Sale 909 | American and European Art by Hindman Auctions

AMERICAN & EUROPEAN ART 27 SEPTEMBER 2021

AMERICAN & EUROPEAN ART SALE 909 27 September 2021 10am CT | Chicago Lots 1–120 P R E V I E W B Y A P P O I N T ME N T O N LY 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 only. 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 1-69 European Art | Lots 70-120 Artist Index Hindman Team Inquiries Conditions of Sale

8-55 58-91 92 94 95 97

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 70

DEN 1057930 FL AB3688 GA AU-C003121 IL 444.000521 OH 2019000131 MO STL 102646 © 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 PET ER B ER G H , EDWAR D S , C O L O R AD O B AR B AR A B O N F I G L I , T I B U RO N , C AL I F O R N I A B ER N I TA B U N C H ER , PI T T S B U R G H , PEN N S YLVAN I A A D EN VER B U S I N ES S AN D C O M M U N I T Y L EAD ER , D EN VER , CO LO RAD O T H E T ER R EN C E J . D I M O F F T R U S T, M I LWAU K EE, W I S C O N S I N R . L AW R EN C E D U N WO R T H , PAL M B EAC H , F L O R I DA G EO R G E W. F EL L OW S , N APL ES , F L O R I DA C L EO N O R A G . L AN G M AR G AR ET L U DW I G , O AK L AN D, C AL I F O R N I A F R AN K M C I N T O S H , G R EEN PO R T, N EW YO R K A M I DW ES T C O L L EC T O R , M I LWAU K EE, W I S C O N S I N M AR I LYN AN D J AM ES S C O T T, M I LWAU K EE, W I S C O N S I N M I R I AM B . S WAN S O N T R U S T, C H I C AG O, I L L I N O I S 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 J O H N AS H EN D EN , C H I C AG O, I L L I N O I S M AR I E B AT TAG L I N I - L EVY, WAS H I N G T O N , D. C . L AL I E C L AR K , N APL ES , F L O R I DA F. AL AN C U M M I N G S , TAL L AH AS S EE, F L O R I DA G EO R G ET T E D ’ AN G EL O, G L EN C O E, I L L I N O I S RO B ER T B . F L AN N ERY I I I , G L EN VI EW, I L L I N O I S W I L L I AM F O R S , H AN OVER PAR K , I L L I N O I S A G EN T L EM AN , AT L AN TA, G EO R G I A J AM ES G R I F F EL , PO N T E VED R A B EAC H , F L O R I DA RO B ER T VAR D E K U EN Z EL , AS H L AN D, O R EG O N A L ADY, S AR AS O TA, F L O R I DA M AR K AN D PAT R I C I A M C G R AT H , C H I C AG O, I L L I N O I S T H E M I S S O U R I AT H L ET I C C L U B F O U N DAT I O N F O R T H E AR T S A N APL ES C O L L EC T O R H O M ER E. N O B L E, D EN VER , C O L O R AD O A PR I VAT E C H I C AG O C O L L EC T O R A PR I VAT E C O L L EC T I O N A PR I VAT E C O L L EC T I O N , C H I C AG O, I L L I N O I S A PR I VAT E C O L L EC T I O N , C O L U M B U S , O H I O A PR I VAT E C O L L EC T I O N , S O U T H W ES T F L O R I DA L O N AN D W I L M I A R AM S EY, W I N N ET K A, I L L I N O I S L EO N AR D S TAR K , C H I C AG O, I L L I N O I S H EL EN A S Z EPE, TAM PA, F L O R I DA N O EL AN D K AT H RYN D I C K I N S O N WAD S WO R T H , AT L AN TA, GEO RG IA DAN I EL W EI N B ER G , H I G H L AN D PAR K , I L L I N O I S I R I S AN D PAU L Z AH AR A, F L O S S M O O R , I L L I N O I S P RO P E R T Y S O L D T O B E N E F I T N O R T H W ES T ER N U N I VER S I T Y, EVAN S T O N , I L L I N O I S

O P P O S I TE Lot 31

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

AMERICAN & EUROPEAN ART

Homer Edward Noble (1916-2007) After growing up on a small rural sheep ranch in Western Colorado, Homer E. Noble lived a storied life of courage, determination and generosity. As part of the “Greatest Generation,” he joined the Marine Corps during WWII and survived the horrendous battles at Okinawa. His bravery earned both a Purple Heart and Bronze Star. Following the war, Homer’s entrepreneurial spirit soon became apparent as he began a lifetime of investments in land and other natural resources mostly oil, gas, coal and gold. His desire was to see nature protected and land nurtured as demonstrated by his Conservation Easement in Western Colorado. The development of his ranch in Evergreen, Colorado became Soda Creek, large acreage luxury homes west of Denver that left nature undisturbed. While Homer enjoyed many business ventures nothing compared to his love of horses. He grew up with horses and never lost his involvement with them, both riding and later as an owner of choice racehorses. His horses competed at Del Mar, Santa Anita, Belmont and, most notably in the Kentucky Derby where his horse “Rumbo” placed second in 1980. But quite fortuitously, he became a connoisseur of fine art, particularly art with horses. His impressive collection included that of major American artists as well as pre-Columbian art and a significant array of bronze sculptures. Along with his wife Stephanie, Homer had an eye for high quality pieces, many of which now comprise the selections shown in this offering. His eclectic interests could be seen in his large personal library ranging from history and biography to nature and, of course, horses. He had lived such an interesting life and had met so many unusual people that he had an inexhaustible treasure trove of stories to tell, much to the delight of his friends and family. For those persons who had the good fortune to know Homer E. Noble, he was unforgettable and is greatly missed.

OP P OSIT E LO T 4 6 , i n c l uded in Pr oper t y fr om t he Collect ion of Homer E. N obl e, D env er, Col orado

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

AMERICAN & EUROPEAN ART

AMERICAN ART LOTS 1 - 6 9

O P P O S I TE Lot 12

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

Wolf Kahn

(American/German, 1927-2020) Scene with Barn, 1972 pastel on paper signed W. Kahn (lower left); dated, and inscribed For David (lower right) 10 ½ x 13 inches. Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Provenance: David Barnett Gallery, Milwaukee, Wisconsin Acquired directly from the above by the present owner $2,000 - 4,000

Wolf Kahn

(American/German, 1927-2020) No One Lives There Anymore (Study for Deserted Farm House), 1972 pastel on paper signed W. Kahn (lower right) 8 ¾ x 11 ½ inches. Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Provenance: Grace Borgenicht Gallery, New York Acquired directly from the above by the present owner $2,000 - 4,000

AMERICAN & EUROPEAN ART

Wolf Kahn

(American/German, 1927-2020) The Deserted Farm House oil on canvas signed W. Kahn (lower left); titled (stretcher) 30 x 40 inches. Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin $15,000 - 20,000

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

Wolf Kahn

(American/German, 1927-2020) Off Route #5, Guilford, VT, 1975 oil on canvas signed W. Kahn (lower right) 24 x 34 inches. Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Provenance: David Barnett Gallery, Milwaukee, Wisconsin Acquired directly from the above by the present owner $15,000 - 20,000

AMERICAN & EUROPEAN ART

Wolf Kahn

(American/German, 1927-2020) Cupola Barn, 1974 pastel on paper signed W. Kahn (lower right) 10 ½ x 13 inches. Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Provenance: David Barnett Gallery, Milwaukee, Wisconsin Acquired directly from the above by the present owner $3,000 - 5,000

Wolf Kahn

(American/German, 1927-2020) Foggy Ridge in Vermont, 1968 pastel on paper signed W Kahn (lower right) 13 ½ x 16 inches. Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Provenance: David Barnett Gallery, Milwaukee, Wisconsin Acquired directly from the above by the present owner $3,000 - 5,000

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

Wolf Kahn

(American/German, 1927-2020) The Winchester Farm II, 1975 pastel on paper signed W. Kahn and dated (lower left) 11 x 16 ½ inches. Property from the Collection of the Terrence J. Dimoff Trust, Milwaukee, Wisconsin Provenance: David Barnett Gallery, Milwaukee, Wisconsin Acquired directly from the above by the present owner $3,000 - 5,000

AMERICAN & EUROPEAN ART

Orville Bulman

(American, 1904–1978) Late For Duty oil on canvas signed Bulman (lower left); signed and titled (verso) 16 x 14 inches. $15,000 - 20,000

Orville Bulman

(American, 1904–1978) Á toute allure, 1972 oil on masonite signed Bulman (lower left); signed, dated, and titled (verso) 8 x 10 inches. $6,000 - 8,000

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

Robert Vickrey

(American, 1926-2011) Wanderer Butterfly, 1984 egg tempera on board signed Robert Vickrey (lower right) 10 x 7 ¾ inches. Provenance: The Harmon Gallery, Naples, Florida $3,000 - 5,000

AMERICAN & EUROPEAN ART

Jack Keijo Steele

(American, 1919-2003) The Picnic, c. 1960 oil on masonite initialed S (upper left); signed indistinctly (lower right) 48 x 60 inches. $5,000 - 7,000

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

Aaron Bohrod

(American, 1907-1992) Football, 1932 oil on board signed Aaron Bohrod and dated (lower right) 18 ½ x 22 ¾ inches. $6,000 - 8,000

Aaron Bohrod

(American, 1907-1992) The Traffic Light, 1934 oil on masonite signed Aaron Bohrod and dated (lower left) 19 ¼ x 24 inches. $6,000 - 8,000

AMERICAN & EUROPEAN ART

Aaron Bohrod

(American, 1907-1992) Superior Street, Chicago oil on panel signed Aaron Bohrod (lower right) 13 ½ x 9 ½ inches. Provenance: Everett Oehlschlaeger Galleries, Chicago $3,000 - 5,000

Aaron Bohrod

(American, 1907-1992) The Box, 1949 oil on board signed Aaron Bohrod (lower right) 9 x 9 inches. Provenance: Everett Oehlschlaeger Galleries, Chicago $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 H I N D M A N A U C T I O N S . C O M

Alfred Sessler

(American, 1909–1963) 50₵ Minus 37₵ an Hour for County Aid, 1933 oil on canvas signed A. Sessler and dated (lower right) 20 x 17 inches. Exhibited: Milwaukee, Wisconsin, Milwaukee Art Institute, 20th Annual Exhibit of Wisconsin Art, March 30 - April 30, 1933 $2,000 - 4,000

*17

Clarence Holbrook Carter

(American, 1904-2000) Caribbean Cargo Lighter Approaching Alcoa Polaris, 1944 oil on board signed Clarence H. Carter and dated (lower left); titled (verso) 23 x 28 inches. Property from the Estate of Bernita Buncher, Pittsburgh, Pennsylvania $7,000 - 9,000

AMERICAN & EUROPEAN ART

*18

Clarence Holbrook Carter

(American, 1904-2000) Island Street, 1945 oil on masonite signed Clarence H. Carter and dated (lower left) 23 x 28 inches. Property from the Estate of Bernita Buncher, Pittsburgh, Pennsylvania $7,000 - 9,000

*19

Clarence Holbrook Carter

(American, 1904-2000) Island Gate, Island Market, 1945 oil on canvas signed Clarence H. Carter and dated (lower right) 23 x 28 inches. Property from the Estate of Bernita Buncher, Pittsburgh, Pennsylvania $7,000 - 9,000

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

Mitchell Siporin

(American, 1910-1976) End of an Era, 1946 oil on canvas signed Mitchell Siporin and dated (lower right) 52 x 40 inches. Provenance: The Artist Downtown Gallery, New York, acquired directly from the above Sold: Sotheby Parke Bernet, New York, May 16, 1973, Lot 71 Dr. Robert Atkins, New York Acquired by the present owner, 2003 Exhibited: Pittsburgh, Pennsylvania, Carnegie Institute of Technology, Painting in the United States, October 10 - December 8, 1946, no. 180 Philadelphia, Pennsylvania Academy of the Fine Arts, One Hundred and Forty Second Annual Exhibition of Painting and Sculpture, January 26 March 2, 1947, no. 107 Chicago, Art Institute of Chicago, 51st Annual Exhibition by Artists of Chicago and Vicinity, June 5 August 17, 1947, no. 149, pl. 1, illus. New York, Downton Gallery, Mitchell Siporin: I’ll Be Home Soon, October - November 1947 (the painting also exhibited at Downtown Gallery in 1954 and 1957) New York, American Federation of Arts, A Collector’s Choice: Selections by William H. Lane, September 1957 - September 1958, no. 20 Waltham, Massachusetts, Brandeis University, Rose Art Museum, Mitchell Siporin: A Retrospective, May 11 - June 30, 1976, no. 29, pp. 7-8; 14; 30, illus. Literature: C.H. Bonte, “Modernism in Art is Strongly Stressed in 142nd Annual Exhibition at Academy,” The Philadelphia Inquirer, January 26, 1947, p. 58 Ivan Le Lorraine Albright, “Chicago Art Exhibition Shakes Provincialism,” Chicago Herald-American, June 4, 1947 C.J. Bulliet, “Army Artist Wins in Chicago Show,” Chicago Daily News, June 14, 1947 Judith Hansen O’Toole, Mitchell Siporin, The Early Years: 1930-1950, New York, 1990, p. 8 Andrew Hemingway, Artists on the Left: American Artists and the Communist Movement: 1926-1956, pp. 233; 235 Elizabeth Maynard, ‘Monster’ Masculinity: The Veteran-Artist and Figural Representation in Postwar Chicago, 1946-1959, 2014, PhD dissertation, McGill University, pp. 161-162; 228 Maggie Taft, Robert Cozzolino, Judith R. Kirshner, and Erin Hogan, Art in Chicago: A History from the Fire to Now, Chicago, 2018, fig. 4.1, pp. 138-39 $15,000 - 25,000

AMERICAN & EUROPEAN ART

A politically active artist committed to social justice, Mitchell Siporin’s 1946 End of an Era celebrates the end of Fascism in Italy and commemorates his experiences as an artistwar correspondent during World War II, where he was assigned to North Africa and Italy from 1942-1945. Born to a union organizer father and artist mother, Siporin’s parents instilled in him a lifelong commitment to human rights. Before the war, he studied at Chicago’s School of the Art Institute from 1928 to 1932 and worked with the politically active Jewish American artist Todros Geller. Siporin also contributed drawing and cartoons throughout the ‘30s to left-leaning publications such as the New Masses. From 1937 to 1942 he painted public murals for the Works Progress Administration (WPA), including a mural for Lane Tech College Prep High School in Chicago and for the St. Louis central post office, which was the largest single government commission of the WPA. In these works, Siporin understood and recognized the influence of the Mexican muralists Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros, who fused a mural style inspired by frescos of the Italian Renaissance with contemporary subjects and issues to express strong political views. Exhibited in 1947 at the Art Institute of Chicago’s 51st Annual Exhibition by Artists of Chicago and Vicinity, End of an Era won the exhibition’s most prestigious prize, the Logan Medal. It was also well received in the 1947 Downtown Gallery’s exhibition, Mitchell Siporin: I’ll Be Home Soon. A reviewer succinctly described the work, which also applied to others by the artist during this period: “In oil or casein, Siporin’s rigidly controlled art, influenced by such Renaissance artists as Benozzo Gozzoli, is geared to tell us a story, most often the story of war and its aftermath in Italy. As he feels that the people, the wars, and the history of Italy are all of a piece, so he fuses quattrocentro composition, with modern distortion and almost surrealistic juxtaposition of imagery. Built up from countless glowing glazes, his pictures are elaborate, fascinating mosaics from which no section can be removed” (“Siporin,” ARTnews, October 1947, p. 27). End of an Era is less real than surreal, with subdued color and minimal surface handling. A multitude of somber figures populate the composition, with several mournfully gazing out at the viewer. Fragments of scenes combine to recreate the turmoil of war, including funerals, congregants venerating the Virgin Mary, groupings of military figures, and the hanging figures of dictator Benito Mussolini and his mistress Clara Petacci, who were executed by Italian partisans in 1945. The word “Avanti” can be seen painted in the upper right of the canvas and may allude to Avanti!, an Italian newspaper that was the official voice of the Italian Socialist party. The frieze-like presentation harks back to Siporin’s socio-historical murals of the 1930s, while the expressionistic style explores the war’s physical and psychological after math. During his time as a correspondent, Siporin witnessed the chaos and devastation caused by the war, and this trauma continued to echo in his work after his return to the United States. End of an Era “…was a public statement of mourning for what he had seen in Europe. It attempted to conjure an image of hope through closure, laying to rest a period that resulted in unprecedented destruction” (Robert Cozzolino, “Raw Nerves, 19481973,” Art in Chicago: A History from the Fire Until Now, Chicago, 2018, p. 138). Although it garnered criticism from some, the painting struck a chord with exhibition jurors who held similar political views as the artist. It is panoramic in scope and open-ended in interpretation. It shows the past and holds the artist’s hope of a society that chooses to build a brighter, better future.

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

William Samuel Schwartz

(American/Russian, 1896–1977) Island Church oil on canvas signed William S. Schwartz (lower right); signed, titled, and numbered #547 (stretcher); titled (left stretcher edge) 30 x 22 inches. Property from a Private Chicago Collector $5,000 - 7,000

William Samuel Schwartz

(American/Russian, 1896-1977) The Plower, 1925 oil on masonite signed William S. Schwartz (lower center); signed, dated, titled, and inscribed Chicago (verso) 13 ½ x 16 inches. Property from a Private Chicago Collector $2,000 - 4,000

AMERICAN & EUROPEAN ART

William Samuel Schwartz

(American/Russian, 1896–1977) Still Life with Black Hat oil on canvas signed William S. Schwartz (lower left); signed and titled (stretcher); titled (bottom edge) 20 x 36 inches. Property from a Private Chicago Collector $3,000 - 5,000

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

An uncompromising artist with an unwavering vision, Ivan Albright’s Troubled Waves (Silence), 1952, reveals his quest for the abstract while attending to the minutest detail of the real. Already widely traveled, after his 1946 marriage to Josephine Patterson, Albright went on more far-flung adventures, including to Russia, China, Japan, Iran, Kenya, Alaska, and England. The present painting was likely inspired by a trip to Greece the Albrights took in the summer of 1952. While there, the artist was impressed by the marble kouroi and korai of the Archaic period. Produced from roughly 650 to 500 BCE, these life-size or larger freestanding figures were carved with abstract, idealized features. To an artist preoccupied with the depiction of the transience of matter, these statues, with their austere simplicity, may have expressed an appealing immutability.

*24

Ivan Albright

(American, 1897–1983) Troubled Waves (Silence), 1952 oil on canvas signed Ivan Albright and dated (lower right); signed (lower left) 15 x 10 ¼ inches. Property from the Collection of Daniel Weinberg, Highland Park, Illinois The present oil painting bears a Newcomb-Macklin frame. Provenance: The Artist Dr. & Mrs. Jack Weinberg, Glencoe, Illinois, acquired directly from the Artist Thence by descent to the present owner Exhibited: Chicago, Art Institute of Chicago, Retrospective: Ivan Albright, October 30 - December 27, 1964 (also traveled to New York, Whitney Museum of American Art, February 3 - March 21, 1965), no. 38, p. 48 Chicago, Art Institute of Chicago, Ivan Albright, February 20 - May 11, 1997, no. 49, illus. Literature: Michael Croydon, Ivan Albright, New York, 1978, pl. 72, p. 165, illus. $30,000 - 50,000

Upon his return to the United States, Albright executed Trouble Waves (Silence) as a reaction to the kouroi. With the smooth handling of the skin and monochromatic palette, this artwork appears almost to be a portrait of a sculpted head. The volumetric character of the figure is emphasized by deep shadows and bright highlights. For Albright, light was a tool to be manipulated, made to dance along the contours and fill the spaces within and around his painted forms. As Michael Croydon so aptly put it, he was a master of the “choreography of chiaroscuro.” (Ivan Albright, New York, 1978, p. 40) Here, the light seems to flutter along the surfaces of the head and coiled hair and penetrates the deep ravines and gorges of the eyes and neck. This use of light suggests the flickering illumination that characterizes the art of El Greco, an artist Albright greatly admired. Albright was also particularly interested in how time would impact flesh, wood, and even statuary, as he reflected on their future states. This was not a macabre interest, but a view on life itself: “’A face is a soul looking out at one who… will be dead tomorrow,’ Albright once wrote. As these figures dwell on their own mortality they also stand as mirror images for us to meditate upon. Appropriately though curiously, Albright’s figures must face this challenge alone…Individuals are represented as solitary souls caught between the harsh light of reality and an enveloping darkness. Those who inhabit these bodies must come to terms with their own decay and mortality. Yet Albright clearly felt there was hope in even the most horrific of these visions and summarized his attitude as such, in any part of life you find something either growing or disintegrating. All life is strong and powerful, even in the process of dissolution’” (Robert Cozzolino, Ivan Le Lorraine Albright (1897-1983), Illinois Historical Art Project, illinoisart.org/ivan-albright-c1mnq, accessed 13 August 2021). To the artist, time especially was a dimension that allowed him to see his models from every viewpoint in the search for the absolute. In Troubled Waves (Silence), time seems to have stopped in the luminous shadows of the figure, capturing the unchanging power of the eternal. An independently wealthy man, Albright felt no pressure to sell his work. As a result, he kept the majority of his paintings, most of which are now housed in various museums. The present artwork, which bears a Newcomb-Macklin frame, is one of the few still in private hands and the first oil painting of this caliber to ever be offered at auction.

AMERICAN & EUROPEAN ART

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

*25

*26

Ivan Albright

Property from the Collection of Daniel Weinberg, Highland Park, Illinois

Provenance: The Artist Dr. & Mrs. Jack Weinberg, Glencoe, Illinois, acquired directly from the Artist Thence by descent to the present owner

$2,000 - 4,000

(American, 1897–1983) Into the World Came a Soul Called Ida, 1940 lithograph on stone signed, dated, and titled in pencil; edition of ten 16 ½ x 14 inches.

AMERICAN & EUROPEAN ART

(American, 1897–1983) Three Love Birds, 1941 lithograph on zinc signed, dated, and titled in pencil; edition of ten 18 x 11 ¼ inches.

*27

Ivan Albright

(American, 1897-1983) Maine Landscape (Schoodic Point), 1940 watercolor and gouache on paper signed Ivan Le Lorraine Albright and dated (lower right) 13 x 19 inches. Property from the Collection of Daniel Weinberg, Highland Park, Illinois Provenance: The Artist Dr. & Mrs. Jack Weinberg, Glencoe, Illinois, acquired directly from the Artist Thence by descent to the present owner Literature: Michael Croydon, Ivan Albright, New York, 1978, pl. 57, p. 151, illus. After the death of his mother in 1938, Alvin, his twin Malvin, and their father, Adam Emory Ablright, escaped to Maine, turning to their art to deal with the grief. Alvin continued to visit Maine thereafter throughout his life. In 1940, he visited Corea, Maine, where he worked mainly in gouache. The mood in the present work is one of mediation and calm reflectiveness. $1,500 - 2,500

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

*28

Ivan Albright

(American, 1897-1983) Boat in Seaside Harbor, c. 1940-41 watercolor and gouache on paper signed Ivan Le Lorraine Albright and dated (lower right) 13 ½ x 19 ½ inches. Property from the Collection of Daniel Weinberg, Highland Park, Illinois The present watercolor bears a Newcomb-Macklin frame. Provenance: The Artist Dr. & Mrs. Jack Weinberg, Glencoe, Illinois, acquired directly from the Artist Thence by descent to the present owner $1,000 - 2,000

*29

Ivan Albright

(American, 1897–1983) We Are Gathered Here, 1948 gouache on paper signed Ivan Le Lorraine Albright and dated (lower right) 22 x 30 inches. Property from the Collection of Robert Varde Kuenzel, Ashland, Oregon Provenance: C.M. Varde, Kenilworth, Illinois, by 1955 Exhibited: Chicago, Art Institute of Chicago, 58th Annual Exhibition by Artists of Chicago and Vicinity, June 2 July 4, 1955, no. 4 Literature: Michael Croydon, Ivan Albright, New York, 1978, pl. 127, p. 285, illus. $5,000 - 7,000

AMERICAN & EUROPEAN ART

*30

Adam Emory Albright

(American, 1862–1957) Two Boys in a Boat, 1916 oil on canvas signed Adam Emory Albright and dated (lower right) 20 ½ x 36 ¼ inches. Property from the Collection of Robert Varde Kuenzel, Ashland, Oregon $2,000 - 4,000

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

*31

Thomas Hart Benton

(American, 1889-1975) Planting (Spring Plowing), c. 1939-40 watercolor and graphite on paper signed Benton (lower left) 18 x 21 ¾ inches. Property from the Collection of Lon and Wilmia Ramsey, Winnetka, Illinois We would like to thank the Thomas Hart Benton Catalogue Raisonné Foundation for authenticating this lot. The work will be included in the forthcoming catalogue raisonné being prepared by The Thomas Hart Benton Catalogue Raisonné Foundation. Committee Members: Dr. Henry Adams, Jessie Benton, Anthony Benton Gude, Andrew Thompson, and Michael Owen. This watercolor is accompanied by two letters written by Thomas Hart Benton to Lon Ramsey, as well as a photograph showing the artwork and which bears an inscription by the artist on the verso. Provenance: Lon and Wilmia Ramsey, Winnetka, Illinois, by 1968 By descent to the present owner $200,000 - 300,000

Thomas Hart Benton, painter of American life and history, was a restless man with seemingly endless energy for travel. As a child, he grew up listening to stories of his maternal grandfather, Pappy Wise, and his affliction with “foot itch” that led him to ramble throughout Kentucky, Tennessee, Missouri and Texas. His own father, a U.S. representative for Missouri, likewise nostalgically reminisced of his travels during his Ozark campaigns. After his father’s death in 1924, Benton was inspired to go on his own journeys to see for himself the variety and picturesqueness of the people of America. He traveled throughout the Ozarks and Texas during the 1920s and 1930s. On these trips, Benton sketched scenes in pencil that he would then go over with pen and wash in the evenings, in order to make the designs more durable and enhance the sculptural effect. He would then use the works as materials for his paintings. Planting (Spring Plowing), c. 1939-40 is one such watercolor. According to a 1968 letter written by the artist to Lon Ramsey, there are three known versions of this picture: the present watercolor, an oil tempera (location unknown), and a lithograph. The lithograph was published in 1939 by Associated American Artists as part of its plan to make fine art prints affordable to the upper and middle classes, with a focus on the “American Scene” in order to appeal to a broad audience. In the note that accompanies the print of Planting (Spring Plowing) in Creekmore Fath’s book on Benton lithographs, Benton states that he based the lithograph on a drawing he made in southern Arkansas in 1938. He goes on to say, “The man plows, the woman sows. Common enough theme up until lately—maybe it is still to be found. Old ways don’t die easily” (Creekmore Fath, The Lithographs of Thomas Hart Benton, Austin, Texas, 1969, p. 76). In both the print and present watercolor, the artist has captured a traditional farm scene and imbued it with a uniquely Southern flavor. He also realized he was witnessing and recording a disappearing way of life. Life in the Deep South had been dominated by “King Cotton” for generations, resulting in isolated communities and rural areas entombed in social patterns from the 19th century. This way of life was gradually changing in the 1920s and 1930s, but as Benton noted for the print, “old ways don’t die easily.” In the present watercolor, the red soil roils up as if it is a wave of earth and the two figures brace their bodies in response. In contrast, the mule, a distinctly American draft animal, plods on, unperturbed. The artist had a particular affection for mules, once commenting, “You know, the mule is a damned dramatic animal.” The dynamism of the scene is further emphasized by the sweeping clouds in the sky and curved logs in the foreground. Although the man and woman are clearly living a hardscrabble life, the bold, sculptural composition monumentalizes them and the land they on which they work. Benton’s sensitive portrayal emphasizes the self-reliance and strength of the farmers and made them into distinctly American heroes.

AMERICAN & EUROPEAN ART

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

*32

Marvin Cone

(American, 1891-1964) Cook’s Barn No. 2 oil on canvas signed Marvin Cone (lower left) 16 x 34 inches. Property from the Collection of Lon and Wilmia Ramsey, Winnetka, Illinois This painting will be included as no. 1940.001 in Joseph S. Czestochowski’s forthcoming catalogue raisonné of the artist’s work to be published by International Arts® at www.catrais.org. We wish to thank him for his assistance cataloguing this lot. Cook’s Barn No. 2 is in a frame crafted by Marvin Cone. Provenance: The Artist Lon and Wilmia Ramsey, Winnetka, Illinois By descent to the present owner Exhibited: Davenport, Iowa, Davenport Municipal Art Gallery [now Figge Art Museum], First Exhibition of the Art and Artists along the Mississippi, April 4 - 30, 1940, no. 21 Literature: Joseph S. Czestochowski, Marvin D. Cone: Art as Self Portrait, Cedar Rapids, Iowa, 1989, no. 398 $50,000 - 70,000

AMERICAN & EUROPEAN ART

Barns were among Cone’s most popular subjects, constantly sought after by friends and the general public well into the 1950s. When he began to paint the barns surrounding Cedar Rapids, Iowa in the late 1930s, these iconic structures were already around about a hundred years old, in a state of decline, and rapidly being replaced by modern, more efficient buildings. These scenes were usually devoid of the transient distraction of any human presence and are carefully structured and geometrically ordered. Though Marvin Cone’s work is often described as Regionalist in the tradition of his lifelong friend Grant Wood, Cone avoided the cultural implications often found in the work of his contemporaries. He instead focused on subjects, including barns, that captivated his interest and presented a compositional challenge, and the potential for an interesting design that displayed his technical skill. He sought to express the essence of his surroundings, rather than an accurate copy. Cone spent his entire life as an artist working in Cedar Rapids, where he grew up, raised a family, and taught painting at the local Coe College for over forty years. Joseph S. Czestochowski writes, “… Cone concentrated on the landscape of the Midwest, capturing the special nuances of mid-western light and the complex formations of land and sky. These scenes, which rarely include people, are reminiscent of the Iowa countryside, but without topographic precision. To the artist, the landscape had a poignant reality that was nonetheless unpredictable and elusive. Nature’s sublimity, greater than its mere physical qualities, was Cone’s principal pursuit” (Marvin D. Cone: An American Tradition, New York, 1985, p. 1). Another version of the present painting, titled Cook’s Barn No. 1, was painted in 1939-40, and was a wedding gift to his daughter and son-in-law in 1947. Cook’s Barn No. 1 was sold at Sotheby’s New York in May 2004.

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

Dale Nichols

(American, 1904–1995) Early Risers, 1949 oil on canvas signed Dale Nichols and dated (lower right); titled (verso) 30 x 40 inches. Provenance: The Artist Private Collection, Omaha, Nebraska, acquired directly from the Artist Thence by descent through the family Acquired directly from the above by the present owner $20,000 - 30,000

AMERICAN & EUROPEAN ART

Dale Nichols

(American, 1904–1995) Red Barn in Snow, 1938 watercolor on paper laid to board signed Dale Nichols and dated (lower left) 6 x 7 ¾ inches (sight). Property from a Private Collection, Chicago, Illinois Provenance: The Artist C.H. Hos**** (last name illegible), acquired directly from the above, 1938 Betty Ryan, gifted from the above, 1948 $3,000 - 5,000

Norman Rockwell

(American, 1894-1978) Portrait of John P. Orendorff, 1921 graphite on paper laid to board signed Norman Rockwell (lower right) 10 x 8 inches. The drawing at hand is listed as number P104 in the Normal Rockwell Museum Digital Collection. https://collection.nrm. org/#details=ecatalogue.13969 According to a handwritten note that accompanies the drawing, this portrait was executed in Saranac, New York in 1921. It is unclear how the sitter and artist met, but it may have been when Rockwell acted as art director for Boys’ Life Magazine. The Boy Scouts have a large chapter in Saranac and it is possible that Orendorff was in the area at the same time as Rockwell and they crossed paths. Later in life, John P. Orendorff was the President and Secretary of the Simonson Lumber and Supply Co. in St. Paul, Minnesota. $4,000 - 6,000

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*36

Rockwell Kent

(American, 1882-1971) Study for Seagull, c. 1939 graphite on paper bears artist’s estate ink stamp (lower right) 9 ¼ x 18 ½ inches. Property from the Estate of Peter Bergh, Edwards, Colorado $800 - 1,200

Stanley Massey Arthurs

(American, 1877-1950) Early Steamboat Days - Midstream Passenger oil on canvas laid to board signed S.M. Arthurs (lower right) 24 ¾ x 37 inches. Exhibited: Wilmington, Delaware, Delaware Art Museum, Stanley Arthurs, May 3 - June 16, 1974, no. 10, p. 24, illus. Literature: Charles A. and Mary R. Beard, The Making of American Civilization, New York, 1948 Walt and Roger Reed, The Illustrator in America, 1880-1980, A Century of Illustration, New York, 1984, p. 50, illus. $8,000 - 12,000

Stanley Massey Arthurs

(American, 1877-1950) Mrs. Greenhow Attempts to Escape oil on canvas signed SM Arthurs (lower left) 36 ¼ x 24 inches. $6,000 - 8,000

AMERICAN & EUROPEAN ART

38A

Benjamin Stahl

(American, 1910–1987) Circus Family, 1947 oil on canvas signed Stahl (lower right); titled, dated, and inscribed (verso) 72 x 35 inches. Property of a Lady, Sarasota, Florida $3,000 - 5,000

Benjamin Stahl

(American, 1910–1987) Rosin Back oil on canvasboard signed Stahl (lower left) 11 x 16 ½ inches. Property of a Lady, Sarasota, Florida $2,000 - 4,000

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John Bradley Storrs

Frederick William MacMonnies

Jo (Joseph) Davidson

Provenance: Henry Hottinger, Brooklyn Heights, New York Faber Donoughe, New York Acquired directly from the above by the present owner, October, 15, 1981

Property from the Estate of a Denver Business and Community Leader, Denver, Colorado

(American, 1885-1956) Untitled (Female Bust) stoneware inscribed STORRS and numbered II (verso) Height: 4 inches.

(American, 1863–1937) Bacchante and Infant Faun, 1890 bronze inscribed F. MacMonnies and dated; stamped with H. Rouard foundry mark (base) Height: 16 inches.

(American, 1883-1952) Will Rogers, 1936 bronze inscribed Jo Davidson and dated, and stamped with Valsuani foundry mark (base) Height: 28 inches.

$2,000 - 4,000

Literature: E. Adina Gordon and Mary Smart, A Flight with Fame, the Life and Art of Frederick MacMonnies, 1863-1937, Madison, Connecticut, 1996, p. 292 (another cast illustrated) E. Adina Gordon, Ph.D., The Sculpture of Frederick William MacMonnies: A Critical Catalogue, Ph.D. dissertation, New York University, 1998, no. 30.3, p. 183, (another cast referenced) $3,000 - 5,000 40

AMERICAN & EUROPEAN ART

$4,000 - 6,000

Milton Avery

(American, 1885-1965) Seated Nude (Alert Nude), c. 1938 graphite on paper signed Milton Avery (lower right); inscribed with artist’s name and titled (verso) 8 ½ x 11 inches. Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia This lot is accompanied by a letter from The Milton and Sally Avery Arts Foundation, New York. Provenance: Sally Avery Pauline and Sam Klein, Woodstock, New York, acquired directly from the above Conner Rosenkranz, New York, by 1993 Acquired directly from the above by the present owner, March 2003 Exhibited: New York, Brooklyn Museum of Art, Milton Avery in Black and White: Drawings 1929-59, September 28 December 31, 1990, p. 35, illus. $1,500 - 2,500

Milton Avery

(American, 1885-1965) Slim Girl, c. 1945 ink and graphite on paper signed Milton Avery (lower right); titled and inscribed (verso) 16 ¾ x 13 ¾ inches. This lot is accompanied by a letter from The Milton and Sally Avery Arts Foundation, New York. Provenance: David Barnett Gallery, Milwaukee, Wisconsin Acquired directly from the above Thence by descent to the present owner $5,000 - 7,000

Louise Nevelson

(American, 1899-1988) Untitled (Standing Nude), 1932 graphite on paper signed Nevelson and dated (upper center) 15 x 4 ¼ inches. $3,000 - 5,000

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

In 1907, the student artist Niсolai Feсhin exhibited for the first time at the St. Petersburg Imperial Academy of Art’s annual Spring Academic Exhibition. He showed Study of a Woman, an alluring work of art that left a lasting impression amongst art critics (Spring exhibition in the halls of the Imperial Academy of Arts 1907, SPb., p. 20, no. 397). In a review of the exhibition, the authoritative art magazine Zolotoye Runo (Golden Fleece), marked the study as “bold” (Const. Sunnerberg. “Artistic life of St. Petersburg, At the Spring Exhibition,” Golden Fleece, 1907. no. 3, p. 72).

*46

Nicolai Fechin

(American, 1881-1955) Study of a Woman (Portrait of Elena Konstantinovna Luksch-Makowsky), c. 1906-08 oil on canvas signed N. Fechin (upper right) 41 ½ x 28 inches. Property from the Collection of Homer E. Noble, Denver, Colorado We would like to thank Galina Tuluzakova for her assistance with the cataloguing of this lot. Provenance: Saks Galleries, Denver, Colorado Acquired directly from the above by Homer E. Noble, March 29, 1978 Thence by descent to the present owner Literature: Galina Tuluzakova, Nikolai Fechin, St. Petersburg, Russia, 2007 (reprints 2010, 2012, 2015, 2018), p. 14, illus. Galina Tuluzakova, Nicolai Fechin: The Art and the Life, San Cristobal, New Mexico, 2012, p. 42, illus. $600,000 - 800,000

Although the dimensions of the painting are not listed (in accordance with the then tradition) and no reproduction is included in the exhibition catalog, it can be assumed that Study of a Woman is the same portrait that appeared on the American art market in the 1970s under the name Portrait of Elena Konstantinovna Makovskaya, dated circa 1907-1908. As evidenced by a label on the canvas verso, the model’s name and the circa date of the painting were supplied to the transport company that delivered the artwork from Paris to New York. Comparison with photographs of Elena Makowsky, the daughter of the successful Russian artist Konstantin Makowsky, further reinforces the identity of the sitter. Elena Konstantinovna Luksch-Makowsky (1878-1967) was a brilliant artist who worked in a variety of mediums. She lived mainly in Germany and often visited Austria and Russia. It is most likely that the present portrait was painted on one of her visits to her homeland, as it is known she visited St. Petersburg in 1906 and 1908. In 1906, Elena Makowsky was 28 years old, which corresponds with the age of the sitter in the portrait. This was also the time when Fechin’s individual style crystallized. He loved to combine the rational, precise construction of the natural form, especially the face and hands, with the freedom of spontaneous, wide brushstrokes in the background and clothing. Stylistically, the portrait can be included among other the works that date from this period, including portraits of the poet Fyodor Sologub (1906, whereabouts unknown), architect Sergei Ovsyannikov (1907, The Russian Museum, St. Petersburg, Russia), Lady in Lilac (1908, The Russian Museum, St. Petersburg, Russia), and Nadezhda Sapozhnikova (1908, private collection, formerly San Diego Museum of Art, California). The 1906 date is also supported by the application of the signature, which was only just being developed by the artist. The portrait of Elena Makowsky is one of the early works of the artist, where his technical virtuosity, emotional expression, elegance of the coloristic constructions of the restrained ocher-brown scale, and subtlety of the sensual perception of the personality were already manifested in full force. The portrait was reproduced in books about the artist (see related literature) and will be included in the forthcoming catalogue raisonné. -Galina Tuluzakova

AMERICAN & EUROPEAN ART

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

*47

Martha Walter

(American, 1875-1976) At the Beach oil on canvas signed Martha Walter (lower right) 21 ¼ x 26 inches. Property from the Estate of R. Lawrence Dunworth, Palm Beach, Florida Provenance: Sold: Sotheby’s, New York, May 23, 1991, Lot 51 $25,000 - 35,000

AMERICAN & EUROPEAN ART

*48

James Roy Hopkins

(American, 1877-1969) Nude oil on canvas signed James R. Hopkins (lower right) 26 x 32 inches. Property from the Estate of R. Lawrence Dunworth, Palm Beach, Florida $7,000 - 9,000

*49

George Hitchcock

(American, 1850–1913) Two Children by a Shop Window, 1890 pastel on paper signed G. Hitchcock and dated (lower left) 18 ¼ x 13 ¼ inches. Property from the Collection of James Griffel, Ponte Vedra Beach, Florida $3,000 - 5,000

Arthur Watkins Crisp (Canadian, 1881-1974) Birth of Cain oil and gilt on wood signed Crisp (lower center) 21 x 29 inches. $1,500 - 2,500

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

*51

William Samuel Horton

(American, 1865-1936) Sunflowers, c. 1919 oil on canvas signed Williams S. Horton and indistinctly dated (lower right) 41 x 32 ½ inches. Property from the Collection of Homer E. Noble, Denver, Colorado Provenance: W. Gray Horton, the artist’s son (possibly) Saks Galleries, Denver, Colorado Exhibited: Paris, Galerie R. Creuze, May 1947, no. 11 $2,000 - 4,000

*52

Guy Carleton Wiggins

(American, 1883-1962) New York Park oil on panel signed Guy Wiggins (lower left) 6 x 9 ½ inches. Property from the Collection of Leonard Stark, Chicago, Illinois $3,000 - 5,000

AMERICAN & EUROPEAN ART

Alson Skinner Clark

(American, 1876–1949) Tour Saint Jacques, Paris oil on canvas signed Alson Clark and indistinctly inscribed (lower right); signed, titled, and inscribed (verso) 13 x 16 inches. $4,000 - 6,000

George Gardner Symons

(American, 1863–1930) Trees in Bud oil on canvas signed Gardner Symons (lower left) 18 x 24 inches. $2,000 - 4,000

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

John Frost

(American, 1890-1937) Eastern Snow Scene oil on canvas 24 ½ x 29 ½ inches. Property from the Collection of a Gentleman, Atlanta, Georgia Provenance: Private Collection, Pasadena, California Sold: John Moran Auctioneers, Pasadena, California, October 20, 2015, Lot 41 Literature: Phil Kovinick, John Frost: A Quiet Mastery, The Irvine Museum, Irvine, California, 2013, p. 182, illus. $4,000 - 6,000

James McDougal Hart

(American, 1828–1901) The Cattle Seek the Cooling Shade, 1877 oil on canvas signed James M. Hart and dated (lower left) 60 x 40 inches. Property from a Private Collection, Chicago, Illinois $7,000 - 9,000

AMERICAN & EUROPEAN ART

*57

Pauline Palmer

(American, 1867–1938) Street in French Village oil on canvas laid to board signed indistinctly (lower left) 24 x 20 inches. Property from the Estate of Marilyn and James Scott, Milwaukee, Wisconsin $4,000 - 6,000

Charles G. Dyer

(American, 1851-1912) The Acropolis From the Altar of Zeus, c. 1900-01 oil on canvas signed C. Gifford Dyer, dated, and inscribed Athens, St. Louis (lower left) 41 x 54 ½ inches. Provenance: Private Collection, New York Sold: Trinity International Auctions & Appraisals, Avon, Connecticut, October 15, 2016, Lot 183 Acquired directly from the above sale by the present owner $6,000 - 8,000

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Wilson Henry Irvine (American, 1869-1936) Misty Landscape oil on canvas signed Irvine (lower right) 24 x 27 inches.

Provenance: Dana Tillou Fine Arts, Buffalo, New York $4,000 - 6,000

AMERICAN & EUROPEAN ART

Julian Alden Weir

(American, 1852–1919) Landscape with Trees and Hills oil on canvas signed J. Alden Weir (lower left) 12 x 16 inches. $5,000 - 7,000

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

Jonas Lie

(American/Norwegian, 1880–1940) Frosty Morning oil on canvas signed Jonas Lie (lower left) 40 x 50 inches. $10,000 - 15,000

AMERICAN & EUROPEAN ART

George Ames Aldrich

(American, 1872-1941) Mill in Winter oil on canvas signed G. Ames Aldrich (lower right) 26 ¼ x 30 inches. $2,000 - 4,000

Charles Vickery

(American, 1913–1998) Clipper Ship oil on canvas signed Vickery (lower right) 18 x 24 inches. $2,000 - 4,000

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

Peter Ellenshaw

(American/Irish, 1913-2007) Killabuonia, Skelligs in Distance oil on canvas signed Peter Ellenshaw (lower left) 20 x 34 inches. Provenance: Hammer Galleries, New York $4,000 - 6,000

*65

Charles Morris Young

(American, 1869-1964) Harbor Scene (Possibly Somes Sound, Near Mt. Desert, Maine), 1914 oil on board signed Chas. Morris Young and dated (lower left) 9 x 12 inches. Property from the Estate of Margaret Ludwig, Oakland, California $2,000 - 3,000

AMERICAN & EUROPEAN ART

LeRoy Neiman

(American, 1921-2012) Jockey, 1969 oil on board signed LeRoy Neiman and dated (lower right) 23 ¾ x 12 inches. $6,000 - 8,000

LeRoy Neiman

(American, 1921-2012) The Lineup, 1960 oil on masonite signed Leroy Neiman and dated (lower left); titled (verso) 10 x 11 ½ inches. Provenance: Frank J. Oehlschlager Gallery, Chicago Acquired directly from the above Thence by descent to the present owner $10,000 - 15,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

LeRoy Neiman

(American, 1921-2012) Le Chef de Cuisine, 1961 mixed media on paper signed Leroy Neiman, dated, titled, and inscribed (lower edge) 7 ¾ x 10 ¼ inches. $2,000 - 4,000

AMERICAN & EUROPEAN ART

LeRoy Neiman

(American, 1921-2012) Toreador, 1968 oil on board signed LeRoy Neiman and dated (lower left) 48 x 36 inches. $20,000 - 30,000

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

AMERICAN & EUROPEAN ART

EUROPEAN ART LOTS 7 0 - 1 2 0

O P P O S I TE Lot 78

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

Sonia Delaunay

(French/Ukranian, 1885–1979) Self-Portrait, 1916 wax on paper signed Sonia Delaunay and dated (lower left); numbered 361 (lower right) 13 ¼ x 8 ½ inches. Provenance: B.C. Holland, Inc., Chicago Acquired directly from the above by the present owner Exhibited: Stockholm, Nya Konstgalleriet, Exposition, March 23 - April 14, 1916 (also traveled to Oslo, Galerie Blomqvist, April 16 - May 14, 1916) This lot is included in the archives of Richard Riss. In 1915, Sonia Delaunay moved to Lisbon, Portugal with her artist husband, Robert Delaunay, and their son Charles. The Delaunays were enthusiastic about the medieval architecture, the colorful folk arts, and rugged landscape of the country. Sonia wrote: “The light of Portugal was not violent, but exalted every color” (quoted in A.A. Cohen, Sonia Delaunay, New York, 1975, p. 67). In 1916, an exhibition of Sonia’s and Robert’s paintings was planned for the Nya Konstgalleriet, Stockholm. Many of Robert’s paintings were already committed to other shows, and as a result he had to drop out. The occasion was then devoted exclusively to Sonia’s work, which was her first major solo exhibition. For the exhibit, she created a series of studies of self-portraits to be used on the covers of the exhibition catalogue, of which the present work is an example. The selfportrait shows a woman’s head with a hat, executed in the artist’s familiar broken color circles. $20,000 - 30,000

AMERICAN & EUROPEAN ART

Sonia Delaunay

(French/Ukranian, 1885–1979) Composition, 1913 watercolor on paper signed Sonia Delaunay-Terk and dated (lower left) 10 ½ x 8 ¼ inches. This lot is included in the archives of Richard Riss. Provenance: Brook Street Gallery, London B.C. Holland, Inc., Chicago Acquired directly from the above by the present owner Exhibited: London, Tate Gallery, Abstractions: Towards a New Art, February 5 - April 13, 1980, no. 35 This watercolor was likely executed as a poster project for the Rochers de Montreux in Switzerland. The artist created another work to promote the Rochers de Montreux in 1914 (watercolor on paper, 20.5 x 27 cm, signed and numbered lower right), which belonged to Collection Hillman, New York. During this period, Delaunay created many advertising projects for companies such as Dubonnet, Zénith, and Lumière, among others. $10,000 - 15,000

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

Léonard Tsuguharu Foujita

(French/Japanese, 1886–1968) Nu accoudé , 1928 graphite on brown paper signed Foujita and in Japanese characters, and dated (lower left); inscribed (upper right) 22 ¾ x 15 ¾ inches. This lot is accompanied by a certificate of authenticity issued by Sylvie Buisson. Literature: Sylvie Buisson, La vie et l’œuvre de LéonardTsuguharu Foujita, Volume 2, Paris, 1987-2001, no. 18-141, p. 261, illus. $40,000 - 60,000 62

AMERICAN & EUROPEAN ART

Fernand Leger

(French, 1881-1955) Paysage, c. 1940s watercolor and gouache on paper initialed F.L. (lower right); titled and inscribed (verso) 13 x 9 ¾ inches. This work has been authenticated by the Comité Léger and will be sold with a certificate of authenticity. $25,000 - 35,000

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

*74

Jules Pascin

(French, 1885-1930) Marinette au manteau rouge, 1927 oil on canvas signed Pascin (lower right); titled and dated (verso) 26 ¾ x 34 ¾ inches. The Estate of Barbara Bonfigli, Tiburon, California Provenance: Lucy Krohg, Paris Niveau Gallery, New York Private Collection, New York Exhibited: New York, Niveau Gallery, October - November 1971, no. 5, illus. Literature: Y. Hemin, G. Krohg, K. Perls & A. Rambert, Pascin, catalogue raisonne, dessins, aquarelles, pastels, peintures, dessins erotiques, vol. IV, Paris, 1984, no. 1256, p. 373, illus. $15,000 - 25,000

*75

Jean Cocteau

(French, 1889–1963) Portrait of Colette, c. 1954-57 ink on paper signed Jean (lower right) 9 x 7 inches. Property from the Estate of Frank McIntosh, Greenport, New York The authenticity of this work has been confirmed by Annie Guédras. $1,000 - 2,000

*76

Camille Pissarro

(French, 1830-1903) Peasant Woman, late 1880s, and Quayside Scene, 1903 (two works) Peasant Woman, ink and graphite on paper; Quayside Scene, graphite on paper each stamped C.P. (lower right) Larger: 8 ½ x 6 ¾ inches; smaller: 4 ¼ x 6 ¾ inches. Property from the Collection of Mark and Patricia McGrath, Chicago, Illinois Dr. Joachim Pissarro will include these works in his forthcoming Catalogue Raisonné of Drawings by Camille Pissarro. Quayside Scene Lugt 613e (recto, lower right) Peasant Woman Provenance: Collection of Michael Zagayski Sold: Sotheby’s, New York, June 29, 1995, Lot 268 $4,000 - 6,000

AMERICAN & EUROPEAN ART

Pierre-Auguste Renoir (French, 1841-1919) Les Fleurs, 1913 oil on canvas signed Renoir (lower left) 9 ¼ x 12 inches.

This work will be included in the forthcoming Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Provenance: The Artist Galerie Durand-Ruel, Paris, acquired directly from the artist, July 7, 1914 (as Anémones ou Fleurs) Durand-Ruel Galleries, New York, acquired directly from the above, November 11, 1920 Courvoisier Galleries, San Francisco, California, acquired directly from the above, April 26, 1937 Hammer Galleries, New York

Painted in 1913, Les Fleurs illustrates the central role floral still lifes played throughout PierreAuguste Renoir’s long career. His depictions of elaborate bouquets allowed him to experiment freely with the effects of light and color, exploring the subtle shifts in tone, texture, and form that could be discovered from the smallest adjustments. Within the controlled setting of the studio, the artist could also focus more fully on the quality of paint and on the varied effects of brushwork and color, without worrying about the vagaries of restless models or changing light. “When I am painting flowers I can experiment boldly with tones and values without worrying about destroying the whole painting,” he explained to the critic Georges Rivière. “I would not dare to do that with a figure” (quoted in Renoir, exh. cat., Hayward Gallery, London, 1985, p. 183). Here, the artist closely focuses on an elegant bouquet of anemones, their colors ranging from blush pinks and delicate whites to vivid reds. Filling the full expanse of the tightly cropped composition, the anemones crowd each other for space and seem to burst with life. Renoir’s distinctive feathery brushwork depicts blossoms of different shapes and stages of opening, with some petals fully opened to reveal their blue-black centers, while others remain as tight buds, waiting to unfurl and show their loveliness.

Exhibited: New York, Durand-Ruel Galleries, Still life and flowers: Late nineteenth century French artists, January 13 - February 1, 1936, no. 9 (as Fleurs, dated 1913) $100,000 - 150,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

Gustave Camille Gaston Cariot

(French, 1872-1950) Crépuscule, lever de lune sur le pont Neuf oil on canvas signed G. Cariot (lower right) 28 ¾ x 60 inches. Property from a Private Collection, Chicago, Illinois, Sold to Benefit Northwestern University, Evanston, Illinois Provenance: Estate of the Artist Private Collection, acquired directly from the Artist Sold: Sotheby’s, New York, November 3, 2011, Lot 255 Acquired directly from the above sale by the present owner $25,000 - 35,000

AMERICAN & EUROPEAN ART

*79

Albert André

(French, 1869-1954) La Table de déjeuner devant la treille, c. 1930-1940 oil on canvas signed Albert Andre (lower right) 14 ¼ x 37 ¾ inches. Property from the Miriam B. Swanson Trust, Chicago, Illinois This lot will be included in the catalogue raisonné of the paintings by Albert André, currently in preparation by Béatrice Roche, Alain Girard, and Flavie Durand-Ruel. Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, December 1971 $10,000 - 15,000

Jean Dufy

(French, 1888-1964) Place de la Concorde, c. 1960 watercolor and gouache on paper signed Jean Dufy and inscribed (lower right); inscribed (verso) 16 ¼ x 10 ¾ inches. Provenance: Wally Findlay Galleries, Palm Beach, Florida and Chicago Sold: Butterfields, San Francisco, California, April 23, 2002, Lot 6009 Exhibited: Chicago, Findlay Galleries, Hommage to Jean Dufy, 1968-69, p. 6, illus. Literature: Jaques Bailly, Jean Dufy, Catalogue raisonné de l’œuvre, vol. I, Paris, 2002, no. J. 340, p. 216, illus. $8,000 - 12,000

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

Henri Hecht Maïk

(French, 1922-1993) Au Bord du Zambeze, 1974 oil on canvas signed Maik and dated (lower right); signed, titled, and inscribed (verso) 51 ½ x 77 inches. This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Henri Hecht Maïk, currently underway. Provenance: Wally Findlay Galleries, West Palm Beach, Florida $10,000 - 15,000

AMERICAN & EUROPEAN ART

*82

Henri Hecht Maïk

(French, 1922–1993) Le chasseur de lions silk embroidery on canvas stitched signature with Atelier des Capucins AMH Souny seal (lower right); numbered 3/8 on Atelier des Capucins AMH Souny seal (verso) 35 ¼ x 45 ¾ inches. Property from the Collection of John Ashenden, Chicago, Illinois This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Henri Hecht Maïk, currently underway. Provenance: Atelier des Capucins Wally Findlay Galleries, November 1973 Acquired directly from the above, June 1974 $5,000 - 7,000

Le Pho

(Vietnamese, 1907-2001) Les Poppies oil on canvas signed Le Pho and with Chinese characters (lower right) 18 ¼ x 15 inches. This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Phổ, currently underway. Provenance: Artist’s studio, Paris Findlay Galleries, September 1980 Private Collection, Winnetka, Illinois, February 1981, acquired directly from the above $7,000 - 9,000

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

Claude Venard

(French, 1913-1999) Café oil on canvas signed C. Venard (lower left); inscribed (verso) 45 x 57 ½ inches. $20,000 - 30,000

AMERICAN & EUROPEAN ART

Hiro Yamagata

(Japanese, b. 1948) Modern Paris, 1900, 1975 oil on canvas signed Yamagata and dated (lower right); titled and inscribed (verso) 23 ¾ x 28 ¾ inches. Provenance: Sold: Deburaux - Du Plessis, Paris, October 4, 2019, Lot 131 $10,000 - 15,000

Antoine Blanchard

(French, 1910-1988) Café de la Paix, Place de l’Opera oil on canvas signed Antoine Blanchard (lower left); signed and inscribed Paris (verso) 13 x 18 inches. The present work is currently listed on the Rehs Galleries, Inc., Antoine Blanchard Virtual Checklist as #CPPO1318.0024. A letter of authenticity from Rehs Galleries accompanies the lot. Provenance: The W.T. Burger Co., La Porte, Indiana $3,000 - 5,000

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

Constantin Kluge

(French, 1912-2003) Quai Conti oil on canvas signed C. Kluge (lower right); titled (stretcher) 32 ½ x 32 inches. This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Constantin Kluge, currently underway. Provenance: Artist’s studio, Montlognon, France Wally Findlay Galleries, November 1974 Private Collection, Winnetka, Illinois, November 1974, acquired directly from the above $3,000 - 5,000

Eugénie Alexandrine Marie Salanson (French, 1836-1912) Returning from the Fish Market, 1895 oil on canvas signed E. Salanson and dated (lower left) 39 ¾ x 27 ½ inches.

Property from the Collection of a Gentleman, Atlanta, Georgia Provenance: Sold: Bonhams, Los Angeles, July 8, 2020, Lot 24 [as by Eugene-Marie Salanson (French, 1864-1892)] $2,000 - 4,000

AMERICAN & EUROPEAN ART

Emile Auguste Pinchart

(French, 1842–1924) The Rural Idyll oil on canvas signed Pinchart (lower left); signed and titled (verso) 31 ¾ x 23 ¾ inches. Provenance: Marshall Field & Company, Chicago $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 H I N D M A N A U C T I O N S . C O M

*90

Hipployte Camille Delpy (French, 1842-1910) Rue pavoisée à Dieppe oil on canvas signed HC. Delpy. (lower right) 14 x 23 ¾ inches.

Property from the Estate of George W. Fellows, Naples, Florida Provenance: Sold: Sotheby’s, New York, October 28, 2003, Lot 124 $5,000 - 7,000

AMERICAN & EUROPEAN ART

Narcisse Guilbert

(French, 1878-1942) Shipping Port oil on canvas signed Guilbert (lower right) 21 ¼ x 28 ¾ inches. $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 H I N D M A N A U C T I O N S . C O M

Narcisse Guilbert

(French, 1878-1942) Verdun, 1917 oil on canvas signed Guilbert, titled, and dated (lower right) 18 ¼ x 24 inches. $2,000 - 4,000

Narcisse Guilbert

(French, 1878-1942) Boats in Harbor oil on canvas signed Guilbert (lower right) 22 ¼ x 28 ½ inches. $3,000 - 5,000

AMERICAN & EUROPEAN ART

Thomas Gainsborough (British, 1727-1788) Woodland Stream, c. 1745 black chalk on paper 6 ¼ x 8 ¾ inches.

Provenance: Xanthus, Reymerston, Norfolk & London, 1990 Phillips & Deans, Tallahassee, Florida and London Purchased directly from the above by the present owner Exhibited: Norfolk, Reymerston, Xanthus, British Watercolours, 1991, no. 2, illus. Literature: Hugh Belsey. “A Second Supplement to John Hayes’s ‘The Drawings of Thomas Gainsborough,’” Master Drawings, vol. 46, no. 4, 2008, no. 996, pp. 461-462, illus. According to Hugh Belsey, this lot is perhaps the earliest extant landscape drawing by Thomas Gainsborough. The interaction between the foilage and branches, as well as the highlights, recall the work of Anthonie Waterloo (Dutch, c. 1610-1690), whom Gainsborough admired, and may very well been copied from a drawing by the older artist. $10,000 - 15,000

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

George Romney

(British, 1734-1802) A Study for Mirth, c. 1770 pen and ink on paper 7 ¾ x 6 ¼ inches. We thank Alex Kidson, author of George Romney, A complete catalogue of his paintings, 2015, for his assistance with cataloging this lot. Provenance: Thomas Deans Fine Art, Tallahassee, Florida and London The drawing on the recto is an autograph study by Romney for Mirth, exhibited at the Society of Artists in 1770. The two vignettes in the right margin are studies for the subsidiary group of girls playing musical instruments on the left hand side of the composition. On the verso is a rough idea for the figure of Major Pierson, in the painting Major Pierson and the Brahmin, which was exhibited in 1771. $2,000 - 4,000

Thomas Girtin

(British, 1775-1802) Melrose Abbey, Roxburghshire, 1793 watercolor on paper 11 ¾ x 13 inches. Provenance: Moore-Miller P.B. Todd Esq. Literature: David Loshak, The Art of Thomas Girtin, London, 1954, no. 37, pp. 138-9 $6,000 - 8,000

AMERICAN & EUROPEAN ART

*97

Sir Alfred Munnings

(British, 1878-1959) Lady in Black, 1901 watercolor and gouache on paper laid to canvas signed A.J. Munnings and dated (lower left) 11 ½ x 9 ½ inches. Property from the Collection of Homer E. Noble, Denver, Colorado Provenance: Frost & Reed, Ltd., London $5,000 - 7,000

*98

Sir Alfred Munnings

(British, 1878-1959) The Chocolate Girl gouache, watercolor, and graphite on paper laid to canvas signed A.J. Munnings (lower left) 9 x 8 ½ inches Property from the Collection of Homer E. Noble, Denver, Colorado Provenance: Leonard Hill, Eaton, England Richard Green, London Exhibited: Norwich, England, Norwich Castle Museum, Munnings’ Exhibition, 1928, no. 252 $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 H I N D M A N A U C T I O N S . C O M

*99

Sir Alfred Munnings

(British, 1878-1959) Two Girls, 1900 graphite on paper signed A.J. Munnings and dated (center left) 8 x 7 inches Property from the Collection of Homer E. Noble, Denver, Colorado Provenance: Frost & Reed, Ltd., London $3,000 - 5,000

AMERICAN & EUROPEAN ART

100

John Frederick Herring the Elder

(British, 1795–1865) A Cart Horse and Driver Outside a Stable, 1827 oil on canvas signed J.F. Herring and dated (lower center) 24 x 30 inches. $20,000 - 30,000

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

101

Thomas Buttersworth

(British, 1768–1842) His Majesty’s Ships Off the Tower of Belem oil on canvas 12 x 17 inches. Provenance: Sold: Leslie Hindman Auctioneers, Chicago, October 19, 1992, Lot 724 $10,000 - 15,000

102

John Maclauchlan Milne

(Scottish, 1885–1957) Along the Shore, 1916 oil on canvas signed Maclauchlan Milne and dated (lower right) 12 x 16 inches. $2,500 - 3,500

AMERICAN & EUROPEAN ART

103

Antonín Slavíček

(Czech, 1870–1910) Landscape, 1897 oil on board signed A. Slavíček and dated (lower right) 14 x 19 ½ inches. We would like to thank Dr. Šárka Leubnerová for her assistance with the cataloging of this lot. This work was created during the artist’s studies at the Prague Academy in the studio of Professor Julius Mařák, when they painted en plein air around Prague. Slavíček worked on similar themes several times during this period, including Poppy and Summer, also both from 1897. The artist’s manuscript likewise corresponds to his work from that time. $40,000 - 60,000

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

104

Georges (Karpeles) Kars

(Czech, 1882–1945) Nasturtiums, 1919 oil on canvas signed Kars and dated (lower right) 22 x 19 ½ inches. The authenticity of this work has been confirmed by Dr. Rea Michalová, Ph.D., expert on Czech art of the 20th century. Provenance: Acquired in Prague, October 17, 1931 Thence by descent to the present owner $2,000 - 4,000

105

Leontine (Lea) von Littrow (Austrian, 1860-1914) Olives in Lussingrande oil on board signed indistinctly (lower left) 14 x 19 ½ inches.

This lot is documented at Kolhammer & Mahringer Fine Arts, Vienna; Archive Leontine von Littrow; Work number WVLL 342. Provenance: E.F. Hanfstengl Galleries, New York The present work depicts Veli Lošinj, a village on the island of Lošinj, off the west coast of Croatia. The village was previously known in Italian as Lussingrande, prior to the global conflicts caused by World Wars I and II. $15,000 - 25,000

AMERICAN & EUROPEAN ART

106

Georgius Jacobus Johannes Van Os I (Dutch, 1782-1861) Still Life with Flowers and Birds, 1838 oil on panel signed G.J. Van Os. and dated (lower right) 23 ½ x 19 ¼ inches. Provenance: Philip Suval, New York $5,000 - 7,000

107

Johan Barthold Jongkind

(Dutch, 1819-1891) Windmill near a river with figures in the snow watercolor and gouache on paper signed Jongkind (lower left) 21 x 30 inches. Provenance: Arthur Tooth & Sons, London $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 H I N D M A N A U C T I O N S . C O M

108

109

Stephan Wladislawowitsch Bakalowicz

Cesare Auguste Detti

Property from a Private Collection, Chicago, Illinois

Property from the Estate of a Midwest Collector, Milwaukee, Wisconsin

(Polish, 1857-1947) At The Jeweler’s, 1917 oil on panel signed St. Bakalowicz, dated in Roman numerals, and inscribed Roma (lower left) 18 x 14 ¾ inches.

(Italian, 1847-1914) Portrait of a Woman in a Blue Gown, 1884 oil on board signed C. Detti, dated, and inscribed Paris (lower left) 14 ¼ x 8 ½ inches.

$6,000 - 8,000 $2,000 - 4,000

AMERICAN & EUROPEAN ART

110

Enrico Tarenghi

(Italian, 1848-1938) A Musical Performance watercolor on paper signed E. Tarenghi (lower right) 13 ¾ x 20 ¾ inches. $2,000 - 4,000

*111

Antoine Bouvard

(Italian/French, 1870-1956) A Venetian Canal oil on canvas signed Bouvard (lower right) 20 x 25 ¼ inches. Property from the Collection of the Missouri Athletic Club Foundation for the Arts $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 H I N D M A N A U C T I O N S . C O M

112

Juan Pablo Salinas

(Spanish, 1871-1947) The Cardinal’s Repast oil on canvas signed JPablo Salinas and inscribed Roma (lower left) 9 ¾ x 16 inches. Property from a Private Collection, Chicago, Illinois $5,000 - 7,000

*113

Celso Lagar

(Spanish, 1891-1966) Scene au Cirque oil on canvas signed Lagar (lower right) 59 ¾ x 55 ¾ inches. Property from the Estate of R. Lawrence Dunworth, Palm Beach, Florida $6,000 - 8,000

AMERICAN & EUROPEAN ART

114

Arthur Dupagne

(Belgian, 1895-1961) Saison Seche, 1931 bronze inscribed Dupagne and J.D., numbered 8/8, and bears a foundry stamp (base) Height: 33 inches. $6,000 - 8,000

115

Salvador Dalí

(Spanish, 1904-1989) The Surrealist Eyes, 1980 bronze and mixed media with light bulbs and electrical plug inscribed Dali (verso), dated, and stamped with Dalart foundry mark (base) Height: 13 ½ inches. Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot. $5,000 - 7,000

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

116

Salvador Dalí

(Spanish, 1904-1989) Alice in Wonderland, 1977-1984 bronze with green patina inscribed Dali, numbered 32/350, and stamped with Camblest Foundry mark (base) Height: 36 ½ inches. Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot. $5,000 - 7,000

AMERICAN & EUROPEAN ART

117

Salvador Dalí

(Spanish, 1904-1989) Rhinoceros silvered bronze inscribed Salvador Dali, numbered 60/100, and stamped SCAE. (base) Height: 4 ¾ inches. Property from a Private Collection, Southwest Florida Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot. $4,000 - 6,000

118

Salvador Dalí

(Spanish, 1904–1989) Venus à la tête du rose, 1981 bronze on electrified base inscribed Dali on left shoulder Height: 16 ¾ inches. Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot. $2,000 - 4,000

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

119

Salvador Dalí

(Spanish, 1904-1989) Homage à Newton bronze with gilt patina inscribed Dali and stamped EA Height: 12 ½ inches. Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot. $2,000 - 4,000

AMERICAN & EUROPEAN ART

120

Salvador Dali

(Spanish, 1904-1989) Untitled pen and ink on paper signed Salvador Dali (lower right); signed and inscribed (center left) 10 x 7 inches. Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot. $7,000 - 9,000

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

ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Albright, Adam Emory . . . . . . . . . . . . . . . . . . . 30 Albright, Ivan . . . . . . . . . . . . . . . . . . . . . . 24-29 Aldrich, George Ames . . . . . . . . . . . . . . . . . . 62 André, Albert . . . . . . . . . . . . . . . . . . . . . . . . . 79 Arthurs, Stanley Massey . . . . . . . . . . . . . 37-38 Avery, Milton . . . . . . . . . . . . . . . . . . . . . . 43-44 Bakalowicz, Stephan Wladislawowitsch . . . . . 108 Benton, Thomas Hart . . . . . . . . . . . . . . . . . . 31 Blanchard, Antoine . . . . . . . . . . . . . . . . . . . . 86 Bohrod, Aaron . . . . . . . . . . . . . . . . . . . . . 12-15 Bouvard, Antoine . . . . . . . . . . . . . . . . . . . . . 111 Bulman, Orville . . . . . . . . . . . . . . . . . . . . . . 8,9 Buttersworth, Thomas . . . . . . . . . . . . . . . . . 101 Cariot , Gustave Camille Gaston . . . . . . . . . . . 78 Carter, Clarence Holbrook . . . . . . . . . . . . 17-19 Clark, Alson Skinner . . . . . . . . . . . . . . . . . . . 53 Cocteau, Jean . . . . . . . . . . . . . . . . . . . . . . . . 75 Cone, Marvin. . . . . . . . . . . . . . . . . . . . . . . . . 32 Crisp, Arthur Watkins . . . . . . . . . . . . . . . . . . . 50 Dalí, Salvador . . . . . . . . . . . . . . . . . . . 115-120 Davidson, Jo (Joseph) . . . . . . . . . . . . . . . . . . 42 Delaunay, Sonia . . . . . . . . . . . . . . . . . . . 70-71 Delpy, Hipployte Camille . . . . . . . . . . . . . . . . . 90 Detti, Cesare Auguste . . . . . . . . . . . . . . . . . 109 Dufy, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Dupagne, Arthur . . . . . . . . . . . . . . . . . . . . . 114 Dyer, Charles G. . . . . . . . . . . . . . . . . . . . . . . 58 Ellenshaw, Peter . . . . . . . . . . . . . . . . . . . . . . 64 Fechin, Nicolai . . . . . . . . . . . . . . . . . . . . . . . . 46 Foujita, Léonard Tsuguharu . . . . . . . . . . . . . . 72 Frost, John . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Gainsborough, Thomas . . . . . . . . . . . . . . . . . 94 Girtin, Thomas . . . . . . . . . . . . . . . . . . . . . . . 96 Guilbert, Narcisse . . . . . . . . . . . . . . . . . . 91-93 Hart, James McDougal . . . . . . . . . . . . . . . . . . 56 Herring, the Elder, John Frederick. . . . . . . . . . 100 Hitchcock, George . . . . . . . . . . . . . . . . . . . . . 49 Hopkins, James Roy . . . . . . . . . . . . . . . . . . . 48 Horton, William Samuel . . . . . . . . . . . . . . . . . 51 Irvine, Wilson Henry . . . . . . . . . . . . . . . . . . . . 59 Jongkind, Johan Barthold . . . . . . . . . . . . . . . 107 Kahn, Wolf. . . . . . . . . . . . . . . . . . . . . . . . . . 1-7 Kars, Georges (Karpeles) . . . . . . . . . . . . . . . 104 Kent, Rockwell. . . . . . . . . . . . . . . . . . . . . . . . 36 Kluge, Constantin . . . . . . . . . . . . . . . . . . . . . 87 Lagar, Celso . . . . . . . . . . . . . . . . . . . . . . . . 113 Lê Phổ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Léger, Fernand . . . . . . . . . . . . . . . . . . . . . . . 73 Lie, Jonas . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Maclauchlan Milne, John . . . . . . . . . . . . . . . 102 MacMonnies, Frederick William . . . . . . . . . . . 41 Maïk, Henri Hecht . . . . . . . . . . . . . . . . . . 81-82 Munnings, Sir Alfred . . . . . . . . . . . . . . . . 97-99 Neiman, LeRoy. . . . . . . . . . . . . . . . . . . . . 66-69 Nevelson, Louise . . . . . . . . . . . . . . . . . . . . . . 45 Nichols, Dale . . . . . . . . . . . . . . . . . . . . . 33-34 Palmer, Pauline . . . . . . . . . . . . . . . . . . . . . . . 57 Pascin, Jules . . . . . . . . . . . . . . . . . . . . . . . . . 74 Pinchart, Émile-Auguste . . . . . . . . . . . . . . . . . 89

AMERICAN & EUROPEAN ART

ARTIST NAME

LOT

Pissarro, Camille . . . . . . . . . . . . . . . . . . . . . . 76 Renoir, Pierre-Auguste. . . . . . . . . . . . . . . . . . . 77 Rockwell, Norman . . . . . . . . . . . . . . . . . . . . . 35 Romney, George . . . . . . . . . . . . . . . . . . . . . . 95 Salanson, Eugénie Alexandrine Marie . . . . . . . 88 Salinas, Juan Pablo . . . . . . . . . . . . . . . . . . . 112 Schwartz, William Samuel . . . . . . . . . . . . 21-23 Sessler, Alfred . . . . . . . . . . . . . . . . . . . . . . . . 16 Siporin, Mitchell . . . . . . . . . . . . . . . . . . . . . . 20 Slavíček, Antonín . . . . . . . . . . . . . . . . . . . . . 103 Stahl, Benjamin . . . . . . . . . . . . . . . . . . . 38A, 39 Steele, Jack Keijo. . . . . . . . . . . . . . . . . . . . . . 11 Storrs, John Bradley . . . . . . . . . . . . . . . . . . . 40 Symons, George Gardner . . . . . . . . . . . . . . . . 54 Tarenghi, Enrico . . . . . . . . . . . . . . . . . . . . . . 110 Van Os I, Georgius Jacobus Johannes . . . . . . 106 Venard, Claude . . . . . . . . . . . . . . . . . . . . . . . 84 Vickery, Charles. . . . . . . . . . . . . . . . . . . . . . . 63 Vickrey, Robert . . . . . . . . . . . . . . . . . . . . . . . 10 von Littrow, Leontine (Lea) . . . . . . . . . . . . . . 105 Walter, Martha . . . . . . . . . . . . . . . . . . . . . . . 47 Weir, Julian Alden . . . . . . . . . . . . . . . . . . . . . 60 Wiggins, Guy Carleton . . . . . . . . . . . . . . . . . . 52 Yamagata, Hiro . . . . . . . . . . . . . . . . . . . . . . . 85 Young, Charles Morris . . . . . . . . . . . . . . . . . . 65

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.

ALPHONSE MUCHA WOMAN WITH FLOWERING BRANCHES, 1920 SOLD FOR $456,500 SOLD PRICES ARE INCLUSIVE OF BUYER’S PREMIUM

Upcoming Auction Schedule SALE 907 POST WAR AND CONTEMPORARY ART SEPTEMBER 28 | CHICAGO

SALE 975 ATLANTA COLLECTIONS OCTOBER 13 | ATLANTA

SALE 912 MARILYN EBER COLLECTION OF NATIVE AMERICAN ART NOVEMBER 3 | DENVER

SALE 908 PRINTS AND MULTIPLES SEPTEMBER 29 | CHICAGO

SALE 939 FINE ART & DESIGN SELECTIONS OCTOBER 14 | CHICAGO

SALE 916 AMERICAN FURNITURE, FOLK & DECORATIVE ARTS SEPTEMBER 30 | CINCINNATI

SALE 837 SMYTH SILVER OCTOBER 18 | CHICAGO

936 TIMEPIECES OCTOBER 5 | CHICAGO

SALE 940 EUROPEAN FURNITURE & DECORATIVE ARTS OCTOBER 19-20 | CHICAGO

SALE 928 PALM BEACH COLLECTIONS OCTOBER 6 | PALM BEACH

SALE 942 SPORTS MEMORABILIA OCTOBER 26 | CHICAGO

SALE 977 AMERICAN FURNITURE FOLK AND DECORATIVE ARTS OCTOBER 7 | CINCINNATI

SALE 938 ARMS, ARMOR AND MILITARIA OCTOBER 28 | CINCINNATI

SALE 951 WESTERN ART, INCLUDING CONTEMPORARY NATIVE AMERICAN NOVEMBER 4 | DENVER SALE 980 DINING AT HOME NOVEMBER 8 | CHICAGO SALE 945 BOOKS & MANUSCRIPTS VARIOUS OWNER NOVEMBER 9 | CHICAGO SALE 946 BOOKS & MANUSCRIPTS SINGLE OWNER NOVEMBER 10 | CHICAGO

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

Fine Art

JOSEPH STANFIELD VICE PRESIDENT, SENIOR SPECIALIST

MONICA BROWN SENIOR SPECIALIST FINE PRINTS

ZACHARY WIRSUM SENIOR SPECIALIST POST WAR & CONTEMPORARY ART

312.600.6063 JOSEPHSTANFIELD @HINDMANAUCTIONS.COM

303.825.1855 MONICABROWN @HINDMANAUCTIONS.COM

NATE BRADY ASSOCIATE SPECIALIST

JULIANNA TANCREDI CATALOGUER

ALEXANDRIA DREAS CATALOGUER

ABBY CHAMBERS DEPARTMENT COORDINATOR

CHRISTINA KIRIAKOS DEPARTMENT COORDINATOR

312.600.6064 NATHANBRADY @HINDMANAUCTIONS.COM

312.334.4228 JULIANNATANCREDI @HINDMANAUCTIONS.COM

303.825.1855 ALEXANDRIADREAS @HINDMANAUCTIONS.COM

312.334.4234 ABBYCHAMBERS @HINDMANAUCTIONS.COM

312.334.4216 CHRISTINAKIRIAKOS @HINDMANAUCTIONS.COM

312.600.6069 ZACHARYWIRSUM @HINDMANAUCTIONS.COM

PAULINE ARCHAMBAULT SPECIALIST 513.871.1670 PAULINEARCHAMBAULT @HINDMANAUCTIONS.COM

BART MONSON DIRECTOR, SPECIALIST WESTERN ART 303.825.1855 BARTMONSON @HINDMANAUCTIONS.COM

Estates, Appraisals & Business Development

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

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

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

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

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

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

CINCINNATI VAUGHN SMITH BUSINESS DEVELOPMENT MANAGER 312.334.4238 CINCINNATI@HINDMANAUCTIONS.COM

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

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

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

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

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

DENVER MARON HINDMAN VICE CHAIR 303.825.1855 DENVER@HINDMANAUCTIONS.COM

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

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

AMERICAN & EUROPEAN ART

Inquiries LEADERSHIP JAY FREDERICK KREHBIEL CO-CHAIR CHIEF EXECUTIVE OFFICER LESLIE HINDMAN CO-CHAIR WES COWAN VICE-CHAIR MARON HINDMAN VICE-CHAIR ALYSSA D. QUINLAN EXECUTIVE VICE PRESIDENT CHIEF BUSINESS DEVELOPMENT OFFICER ALYSSAQUINLAN @HINDMANAUCTIONS.COM JIM SHARP EXECUTIVE VICE PRESIDENT CHIEF OPERATING OFFICER JIMSHARP @HINDMANAUCTIONS.COM MOLLY MORSE LIMMER EXECUTIVE VICE PRESIDENT DEPUTY CHAIRMAN MOLLYLIMMER @HINDMANAUCTIONS.COM OPERATIONS MAGGIE PORTER VP SALES STRATEGY, DEPUTY COO MAGGIEPORTER @HINDMANAUCTIONS.COM RACHEL DALLMAN SENIOR MANAGER, AUCTION OPERATIONS AIMEE SCHNEIDER MANAGER, AUCTION OPERATIONS TARA SCHLITZ DIRECTOR, ONLINE SALES

APPRAISALS NNEKA DUNHAM MANAGER, APPRAISALS NNEKADUNHAM @HINDMANAUCTIONS.COM MUSEUM SERVICES CAROLINE MUJICA-PARODI DIRECTOR, MUSEUM SERVICES CAROLINEMUJICA @HINDMANAUCTIONS.COM MICHAEL SHAPIRO SENIOR ADVISOR MUSEUMS & PRIVATE COLLECTIONS BRIAR KOEHL OLEFERCHIK BUSINESS DEVELOPMENT, SENIOR ASSOCIATE MUSEUM SERVICES FINE ART JOSEPH STANFIELD VICE PRESIDENT, SENIOR SPECIALIST JOSEPHSTANFIELD @HINDMANAUCTIONS.COM ZACK WIRSUM SENIOR SPECIALIST, POST WAR & CONTEMPORARY ART ZACHARYWIRSUM @HINDMANAUCTIONS.COM MONICA BROWN SENIOR SPECIALIST, PRINTS & MULTIPLES MONICABROWN @HINDMANAUCTIONS.COM BART MONSON DIRECTOR, SPECIALIST, WESTERN & WILDLIFE ART BARTMONSON @HINDMANAUCTIONS.COM PAULINE ARCHAMBAULT SPECIALIST NATE BRADY ASSOCIATE SPECIALIST

FINANCE MARCO GUSELLA DIRECTOR MARCOGUSELLA @HINDMANAUCTIONS.COM

ALEXANDRIA DREAS CATALOGUER

CLIENT SERVICES RITA SWANBERG MANAGER, CLIENT SERVICES RITASWANBERG @HINDMANAUCTIONS.COM 312.280.1212

ABBY CHAMBERS DEPARTMENT COORDINATOR

KATHRYN HODGE CLIENT SERVICES ASSOCIATE KATHRYNHODGE @HINDMANAUCTIONS.COM JOHN MARTINEZ CLIENT SERVICES ASSOCIATE JOHNMARTINEZ @HINDMANAUCTIONS.COM ESTATES & BUSINESS DEVELOPMENT MIRANDA MAXFIELD BUSINESS DEVELOPMENT SENIOR ASSOCIATE MIRANDAMAXFIELD @HINDMANAUCTIONS.COM SAMANTHA SCHWARTZ BUSINESS DEVELOPMENT ASSOCIATE, TRUSTS & ESTATES SAMANTHASCHWARTZ @HINDMANAUCTIONS.COM HANNAH UNGER BUSINESS DEVELOPMENT ASSOCIATE, EAST HANNAHUNGER @HINDMANAUCTIONS.COM LILLY KUSTEC BUSINESS DEVELOPMENT ASSOCIATE, WEST LILLYKUSTEC @HINDMANAUCTIONS.COM

JULIANNA TANCREDI 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 LESLIE WINTER ASSOCIATE SPECIALIST FRANCIS WAHLGREN SENIOR CONSULTANT PATRICIA TENCH SENIOR CATALOGUER BENTON LUDGIN DEPARTMENT COORDINATOR

BENTON LUDGIN DEPARTMENT COORDINATOR MARKETING ASHLEY GALLOWAY VICE PRESIDENT PHOTOGRAPHY ZOË BARE DIRECTOR OF PHOTOGRAPHY DAVID JACKSON PHOTOGRAPHY SUPERVISOR MIKE REINDERS CARMEN COLOME AMELIA MOORE BILL ROSS CONOR CROOKHAM LIBBY MOORE JEREMY RAFTER RACHEL SMITH AVERY CAMPBELL 9/1

ASIAN ART ANNIE WU DIRECTOR, SENIOR SPECIALIST ANNIEWU @HINDMANAUCTIONS.COM FLORA ZHANG ASSOCIATE SPECIALIST FLORAZHANG @HINDMANAUCTIONS.COM MEGAN SADLER CATALOGUER

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

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.

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

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.

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(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.

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(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

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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

Upcoming Auction Sale 907 Post-War & Contemporary Art 28 September | Chicago | 10am CT Inquiries Zack Wirsum Senior Specialist, Post War & Contemporary Art 312.600.6069 zacharywirsum@hindmanauctions.com

HINDMANAUCTIONS.COM

Sale 909 | American and European Art

Articles inside

European Art | Lots 70-120

Hindman Team

American Art | Lots 1-69

Artist Index