. Like many of Cone’s paintings from this period, the scene is devoid of human life. The painting stands as a testament to the mysteries of nature, while also being extremely personal in its sense of solitude and tranquility.

In Interval, Cone created a universal vision safe from the vagaries of time. “The artist does not set out to imitate nature,” Cone remarked. “Art traces an abstraction and makes it audible or visual. It symbolizes the whole of life” (as quoted in Cedar Rapids Gazette, January 19, 1938, p. 15, and May 26, 1938, p. 8).

Perhaps the distinguished poet and Cone’s close friend Paul Engle, founder of Iowa Writers’ Workshop, best summarized Cone’s achievements when he said in 1960, “Marvin Cone dramatized space...He stares at the world with his hands...He has the painter’s second sight, the form seen once, then again after the imagination has redefined it” (“Portrait of the Artist as Neighbor,” Marvin Cone, A Retrospective Exhibition 1938-1960, Iowa City, Iowa, 1960, n.p.).

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8

Boris Anisfeld

(RUSSIAN, 1879-1973)

Gold Mine Central City oil on canvas 35 x 30 inches.

Property from a Corporate Art Collection $2,000-$4,000

9

Aaron Bohrod

(AMERICAN, 1907-1992)

The Stage, c. 1959-61 oil on board signed Aaron Bohrod (upper left) 11 3/4 x 15 3/4 inches. $1,000-$1,500

10

William Samuel Schwartz (AMERICAN/RUSSIAN, 1896-1977)

Train Through Town watercolor on paper signed William S. Schwartz (upper left) 15 x 22 inches.

Provenance: Sold: Leslie Hindman Auctioneers, Chicago, December 12, 2012, lot 33 $1,000-$2,000

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11

Doug Safranek (AMERICAN, b. 1956)

Playground, 1988 egg tempera on panel signed Safranek and dated (lower right) 43 x 56 inches.

Provenance: (possibly) ACA Galleries, New York Sold: Leslie Hindman Auctioneers, Chicago, September 25, 2013, lot 1199 $4,000-$6,000

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Gary Erbe

(AMERICAN, b. 1944)

Self Portrait #3 Trompe-l’œil, 1968 oil on canvas signed Gary T. Erbe Artist and dated on business card 25 x 22 inches.

Please note the texts appearing on the pieces of paper: Portrait paper Erbe (Gary T.) . SeLf PorTrait #3 . Oil On Canvas Born in Union City, N.J. September 2, 1949. Erbe began PainTing Being SeLf-TaughT, was greatly influenced by the Dutch Masters.

His wife, EDNY, also was a great inspiration. His goal is PerFecTion, And to PainT FuLL Time, open a gallery and give private Lessons in PainTing. G Erbe 11-1968 XV Upper note-poem CONjVRER The artist lifts his brush To canvas clean and white And from its fibers rush, Through pigments dark and light, A glimpse of beauty’s blush.

He mixes carefully The colors on his plate, (A strange and speckled sea) Determining their fate And Immortality.

R. Christopher Erb $4,000-$6,000

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Gerhard Marcks

(AMERICAN, 1889 - 1981)

Kleines Liesbespaar, unbekliedet, 1973 bronze with yellow gold patina inscribed with artist’s monogram, numbered 6/10, stamped Guss Barth Rinteln (base) Height: 18 1/2 inches. $5,000-$7,000

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AMERICAN ART

*14

John Bradley Storrs (AMERICAN, 1885-1956)

Relief of Female Head, c. 1925 terracotta signed Storrs (left edge) Height: 8 ¾ inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Estate of the artist Robert Schoelkopf Gallery, New York Acquired directly from the above, 1988 Exhibited: New York, The Whitney Museum of American Art; Fort Worth, Texas, Amon Carter Museum; Louisville, Kentucky, J.B. Speed Museum, John Storrs, December 11, 1986-March 22, 1987, p. 139 $10,000-$15,000

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*15

George Copeland Ault (AMERICAN, 1891-1948)

Japanese Iris, 1930 watercolor on paper signed G. C. Ault and dated (lower left); inscribed Wood Gaylor (lower left); inscribed (verso) 18 x 11 1/2 inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Sid Deutsch Gallery, New York Private Collection, New York Martha Parrish & James Reinish, Inc., New York Acquired directly from the above, 2002 Exhibited: Huntington, New York, The Heckscher Museum, A Point of View, 20th Century American Art from a Long Island Collection, September 8-November 4, 1990, no. 1, p. 24, illus.

Wood Gaylor was an artist who might have been given Japanese Iris by Ault. $10,000-$15,000

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*16

Howard Cook

(AMERICAN, 1901-1980)

Wall St. #2 pastel on paper signed Howard Cook (lower right); signed and titled (verso) 21 1/2 x 11 1/2 inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri $5,000-$7,000

17

Maurice Freedman (AMERICAN, 1904-1985)

Deer Island Sunset oil on canvas signed Maurice Freedman (lower left) 36 x 22 inches.

Property from a Private Collection, North Conway, New Hampshire Provenance: Hobe Sound Galleries North, Portland, Maine $3,000-$5,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

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John Ellsworth Weis (AMERICAN, 1892-1962)

Harbor, 1927 oil on canvas signed J.E. Weis and dated (lower left) 24 1/4 x 32 inches.

Provenance: Sold: Bonham’s, New York, May 21, 2014, lot 42 $6,000-$8,000

19

Wolf Kahn

(AMERICAN/GERMAN, 1927-2020)

Yellow Fights Purple, 2011 pastel on paper signed W Kahn (lower right) 8 x 9 1/2 inches.

Provenance: Jerald Melberg Gallery, Charlotte, North Carolina $2,000-$4,000

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20

Neil Welliver

(AMERICAN, 1929-2005)

From Zeke, 1974 oil on canvas signed Welliver (lower right) 92 x 97 inches.

Provenance: Fischbach Gallery, New York $15,000-$25,000

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Samuel Colman

(AMERICAN, 1832-1920)

Grand Hotel Banff, Alberta oil on canvas initialed S.C. (lower right) 19 3/4 x 23 1/2 inches.

Provenance: R. H. Love Galleries, Chicago $4,000-$6,000

22

Charles Wilson

(AMERICAN, 1823-1900)

Morning in the Valley, 1867 oil on canvas signed C.W. Knapp and dated (lower left) 20 x 30 inches.

Provenance: R. H. Love Galleries, Chicago $2,000-$4,000

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*23

Alfred T. Ordway

(AMERICAN, 1819-1897)

In Stowe, Vermont oil on canvas laid to board signed A. Ordway and titled (stretcher) 12 x 20 inches.

Property from the Collection of Harry Peterson, Lantana, Florida $2,000-$3,000

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William M. Hart

(AMERICAN, 1823-1894)

Grazing Cows, 1879 oil on canvas signed Wm Hart and dated (lower right) 20 1/2 x 16 1/4 inches. $4,000-$6,000

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William M. Hart

(AMERICAN, 1823-1894)

The Hay Wagon oil on canvas 18 1/2 x 13 1/4 inches.

Provenance: R. H. Love Galleries, Chicago Holby Gallery, Chicago $1,000-$1,500

*26

James Macdougal Hart (AMERICAN, 1828-1901)

Hudson River Scene oil on canvas signed James M. Hart (lower left) 20 x 36 inches.

Property from the Collection of Officers’ Christian Fellowship, Manns Choice, Pennsylvania $5,000-$7,000

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*27

William Anderson Coffin (AMERICAN, 1855-1925)

Spring Rain oil on canvas signed Wm A. Coffin (lower right) 24 x 29 ½ inches.

Property from the Collection of Harry Peterson, Lantana, Florida $1,500-$2,000

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Clinton Loveridge (AMERICAN, 1838-1915)

Cows in a Field, 1889 oil on canvas signed C. Loveridge and dated (lower left) 18 x 24 inches. $1,000-$1,500

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George Nelson Cass (AMERICAN, 1831-1882)

Landscape with Cows in a Stream, 1855 oil on canvas signed Geo. N. Cass and dated (lower left) 16 x 27 inches Provenance: Paul Kantor Gallery, Beverly Hills, California Ansley Graham, Los Angeles $800-$1,200

30

Newbold Hough Trotter (AMERICAN, 1827-1898)

Cows Grazing, 1893 oil on canvas laid to board signed N.H. Trotter and dated (lower right) 30 ½ x 45 1/4 inches.

Provenance: Sold: Leslie Hindman Auctioneers, Chicago, December 12-13, 2007, lot 326 $1,000-$1,500

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AMERICAN AND EUROPEAN ART

AMERICAN ART

*31

*32

William Morris Hunt

Charles Warren Eaton

Return from the Fields

Autumnal Gold

oil on canvas initialed WMH (lower right) 14 3/4 x 13 inches.

oil on canvas signed Chas Warren Eaton (lower left); signed and titled (verso) 24 x 20 inches.

(AMERICAN, 1824-1879)

Property from the Collection of Harry Peterson, Lantana, Florida

(AMERICAN, 1857-1937)

Property from Collection of Harry Peterson Lantana, Florida

$2,000-$3,000 $2,000-$3,000

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*33

George Henry Smillie (AMERICAN, 1840-1921)

At the Pond, 1920 oil on canvas signed Geo. H. Smillie and dated (lower left) 30 x 20 inches.

Property from the Collection of Harry Peterson, Lantana, Florida Provenance: Marbella Gallery, Inc., New York $1,500-$2,500

*34

Charles Melville Dewey (AMERICAN, 1849-1937)

Evening Landscape oil on canvas laid to masonite signed Charles Melville Dewey (lower right); signed again (lower left) 11 1/2 x 17 3/4 inches.

Property from the Collection of Harry Peterson, Lantana, Florida Provenance: Anthony Armand Scornavacco, Gem Lake, Minnesota $1,500-$2,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

*35

Benjamin Champney (AMERICAN, 1817-1907)

The Ellis River, Pinkham Notch, White Mountains, New Hampshire, 1889 oil on canvas signed B. Champney and dated (lower left) 45 x 29 1/4 inches.

Property from the Collection of Harry Peterson, Lantana, Florida Provenance: Dennis Joel Fine Arts, West Palm Beach, Florida $3,000-$5,000

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36

Paul Ritter

(AMERICAN/GERMAN, 1829-1907)

Landscape with Distant Mountains oil on canvas signed Paul Ritter (lower right) 30 x 50 inches. $3,000-$5,000

*37

John Joseph Enneking (AMERICAN, 1841-1916)

Church at Sunset, Hyde Park, Massachusetts, 1873 oil on panel signed Enneking and dated (lower left) 10 x 8 inches.

Property from the Collection of Harry Peterson, Lantana, Florida Provenance: Vose Galleries, Boston $1,500-$2,000

36

AMERICAN AND EUROPEAN ART

AMERICAN ART

38

Emile Gruppe

(AMERICAN, 1896-1978)

Winter Landscape oil on canvas signed Emile A Gruppe (lower right) 30 x 36 inches. $4,000-$6,000

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*39

Wilson Henry Irvine (AMERICAN, 1869-1936)

Winter Scene oil on canvas signed Irvine (lower left) 25 x 30 1/4 inches.

Property from the Collection of William Dent Reichmann, Barrington Hills, Illinois $3,000-$5,000

*40

Wilson Henry Irvine (AMERICAN, 1869-1936)

Spring Scene oil on canvas signed Irvine (lower right) 24 x 27 inches.

Property from the Collection of William Dent Reichmann, Barrington Hills, Illinois $3,000-$5,000

38

AMERICAN AND EUROPEAN ART

AMERICAN ART

41

Leonard Ochtman (AMERICAN, 1854-1935)

Moonlight, 1894 oil on canvas signed Leonard Ochtman and dated (lower left) 24 x 36 inches.

Exhibited: Flint Institute of Art, Flint, Michigan, 1931 $3,000-$5,000

42

Leonard Ochtman (AMERICAN, 1854-1935)

Winter, 1897 watercolor on paperboard signed Leonard Ochtman and dated (lower left) 24 x 36 inches. $1,500-$2,500

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43

*44

Julian Alden Weir

Homer Dodge Martin

The Old Mill

Tall Pines

oil on panel initialed J.A.W. (lower left) 10 1/4 x 8 inches.

oil on canvas signed Homer Martin (verso) 17 1/2 x 11 1/2 inches.

Provenance: Mrs. John W. Hutchinson Gallerie 454, Grosse Pointe Park, Michigan

Property from the Collection of Harry Peterson, Lantana, Florida

(AMERICAN, 1852-1919)

Exhibited: The Saginaw Museum, Saginaw, Michigan, 1945 (on loan) $2,000-$4,000

40

AMERICAN AND EUROPEAN ART

(AMERICAN, 1836-1897)

Provenance: PSFA, Mullica Hill, New Jersey $2,000-$3,000

AMERICAN ART

*45

Ernest Albert

(AMERICAN, 1857-1946)

October Clouds, 1931 oil on canvas signed Ernest Albert A.N.A. and dated (lower right) 20 x 24 inches.

Property from the Collection of Harry Peterson, Lantana, Florida Provenance: Appraisers International, Inc., West Palm Beach, Florida $2,000-$4,000

*46

Dennis Miller

(AMERICAN, 1861-1890)

Landscape with Boat oil on canvas laid to board signed D. M. Bunker (lower right) 7 x 10 ½ inches.

Property from the Collection of Harry Peterson, Lantana, Florida $4,000-$6,000

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47

Frank Dudley

(AMERICAN, 1868-1957)

Over the Hill and Hallow oil on canvas signed Frank V. Dudley (lower left) 20 x 22 inches.

Provenance: R. H. Love Galleries, Chicago $3,000-$5,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

48

Alfred Juergens

(AMERICAN, 1866-1934)

Children by a River oil on canvas signed Alfred Juergens (lower left) 25 x 27 inches. $1,500-$2,500

49

Leon Schulman Gaspard (AMERICAN/RUSSIAN, 1882-1964)

Portrait of a Lady pastel on paper signed Leon Gaspard (lower right) 15 1/2 x 17 inches.

Property from a Private Collection $1,500-$2,000

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50

Louis Ritman

(AMERICAN, 1889-1963)

Lady by a Window, 1918 oil on canvas signed L. Ritman and dated (lower right) 47 x 39 1/2 inches.

Property from a Private Collection, sold to benefit the Ann & Robert H. Lurie Children’s Hospital of Chicago This lot will be included in the forthcoming catalogue raisonné by Richard H. Love and Michael Preston Worley.

Provenance: The artist Estate of the above, Maurice Ritman, brother of the artist Gordon Collection R.H. Love Galleries, Chicago Geist Collection R.H. Love Galleries, Chicago Acquired by the present owner from the above, 2001 Exhibited: Chicago, R.H. Love Galleries, Louis Ritman: The Giverny Years, September 18-October 18, 1987 Daytona Beach, Florida, Museum of Arts & Sciences; Owensboro, Kentucky, Owensboro Museum of Fine Art; and Huntsville, Alabama, Hunstville Museum of Art, The Genteel Tradition in American Painting, October 26, 1997May 26, 1999 $40,000-$60,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

51

Childe Hassam

(AMERICAN, 1859-1935)

Nude, 1903 oil on canvas signed Childe Hassam and dated (lower left) 16 x 12 inches This lot will be included in the forthcoming catalogue raisonné of the artist’s work in preparation by Kathleen M. Burnside and Stuart P. Feld. $50,000-$70,000

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52

53

James Jeffrey Grant

James Jeffrey Grant

School House in Winter

Village Road

oil on canvas signed J. Jeffrey Grant (lower right) 21 x 24 1/4 inches.

oil on canvas signed J. Jeffrey Grant (lower left) 30 x 35 inches.

$2,000-$4,000

$3,000-$5,000

(AMERICAN, 1883-1960)

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AMERICAN AND EUROPEAN ART

(AMERICAN, 1883-1960)

AMERICAN ART

54

Daniel Garber

(AMERICAN, 1880-1958)

Barrett’s Nook, late 1910s oil on board signed Daniel Garber (lower center) 9 ¾ x 13 inches.

Provenance: The artist (Possibly) John Suster, Newcomb-Macklin Company, Chicago, December 1920 Literature: Artist’s record book III, p. 199, no. 34 S. Lance Humphries, Daniel Garber: A Catalogue Raisonné, vol. II, New York, 2006, no. P332, p. 112.

This lot is accompanied by a photograph bearing an inscription by the artist, which describes the scene as of an antique store, named Barrett’s Nook, in Solesbury, Pennsylvania. $10,000-$15,000

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55

Ernest Lawson

(AMERICAN/CANADIAN, 1873-1939)

The Valley oil on canvas signed E. Lawson (lower right) 16 x 20 1/4 inches. $15,000-$20,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

56

Carl Peters

(AMERICAN, 1897-1980)

Jacob the Lobster Man oil on canvas 20 x 24 inches.

Provenance: Gay Peters Hammond, the artist’s daughter R. H. Love Galleries, Chicago $2,000-$4,000

57

Carl Peters

(AMERICAN, 1897-1980)

Granite Pier, Pigeon Cove oil on canvas signed Carl W. Peters (lower left); titled (verso) 20 x 24 inches.

Exhibited: Rockport, Massachusetts, Geraci Galleries, Summer Exhibition, 1995 $2,000-$4,000

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58

Carl Peters

(AMERICAN, 1897-1980)

Along the Snowy Bank oil on canvas 20 x 24 inches.

Provenance: Gay Peters Hammond, the artist’s daughter R. H. Love Galleries, Chicago $2,000-$4,000

*59

John Koch

(AMERICAN, 1909-1978)

Vermont Barns oil on board signed Koch (lower left) 16 x 12 inches.

Property from the Collection of Ken Opin and Jan Silvers, Madison, Wisconsin Provenance: C.W. Kraushaar Art Galleries, New York $4,000-$6,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

60

Edwin Lord Weeks (AMERICAN, 1849-1903)

Untitled (North Africa), c. 1878-79 oil on canvas laid to board signed E. L. Weeks (lower right) 32 x 24 ½ inches.

This lot is to be included in the Edwin Lord Weeks Catalogue Raisonné, currently underway. $15,000-$25,000

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61

Francis Coates Jones (AMERICAN, 1857-1932)

The Water Carrier oil on canvas signed Francis C. Jones (lower left) 20 x 14 inches.

Provenance: Sold: Sotheby’s, New York, April 12, 1991, lot 56 Bakker Auctions, Boston, 1998 $3,000-$5,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

*62

John George Brown (AMERICAN, 1831-1913)

Shoe Shine Boy, 1906 oil on canvas signed J.G. Brown N.A. and dated (lower left) 24 x 17 inches.

Property from the Collection of Norene Goldstein, Chicago, Illinois We would like to thank Martha Hoppin for her assistance with the cataloguing of this lot. $8,000-$12,000

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*63

John George Brown (AMERICAN, 1831-1913)

Blow, Johnnie, Blow, 1883 oil on canvas signed J.G. Brown N.A. and dated (lower right) 30 1/4 x 25 ¼ inches.

Property of the Estate of Ellen Graydon Hill, Cincinnati, Ohio We would like to thank Martha Hoppin for her assistance with the cataloguing of this lot. $20,000-$30,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

*64

John George Brown (AMERICAN, 1831-1913)

A Few More Left, 1882 oil on canvas signed J.G. Brown N.A. and dated (lower right) 18 ¼ x 12 ¼ inches.

Property from the Collection of Norene Goldstein, Chicago, Illinois We would like to thank Martha Hoppin for her assistance with the cataloguing of this lot.

Provenance: Prestige Galleries, Skokie, Illinois $6,000-$8,000

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*65

Nellie Augusta Knopf (AMERICAN, 1875-1962)

San Antonio Power and Light oil on canvas signed N.A. Knopf and dated (lower left) 30 x 36 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois Provenance: Dr. & Mrs. E.C. Bone Donated by the above to MacMurray College, Jacksonville, Illinois, 1987 $4,000-$6,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

The Nellie Knopf Collection of Macmurray College Hindman Auctions is honored to offer a significant body of the lifelong work of Ellen Augusta “Nellie” Knopf (1875-1962), a pioneering, Modernist landscape painter and art educator who refused to accept the gender and disability restrictions of her time. Earlier this year, MacMurray College announced its closure after 174 years and brought its carefully curated collection to our attention.

Born in Chicago, Knopf graduated from the School of the Art Institute with honors in 1900 and promptly accepted a teaching position at Illinois Woman’s College (later renamed MacMurray College) near Springfield. She taught there for 43 years, rising to become director of its art department. Perhaps more remarkable, Knopf was deaf and led an independent life both as an artist and as a professor widely admired by her students. “The world is here to be painted, and I am here to paint it,” she wrote. During summers and sabbaticals, Knopf struck out solo, driving to far corners of the United States to paint oil and watercolor landscapes decades before the advent of interstate highways.

From 1910-1917, Knopf painted on the East Coast, studying with Charles Herbert Woodbury in Ogunquit, Maine. From there she moved on to capture vibrant scenes of the American West, beginning in New Mexico in 1922 – several years before fellow Midwesterner Georgia O’Keeffe was inspired to relocate there and paint. The following year Knopf returned West to study with Sven Birger Sandzén and John Fabian Carlson at the Broadmoor Academy in Colorado Springs. During sabbaticals in 1923-1924 (and again in 1941-1942), she explored and painted in California, Arizona, New Mexico, Wyoming, Texas Colorado, and Canada.

Acknowledged as one of the first female painters of Glacier National Park, Knopf spent rugged summers there in 1925 and 1926, filling canvases with its cragged peaks and dramatic light and shadow. “I find it an almost unbelievable beauty, mountains of marvelous form and color, lifting snow-capped walls into the sky, and such lovely mountain lakes that one is wholly gripped with enchantment,” she wrote in a 1925 letter.

Knopf’s early Boston School and post-Impressionistic influences evolved into a uniquely Modernist blend of bold color, loose brush work and heavy impasto, seen most vividly in her Western landscapes.

Contemporary art reviewers noted Sandzén’s influence and an ‘almost masculine strength and vigor’ to her work. (To avoid bias against female artists, Knopf had begun signing her works as “N. A. Knopf” in the early 1920s.)

Throughout her life, Knopf exhibited extensively at venues including the Corcoran Gallery, National Academy of Design, Art Institute Chicago, Pennsylvania Academy of Fine Arts, Kansas City Museum of Art, and the Detroit Institute of Arts. MacMurray College hosted major retrospectives of Knopf’s work in 1967, 1987 and 2011. In 2015, her Montana paintings were featured in an exhibit celebrating women artists of Glacier National Park at the Hockaday Museum of Art in Kalispell, Montana.

Upon her retirement, she continued to paint and travel throughout the West and in Mexico. Near the end of her life, she observed, with some satisfaction: “I have done miles of paintings, some of them very good.” At her passing, Knopf left 600 oil paintings and 150 watercolors.

Jeffrey Kraft, Communications Consultant, MacMurray College

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*66

*67

Nellie Augusta Knopf

Nellie Augusta Knopf

The First Snow on the Peak, 1928

Pikes Peak from Mt. Manitou, 1925

oil on canvas signed Nellie A. Knopf and dated (lower right) 27 x 30 inches.

oil on canvas signed N. A. Knopf and dated (lower right) 26 x 28 1/4 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois

Property from the Collection of MacMurray College, Jacksonville, Illinois

$4,000-$6,000

$4,000-$6,000

(AMERICAN, 1875-1962)

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AMERICAN AND EUROPEAN ART

(AMERICAN, 1875-1962)

AMERICAN ART

*68

Nellie Augusta Knopf (AMERICAN, 1875-1962)

Opal Morning oil on canvas signed Nellie A. Knopf (lower right) 36 x 40 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois $4,000-$6,000

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*69

Nellie Augusta Knopf (AMERICAN, 1875-1962)

Pacific Ledges, 1924 oil on canvas signed N.A. Knopf and dated (lower right) 36 x 40 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois Provenance: Senator and Mrs. MacMurray Donated by the above to MacMurray College, Jacksonville, Illinois $4,000-$6,000

*70

Nellie Augusta Knopf (AMERICAN, 1875-1962))

View from My Window at the College, 1929 oil on canvas signed N. A. Knopf and dated (lower right) 28 x 26 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois Provenance: Sue Chellgren, great-niece of the artist Donated by the above to MacMurray College, Jacksonville, Illinois, 1991 $4,000-$6,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

*71

*72

Nellie Augusta Knopf

Nellie Augusta Knopf

On Passamaquoddy Bay, 1927

Phlox and Flowers, 1923

oil on canvas signed N. A. Knopf and dated (lower left) 30 1/4 x 27 inches.

oil on canvas signed Nellie A. Knopf and dated (lower right) 30 1/4 x 27 1/4 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois

Property from the Collection of MacMurray College, Jacksonville, Illinois

$3,000-$5,000

Exhibited: New York, Association of Women Painters and Sculptors, Annual Exhibition

(AMERICAN, 1875-1962)

(AMERICAN, 1875-1962)

$3,000-$5,000

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*73

Nellie Augusta Knopf (AMERICAN, 1875-1962)

Garden Flowers, September Bouquet, 1926 oil on canvas signed N.A. Knopf and dated (lower left) 30 x 36 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois $3,000-$5,000

*74

Nellie Augusta Knopf (AMERICAN, 1875-1962)

Zinnias, 1923 oil on canvas signed Nellie A. Knopf and dated (lower right) 27 x 30 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois $3,000-$5,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART *75

Nellie Augusta Knopf (AMERICAN, 1875-1962)

Rivière de Loup, Quebec oil on canvas signed N.A. Knopf (lower right) 30 1/4 x 34 1/4 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois $3,000-$5,000

*76

Nellie Augusta Knopf (AMERICAN, 1875-1962)

Harbor on Passamaquoddy Bay, Eastport, Maine oil on canvas signed N.A. Knopf (lower right) 16 x 20 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois Provenance: Doris May Donated by the above to MacMurray College, Jacksonville, Illinois, 1991 $2,000-$4,000

*77

Nellie Augusta Knopf (AMERICAN, 1875-1962)

Wheeling Gulls and Wharf, Eastport Maine, c. 1927 oil on canvas signed N.A. Knopf (lower right) 20 x 24 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois Provenance: Harriet Cantrall Shurrager Donated by the above to MacMurray College, Jacksonville, Illinois, 1998 $2,000-$4,000

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*78

Nellie Augusta Knopf (AMERICAN, 1875-1962)

The Church and The Town, Rivière du Loup - Canada oil on canvas board signed Nellie A. Knopf and titled (verso) 16 x 19 ¾ inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois $1,000-$2,000

*79

Nellie Augusta Knopf (AMERICAN, 1875-1962)

Gloucester Harbor, 1920 oil on canvas board signed Nellie A. Knopf and dated (lower right) 10 x 14 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois $2,000-$4,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

*80

Nellie Augusta Knopf (AMERICAN, 1875-1962)

Fishing Boats, Monterey, California oil on canvas signed N.A. Knopf (lower left); titled (verso) 12 x 16 inches.

Property from the Collection of MacMurray College, Jacksonville, Illinois Provenance: Kathleen Hug Hoffman Donated by the above to MacMurray College, Jacksonville, Illinois, 1991 $2,000-$4,000

81

Bruno Stern Zupan (AMERICAN, B. 1939)

Untitled (City Panorama) oil on canvas signed Zupan (upper right); signed (verso) 39 1/2 x 39 1/2 inches. $1,500-$2,500

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82

LeRoy Neiman

(AMERICAN, 1921-2012)

Toreador, 1968 oil on board signed LeRoy Neiman and dated (lower left) 48 x 36 inches. $30,000-$50,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

83

LeRoy Neiman

(AMERICAN, 1921-2012)

Two Jockeys, 1963 oil on board signed LeRoy Neiman and dated (lower right) 10 ¾ x 7 ¾ inches.

Provenance: Frank E. Oeshlschlaeger Gallery, Chicago $4,000-$6,000

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AMERICAN AND EUROPEAN ART

EUROPEAN ART LOTS 84-134

Opposite Lot 97 | Jean Dufy (French, 1888-1964) Bord de Seine

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84

Max Pechstein

(GERMAN, 1881-1955)

Fischer mit blauer Mütze und Pfeife (Fisherman with blue cap and pipe), 1912 India ink and watercolor on postcard signed Max Pechstein and inscribed (verso) 5 ½ x 4 ½ inches.

This lot is accompanied by a photo certificate issued by Alexander Pechstein.

The postcard is addressed to the collector Dr. Otto Fischer of Munich. Pechstein cut the postcard himself and drew the boldly outlined fisherman on one side. On the other, he wrote: Dear Dr. O. Fischer, at this time I was at the sea for work and now I am going back to Berlin. With kind regards Yours M. Pechstein (translated from the German) $7,000-$9,000

85

Max Pechstein

(GERMAN, 1881-1955)

Sitzender Frauenakt (Seated Woman), c. 1918 India ink on paper initialed HMP (lower right) 16 ½ x 12 inches.

This lot is accompanied by a photo certificate issued by Alexander Pechstein. $4,000-$6,000

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AMERICAN AND EUROPEAN ART

EUROPEAN ART

86

Oskar Kokoschka (AUSTRIAN, 1886-1980)

Untitled crayon on paper signed OK and inscribed (lower center); artist’s sketches on verso 18 x 13 ¼ inches.

The authenticity of this lot has been confirmed by Professor Alfred Weidinger. $3,000-$5,000

87

Oskar Kokoschka (AUSTRIAN, 1886-1980)

Untitled graphite on paper signed OK (lower right); inscribed (lower center) 16 ¼ x 13 ¼ inches.

The authenticity of this lot has been confirmed by Professor Alfred Weidinger. $3,000-$5,000

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*88

Ernst Fries

(GERMAN, 1801-1833)

View of Capri, 1826 graphite on paper titled and dated (lower right) 12 x 17 ¾ inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Friedrich Schlosser, Stift Neuburg, Baden, Germany Paul Arndt Leipzig, Germany, C.G. Boerner, exhibition catalogue, no. 78, pl. II, illus.

C. Heumann Galerie Arnoldini-Livie, Munich Acquired directly from the above, 1997 $4,000-$6,000

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AMERICAN AND EUROPEAN ART

EUROPEAN ART

89

Paul Elie Gernez (FRENCH, 1888-1948)

Rue de village et maisons, Bretagne oil on canvas signed P. E. Gernez (lower right) 24 x 29 inches. $3,000-$5,000

90

Henri Lebasque (FRENCH, 1865-1937)

Reclining Nude graphite and pastel on paper signed H Lebasque (lower right) 12 x 17 ¾ inches.

The authenticity of this lot has been confirmed by Denise Bazetoux.

Provenance: Galerie Jean Tiroche, New York Acquired directly from the above by a New York Collector, 1970 Thence by decent to the present owner $500-$700

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*91

Pablo Picasso

(SPANISH, 1881-1974)

Untitled (Abstract Composition), 1920 gouache on paper

signed Picasso (upper right) 10 ½ x 8 ½ inches.

Property from the Estate of Billie Ross, Chicago, Illinois Provenance: Richard Gray Gallery, Chicago Literature: C. Zervos, Pablo Picasso, Paris, 1954, vol. 6, no. 1407, p. 168 $80,000-$120,000 74

AMERICAN AND EUROPEAN ART

92

EUROPEAN ART

Salvador Dali

(SPANISH, 1904-1989)

Lady Godiva with Butterflies, 1984 bronze inscribed Dali, numbered 33/350, stamped with foundry mark Fonderia Perseo, Mendrisio, Switzerland and IAR (base) Height: 20 ¼ inches.

Literature: R. & N. Descharnes, Dalí - The Hard and the Soft - Spells for the Magic of Form - Sculptures and Object, Azay-le-Rideau, 2004, no. 640, p. 249 (another cast illustrated) $8,000-$12,000

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Gaston Lachaise Gaston Lachaise’s Pudeur, representing a partly draped nude, was designed to lead the viewer’s eyes around and over the forms of the woman’s slender figure. Her modest pose, like that of an ancient Venus Pudica, suggests that she has been surprised at the bath. The drapery clings to her body in ropelike folds, like the garment of some East Asian deity. The pleasing, compact shape of the statuette suggests that it can easily be grasped and held in the hand, much like a lovely Chinese vase. Lachaise is known to have studied “Oriental and Chinese art ‘to improve his technique’” while assisting sculptor Paul Manship in the 1910s (Letter from Marguerite Zorach to Donald Goodall, May 3, 1959, Gaston Lachaise Collection, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library), and he appears to have drawn on that research when creating the present work.

A bronze cast of the statuette was exhibited in early 1918 in Lachaise’s first solo show at the Bourgeois Gallery, New York, as Pudeur (the gallery dealer’s name) and was well received by both art critics and the public. Seven casts dating from Lachaise’s lifetime have been located in recent years. Three, including the present cast (a wedding gift from Lachaise to his wife’s nephew and the nephew’s bride), were made circa 1917-1922 by Anton Kunst’s sand-casting foundry operating in Manhattan. The other two are those in the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and a private collection (illustrated in Gerald Peters Gallery, Works by Gaston Lachaise: A Modern Epic Vision, exhibition catalogue, Santa Fe, 2012, Plate 13, n.p.). Two casts, made by 1929 (and probably much earlier) by the Roman Bronze Works, Brooklyn, New York, are the those owned by the Lachaise Foundation (the ex-Franklin Conklin Jr. cast); and Bernard Goldberg Fine Arts, LLC, New York City. Two others, produced by one or more unidentified foundries, are owned by the Metropolitan Museum of Art, New York City (cast by 1923); and the Memorial Art Gallery, University of Rochester, New York. The model for the statuette appears to have been lost by 1938 at the latest.

We are grateful to Virginia Budny, author of the forthcoming catalogue raisonné sponsored by the Lachaise Foundation, for her assistance in preparing the catalogue entry for this work.

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*93

Gaston Lachaise (FRENCH, 1882-1935)

Pudeur (Draped Figure, Standing Woman) [LF 18] model circa 1915-17, cast circa 1917-20 bronze with black lacquer and gold leaf Inscribed G. Lachaise © 1917, stamped A. Kunst. Bronze W.R.S. 505 E. 76 ST. N.Y. (base) Height: 13 ¾ inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: The artist Mr. and Mrs. John B. Pierce, Dedham, Massachusetts, acquired directly from the above, 1920 John B. Pierce Jr., Boston, acquired directly from the above Robert Schoelkopf Gallery, New York, acquired directly from the above, 1973-75 Robert Schoelkopf Gallery, New York, by February 4, 1984 Acquired directly from the above, 1987 Exhibited: Los Angeles County Museum of Art, Los Angeles, California and Whitney Museum of American Art, New York, Gaston Lachaise (1882-1935) Sculpture and Drawings, December 3, 1963-January 19, 1964; February 18-April 5, 1964, no. 18 Literature: Bourgeois Galleries, Exhibition of Sculptures and Drawings by Gaston Lachaise, exhibition catalogue, New York, 1918, no. 20 (another cast referenced) “Galleries Display Great Variety of New York,” New York Herald, New York, February 17, 1918, 3rd section, p. 8 (another cast referenced) Caroline Caffin, “New, Important Things in Art: A Sculptor of Elemental Rhythms,” New York American, New York, February 25, 1918, p. 6 (another cast illustrated) H. C. N, “Art and Artists: Two Interesting Exhibitions of Sculptures and Drawings,” New York Herald, New York, March 6, 1918, p. 14 (another cast referenced) Guy Pène du Bois, “Among the Art Galleries,” The Evening Post Magazine, New York, January 11, 1919, pp. 7, 11 (an unidentified cast referenced) The Wanamaker Gallery of Modern Decorative Arts, Belmaison, John Wanamaker, An Exhibition of Paintings, Drawings and Sculpture by American Artists Showing the Later Tendencies in Art, exhibition catalogue, New York, 1921, no. 38 (another cast referenced as Upstanding Figure) Colony Club, Modern Sculpture, Water Colors and Drawings, exhibition catalogue, New York 1922, no. 27 (another cast referenced) A. E. Gallatin, Gaston Lachaise: Sixteen Reproductions in Collotype of the Sculptor’s Work, New York, 1924, Plate 7, p. 51, (another cast illustrated as Statuette; an unidentified cast referenced among a series of twenty-five small bronze figures dating from 1906 to 1917) C. W. Kraushaar Art Galleries, An Illustrated Catalogue of An Important Collection of Paintings … also Marbles and Bronzes by Gaston Lachaise, exhibition catalogue, New York, 1924, no. 3, n.p. (another cast referenced as Draped Figure) Los Angeles County Museum of Art, Gaston Lachaise (1882-1935) Sculpture and Drawings, exhibition catalogue, Los Angeles, California, 1964, n.p., no. 18 (referenced; a different cast mistakenly illustrated) Donald Bannard Goodall, “Gaston Lachaise: Sculptor,” PhD dissertation, Harvard University, 1969, vol. 1, pp. 358-59: 59, 361, 377, 391, 409n. 67, 475; vol. 2, pp. 103-04, 429, Plate XLVIII (illustrated; four other casts of a reported edition of seven referenced) Selected Letters of E.E. Cummings, New York, 1969, no. 35, p. 48, (one or more casts referenced) Joan M. Marter, American Sculpture in the Metropolitan Museum of Art, Volume II. A Catalogue of Works by Artists Born between 1865 and 1885, ed. Thayer Tolles, New Haven, 2001, no. 309, p. 669 (another cast illustrated) Virginia Budny, “Gaston Lachaise’s American Venus: The Genesis and Evolution of Elevation,” The American Art Journal, vols. 34–35, 2003–04, fig. 38, pp. 108, 121, 140-41n. 135 (another cast illustrated; three other casts referenced) Gerald Peters Gallery, Works by Gaston Lachaise: A Modern Epic Vision, exhibition catalogue, Santa Fe, New Mexico, 2012, pl. 13, n.p., (another cast illustrated) Julia Day, Jens Stenger, Katherine Eremin, Narayan Khandekar and Virginia Budny, Gaston Lachaise: Characteristics of His Bronze Sculpture, Cambridge, Massachusetts, 2012, pp.

28, 30, 31, 32, 40-41, 55-56n. 34, 57n. 46, 63, 64, 67 (three other casts referenced) Bernard Goldberg Fine Arts, LLC, Gaston Lachaise: For the Love of Woman, exhibition catalogue, New York, 2016, fig. 4, pp. 4–5, 13n. 13, 18–19, back cover (another cast illustrated; five other casts referenced) $20,000-$30,000

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Gaston Lachaise Gaston Lachaise is best known for his sculptures of powerful women inspired by Isabel Dutaud Nagle (1972-1957), his cultured, voluptuous muse, lover, and, from 1917, wife. Yet, by his own account, few of those works are actual portraits of her. The present work is one of those rare exceptions. It began as a plaster model for a statuette named Portrait [LF 196] created in 1918 or 1919 and first exhibited in Lachaise’s second solo exhibition, at the Bourgeois Gallery, New York, in early 1920. Portrait also appeared in at least one group exhibition, also in 1920. Then, sometime after spring 1921, while a group exhibition was being installed, one of the jurors dropped both that plaster model and a second plaster portrait statuette, named Home [LF 298], which represented Isabel similarly reclining on a sofa (like David’s Madame Récamier), although dressed in informal attire and holding an open book, perhaps of her own poetry (on that disastrous event, see Gilbert Seldes, Profile of Gaston Lachaise, “Hewer of Stone,” The New Yorker, New York, April 4, 1931, p.

28). Afterward, Lachaise reworked both plasters. It appears that Home had been very badly damaged, and in 1924 he radically revised the remnants of the figure, while freeing it from its background, to become Flying Figure of Woman (Floating Figure) [LF 48] (Santa Barbara Museum of Art), a quasi-geometrical representation of a celestial goddess, and the point of departure for his heroic Floating Figure [LF 63], which was created in 1927 and cast in bronze in 1934-35 (Museum of Modern Art, New York City).

By 1928, Lachaise had revised Portrait, and in February-March of that year, the first bronze cast of the new version was exhibited at the prestigious Brummer Gallery in New York, as Woman on Divan. That cast is now in the Hirshhorn Museum and Sculpture Garden, Washington, D.C. Lachaise had retained much of the original version, in which the forms of his wife’s body, clothing, and furnishings had already been considerably simplified.

His most noteworthy revisions are in the tighter modeling of her head and neck and the position of her proper right arm and hand. No longer holding that hand close to her side, she now extends her open palm to break through the implied front plane of the composition, thus lending significant force to her action. This deliberate, enigmatic gesture very likely corresponds in meaning to the generously extended hands in both the first revised version of Home (frontispiece, Julia Day, Jens Stenger, Katherine Eremin, Narayan Khandekar and Virginia Budny, Gaston Lachaise: Characteristics of His Bronze Sculpture, Cambridge, Massachusetts, 2012) and Floating Figure. No other bronze casts of Woman on Divan were made until the 1960s, when the Lachaise Estate authorized an edition of eleven casts, producing the first two examples in 1964. Seven others, including the present cast, were issued from 1968 to 2001. The edition includes the casts owned by the Evansville Museum of Arts, History & Science, Evansville, Indiana (2/11), and the Harn Museum, University of Florida, Gainesville (6/11). The broken plaster model is owned by the Lachaise Foundation.

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We are grateful to Virginia Budny, author of the forthcoming catalogue raisonné sponsored by the Lachaise Foundation, for her assistance in preparing the catalogue entry for this work.

EUROPEAN ART *94

Gaston Lachaise (FRENCH, 1882-1935)

Woman on Divan (Woman on Sofa, Woman on a Couch) [LF 69] model circa 1919, revised 1923? (by 1928), cast 1979 bronze with brown patina stamped Lachaise Estate, numbered 7/11, inscribed Modern Art Fdry. N.Y. (base) Height: 9 inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Lachaise Foundation, Boston Robert Schoelkopf Gallery, New York, by 1982 Acquired directly from the above, February 13, 1982 Literature: Bourgeois Gallery, Exhibition of Sculptures and Drawings by Gaston Lachaise, exhibition catalogue, New York, 1920, no. 2 (Portrait [LF 196] referenced) E. E. Cummings, “Gaston Lachaise,” The Dial, vol. 68, no. 2, 1920, pp. 20304 and following (Portrait [LF 196] illustrated, front view) Society of Independent Artists, 1920 Catalogue of the Fourth Annual Exhibition, exhibition catalogue, New York, 1920, no. 439, n.p. (Portrait [LF 196] referenced) Henry McBride, “Society of Independent Artists Provides a School for Critics,” New York Herald, New York, March 21, 1920, p. 56 (Portrait [LF 196], back view, illustrated) A. E. Gallatin, Gaston Lachaise: Sixteen Reproductions in Collotype of the Sculptor’s Work, New York, 1924, p. 51 (plaster model of either Portrait [LF 196] or Woman on Divan [LF 69] referenced) Brummer Gallery, Lachaise, exhibition catalogue, New York, 1928, no. 10 (the first cast referenced as Woman on Divan) Gilbert Seldes, Profile of Gaston Lachaise, “Hewer of Stone,” The New Yorker, New York, April 4, 1931, p. 28 (Portrait [LF 196] referenced as “a [plaster] cast”) Museum of Modern Art, Gaston Lachaise: Retrospective Exhibition, exhibition catalogue, New York, 1935, no. 13, p. 24 (the first bronze cast referenced as Woman on Sofa, 1918-1923); pl. 13 (Portrait [LF 196] illustrated, front view, as the bronze cast) Los Angeles County Museum of Art, Gaston Lachaise (1882-1935) Sculpture and Drawings, exhibition catalogue, Los Angeles, 1964, no. 69 (another cast illustrated) Robert Schoelkopf Gallery, Drawings and Sculpture by Gaston Lachaise, exhibition catalogue, New York, 1966, n.p. (another cast illustrated) Hilton Kramer, The Sculpture of Gaston Lachaise, New York, 1967, pl. 44 p.

49 (another cast illustrated) Donald Bannard Goodall, “Gaston Lachaise: Sculptor,” PhD dissertation, Harvard University, 1969, I, pp. 306, 307-08, 516, 518-19, 548-49n. 85, 559nn. 147 and 149; II, pp. 55-56, 273-76, 420, 423, Plate XXV (Portrait [LF 196] illustrated as Woman on Sofa (home), front view, plaster), Plate XCCIII-A (the broken plaster model of Woman on Divan [LF 69] illustrated as the first bronze cast), Plate CXXIII-B (the first bronze cast of Woman on Divan [LF 69] illustrated)

Robert Schoelkopf Gallery, Gaston Lachaise, exhibition catalogue, New York, 1973, n.p. (another cast illustrated) The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, New York, 1974, fig. 293, pp. 218-19, 248, 709-10 (another cast illustrated) Gerald Nordland, Gaston Lachaise The Man and His Work, New York, 1974, fig. 48, pp. 45, 108-10 (Portrait [LF 196] illustrated with incorrect provenance); fig. 49 (the first cast of Woman on Divan [LF 69] illustrated) University of Rochester, Memorial Art Gallery, Gaston Lachaise, exhibition catalogue, Rochester, New York, 1979, no. 33, pp. 5, 6, 31 (another cast referenced) San Bernardino, California State College, The Art Gallery, Gaston Lachaise: Sculpture and Drawings, exhibition catalogue, San Bernardino, 1980, no. 20, figs.

40a-40b, pp. 29, 36, 51 (another cast illustrated) Palm Springs Desert Museum, Gaston Lachaise: 100th Anniversary Exhibition, Sculpture and Drawings, exhibition catalogue, Palm Springs, Calif., 1982, no. 40, p. 34 (another cast referenced) Portland Museum of Art, Gaston Lachaise: Sculpture & Drawings, exhibition catalogue, Portland, Maine, 1984, no. 55, p. 55 (another cast referenced) Salander O’Reilly Galleries, Gaston Lachaise (1982-1935): Sculpture and Drawings, exhibition catalogue, New York, 1998, no. 30, n.p. (another cast illustrated) Julia Day, Jens Stenger, Katherine Eremin, Narayan Khandekar and Virginia Budny, Gaston Lachaise: Characteristics of His Bronze Sculpture, Cambridge, Massachusetts, 2012, pp. 30, 40, 63, 66 (another cast referenced) $20,000-$30,000

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95

Marcel Dyf

(FRENCH, 1899-1985)

Dahlias, 1956 oil on canvas signed Dyf (lower right); signed, titled, and dated (verso) 29 x 36 inches.

Property from a Private St. Louis Collection This lot is recorded in the Marcel Dyf e-catalogue raisonné as number 736. $8,000-$12,000

96

Marcel Dyf

(FRENCH, 1899-1985)

Zinias et anthemis, 1950 oil on canvas signed Dyf (lower right) 21 ¼ x 25 ½ inches.

Property from a Private St. Louis Collection This lot is recorded in the Marcel Dyf e-catalogue raisonné as number 779. $6,000-$8,000

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97

Jean Dufy

(FRENCH, 1888-1964)

Bord de Seine watercolor and gouache on paper signed Jean Dufy (lower left) 13 x 17 1/4 inches.

The authenticity of this lot has been confirmed by Jacques Bailly, author of the Jean Dufy catalogue raisonné. It is accompanied by a certificate of authenticity, no. 3367.

Provenance: The artist Findlay Galleries, acquired directly from the above Private Collection Wally Findlay Galleries, Chicago Private Collection, acquired directly from the above, 1999 $10,000-$15,000

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98

Lê Phổ

(VIETNAMESE/FRENCH, 1907-2001)

Composition oil on canvas signed Le Pho (lower left); titled (stretcher) 38 3/4 x 51 1/4 inches.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Phổ, currently underway.

Provenance: Artist’s studio, Paris Findlay Galleries, Chicago, September 1969 Private Collection, Northbrook, Illinois, May 1970 $40,000-$60,000

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99

Lê Phổ

(VIETNAMESE/FRENCH, 1907-2001)

Fleurs oil on canvas signed Le Pho (lower right) 51 1/4 x 35 1/4 inches.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Phổ, currently underway.

Provenance: Artist’s studio, Paris Findlay Galleries, Chicago, January 1971 Private Collection, Northbrook, Illinois, April 1972 $30,000-$50,000

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100

Lê Phổ

(VIETNAMESE/FRENCH, 1907-2001)

Fleurs oil on canvas signed Le Pho (lower right); titled (stretcher) 32 x 39 1/2 inches.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Phổ, currently underway.

Provenance: Artist’s studio, Paris Findlay Galleries, Chicago, January 1971 Private Collection, Northbrook, Illinois, April 1972 $20,000-$40,000

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101

Vu Cao Đàm

(FRENCH/VIETNAMESE, 1908-2000)

Le Printemps, 1965 oil on canvas signed Vu Cao Đàm and dated (lower left) 26 x 21 3/4 inches.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Vu Cao Đàm, currently underway.

Provenance: Private Collection, Cold Spring Harbor, New York Findlay Galleries, New York, April 1967 Private Collection, October 1967 $15,000-$25,000

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102

Vu Cao Đàm

(FRENCH/VIETNAMESE, 1908-2000)

Le départ, 1972 oil on canvas signed Vu Cao Đàm and dated (lower right); signed, titled, and dated (verso) 21 1/4 x 25 3/4 inches.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Vu Cao Đàm, currently underway.

Provenance: Artist’s studio, Paris, 1972 Findlay Galleries, New York, October 1972 Private Collection, Tulsa, Oklahoma, February 1974 $15,000-$20,000

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103

Henri Maik

(FRENCH, 1922-1993)

L’Automne, 1973 oil on canvas signed Maik and dated (lower right); signed and titled (verso) 28 3/4 x 36 1/4 inches.

The artist’s studio, Paris, 1973 Findlay Galleries, Beverly Hill, California, June 1974 Private Collection, Palm Beach, Florida, September 1978 The authenticity of this lot has been confirmed by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Henri Maik, currently underway. $5,000-$7,000

104

Antoine Blanchard (FRENCH, 1910-1988)

Les Bouquinistes oil on canvas signed Antoine Blanchard (lower right) 13 1/4 x 18 1/4 inches.

This lot was examined, via photograph, by Rehs Galleries Inc., and has been included in their online catalogue of Antoine Blanchard’s work.

Provenance: DeBruyne Fine Art, Naples, Florida $4,000-$6,000

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105

Claude Weisbuch (FRENCH, 1927-2014)

Don Quichotte au Cirque dans l’Arene and Le Rêve du Don Quichotte (a pair), 2001 oil on canvas each: signed Weisbuch (lower right); signed, dated, and titled (verso) each: 51 x 38 inches.

Provenance: Gallerie 454, Grosse Pointe Park, Michigan $15,000-$20,000

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106

Ángel Botello

(SPANISH/PUERTO RICAN, 1913-1986)

L’Oiseau Bleu, c. 1955 oil on masonite signed Botello (lower right); titled (left edge) 30 ½ x 19 ½ inches.

We kindly thank Juan Botello for confirming the authenticity of this lot. $6,000-$8,000

107

Bernard Taurelle (FRENCH, b. 1931)

Untitled (The Letter) oil on canvas signed B. Taurelle (lower left); signed (verso) 39 ½ x 39 ½ inches.

Provenance: Galerie Felix Vercel, New York and Paris $1,000-$1,500

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108

Mark Kaplan (RUSSIAN, b. 1950)

Irises oil on canvas signed Kaplan (lower right) 51 ¼ x 38 inches. $1,500-$2,500

109

Peter von Artens (ARGENTINE, 1937-2003)

Tropical Still Life oil on canvas signed Peter von Artens (lower right); signed and inscribed (verso) 48 ½ x 36 ¼ inches. $6,000-$8,000

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*110

Elise Puyroche-Wagner (GERMAN, 1828-1895)

Still Life, 1854 oil on canvas signed Elise Wagner and dated (lower right) 44 x 34 inches.

Property from the Collection of Mr. and Mrs. Peter Ianello, Winnetka, Illinois $1,000-$2,000

111

Anders Osterlind (FRENCH, 1887-1960)

Fleurs dans un vase oil on canvas signed Osterlind (lower left) 28 ¾ x 36 ¼ inches.

Property from a Private St. Louis Collection $1,000-$2,000

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112

Madeleine Jeanne Lemaire (FRENCH, 1845-1928)

Pan with Dried Flowers oil on canvas signed Madeleine Jeanne Lemaire (lower right) 36 x 25 inches. $1,000-$2,000

113

Raoul Hynckes (DUTCH, 1893-1973)

Nature Morte oil on canvas signed R. Hynckes (lower right) 24 x 29 ½ inches.

Provenance: E.J. Van Wisselingh & Co., Amsterdam $2,000-$4,000

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114

Eugenio Zampighi (ITALIAN, 1859-1944)

Musica in Famiglia (Siena) oil on canvas signed E Zampighi (lower right); titled (stretcher) 29 ½ x 42 inches. $10,000-$15,000

115

Eugenio Zampighi (ITALIAN, 1859-1944)

The Admirer oil on canvas signed E. Zampighi (upper left) 30 ½ x 22 ¼ inches. $3,000-$5,000

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*116

Arturo Ricci

(ITALIAN, 1854-1919)

The Cardinal’s Present oil on canvas signed A. Ricci (lower left) 25 x 34 ½ inches.

Property from the Estate of Mary Patricia Reynolds, Bowling Green, Kentucky $8,000-$12,000

117

Paul (Louis Narcisse) Grolleron (FRENCH, 1848-1901)

A Seated Foot Soldier oil on canvas signed P. Grolleron (lower left) 16 ½ x 13 inches. $1,000-$1,500

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118

Francois Alfred Delobbe (FRENCH, 1835-1920)

Woman with Faggots oil on canvas signed A. Delobbe (lower left) 39 ¾ x 26 inches. $2,000-$3,000

*119

Clovis Francois Auguste Didier (FRENCH, b. 1858)

La journée d’été oil on canvas signed Cl. Didier (lower left) 40 x 33 inches.

Property from the Collection of Mr. and Mrs. Peter Ianello, Winnetka, Illinois Provenance: Julian Beck Nineteenth Century Painting and Sculpture, New York $2,000-$4,000

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120

Charles Joshua Chaplin (FRENCH, 1825–1891)

Portrait of a Young Beauty in a Sheer Blouse oil on canvas signed Charl Chaplin (lower right) 27 ¼ x 20 inches. $3,000-$5,000

121

Edwin Long

(BRITISH, 1829-1891)

Study for Ruth Gathering Wheat oil on canvas monogrammed EL (lower left) 52 x 42 inches.

The authenticity of this lot has kindly been confirmed by Mark Bills, Director of Gainsborough’s House.

The finished version of Ruth the Gleaner is illustrated in Mark Bills, Juliet Kinchin, and Simon Olding, Edwin Longsden Long RA, London, 1998, pp. 175-6. $1,000-$2,000

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*122

Eugene De Blaas (AUSTRIAN, 1843-1932)

Portrait of a Woman with Red Fan, 1897 oil on canvas signed Eugenio De Blaas and dated (lower right) 44 ½ x 28 ¾ inches.

Property from the Collection of Catherine Madden Turner, Zionsville, Indiana Provenance: Cooling Galleries, London By descent through the family to the present owner $60,000-$80,000

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*123

Hortense Haudebourt Lescot (FRENCH, 1784-1845)

Self-Portrait of the Artist and Her Husband on Their Wedding Trip, 1821 oil on canvas signed Haudebourt-Lescot and dated (lower left) 24 x 20 inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Shepherd Gallery, New York, 1981 Mr. and Mrs. William Koch, Boston W.M. Brady & Co., New York Acquired directly from the above, 1995 Exhibited: New York, Shepherd Gallery, French and Other European Drawings, Paintings, and Sculpture of the Nineteenth Century, Winter Exhibition, 1980-81, no. 79 Boston, Museum of Fine Arts (on loan, 1981-1995) Mme. Haudebourt Lescot was a pupil of Guillaume Guillon. She is the only female artist portrayed by Francois-Joseph Heim, among those artists rewarded by Charles X following the Paris Salon of 1827. She spent many years in Italy where she painted genre pictures that were extremely popular in Paris and well-received in the Salon, winning a first class medal in 1828 and second class medals in 1810 and 1819. The artist continued to exhibit regularly at the Salon over the next 30 years. She was particularly noted for her portraits. The artist married architect Louis-Pierre Haudebourt in 1820.

The present lot is a self-portrait of Mme. Haudebourt Lescot and her husband on their wedding trip. $8,000-$12,000

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*124

Charles Emile Jacque (FRENCH, 1813-1894)

Sheep at a Manger oil on canvas 16 x 12 ¾ inches.

Property from the Collection of Harry Peterson, Lantana, Florida This lot by Charles Emile Jacque will be included in the forthcoming inventory catalogue by Vincent Marillier, expert for the artist. $1,500-$2,000

*125

Auguste (Francois Auguste) Bonheur (FRENCH, 1824-1884)

Study of Two Sheep oil on paper laid to canvas signed A Bonheur (lower left) 12 x 16 inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Galerie Jacques Fischer-Chantal Kiener, Paris Acquired directly from the above, 1994 $1,500-$2,500

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126

Pierre Eugene de Montézin (FRENCH, 1874-1946)

La Fenaison oil on paper laid to canvas signed Montézin (lower right) 19 ¼ x 25 inches.

The authenticity of this lot has been confirmed

by Monsieur Cyril Klein-Montézin, with certificate number 357. $7,000-$9,000

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127

Louis-Aimé Japy (SWISS, 1840-1916)

Landscape with Shepherd and Stream oil on canvas signed Japy (lower right) 39 ½ x 32 inches. $1,500-$2,000

128

Hippolyte Camille Delpy (FRENCH, 1842-1910)

Man by a River, 1907 oil on canvas signed H.C. Delpy and dated (lower right) 16 ½ x 26 inches. $1,000-$2,000

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*129

Johann Georg Gemlin (GERMAN, 1810-1854)

Landscape in Italy, Syracuse, Sicily, 1839 oil on paper laid to canvas titled and dated (lower right) 13 x 19 ½ inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Hazlitt, Gooden & Fox, London Acquired directly from the above, 1998 $5,000-$7,000

102 A M E R I C A N A N D E U R O P E A N A R T

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*130

Simon-Joseph-Alexandre Clément Denis (FLEMISH, 1755-1813)

A View to the Cascades of Tivoli, 1790 oil on panel signed S. Denis, inscribed, and dated (lower right) 18 x 24 inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Daxler & Marschall, Munich, Germany Acquired directly from the above, 1996 This painting depicts Madame Vigée Lebrun and her 14-year old daughter sitting under a tree and sketching the cascades. In the distance can be seen Francois Ménageot, director of the French Academy in Rome, and Vigée Lebrun himself. Vigée Lebrun’s diary records the scene in great detail. $10,000-$15,000

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131

Attributed to John Ruskin (BRITISH, 1819-1900)

Amboise, c. 1840-45 watercolor on paper 15 ¼ x 11 ¼ inches.

We would like to thank Stephen Wildman, Emeritus Professor of History of Art, Lancaster University, for assistance with the research and cataloging of this lot. $10,000-$15,000

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EUROPEAN ART

John Ruskin Attributed to the artist John Ruskin, Amboise depicts the late fifteenth-century St. Hubert’s Chapel, which rises above the château of Amboise along the River Loire in France. According to Stephen Wildman, Emeritus Professor of History of Art, Lancaster University, the lesser detail, especially in the foreground, points to this watercolor possibly being an early attempt at a more detailed and finished watercolor, also titled Amboise and dating from 1841 (Private Collection). The known watercolor was shown in the 2000 exhibition Ruskin, Turner, and the Pre-Raphaelites, held at the Tate, London (Robert Hewison, Ian Warrell and Stephen Wildman, no. 40, pg. 64, illus.).

The present Amboise falls within the period of the early 1840s, when Ruskin was deeply influenced by the work of Joseph Mallord William Turner, to the extent of attempting to capture Turner’s style. In the process, Ruskin adopted and exaggerated the artist’s mannerisms, including his propensity to distort the height of architectural motifs. In Praeterita he described the now lost preparatory drawing for the finished watercolor as ‘highly laboured’ and ‘“out of my head”; representing the castle as about seven hundred feet above the river, (it is perhaps eighty or ninety,) with sunset light on it, in imitation of Turner; and the moon rising behind it, in imitation of Turner; and some steps and balustrades (which are not there) going down to the river, in imitation of Turner; with the fretwork of St. Hubert’s Chapel done very carefully in my own way, – I thought perhaps a little better than Turner.’ (John Ruskin, Praeterita, v. 2, London, 1907, pg. 93).

The supposition that the present watercolor is a first effort is supported by the fact that a greater degree of detail would have been needed for its conversion into an engraving. Engravings require more particularized visual elements to translate well into a finished print. This would have led Ruskin to complete a more finished version of Amboise. The engraving was executed by Frederick Goodall and was used to accompany Ruskin’s long poem ‘The Broken Chain’, published under the signature ‘J.R., Christ Church, Oxford’ in the annuals of Friendship’s Offering between 1840 and 1843. Part XIV includes the lines: Those orbed towers obscure and vast,

That light the Loire with sunset last;

Those fretted groups of shaft and spire,

That crest Amboise’s cliff with fire,

When, far beneath, in moonlight fail

The winds that shook the pausing sail;

The panes that tint with dyes divine

The altar of St. Hubert’s shrine About the scene, Ruskin declared that ‘[T]he chapel, which crowns the precipice, though small, is one of the loveliest bits of rich detail in France. In reality it is terminated by a small wooden spire, which I have not represented, as it destroyed the grandeur of the outline.’ (John Ruskin, The Works of John Ruskin, London, 1903, pp. 169-170)

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132

Edmund Blampied (BRITISH, 1886-1966)

Misty Morning oil on board signed Blampied (lower right); signed and titled (verso) 19 ¼ x 25 ½ inches. $2,000-$4,000

133

Edmund Blampied (BRITISH, 1886-1966)

White Horse oil on board signed Blampied (lower right) 13 ½ x 17 ½ inches. $1,000-$1,500

134

Edmund Blampied (BRITISH, 1886-1966)

Farmer Fisherman, Jersey oil on board signed Blampied (lower right); signed (lower center); signed and titled (verso) 17 ½ x 13 ½ inches. $1,500-$2,000

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ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Albert, Ernest ............................................. 45 Anisfeld, Boris ............................................... 8 Ault, George Copeland ................................. 15 Blampied, Edmund ............................. 132-134 Blanchard, Antoine .................................... 104 Bohrod, Aaron ............................................... 9 Bonheur, Auguste (Francois Auguste) .......... 125 Botello, Angel ............................................ 106 Brown, John George ................................ 62-64 Bunker, Dennis Miller ................................... 46 Cass, George Nelson ................................... 29 Champney, Benjamin ................................... 35 Chaplin, Charles Joshua ............................ 120 Coffin, William Anderson .............................. 27 Colman, Samuel .......................................... 21 Cone, Marvin ................................................ 7 Cook, Howard .............................................. 16 Dali, Salvador ............................................. 92 De Blaas, Eugene ...................................... 122 de Montezin, Pierre Eugene ........................ 126 Delobbe, Francois Alfred ............................ 118 Delpy, Hippolyte Camille ............................. 128 Denis, Simon-Joseph-Alexandre Clement ..... 130 Dewey, Charles Melville ................................ 34 Didier, Clovis Francois Auguste ................... 119 Dudley, Frank .............................................. 47 Dufy, Jean ................................................... 97 Dyf, Marcel ............................................ 95-96 Eaton, Charles Warren ................................. 32 Enneking, John Joseph ................................ 37 Erbe, Gary .................................................. 12 Freedman, Maurice ...................................... 17 Fries, Ernst ................................................. 88 Garber, Daniel ............................................. 54 Gaspard, Leon Schulman ............................. 49 Gemlin, Johann Georg ................................ 129 Gernez, Paul Elie ......................................... 89 Grant, James Jeffrey ............................... 52-53 Grolleron, Paul (Louis Narcisse) .................. 117 Gruppe, Emile ............................................. 38 Hart, James Macdougal ............................... 26 Hart, William M. ..................................... 24-25 Hassam, Childe ........................................... 51 Hunt, William Morris .................................... 31 Hynckes, Raoul ......................................... 113 Irvine, Wilson Henry ................................ 39-40 Jacque, Charles Emile................................ 124 Japy, Louis-Aime ........................................ 127 Jones, Francis Coates .................................. 61

Juergens, Alfred .......................................... 48 Kahn, Wolf .................................................. 19 Kaplan, Mark ............................................ 108 Knapp, Charles Wilson ................................. 22 Knopf, Nellie Augusta ............................. 65-80 Koch, John .................................................. 59 Kokoschka, Oskar .................................. 86-87 Lachaise, Gaston ................................... 93-94 Lawson, Ernest ........................................... 55 Le Pho.................................................. 98-100 Lebasque, Henri .......................................... 90 Lemaire, Madeleine Jeanne ........................ 112 Lescot, Hortense Haudebourt .................... 123 Long, Edwin .............................................. 121 Loveridge, Clinton ........................................ 28 Maik, Henri ............................................... 103 Marcks, Gerhard .......................................... 13 Martin, Homer Dodge .................................. 44 Neiman, LeRoy ....................................... 82-83 Nichols, Dale ................................................ 4 Ochtman, Leonard .................................. 41-42 Ordway, Alfred T. .......................................... 23 Osterlind, Anders ...................................... 111 Pechstein, Max ...................................... 84-85 Peters, Carl ............................................ 56-58 Picasso, Pablo............................................. 91 Puyroche-Wagner, Elise............................... 110 Ricci, Arturo .............................................. 116 Ritman, Louis .............................................. 50 Ritter, Paul .................................................. 36 Ruskin, John (attributed to)......................... 131 Safranek, Doug ........................................... 11 Schwartz, William Samuel ............................ 10 Smillie, George Henry .................................. 33 Stella, Joseph ............................................ 1-3 Storrs, John Bradley .................................... 14 Taurelle, Bernard ....................................... 107 Trotter, Newbold Hough ................................ 30 von Artens, Peter ....................................... 109 Vu Cao Dam ....................................... 101-102 Weeks, Edwin Lord ...................................... 60 Weir, Julian Alden ........................................ 43 Weis, John Ellsworth .................................... 18 Weisbuch, Claude ...................................... 105 Welliver, Neil ............................................... 20 Wood, Grant ............................................... 5-6 Zampighi, Eugenio .............................. 114-115 Zupan, Bruno Stern ..................................... 81

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.

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Upcoming Auctions Artists’ Books at Hindman Sale 829 Artists’ Books and Monographs November 6-20 | Online | 10amct

ALBERS, Josef (1888-1976) Formulation: Articulation [I & II] New York and New Haven: Harry N. Abrams and Ives-Sillman, 1972 The complete suite of 127 color screenprints on 66 sheets on Mohawk Superfine Bristol paper LIMITED EDITION, number 224 of 1000 copies SIGNED BY ALBERS Estimate $10,000.00 - $15,000.00 TO BE OFFERED AT AUCTION NOVEMBER 12, 2020

Sale 800 Fine Books & Manuscripts

Including Artists’ Books and Livres d’Artistes November 12 | Chicago | 10amct

Inquiries Gretchen Hause, Director & Senior Specialist 312.334.4229 gretchenhause@hindmanauctions.com

HindmanAuctions.com

WE INVITE YOU TO CONSIGN WITH US UPCOMING AUCTIONS SALE 788

AMERICAN AND EUROPEAN ART Wednesday, September 30 | 10:00AM CT Chicago | Live + Online SALE 789

POST WAR AND CONTEMPORARY ART Thursday, October 1 | 10:00AM CT Chicago | Live + Online SALE 790

PRINTS AND MULTIPLES Friday, October 2 | 10:00AM CT Chicago | Live + Online CONSIGNMENT INQUIRIES hindmanauctions.com 1338 West Lake Street Chicago, Illinois 60607 312.280.1212

Wayne Thiebaud (American, b. 1920) Cake Studies, 1997, black ball point pen and pastel on lined notebook paper Sold for: $30,000

AUCTION INQUIRIES | FINE ART DEPARTMENT

Joseph Stanfield Director, Senior Specialist

Zack Wirsum Senior Specialist Post War and Contemporary Art

Monica Brown Senior Specialist, Fine Prints

Nate Brady Associate Specialist

Julianna Tancredi Cataloguer

FINANCE

Fine Art

Asian Works of Art

Marco Gusella Controller marcogusella@hindmanauctions.com 312.280.1212

Joseph Stanfield Director, Senior Specialist josephstanfield@hindmanauctions.com

Annie Wu Director, Senior Specialist anniewu@hindmanauctions.com

Zack Wirsum Senior Specialist zacharywirsum@hindmanauctions.com

Flora Zhang Cataloguer florazhang@hindmanauctions.com

Monica Brown Senior Specialist monicabrown@hindmanauctions.com

Megan Sadler Associate Cataloguer megansadler@hindmanauctions.com

Nate Brady Associate Specialist nathanbrady@hindmanauctions.com

Fine Jewelry and Timepieces

CLIENT SERVICES Rita Swanberg Client Experience Manager ritaswanberg@hindmanauctions.com 312.280.1212

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT Alyssa Quinlan Senior Vice President, Business Development alyssaquinlan@hindmanauctions.com 312.447.3272 Molly E. Gron, J.D. National Director, Trusts & Estates Senior Director, Chicago mollygron@hindmanauctions.com 312.334.4235 Katie Matusik Director, Appraisals and Valuations katelynmatusik@hindmanauctions.com 312.334.4224 Susan Mackenzie Business Development Director, Midwest susanmackenzie@hindmanauctions.com 312.447.3267 Vaughn Smith Business Development Manager vaughnsmith@hindmanauctions.com 312.334.4238 Briar Koehl Business Development Senior Associate briarkoehl@hindmanauctions.com 312.600.6075 Miranda Maxfield Business Development Associate mirandaluce@hindmanauctions.com 312.334.4208 Samantha Schwartz Business Development Associate samanthaschwartz@hindmanauctions.com 312.447.3297

MUSEUM SERVICES Michael Shapiro Senior Advisor, Museums and Private Collections michaelshapiro@hindmanauctions.com 312.334.4210

CONSIGNMENT DEPARTMENT

Julianna Tancredi Cataloguer juliannatancredi@hindmanauctions.com Mary Grace Bilby Account Executive marygracebilby@hindmanauctions.com 312.334.4216

Fine Furniture, Decorative Arts and Silver Corbin Horn Director, Senior Specialist corbinhorn@hindmanauctions.com 312.334.4214 Mike Intihar Senior Specialist mikeintihar@hindmanauctions.com Benjamin Fisher Senior Specialist benjaminfisher@hindmanauctions.com Nick Coombs Specialist nickcoombs@hindmanauctions.com Genevieve King Associate Specialist genevieveking@hindmanauctions.com

Modern Design Hudson Berry Director, Specialist hudsonberry@hindmanauctions.com Sabrina Granados Associate Cataloguer sabrinagranados@hindmanauctions.com

Arts of the American West Alexandria Dreas Consignment Manager alexandriadreas@hindmanauctions.com 303.825.1855

Books and Manuscripts

Jim Sharp Chief Operating Officer jimsharp@hindmanauctions.com

Gretchen Hause Director, Senior Specialist gretchenhause@hindmanauctions.com

Maggie Porter VP Sales Strategy maggieporteri@hindmanauctions.com

Francis Wahlgren Senior Consultant franciswahlgren@hindmanauctions.com

Kimberly Burt VP, Marketing and Luxury Goods kimberlyburt@hindmanauctions.com

Maria Fernandez Cataloguer mariafernandez@hindmanauctions.com 312.334.4236

110 A M E R I C A N A N D E U R O P E A N A R T

Mary Grace Bilby Account Executive

Katie Hammond Guilbault, G.G. Business Development Director, San Diego Senior Specialist, Jewelry and Timepieces katieguilbault@hindmanauctions.com Sally Klarr, G.G. Senior Specialist sallyklarr@hindmanauctions.com Marisa Ackerman, G.G. Specialist marisaackerman@hindmanauctions.com Hana Thomson Cataloguer hanathomson@hindmanauctions.com Madeline Schroeder Associate Cataloguer madelineschroeder@hindmanauctions.com 312.334.4223

Couture and Luxury Accessories Timothy Long Director, Senior Specialist timothylong@hindmanauctions.com Michael Hall Cataloguer michaelhall@hindmanauctions.com

Sports Memorabilia James Smith Specialist jamessmith@hindmanauctions.com

Hindman Interiors hindmanauctions.com 312.280.1212

REGIONAL OFFICES Abby Chambers Account Executive abbychambers@hindmanauctions.com 312.334.4234 Arrington Caison Account Executive arringtoncaison@hindmanauctions.com 312.447.3282

Abby Chambers Account Executive

Atlanta

668 Miami Circle NE Atlanta, Georgia 30324 atlanta@hindmanauctions.com 404.800.0192

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6270 Este Avenue Cincinnati, Ohio 45232 Tel: 513.871.1670 cincinnati@hindmanauctions.com

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Washington, D.C.

700 12th Street, NW Suite 700 Washington, D.C. 20005 washingtondc@hindman.com 202.853.1638

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 312.280.1212 for further information.

GUIDE FOR PROSPECTIVE BUYERS Conditions of Sale Hindman LLC encourages all prospective buyers to read the Conditions of Sale printed in this catalogue.

Exhibitions Hindman LLC recommends that all prospective buyers attend the pre-sale exhibition prior to the auction. Staff members are available at our pre-sale exhibitions to advise prospective buyers on particular objects or on any aspect of the bidding process.

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 normal bidding increments are: $0 - $200 ........................................ $10 $200 - $500 ........................................ $25 $500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $200 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,000 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Over > $200,000 ...... Auctioneer’s Discretion

In-House Bidding Live bidding at Hindman LLC is by paddle only. Please register for a paddle at the entrance of the sales room. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

Online Bidding 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 use the absentee bid form provided at the back of this catalogue. Hindman LLC will exercise written order bids and telephone bids at no additional charge. Lots will always be sold as inexpensively as is allowed other bids and reserves as are on our books or bids executed in competition from the audience.

Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law.

DRIVING DIRECTIONS/PARKING From the WEST: Take I-290 east. Take the Paulina Street/Ashland Boulevard exit 28B. Stay straight to go onto West Congress Parkway. Turn left onto South Paulina Street.

Take a slight right onto West Ogden Avenue. Turn right onto West Lake Street.

Building will be on the left side at 1338 West Lake Street.

From the NORTH/NORTHWEST: Take I-90/I-94 east toward Chicago. Take the Ogden Avenue exit 50A. Stay straight to go onto North Racine Avenue. Turn right onto West Lake Street.

Building will be on the right side at 1338 West Lake Street.

From the SOUTHWEST: Take I-55 north. Exit 292A I-90/I-94 W Wisconsin Follow I-90/I-94 W Wisconsin to the Lake Street exit 51A. Turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street.

From the SOUTH/SOUTHEAST: Take I-90/I-94 west Follow I-90/I-94 W via the exit on the left toward Chicago Loop. Take the Lake Street exit 51A and turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street.

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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 glossary at the end defines the words in bold type.

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.

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. 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 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.

2. 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.

3. 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

112 A M E R I C A N A N D E U R O P E A N A R T

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.

4. 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.

5. 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 in the back of our catalogues, 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.

6. 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 $100 authorization hold on the card that will remain until it falls off, usually within 48 hours.

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. 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-only Auctions. Bids may only be submitted on our website or through third-party bidding sites 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 approximately fifty percent (50%) of the lot’s low estimate; where

necessary, will lower the asking bid until a bid is received; 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.

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 $250,000; twenty percent (20%) of any amount in excess of $250,000 up to and including $3,000,000; and twelve percent (12%) of any amount in excess of $3,000,000. 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) Cash: We accept cash payments (including money orders and traveler’s checks) subject to a maximum aggregate of US $10,000 per buyer, per sale. (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 onehalf 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. (b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate. (c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot. (d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).

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

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 113

2. OUR LIMITED AUTHENTICITY WARRANTY Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows: (a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type. (c) It does not apply to any Heading or part of a Heading that is qualified.

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

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 catalogue 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.

114 A M E R I C A N A N D E U R O P E A N A R T

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. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy, or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), you and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved.

Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This

arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY

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

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

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

Updated 9/20

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 115

B I D FOR M

FX 312.280.1211 EM BID@HINDMANAUCTIONS.COM

Online registration/bid requests must be received at least 24 hours before the auction begins.

Hindman LLC will confirm all bids received by fax or by return email.

Phone bids will not be accepted on lots with a low estimate below $300.

Hindman LLC allows absentee and telephone bidding registeration through our website at hindmanauctions.com

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 normal bidding increments are:

NAME

SALE No./NAME

788 - American + European BUSINESS NAME

BILLING ADDRESS

CITY

STATE

COUNTRY/ZIP

CONTACT NAME

PRIMARY PHONE

EMAIL

For absentee bids, indicate your limit for each lot. Your bids will be excecuted at the lowest prices allowed by reserves and competing bids. If we receive more than one bid of the same value, the first one received will take precedence.

I authorize Hindman LLC to bid on my behalf up to the amount stated below. By bidding at auction you agree to be bound to the Conditions of Sale as stated in the sale catalogue and on our website.

DAT E

( FO R H INDM AN LCC)

$10 $25 $50 $100 $200 $500 $1,000 $2,000 $5,000 $10,000 AUCTIONEER’S DISCRETION

SECONDARY PHONE

FAX

S IG N ATURE

$0 – 200 $200 – 500 $500 – 1,000 $1,000 – 2,000 $2,000 – 5,000 $5,000 – 10,000 $10,000 – 20,000 $20,000 – 50,000 $50,000 – 100,000 $100,000 – 200,000 $200,000 +

A per lot buyer’s premium is added to the final hammer price as per the following: $0 – 250,000 $250,001 – 3,000,000 $3,000,001 +

25% 20% 12%

Hindman LLC is not responsible for failure or other inadvertent errors relating to the execution of your bids.

DAT E

First time bidders please provide a valid credit card and one of the following: Passport/Driver’s License/National Identity Card LOT No.

LOT DESCRIPTION

ABSENTEE BID

PHONE BID

BACK-UP BID

USD ($) L IMI T EX C L .

BUY E R’S P R EM I U M

PL EAS E C H EC K

F O R T EL EPH O N E B I D D ER S O N LY

1338 WEST LAKE STREET CHICAGO, ILLINOIS 60607 PH 312.280.1212 FX 312.280.1211 EM BID@HINDMANAUCTIONS.COM HINDMANAUCTIONS.COM

How did you hear about Hindman?

1338 West L ake Street Chicago, Illinois 60607 l ph 312.280.1212 l hindmanauctions.com