Sale 623 | Worldly Pursuits: An Adventurer's Collection. The Estate of Steve and Peggy Fossett

L ESL IE HI NDM A N AUCT ION EERS OCT OBER 30, 2018

WORLDLY PURSUITS: AN ADVENTURER’S COLLECTION NO.623

13 3 8 We s t L a ke S t r e e t C h i c a g o, Illi n o i s 6 0 6 07 l p h 312. 28 0.1212 l f x 312. 28 0.1211 l l e s li e h i n d m a n.c o m

THE ESTATE OF STEVE AND PEGGY FOSSETT OCTOBER 30, 2018

WORLDLY PURSUITS: AN ADVENTURER’S COLLECTION THE ESTATE OF STEVE AND PEGGY FOSSETT

LH

TUESDAY 30 OCTOBER | 10AM

P R EVIEW

SATURDAY 27 OCTOBER | 10AM – 3PM SUNDAY 28 OCTOBER | 12PM – 4PM MONDAY 29 OCTOBER | 10AM – 5PM TUESDAY 30 OCTOBER | 10AM – 5PM AUCTION

TUESDAY 30 OCTOBER | 10AM LOTS 1 – 134 P R OPERTY PICK UP HOUR S

MONDAY – FRIDAY | 9:00AM – 4:30PM All property must be picked up within seven business days per our Conditions of Sale.

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

LHLIVE Front Cover Lots 18, 53, 56, 22 Back Cover Lots 39, 17, 60, 24 Opposite Photo Courtesy of Ron Bird Photography

lesliehindman.com © Hindman LLC 2018 CHICAGO, ILLINOIS ILLINOIS AUCTION FIRM LICENSE NUMBER 444.000521

Photo Courtesy of Ron Bird Photography

CONTENTS WORLDLY PURSUITS: AN ADVENTURER’S COLLECTION THE ESTATE OF PEGGY AND STEVE FOSSETT

LOTS 1 – 134

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AUCTION INQUIRIES

88

CONDITIONS OF SALE

90

TELEPHONE / ABSENTEE BID FORM

93

Opposite Lot 98 | A Large Grey Pottery Figure of a Horse, Han Dynasty (206 B.C.E. - 220 C.E.) Lot 63 | Toshio Nakamura (Japanese, 20th/21st century), Relativity I, 1999

Photo Courtesy of Ron Bird Photography

Photo Courtesy of Ron Bird Photography

PEGGY AND STEVE FOSSETT J. Steven Fossett and Peggy Viehland Fossett shared a pursuit of many varied passions, collecting worldly objects that spoke to their senses of adventure and intellect. The two met in 1968, in St. Louis, where Mr. Fossett attended Washington University and Mrs. Fossett attended Webster University. After a year in New York and a year in Detroit, the two built their lives together in Chicago.

There, Mr. Fossett enjoyed a successful career as a commodities broker; he also founded two exchange firms with locations in Chicago, New York and London. In Chicago, Mrs. Fossett achieved her own career success as a Vice President at First National Bank of Chicago.

Mr. Fossett developed a passion for adventure sports. Though Mrs. Fossett never embraced the media attention that followed her husband, she faithfully supported all of his pursuits. Mr. Fossett became known worldwide for his adventures in balloons, sailboats and aircraft. In 2002, he became the first person to circle the globe, uninterrupted, in a balloon. He went on to do the same, in 67 hours, in an airplane. He held dozens of world records in numerous categories of speed and distance. Mrs. Fossett, meanwhile, focused on the couple’s philanthropic endeavors and their three homes in Carmel Highlands, California, Beaver Creek, Colorado and Chicago.

On September 3, 2007, Mr. Fossett took off for a flight across Nevada’s remote Black Rock Desert and tragically disappeared while searching for a location to test his Land Speed Record Car. The massive search for him was national news, and included as many as two dozen aircraft and the assistance of Google Inc. and tycoon-fellow adventurist Richard Branson, Mr. Fossett’s close friend.

More than a year passed before remains from the wreckage of Mr. Fossett’s aircraft were located on a slope of the Ansel Adams Wilderness in Madera County, California. Mrs. Fossett passed away ten years later, in 2017.

Steve Fossett, the celebrated adventurer, and Peggy Fossett, the accomplished philanthropist, gave enormous financial support to organizations including Boy Scouts of America (establishing the Steve Fossett Spirit of Adventure Base Camp in Dotsero, Colorado), the Adler Planetarium, Webster University, Washington University, the International Music Foundation and Vail Valley Foundation.

Their contributions to education and the arts are remembered worldwide.

1*

A Pair of Directoire Mahogany Bergères 19TH CENTURY

Height 37 1/2 inches.

Provenance: Acquired from Philippe Farley, New York, August 7, 1985 $300-500 2*

A Louis XVI Style Mahogany Tric-Trac Table LATE 19TH CENTURY

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Height 28 1/2 x width 45 x depth 22 1/2 inches.

Provenance: Acquired from Philippe Farley, New York, August 7, 1985 $800-1,200 3*

A Regency Mahogany Metamorphic Library Chair CIRCA 1815

Height 36 inches.

Provenance: Acquired from Marshall Field’s, Chicago, October 29, 1984 $500-700

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4*

A Victorian Mahogany Drafting Table LATE 19TH CENTURY

Height 31 x width 41 1/2 x depth 23 1/8 inches (closed). $600-800

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5*

A Pair of Victorian Mahogany Twelve-Inch Library Globes

NEWTON & SON, LONDON, CIRCA 1838

Height 35 inches.

Provenance: Acquired from Partridge Fine Arts, London, 1986

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$8,000-12,000

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6*

A Flemish Tapestry Panel

POSSIBLY NUREMBERG, 16TH CENTURY

depicting the Adoration of the Magi.

Height 49 1/2 x width 91 inches.

Provenance: Acquired from Vojtech Blau Inc., New York, April 30, 1986 $6,000-8,000

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7*

Russian School

(16th/17th Century) Saint John the Evangelist (“John the Theologian�) tempera with varnish on braced panel 42 1/2 x 15 1/2 inches.

Provenance: Maria Andipa Icon Gallery, London $7,000-9,000

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8*

Russian School

(16th Century) The Intercession of the Holy Virgin, Mother of Mercy (The Pokrov) tempera and varnish on carved panel 32 1/8 x 25 3/4 inches.

Provenance: Collection of Dimitri Tiomkin, Hampstead Garden Suburb, prior to 1983 Acquired from Iconastas Gallery, London, 1985 $6,000-8,000

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9*

Russian School

(17th Century) The Ascension of Christ tempera with varnish on carved panel, set into a later border 30 1/4 x 23 1/2 inches.

Provenance: Acquired from Galerie Arete, Zurich, 1986 $5,000-7,000

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Russian School

(17th Century) The Old Testament Trinity – The Hospitality of Abraham oil and tempera with varnish on carved panel 12 1/4 x 10 3/4 inches.

Provenance: Christie’s London, April 21, 1988, Lot 77 $2,000-4,000 11*

Palekh School

(18th Century) Menologion (Menaion) for the Month of June oil with gold ground on braced panel 14 x 17 inches.

Provenance: Sotheby’s London, May 30, 1986, Lot 79 $6,000-8,000

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12*

Suzdal School

(Circa 1650) The Extended Deisis oil on panel 11 1/4 x 13 inches.

Provenance: Acquired from Maria Andipa Icon Gallery, London, 1987 $2,000-4,000

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13*

Rostov-Suzdal School

(Circa 1400) The Annunciation tempera with varnish on carved panel with later bracing 18 1/4 x 16 inches.

Provenance: Christie’s London, April 21, 1988, Lot 80 $5,000-7,000

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North Russian School

(16th Century) The Ascension of Christ tempera with varnish on carved panel 17 1/4 x 17 1/4 inches.

Provenance: Acquired from Maria Andipa Icon Gallery, London, 1987 $3,000-5,000

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15*

Palekh School

(17th Century) John the Forerunner and Baptizer of the Lord tempera with varnish on carved panel 12 3/4 x 10 inches.

Provenance: Maria Andipa Icon Gallery, London $2,000-4,000

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16*

Michelangelo Anselmi

(Italian, 1492-1554) Saint Jerome Kneeling in a Landscape with an Angel, c. 1540 oil on canvas with partially obscured inscription PO/ PRIVATO (lower right) 42 x 38 inches.

Provenance: Paul H. Ganz Sotheby’s New York, Old Master Paintings, June 4, 1987, Lot 17 $40,000-60,000

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Michelangelo Anselmi worked alongside Correggio and Parmigianino on some of the most important artistic commissions in Renaissance Parma, including the decoration of the city’s cathedral and the sanctuary of the Madonna della Steccata. Light-filled, charming, and tender, Anselmi’s works make sober religious subjects compellingly accessible. In this Vision of St. Jerome the artist presents the penitent saint as haggard but energized as he checks his Latin translation of the Greek and Hebrew Bible against a scroll coming from light-drenched clouds of heaven.

Jerome’s symbolic lion, resting at his feet, joins the saint in looking intently heavenward. At the left an appealingly disheveled cherub holds Jerome’s text aloft. The cherub may be understood as a guardian angel; Jerome was the first Christian author to insist that all humans have their own individual divine protector. Anselmi’s composition delightfully emphasizes that Jerome captured the full divine intent of the Greek and Hebrew original in his translation, countering Protestants who criticized the saint for occasionally mistranslating individual words. Anselmi’s image of a sacred writer with scroll and angelic assistant was famously reprised

by Caravaggio in his altarpiece of the Vision of St. Matthew for the Contarelli Chapel in Rome (1585-1590).

– Professor Gary M. Radke

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17*

Circle of Sandro Botticelli

(Florence, 1445-1510) The Madonna and Child with Infant Saint John the Baptist, c. 1480 tempera and oil on panel 32 1/8 x 26 inches.

Provenance: Albizzi Family, Florence, and by descent to Gherardo di Albizzo degli Albizzi until 1950 With Nicholas Acquavella, New York, 1950 Bruno Pagliai and Merle Oberon, Acapulco, Mexico, 1950-1979 Mr. and Mrs. Bravo-Valdés-Pagliai, Mexico, 1979-1986 Anonymous sale; Christie’s London, April 22, 1988, Lot 19 Exhibited: Los Angeles County Museum of Art, 1966 to July 10, 1975 Literature: Also Lusini, “Un inedito di Sandro Botticelli,” Editrice Rassegna Arti, Venice, 1960.

Harry Trimborn, “24 Great Paintings Go on Loan to Museum,” The Los Angeles Times, September 22, 1966. $80,000-120,000

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This captivating devotional image is a quintessential work of the Florentine Renaissance. Coming from the collection of one of the last surviving members of the Albizzi family in Florence-major rivals and later allies of the Medici-it draws together ideas from the leading artists of the late fifteenth century.

A young John the Baptist, patron saint of Florence, looks up to the Christ Child, who steadies the saint’s cross and blesses him. The Madonna’s long, elegant fingers, hallmarks of Sandro Botticelli and his circle, hover over Christ’s shoulder. Equally informed by Botticelli are the Madonna’s ovoid face, downcast eyes, pouting lips, and narrow chin.

Her sober headdress and sensible drapery, on the other hand, derive from the manner of Domenico Ghirlandaio, who famously portrayed Giovanna, a member of the Albizzi clan, in a portrait now in Madrid (c. 1486) and in frescoes commissioned by her in-laws, the Tornabuoni, in their family chapel in Santa Maria Novella (1486-1490). The stone parapet and wall that frame the atmospheric landscape to either side of the background were popularized in Florence by Andrea del Verrocchio and his students, including Lorenzo di Credi and Leonardo da Vinci, both of whom have been associated with the comparable and beguiling Dreyfus Madonna in the National Gallery of Art in Washington.

– Professor Gary M. Radke

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18*

Circle of Raphael

(16th Century) The Conversion of Saint Paul, c. 1520 oil and gold ground panel, trimmed and transferred to canvas 33 3/4 x 23 3/4 inches.

Provenance: Sir Rupert B. Howorth; Christie’s London, November 23, 1962 (sold as: “Attributed to Baldassare Peruzzi”) Halsborough Gallery, London Giancarlo Uzielli, New York Anonymous sale; Sotheby’s New York, Old Master Paintings, June 4, 1987, Lot 19 (sold as: “Girolamo di Tommaso da Treviso, The Younger”) Literature: Halsborough Gallery, Exhibition of Fine Paintings and Drawings of Five Centuries, May 8-June 21, 1963, illustrated catalogue.

Painting listed as panel 36 1/2” x 24 1/2” (92.7 cm x 62.2 cm).

Painting attributed to Baldassare Peruzzi, c. 1530-40.

The Burlington Magazine, vol. 105, no. 723, June 1963.

Painting attributed to Baldassare Peruzzi, c. 1530-40.

Fondazione Federico Zeri, University of Bologna, Photo Archive.

Painting attributed to Baldassare Peruzzi.

Pierluigi Leone De Castris, Polidoro da Caravaggio: L’Opera Completa, Naples, 2001, no. 6.

Painting attributed to Girolamo da Treviso.

Paolo Ervas, Girolamo da Treviso, Saonara, 2014, pp. 183-184. $120,000-180,000

Given its original wood panel support, this impressive work may have been conceived as part of the decoration of a church sacristy cabinet.

In it Christ addresses St. Paul from a golden sky populated with dozens of cherubs. Unusually, Paul does not raise an arm to block the light that the Bible says led to his temporary blindness and conversion. Instead, the saint looks directly and yearningly up at Christ. Steadying himself on both arms, Paul emphasizes his total devotion to Christ and the Church, a powerful retort to the doubts and questions about Catholic saints and church authority being raised by Protestant reformers at the time the painting was produced. The work’s grisaille technique, masterfully imitating gilt marble or stucco relief sculpture, became popular in the early sixteenth century with the discovery of ancient examples in the Golden House of Nero.

Particularly striking are the luminous effects, including landscape details and lances evocatively etched into the gold background. This artist was an extremely accomplished and talented follower of Raphael whose specific identification is worthy of further study. His graceful and fluid manner is related to but distinct from other Raphael followers such as Baldassare Peruzzi and Girolamo da Treviso, to whom the work has previously been attributed. Raphael’s Transfiguration (c. 1520) inspired the painting’s clear, high drama, meticulous draftsmanship, and bold division of the composition into heavenly and earthly zones, while the idea of Paul’s troops fleeing in terror came from Raphael’s Sistine Chapel tapestry of the Conversion of Paul and from his designs for battle scenes in the papal apartments.

– Professor Gary M. Radke

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19*

An Etruscan Terra Cotta Votive Head of a Bearded Man CIRCA 4TH-3RD CENTURY B.C.E.

depicted with a full beard of comma-shaped locks and short tousled hair across the crown of his head, the large almond-shaped eyes with thick upper and lower lids, the bulging pupils with the irises articulated, a veil pulled up over the back of his head.

Height 12 1/4 inches.

Provenance: Sotheby’s New York, Antiquities, June 23, 1989, Lot 162 $12,000-18,000

Votive heads were deposited in sanctuaries and temples as offerings in exchange for divine favor. Collections of such offerings were later buried together within the borders of the sacred precinct. Some of the finer examples, such as the present lot, exhibit meticulous hand-worked detailing, while many were simply mold-made.

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20*

An Etruscan Terra Cotta Antefix

CIRCA EARLY 5TH CENTURY B.C.E.

in the form of a head of a woman, perhaps a maenad, with incised wavy hair, her oval face with upturned lips and wide eyes with large dark pupils beneath finely arched eyebrows, her diadem with dotted zigzag surmounted by the edging of her twisted veil terminating in scrolling at each side, her head enclosed below a broad nimbus of radiating tongues interspersed with bosses at their tips, extensive red, black and white pigment throughout.

Length 10 1/8 inches.

Provenance: Acquired from Bruce and Ingrid McAlpine Ancient Art, London, May 28, 1987 $15,000-20,000

An antefix is a decorative architectural element that was placed on the end of a roof tile along the eaves of a roof in order to protect the wooden beams. In ancient Greek and Etruscan buildings these antefixes were often mold-made of terra cotta and were brightly painted. They regularly took the form of a male or female face, usually from mythology, who would have apotropaic significance.

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21*

A Roman Wall Painting Fragment

CIRCA 1ST CENTURY B.C.E.-1ST CENTURY C.E.

painted in vibrant, bright pigment, preserving a five-figure composition within an architectural setting, the goddess Nike alighting from the right toward an orant kneeling before her, the goddess with her wings outstretched, wearing a rich red voluminous garment with deep folds, a white sash billowing over her right shoulder, a wreath of laurel in her hair, a caduceus held forth in her left hand, proffering a wreath toward the supplicant before her who reaches up toward Nike with her right hand, clad in a yellow long-sleeved belted chiton with a green himation wrapped around her neck and legs, her curly hair bound in a band and arranged in a chignon, further to the left the goddess Venus seated regally wearing a pale blue himation over a deep blue peplos, a long staff in her right hand, bejeweled with armlets and a gold diadem in her long tresses, two nude winged Cupids frolicking behind, a column in the right foreground, a bird further to the right, the white groundline with a block of green below.

Length 23 inches.

Provenence: Acquired from the Merrin Gallery, New York, August 31, 1989 $30,000-50,000

The fresco technique, developed in antiquity, was a durable wall-painting enhancement process that was comprised of the application of rich pigments onto still-wet lime plaster. In the Roman period the method was employed to adorn the homes of the wealthiest and most elite echelons of society. Still preserved in quantity in the cities preserved by the eruption of Vesuvius in the environs of the Bay of Naples in 79 C.E., Roman domestic frescoes can also be found sprinkled throughout the boundaries of the Roman Empire.

Art historians have categorized Roman wall painting into four distinct styles, with varying degrees of figural and architectural detailing, each developing seamlessly from the other. Without further indication of the decorative scheme surrounding the present scene, it cannot be categorically placed in this definitive framework.

However, the architectural elements do reveal similarities to the so-called Second Pompeiian Style, popular throughout the 1st century B.C.E. The bold colors of Roman frescoes contrast indeed with the stark white of preserved ancient marble sculpture. Sculptures would also have originally been brightly painted. Therefore, ancient wall paintings are one of the most illustrative examples of the bold tints that enriched ancient material culture.

It has been suggested that the composition on this fresco prefigures the iconography of the Christian Annunciation.

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22*

A Roman Marble Diana Venatrix CIRCA 2ND CENTURY C.E.

the goddess of the hunt depicted in quick motion accompanied by her hunting dog at her left side, her left leg in forward stride, shod in elaboratelylaced sandals, her right extended behind, her quiver over her right shoulder, her short, sleeveless chiton with overfold, bound up in a billowing sash tied over her shoulder and around her waist, the diaphanous fabric revealing the form of her body, her gaze directed toward her left, her right arm originally raised to remove an arrow from her quiver, her now-missing left arm once holding her bow, her hair swept back from the forehead and bound in a double top-knot, preserving portions of the integral plinth.

Height 40 inches.

Provenance: Sotheby’s New York, Antiquities and Islamic Art, March 1-2, 1984, Lot 73 Private Collection of an American Paintings Dealer Acquired from Robin Symes, London, 1986 $50,000-80,000

The goddess Diana to the Roman, Artemis to the Greeks, was the twin sister of Apollo.

She was a tireless hunter and the overseer of animals who eventually also came to represent chastity, as well as lunar responsibilities. As Diana Venatrix she is goddess of the chase, and she is shown, as here, in targeted pursuit, bow drawn, winds in her hair and costume.

The iconography of the type is thought to be based on a Hellenistic original. It has been dubbed the Rospigliosi type, after an example in the Palazzo Rospigliosi in Rome. It is known in dozens of Roman copies and is thought to carry associations with the Attalid dedications in Pergamon and Athens.

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23*

A Roman Marble Janiform Herm Head

CIRCA LATE 1ST-EARLY 2ND CENTURY C.E.

each side depicting a bearded male deity with a severe Classicizing countenance, likely Neptune, Jupiter or Dionysus, with a long spade-shaped beard formed of individual locks curling at their ends and a downturned mustache, his centerparted hair pulled back, bound behind and falling in thick straight tresses along his neck, the middle-aged countenance with thickly-lidded large almond-shaped eyes unarticulated, drilled at their inner canthi, the lips outlined, the brows likely once painted, now slightly discolored, one side with extensive drillwork, the other side almost identical but left undrilled, perhaps unfinished, possibly representing an earlier style.

Height 13 1/2 inches.

Provenance: Sotheby’s New York, Antiquities, May 30, 1986, Lot 31 $15,000-20,000

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In the ancient classical world, crossroads were often marked by the placement of a rectangular pillar topped with the head of a god. In the early Greek period the head most often depicted Hermes, the god of boundaries and travel. As such, the statues came to be known as herms.

These pillars were erected for their apotropaic powers. They also provided travelers with the opportunity for worship and dedications along their way. Janiform heads, such as the present example, with two heads looking in opposite directions, are so named for the Roman god Janus who was the god of passage as well as the beginning and the end. In this period, two headed herms were very popular as they could face those making passage in each direction.

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24*

A Roman Marble Mosaic Panel CIRCA 4TH CENTURY C.E.

a section of a floor, illustrating only a small vignette from an elaborate composition, comprised of multicolored tesserae on a cream ground, depicting a bear attacking an antelope, the bear with its body outstretched, leaping in pursuit onto the back of its prey, striking with its claws and teeth, the antelope attempting to spring away in flight from its assailant, its head turned back to witness its own doom, blood spilling from the wound.

Height 79 x width 44 inches.

Provenance: Acquired from the Merrin Gallery, New York, May 5, 1987 $15,000-20,000

In the Roman period, elite private homes, villas, and public buildings such as bath houses and basilicas, were often adorned with mosaic floors. These ranged from black and white simple geometric patterns to complex multicolored figural compositions.

From whimsical to practical (i.e., the famed “Cave Canem� dog mosaic from Pompeii), to fantastical, to heroic and mythical, ancient mosaic flooring is an informative lens through which the modern viewer can learn a tremendous amount about ancient culture.

Animals and the hunt were a favored subject of ancient mosaicists, especially in the eastern Empire. Large compositions incorporating multiple vignettes, like the present example, were especially suited to flooring as the ancient viewer would have the opportunity to engage with the variety of scenes as they made their way across the room.

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25*

A Roman Marble Sarcophagus Fragment CIRCA 2ND CENTURY C.E.

from a large figural sarcophagus, with a male figure in high relief, nude but for a chlamys draped high on his chest, likely a hero or deity, standing in contrapposto with his weight leaning into his right hip, his left knee bent, his companion horse behind him, its body in low relief with its tail to the left, its foreparts in high relief to the right.

Length 21 1/2 inches.

Provenance: Acquired from Bruce and Ingrid McAlpine Ancient Art, London, July 22, 1986 $15,000-20,000

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The Romans began to practice inhumation widely in the 2nd century C.E., replacing cremation as the most popular funerary practice. Almost immediately, the wealthiest citizens began to fashion majestic coffins in marble known as sarcophagi (“flesh eater” in Greek). Some of the empire’s greatest artisans fed this new demand by carving elaborate examples with various subject-matter including popular mythology. Although the context of the present figure has been lost, with its original attributes and surrounding figures it undoubtedly would have immediately been recognized by the ancient patron and mourners, possibly elevating the deceased to the status of the famed hero illustrated.

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26*

A Roman Marble Venus

CIRCA 2ND CENTURY C.E.

exquisitely carved, still atop its original round socle plinth, the goddess depicted nude, balancing on her right leg, supported below her left elbow by a tree trunk at her left side, reaching down with her right arm toward her raised left ankle, her left knee bent, her body leaning forward, creased across her waist and twisting to the left, her sensual form with dimples low on her back, her youthful face with idealized features, her gaze directed down toward her left foot, with thick upper and lower lids, her center-parted wavy hair bound in a fillet and tied at the back in a chignon at the nape of her neck, fine rasp work visible throughout, the surface highly polished along her body.

Height 35 inches.

Provenance: Acquired from Robin Symes, London, June 8, 1987 $60,000-90,000

Venus was the Roman goddess of love, known as Aphrodite to the Greeks. The image of the goddess Venus untying her sandal as she prepares for her bath is an iconic one, known from numerous examples in various media and dimensions. Based on a Hellenistic original from the late 3rd century B.C.E. it was especially favored by the Romans as decoration in the private villas of the wealthy elite.

The sculptural form, especially in marble, was an artistic challenge for the ancient artist. Quite typical of the period, the challenge posed was not only the study of the female body, but the complexity of the weightlessness and balance of the form. The goddess stands precariously in a position of imbalance while concentrating on her strictly private task. The stance accentuates her perfected godly sensuality as well as her humanness, participating in an action so mundane it is replicated by all women every day while undressing. As here, the sandal is often not present on sculptures of the type, perhaps it was painted on, or perhaps it was simply understood by the viewer to be present.

26

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35

27*

Six New Mexican Pueblo Pottery Vessels VARIOUS ARTISTS, 20TH CENTURY

Height of tallest 8 1/2 inches. $1,000-2,000 28*

An African Carved Wood Totem 20TH CENTURY

Height 65 inches. $300-500

27

28

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29*

Michael Torre

(American, 20th Century) The Locomotion of Angels, 2000 glazed ceramic signed Mike Torre and dated to the underside Height 15 x width 8 inches. $300-500

29

30*

Patrick Horsley

(American, b. 1943) Blue Teapot #2 glazed ceramic with two impressed H marks to each side Height 17 1/2 x width 15 1/2 inches.

Provenance: Ferrin Gallery, Pittsfield, Massachusetts $500-700

30

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

37

31*

Fukami Sueharu

(Japanese, b. 1947) Skun II (Flash of Light, II) celadon porcelain sculpture on wood base signed Sueharu Saku and sealed Sueharu Height overall 16 1/2 x width 46 x depth 11 inches. $15,000-25,000

31

38

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32*

Susan Derges

(British, b. 1955) The River Taw (Rhododendron) 8 June 1998, No. 2, 1998 unique dye destruction photogram signed, titled and dated (verso) 65 1/2 x 23 1/2 inches (visible).

Provenance: Fraenkel Gallery, San Francisco $8,000-12,000

32

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39

40

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

33

34

35

36

37

33*

Michael Kenna

(British, b. 1953) Brine Shrimp Boat, Moss Landing, CA, 1989 sepia toned gelatin silver print signed Michael Kenna, dated and numbered 11/45 in pencil 7 3/8 x 7 3/8 inches.

Provenance: Stephen Wirtz Gallery, San Francisco $800-1,200 34*

Michael Kenna

(British, b. 1953) Eucalyptus Grove, Elkhorn Slough, CA, 1989 sepia toned gelatin silver print signed Michael Kenna, dated and numbered 8/45 in pencil 7 1/4 x 7 1/4 inches.

Provenance: Stephen Wirtz Gallery, San Francisco $800-1,200

35*

37*

Michael Kenna

Michael Kenna

Provenance: Stephen Wirtz Gallery, San Francisco

Provenance: Stephen Wirtz Gallery, San Francisco

$800-1,200

$800-1,200

(British, b. 1953) Fence Posts, Tidal Lagoon, Elkhorn Slough, 1989 sepia toned gelatin silver print signed Michael Kenna, dated and numbered 31/45 in pencil 7 1/2 x 7 1/2 inches.

(British, b. 1953) Rancho San Carlos, Study 4, San Carlos, CA, 1992 gelatin silver print signed Michael Kenna, dated and numbered 5/45 in pencil 7 1/4 x 8 1/8 inches.

36*

Michael Kenna

(British, b. 1953) Brine Water Control Structure, Moss Landing, California, 1992 sepia toned gelatin silver print signed Michael Kenna, dated and numbered 8/45 in pencil 7 1/4 x 7 1/2 inches.

Provenance: Stephen Wirtz Gallery, San Francisco $800-1,200

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41

39

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38*

Richard Misrach

(American, b. 1949) Golden Gate Bridge, 3.19.99, 5:50 p.m. chromogenic color print signed, titled, dated and numbered 1/25 in ink (recto) 18 x 23 inches (visible).

Provenance: Fraenkel Gallery, San Francisco $5,000-7,000

38

39*

Richard Misrach

(American, b. 1949) Cloud, 1987 chromogenic color print 38 1/2 x 48 1/2 inches (visible).

Provenance: Fraenkel Gallery, San Francisco $8,000-12,000 40*

Richard Misrach

(American, b. 1949) Golden Gate Bridge, 12.29.98, 7:31 a.m. chromogenic color print signed, titled, dated and numbered 2/24 in ink (recto) 18 x 23 inches (visible).

Provenance: Fraenkel Gallery, San Francisco $5,000-7,000

40

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41

41*

John Sexton

(American, b. 1953) Rock Shoreline, Dusk, Pemaquid Point, Maine, 1998 gelatin silver print signed John Sexton and numbered 14/30 in pencil 17 5/8 x 22 1/2 inches. $500-700 42*

Václav Machač

(Czech, b. 1945) Head of a Woman, 1977 glass signed Machač and dated Height 17 inches. $400-600 42

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43*

Pavel Hlava

(Czech, 1924-2003) Gifts of the Earth, 1981 blown clear colorless glass, chrome and metal Height overall 69 1/2 x width 22 inches.

Provenance: Acquired from Art Centrum, Prague, April 9, 1981 $2,000-4,000 44*

Maureen McQuillan

(American, 20th Century) Untitled (M92655) and Untitled (M92656), 2000 printer’s ink and resin on paper 27 3/8 x 27 3/8 inches.

Provenance: Haines Gallery, San Francisco $3,000-5,000

43

44

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45*

Matthias Meyer

(German, b. 1969) Passing By, 1997 oil on canvas signed M. Meyer and dated (verso) 35 1/2 x 47 1/4 inches.

Provenance: The Hart Gallery, Carmel, California $3,000-5,000

45

46

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46

46*

Kyle McDonald

(American, 20th/21st Century) “Untitled” Yellow/Azure, 1998 oil on canvas signed K. McDonald, titled and dated (verso) 54 x 54 inches.

Provenance: Sloan Miyasato, San Francisco Dolby Chadwick Galley, San Francisco $1,000-2,000 47*

Kyle McDonald

(American, 20th/21st Century) Untitled, 1998 oil on canvas signed K. McDonald and dated (verso) 36 x 36 inches.

Provenance: Sloan Miyasato, San Francisco Dolby Chadwick Gallery, San Francisco $1,000-2,000

47

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47

48*

Marc Katano

(American, b. 1952) Amaranth, 1998 acrylic on canvas signed Marc Katano, titled and dated (verso) 60 x 50 inches.

Provenance: Stephen Wirtz Gallery, San Francisco $1,000-2,000

48

49*

Rob Douglas

(American, b. 1960) At a Distance in Time, 1998 acrylic on panel signed Rob Douglas, titled and dated (verso) 49 x 47 3/4 inches.

Provenance: Sloan Miyasato, San Francisco Dolby Chadwick Gallery, San Francisco $1,000-2,000

49

48

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50

50*

Laura Corallo-Titus

(American, 20th/21st Century) Untitled #10, 1997 oil and wax on canvas signed Laura Corallo-Titus and dated (verso) 72 x 68 1/4 inches.

Provenance: Sloan Miyasato, San Francisco Patricia Sweetow Gallery, San Francisco $1,000-2,000

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

49

51

51*

Max Cole

(American, b. 1937) Ganges II, 1988 acrylic on canvas signed Max Cole, titled and dated (verso) 33 x 49 inches Provenance: Haines Gallery, San Francisco $6,000-8,000

50

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52*

Anne Appleby

(American, b. 1954) Aspen East, 1998 (triptych) oil and wax on canvas each panel signed, titled and dated (verso) 70 x 103 inches.

Provenance: Haines Gallery, San Francisco $6,000-8,000

52

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51

53*

Yoshitomo Saito

(American/Japanese, b. 1958) Stick-Yantra II, 1998 bronze Height 45 x width 82 x depth 7 inches.

Provenance: Haines Gallery, San Francisco $6,000-8,000

53

54*

Yoshitomo Saito

(American/Japanese, b. 1958) Skin #3, 1998 bronze 56 1/2 x 11 x 3 inches.

Provenance: Haines Gallery, San Francisco $6,000-8,000

52

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55*

Mario Reis

(German, b. 1953) Salt Iron, 1996 (two works) cotton, acrylic and gold with oxidation and matter on canvas signed Mario Reis and dated (verso) Each: 12 x 10 inches.

Provenance: Haines Gallery, San Francisco $500-700

54

55

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53

56*

Peter Voulkos

(American, 1924-2002) Falling Red II, 1958 vinyl, oil, lacquer and sand on canvas signed Voulkos and dated (lower left) 98 x 67 inches.

Provenance: Braunstein/Quay Gallery, San Francisco Exhibited: San Francisco, California, Braunstein/Quay Gallery, Retrospective; Toyko, Japan, Sezon Museum, and The National Museum of Modern Art, October 1998 $50,000-70,000

54

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56

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

55

57*

Canan Tolon

(Turkish, b. 1955) Untitled, 1999 rust and pigment on canvas signed Canan Tolon and dated (verso) 73 x 49 inches.

Provenance: Gallery Paule Anglim, San Francisco $40,000-60,000

56

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57

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57

58

59

58

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

58*

David Simpson

(American, b. 1928) Breakaway Green, Crystalline Green and Gold Consort, 1997 (three works) acrylic on canvas each signed David Simpson, titled and dated (verso) Each: 36 x 27 inches.

Provenance: Haines Gallery, San Francisco $1,000-2,000 59*

David Nash

(British, b. 1945) Three Works: Pyramid, Sphere, Cube, 1999 charcoal on paper each signed David Nash and dated (lower left) 40 3/4 x 28 3/4 inches.

Provenance: Haines Gallery, San Francisco $3,000-5,000 60*

David Nash

(British, b. 1945) Twister Column, 1998 charred redwood trunk Height 86 x width 31 x depth 31 inches.

Provenance: Haines Gallery, San Francisco $10,000-15,000

60

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59

61*

Henri Ernst Pfeiffer

(French/German, 1907-1994) Paysage de RĂŞve, 1930 (a series of ten works) oil and watercolor on paper each initialed HP and dated (lower right) 18 5/8 x 12 1/2 inches.

Provenance: Stephen Wirtz Gallery, San Francisco $3,000-5,000

61

60

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62*

Takeshi Nakayoshi

(Japanese, b. 1952) Town Among Mountains, 1996 oil on canvas signed Takeshi Nakayoshi, titled and dated (verso) 72 x 60 inches.

Provenance: Enid Ford Atelier, San Francisco $3,000-5,000

62

63*

Toshio Nakamura

(Japanese, 20th/21st Century) Relativity I, 1999 acrylic on shaped board 67 3/4 x 67 3/4 inches.

Provenance: Goedhuis & Co. Ltd., London $1,000-2,000

63

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61

64*

Salvador Dalí

(Spanish, 1904-1989) Tauromachie II, 1968 intaglio signed and numbered 6/150 in pencil 21 1/4 x 17 inches.

Literature: Ralf Micher and Lutz W. Lopsinger with Charles Sahli, Salvador Dalí: Catalogue Raisonné of Etchings and Mixed-Media Prints, 1924-1980, Munich, 1994, catalogue no. 1221; see also, Gerhard Habarta and Captain John Peter Moore, Catalogue of the Unique Collection... Museu Perrot-Moore, Cadaques... Dalí, Cadaques, 1988, no. 1088. $800-1,200

64

65*

Hervé Wahlen

(French, b. 1957) Circular Sculpture, 1997 gilt and patinated bronze incised Wahlen and dated Diameter 16 inches. $3,000-5,000

62

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65

66*

Jack Zajac

(American, b. 1929) Mountain Cloud #2, 1997 bronze signed Zajac and numbered 2/7 Height overall 68 x width 21 x depth 19 inches. $3,000-5,000

67*

Jack Zajac

(American, b. 1929) Small Falling Water Santa Cruz Xeries V, 1991 bronze signed Zajac and numbered 7/9 Height of bronze 38 1/2 inches.

Provenance: Stephen Wirtz Gallery, San Francisco $2,000-4,000

66

68*

Benjamin Kaiser

(b. 1943) Nine Panels, 1978 ground and sand-blasted glass signed Benjamin Kaiser and dated Height 42 1/4 x width 30 1/2 x depth 18 1/2 inches.

67

$500-700

68

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63

69*

A Birdseye Maple Harpsichord WILLIAM DOWD, BOSTON, 1984

Height 36 x width 37 1/2 x length 92 inches. $8,000-12,000

70*

Brueton

c. 1985 a cantilevered cocktail table chromed metal and glass Height 14 1/2 x width 42 x depth 43 inches.

69

$500-700

70

64

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

71*

Late 20th Century

a side table faux grained wood and glass Height 22 inches. $400-600 72*

Late 20th Century

two pairs of nesting tables chromed metal and calamander Height of larger pair 24 x width 28 x depth 23 inches. $1,500-2,500 73*

Late 20th Century

a pair of table lamps marble Height overall 29 1/2 inches.

71

$300-500

72

74*

Late 20th Century

a cocktail table patinated bronze and glass Height 15 x width 33 x depth 21 1/2 inches. $500-700 75*

Late 20th Century

a console table compressed stone and bronzed metal Height 34 1/2 x width 53 x depth 10 inches. $400-600 76*

Late 20th Century 74

a pair of table lamps acrylic and brass Height 27 1/2 inches. $500-700

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

65

77

78

77*

Late 20th Century

a pair of end tables chromed metal and glass Height 25 x width 24 x depth 20 inches. $500-700 78*

Late 20th Century

a pair of floor lamps cast stone Height overall 59 1/2 inches. $600-800

80

79*

Late 20th Century

Manner of Karl Springer a pair of ottomans brass and upholstery Height 16 x width 24 x depth 24 inches. $500-700 80*

Late 20th Century

a writing table faux shagreen Height 29 x width 54 x depth 27 inches. $600-800 81*

Carlos Riart

(Spanish, b. 1944) Knoll, c. 1982 a pair of Riart rocking chairs walnut with inlaid mother-of-pearl Height 38 1/4 inches.

81

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$1,000-2,000

82*

83*

84*

(Scottish, 1868-1928) Cassina, c. 1980 a Willow Tea Room chair lacquered wood and upholstery Height 41 1/2 x width 18 x depth 16 inches.

(Scottish, 1868-1928) Cassina, c. 1975 a set of eight dining chairs, model number 324 D.S.3 ebonized walnut with inlaid mother-of-pearl Height 29 3/4 x width 19 3/8 x depth 17 3/4 inches.

(American, 1935-2015) a dining table birdseye birch or maple Height 29 x length 105 1/2 x depth 40 1/2 inches.

Charles Rennie Mackintosh

$100-200

Charles Rennie Mackintosh

Michael Graves

$1,500-2,500

$3,000-5,000

84

83

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67

88

89

85*

87*

Richard Meier for Swid Powell, New York, 20th Century King Richard pattern. marked ‘Swid Powell RM Made in Italy Silver Plated’ Height 9 1/4 inches.

International Silver Co., Meriden, CT, Mid-20th Century Valencia pattern, comprising: 8 dinner knives 8 dinner forks 8 salad forks 20 teaspoons 8 soup spoons 8 butter spreaders 2 serving spoons 2 olive forks 2 cream ladles 1 master butter knife 1 sauce ladle 1 pierced serving spoon 1 cold meat fork 1 bon bon spoon 1 sugar scoop 1 cake server together with 8 associated silver-plate serving articles.

73 items in service 73 ozt weighable Length of dinner knife 9 inches.

A Pair of American Silver-Plate Candlesticks

$100-200 86*

An English Art Deco Silver Six-Piece Tea and Coffee Service

Charles Boyton & Son, London, 1932 hallmarked for Sterling, the undersides engraved ‘Charles Boyton’ 171 ozt 4 dwts Height of tallest 7 1/2 inches.

Provenance: Acquired from L’Antiquaire, Palm Beach, February 16, 1985 $3,000-5,000

An American Silver Flatware Service

$800-1,200

68

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

92

88*

Late 20th Century

a cantilevered console table marble, chromed aluminum and glass Height 31 x width 83 x depth 18 inches. $1,000-2,000 89*

Karl Springer (German, 1931-1991)

c. 1985 a bench lacquered goat skin over wood Height 24 3/8 x width 48 1/4 x depth 20 inches $400-600 90*

Gianfranco Frattini (Italian, 1926-2004) Artemide, Italy four Megaron floor lamps enameled metal Height 71 1/2 inches. $800-1,200

91*

Late 20th Century

Manner of Edgar Brandt a console table iron and glass Height 37 1/2 x width 121 x depth 21 inches. $800-1,200 92*

Christian Astuguevieille (French, b. 1946) MOISTE MS 1003 chair hemp rope and wood Height 51 x width 16 x depth 18 inches. $2,000-3,000 93*

Two Pairs of Stone Book Ends 20TH CENTURY

Height 8 inches. $100-200 94*

Two Pairs of Stone Book Ends 20TH CENTURY

Height 8 inches. $100-200 95*

A Pair of Marble Book Ends

90

20TH CENTURY

Height 7 inches. $80-120

91

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

69

96

97

96*

Two Celadon Glazed Jars

HAN DYNASTY (206 B.C.E.-220 C.E.)

Height 14 inches. $2,000-4,000 97*

A Green-Glazed Model of a Granary HAN DYNASTY (206 B.C.E.-220 C.E.)

Height 12 inches. $600-800 98*

A Large Grey Pottery Figure of a Horse HAN DYNASTY (206 B.C.E.-220 C.E.)

Height 43 x length 37 inches.

Provenance: Alvin Lo Oriental Art, Ltd., Woodcliff Lake, New Jersey Accompanied by a copy of an Oxford Authentication report dated December 18, 1997 98

70

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

$5,000-7,000

99*

A Group of Sichuan Burnished Black Pottery Jars

HAN DYNASTY (206 B.C.E.-220 C.E.)

Height of tallest 13 1/4 inches.

100*

101*

HAN DYNASTY (206 B.C.E.-220 C.E.)

LIKELY WARRING STATES PERIOD (475-221 B.C.E.)

A Pair of Bronze Covered Vases

Height 19 1/4 inches.

Provenance: Therien & Co., San Francisco, California

Provenance: Flores & Iva, New York

A “Proto-Porcelain” Jar Height 16 inches. $1,500-2,500

$2,000-4,000

$1,000-2,000

99

100

101

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

71

102*

An Impressed Dark Gray Pottery Jar

WARRING STATES PERIOD (475-221 B.C.E.)

Height 16 inches.

Provenance: Marc Richards, Los Angeles $800-1,200

102

103

103*

A Pair of Celadon Glazed Vases

SU-TANG DYNASTY (581-907 C.E.)

Height 13 1/2 inches.

Provenance: Joseph Rondina, New York $1,000-2,000 104*

A Pair of Ovoid Jars

TANG DYNASTY (618-907 C.E.)

Height 11 inches.

104

72

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

$1,000-2,000

105*

A Glazed White Ware Jar and Cover TANG DYNASTY (618-907 C.E.)

Height 8 1/2 inches.

Provenance: Flores & Iva, New York

105

$4,000-6,000 106*

A Glazed Jar and Cover

SONG DYNASTY (960-1279 C.E.)

Height 12 inches.

Provenance: Acquired from Flores & Iva, New York, 1999 $1,000-2,000 107*

Three Qingbai Glazed Porcelain Covered Vases YUAN DYNASTY (1279-1368 C.E.)

Height 13 inches. $3,000-5,000

106

107

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

73

108

109

74

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

110

108*

109*

110*

Two Qingbai Glazed Porcelain Covered Vases

Three Qingbai Glazed Porcelain Covered Vases

Two Qingbai Glazed Porcelain Covered Vases

Height 14 inches.

Height 12 1/4 inches.

Height 12 1/2 inches.

YUAN DYNASTY (1279-1368 C.E.)

$4,000-6,000

YUAN DYNASTY (1279-1368 C.E.)

$5,000-7,000

YUAN DYNASTY (1279-1368 C.E.)

$4,000-6,000

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

75

111*

A Chinese Scholar’s Rock LIKELY 20TH CENTURY

Height 13 inches. $800-1,200 112*

A Chinese Lingbi Scholar’s Rock

Width of scholar’s rock 28 inches.

Provenance: Sotheby’s New York, March 24, 1998, Lot 418 $6,000-8,000

111

112

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W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

113*

A Chinese Lingbi Scholar’s Rock 18TH CENTURY

Height 16 1/2 inches.

Provenance: Sotheby’s New York, March 24, 1998, Lot 419 $6,000-8,000

113

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

77

114*

A Chinese Limestone Scholar’s Rock 20TH CENTURY

Height 21 inches.

Provenance: Collection of C.C. Wang E. & J. Frankel, New York $10,000-15,000

114

78

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

115*

A Chinese Lingbi Scholar’s Rock 19TH/20TH CENTURY

Height 14 inches.

Provenance: E. & J. Frankel, New York $5,000-7,000 116*

A Large Chinese Marble ‘Dream Stone’ Table Top LATE 19TH/EARLY 20TH CENTURY

Diameter 41 inches.

Provenance: Acquired from Ralph Chait, New York, 2000 $6,000-8,000

115

116

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

79

117

117*

Tojo Unkoku

(Japanese, 1639-1722) a four-panel floor screen ink, mineral pigments, silver and gold leaf on paper sealed Unkoku and Tojo (left-middle panel) Height 68 1/4 x width of each panel 27 1/2 inches.

Provenance: Acquired from Naga Antiques, Ltd., New York, June 18, 1998 $20,000-40,000

80

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118*

A Carved Limestone Burial Urn and Cover PACIFIC BASIN (MINDANAO, PHILIPPINES), 200 B.C.E.-200 C.E.

Height 21 inches. $300-500

118

119*

A Carved Limstone Burial Urn and Cover

PACIFIC BASIN (MINDANAO, PHILIPPINES), 200 B.C.E.-200 C.E.

Height 21 inches. $300-500

119

120*

A Carved Limestone Burial Urn and Cover PACIFIC BASIN (MINDANAO, PHILIPPINES), 200 B.C.E.-200 C.E.

Height 22 inches. $300-500

120

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121

121*

Steven Maslach

(American, 20th Century) 18 stemware articles in two sizes, 1987 glass with iridescent stems each etched Maslach and dated to the underside Height of taller stem 8 1/2 inches. $400-600

122*

Sam Stang

(American, b. 1959) a centerpiece bowl, 2000 millefiori yellow, green and blue glass etched S. Stang and dated to the underside Height 5 x diameter 16 3/4 inches. $100-200

122

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123*

A Contemporary Cased Glass Vase PROBABLY ITALIAN, LATE 20TH/EARLY 21ST CENTURY

Height 13 3/8 inches. $150-250

123

124*

A Contemporary Glass Vase PROBABLY VENETIAN, LATE 20TH CENTURY

Height 13 5/8 inches. $150-250

124

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125*

A Lalique Molded and Frosted Glass Vase POST-1945

Ganymede pattern.

Height 9 inches. $800-1,200 126*

A French Molded and Frosted Glass Vase 20TH CENTURY

Height 9 x width 11 inches. $400-600

125

126

127*

A Lalique Molded and Frosted Glass Chandelier POST-1945

Champs-Élysées pattern.

Height 35 1/2 x diameter 21 inches. $2,000-4,000

127

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128*

129*

A Lalique Molded and Frosted Glass Vase

A Lalique Molded and Frosted Glass Pitcher

Lucca pattern.

Height 11 inches.

Phalsbourg pattern.

Height 7 3/4 inches

POST-1945

POST-1945

$300-500

$200-400

128

129

130*

A Lalique Molded and Frosted Glass Vase POST-1945

Osumi pattern.

Height 6 5/8 inches.

130

$200-400

131*

A Pair of Versace for Rosenthal Molded and Frosted Glass Wine Coasters 20TH CENTURY

Width 5 inches. $200-400

131

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132

133

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134

132*

133*

NORTHWEST PERSIA, CIRCA 1880

NORTHWEST PERSIA, CIRCA 1900

A Serapi Wool Rug

12 feet 8 inches x 8 feet 8 inches.

134*

A Serab Wool Rug

A Fereghan Sarouk Wool Rug

11 feet 10 inches x 6 feet.

9 feet 11 inches x 6 feet 9 inches.

NORTH PERSIA, CIRCA 1880

Provenance: Acquired from Joseph W. Fell, Chicago, 1983

Provenance: Acquired from Joseph W. Fell, Chicago, 1983

Provenance: Acquired from Joseph W. Fell, Chicago, 1983

$6,000-8,000

$3,000-5,000

$4,000-6,000

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AUCTION INQUIRIES

Corbin Horn Head of Sale corbinhorn@lesliehindman.com 312.334.4214

Gretchen Hause Director, Fine Books and Manuscripts gretchenhause@lesliehindman.com 312.334.4229

Katelyn Finn Midwest Director, Business Development

Miranda Luce Account Executive, Business Development mirandaluce@lesliehindman.com 312.334.4208

OFFICE OF THE PRESIDENT

Fine Art

Asian Works of Art

REGIONAL OFFICES

Zack Wirsum Senior Specialist zachary@lesliehindman.com

Annie Wu Specialist anniewu@lesliehindman.com

Tess Hall Senior Specialist anastasiahall@lesliehindman.com

Flora Zhang Cataloguer florazhang@lesliehindman.com 312.447.3290

Leslie S. Hindman Founder and Co-Chair 312.280.1212 Thomas Galbraith CEO thomasgalbraith@lesliehindman.com 312.334.4205 Adam Spender Executive Assistant 312.334.4201

FINANCE Christopher Reimann CFO christopherreimann@lesliehindman.com 312.280.1212

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT Molly Gron Director mollygron@lesliehindman.com 312.334.4235 Katelyn Finn Director, Midwest katelynfinn@lesliehindman.com 312.447.3297 Katie Matusik Estates and Appraisals Manager katelynmatusik@lesliehindman.com 312.334.4224 Vaughn Smith Senior Account Executive vaughnsmith@lesliehindman.com 312.334.4238 Miranda Luce Account Executive mirandaluce@lesliehindman.com 312.334.4208

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

CONSIGNMENT DEPARTMENT Jim Sharp VP, Expertise jim@lesliehindman.com Maggie Porter VP, Sales Strategy maggieporteri@lesliehindman.com Raluca Mondi Consignment Coordinator ralucamondi@lesliehindman.com 312.447.3263 88

Nate Brady Cataloguer nathanbrady@lesliehindman.com 312.600.6064 Emily Catrice Cataloguer emilycatrice@lesliehindman.com 312.334.4228 Mary Grace Bilby Account Executive marygracebilby@lesliehindman.com 312.334.4216 Fine Furniture and Decorative Arts Mike Intihar Senior Specialist mike@lesliehindman.com Corbin Horn Specialist corbinhorn@lesliehindman.com Nick Coombs Associate Specialist nickcoombs@lesliehindman.com 312.447.3292 Cassia Baker Senior Account Executive cassiabaker@lesliehindman.com 312.447.3282 Genevieve King Cataloguer genevieveking@lesliehindman.com Modern Design Hudson Berry Specialist hudsonberry@lesliehindman.com Mike Intihar Senior Specialist mike@lesliehindman.com Cassia Baker Senior Account Executive cassiabaker@lesliehindman.com 312.447.3282 Fine Books and Manuscripts Gretchen Hause Director gretchenhause@lesliehindman.com Elizabeth Keithley Account Executive elizabethkeithley@lesliehindman.com 312.334.4231

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

Megan Sadler Account Executive megansadler@lesliehindman.com 312.600.6066 Fine Jewelry and Timepieces Katie Guilbault, G.G. Senior Specialist katieguilbault@lesliehindman.com Nicole Gunn, G.G. Gemologist, Florida Region nicolegunn@lesliehindman.com Jamie Henderson Specialist jamiehenderson@lesliehindman.com

Michael McCarthy Account Executive michaelmccarthy@lesliehindman.com 312.334.4204 Kathleen Brennan Account Executive kathleenbrennan@lesliehindman.com 312.334.4234 Atlanta Mary Calhoun marycalhoun@lesliehindman.com 404.800.0192 Denver 1024 Cherokee Street, Suite 200 Denver, Colorado 80204 denver@lesliehindman.com 303.825.1855 Milwaukee 414 East Mason Street Milwaukee, Wisconsin 53202 414.220.9200

Sally Klaar, G.G. Associate Specialist / Cataloguer sallyklaar@lesliehindman.com

Naples 850 6th Avenue South Naples, Florida 34102 239.643.4448

Madeline Schroeder Account Executive / Cataloguer madelineschroeder@lesliehindman.com 312.334.4223

West Palm Beach 1608 South Dixie Highway West Palm Beach, Florida 33401 561.833.8053

Briar Koehl Account Executive briarkoehl@lesliehindman.com 312.600.6075

Scottsdale Logan Browning loganbrowning@lesliehindman.com 480.490.3175

Katie Meyer Administrator katiemeyer@lesliehindman.com 312.334.4213

St. Louis 32 North Brentwood Boulevard Clayton, Missouri 63105 314.833.0833

Luxury Accessories and Couture Mary Shearson Director maryshearson@lesliehindman.com Dawn Butler Account Executive dawnbutler@lesliehindman.com 312.447.3288 Arts of the American West Rachel Enright Consignment Manager rachelenright@lesliehindman.com 303.825.1855 Interiors Gia Spezia, Director gia@lesliehindman.com 312.334.4219

Kansas City Pam Kirkland pamkirkland@lesliehindman.com 314.833.0833 Rockford, Illinois Janet Moore 815.399.3983 Ohio Macy Nyhart Hansen 513.560.3200 Washington, D.C. Maura Ross 561.676.3199 Mid Atlantic Roger Schrenk and Chris Fultz 703.217.3811 International Tina Fisher Grow 561.315.9100

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 Leslie Hindman Auctioneers 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; fifteen percent (15%) of the hammer price on each lot sold for $2,001 or more but less than $5,001; and twenty-five percent (25%) of the hammer price on each lot sold for $2000 and less with a minimum commission of $25 per lot sold. If your property fails to reach the reserve price agreed upon between you and Leslie Hindman Auctioneers, you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price.

Shipping Arrangements Leslie Hindman Auctioneers 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 Leslie Hindman Auctioneers and deducted from the proceeds of the sale. We may recommend packers and shippers, but we are not responsible for their acts or omissions.

Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances. Please contact our Estates and Appraisals Department at 312.280.1212 for further information.

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

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

Estimates Leslie Hindman Auctioneers 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 Leslie Hindman Auctioneers a buyer’s premium as well as any applicable taxes.

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

The normal bidding increments are:

$0 - $200 ............................................. $10

$200 - $500 ............................................. $25

$500 - $1,000 .......................................... $50 $1,000 - $2,000 ........................................ $100 $2,000 - $5,000 ........................................ $200 $5,000 - $10,000 ...................................... $500 $10,000 - $20,000 ................................... $1,000 $20,000 - $50,000 ................................... $2,000 $50,000 - $100,000 ................................. $5,000 $100,000 - $200,000 ............................... $10,000

Over > $200,000 ......... Auctioneer’s Discretion

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

Online Bidding Leslie Hindman Auctioneers allows absentee and live bidding through our website at www.lesliehindman.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 www.lesliehindman.com.

Absentee Bidding If you are unable to attend an auction, you may use the absentee bid form provided at the back of this catalogue. Leslie Hindman Auctioneers will exercise written order bids and telephone bids at no additional charge. Lots will always be sold as inexpensively as is allowed other bids and reserves as are on our books or bids executed in competition from the audience.

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

DRIVING DIRECTIONS From the WEST: Take I-290 east. Take the Paulina Street/Ashland Boulevard exit 28B. Stay straight to go onto West Congress Parkway. Turn left onto South Paulina Street. Take a slight right onto West Ogden Avenue. Turn right onto West Lake Street. Building will be on the left side at 1338 West Lake Street.

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

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

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

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

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CONDITIONS OF SALE HINDMAN LLC AS AGENT

The lots listed in this catalogue will be offered by Hindman LLC as owner or as agent for consignor(s) subject to the following terms and conditions. By bidding at auction you agree to be bound by these Conditions of Sale.

BEFORE THE SALE

Prospective buyers are strongly advised to personally examine any property in which they are interested before the auction takes place. Condition reports are usually available on request, on lots with a low estimate of $300 and above.

All lots are sold “AS IS” and without recourse and neither Hindman LLC nor its consignor(s) makes any warranties or representations, express or implied with respect to such lots. Neither Hindman LLC nor its consignor(s) makes any express or implied warranty or representation of any kind or nature with respect to merchantability, fitness for purpose, correctness of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, material, genuineness, attribution, provenance, period, culture, source, origin, exhibitions, literature or historical significance of any lot sold. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. No statement, whether written or oral, and whether made in the catalogue, or in supplements to the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, the remarks of an auctioneer, or otherwise, shall be deemed to create any warranty, representation or assumption of liability. Hindman LLC and its consignor(s) make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold.

Hindman LLC expressly reserves the right to reproduce any image of the lots sold in the catalogue.

AT THE SALE Refusal of Admission Hindman LLC has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.

Registration before Bidding A prospective buyer must complete and sign a registration form and provide identification before bidding. We may require bank or other financial references.

Bidding as Principal When making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium, all applicable taxes and all other applicable charges, unless it has been explicitly agreed upon in writing with Hindman LLC before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Hindman LLC, and that Hindman LLC will only look to the principal for payment.

Absentee Bids We will use reasonable efforts to carry out written bids given to us at least 24 hours prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in U.S. dollars. If we receive written bids on a particular lot for identical amounts, and these are the highest bids on the lot at the auction, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with the written bid.

Telephone Bids On lots with a low estimate of $300 and above and if a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone and we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding. These telephone bids may be recorded at the discretion of Hindman LLC. Online Bids We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the Internet or software malfunctions related to the execution of online bids.

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W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

Reserves Some lots in the sale are subject to a reserve which is the confidential minimum price below which such lot will not be sold. The reserve will not exceed the low estimate of the lot. Reserves are agreed upon with consignors or, in the absence thereof, the absolute discretion of Hindman LLC. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. With respect to lots that are offered without reserve, unless there are already competing bids, the auctioneer, in his or her discretion, will generally open the bidding at half of the low estimate for the lot. In the absence of a bid at that level, the auctioneer may proceed backwards at his or her discretion until a bid is recognized, and then continue up from that amount.

Auctioneer’s Discretion The auctioneer has the right at his or her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he or she may decide, to withdraw any lot, and in the case of error or dispute, and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, our sale record is conclusive.

Successful Bid The highest bidder acknowledged by the auctioneer will be the purchaser.

In the case of a tie bid, the winning bidder will determined by the auctioneer at his or her sole discretion. In the event of a dispute between bidders, the auctioneer has final discretion to determine the successful bidder or to reoffer the lot in dispute. If any dispute arises after the sale, the Hindman LLC sale record shall be conclusive. Title passes upon the fall of the auctioneer’s hammer to the highest acknowledged bidder subject to the Conditions of Sale set forth herein, and the bidder assumes full risk and responsibility.

AFTER THE SALE Buyer’s Premium In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium and the applicable sales tax added to the final total. The buyer’s premium for all purchases except via live online bidding is twenty-five (25%) of the hammer price up to and including $250,000; twenty percent (20%) of any amount in excess of $250,000 up to and including $3,000,000; and twelve percent (12%) of any amount in excess of $3,000,000.

The buyer’s premium for purchases made via live online bidding is twenty-six (26%) of the hammer price up to and including $250,000; twenty-one percent (21%) of any amount in excess of $250,000 up to and including $3,000,000; and thirteen percent (13%) of any amount in excess of $3,000,000.

Payment The buyer must pay the entire amount due (including the hammer price, buyer’s premium, all applicable taxes and other charges) no later than 5 p.m. on the seventh (7) business day following the sale. Payment in U.S. dollars may be made with cash; bank check or cashier’s check drawn on a U.S. bank; money order; or wire transfer unless other arrangements are made with Hindman LLC. Hindman LLC reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Hindman LLC a handling charge of $50 for any check dishonored by the drawee.

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

Collecting Purchases Once Hindman LLC has received all funds due to us, the buyer shall collect purchased lots within seven (7) business days from the date of the sale.

Packing and Shipping If your bid is successful, we can provide you with a list of shippers. We will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. Property will not be released to the shipper without the buyer’s written consent and until payment has been made in full. Packing and handling of purchased lots by us is at the entire risk of the purchaser, and Hindman LLC will have no liability of any loss or damage to such items.

Non Payment If we do not receive payment in full, in good cleared funds, within seven (7) business days following the sale, we are entitled in our absolute discretion to exercise one or more of the following measures, in addition to any additional actions available to us by law: a.) to impose a late charge of one and a half percent (1.5%) per thirty (30) days of the total purchase price b.) to hold the defaulting buyer liable for the total amount due and to begin legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law c.) to cancel the sale d.) to resell the property publicly or privately with such terms as we find appropriate, to resell the property at public auction without reserve, and with the purchaser liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages. In addition, a defaulting purchaser will be deemed to have granted us a security interest in, and we may retain as collateral security for such purchaser’s obligations to us, any property in our possession owned by such purchaser. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or in the case of bank or cashier’s checks, we have confirmed their authenticity.

LIABILITY

Condition Reports Hindman LLC is not responsible for the correctness of any statement of any kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lot. Neither the seller, ourselves, our officers, employees or agents, 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, completeness, authorship, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind whatsoever is excluded by this paragraph. Items under $1,000 are collated upon request.

Purchased Lots If for any reason a purchased lot cannot be delivered in the same condition as at the time of sale, or should any purchased lot be stolen, mis-delivered or lost prior to delivery, Hindman LLC shall not be liable for any amount in excess of that paid by the purchaser.

Legal Ramifications The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of the jurisdiction in Illinois. If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

Discretion Any and all of the conditions may be waived or modified in the sole discretion of Hindman LLC.

03/18

e.) to offset against any amount owed f.) to not allow any bids at any upcoming auction by or on behalf of the buyer

Failure to Collect Purchases If property is not picked up within seven (7) business days following the sale, whether or not payment has been made, Hindman LLC reserves the right to charge $5 per lot per day or to deliver said property to a public warehouse for storage at the purchaser’s expense. Hindman LLC shall have no liability for any damage to property left on its premises for more than seven (7) business days following the sale. In addition, we reserve the right to impose a late charge of one and a half percent (1.5%) per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. For property that is not picked up after thirty (30) calendar days, an additional administration fee of $75 will be charged. Property which is paid for but left on our premises for any reason in excess of sixty (60) calendar days is subject to sale by us with the balance of any funds recovered in excess of storage charges and any other fees being remitted to you.

LH

g.) to take other action as we find necessary or appropriate

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DON’T MISS THE ADVENTURE AND EXPLORATION LIBRARY OF STEVE FOSSETT, PART 1 AUCTION ON OCTOBER 31.

LESLIE HINDMAN

AUCTIONEERS

U P C O M I N G AUC T I ON S C H E D U L E 623 | WORLDLY PURSUITS: AN ADVENTURER’S COLLECTION. THE ESTATE OF STEVE AND PEGGY FOSSETT OCTOBER 30 | CHICAGO 624 | THE ADVENTURE AND EXPLORATION LIBRARY OF STEVE FOSSETT, PART 1 OCTOBER 31 | CHICAGO 587 | INTERIORS NOVEMBER 7 | ONLINE ONLY 607 | NUMISMATICS NOVEMBER 8 | CHICAGO 590 | ARTS OF THE AMERICAN WEST NOVEMBER 10 | CHICAGO 610 | THE FINE CARTOGRAPHIC AND AMERICANA COLLECTION OF EVELYN AND ERIC NEWMAN NOVEMBER 12 | CHICAGO 588 | FINE BOOKS AND MANUSCRIPTS NOVEMBER 13 | CHICAGO 589 | MODERN DESIGN NOVEMBER 14 | CHICAGO 621 | CLASSIC GLASS NOVEMBER 14 | ONLINE ONLY 92

W O R L D LY P U R S U I T S : A N A D V E N T U R E R ’ S C O L L E C T I O N

617 | PROPERTY FROM THE COLLECTION OF ROGER BROWN AT LA CONCHITA, CALIFORNIA NOVEMBER 15 | ONLINE ONLY 591 | PALM BEACH COLLECTIONS NOVEMBER 30 | PALM BEACH 592 | IMPORTANT JEWELRY DECEMBER 3 | CHICAGO 562 | FINE TIMEPIECES DECEMBER 4 | CHICAGO 595 | LUXE HOLIDAY DECEMBER 5 | CHICAGO 631 | ATLANTA WINTER AUCTION DECEMBER 6 – 11 | TIMED ONLINE ONLY 630 | FINE FURNITURE, DECORATIVE ARTS AND SILVER DECEMBER 12 | CHICAGO 596 | POST WAR AND CONTEMPORARY ART DECEMBER 13 | CHICAGO 597 | FINE PRINTS DECEMBER 7 – 14 | TIMED ONLINE ONLY 598 | AMERICAN AND EUROPEAN ART DECEMBER 14 | CHICAGO

LESLIE HINDMAN AUCTIONEERS CHICAGO | ATLANTA | DENVER

BID FORM

MILWAUKEE | NAPLES | PALM BEACH | SCOTTSDALE | ST. LOUIS

FX 312. 280. 1211 | B I D @ L E S L I E HI ND MA N.COM Online registration/bid requests must be received at least 24 hours before the auction begins. Hindman LLC will confirm all bids received by fax or by return email. Phone bids will not be accepted on lots with a low estimate below $300. Hindman LLC allows absentee and telephone bidding registration through our website at www.lesliehindman.com.

623

NAME

SALE NUMBER/NAME

BUSINESS NAME BILLING ADDRESS CITY STATE COUNTRY/ZIP CONTACT NAME PRIMARY PHONE SECONDARY PHONE EMAIL FAX

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

$0 - $200 ........................................ $10

$200 - $500 ........................................ $25

$500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $200 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,000 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000

Over > $200,000 .... Auctioneer’s Discretion For absentee bids, indicate your limit for each lot. Your bids will be executed at the lowest prices allowed by reserves and competing bids.

If we receive more than one bid of the same value, the first one received will take precedence.

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

A per lot buyer’s premium is added to the final hammer price as per the following:

SIGNATURE DATE

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

FOR HINDMAN LLC DATE

$0 - $250,000 .......................................... 25% $250,001 - $3,000,000 ............................ 20% $3,000,001 + ............................................ 12%

FIRST TIME BIDDERS PLEASE PROVIDE A VALID CREDIT CARD AND ONE OF THE FOLLOWING: PASSPORT / DRIVER’S LICENSE / NATIONAL IDENTITY CARD LOT NUMBER

PHONE BID

ABSENTEE BID

LOT DESCRIPTION

US DOLLAR LIMIT

EXCLUDES BUYER’S PREMIUM

PLEASE CHECK

BACK-UP BID

FOR TELEPHONE BIDDERS ONLY

How did you hear about Leslie Hindman Auctioneers?

LHLIVE 1338 WEST LAKE STREET PH 312.280.1212

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FX 312.280.1211

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CHICAGO, ILLINOIS

60607

BID@LESLIEHINDMAN.COM

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LESLIEHINDMAN.COM

L ESL IE HI NDM A N AUCT ION EERS OCT OBER 30, 2018

WORLDLY PURSUITS: AN ADVENTURER’S COLLECTION NO.623

13 3 8 We s t L a ke S t r e e t C h i c a g o, Illi n o i s 6 0 6 07 l p h 312. 28 0.1212 l f x 312. 28 0.1211 l l e s li e h i n d m a n.c o m

THE ESTATE OF STEVE AND PEGGY FOSSETT OCTOBER 30, 2018