Sale 972 | American and European Art by Hindman Auctions

AMERICAN & EUROPEAN ART 13 DECEMBER 2021

AMERICAN & EUROPEAN ART SALE 972 13 December 2021 10am CT | Chicago Lots 1–107 P R E V I E W B Y A P P O I N T ME N T P RO P E R T Y P I C K U P H O U R S Monday - Friday | 9:00am – 4:30pm By appointment 312.280.1212 All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale. CONTENTS American Art | Lots 1-64 European Art | Lots 65-107 Artist Index Hindman Team Inquiries Conditions of Sale

4-51 52-79 80 82 83 84

All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database.

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FRONT COVER Lot 23

DEN 1057930 FL AB3688 GA AU-C003121 IL 444.000521 OH 2019000131 MO STL 107286 © Hindman LLC 2021

AMERICAN & EUROPEAN ART

P RO P E R T Y F RO M T H E T R U S T S A N D E S TAT E S O F The Solon A. Ellison Revocable Trust, Placitas, New Mexico Carol J. Feinberg, New York, New York Joanne K. Hickey Mrs. Rita H. Hupp, Aurora, Illinois Joan Skewes-Cox Malone Spitalny Pearson, Phoenix, Arizona Virginia H. Rogers, Chicago, Illinois Avis Hope Truska, Scottsdale, Arizona The Trusts of Barbara V. and William K. Wamelink, Gates Mills, Ohio 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 David and Diane Buck, Milwaukee, Wisconsin William Coles, Arizona The Crossett Family, Denver, Colorado and Far Hills, New Jersey A Gentleman, Atlanta, Georgia The JFM Foundation Collection, Denver, Colorado Amanda Beth Kuecker, Bloomingdale, Illinois A Palm Beach Florida Collector Steve Parker, Atlanta, Georgia A Private Collection A Private Collection, Taos, New Mexico Mr. Michael Rosebush, Monument, Colorado Mr. and Mrs. Kenneth Schmidt, Wauwatosa, Wisconsin Michelle Smith, Washington, D.C. Helena Szepe, Tampa, Florida Stephen Wright, Roscoe, Illinois Iris and Paul Zahara, Flossmoor, Illinois P RO P E R T Y S O L D T O B E N E F I T Care of Collections and the George Montgomery Fund for Acquisitions, Palm Springs Art Museum Catholic Charities of the Archdiocese of Chicago

O P P O S I TE Lot 40

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

AMERICAN & EUROPEAN ART

AMERICAN ART LOTS 1 - 6 4

O P P O S I TE Lot 15

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

Orville Bulman

(American, 1904–1978) Entourage de la Reine, 1965 oil on canvas signed Orville Bulman (lower right); signed, dated, and titled (verso) 30 1/4 x 36 inches. Provenance: Hammer Galleries, New York $30,000 - 50,000

AMERICAN & EUROPEAN ART

Orville Bulman

(American, 1904-1978) Très Embarrassant, 1967 oil on canvas signed Orville Bulman and dated (lower right); signed and dated (verso) 25 x 30 inches. Provenance: Hammer Galleries, New York Acquired directly from the above by the present owner, October 28, 1967 $30,000 - 50,000

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

Orville Bulman

(American, 1904–1978) Á ce qu’il paraît, 1957 oil on canvas signed Bulman (lower right); titled and dated (verso) 20 1/4 x 18 inches. Provenance: The Artist Private Collection, acquired directly from the Artist Thence by descent to the present owner $15,000 - 25,000

Wolf Kahn

(American/German, 1927–2020) Oaks Along the Edge of a Field, 1992 pastel on paper signed W Kahn (lower center) 9 x 12 inches. Property from the Solon A. Ellison Revocable Trust, Placitas, New Mexico Provenance: Grace Borgenicht Gallery, New York $2,000 - 4,000

AMERICAN & EUROPEAN ART

Morris Graves

(American, 1910–2001) Fountain, 1937 tempera on paper signed M. Graves and dated (lower right) 17 3/4 x 13 1/2 inches. Property belonging to the JFM Foundation Collection, Denver, Colorado Provenance: Willard Gallery, New York Schmidt Bingham Gallery, New York $2,000 - 4,000

John Graham

(American, 1886-1961) Untitled (City View), 1926 gouache and watercolor on paper laid to board signed Graham and dated (lower right); signed (lower left) 9 1/4 x 12 inches. Property belonging to the JFM Foundation Collection, Denver, Colorado Provenance: Robert Henry Adams Fine Art, Chicago $2,000 - 4,000 F O R M O R E L O T D E TA I L S A N D I M AG E S V I S I T H I N D M A N A U C T I O N S . C O M

Stuart Davis

(American, 1892–1964) Stage Set for “The Puritans,” 1922 watercolor, gouache, and graphite on paperboard signed Stuart Davis (lower right); titled (lower left) 16 1/2 x 23 1/2 inches. Provenance: The Artist Mr. and Mrs. Ralph deGolier, Vineyard Haven, Massachusetts, c. 1923 Mrs. Ralph deGolier, Vineyard Haven, Massachusetts The Downtown Gallery, New York, 1966 Edith Gregor Halpert, New York Estate of the above Sold: Sotheby Parke Bernet, Inc., New York, May 16, 1973, Lot 2 Paul Stiga, New York R.H. Love Galleries, Chicago

AMERICAN & EUROPEAN ART

Acquired directly from the above by the present owner, 2000 Literature: Kenneth Spritz, “Behind the Scenes: American Theatrical Design,” American Art & Antiques, 2, issue 2, March - April 1979, p. 74, illus. Andrea DiNoto, “Collecting Stage Design-Bargains Aplenty, Paul Stiga: Portrait of a Collector,” Connoisseur, 21, no. 950, March 1991, p. 108, illus. Ani Boyajian, Mark Rutkoski, Stuart Davis: A Catalogue Raisonné, vol. 2, New Haven, Connecticut, 2007, no. 1072 p. 523, illus. Lot note: The present work is one of five stage and costume designs that Stuart Davis made for his friend, Ralph deGolier’s play, The Puritans. $50,000 - 70,000

Aaron Bohrod

(American, 1907-1992) Fish Market oil on masonite signed Aaron Bohrod (lower center) 16 x 12 inches. Provenance: Associated American Artists, New York $2,000 - 4,000

Aaron Bohrod

(American, 1907–1992) Blue Venus oil on gesso panel signed Aaron Bohrod (lower right) 16 1/2 x 12 1/4 inches. Provenance: The Artist Sold: Susanin’s Auctioneers & Appraisers, Chicago, October 24, 2015, Lot 6319 $2,000 - 4,000 F O R M O R E L O T D E TA I L S A N D I M AG E S V I S I T H I N D M A N A U C T I O N S . C O M

Chaim Gross

(American, 1904-1991) Handstand, 1964 bronze inscribed Chaim Gross with the artist’s device and dated (base) Height: 15 3/4 inches. $4,000 - 6,000

John Bernard Flannagan (American, 1895-1942) Pelican, 1941 bronze Height: 17 1/2 inches.

Property belonging to the JFM Foundation Collection, Denver, Colorado $2,000 - 4,000

AMERICAN & EUROPEAN ART

Moses Soyer

(American, 1899-1974) Street Scene oil on board signed Soyer (lower right) 18 x 20 1/2 inches. $5,000 - 7,000

Everett Shinn

(American, 1876-1953) Three Figure Studies of a Clown graphite, watercolor, and gouache on paper signed Everett Shinn (lower center) 4 3/4 x 8 inches. Property from the Trusts of Barbara V. and William K. Wamelink, Gates Mills, Ohio Provenance: Estate of the Artist Graham Galleries, New York $1,000 - 2,000

Raphael Soyer

(American, 1899-1987) Schary and His Model, 1947 oil on canvas signed Raphael Soyer, dated, titled, and inscribed To Hope wit best wishes (lower right) 10 x 14 inches. $2,000 - 4,000 F O R M O R E L O T D E TA I L S A N D I M AG E S V I S I T H I N D M A N A U C T I O N S . C O M

Reginald Marsh

(American, 1898-1954) The People’s Follies, 1938 tempera on board signed Reginald Marsh and dated (lower right) 28 x 36 inches. Provenance: The Artist Senator William Benton, Connecticut Thence by descent in the family D. Wigmore Fine Art, New York Acquired directly from the above by the present owner, 1996 Exhibited: Chicago, Art Institute of Chicago, 20th International Exhibition of Water Colors, July 17 – October 5, 1941, no. 396 Bridgeport, Connecticut, Sacred Heart University, Library Gallery, Senator William Benton Collection, May 14 – June 20, 1972 $100,000 - 150,000

AMERICAN & EUROPEAN ART

A recorder of urban life during the early 20th century, Reginald Marsh turned his unflinching eye to the plebian, often gritty, views of New York. In burlesque scenes like The People’s Follies, 1938, he captured the jaded women gyrating for the everyday joe and pompous businessmen alike. In a review of the 1955 Whitney Museum retrospective on the artist, art critic Emily Genauer stated “It was its people-and in their least attractive aspects-who fascinated him. For material he had only to…attend the city’s burlesque shows (which he followed to Jersey City when they were banned in New York in 1937), and paint both the bored and faceless strippers and the leering, gaping audience...None of this made for pretty pictures. But because Marsh was such an extraordinary craftsman...his work radiates vitality. His over-ripe girls burst through their clothes and even their skin...” (“Marsh Our Hogarth, Museum Show Proves,” New York Herald Tribune, p. 5, https://www.aaa.si.edu/collections/frank-k-m-rehn-galleries-records-9193/ subseries-4-1/reel-5870-frames-971-1052, accessed 27 October 2021). After graduating from Yale in 1920, Marsh moved to New York and worked as a freelance commercial artist, until he was hired by the New York Daily News in 1922. The young artist covered the vaudeville beat, which was an early introduction to the seedy underground of the city. In 1925, Marsh traveled to Paris with his first wife, where he encountered the Baroque style that resulted in a definitive shift in his artistic approach. Returning from Europe in 1926, the artist enrolled in classes at the Art Students’ League in New York, where his instructors included the Ashcan School painters, John Sloan and George Luks. Their social realist views came to exert an important influence on his art; however, Marsh preferred to avoid direct political entanglements and made his opinions known through his satirical sketches. Marsh’s study of the Old Masters, in particular Michelangelo, Raphael, and Rubens, helped him discover how to organize multiple, strongly modeled figures in rhythmic compositions full of movement. He used these devices to document the urban population’s pursuit of pleasure and exhibitionism in his burlesque subjects. In The People’s Follies, the voluptuous dancer is high above her audience and leans towards them suggestively. She is highlighted by an unseen spotlight and the red cloth she holds further leads all eyes toward her rounded, fleshy limbs. A blue-curtained arch encompasses a group of onlookers on the right, who stare upward at the woman appreciatively and with varying degrees of intensity. Marsh’s use of Old Master arrangements, originally developed to dramatically portray Biblical and mythological tales, turns a profane and tawdry vision into a frank testament of the particular brashness of the human spirit in 1930s New York.

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

Reginald Marsh

(American, 1898–1954) Woman Walking ink and wash on paper initialed RM (lower right) 13 3/4 x 9 3/4 inches. $1,000 - 2,000

George Benjamin Luks

(American, 1867-1933) Mercedes (The Artist’s Wife) oil on canvas signed George Luks (lower right) 24 x 20 inches. Provenance: John H. Surovek, Palm Beach, Florida $15,000 - 20,000 18

AMERICAN & EUROPEAN ART

Jerome Myers

(American, 1867-1940) Schoolyard Games oil on canvas signed Jerome Myers (lower left) 22 1/2 x 16 1/4 inches. $10,000 - 15,000

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

William Zorach

(American, 1887-1966) Untitled, 1917 graphite and watercolor on paper signed Wm Zorach and dated (lower right) 11 x 8 1/2 inches. Property belonging to the JFM Foundation Collection, Denver, Colorado $2,000 - 4,000

Elie Nadelman

(American/Polish, 1882–1946) Head of a Woman graphite on paper inscribed EN 1979 and EN-106 (verso) 10 x 8 inches. Property from the Estate of Carol J. Feinberg, New York, New York $1,500 - 2,500 20

AMERICAN & EUROPEAN ART

Thomas Hart Benton

(American, 1889-1975) Train Station (Study for Frisco Station), c. 1926 graphite on brown paper inscribed 24 (verso) 4 x 6 inches. We wish to thank Andrew Thompson and Dr. Henry Adams for their assistance cataloguing this lot. Provenance: Salander-O’Reilly Galleries, New York $4,000 - 6,000

Thomas Hart Benton

(American, 1889-1975) A Dispute with the Sheriff, c. 1926 graphite on paper 8 x 5 inches. We wish to thank Andrew Thompson and Dr. Henry Adams for their assistance cataloguing this lot. Provenance: Salander-O’Reilly Galleries, New York $4,000 - 6,000

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

N.C. Wyeth

(American, 1882-1945) When Drake Saw for the First Time the Waters of the South Sea, 1906 oil on canvas signed N.C. Wyeth (lower right); dated (verso) 38 x 24 inches. Property from the Trusts of Barbara V. and William K. Wamelink, Gates Mills, Ohio Provenance: Vose Galleries, Boston, 1967 Private Collection, San Francisco, California Ronald R. Randall, John Howell-Books, San Francisco, California, 1971 Literature: John R. Spears, “The Buccaneers, Drake and the Golden Hind,” The Outing Magazine, vol. XLVIII, no. 6, September 1906 (frontispiece illustration in black & white) Douglas Allen and Douglas Allen, Jr., N.C. Wyeth, The Collected Paintings, Illustrations and Murals, New York, 1972, p. 268 Christine B. Podmaniczky, N.C. Wyeth, A Catalogue Raisonné of Paintings, London, 2008, I.141, p. 147, illus. $200,000 - 400,000

AMERICAN & EUROPEAN ART

Renowned artist of the Golden Age of Illustration, N.C. Wyeth achieved success after studying at Howard Pyle’s school and selling his first drawing to the Saturday Evening Post in 1903, at the age of 21. Wyeth would go on to capture real life, historical characters that were later romanticized in literary sources. The Outing Magazine, an American periodical covering a variety of sporting activities, commissioned the artist in 1906 to create a frontispiece illustration for John R. Spears’ article “The Buccaneers, Drake and the Golden Hind.” In a letter dated March 1906, Wyeth wrote to his father: “I’ve started one of five drawings for Outing and have it on the way to completion. I made one attempt which proved to be unsatisfactory, the second is more successful. Mr. Pyle is much pleased with it and claims it to be a big jump ahead. The subject is Sir Francis Drake at the top of a tropical tree gazing for the first time on the South Seas.” (NCW to ANW, “Dear Papa, I just received the double letter..,” undated but March 1906, Wyeth Family Archives.) Almost two weeks later, he reported: “I’ve finished a picture for Outing also, (Sir Francis Drake at the top of a tree...)....I managed to get one of the best illustrations I ever did from it. It pleased me greatly as it was not the result of an inspiration, but of the weaving to-gether of cold hard facts and technical knowledge...” (NCW to HZW, “Dear Mama, To-day its bright and cold...” undated but March 1906 by context, Wyeth Family Archives). Spears’ article recounts Sir Francis Drake’s 1572 expedition to the Isthmus of Panama, where he attacked Nombre de Dios, a major port of call for the Spanish treasure fleet. According to the tale, the attack was unsuccessful, and Drake and his men spent the rainy season hiding in the backwaters of Panama. When good weather returned, Drake and several of his men crossed the isthmus to see when the pack-mule trains of treasure would leave from the recently arrived Spanish flotilla and travel to Nombre de Dios. “…with cheerful hearts the little band started forth and for seven days worked laboriously…Finally as they neared the city they came to a large hill, on the crest of which grew a ceiba tree that towered high above the surrounding forest. Here they paused while Drake…climbed up among the many clinging vines until he reached a limb where his view was unobstructed, and looking away to the south saw for the first time the waters of the South Sea…filled with a feeling he could not describe, Drake raised his hands toward heaven and begged Almighty God ‘to give him life and leave to sail an English ship in those seas.’” (John R. Spears, “The Buccaneers, Drake and the Golden Hind,” The Outing Magazine, vol. XLVIII, no. 6, September 1906, p. 744) Wyeth’s admiration for Pyle’s tutelage is revealed in When Drake Saw for the First Time the Waters of the South Sea through the careful attention to authentic details. The adventurer’s costume of slashed doublet, bright hose, and high leather boots epitomizes the idealized buccaneer and adventurer of the 16th and 17th centuries. However, Wyeth unquestionably draws from his brilliant imagination to achieve an aesthetic that is undeniably his own. The composition vividly captures the sense of discovery, with Drake framed by a dramatic cloud as he hovers between bright sky and sea and the lush, dark jungle foliage below. As Douglas Allen explains, “there is a heroic treatment of anatomy, for example, that makes a Wyeth masculine type so gloriously strong and virile—you look for a new discovery and technique—then that romance of color, of wave, of cloud…” (N.C. Wyeth: The Collected Paintings, Illustrations and Murals, New York, 1972, p. 140). With his attention to both accuracy of narrative as well as an expert application of composition, light and color, the present painting is an impressive example of Wyeth’s illustration work.

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

By 1903, N.C. Wyeth was already creating illustrations for American periodicals, such as the Saturday Evening Post, when he garnered additional acclaim for his work with the publishing company Charles Scribner’s Sons. His compelling illustrations for that publishing house’s edition of Robert Louis Stevenson’s Treasure Island in 1911 led to further commissions for both magazines and books. The present work was painted in 1913 by Wyeth to be used as an illustration for Henry Van Dyke’s story, The Lost Boy, published in the December issue of Harper’s Monthly Magazine. The tale was later published by Harper & Bros. as a stand-alone book in 1914. 24

Provenance: Maxwell Gallery, San Francisco, California, 1967-69 (as Boy on a Hill)

The Lost Boy is a tale from Jesus’s youth, in which he travels to Jerusalem with his parents for Passover and becomes separated from them while there. Leaping from Rock to Rock in Sheer Delight accompanies the passage that describes the journey to Jerusalem, which “…was a camping-trip, a wonder-walk, full of variety, with a spice of danger and a feast of delight. The Boy was the joy of the journey. His keen interest in all things seen and heard was like a refreshing spring of water to the older pilgrims…His unwearying vigor and pure gladness as he leaped down the hillsides, or scrambled among the rocks far above the path, or roamed through the fields filling his hands with flowers, was like a merry song that cheered the long miles of the way. He was glad to be alive, and it made the others glad to look at him” (Henry Van Dyke, The Lost Boy, New York, 1914, pp. 2-3).

Literature: Henry Van Dyke, “The Lost Boy,” Harper’s Monthly Magazine, vol. CXXVIII, no. 763, December 1913, f. p. 4, (illustrated in black & white) Henry Van Dyke, The Lost Boy, New York, 1914, f. p. 4, (reproduced in color, as The Boy was the Joy of the Journey) Douglas Allen and Douglas Allen, Jr., N.C. Wyeth, The Collected Paintings, Illustrations and Murals, New York, 1972, pp. 237; 259, illus. Christine B. Podmaniczky, N.C. Wyeth, A Catalogue Raisonné of Paintings, London, 2008, I.491, p. 283, illus.

When commenting on his duty as an illustrator, Wyeth remarked that his priority is to “be engaged as a potent addition to an author’s works and not merely a collection of pictures starring for themselves, bent on dividing the reader’s attention and further depleting the splendid illusions created by the text. Consequently, his initial demand of the illustrator is to strike at the very heart of a story; to paint in livid colors and masses, bold statements of the important characters” (“A Suggestion and a Comment on Illustrating Fiction,” The New York Times, October 13, 1912). The artist achieves his goal brilliantly in the present work, which depicts the young Jesus as a boy reveling in his youthful energy and the freedom and adventure of the journey. The composition is dynamic, with the subject perched on a boulder and his body outlined against the clear sky. Behind him stretches the rolling hills of the springtime Jordan valley. He reaches his flower-filled hand joyously upward while a breeze ruffles his striped tunic.

N.C. Wyeth

(American, 1882-1945) Leaping from Rock to Rock in Sheer Delight, 1913 oil on canvas signed N.C. Wyeth (lower right) 44 x 32 inches. Property from the Trusts of Barbara V. and William K. Wamelink, Gates Mills, Ohio

$120,000 - 180,000

AMERICAN & EUROPEAN ART

Wyeth created two additional illustrations for The Lost Boy, including Come, Live with Us, For I Think Thou art Chosen and When He Comes He Will Rule Over the Whole World. In a letter written by Wyeth, the artist declares that “Harper’s were delighted with my interpretation of Christ...” (NCW to Henriette Zirngiebel Wyeth, dated in another hand Oct. 3, 1913, WFA). Of the three images, the Leaping from Rock to Rock in Sheer Delight is the most vibrant and successfully conjures a spirit of boyish happiness and discovery. It fully realizes Wyeth’s belief that his works were to not only complement but to enhance the narrative.

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

Edward Potthast

(American, 1857-1927) Apollo Tried to Speak, But He Could Not pen and ink, wash, and gouache on illustration board signed E. Potthast (upper right) 22 3/4 x 16 1/4 inches. Provenance: Lagakos-Turak Gallery, Philadelphia, Pennsylvania $4,000 - 6,000

Elija Albert Cox

(British, 1876-1955) Galleon and Smaller Ships oil on canvas signed E.A. Cox (lower right) 22 x 18 inches. Property from the Trusts of Barbara V. and William K. Wamelink, Gates Mills, Ohio Provenance: Sold: Illustration House, New York, May 3, 1997, Lot 120 $1,500 - 2,500 26

AMERICAN & EUROPEAN ART

Arthur Garfield Dove

(American, 1880-1946) Orchestra, c. 1907 pastel and charcoal on paper signed Arthur G. Dove (lower right); inscribed (lower left) 14 x 24 1/2 inches. $2,000 - 4,000

Stanley Massey Arthurs

(American, 1877-1950) The Strangest Feat of Modern Magic oil on canvasboard signed S.M. Arthurs (lower left) 23 x 16 inches. Provenance: Sold: Bonhams, New York, May 22, 2007, Lot 2098 $8,000 - 12,000

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

Stanley Massey Arthurs

(American, 1877-1950) Death of Mordred oil on canvas signed Stanley Arthurs (upper right) 34 x 26 1/2 inches. $6,000 - 8,000

Stanley Massey Arthurs

(American, 1877-1950) Guarding Oak oil on canvas signed Stanley Arthurs (lower right) 30 x 25 inches. $1,000 - 2,000 28

AMERICAN & EUROPEAN ART

Jack Lorimer Gray

(Canadian, 1927–1981) Bringing in the Catch oil on canvas signed Jack L. Gray (lower right) 26 x 36 inches. Property from the Collection of Stephen Wright, Roscoe, Illinois $10,000 - 15,000

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

Arthur Ernst Becher

(American, 1877-1960) Courtier Watching Woman at Mirror, 1908 oil on canvas signed Arthur Becher, dated, and inscribed Munich (lower right) 35 3/4 x 24 inches. Provenance: Sold: Illustration House, New York, May 9, 1998, Lot 31 $1,500 - 2,500

Charles Courtney Curran

(American, 1861-1942) Head of a Woman, 1888 oil on canvas signed Chas. C. Curran and dated (lower right) 12 1/4 x 9 inches. Provenance: Richard York Gallery, New York $2,000 - 4,000

AMERICAN & EUROPEAN ART

David Gilmore Blythe (American, 1815-1865) The Cobbler’s Shop oil on canvas signed Blythe (lower left) 17 x 22 inches.

Property from the Trusts of Barbara V. and William K. Wamelink, Gates Mills, Ohio Exhibited: Washington, DC, National Collection of Fine Arts, Smithsonian Institution, The World of David Gilmour Blythe, October 17, 1980 - July 5, 1981 (also traveled to Rochester, New York, University of Rochester, Memorial Art Gallery, February 7 - March 29, 1981; Pittsburgh, Pennsylvania, Carnegie Institute, May 9 - July 5, 1981), no. 7 $15,000 - 25,000

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

Charles Caryl Coleman

(American, 1840–1928) The Watercarrier, c. 1908-10 oil on canvas signed with monogrammed initials CCC and inscribed Capri (lower right) 35 1/2 x 15 3/4 inches. Property from the Collection of William Coles, Arizona This work will appear in Adrienne Baxter Bell’s forthcoming catalogue of the works of Charles Caryl Coleman, as no. 352. Provenance: The Artist Rose O’Neill, bequest from the above Shepherd of the Hills Museum, Branson, Missouri Sold: Butterfield & Butterfield, San Francisco, California, March 17, 1988 Sold: Doyle, New York, November 17, 1993, Lot 21 (as Fisherman’s Cove, Capri) Exhibited: Borghi & Co., New York, Visions of Italy: Elihu Vedder, Charles Caryl Coleman, New York, June 1 - July 30, 1988, p. 20, pl. 39, illus. $10,000 - 15,000

AMERICAN & EUROPEAN ART

Acquired directly from the above by the present owner

James Abbott McNeill Whistler

(American, 1834-1903) Model Resting, c. 1866-9 chalk on brown paper inscribed No. 3 Whistler Drawing - Model Resting, Howard Mansfield Collection MAU os 47 and 8588 in unknown hands 9 1/2 x 7 inches. with the verso bearing a drawing of a woman’s leg. Provenance: The Artist Sold: Sotheby’s, London, February 12, 1880, Lot 79 (probably) Marcus Bourne Huish, London, acquired directly from the above sale Howard Mansfield, New York, by 1904 Macbeth Gallery, New York, by 1949 Private Estate Sold: Doyle, New York, April 24, 1985, Lot 59 R.H. Love Galleries, Chicago, acquired directly at the above sale

Exhibited: Boston, Copley Society, Copley Hall, Oil Paintings, Water Colors, Pastels, and Drawings: Memorial Exhibition of the Works of Mr. J. McNeill Whistler, February 1904, no. 176 New London, Connecticut, Lyman Allyn Museum, J. McNeill Whistler, May 1 - June 13, 1949, no. 75 Literature: “Art Sales,” Academy, XVII, February 21, 1880, pp. 148-9 Boston Home Journal, January 7, 1888 Margaret F. MacDonald, James McNeill Whistler: Drawings, Pastels, and Watercolours, A Catalogue Raisonné, New Haven & London, 1995, no. 335, pp. 109-10, illus. $6,000 - 8,000

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

Winslow Homer

(American, 1836-1910) Shepherdess, 1878 charcoal and white chalk on paper signed Winslow Homer and dated (lower right) 24 1/2 x 12 1/2 inches. Provenance: Edward Hill, Yonkers, New York, c. 1880 Gertrude Hill, New York, by bequest, c. 1930 Sold: Sotheby Park-Bernet, New York, November 18, 1977, Lot 526 Hirschl & Adler Galleries, New York, 1977 John H. Surovek Gallery, Palm Beach Florida, c. 1984 Private Collection Exhibited: Palm Beach, Florida, John H. Surovek Fine Arts, Impressionist Masterworks, Winter 1985 New York, Knoedler-Modarco S.A., Winslow Homer in Monochrome, December 12, 1986 - January 10, 1987, no. 35, p. 32, illus. Literature: Lloyd Goodrich and Abigail Booth Gerdts, Record of Works by Winslow Homer, 1877 through March 1881, vol. III, New York, 2008, no. 653, p. 98, illus. $70,000 - 90,000

AMERICAN & EUROPEAN ART

The present work, Shepherdess, was executed in 1878 by Winslow Homer to be used as a model for a design element within a fireplace surround (now in the Metropolitan Museum of Art, New York). A drawing of a shepherd was also created by Homer and together the two figures, along with their flock, were recreated as a suite of twelve contiguous 8-inch square tiles. The surround was presented to the artist’s older brother, Charles Savage Homer, for his home in West Townsend, Massachusetts. It may have been that the artist hoped to produce a commercially manufactured line based on the design, indicated by the inscribed “No. 1,” along with a copyright claim, on the lowest left tile of the surround. The drawing and the resulting surround came as a consequence of Homer’s involvement with the Tile Club, a New York artist organization that was active from 1877 to 1887. Members included 31 notable New York painters, sculptors, and architects, including William Merritt Chase, J. Alden Weir, John Henry Twachtman, Elihu Vedder, Augustus Saint-Gaudens, and Stanford White. The club formed as an informal, men’s-only order to paint on ceramic tiles and enjoy social camaraderie with like-minded fellows, as well as traveling together on group excursions and sketching trips. In addition to friendship, the club was a response to the growing interest within America to the Aesthetic movement, which called for a marriage of the beautiful and useful in the fine and decorative arts. They also championed American art in general and helped to popularize plein air painting and the Impressionist style. The subject of the present drawing likewise relates to some of Homer’s most idyllic images of American country life. In 1876, Lawson Valentine, the artist’s friend and first and most important patron, purchased a farm in Mountainville, New York and named it Houghton Farm, after his wife’s family name. Homer spent the summer and fall of 1878 at the homestead, where he made a number of works related to sheep husbandry, an essential part of the working farm. Shepherdess may first have been envisioned on Homer’s 1878 trip to Houghton Farm, resulting in a unique work that stands at the intersection of late 19th century American art and craft.

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

Maurice Prendergast

(American, 1858-1924) Looking Toward the Louvre from the Tuileries watercolor and graphite on paper signed Prendergast (lower left) 17 3/4 x 13 inches. Provenance: The Artist By descent to Charles Prendergast, the Artist’s brother, 1924 Mrs. Charles Prendergast, 1948 Kraushaar Galleries, New York H.C. MClellan, 1955 Kraushaar Galleries, 1971 The Cass Canfield Collection, New York, 1972 Hammer Galleries, New York, by 1981 Sold: William Doyle Galleries, New York, April 20, 1983, Lot 128 Private Collection, 1983

Exhibited: New York, Kraushaar Galleries, Maurice Prendergast: Paintings and Watercolors of Chartres, Dieppe, Dinard, Treport, Paris, St. Malo, November 13 December 9, 1944, no. 21 Chicago, University of Chicago, The Renaissance Society, Exhibition of Paintings in Oil and Watercolor by Maurice Prendergast with Watercolors by Charles Demuth and Carl Kohler, January 29 - February 28, 1946, no. 18 (as Tuileries Garden) New York, Hammer Galleries, 19th and 20th century European & American paintings & sculpture: recent acquisitions, February 2 - 28, 1981, no. 21 Literature: Richard J. Wattenmaker, “Maurice Prendergast,” Allen Memorial Art Museum Bulletin, 40 (1982-1983), p. 36 Carol Clark, Nancy Mowll Mathews, and Gwendolyn Owens, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, no. 923, p. 442, illus. $50,000 - 70,000

AMERICAN & EUROPEAN ART

John Singer Sargent

(American, 1856-1925) David Plays Before Saul (or David Playing before Saul), c. 1895-98 oil on canvas signed faintly John S. Sargent (upper right); bears artist’s estate stamp JSS (verso) 22 1/4 x 30 1/4 inches. Provenance: Estate of the Artist Sold: Christie’s, London, July 25 and 27, 1925, Lot 213 Scott & Fowles, New York Esther Slater Kerrigan, New York Sold: Parke-Bernet, New York, January 8 - 10, 1942, Lot 284 (as David playing before Saul) Sold: Parke-Bernet, New York, December 10 - 11, 1947, Lot 187 (as David Playing Before Saul) Joseph Muller, acquired directly from the above sale

Babcock Gallery, New York Schweitzer Gallery, New York, 1956 Marymount School, Tarrytown, New York Mother Majella O’Brien Sold: Sotheby Parke Bernet, New York, January 28 29, 1970, Lot 260 (as David Playing Before Saul) Sold: Sotheby Parke Bernet, New York, September 13, 1972, Lot 94 Fritz Katz Sold: Sotheby’s, New York, December 4, 1986, Lot 216 (as David Playing Before Saul) Exhibited: Boston, Copley Hall, Paintings and Sketches by John S. Sargent, R.A., February 20 - March 13, 1899, no. 82, p. 19 (as Illustration/David Playing Before Saul) Literature: A. Lys Baldry, “The Art of J.S. Sargent, R.A., International Studio, vol. 10, 1900, p. 19 (as Illustration/David Playing Before Saul)

William Howe Downes, John S. Sargent: His Life and Work, Boston, 1925, p. 291 (and in expanded London, 1926 edition, as David Playing before Saul) Evan Charteris, John Sargent, London, 1927, p. 287 (dated 1904) Charles Merrill Mount, John Singer Sargent: A Biography, New York, 1955, p. 447 (K962) (dated 1896) [in following expanded editions, 1957, p. 357; 1969, p. 469] “Notable Works of Art Now on the Market,” Burlington Magazine, vol. 98, no. 645, December 1956, p. 24 Richard Ormond, Elaine Kilmurray, John Singer Sargent: Figures and Landscapes, 1883-1899: The Complete Paintings, vol. V, New Haven, Connecticut, 2010, no. 1014, pp. 326; 362-363, illus. $80,000 - 100,000

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Theodore Earl Butler

(American, 1861-1936) East River, 1900 oil on canvas signed T.E. Butler and dated (lower right) 30 x 40 inches. This painting will be included in Patrick Bertrand’s forthcoming catalogue raisonné of the work of Theodore Earl Butler. We are grateful for his assistance cataloging this lot. Provenance: Estate of the Artist James Butler, son of the Artist Spanierman Galleries, New York R.H. Love Galleries, Chicago Acquired directly from the above by the present owner Exhibited: New York, Durand-Ruel Gallery, March 1900 (possibly) San Francisco, Maxwell Galleries, Theodore Butler: American Impressionist, June 16 - July 17, 1972, no. 734, illus. Chicago, R.H. Love Galleries, Theodore E. Butler: Emergence from Monet’s Shadow, 1984 - 1986; 1996 (and traveling), pl. 46, pp. 211; 428, illus. Chicago, R.H. Love Galleries, Theodore E. Butler: An American Impressionist, December 16, 2000 January 31, 2001 Literature: “The Week in Art,” The New York Times, March 10, 1900, vol. XLIX, no. 15, 653, p. 155 (possibly) $60,000 - 80,000

AMERICAN & EUROPEAN ART

In the fall of 1899, Theodore Butler left France for New York with his children, Lilly and Jimmy, and his sister-in-law, Marthe. His wife, Suzanne Hoschedé and Claude Monet’s stepdaughter, had died earlier the same year. Butler had settled in Giverny in the 1880s but left for the United States to be closer to his family after his wife’s death. The drastic change between the bucolic landscape of Giverny and the dramatic hustle and bustle of New York clearly inspired the artist. Butler had lived in New York previous to leaving for Europe and the city had changed greatly in the intervening time. He was only to stay for six months, but during that time he produced some of his most acclaimed artworks, including East River. Composed of iridescent blues, pinks, and purples, East River masterfully conveys the cold, moist air of a New York winter. The lower half of the large canvas depicts a ship and barge in the East River, with the shore and cityscape above. Rolling clouds from the boats’ smokestacks divides the composition in half and make the vertical skyscrapers seem to float above the shoreline. Butler used a variety of brushwork, with smoother strokes for the water, smoke, and clouds, and stronger, diagonal strokes for the ships, harbor, and skyline. The effect dissolves all shapes in space uniformly, creating a filmy, chromatic atmosphere that shimmers and flickers across the luminous canvas. It offers the viewer an incredible rendering of the East River, a poetic homage to its industrialization. East River was likely included in a March 1900 exhibition at the New York location of Galerie Durand-Ruel, along with works by his father-in-law Monet. Three paintings in the exhibition were titled East River and at least one bore the title Brooklyn Bridge. These views of New York were done in Butler’s particular combination of impressionist colors and brushwork with postimpressionist abstract, flattened forms and patterning. More accustomed to Monet’s brand of impressionism, critics’ responses to Butler’s work were mixed. However, the uniqueness of his imagery did not go unnoticed. In a letter to his friend, the artist Philip Leslie Hale, Butler stated that “Papa Durand-Ruel bought one of my New York pictures. That sounds quite simple but means a lot to me.” Likewise, a critic of the International Studio emphasized that the artist “goes to the extreme of vividness” and shows an “intensely penetrating vision” (“American Studio Talk,” International Studio, 10, no. 37 (March 1900), p. IV). In the present work, Butler captures the classic essence of New York, a city that restlessly vibrates with life, even in its still moments.

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Johann Berthelsen

(Danish, 1883-1972) Grace Church, Broadway oil on canvasboard signed Johann Berthelsen (lower right) 12 x 9 inches. We would like to thank Lee Berthelsen of the Johann Berthelsen Conservancy for his kind assistance with cataloging this lot. $2,000 - 3,000

Johann Berthelsen

(Danish, 1883-1972) Washington Square Looking Up Fifth Avenue oil on canvasboard signed Johann Berthelsen (lower right) 12 x 16 inches. We would like to thank Lee Berthelsen of the Johann Berthelsen Conservancy for his kind assistance with cataloging this lot. $2,000 - 3,000 40

AMERICAN & EUROPEAN ART

Johann Berthelsen

(Danish, 1883-1972) Forty-second Street in Snow oil on canvasboard signed Johann Berthelsen (lower right) 10 x 8 inches. We would like to thank Lee Berthelsen of the Johann Berthelsen Conservancy for his kind assistance with cataloging this lot. $2,000 - 3,000

Peter Bela Mayer

(American, 1887–1957) Winter Overlook, New Jersey, c. 1918-19 oil on canvas signed Peter Bela Mayer (lower right) 30 x 34 inches. Provenance: Childs Gallery, New York Exhibited: Roslyn, New York, Nassau County Museum of Art, Peter Bela Mayer, An American Impressionist (1887- ), February 7 - April 8, 1984, no. 6, p. 16, illus. $1,000 - 2,000 F O R M O R E L O T D E TA I L S A N D I M AG E S V I S I T H I N D M A N A U C T I O N S . C O M

Frederick Carl Frieseke

(American, 1874-1939) Woman Reading Beside a Lamp, by 1904 oil on canvas signed F.C. Frieseke and indistinctly dated (lower left) 32 x 26 inches. This painting will be included in the forthcoming catalogue raisonné of Frieseke’s work being compiled by Nicholas Kilmer, the artist’s grandson, and sponsored by Hollis Taggart Galleries, New York. We thank him for his assistance in cataloguing this lot. In the artist’s notebook, in an entry datable 1905, p. 17 right, in a list that includes two other paintings for the 1905 Salon de la Société Nationale des Beaux–Arts, the title of the present painting is listed as Étude de Lumière. It is then crossed out and replaced by Femme lisant à côté d’une lampe.

AMERICAN & EUROPEAN ART

Provenance: Campanile Galleries, Chicago, 1970s Private Collection R.H. Love Galleries, Chicago Acquired directly from the above by the present owner Exhibited: Paris, Salon de la Société Nationale des Beaux–Arts, 1905, no. 522, pp. XV, 93, illus. (as Femme lisant à côté d’une lampe) Chicago, Art Institute of Chicago, Eighteenth Annual Exhibition of Oil Paintings and Sculpture by American Artists, October 19 - November 26, 1905, no. 126, p. 29 (as Girl Reading-Lamplight) Chicago, R.H. Love Galleries, The Genteel Tradition in American Painting, February 14 - March 28, 1998 (also traveled to Daytona Beach, Florida, The Museum of Arts and Sciences, January 15 - March 21, 1999)

Lot note: The model may be Gertrude Faxon, who also featured in Frieseke’s Girl with Book (Nasturtiums), by 1904. A native of Owosso, Michigan, Gertrude had modeled for Frieseke during his visit there in 1902. She may have been in the New YorkPhiladelphia-Atlantic City area during the artist’s stay there in 1904, when she was experimenting with a theatrical career. There is also an entry in Frieseke’s notebook, datable c. 1903-4, p. 12 left, the Paris address of a Gertrude (last name not recorded) at 3835 Vincennes [?] Avenue. A letter of August 12, 1902, from Frieseke (in Owosso, Michigan) to Sarah O’Bryan that suggests Gertrude Faxon was contemplating traveling to France. $70,000 - 90,000

Alice Barber Stephens

(American, 1858-1932) A Spring Morning in the Park, Rittenhouse Square, Philadelphia, 1892 oil on canvas signed Alice Barber Stephens and dated (lower right) 18 x 26 inches. Provenance: R.H. Love Galleries, Chicago Acquired directly from the above by the present owner Exhibited: Chicago, R.H. Love Galleries, The Genteel Tradition in American Painting, February 14 - March 28, 1998 Paris, United States Department of State Art in Embassies Program, 1998 $30,000 - 50,000

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Carl William Peters

(American, 1897-1980) Art Shop oil on canvas signed Carl W Peters (lower right) 20 x 24 inches Provenance: R.H. Love Galleries, Chicago Acquired directly from the above by the present owner Exhibited: Chicago, R.H. Love Galleries, Seeking Substance... Hitherto I Work: The Art of Carl W. Peters (18971980), 1994-1995 (and traveling), p. 34, illus. $4,000 - 6,000

Carl William Peters

(American, 1897-1980) Storefronts (Dock Square) oil on canvas signed Carl W. Peters (lower right) 20 x 24 inches Provenance: R.H. Love Galleries, Chicago Acquired directly from the above by the present owner $3,000 - 5,000

Carl William Peters

(American, 1897-1980) Boat Repairs at the Harbor oil on canvas signed Carl W Peters (lower left) 19 x 24 inches. Provenance: R.H. Love Galleries, Chicago Acquired directly from the above by the present owner Exhibited: Chicago, R.H. Love Galleries, Seeking Substance... Hitherto I Work: The Art of Carl W. Peters (18971980), 1994-1995 (and traveling), p. 116, illus. $3,000 - 5,000 44

AMERICAN & EUROPEAN ART

Carl William Peters

(American, 1897-1980) Autumn Afternoon at the Inlet oil on canvas signed Carl W Peters (lower right) 30 x 32 inches. Provenance: R.H. Love Galleries, Chicago Acquired directly from the above by the present owner Exhibited: Rockport, Massachusetts, Rockport Art Association (as The Inlet) New York, National Academy of Design, Allied Artists of America, Thirty-eighth Annual Exhibition, 1951 (as Old Sawmill) Chicago, R.H. Love Galleries, Seeking Substance... Hitherto I Work: The Art of Carl W. Peters (18971980), 1994-1995 (and traveling), p. 7, illus. $3,000 - 5,000

Carl William Peters

(American, 1897-1980) Main Street, Gloucester, Massachusetts oil on canvasboard inscribed by the Artist’s wife (verso) 16 x 20 inches. Provenance: R.H. Love Galleries, Chicago Acquired directly from the above by the present owner $2,000 - 4,000

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Ivan Mestrovic

(American, 1883–1962) Study for Monument of Gratitude to France bronze signed MESTROVIC (verso) Height: 10 1/4 inches. $2,000 - 4,000

Ivan Mestrovic

(American, 1883–1962) Male Figure with a Boulder bronze Height: 16 1/4 inches. $2,000 - 4,000

AMERICAN & EUROPEAN ART

Ivan Mestrovic

(American, 1883–1962) Woman Playing Cello, 1925 charcoal on paper laid to board signed I. Mestrovic, dated, and inscribed N.Y. (lower right); inscribed illegibly (lower left) 23 1/2 x 19 1/4 inches. $1,000 - 2,000

Elliot Daingerfield

(American, 1859–1932) Woman with Geese, 1888 oil on canvas signed E. Daingerfield and dated (lower right) 24 x 34 inches. $4,000 - 6,000

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Albert Bierstadt

(American, 1830-1902) Golden Gate, c. 1871-1873 oil on paper laid to board signed with conjoined initials ABierstadt (lower right) 12 x 17 1/2 inches. Property from the Estate of Spitalny Pearson, Phoenix, Arizona We wish to thank Melissa Webster Speidel, President of the Bierstadt Foundation and Director of the Albert Bierstadt catalogue raisonné project, for her kind assistance in cataloguing this lot. This painting will be included in her database being compiled on the artist’s work. Provenance: Private Collection, New York By descent through the family to the present owner $15,000 - 25,000

AMERICAN & EUROPEAN ART

From 1871-1873, Bierstadt spent most of his time in San Francisco, California, using the city as a base to explore California. He established a studio at the top of Clay Street, overlooking the San Francisco Bay. Here, he produced many oil sketches of the Bay Area and several finished oil paintings. Throughout his career, the artist produced dozens of cloud studies, a group in which Golden Gate is included. In the present work, he focused on the low-hanging bank of fog, with the filtered sunlight highlighting the clouds’ shapes. The water, landscape, and boats are sketchily but deftly rendered. The sun has broken through the fog in the distance, bathing the far hills in light. It exemplifies his mastery at creating the illusion of depth even in the simplest of landscapes. Similar oil sketches of the Bay Area include Port Richmond, Bay of San Francisco (Christie’s, New York, December 4, 2008, Lot 68) and Alcatraz, San Francisco Bay, 1875 (Bonham’s, New York, November 22, 2010, Lot 11). At approximately the same size as Golden Gate, and also oil on paper, the focus of these oil studies is the clouds and play of light and dark to reveal their forms.

William Aiken Walker

(American, 1838-1921) Cabin oil on academy board signed WAWalker. (lower left); titled (verso) 6 x 12 1/2 inches. We would like to thank John Fowler for his help with the authentication of this lot. $5,000 - 7,000

William Aiken Walker

(American, 1835-1921) Cotton Pickers, A Man and Woman (a pair of works) oil on academy board signed WAWalker. (lower left) each 12 x 6 1/4 inches. We would like to thank John Fowler for his help with the authentication of this lot. Provenance: Sold: Sotheby’s Arcade, New York, September 24, 1998, Lot 106 $12,000 - 15,000

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Thomas Hinckley

(American, 1813-1896 Watching the Flock, 1882 oil on canvas signed T.H. Hinckley and dated (lower right) 20 x 32 inches. $1,500 - 2,500

George Henry Smillie

(American, 1840–1921) Coastal Lane oil on canvas signed Geo. H. Smillie N.A. (lower right); inscribed indistinctly (stretcher) 16 x 24 inches. Property from the Collection of Mr. and Mrs. Kenneth Schmidt, Wauwatosa, Wisconsin $1,500 - 2,500

AMERICAN & EUROPEAN ART

Adam Emory Albright

(American, 1862-1957) Having a Chat oil on canvas signed Adam Emory Albright (lower left) 20 1/4 x 26 inches. Property from the Collection of Amanda Beth Kuecker, Bloomingdale, Illinois $1,000 - 2,000

Emile Albert Gruppe

(American, 1896-1978) Seated Girl on a Beach oil on canvas signed Emile A. Gruppe (lower left) 24 x 20 inches. $2,000 - 3,000 F O R M O R E L O T D E TA I L S A N D I M AG E S V I S I T H I N D M A N A U C T I O N S . C O M

LeRoy Neiman

(American, 1921–2012) Trumpet Player, 1952 ink and Conté crayon on paper signed LeRoy Neiman and dated (lower right) 18 x 16 inches. $2,000 - 4,000

AMERICAN & EUROPEAN ART

LeRoy Neiman

(American, 1921–2012) Drummer, 1954 ink and Conté crayon on paper signed LeRoy Neiman and dated (lower right) 16 x 17 inches. $2,000 - 4,000

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AMERICAN & EUROPEAN ART

EUROPEAN ART LOTS 6 5 - 1 0 7

O P P O S I TE Lot 86

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

Jacques Martin-Ferrières

(French, 1891–1972) Le Peintre, 1925 oil on canvas signed Martin Ferrières and dated (lower left) 36 1/2 x 36 1/4 inches. Property sold to benefit Catholic Charities of the Archdiocese of Chicago This lot is accompanied by an attestation of inclusion in the archives of the artist, in order to be included in the Catalogue Raisonné of Jacques Martin-Ferrières being prepared by Anne-Marie Destrebecq-Martin. Provenance: Findlay Galleries, Chicago Father Donald Cunningham Father Thomas I. Healy, Chicago, Illinois Exhibited: Paris, Salon des Artistes Français, 1925 (possibly won Prix National) $4,000 - 6,000 56

AMERICAN & EUROPEAN ART

Edouard Léon Cortès

(French, 1882-1969) Boulevard Bonne Nouvelle oil on canvas signed Edouard Cortès. (lower right) 18 x 22 inches. Collection of Iris and Paul Zahara, Flossmoor, Illinois We would like to thank Nicole Verdier for confirming the authenticity of this painting and including it in volume III of Édouard Cortès Catalogue Raisonné de l’Oeuvre Peint. $15,000 - 25,000

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

Edouard Léon Cortès

(French, 1882-1969) Boulevard de la Madeleine oil on canvas signed Edouard Cortès. (lower right) 15 1/4 x 18 1/4 inches. Collection of Iris and Paul Zahara, Flossmoor, Illinois We would like to thank Nicole Verdier for confirming the authenticity of this painting and including it in volume III of Édouard Cortès Catalogue Raisonné de l’Oeuvre Peint. Provenance: The Artist International Galleries, Chicago, acquired directly from the Artist, c. 1959-60 (inventory no. 2916) Acquired directly from the above by the present owners $10,000 - 15,000

AMERICAN & EUROPEAN ART

Antoine Blanchard

(French, 1910-1988) Arc de Triomphe, Champs-Élysées oil on canvas signed Antoine Blanchard. (lower right); signed and inscribed Paris (verso) 13 1/4 x 18 1/4 inches. Property from the Collection of Steve Parker, Atlanta, Georgia The present work is currently listed on the Rehs Galleries, Inc., Antoine Blanchard Virtual Checklist as #ATCES1318.0030. A letter of authenticity from Rehs Galleries accompanies the lot. $3,000 - 5,000

Maximilien Luce

(French, 1858-1941) La rue Réaumur à Paris, c. 1896 pastel on paper signed Luce (lower right) 12 x 15 1/2 inches. Property of a Palm Beach Florida Collector Provenance: Henry Luce III, New York By descent to Leila Hadley Luce, New York Gifted to George Elliott Gifted by the above to the present owner Lot note: According to Denise Bazetoux, author of Maximilien Luce, Catalogue raisonné of painted works, the present lot is likely a study by the artist, who painted several oil versions of this scene. $3,000 - 5,000

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Michel Henry

(French, 1928-2016) Bouquet Printanier oil on canvas signed Michel Henry (lower left); titled (stretcher) 39 1/2 x 32 inches. Provenance: Wally Findlay Galleries, Chicago $1,000 - 2,000

Gaston Sébire

(French, 1920–2001) Bouquet des Champs oil on canvas signed Sébire (lower left); titled and inscribed (stretcher) 29 x 20 inches. Provenance: Wally Findlay Galleries, Chicago $2,000 - 4,000 60

AMERICAN & EUROPEAN ART

André Vignoles

(French, 1920-2017) Bouquets aux deux Palettes oil on canvas signed A. Vignoles (lower right); signed and titled (verso) 28 3/4 x 36 1/4 inches. $1,000 - 2,000

Paul Augustin Aïzpiri

(French, 1919-2016) Coupe de Fruits au Chandelier, 1958 oil on canvas signed Aïzpiri (lower left) 19 1/4 x 15 3/4 inches. Property from Palm Springs Art Museum Sold to Support the Care of Collections and the George Montgomery Fund for Acquisitions Provenance: Galerie R. Ferrèro, Geneva, Switzerland William F. Bowld, Jr. Bequest by the above to the present owner $3,000 - 5,000

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Peter Von Artens

(Argentinian, 1937-2003) Hortencias, 2002 oil on canvas signed Peter von Artens (lower right); signed and inscribed (verso) 32 x 25 inches. Property from a Private Collection Provenance: Sold: Matsart Auctioneers and Appraisers, New York, June 10, 2015, Lot 164 $8,000 - 12,000

Jean Chevolleau

(French, 1924-1996) La Bétonneuse, 1958 oil on canvas signed J. Chevolleau (lower right); titled (verso) 25 3/4 x 21 1/4 inches. Property from Palm Springs Art Museum Sold to Support the Care of Collections and the George Montgomery Fund for Acquisitions Provenance: Galerie R. Ferrèro, Geneva, Switzerland William F. Bowld, Jr. Bequest by the above to the present owner $1,000 - 2,000 62

AMERICAN & EUROPEAN ART

Lê Phổ

(Vietnamese, 1907–2001) Les Lys et les Chrysanthèmes oil on canvas signed Lê Phổ and with Chinese characters (lower right); titled and inscribed (stretcher) 32 1/4 x 22 1/2 inches. Property from the Estate of Joanne K. Hickey This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Phổ, currently underway. Provenance: Wally Findlay Galleries, Palm Beach, Florida $30,000 - 50,000 F O R M O R E L O T D E TA I L S A N D I M AG E S V I S I T H I N D M A N A U C T I O N S . C O M

Vũ Cao Đàm

(French/Vietnamese, 1908–2000) La Déesse, 1967 oil on canvas signed Vu cao dam and dated (lower right); signed, dated, titled, and inscribed (verso) 14 x 10 3/4 inches. Property from the Estate of Mrs. Rita H. Hupp, Aurora, Illinois This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Vũ Cao Đàm, currently underway. Provenance: Findlay Galleries, Chicago $10,000 - 15,000 64

AMERICAN & EUROPEAN ART

Sigmund Joseph Menkes (Ukrainian, 1896–1986) Girl with Bouquet oil on board signed Menkes (lower right) 22 1/4 x 30 inches. $5,000 - 7,000

Choo Keng Kwang

(Singaporean, b. 1931) Riverside, 1979 oil on canvas signed K. Kwang (lower right); signed and dated (verso) 24 x 36 inches. Property from the Collection of the Crossett Family, Denver, Colorado and Far Hills, New Jersey $3,000 - 5,000

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

Jacques Eitel

(French, 1926-2016) Episy and Mai à Beaugency (Val de Loire) (a pair of works) oil on canvas each signed Eitel; titled (stretcher) Largest: 13 1/4 x 16 1/4 inches. Provenance: Wally Findlay Galleries, Chicago $1,000 - 2,000

Isabelle de Ganay

(French, b. 1960) Bassin aux Iris d’eau oil on canvas signed I de Ganay (lower left); titled (verso) 32 x 39 1/2 inches. $4,000 - 6,000

AMERICAN & EUROPEAN ART

Attributed to Édouard Vuillard

Property from the Collection of Michelle Smith, Washington, D.C.

Provenance: Jill Newhouse Gallery, New York Acquired directly from the above by the present owner

$1,500 - 2,500

(French, 1868–1940) Monsieur Tobie (from the costume studies for Jean de la Fontaine’s La Coupe Enchantée), 1918 pastel and graphite on paper stamped with initials E.V. (lower right) 8 1/4 x 4 3/4 inches.

(French, 1868–1940) Lucinde (costume studies for Jean de la Fontaine’s La Coupe Enchantée), 1918 pastel and graphite on paper stamped with initials E.V. (lower right) 8 1/4 x 4 3/4 inches.

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

Attributed to Édouard Vuillard

Property from the Collection of Michelle Smith, Washington, D.C.

Provenance: Jill Newhouse Gallery, New York Acquired directly from the above by the present owner

$1,500 - 2,500

(French, 1868–1940) Josselin (from the costume studies for Jean de la Fontaine’s La Coupe Enchantée), 1918 pastel and graphite on paper stamped with initials E.V. (lower right) 8 1/4 x 4 3/4 inches.

AMERICAN & EUROPEAN ART

(French, 1868–1940) Thibaut (costume studies for Jean de la Fontaine’s La Coupe Enchantée), 1918 graphite and pastel on paper stamped with initials E.V. (lower right) 8 1/4 x 4 3/4 inches

Gustave Loiseau

(French, 1865-1935) Le Quai de L’Oise à Pontoise, 1906 oil on canvas signed G. Loiseau and dated (lower left) 18 x 24 inches. This lot will be included in the forthcoming Gustave Loiseau catalogue raisonné currently being prepared by Didier Imbert. Provenance: The Artist Galerie Durand-Ruel, Paris, acquired from the Artist, April 11, 1907 Mr. Kronberg, acquired directly from the above, October 2, 1923 $50,000 - 70,000

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

Gustave Loiseau

(French, 1865–1935) Gelée blanche au Vaudreuil, 1904 oil on canvas signed G. Loiseau and dated (lower left) 19 3/4 x 24 inches. This lot will be included in the forthcoming Gustave Loiseau catalogue raisonné currently being prepared by Didier Imbert. Provenance: The Artist Galerie Durand-Ruel, Paris, purchased directly from the Artist, October 1, 1904 Durand-Ruel Gallery, New York, September 24, 1929 Private Collection, acquired directly from the above, April 18, 1931 By descent through the family to the present owner Exhibited: Paris, Galerie Durand-Ruel, Gustave Loiseau, February 10 - 22, 1908, no. 9 $50,000 - 70,000

AMERICAN & EUROPEAN ART

Léon Legat

(French, b. 1829) At the Watermill oil on canvas signed Legat (lower right) 41 x 57 inches. Property from the Estate of Carol J. Feinberg, New York, New York $8,000 - 12,000

Narcisse-Virgile Diaz de la Peña

(French, 1807-1876) L’amour désarmé oil on panel signed illegibly (lower right); inscribed by the Artist (verso) 12 3/4 x 9 1/2 inches. Property from the Collection of a Gentleman, Atlanta, Georgia Provenance: Vente Manson, La Flèche, France, July 22, 193? Vente La Chapelle-d’Aligné, July 23, 1988 Galerie Delvaille, Paris Acquired directly from the above by the present owner, May 2000 Literature: Pierre Miquel, Narcisse Diaz de la Peña (1807-1876), Volume 2, Paris, 2006, no. 2516, p. 411, illus. $5,000 - 7,000 F O R M O R E L O T D E TA I L S A N D I M AG E S V I S I T H I N D M A N A U C T I O N S . C O M

Jules Worms

(French, 1832-1924) Spanish Musicians oil on canvas signed J. Worms (lower left) 17 3/4 x 24 1/4 inches. $3,000 - 5,000

Raphaël Collin

(French, 1850-1916) Nude oil on canvas laid to board signed R.C Collin (lower right) 52 x 29 inches. $7,000 - 9,000 72

AMERICAN & EUROPEAN ART

Montague Dawson

(British, 1890-1973) The Three-Masted Canadian Schooner “Water Witch” at Sunset oil on canvas signed Montague Dawson and indistinctly dated (lower left) 24 x 36 inches. Provenance: Frost & Reed Ltd., London (number 53517) Richard Green, London Sold: Christie’s, New York, July 20, 2005, Lot 373 Literature: Ron Ranson, The Maritime Paintings of Montague Dawson, Devon, U.K., 1993, p. 54, illus. $60,000 - 80,000

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

Ken Howard

(British, b. 1932) San Giorgio Maggiore, Morning oil on canvasboard signed Ken Howard (lower right) 8 x 11 3/4 inches. Property from the Joan Skewes-Cox Malone Estate Provenance: W.H. Patterson Gallery, London $1,000 - 2,000

Charles Napier Hemy

(British, 1841-1917) Watering the Schooner, 1880 oil on board initialed C.N.H. and dated (lower right) 13 1/2 x 19 inches. $3,000 - 5,000

AMERICAN & EUROPEAN ART

Herbert Sidney

(British, 1858-1923) Qu’Elle est charmante !, 1896 oil on canvas signed Herbert Sidney and dated (lower left); signed, dated, and titled (verso) 40 x 30 inches. $1,500 - 2,500

George Goodwin Kilburne

(British, 1839–1924) Tired Out, 1890 oil on canvas signed G. G. Kilburne and dated (lower left) 18 1/4 x 24 1/4 inches. $3,000 - 5,000 F O R M O R E L O T D E TA I L S A N D I M AG E S V I S I T H I N D M A N A U C T I O N S . C O M

Charles H.H. Burleigh

(British, 1875–1956) Asters oil on canvas signed C.H.H. Burleigh (lower left) 20 1/4 x 16 inches. Property from the Collection of David and Diane Buck, Milwaukee, Wisconsin Provenance: Sold: Phillips, London, January 24, 1984 $1,000 - 1,500

Lajos (Louis) Jambor

(Hungarian, 1884–1955) Seated Woman Holding a Mirror oil on canvas signed Jambor (lower right) 22 3/4 x 18 3/4 inches. $1,000 - 1,500 76

AMERICAN & EUROPEAN ART

Federico Andreotti

(Italian, 1847-1930) Le modelle oil on canvas signed F. Andreotti (lower left); signed and inscribed (stretcher) 24 x 17 1/4 inches. $2,000 - 4,000

100

Giovanni Fattori

(Italian, 1825-1908) Bosco alle Cascine, c. 1880s watercolor and graphite on paper signed Giovanni Fattori, titled, and inscribed (verso) 7 ½ x 13 inches. Property from a Private Collection, Taos, New Mexico We would like to thank Marco Bertoli for his assistance in cataloguing this lot. Provenance: Mario Galli, Florence, Italy Exhibited: Milan, Galleria Carini, Mostra vendita di dipinit dell’800, January 28 - February 14, 1954, no. 24, pl. 5 New York, Stair Sainty Matthiesen, The Macchiaioli, Tuscan Painters of Sunlight, March 14 - April 20, 1984, no. 36, pp. 98-99, illus. $4,000 - 6,000

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

101

Salvatore Frangiamore

(Italian, 1853–1915) Lovestruck oil on canvas signed S. Frangiamore and inscribed Roma (lower right) 29 1/4 x 19 inches. Property from the Collection of Mr. Michael Rosebush, Monument, Colorado Provenance: Chev. Alexandre d’Atri & Sons, Rome Sold: Bonhams, New York, May 6, 2015, Lot 35 $6,000 - 8,000

102

Lado (Vladimir Davidovich) Gudiashvili (Georgian, 1896–1980) Le Cirque, 1924 graphite on paper laid to board signed Lado Gudiashvili and dated (lower right); titled and inscribed (verso) 15 x 11 inches. Property from the Collection of Helena Szepe, Tampa, Florida $2,000 - 4,000 78

AMERICAN & EUROPEAN ART

103

Rudolf Ernst

(Austrian, 1854-1932) Guard in Orientalist Interior, 1886 oil on panel signed R. Ernst and dated (lower right) 16 1/2 x 12 3/4 inches. Property from the Estate of Virginia H. Rogers, Chicago, Illinois $25,000 - 35,000

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

104

Agathe Röstel

(German, b. 1868) Trinkets oil on canvas signed A. Röstel. (lower right) 49 3/4 x 37 3/4 inches. $10,000 - 15,000

105

Wilhelm Kray

(German, 1828-1889) Ladies on a Boat oil on canvas signed W Kray (lower right) 27 3/4 x 44 3/4 inches. Provenance: Findlay Galleries, Chicago $2,000 - 4,000 80

AMERICAN & EUROPEAN ART

106

Eugene Verboeckhoven (Belgian, 1799– 1881) with Isidore Meyers (Belgian, 1836-1917) Dutch Windmill oil on panel signed Meyers and Eugene Verboeckhoven (lower left) 20 x 30 1/2 inches. Property from the Estate of Avis Hope Truska, Scottsdale, Arizona $2,000 - 4,000

107

Willem Steelink

(Dutch, 1856–1928) Shepherd with Flock oil on canvas signed Wilm. Steelink (lower right) 14 x 17 3/4 inches. Property from the Collection of Mr. and Mrs. Kenneth Schmidt, Wauwatosa, Wisconsin $1,000 - 2,000

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

ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Aïzpiri, Paul Augustin . . . . . . . . . . . . . . . . . . . 73 Albright, Adam Emory . . . . . . . . . . . . . . . . . . . 61 Andreotti, Federico . . . . . . . . . . . . . . . . . . . . 99 Arthurs, Stanley Massey . . . . . . . . . . . . . 28-30 Becher, Arthur Ernst. . . . . . . . . . . . . . . . . . . . 32 Benton, Thomas Hart . . . . . . . . . . . . . . . .21-22 Berthelsen, Johann . . . . . . . . . . . . . . . . . 41-43 Bierstadt, Albert . . . . . . . . . . . . . . . . . . . . . . 56 Blanchard, Antoine . . . . . . . . . . . . . . . . . . . . 68 Blythe, David Gilmore . . . . . . . . . . . . . . . . . . . 34 Bohrod, Aaron . . . . . . . . . . . . . . . . . . . . . . . 8-9 Bulman, Orville . . . . . . . . . . . . . . . . . . . . . . 1-3 Burleigh, Charles H.H. . . . . . . . . . . . . . . . . . . 97 Butler, Theodore Earl . . . . . . . . . . . . . . . . . . . 40 Chevolleau, Jean . . . . . . . . . . . . . . . . . . . . . . 75 Choo Keng Kwang . . . . . . . . . . . . . . . . . . . . . 79 Coleman, Charles Caryl . . . . . . . . . . . . . . . . . 35 Collin, Raphael . . . . . . . . . . . . . . . . . . . . . . . 91 Cortès, Edouard Léon . . . . . . . . . . . . . . . 66-67 Cox, Elijah Albert . . . . . . . . . . . . . . . . . . . . . . 26 Curran, Charles Courtney . . . . . . . . . . . . . . . . 33 Daingerfield, Elliot . . . . . . . . . . . . . . . . . . . . . 55 Davis, Stuart . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Dawson, Montague . . . . . . . . . . . . . . . . . . . . 92 de Ganay, Isabelle . . . . . . . . . . . . . . . . . . . . . 81 Díaz de la Peña, Narcisse-Virgile. . . . . . . . . . . 89 Dove, Arthur Garfield . . . . . . . . . . . . . . . . . . . 27 Eitel, Jacques . . . . . . . . . . . . . . . . . . . . . . 80 Ernst, Rudolf . . . . . . . . . . . . . . . . . . . . . . . . 103 Fattori, Giovanni . . . . . . . . . . . . . . . . . . . . . 100 Flannagan, John Bernard . . . . . . . . . . . . . . . . 11 Frangiamore, Salvatore . . . . . . . . . . . . . . . . 101 Frieseke, Frederick Carl . . . . . . . . . . . . . . . . . 45 Graham, John . . . . . . . . . . . . . . . . . . . . . . . . . 6 Graves, Morris . . . . . . . . . . . . . . . . . . . . . . . . 5 Gray, Jack Lorimer . . . . . . . . . . . . . . . . . . . . . 31 Gross, Chaim . . . . . . . . . . . . . . . . . . . . . . . . 10 Gruppe, Emile Albert . . . . . . . . . . . . . . . . . . . 62 Gudiashvili, Lado (Vladimir Davidovich) . . . . . 102 Hemy, Charles Napier . . . . . . . . . . . . . . . . . . 94 Henry, Michel . . . . . . . . . . . . . . . . . . . . . . . . 70 Hinckley, Thomas . . . . . . . . . . . . . . . . . . . . . 59 Homer, Winslow . . . . . . . . . . . . . . . . . . . . . . . 37 Howard, Ken . . . . . . . . . . . . . . . . . . . . . . . . . 93 Jambor, Lajos (Louis) . . . . . . . . . . . . . . . . . . 98 Kahn, Wolf . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Kilburne, George Goodwin . . . . . . . . . . . . . . . 96 Kray, Wilhelm . . . . . . . . . . . . . . . . . . . . . . . 105 Lê Phổ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Legat, Léon . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Loiseau, Gustave . . . . . . . . . . . . . . . . . . .86-87 Luce, Maximilien . . . . . . . . . . . . . . . . . . . . . . 69 Luks, George Benjamin . . . . . . . . . . . . . . . . . 17 Marsh, Reginald . . . . . . . . . . . . . . . . . . . 15-16 Martin-Ferrières, Jacques . . . . . . . . . . . . . . . . 65 Mayer, Peter Bela . . . . . . . . . . . . . . . . . . . . . 44 Menkes, Sigmund Joseph . . . . . . . . . . . . . . . 78 Mestrovic, Ivan . . . . . . . . . . . . . . . . . . . . 52-54 Myers, Jerome . . . . . . . . . . . . . . . . . . . . . . . 18 Nadelman, Elie . . . . . . . . . . . . . . . . . . . . . . . 20

POST WAR & CONTEMPORARY ART

Neiman, LeRoy . . . . . . . . . . . . . . . . . . . . 63-64 Peters, Carl William . . . . . . . . . . . . . . . . . 47-51 Potthast, Edward . . . . . . . . . . . . . . . . . . . . . . 25 Prendergast, Maurice . . . . . . . . . . . . . . . . . . . 38 Röstel, Agathe . . . . . . . . . . . . . . . . . . . . . . 104 Sargent, John Singer . . . . . . . . . . . . . . . . . . . 39 Sébire, Gaston . . . . . . . . . . . . . . . . . . . . . . . 71 Shinn, Everett . . . . . . . . . . . . . . . . . . . . . . . . 13 Sidney, Herbert . . . . . . . . . . . . . . . . . . . . . . . 95 Smillie, George Henry . . . . . . . . . . . . . . . . . . 60 Soyer, Moses . . . . . . . . . . . . . . . . . . . . . . . . 12 Soyer, Raphael . . . . . . . . . . . . . . . . . . . . . . . 14 Steelink, Willem . . . . . . . . . . . . . . . . . . . . . 107 Stephens, Alice Barber . . . . . . . . . . . . . . . . . 46 Verboeckhoven, Eugene and Isidore Meyers . 106 Vignoles, Andre . . . . . . . . . . . . . . . . . . . . 72 Von Artens, Peter . . . . . . . . . . . . . . . . . . . . . 74 Vũ Cao Đàm . . . . . . . . . . . . . . . . . . . . . . . . . 77 Vuillard, Édouard (attribution). . . . . . . . . . 82-85 Walker, William Aiken . . . . . . . . . . . . . . . . 57-58 Whistler, James Abbott McNeill . . . . . . . . . . . . 36 Worms, Jules . . . . . . . . . . . . . . . . . . . . . . . . 90 Wyeth, N.C. . . . . . . . . . . . . . . . . . . . . . . . 23-24 Zorach, William . . . . . . . . . . . . . . . . . . . . . . . 19

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.

PIERRE-AUGUSTE RENOIR LES FLEURS, 1913 SOLD FOR $400,000 SOLD PRICES ARE INCLUSIVE OF BUYER’S PREMIUM

Upcoming Auction Schedule SALE 957 MODERN DESIGN NOVEMBER 16 | CHICAGO

SALE 963 ESSENTIAL JEWELRY DECEMBER 2 | CHICAGO

SALE 972 AMERICAN & EUROPEAN ART DECEMBER 13 | CHICAGO

SALE 958 EARLY 20TH CENTURY DESIGN NOVEMBER 17 | CINCINNATI

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SALE 970 POST WAR & CONTEMPORARY ART DECEMBER 14 | CHICAGO

SALE 910 ANTIQUITIES & ETHNOGRAPHIC ART NOVEMBER 18 | CHICAGO

SALE 966 IMPORTANT JEWELRY DECEMBER 7 | CHICAGO

SALE 971 PRINTS & MULTIPLES DECEMBER 15 | CHICAGO

SALE 967 NATIVE AMERICAN ART ONLINE NOVEMBER 29 | ONLINE ONLY

SALE 965 PALM BEACH COLLECTIONS DECEMBER 8 | ONLINE ONLY

SALE 973 NATIVE AMERICAN JEWELRY DECEMBER 16 | ONLINE ONLY

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Fine Art

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POST WAR & CONTEMPORARY ART

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ALEXANDRIA DREAS CATALOGUER

ABBY CHAMBERS DEPARTMENT CATALOGUER CHRISTINA KIRIAKOS DEPARTMENT COORDINATOR EUROPEAN FURNITURE & DECORATIVE ARTS CORBIN HORN VICE PRESIDENT, SENIOR SPECIALIST CORBINHORN @HINDMANAUCTIONS.COM NICK COOMBS SENIOR SPECIALIST NICKCOOMBS @HINDMANAUCTIONS.COM DONNA TRIBBY SENIOR SPECIALIST GENEVIEVE KING ASSOCIATE SPECIALIST KATE STAMM ASSOCIATE SPECIALIST ELIZABETH REED CATALOGUER NICHOLAS GORDON DEPARTMENT COORDINATOR

AMERICAN FURNITURE, FOLK & DECORATIVE ARTS BEN FISHER DIRECTOR, SENIOR SPECIALIST BENJAMINFISHER @HINDMANAUCTIONS.COM JENNIFER HOWE SENIOR SPECIALIST JENNIFERHOWE @HINDMANAUCTIONS.COM LEAH VOGELPOHL SPECIALIST KATIE BENEDICT DEPARTMENT COORDINATOR ANTIQUITIES & ANCIENT ART JACOB COLEY DIRECTOR, SPECIALIST JACOBCOLEY @HINDMANAUCTIONS.COM BEN WILSON DEPARTMENT COORDINATOR MODERN DESIGN HUDSON BERRY DIRECTOR, SPECIALIST HUDSONBERRY @HINDMANAUCTIONS.COM SABRINA GRANADOS ASSOCIATE CATALOGUER NATIVE AMERICAN, PREHISTORIC & TRIBAL ART DANICA FARNAND DIRECTOR, SENIOR SPECIALIST DANICAFARNAND @HINDMANAUCTIONS.COM

JEWELRY & TIMEPIECES SALLY KLARR, G.G. DIRECTOR, SENIOR SPECIALIST SALLYKLARR @HINDMANAUCTIONS.COM KATIE HAMMOND GUILBAULT, G.G. BUSINESS DEVELOPMENT DIRECTOR, SAN DIEGO, SENIOR SPECIALIST, JEWELRY AND TIMEPIECES KATIEGUILBAULT @HINDMANAUCTIONS.COM RUTH THUSTON, G.G. SENIOR SPECIALIST RUTHTHUSTON @HINDMANAUCTIONS.COM MARISA ACKERMAN, G.G. SPECIALIST MARISAACKERMAN @HINDMANAUCTIONS.COM KARINA HAMMER, G.G. SPECIALIST KARINAHAMMER @HINDMANAUCTIONS.COM MADELINE SCHROEDER CATALOGUER HANA THOMSON CATALOGUER GINA O’CONNOR DEPARTMENT COORDINATOR COUTURE & LUXURY ACCESSORIES TIMOTHY LONG DIRECTOR, SENIOR SPECIALIST TIMOTHYLONG @HINDMANAUCTIONS.COM

ERIN RUST SPECIALIST ERINRUST @HINDMANAUCTIONS.COM

MICHAEL HALL CATALOGUER MICHAELHALL @HINDMANAUCTIONS.COM

MADISON LIGHT ASSOCIATE CATALOGER

MARIELLE EPSTEIN DEPARTMENT COORDINATOR

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

SPORTS MEMORABILIA JAMES SMITH SPECIALIST JAMESSMITH @HINDMANAUCTIONS.COM

KATIE HORSTMAN SENIOR SPECIALIST KATIEHORSTMAN @HINDMANAUCTIONS.COM DANIELLE LINN SPECIALIST EMILY PAYNE SPECIALIST KAYLAN GUNN ASSOCIATE SPECIALIST FRANCIS WAHLGREN SENIOR CONSULTANT LESLIE WINTER ASSOCIATE SPECIALIST PATRICIA TENCH SENIOR CATALOGUER BENTON LUDGIN DEPARTMENT COORDINATOR ASIAN ART ANNIE WU DIRECTOR, SENIOR SPECIALIST ANNIEWU @HINDMANAUCTIONS.COM

BENTON LUDGIN DEPARTMENT COORDINATOR MARKETING ASHLEY GALLOWAY VICE PRESIDENT PHOTOGRAPHY ZOË BARE DIRECTOR OF PHOTOGRAPHY DAVID JACKSON PHOTOGRAPHY SUPERVISOR AVERY CAMPBELL* CARMEN COLOME CHAD FEIERSTONE TYLER LEIBY DEOGRACIAS LERMA AMELIA MOORE LIBBY MOORE JEREMY RAFTER MIKE REINDERS BILL ROSS RACHEL SMITH DALLAS TOLENTINO * LEAD PHOTOGRAPHER FOR SALE 972 10/25

FLORA ZHANG ASSOCIATE SPECIALIST FLORAZHANG @HINDMANAUCTIONS.COM MEGAN SADLER CATALOGUER

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

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

GUIDE FOR PROSPECTIVE BUYERS Conditions of Sale All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction. Viewing Auction Items It is highly recommended that all prospective bidders either view the sale via our online catalogue or contact Hindman LLC for further images or to schedule an appointment to view objects in person. Estimates Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision. Condition Reports We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes. Bidding Increments Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The standard bidding increments are: $0 - $500 ........................................ $25 $500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $250 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,500 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Above > $200,000 .... At Auctioneer’s Discretion

In-House Bidding Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer. Live Bid Online Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com. Absentee Bidding If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids. Telephone Bidding You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $300 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time. Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law. Updated 8/13

AMERICAN & EUROPEAN ART

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

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance—are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot. 2. CONDITION The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report. 3. VIEWING LOTS We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. 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 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.

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

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 $400,000; twenty percent (20%) of any amount in excess of $400,001 up to and including $4,000,000; and twelve percent (12%) of any amount in excess of $4,000,001. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium. 2. TAXES The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required. 3. MAKING PAYMENT (a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date. (b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name. (c) You must pay for lots in US dollars in one of the following ways: (i) Wire transfer. (ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed. (iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us. (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.

AMERICAN & EUROPEAN ART

(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. 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 catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale. (ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale. (iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

4. JEWELRY (a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time. (b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report. (c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report. (d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced. 5. WATCHES AND CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use. (d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap. 6. YOUR WARRANTIES You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties. (b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale.

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

(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

AMERICAN & EUROPEAN ART

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 8/13

Peter Sedgley (British, b. 1930) Red, Blue & Green Target, 1964 ESTIMATE: $5,000 - 7,000

Upcoming Auction

Sale 970 Post War & Contemporary Art 14 December | Chicago | 10am CT

Inquiries Zach Wirsum Senior Specialist, Post War & Contemporary Art 312.600.6069 zacharywirsum@hindmanauctions.com

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